The Andean Sanctuaries Museum (Spanish: Museo Santuarios Andinos) is an
archaeological museum in Arequipa, Peru.
The museum contains the Juanita mummy, a mummy that was found in the Ampato
volcano after an expedition in 1995 by archeologists José Chavez and Johan
Reinhard.
The museum has a collection of polychromatic ceramic pieces, and the Spondylus
shells that were moved from the coast of Peru to the massif by Inca priests.
The museum has woven dolls representing people and woven bags used by the
indigenous people of Peru to collect coca leaves.
The museum contains archaeological remains of Human Sacrifices in the Misti
volcano.
The museum exhibits Inca aryballus and ancient utensils used by the indigenous
civilizations of Peru, in addition, the museum contains copper, silver and
gold statuettes.
The museum also contains wooden qirus and a collection of metals that were
used as indigenous offerings to the gods.
The museum also contains the Urpicha mummy and the Sarita mummy that was found
in the Sara Sara volcano.
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Entering the Andean Sanctuaries Museum
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Capacocha
Following the Inca deities.
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Three-dimensional reality and the latest results of multidisciplinary
research into the Capacocha ritual.
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The Inca ritual of Capacocha
The crucial role in social organization in the pre-Columbian Andes was
played by the sacred landscape and its relationship between the towns
and the huacas. The term huaca could be applied to many categories,
including deities, places, objects, dead ancestors, or anything else
that was considered to possess supernatural powers (kama). The
mountain huacas were considered the most powerful and were described by
chroniclers as omnipotent, fossilized remains of mythical ancestors,
residence of deities or pacarinas (places of creation). While
mountain glaciers took their role in feeding local rivers. The main
huacas had temples that became places of pilgrimage. They controlled the
lands and herds, and were also important administrative centers.
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Despite the wealth of information in the chronicles, very few
capacocha sacrifices have been discovered to date. Most of them are
found in the mountain peaks of present-day southern Peru, northern
Chile and Argentina.
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The summits of Ampato, Pichu Pichu, Sara Sara and Misti were
investigated by Johan Reinhard and José Antonio Chávez in the years
1989-1998. During these studies, archaeologists discovered the bodies
of sixteen capacocha victims. The remains of the sacrifices are
currently part of the collection of the UCSM Andean Sanctuaries Museum
in Arequipa.
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Ethnohistorical sources indicated that Ampato was one of the most
important huacas in the province of Condesuyos. Archaeological sites
on the summit of Ampato became accessible to scientists after the
eruption of the neighboring Sabancaya volcano in 1990 and 1991. Ash
covered the surrounding peaks, causing the snow cover to melt and the
consequent exposure of the ridge of the summit of Ampato. Johan
Reinhard and Miguel Zárate climbed to the summit in September 1995.
They discovered on its slope a mummy of a girl currently known as the
“Maiden of Ampato” or “Juanita”. The artificial platform of this
burial was located near the summit at 6,300 m above sea level. Due to
volcanological activity, the platform partially collapsed and the
mummy's bundle and part of her funerary trousseau fell off. During the
next expedition to the same mountain, led by Johan Reinhard and José
Antonio Chávez, an Inca ceremonial space was discovered near the
summit, at 5,800 m.
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The Misti volcano (5,8202 m) was called Putina or “Guagua Putina” in
Inca times. During the Inca era, Misti erupted at least once, during
the reign of Pachacuti, around 1454 CE + 16 years. He was described by
chroniclers as an aggressive deity who demanded many sacrifices.
Archaeologists investigated the summit in 1998. During the excavations
scientists discovered remains of the Capacocha sacrifices: this being
of an imperial nature and the largest known to date. The burials were
located inside the crater at an altitude of 5,822 m but due to the
climatic conditions, the conservation of the remains was very poor.
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The name of the Pichu Pichu volcano (5,664 m) comes from the Quechua
language and means “peak.” The double use of the word highlights that
the volcano has several peaks. The ritual platform was located on the
hill between the two highest peaks. Johan Reinhard and José Antonio
Chávez led five expeditions to the summit during the years 1989-1996.
The excavation on the main platform took place in 1996. During the
excavations, archaeologists discovered two separate burials and
offerings of textiles and silver figurines.
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The Sara Sara volcano (5,505 m) is located between Lake Parinacochas
and the Ocoña River. The Sara Sara capacocha was discovered during the
expedition carried out by Johan Reinhard and José Antonio Chávez in
1996. At the summit, the Incas built a series of artificial terraced
platforms at a height of 5,475 m. Unfortunately most of them were
looted. During the expedition only one burial of a young woman was
located in a small structure on the east side of the summit.
