Rollout drawing

El Fraile, or “The Monk” monolith with the roll-out of the figurative decoration in relief. Drawing by Carlos Herrera.
Images of mythical mothers from the Wari site of Conchopata. (a) Image painted on an urn showing a female figure with camelid attributes suckling a young feline (adapted and redrawn from Isbell and Cook 2002). (b) Image from a second urn depicting two female figures feeding human body parts to a pack of hungry canines and birds (adapted and redrawn from Cook 2004).
Decoration on Tumilaca kero, on display in the Museo Contisuyu, Moquegua. It depicts an anthropomorphic being with curled lower limbs similar to those on the Wari tapestry fragment in Figure 20.9, arguably an abstract representation of the “partuition pose.” Accompanying geometric motifs such as the crosses with circle-dot centers and the Z-shaped meander may have imparted additional meaning to the original audience. Drawn from photograph (Goldstein and Rivera 2004), colors approximate.
Drawing of an anthropomorphic camelid birthing a human infant from a ch’allador found at Pariti. Reminiscent of the pooled blood on the Siguas textile in Figure 20.5 and the zigzag lines of blood illustrated on the figurine in Figure 20.10, blood (and/or amniotic fluid or placental matter) flows down from between the camelid-mother’s squatting, anthropomorphic legs. Based on a photo by A. Korpisaari (Korpisaari and Parssinen 2005:Photo 40). Color approximate.
The Pucara Camelid Woman theme is the quintessential representation of the association between females and domesticated camelids and seems to anticipate Colonial era accounts of puna-bound women herding their llamas and alpacas. Typically, she leads a single llama with her left hand and holds a basket (of food? of wool?) and long staff. The divided eye may attest to her supernatural characteristics or mark her as an important culture hero figure. Adapted and redrawn from Chávez (2002).
Rollout drawing, Ponce stele. Drawing by C. M. Torres.
Siguas 1, roll-out drawings from bands of one engraved cane from a set of nine. The bands are 10.6, 9.8, and 9.1 cm in height, respectively. Note the horn-like appendage on the side of human heads, braided hair, and the two backward-looking animals. Both men and women had braided hair. Private collection. The dates of two engraved canes are available: cal. 206 to 1 BC (Haeberli 2002:Figure 1) and cal. 85 BC to AD 220 (one of the above set of nine, but not the illustrated one).
The “divider cross” symbol taken from a panel on the Pucara-style Hatunqolla stela, Puno. Drawing by Stanislava Chávez based on photographs by Karen and Sergio Chávez taken at the National Museum in Lima.
Photograph of the four-step and flanking slabs at the entrance of the Yaya-Mama semi-subterranean temple of Ch’isi. Note the only carving in direct association with excavated and dated architecture. Photograph by Karen and Sergio Chávez.
A selected sample of stone sculpture showing the circumlacustrine distribution of the “early” version of the Yaya-Mama style. The drawings are not at the same scale and are based on photographs and original rubbings by Karen and Sergio Chávez.