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Chancay

Bowl with Spotted Feline in Relief

999-1449

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Chancay

Bowl with Spotted Feline in Relief

999-1449

Physical Qualities Earthenware, hand-modeled, black and white slip paint, 4 × 4 × 3 1/2 in. (10.2 × 10.2 × 8.9 cm.)
Credit Line Gift of A. Lyndon Bell and Family
Object Number 2016.197
Chancay artists are recognized for their vibrantly colored tapestries, and for a black-on- white ceramic tradition. The latter includes large hollow figures with outstretched hands, or cuchimilcos, large urns, and effigy sculpture. Chancay painting is easily recognized. Its watery black and white slip paints are casually applied, and there is little uniformity or exactness of line. Painted designs are typically executed in panels containing geometric motifs akin to textile patterns. Surface finishes are chalky in appearance. This example consists of a small, spherical bowl that has been painted on the exterior with white slip paint. A panel of black-painted checkerboards occupies about half of the outer surface. It opposes a panel of vertical lines (see Donnan 1992: fig. 191 for an example of the design). A spotted feline, also painted in black and white, is attached to a white painted panel, just below the rim. A wide band of black paint separates the design field from the rounded base. - Lisa DeLeonardis, June 2016
The Baltimore Museum of Art by gift, 2016; Kelley Bell, Baltimore, by descent from A. Lyndon Bell
Donnan, Christopher B., “Chancay,” in “Ceramics of Ancient Peru,” Los Angeles: University of California Fowler Museum of Cultural History, 1992, pp. 98-101.

Culture

Chancay

2000–2000

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