Pachacamac, on the central coast, which survived until Inca times as a great temple and oracle, was established as a ceremonial centre by the beginning of the Middle Horizon. At that time it also became a considerable town, with a degree of independence in the Huari empire, as is demonstrated by the presence of its own local variety of coastal Huari pottery—distinguished by the frequent depiction of a creature, sometimes called a griffin, with a winged feline body, human hands, and an eagle head, or sometimes the head alone—from Pachacamac north to Chicama, south to Nazca, and inland to Huancayo. Its influence may have been more religious than political, as in Inca times.
The Moche pottery style disappeared from the Chicama and neighbouring valleys under Huari pressure, but it is unlikely to have become entirely extinct because many features of it reappeared later on Chimú pottery. It probably survived, along with a remnant of the Moche state, in some valleys farther north (including perhaps Lambayeque), but the succession there has not been sufficiently worked out to demonstrate this.
When the Huari empire reached its maximum extent, about 800, it collapsed at the centre. Huari was abandoned, as it appears was Cajamarquilla, a large urban centre near Lima. Also at this time, it appears that construction peaked at Tiwanaku—which is estimated to have had 5,000 to 10,000 inhabitants—although the city’s influence on the region continued. Thereafter, few signs of urban life occur in the south, except at Pachacamac, until Inca times. Curiously, the decline of the cities in the south appears to have coincided with the beginnings of urban settlement on the northern coast at Chan Chan, Pacatnamú, and other places.
After Huari fell, signs of new influences from there disappeared in the provinces, but various changes evolved in local pottery styles. Among these was the development of a new style on the north-central coast. One of the most distinctive products of this style was a face-collar jar, in many cases oval, decorated in pressed relief with cats and other Huari-derived designs and painted in washy black, white, and orange on a buff ground (Huari Norteño B). Other examples are the Epigonal styles of Nazca and Ica, characterized by bowls and flasks with occasional Huari motifs, such as animal heads, carried out in what has been described as “a slovenly, rounded and hasty” manner. The Late Intermediate Period The Chimú state
The Late Intermediate Period began about 1000 (Rowe has said 900) with the dying out of the signs of unity imposed by Huari. The seeds of the Chimú state were probably sown at the same time, but they are not recognizable until considerably later. Elsewhere there were small independent states, which on the central and southern coasts were in most cases no bigger than a single valley, to judge from the distribution of the distinct pottery styles.
There were few new advances in techniques, and perhaps the most notable was the spread of bronze to the Peruvian coast from northwest Argentina and Bolivia, where tin ore was found and where the manufacture of bronze appears to have originated during the Middle Horizon. A hard alloy of copper and arsenic had been used previously in the centre and north. Pottery improved in quality in most areas, though its artistic character was not equal, for instance, to the earlier products of Moche and Nazca. There was a tendency toward standardization and toward reduction in the number of colours, which went with a degree of mass production. The modeling tradition of the north coast revived, but it was dull and lifeless by comparison with that of Moche times and was generally executed in black ware. In other parts, entirely new styles evolved. That of Chancay, on the central coast, was thin, dull red or cream in colour, with rather a dusty-looking cream slip and painted decoration in black. A common shape was an egg-shaped jar with a flaring collar and a pair of small loop handles, which were sometimes turned into a figure by modeling a face on the collar and adding ill-shaped limbs. Bowls and beakers with slightly bowed, almost vertical sides, were other common shapes. The porosity of the ware and the flaky nature of the slip made this pottery inferior in quality to that of other coastal areas. In the south, pottery of an attractive style was made in the Ica Valley. It was hard, well-burnished buff or red ware, covered with painted, textile-derived patterns in black, white, and red, although some vessels also depicted small birds and fish. Highly characteristic are bowls with a rounded base meeting the inward-sloping sides at a sharp angle and a thickened rim of triangular section.
It is difficult to determine whether any new textile techniques were adopted, but it is unlikely since the extreme versatility of the Peruvian weavers appears already to have covered most of the imaginable varieties at one time or another. On the other hand, fashions varied, and a relevant instance is the use of tapestry. Tapestry was known in the Early Horizon, suffered something of an eclipse in the Early Intermediate Period, and grew greatly in popularity in the Middle Horizon, when notable examples were produced. During the Late Intermediate Period its popularity waned again, although it was used for the finest garments on into the Inca Period; but in Chimú textiles it was generally confined to borders and other small areas. Textiles were similar over the whole coast, and to distinguish between those of different areas is a task for specialists. Some of the most characteristic types were garments adorned with regular rows, horizontal or diagonal, of stylized birds or fish, executed in brocade or double cloth.
In most of the northern valleys irrigation systems reached their maximum extent; and the Virú Valley—which has been the most thoroughly studied—is deceptive in this respect, because much of the land went out of cultivation, possibly owing to removal of part of the population to other valleys by the Chimú rulers. In some cases, the systems of more than one river were connected, and water was taken, for instance, from the Chicama Valley to that of Moche, where Chan Chan was situated.
The legendary Chimú ruler Ñançen Pinco, who began to expand the state, is thought to have begun his reign about 1370, and the names of two predecessors are known; so it is a fair guess that the state was taking shape in the first half of the 14th century, when distinctively Chimú pottery forms appeared. Various rather exotic pottery styles dating before this time have been found in the northern area, but insufficient work has been done on their distribution in time and space. An early type consisted of bottles on a ring base with a loop handle and a narrow, tapering spout, decorated with geometric designs and cursive scrolls in black on a red-and-white ground. There were double whistling vessels, with modeled figures on one vessel connected to a tapering spout on the other by a flat, arched bridge; some early examples were of orange ware with a few dark-red stripes on the spout and bridge, but later ones were black. Carinated whistling vessels of black ware with hornlike projections above the ears on a ring base, with a tapering spout connected to a figure by a bridge, also have been found at an early stage. Similar vessels with two spouts connected by a bridge had a considerable range in time. Another form was a bottle, of black ware, with a tapering spout emerging from a modeled figure or head. These vessels had a strap handle and ring base of variable height. Many of the later blackware vessels had panels in pressed relief, a form of decoration that continued through Chimú times; these bore designs such as men holding staves, moons, or cats on a background of raised dots.
The overwhelming majority of Chimú vessels were of black ware. There was a revival of stirrup spouts, either on modeled vessels such as human figures or reed balsas, or on plain ones with or without pressed relief panels, and these normally had a monkey sitting on the stirrup at the base of the spout. Double vessels, often with a bird head to balance the spout and pressed relief panels on the bodies, continued. Many vessels were lentil-shaped. Jugs with strap handles and pressed relief panels sometimes took on a flattened section to become canteens. These are only a few of the forms that have been found, some resembling immediate predecessors, some new, and some, especially the stirrup spout, revivals of earlier types.