- Authors: Dagmara Socha and Dominika Sieczkowska.
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Anthropological studies of Capacochas
The most important element of the capacocha ritual was the sacrifice of
children and young women. According to the chroniclers, their task was
to be intermediaries between the world of huacas and humans. The victims
were selected among the children of the provincial elite and the
acllas (virgins dedicated to the cult of the Sun). According to
chroniclers, children were sometimes offered voluntarily by their
parents who wanted to improve their social position. The victims had to
be of extraordinary beauty and virgins. However, the results of
anthropological and genetic studies show that many individuals suffered
from both congenital and infectious diseases.
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The new anthropological and biochemical research carried out by an
international team led by Drs. Dagmara Socha have helped to expand
knowledge about the capacocha ritual. The investigation focuses on the
human remains of sacrificed victims on the summits of Ampato, Misti,
Pichu Pichu and Sara Sara.
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During the Misti expedition in 1998, archaeologists discovered two
common tombs located inside the crater. Due to the conditions at the
summit, the human remains were preserved in very poor condition. Based
on the remains found, one of the burials was identified as male and
the other as female. The Capacocha discovered in Misti is the largest
and richest sacrifice known to date. During the anthropological
investigation it was established that a total of six individuals were
buried in the "male" grave and three in the "female" grave. Objects
and figurines made of gold, silver and Spondylus shells (54), and
imperial Inca ceramics (32) were discovered next to the victims. Most
of the victims were sacrificed at the age of 6, with the exception of
Misti 1 (approximately 13 years old) in the “male” grave and Misti 4
(approximately 11 years old) in the “female” grave. Misti 1 is the
oldest man sacrificed as a capacocha known to date. The curvature of
the femoral bones discovered during the examination suggests that the
individual had problems walking. The Incas often interpreted birth
defects and illnesses as the interference of Illapa (god of thunder
and rain), and such people became priests of their cult. Perhaps this
connection with the rain god prompted the Incas to choose this child
as a sacrifice.
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The capacocha sacrifices at Pichu Pichu were discovered during two
independent expeditions. The first took place in 1966, when a group of
mountaineers accidentally discovered the burial of a young woman.
During the expeditions organized by Johan Reinhard and Antonio Chávez
in the 1990s, two burials were discovered within the ceremonial
platform. They belonged to a 3 and a half year old boy and a 6 year
old girl. Unfortunately, due to the climatic conditions of Pichu
Pichu, the soft tissues were not preserved. The girl's skull was
artificially deformed. This process began just a few days after her
birth. The baby's head had to be wrapped in bandages or hard objects
(such as boards or stones) were tied to it to give it a certain shape.
Cranial deformation was an ethical symbol and was practiced by many
groups in the Inca Empire.
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In Ampato, archaeologists discovered two ceremonial areas. The first
was located at the top of the volcano, where a girl between 14 and 15
years old (the famous Maid of Ampato) was sacrificed. The second site
is located on a small platform at an altitude of 5,800 m above sea
level. The Incas sacrificed three children in total there: a
6-year-old boy and a girl (Ampato 2 and 3), and an older girl between
13 and 15 years old (Ampato 4). The burials of the two youngest were
partially destroyed by solar radiation. In the case of the child's
grave, most of the soft tissues were charred.
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During the Sara Sara expedition, archaeologists discovered only one
mummy. She belonged to a sacrificed girl, between 14 and 15 years old.
They killed her with a blow to the side of her head and then buried
her with a rich grave goods.
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Computed tomography was used to examine the Ampato and Sara Sara
mummies. Samples taken from each individual were the subject of
genetic and isotopic studies carried out in cooperation with the
University of Vienna and the Max Planck Institute in Jena. Based on
the results of the studies, it was concluded that the children came
from different regions of the Empire, from where they were brought to
the capital of Cusco. They were then sent in a procession to the most
sacred places of the Inca Empire. The investigation also confirmed
that the victims' diet had changed in the recent years before their
deaths, suggesting that they may have been in Cusco for a longer
period of time.
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Samples from children sacrificed on the Ampato Plateau were also
subject to toxicological tests carried out in collaboration with the
CM of the Nicholas Copernicus University in Bydgoszcz, Poland. They
revealed that the children had consumed coca leaves and
Banisteriopsis vines in the final months before their deaths.
