the scandalous “love pots” in the ancient (Mochi) civilization, which left archaeologists confused
The Mochi civilization lived in northern Peru in the current cities of Moche and Trujillo, from 1900 to 1200 years ago, long before the emergence of the Inca Empire.
This civilization did not have a written language, but its people were very adept at making pottery and ceramics, which they used to communicate and express their lives, as they depicted scenes of hunting, fighting, sacrifices, ceremonies and intimate relationships in amazing detail and with high accuracy.
Their last work, known as “love pots,” was the focus of many studies and research on sexual values in the “Peru before Columbus” era. In fact, these pots were pottery pots with concave and hollow chambers designed to fill them with liquids and equipped with nozzles for pouring them. These nozzles were in the form of tied bracelets. The saddle of the horse used by the riders to ride it, and the end of these nozzles was in the form of a penis.
On these pots there were many images depicting men, women and animals in various intimate scenes. These pots, some of which depicted homosexual relations and shameless masturbation, provoked the Spanish conquistadors and insulted their Christian beliefs, which led them to destroy them.
Scenes of anal relations also appeared on many of these pots in a variety of different styles, which indicates that they were painted by many artists over a long period of time. related to the sculpture and showing the relationship as anal rather than vaginal, while scenes involving vaginal penetration were rare.
Sometimes pictures of a child sucking from a woman's breasts while she is cohabiting with another person were depicted, and there were pictures of women licking and pictures of other women masturbating, as well as pictures of skeletons of men masturbating or being masturbated by living women.
These vessels reflect the diverse sexual ideas and concepts of those who once ruled and prevailed in the West, which made it difficult for researchers to find a logical explanation for these sculptures. Some considered that the absence of scenes of vaginal penetration was an explanation for the methods of birth control used, while some considered it evidence of male dominance and their pursuit of their pleasures. Modern viewers of these sculptures may think that the presence of a small child during these practices is considered hateful and abhorrent, but according to the researcher ( Marie Weismantle ) embodies that The Mochi believed that the semen transferred by the male to the female was the same as the vital fluid that the mother transferred to the young child.
Weismantle goes on to say that the mochi, like many other civilizations, do not regard intimacy and reproduction as a single event, but rather as a series of practices that take place over a long period of time and involve the transfer of many vital bodily fluids to many orifices. The depiction of women masturbating to the skeletons of other men shows the transmission of these fluids from long-dead ancestors.
Only about 100,000 of the hundreds of thousands of sculptures made by the Mochi civilization have survived to this day, and about 500 of these sculptures deal with the subject of intimate relationships. These sculptures are distributed around the world in many museums or collectors, and the largest number of these sculptures is in the Rafael Larco Hoyle Museum in Lima.
(Rafael Larco Hoyle) was one of the first to make a detailed study of the Mochi pottery and the chronology of the Peruvian civilizations sequence is still in use today.
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