Father Villar Córdoba (1935), one of the most important archeology studies in the department of Lima, philologically demonstrates the Aymara origin of most of the old populations of the Lima region. The analysis of the etymology of the names of the settlements of the Lima culture shows, according to him, that they are Aymara expressions, such as:Cera Hualla (Carabayllo), Copa Cabana, Collique, Cajamarquilla, Lati, Huachipa, Maranca, Huadca Hualla, Chucuito, etc.
POLITICAL ORGANISATION: Although there is no consensus among the various researchers to characterize the type of political organization of the Lima, it can be verified that there was a strong social differentiation, represented in the hierarchy of settlements, from groups of rural dwellings, small isolated buildings, medium-sized centers made up of two or three buildings, extensive urban settlements with several pyramids, plazas, agricultural fields, housing groups, etc. It is very likely that Lima society reached a high level of development and had a centralized state government. A large settlement like Maranga, the largest and most complex site of Lima society, would have exercised control over the minor curacazgos in the valley. And within this complex, the Huaca San Marcos was the most voluminous and complex building.
ECONOMIC ORGANIZATION: To ensure the permanent irrigation of their fields and the supply of water for the populations, the "Limas" carried out two monumental works of hydraulic engineering in the Rímac Valley that are still in use today:The Río Surco, which is a irrigation canal that carries the waters of the Rímac River from Ate to Chorrillos, passing through Santiago de Surco, Miraflores and Barranco. The Huatica Canal, which transports the waters from La Victoria to Maranga. These works were carried out in the last period, the so-called Maranga, between 500 and 700 AD. It is possible that the droughts of the 6th century and the increase in rainfall caused by an El Niño phenomenon during the 7th century were the decisive stimuli for such works.
CULTURAL EXPRESSIONS:
A.- CERAMICS:
Lima pottery is a ceremonial pottery, decorated mainly with black, white and red; in the last phases of Lima ceramics, red, orange and gray predominated. It presents abstract geometric designs, occupying the entire ceramic, painted in white, with a black border, on a red or orange background. Typical designs were snakes or fish with triangular heads, interspersed with the body made from a band and the sides serrated in a technique called interlocking. Alongside this design appear zigzag bands of circles or disks. Mammiform pitchers and pots with flat rims predominate. Single spouted vessel with bridge handle. During the Playa Grande period, the Limas made pottery in black, red, and white. While, during the Maranga period, ceramics were characterized by a typical orange slip or background in which a new color appears:gray, which was added to the black, red and white colors existing in the previous period. Below is an explanation brief of the three great styles of Pre Lima and Lima ceramics:
1. - THE WHITE ON RED STYLE: It is characterized by its decoration painted in white on the natural red background of the vessel (another modality was to first cover the surface of the vessel with white paint on which it was decorated with black and red lines). The ceramic specimens are crude in appearance, with simple and geometric decoration. The most common forms are almost globular pots with short necks, plates, bowls, small pitchers, etc.
Huaco of the Lima culture, typical in its shape, color and design. 2.- THE INTERLOCKING STYLE:(interlaced) It is characterized by having as its main decorative motif a series of stylized figures in the form of fish or snake intertwined with each other, as geometric figures of lines and points. He uses the colors white, red and black (tricolor) on a red slip background. The representative forms are cups, pots and glasses.
3.- THE MARANGA STYLE: It is characterized by presenting in its decoration fretwork, intertwined fish, intersecting lines, triangles, circles and white dots. It uses the colors red, white, black and gray (tetracolor) on a background of orange slip, thin, shiny and bright. The forms of ceramics are very varied, among them the so-called lenticular form. Its final phase is known as the Nievería style.
