Phase definition

The Early Pacajes phase began with the collapse of the Tiwanaku state around 1100 A.D. and ended with the appearance of Inka-related ceramics sometime around 1450 A.D. The very distinctive ceramic assemblage was first recognized by Bennett, who referred to it as ``chullpa'', and later as ``Khonko Black-on-Red'' ([Bennett 1934]). Rydén termed the material ``post-Decadent Tiahuanacu'' ([Rydén 1947]: 101), in reference to Bennett's Tiwanaku sequence. However, the post-Tiwanaku phases in the southern Titicaca Basin - the Pacajes phases - remained poorly-defined until 1990. In conducting and reporting on the Tiwanaku Valley survey, Juan Albarracín -Jordan and James Mathews together documented this ceramic sequence in enough detail for it to be useful to other investigators. I have used their chronology in the present study. I have found it to be completely satisfactory, though I will extend their ceramic descriptions somewhat, especially in regard to the Late Pacajes phase (see Chapter 10).

Both Albarracín -Jordan and Mathews note that Early Pacajes plainwares changed little from their late Tiwanaku precursors. I found this to be the case, as well. Identification of Early Pacajes occupations was therefore accomplished solely on the basis of decorated ceramics. Only one Early Pacajes vessel form seems to have been commonly decorated. This is the open bowl form, often with a slightly everted rim (Figure 9.1). Though rim fragments are frequently very similar to Tiwanaku period kero/tazon rims, the Early Pacajes bowls are not hyperboloid, and are therefore formally distinct from the Tiwanaku hyperboloid forms. Mathews suggests that the disk base is also diagnostic of the Early Pacajes phase ([Mathews 1992]: 187). This may be true, but I was unable to confirm or deny the assertion.

Figure 9.1: Late Intermediate Period ceramics

a-u) fineware bowls, v) scalloped-rim bowl, w) incised appliqué nub on jar handle

Early Pacajes bowls typically display evidence of fine manufacture. They are normally very thin, compact and well- and evenly-fired with a high exterior and interior burnish. In fact, they appear quite similar to Tiwanaku ceramics in these respects. However, two attributes clearly distinguish Early Pacajes decorated bowls. These are 1) slip color and 2) decoration.

The surface color of Early Pacajes bowls tends to the yellow and orange, though red and brown examples exist. This is in contrast to Tiwanaku period wares, whose slips were typically more red and brown. More absolutely diagnostic is the decoration of the bowls. In the Early Pacajes phase, polychrome decoration disappears completely. Bowls are decorated using a black - or occasionally dark brown - pigment over the slip. The elaborate iconography of the Tiwanaku ceramics is absent, as well, with decoration consisting only of simple geometric elements, such as dots (Figure 9.1a-g), ticked or tabbed lines (Figure 9.1h-k), cross-hatching (Figure 9.1n-o) and parallel lines (Figure 9.1m, p). These elements are often arranged in zones. The only exception is the occasional very simple representation of profile camelids, rendered in a ``stick figure'' style (Figure 9.1r-t).

Some of the geometric elements - particularly parallel lines and zoned hachure - were part of a widespread decorative tradition which encompassed the entire Titicaca Basin in the LIP; a tradition which included the western basin Pukarani Black-on-Red ([Stanish et al. 1997]: 46, [de la Vega M. 1990]) and the northern basin Collao Black-on-Red ([Tschopik 1946]: 21) styles also. The Early Pacajes material is distinguished from contemporary wares most especially by its fine manufacture.

The ``stick figure'' camelids are clearly antecedents of the more finely-executed ones characteristic of the Late Horizon Saxamar style (see Figure 10.1p-z), and seem to occur in no other Titicaca Basin LIP ceramic style. This fact strongly suggests a direct connection between the Early Pacajes and Saxamar styles. That said, however, the Early Pacajes ``llamitas'' are easily distinguished from Pacajes-Inka examples since the former ``are depicted with thick brush strokes, contrasting with the slender llama figures of the subsequent Pacajes-Inka period'' ([Albarracín-Jordan 1992]: 273).