Drunken Mountains

Analysis of the Bennett and Ponce Monoliths of Tiwanaku (AD 500-1100) from a Multispecies Perspective

Bibliographic Data

ID4374763
AuthorsJuan Villanueva Criales (0000-0001-5239-138X)
Year2025
Volume36
Issue1
Pages181-201
Publication date2025-03-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueLatin American Antiquity (JOURNAL)
Journal identifiersISSN: 1045-6635 • E-ISSN: 2325-5080
PublisherCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/laq.2023.72
OpenAlexW4391592756
LanguageEN
Citations received1
References cited24

Archaeological research on the architecture and sculpture of Tiwanaku society in the south-central Andes follows two separate paths: one emphasizes iconographic interpretation, whereas the other studies lithic materials' origin and spatial relations. This separation, stemming from dualistic modern thought, is an obstacle to a comprehensive understanding of lithic sculptures and their role in Tiwanaku society. This article focuses on the Ponce and Bennett monoliths, the two largest and most complex sculptures of the Tiwanaku ceremonial center. It presents the results of an iconographic analysis identifying minimal design components ordered in a three-level nested hierarchy and their distribution over the spatial structures of both sculptures. This analysis incorporates existing information about lithic materials and quarries, the monoliths' locations, and spatial relationships. All those data are interpreted in the light of Aymara and Quechua ontologies about the relationships between mountains, stones, and images. Characterizing aspects of the Tiwanaku site and its role in lithic production, this article extends the limits of Tiwanaku society to include nonhuman agents and suggests that we overcome anthropocentric biases

Archaeology · Art · Geography · Perspective (graphical · Visual arts · Archaeology and ancient environmental studies · Pacific and Southeast Asian Studies · Pleistocene-Era Hominins and Archaeology · History

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