Sculptural Huaco from the Lima culture, representing a feline. B.- ARCHITECTURE: Lima architecture was distinguished by the existence of large pyramidal buildings made with small adobe bricks called "adobitos", although rammed earth was also used. From the Middle Lima period, sites such as Cerro Culebras in the Chillón stand out, which presented mural paintings with representation of fantastic beings with feline and anthropomorphic features, and Maranga in the Rímac; from Late Lima the settlements of the middle valley of the Rímac, such as Cajamarquilla, and Catalina Huanca, in addition to Maranga and Pucllana in the Rímac. The construction techniques (use of mud or mold in the construction of the walls, and the use of small adobes in the shape of a parallelepiped, these arranged on the walls in the manner of books on a shelf). The design of monumental architectural complexes, structured around squares and an adjacent residential area. The technique used for the construction of the Lima pyramids is as follows:A quadrilateral was built with adobitos, filling the interior with stones and earth. The union of several of these "quarter fillers" formed a platform. The superposition of these forms a pyramid.C.- FUNERAL CUSTOMS: The funerary customs practiced by the Lima (they buried the bodies in an extended manner, dorsally or ventrally, a fact that abruptly broke the already ancient tradition of bodies in a flexed position) because they worshiped the dead (orphism). They had the custom of burying their dead in an extended position, with their arms attached to both sides of the body, lying on a bed of reeds, wrapped in plain fabrics. On the sides of the head they placed vessels and gourds as offerings. (Kroeber 1954; Falcon and Amador 1997). The richest burials, such as those discovered at Playa Grande near Ancón, contained jungle parrots, Spondylus from Ecuadorian seas, rose quartz, jadeite, turquoise, lapis lazuli, and obsidian (Stumer 1953-1957). Two forms of burials have been found:
Common: The corpse was covered with one or two cloaks, accompanied by a few domestic utensils, placed in a horizontal position and buried 1 m or 1.5 m deep.
Type of burial in the Huaca Pucllana- Lima Culture 
Special: The corpse was placed on a stretcher (sort of litter or portable bed) made of sticks and reeds. The position of the deceased varies according to the time:for the stage before Lima, that is, the so-called Baños de Boza (“White on Red”), the position is lateral; for the next stage or Playa Grande (“interlocking”), the body is placed in the ventral position (face down) with the stretcher on the back; and for the final stage or Maranga, he is placed dorsally (face up), wrapped in various decorated cloaks, with various domestic and war utensils, and accompanied by another deceased, possibly sacrificed in his honor.
Burial pattern in the Lima culture (in the Huaca Pucllana site museum) D.- TEXTILE: Textiles were another important activity of the Lima people. Cotton fibers and camelid wool were widely used. The prevailing decorations are the same as those found on ceramics:figures of fish, snakes and various intertwined lines. In the Maranga era a greater number of colors are used compared to pottery. Blue, gray, green, brown and various shades of red appear. At that time, upholstery also appeared (for the first time on the central coast), and brocade and painted fabric.E.- FELT ART: Feather art was one of the characteristic artistic activities of the Lima people. It consisted of fixing feathers painted or selected in different colors (red, green, black, blue and yellow), they were sewn within a design scheme that gives the cloak an extraordinary beauty. The feathers are mainly from seabirds, parrots, macaws and other species from the inter-Andean valleys, obtained from commercial exchange. These feathered fabrics were for the exclusive use of the gentlemen in charge of the cult or the government.
F.- ICONOGRAPHY
One of the most common designs in Lima iconography is the so-called interlacing or interlocking, consisting of strongly geometrized intertwined serpents. Escobedo and Goldhausen, (1998), have recently identified the following designs:
The Octopus: it consists of a figure in the form of a head or face, in all cases white in color, without a body. It has a shape between hexagonal and trapezoidal, round eyes and six appendages on the head, which in some cases appear as snakes. It would be a fantastic being.
The Octopus motif depicted on a Medium Lima pot. MNAAHP Collection The Smiling Face: Represented in ceramics, textiles and mural painting, as in Cerro Culebras. It is a hexagonal-shaped face, composed of two eyes, a nose and a square mouth with visible teeth. As in the case of the octopus, serpentine appendages emerge from the face.
