In the north highlands, the remarkable pottery style of Recuay has been found in the Callejón de Huaylas region. This pottery is related to the negative-painted representative of Gallinazo in the Santa Valley and is painted with black negative designs over white and red, one of the most characteristic being a feline in profile with a comb on the head. There is a good deal of lively modeling, but it is much less naturalistic than that of Moche. A typical feature is a broad, nearly horizontal flange surrounding the mouth of a jar, and many jars also have a horizontal spout below the flange. Most of this pottery has come from stone-lined graves, and some stone buildings of two or three stories may have belonged to the people who made it.
The Cajamarca Basin is the site of a pottery style (called cursive) that was entirely independent of known outside influences and that spanned at least the Early Intermediate Period and the Middle Horizon. It has lightly painted running-scroll designs, which vaguely recall writing (whence the name cursive), as well as small animals and faces, in brownish black or red on a cream background, mostly on open bowls with ring bases. It was traded widely in the north, and south as far as Huari, during the Middle Horizon. The south highlands
Large urban and ceremonial centres emerged at this time near the shores of Lake Titicaca. One site, Pucará, includes a well-built, horseshoe-shaped sanctuary of concentric walls of red sandstone enclosing a slightly sunken terrace lined with white-sandstone slabs. Within the terrace is a sunken court some 50 feet square and seven feet below the surface, also lined with white sandstone and reached by a stairway. This court contains two stone-lined grave chambers, and the outer horseshoe wall has small chambers, each containing one or two altarlike slabs in its thickness. There are also squat stone statues of men carrying trophy heads and stelae (upright sculptured slabs of stone) bearing recessed geometrical carvings and snakes. The pottery includes a reddish-buff micaceous ware painted in red, black, and yellow; cats, human or bird heads, and geometrical figures are all outlined by incision. The faces have the eyes divided vertically, one half of each eye black, the other half the natural colour of the ware. Pucará occurred early in the period, before the main development of Tiwanaku, and it may have taken shape about 400 bc. It appears to have controlled an area between the site and Lake Titicaca or farther.
Tiwanaku is a well-known ceremonial centre whose stone remains are now a tourist attraction in the Andes second in popularity only to the ruins of Machu Picchu. The occupation of the ceremonial centre is believed to have begun very early in the period, since some of the earliest pottery shows similarity to that found at Pucará.
The ceremonial buildings—whose exact age is uncertain—include a large stepped pyramid or platform called Acapana (Akapana), with foundations of buildings on the top; a semi-subterranean temple with stone heads tenoned into the walls; and a low rectangular platform called Calasasaya (Kalasasaya), enclosed by a retaining wall of upright stones alternating with smaller rectangular blocks. In one corner of the platform stands a great monolithic doorway, not in its original position, cut from a large block of lava. At the top of the doorway is carved a central low-relief figure attended by three rows of smaller winged figures that appear to run inward toward him (see photograph). The central figure, carrying staves that may represent a spear thrower and darts, has been likened to the Chavín Staff God and for convenience may be called the Doorway, or Gateway, God. Versions of the Doorway God and his attendants are found almost everywhere within the range of Tiwanaku influence in the subsequent Middle Horizon. Another feature of the site is a number of large and finely finished stone blocks with niches, doorways, and recessed geometric decorations. Tiwanaku masonry is sometimes held together by accurately cut notches, sometimes by copper clamps set in either straight or T-shaped grooves. Several massive monolithic statues have been found in and around Tiwanaku, the largest being 24 feet high. They resemble pillars bearing relief designs, and some carry beakers.
Doorway god and accompanying “angels” on the Gateway of the Sun at Tiwanaku. The main figure has been variously described as a sun god, a thunder god, or Viracocha.Georg Gerster—Rapho/Photo Researchers
Decorated Tiwanaku pottery is a finely polished polychrome, which commonly has a red slip with designs painted in various colours. Felines and hawks in profile, with eyes divided vertically into black and white halves, are common designs, as are geometric figures such as triangles and steps. Like all Tiwanaku art, the designs are stiff and formal. The shapes include a tall, graceful, hollow-sided beaker and various types of bottles and hollow-sided bowls with flat bases, including a form bearing a jaguar head and tail on the rim. The Middle Horizon
Both Pucará and Tiwanaku were early forms of what became known as the Middle Horizon, an expansion of multiple-valley political rule that had two centres: one in the southern Altiplano, the other centred on Huari (Wari), near the modern Peruvian city of Ayacucho. This development is usually dated about ad 600. Some Tiwanaku effigy vessels have been discovered at Huari, but otherwise they seem to have been independent entities. Subsequent research has located parallel occupations near each other in the vicinity of the modern city of Moquegua.
The American archaeologist William H. Isbell has argued that Huari was a true state which displayed archaeological manifestations of administrative recording, had storage facilities on a scale suggesting major revenues, contained status tombs and palaces, and had other symbols and ornaments of a ruling class. Huari colonies and control also have been detected in the evidence. Attempts to explain what Huari and Tiwanaku were doing outside the areas of their immediate control have pointed toward religious proselytism, as well as to trade. It has also been suggested that, although these polities employed an extensive form of control, they did not attempt to rule all of the intervening territories.
After a period of consolidation, the expansion was intensified, eventually reaching Cajamarca and the Chicama Valley in the north and the Ocoña Valley on the far southern coast, by about 800. The growth of the empire and its nature is shown by a number of features. One was the spread of Huari pottery styles and local copies of them, some bearing the Doorway God and other religious figures but many with neutral or secular motifs such as bands of chevrons. These generally were polychrome wares, and figures appearing on them—mythological, human, or animal—may have the eyes divided vertically into black and white halves, as at Tiwanaku. A result of the increasing dominance of Huari styles was the obliteration of the old pottery styles over the whole coast from Nazca to Moche. The southern burial custom of huddled, cloth-wrapped mummies spread northward along the coast, displacing the older fashion of extended burial. The presence of large groups of storage buildings at Piquillacta in the Cuzco Valley and at Viracochapampa, near Huamachuco far to the north, suggests military activity like that of the later Incas. On the coast, some great cities in the north—of which Chan Chan, near modern Trujillo, is the best-known—originated at this time, apparently under southern influence, and the rectangular Great Enclosure Compounds in the Virú Valley may be an expression of the same phenomenon. All these changes, taken together, point strongly to military conquest.
Tiwanaku designs, derived through Huari, are seen on coastal textiles as well as on pottery, and they are found particularly on tapestry. Besides recognizable figures like the Doorway God and his attendants, there are many examples, perhaps somewhat later in date, on which only the divided eyes—in black and white or other combinations of colours—can be inferred to belong to human or animal figures.