Raimondi Stone
The Raimondi Stone is a significant artifact of Chavín art, originating from the ancient site of Chavín de Huántar in Peru. This stone is identified with the New Temple due to its stylistic similarities to other carved columns found there. Measuring 6.5 feet tall and crafted from polished granite, the stone features a low-relief carving that presents a striking representation of the Chavín supreme deity, often referred to as the "staff god." The lower portion of the stone depicts this deity, while the upper section is adorned with an intricate headdress characterized by repeated motifs of feline heads, snakes, and other stylized elements. The design exhibits bilateral symmetry and a visually complex arrangement, showcasing the unique artistic conventions of the Chavín culture. The Raimondi Stone was first discovered by a 19th-century naturalist and has since influenced artistic expressions across the ancient Andean region, appearing in both stonework and textiles. This artifact not only highlights the artistic achievements of the Chavín civilization but also serves as a testament to their cultural and religious beliefs.
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Subject Terms
Raimondi Stone
Related civilization: Chavín.
Date: 400-200 B.C.
Locale: Chavín de Huántar, Callejon de Huaylas, Peru
Raimondi Stone
The Raimondi (ri-MOHN-dee) stone defines the latest Chavín art style at its capital, Chavín de Huántar. The stone is attributed to the New Temple because of stylistic similarity to carved columns in the temple. Found by a nineteenth century naturalist, the Raimondi stone is the final and most elaborate representation of the Chavín supreme deity. It is carved in low-relief on a polished granite slab measuring 6.5 feet (1.98 meters) in height, 2.4 feet (0.74 meters) in width, and 0.6 feet (0.17 meters) in thickness. The staff god is shown in frontal view on the lower third of the stone; the rest of the stone is an elaborate headdress. Iconographically, there are repeated feline heads and snakes in the headdress and staffs, down-turned lips with fangs on the mouth, claws on the hands and feet, and a snake-feline costume. The image has bilateral symmetry, repetition of stylized elements, reversible organization, and generally a cluttered visual appearance. This powerful image was copied throughout the ancient Andean region, in stone and textiles.
Bibliography
Burger, Richard. Chavín and the Origins of Andean Civilization. New York: Thames and Hudson, 1992.
Moseley, Michael E. The Incas and Their Ancestors: The Archaeology of Peru. London: Thames and Hudson, 1992.