Coca leaves have a series of properties. Chewing them increases blood
pressure, glucose levels and causes a feeling of euphoria. They are
also a source of calcium, iron, phosphorus and vitamins A, B2 and E.
They have been used as a cure for altitude sickness and the substances
they contain increase the overall efficiency of the body. The Incas
considered coca leaves to be sacred, so they often offered them to the
gods and the dead. Banisteriopsis vines come from the Amazon,
where they are called ayahuasca, which means "vine of the soul"
in Quechua. This name is also used for the ayahuasca drink,
prepared from Banisteriopsis caapi vines with the addition of
other plants, mainly Psychotria viridis (source of
hallucinogenic tryptamines). However, during the analyzes no
tryptamines were detected. Thanks to the harmine contained in
Banisteriopsis, the lianas have antidepressant and calming
effects. Written sources mention that for the Incas the good mood of
children was important during the ceremony, so that they would come to
the gods happy and well fed. It is possible that the Incas consciously
used the antidepressant properties of Banisteriopsis.
- Author: Dagmara Socha.
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The Maid of Ampato
The mummy found on Ampato, later called Maid of Ampato, was discovered
during an expedition organized by Johan Reinhard and Miguel Zarato in
1995. Thanks to the conditions at the summit, the remains froze and were
mummified naturally. Due to changes in conditions at the summit of
Ampato (6,300 m) related to the eruption of the nearby Sabancaya
volcano, the coremonial platform with the burial was destroyed. The
mummy slid along with the grave goods down the slope, where scientists
discovered it. Some of the textiles covering the mummy's face were
damaged. This resulted from dehydration and degradation of facial soft
tissues. Gold, silver figurines and Spondylus shells were also
discovered a short distance from the mummy.
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The mummy belonged to a sacrificed girl between 14 and 15 years old.
The girl died from a blow to the side of the head. The clothing she
was wearing is considered one of the best made by victims for the
capacocha discovered to date. The Maiden of Ampato wore a traditional
aqsu costume, a red and white shawl decorated with geometric
motifs; on her head a ñañca (the headdress) worn by
aristocratic women of the Inca Empire and on her feet, moccasins.
Before her death, the girl was wrapped in a brown cloak and equipped
with two bags. One of them contained her hair cut during the ritual,
the other contained coca leaves. Three tupu copper pins
fastened the shawl she wore around her shoulders.
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The mummy was examined by a computed tomography in 1996 and another
performed in 2022. Thanks to the tomography it was possible to more
accurately estimate his age and state of health. CT scans were used to
create a skull model, which was then used for the reconstruction of
its appearance. Her hair, clothing, and facial soft tissue remains
allowed us to recreate what she looked like in life. Forensic medicine
techniques were used to reconstruct the face.
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“Facial reconstruction” means restoring the features of a deceased
person. This is done by carefully examining and measuring the skull,
with all the unique information and clues it contains. Through the
forensic method of “facial reconstruction” we aim to know what the
Maid of Ampato was like in life.
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The first step is always to get a 3D copy of the skull printed on
vinyl. This is achieved by scanning the skull and creating a digital
3D to work with. The reconstruction was carried out on the printed
replica.
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We know that the Maiden of Ampato was approximately 14-15 years old at
the time of her death, she was a woman, of origin from the Inca
Empire, and she showed signs of good nutrition. These four factors
decisively influence the thickness of facial tissues. Based on the
results of previous studies, 32 pins were placed at specific
anatomical points and the expected tissue depth was determined. Facial
muscles were then applied. The combination of these two methods is
called the Manchester technique, which offers the most complete
results. There are also special techniques to calculate the size and
shape of the nose, eyes and mouth.
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After the face is reconstructed, a mold of the face is made from
skin-colored silicone. The face is then further pigmented to achieve a
completely authentic appearance. The hair is individually inserted
into the silicone, giving a very realistic final result. The facial
reconstruction of the Maiden of Ampato was carried out by the Swedish
artist and archaeologist Oscar Nilsson. The entire reconstruction
process, supported by numerous consultations with other specialists in
anthropology and archeology of the Andes, lasted half a year.
- Authors: Dagmara Socha and Oscar Nillson.
