Ceremonial digging stick
This imposing ceremonial implement was carved from a single piece of algarrobo wood (Prosopis chilensis). The implement consists of two carved sections joined by a pole-like handle. The bottom section terminates in a flattened and rounded end and has openwork near its top composed of triangular and diamond shapes. The openwork is surmounted by five small figures with silver headdresses. The top section also features openwork bands surmounted by five figures. There is evidence of what was once a silver covering from right below the openwork decoration on the bottom section, up the pole, to the top (excluding the figures, of which only the headdresses are silver).
Similar implements in the Met’s collection include examples embellished with pigment (MMA accession number 1979.206.1025), and elegant openwork designs (MMA accession number 1979.206.1027). All of the scientifically excavated examples of these implements have been found in the Chincha and Ica valleys, on Peru’s South Coast, and date to the 15th–16th century.
The function of these objects has been a lively topic of discussion among scholars for many years. Sometimes called tomb markers, they have also been called remos (Spanish for paddle or oar) because of their resemblance to the rudder boards used on Precolumbian boats described by Spanish chroniclers (Koda, 1989; Kvietok, 1997). However, no evidence of blade deformation due to water immersion, as one might expect from nautical implements, has been observed. In contrast, analysis of use patterns of similar, but smaller, objects found in scientifically excavated tombs indicates that they are probably representations of agricultural implements used for preparing the soil for planting. Although this example and those of similar shape and size show no use patterns and would be awkward to handle, smaller wooden carvings with flat blades show abrasion patterns on the bottom ends consistent with having been thrust into soil containing small rocks. Tools with broad flat ends tapered at both the medial and axial edges would have been used to turn the soil similar to a plow, whereas other wooden objects with blunt or rounded ends would have served to break up the clods. Large, finely carved and painted boards such as the present example were likely ceremonial, used perhaps in rituals dedicated to agricultural fertility.
Further Reading
Jones, Julie. Art of Empire: The Inca of Peru. New York: The Museum of Primitive Art, 1964. See especially pp. 42-43, 46-48.
Koda, Yae. Prehistoric Agricultural Implements of the South Coast of Peru. PhD dissertation, University of California, Berkeley, 1989.
Kvietok, D. Peter. "Digging Sticks or Daggerboards? A Functional Analysis of Wooden Boards from the Ica Region," Andean Past: 1 (1987), pp. 247-274.
Schmidt, Max. Kunst und Kultur von Peru. Berlin: Propylaen Verlag, 1929. See especially pp. 428, 429, 431, 430, 432, 433.
Similar implements in the Met’s collection include examples embellished with pigment (MMA accession number 1979.206.1025), and elegant openwork designs (MMA accession number 1979.206.1027). All of the scientifically excavated examples of these implements have been found in the Chincha and Ica valleys, on Peru’s South Coast, and date to the 15th–16th century.
The function of these objects has been a lively topic of discussion among scholars for many years. Sometimes called tomb markers, they have also been called remos (Spanish for paddle or oar) because of their resemblance to the rudder boards used on Precolumbian boats described by Spanish chroniclers (Koda, 1989; Kvietok, 1997). However, no evidence of blade deformation due to water immersion, as one might expect from nautical implements, has been observed. In contrast, analysis of use patterns of similar, but smaller, objects found in scientifically excavated tombs indicates that they are probably representations of agricultural implements used for preparing the soil for planting. Although this example and those of similar shape and size show no use patterns and would be awkward to handle, smaller wooden carvings with flat blades show abrasion patterns on the bottom ends consistent with having been thrust into soil containing small rocks. Tools with broad flat ends tapered at both the medial and axial edges would have been used to turn the soil similar to a plow, whereas other wooden objects with blunt or rounded ends would have served to break up the clods. Large, finely carved and painted boards such as the present example were likely ceremonial, used perhaps in rituals dedicated to agricultural fertility.
Further Reading
Jones, Julie. Art of Empire: The Inca of Peru. New York: The Museum of Primitive Art, 1964. See especially pp. 42-43, 46-48.
Koda, Yae. Prehistoric Agricultural Implements of the South Coast of Peru. PhD dissertation, University of California, Berkeley, 1989.
Kvietok, D. Peter. "Digging Sticks or Daggerboards? A Functional Analysis of Wooden Boards from the Ica Region," Andean Past: 1 (1987), pp. 247-274.
Schmidt, Max. Kunst und Kultur von Peru. Berlin: Propylaen Verlag, 1929. See especially pp. 428, 429, 431, 430, 432, 433.
Artwork Details
- Title: Ceremonial digging stick
- Artist: Chincha artist(s)
- Date: 1200–1535 CE
- Geography: Peru, South Coast, Rio Ica
- Culture: Inca
- Medium: Wood, silver, nails
- Dimensions: H. 91 11/16 x W. 8 x D. 2 1/8 in. (233 x 20.3 x 5.4 cm)
- Classification: Wood-Sculpture
- Credit Line: The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979
- Object Number: 1979.206.1028
- Curatorial Department: The Michael C. Rockefeller Wing
More Artwork
A slider containing 5 items.
Press the down key to skip to the last item.
Press the down key to skip to the last item.
Chincha artist(s)
1200–1535 CE
Chincha artist(s)
1200–1535 CE
Chincha artist(s)
1200–1535 CE
Chincha artist(s)
1400–1535 CE
Moche artist(s)
400–700 CE
Research Resources
The Met provides unparalleled resources for research and welcomes an international community of students and scholars. The Met's Open Access API is where creators and researchers can connect to the The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
To request images under copyright and other restrictions, please use this Image Request form.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.