Recuay stone sculpture has been known to Western scholarship since the late 19 th century. Together with their finely crafted pottery, stone sculpture marks groups of the Recuay cultural tradition, which developed in Northern Peru ca. AD 1–700. The best-known monoliths portray figures of humans and felines. Although these subjects are not unfamiliar in world cultures, the highly stylized works do not readily res- onate with traditional Western expectations of sculptural vérité or “objets d’art”. No clear stylistic predecessors exist for the Recuay tradition, nor were there clear succes- sors. For over a century, the sculptures have been the subject for varied interpretations and iconographic comparisons. Unfortunately, there has been no systematic attempt to understand these ancient Andean artworks in context. Archaeological, ethnographic and colonial records inform this examination of Recuay stone sculpture. The study expands on one dimension of my doctoral research, which, overall, was an archaeological investigation of the prehistoric highland community of Chin- chawas 1 in Ancash, Peru (Lau 2001). The set- tlement flourished for four centuries, between AD 500 and 900, with its apogee during the 8 th century. Chinchawas is unprecedented in the number of carved monoliths still extant at the site. Most sculptures in the Central Andes have been destroyed, moved from their original contexts or removed to other locations, legally or illic- itly. The quantity of on-site sculpture is impres- sive especially because Chinchawas was only a small village throughout its prehistoric occupa- tion. A recent synopsis detailed relationships between the sculptures and local ancestor ven- eration and feasting activities at Chinchawas (Lau 2002). The study examined how the monoliths and associated architecture featured in local status displays, leadership and kin group ideology, and reckoning of territories. In this work, I further explore prominent themes in the study of Recuay stone sculpture, especially of the Cordillera Negra region, and add a complete set of line drawings and new analyses, which were either inappropriate or unfeasible for earlier treatments. George F. Lau Recuay Tradition Sculptures of Chinchawas, North Highlands of Ancash, Peru 1 The research was facilitated by an excellent crew and a special welcoming community, for whom the sculp- tures continue to have active social lives. Not enough gratitude can be extended to Richard Burger and Steve Wegner. Both inspired my interest in Recuay culture and shared generously of their expertise. Jeffrey Quilter of Dumbarton Oaks strongly encouraged this study, espe- cially during my fellowship in 2001–2002. The original dissertation fieldwork was completed under Resolución Directoral Nacional 419/96-INC, and graciously spon- sored by the National Science Foundation (SBR-961274) and the Wenner-Gren Foundation (Grant 6066). An early version of this study was presented in a symposium supported by the Sainsbury Research Unit and the British Academy (BCG-35626). I wish to dedicate this work to Martin Justiniano, crew chief at Chinchawas and patient veteran of projects throughout Northern Peru, who will find, I hope, some extra inspiration within these pages for his miniature soapstone artesanía. Zeitschrift für Archäologie Außereuropäischer Kulturen 1 (2005): 183–250