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Maid of Ampato facial reconstruction
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Objects found with the Maid of Ampato
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Clothing for the journey beyond
Textiles and their production played a transcendental role in the Inca
Empire. They were an important carrier of information about the social
status of the owner, but also about ethnic affiliation and relations
with the authorities. After arriving in Peru, the Spanish were deeply
impressed by the craftsmanship of creating vivid and colorful textiles,
appreciating their artistic value. In the chronicles textiles are
mentioned as the most precious offerings. The mummies of Mallqui
ancestors were given new clothes, which were replaced every five years.
In the mountain huaca temples, offerings of both raw textiles and
ready-made clothing for men and women were burned. Textiles were also
used to pay taxes. Not only were they a prestigious and universally
desired good, but they also fulfilled an important function in the
religious context and, by giving them away during Sapa Inka
celebrations, in the ideological and diplomatic context. Textile
production was a typically female occupation and looms were often found
in women's burials. Two social groups participated in the production of
textiles for the state. The first were cumbi camayo specialists,
gathered in centers that were in charge of production and depended
directly on the Inca. Textile production was also one of the main
activities of the acllas (virgins dedicated to the cult of the
Sun).
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Textiles were made with two types of materials: cotton and wool from
llamas, alpacas, vicuñas or guanaco. There were three types of
textiles according to their quality: chusi, awasqa and
cumpi. The possibility of possessing the latter was limited
only to an elite. Textiles were an important element of ethnic
identity. The Incas forced each group to wear their regional costumes.
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The victims sacrificed as in the capacochas wore clothing designated
for the elite. These included textiles of the best quality that were
probably woven by acllas or cumbi camayos. Some of the
textiles were made in the provinces and according to some studies they
could be related to the origin of the victims. However, the
acllahuasi and the cumbi camayo people spread throughout
the Empire, which does not exclude the imperial origin of the victims'
clothing.
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Women often had additional male uncus robes placed in their
tombs. Uncus have also been found as independent gifts along
with figurines representing the Incas on the summits of Ampato and
Pichu Pichu. The textiles were often decorated with exotic bird
feathers and metallic sequins. One of the girls sacrificed in the
Mistí had a man's tunic decorated with more than 400 silver and gold
sequins in her tomb.
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According to the chroniclers' sources, the textiles offered during the
capacocha ritual could only be possessed by the Incas or received from
them during the ritual festivals. In the victims of the capacocha,
there is no element found in the clothing that can be linked to any
ethnic group. Most of the textiles worn by capacocha victims have many
counterparts in Inca textiles and chronicle descriptions. This
suggests that after arriving in Cusco, the victims were changed
representatives of their community and then sent from the Incas to the
huacas.
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The Maiden's facial reconstruction was prepared with two handmade
alpaca wool textiles. The replicas of the shawl and the
ñañca (the headdress) worn by the Maid of Ampato were woven by
the weavers of the Cusco Traditional Textiles Center (CTTG). For this,
traditional techniques transmitted by previous generations were used.
At first, the Cusco Traditional Textiles Center partnered with a small
number of communities, including Chinchero, Chahuaytire and Pitumarca.
In each community, the first objective was to work closely with the
oldest weavers in order to recover ancestral designs and techniques,
helping them transmit this knowledge to younger generations of
weavers. The second objective was to build a weaving center in each
community so that women and men could meet and work, free from the
distractions of daily life and protected from the rain.
- Authors: Dagmara Socha and Dominika Sieczkowska.
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Studies of ceremonial ceramics
Since the beginning of its invention, ceramics have been one of the
basic elements of funerary trousseau, regardless of the region and the
era. The presence of the ceramic vessels found along with the capacocha
human sacrifices should not be surprising in any way. Guamán Poma de
Alaya mentions: “From how I order the dresses and clothing of their uaca
gods, they are called Capacocha. They made it from cumbi and auasca, and
from their gold and silver dishes, and from clay, and mollo and copper,
and where it was buried” (Guamán Poma de Alaya [1615] 2005, 256). In the
Inca Empire, ceramics were widely used in the veneration of the dead.
They were used to feed and water the mummies, to place gifts for the
deceased, etc. Ceramic vessels were also offered as gifts for the
huacas.
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Ceramics in the Inca Empire, in addition to purely utilitarian and
religious functions, also fulfilled sociopolitical, economic and
ideological functions. That is why it had to be characterized by a
specific shape, ornamentation and qualities. Depending on the distance
from the capital of the Empire, different strategies were used for its
production. The simplest and most economical thing was to order them
from local potters. A slightly more expensive method was quality
control of raw materials, which gave the possibility of separating
production for imperial needs and for the local market. The most
effective, but at the same time the most expensive and the one that
required the most control, was the organization of specialized
communities, called mitmag, dedicated to a single branch of the
trade.
