resin painting. Realism increased in importance in the following three phases (2, 3, 4) referred to as the Monumental phases. The pottery from these phases include renditions of their main subject matter against a bold red, black, or white background. In the next phase, Nazca 5, considerable experimentation occurred, including the addition of rays, volutes, and other "proliferous" attachments to the supernatural motifs on the vessels. Phase 5 is called Transitional, since it bridges the change in style between the naturalism of Phases 2-4 and the proliferous elements added to the motifs in Phases 6 and 7. Nazca 5 also sees militaristic motifs becoming more common due to a drought causing conflict. Nazca 6, and 7 include some of the earlier motifs but also emphasizes militaristic ones, suggesting a shift in social organization. The motifs in these phases include abstract elements as part of the design. Large numbers of rays and tassels are appended to many of the designs, particularly those depicting mythical subjects, producing a visual impression of almost infinitely multiplied elements, an impression which accounts for the use of the term 'proliferous'. Pottery art of Nazca phases 6 and 7 also displays influence from the Moche culture of north coastal Peru. Finally, during Nazca 8 disjointed figures and a geometric iconography was introduced that has been difficult to decipher. Phases 8 and 9 are now believed to date to the Middle Horizon. This period was one of a shift in power from the coast to the highlands with the advent of the Wari culture about 650 CE. The Nazca, like all other Pre-Columbian societies in South America including the Inca, had no writing system, in contrast to the contemporary Maya of Mesoamerica. The iconography or symbols on their ceramics served as a means of communication. The motifs depicted on Nazca pottery fall into two major categories: sacred and profane. The Nazca believed in powerful nature spirits who were thought to control most aspects of life. The Nazca visualized these nature spirits in the form of mythical beings, creatures having a combination of human and animal/bird/fish characteristics, and painted them onto their pottery. These Mythical Beings include such varieties as the Anthropomorphic Mythical Being, Horrible Bird, Mythical Killer Whale, Spotted Cat, Feline Man and Rayed Face. Scenes of warfare, decapitation, and the ritual use of human trophy heads by shamans were common motifs in Nazca pottery. Textiles The Nazca