Reproduction of the mural featuring the "smiling face" god The rhombus: it is a geometric figure in the shape of a rhombus, set in serpents.In Late Lima, these iconographic motifs disappeared, predominating in the decoration of the vessels the figures of spirals and concentric triangles, executed with colored lines. Likewise, the symbolization of snakes would be done through spiral designs.
El Rombo Motif on Middle Lima vessel from Cerro Culebra F.- DECLINE OF THE LIMA CULTURE: All excavated .Lima constructions indicate that they were abandoned during the 8th century AD. It was theorized that the causes were natural cataclysms or destructive foreign invasions, such as that of the waris. However, the remains indicate that it was an organized closure of public spaces with full respect for precise rules. Courtyards and other constructions on top of the pyramids were buried with intentional fill. The accesses were sealed with adobe walls, clay blocks or stone. We do not know if all the cases of closure and abandonment occurred at the same time and for the same reasons. It is possibly possible that it was a ritual related to the death of the last residents of each palace of the Maranga phase. In any case, the burials and other evidence of human activity show that the public architecture of Lima was abandoned when vessels and textiles adorned with designs originating from Tiwanacu and Nasca (Viñaque, Pachacámac and Atarco styles) spread to the central coast. Sometimes local potters also adopted these expressions (Nevería style). This picture of the collapse of central power contrasts with the spread of the local style, Nievería, to Lambayeque, along with other southern styles. It is probable that several representatives of the Lima elites joined other Wari groups and participated in the conquest of the north. By then, the Pachacámac sanctuary was already gaining importance as a center of attraction for thousands of pilgrims, from where the worship of the god of the same name spread throughout the Andean world. Perhaps it was in that center where the hypothetical alliance between the Lima and Wari lords was sealed.
HUACA MARANGA 
ADOBITS READING:“RUINS OF PURUCHUCO” The precise name of the archaeological monument known today as Puruchuco is lost in the night of time. However, the history and place names of indigenous origin in the area shed light on it. First of all, it should be mentioned that at the time the ruin restoration work began, it was known by the name of Vista Alegre, because it was located on the grounds of the hacienda of the same name, owned by Mr. Alberto Isola, who selflessly and significantly collaborated in the recovery of the monument. Dr. Jiménez Borja is clear in stating that that name was not appropriate to refer to a monument of pre-Hispanic origin, which is why the closest indigenous name was chosen. Thus, very close to the monument there was a farm of Franciscan fathers whose area, also associated with an archaeological monument, is known to this day as Puruchuco. This is how the name of Puruchuco originates, which changed in its last letter to differentiate it from the neighboring site. Research on the meaning of this word has been intense, particularly those studies undertaken by Dr. Jiménez Borja who suggests that this term could mean feathered hat. In this regard, he cites the chronicler Cieza de León, who describes in his chronicles the attire of the young indigenous people who participated in the puberty ceremony:"...and on top of that they put on a feather cap sewn like a diadem, which they called Puruchuco...". In this sense, it is necessary to cite Father Diego González de Olguín's Vocabulary of the Qquicha Language, where the words Ppuru, which means small bird feathers all over the body, and Chuco, bonnet or feathered hat, are outlined. On the other hand, in the Art of the Quechua or Inca Language, a publication by Father Diego Torres de Rubio, Puru means bird feathers. Probably Puruchuco has meant something like Lord of the Feathered Hat. However, the first documents that refer to this area of the Rímac Valley call this territory by the name of Pocorucha, Pucurucha, Pocorucho or Pocurcho. It is interesting to point out that this succession of terms can be associated with the union of two indigenous words:puca, which means red, and arucha or ruchu, which means chili pepper. This is very interesting considering that the area where the monument is located, over 200 meters above sea level, is the beginning of the appropriate area for the cultivation of chili in the coastal valleys. It is up to specialists, particularly linguists, historians and archaeologists, to elucidate the certainty of the name.