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The children sacrificed in the capacocha ceremony were messengers to
the gods. They brought them offerings and requests from the people,
and at the same time they themselves were offerings. The ceramic
vessels that accompany them are a clear symbol of Inca imperialism
manifested in everyday objects. In the collection of the Andean
Sanctuaries Museum of the UCSM there are 37 complete vessels from
Ampato and 32 from Misti. Both in form and decoration, they all
represent the Inca style. You can distinguish: Inca aríbalos
(mackas), pedestal pots (caliz pot/chullanchaqui manca),
aisanas, Manca pot and Inca dishes (ppucu), ppuiños, puchuelas
and deep bowls. These are small, miniature vessels, which in most
cases came in pairs, but not all pairs are one hundred percent
identical. There are slight differences in size or decoration. Subtle
differences in the size of the plates allowed one plate to be inserted
inside another, so that they constituted an inseparable set. It is
worth mentioning here that the analysis of instrumental neutron
activation showed that, of the 9 pieces analyzed from Ampato, 7 are
imported from Cusco or its surroundings, and from the region of Lake
Tititaca (Bray et al. 2005).
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Among the Ampato vessels there are unique specimens. One of them is
the aríbalo (No inv. 2b2T1-33). To this day, it remains hermetically
sealed through a plug made of clay mixed with organic material. No
other examples of Inca aribalos closed in this way are known from
archaeological investigations. However, the chroniclers mention
hermetically covered ceramic vessels that contained chicha intended
for religious ceremonies: “(…) [and] within five days, they will
gather again and have another party, in which party they will have
those women four jugs of chicha, which jugs of chicha are made from
the time they were made on this festival, until the entire festival of
the sun is over, and which always keep well covered; For five days,
this young man goes fasting to the hill of Guanacaure, going alone,
and takes another bundle of straw and distributes it to those women
who made the chicha for him (…)” (Betanzos [1551] 1880, chapter
XIV).
- Author: Sylwia Siemianowska.
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Three-dimensional documentation of archaeological material
The main objective of the project was to document several pieces from
the collection of the Museum of Andean Sanctuaries of the UCSM. The
research project has been funded by the Catholic University of Santa
María in Arequipa in collaboration with the Center for Andean Studies of
the University of Warsaw. The project aimed to carry out 3D
documentation of some artifacts in the collection, as well as carry out
photogrammetry training workshops. During the development of the
project, some artifacts have been chosen and have been digitalized
three-dimensionally, meeting the objectives of the first stage of the
documentation project. The overall project can be divided into five
phases. Currently the project is still underway and is in its final
phase.
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The results of the project have different purposes. First it is based
on conservation itself. Thanks to the preparation of 3D models of the
artifacts, it is possible to have their digital “copies” without
having to expose them every time it is necessary. By having a 3D model
of the object, it is possible to analyze it in all the details without
having to touch it, this possibility opens new avenues of analysis for
specialists around the world. This type of practice is very common
today and more and more museums decide to take these measures to avoid
having to display their delicate pieces. In the case of the mummies
and other delicate artifacts found in the Museum's warehouses, once
their models are made, they will allow them to be preserved for a long
time, it will be enough to consult their 3D model. The next point of
interest is subject to the public, it is not feasible to expose all
the original pieces to the public for various reasons, but it is more
feasible to expose their three-dimensional models and even their
printed copies in powder or other solid material. These practices are
becoming very popular in museology.
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The first phase was strictly related to the three-dimensional
documentation of a group of artifacts that are in custody of the
museum. For which artifacts related to the capacocha ritual from the
Museum's collection were chosen. The development of 3D models is
important because it covers aspects of conservation as research, but
also for more practical reasons such as those related to their public
dissemination through different media.
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To carry out this 3D documentation phase, a hand-held scanner and a
camera for photogrammetric documentation were used, which are
available to collaborators at the Center for Andean Studies of the
University of Warsaw in Cusco. This phase was carried out by two
specialists; an archaeologist Dr. Dominika Sieczkowska and an
engineer, Dr. Bartlomiej Cmielewski, documentation specialist,
collaborators of the Center for Andean Studies at the University of
Warsaw.
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The second phase applied to the workshops on three-dimensional
documentation of archaeological material for Museum specialists, where
participants learned how to use the programs for 3D documentation,
having the opportunity to learn about the processes and techniques
essential to take photographs for photogrammetric use. Participants
were taught what other research fields were where photogrammetry and
other 3D documentation methods could be applied. The workshops were
held in 2018 and 2019.
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The third phase consists of the processing of data obtained
from the 3D scans of the artifacts. This process was carried out in
Poland and carried out by specialists from the Wroctaw University of
Technology — a CEAC collaborator. In order to analyze the information
obtained during the scanning process, it is necessary to use programs
subject to point cloud processing such as Agisoft Photoscan
Professional, Cyclon, Adobe Photoshop, among others.
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The fourth phase corresponds to the presentation of the project
results during the different conferences and seminars by the
participants. On several occasions the work being carried out was
announced at various international conferences, both in Europe and
South America.
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The fifth and final phase was the most important because it
consists of founding the archaeometric laboratory for
three-dimensional analysis in the Museum of Andean Sanctuaries of the
UCSM. The idea is that specialists trained with the support of the UV
Andean Studies Center can continue with the three-dimensional
documentation project in the Museum itself to be able to document the
entire collection in 3D. The preparation of the laboratory is already
in process, and some of the elements are already in the Museum
facilities.
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In this phase, the laboratory will also be implemented for the
documentation of the entire collection. The CEAC UV specialists will
assist during this phase so that after the project is completed the
Museum specialists can continue with the three-dimensional
documentation project. The laboratory must be adequately implemented
to fulfill its archaeometric purposes in the future (for forensic
analysis and ceramological analysis). The Peruvian specialists will
always be able to count on the support of the CEAC UV in carrying out
this phase of the project.
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The project of three-dimensional documentation of the artifacts
related to the Copacocha ritual has been extended into in situ
documentation. The objective of the extension of the project was to
document several dairy farms associated with the collection in the
custody of the Museum. With this objective, in the 2022 season, three
expeditions were carried out to the Chachani, Mistí and Pichu Pichu
dairy farms in order to document the three-dimensional remains. During
the expeditions, photographs were taken to carry out the
photogrammetric survey of the sites. In the future, it is planned to
carry out metric studies of the documented sites for better
registration.
- Authors: Dominika Sieczkowska and Bartlomiej Cmielewski.
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The path to the summits
The procession played an important role in the capacocha ritual. It
legitimized the existing order, the division of lands and the hierarchy
of the provincial huacas. The chroniclers described that the pilgrimages
had to advance in a straight line regardless of the obstacles and that
only the Incas and their flocks could pass through those paths. However,
the remains of tambos (road stations) on the routes to the
summits of some of the volcanoes suggest that pilgrimages sent to
distant provinces used the Qhapaq Ñan system of imperial roads, at least
for the latter part of the route.
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Each of the pilgrimages had to be preceded by state works that
included the preparation of the path to the summit and the platform on
which the children would be buried. Special tambos are found in many
mountains, including Aconcagua, Ampato, Chachani, Coropuna, Chañi,
Llullaillaco, Licancabur, Pichu Pichu, Quehuar, Sara Sara among
others. Imperial Inca ceramics were found near the dairy farms,
confirming their connection with state ceremonies. The use of such
places by pilgrims was related to the distance to the main
administrative center, as well as access to water, which determined
the number of pilgrims who could reach them. Some tambos, such as on
the summits of Chañi and Licancabur, were located near the main road
and could hold around 150 people at a time. In the dairy farm located
in Llullaillaco, archaeologists found vestiges of daily activity,
including remains of kitchen vessels and llama bones, which suggests
that this place was temporarily occupied.
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After arriving at the scene of the sacrifices, the victims
participated in ceremonies and feasts. According to the chronicles,
the larger capacochas (thousand victims) were celebrated in Cusco and
in the main temples such as Pachacamac, while, smaller capacochas (a
child or a couple) were sacrificed in provincial huacas. Cieza de León
related the size of the capacochas to the prophecies offered by the
huacas during the meeting of the oracles in Cusco. Successful
prophecies were rewarded with the sacrifices of the capacocha.
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The new study carried out in 2022 by Dr. Dagmara Socha and Dr.
Dominika Sieczkowska in the Chachani, Misti and Pichu Pichu dairy
farms revealed some unknown architectural patterns. During the studies
it was possible to establish a pattern of site location, and the
typical architecture. The expeditions made it possible to create
three-dimensional images of the dairy farms thanks to the use of
photogrammetry. The three sets of tambos studied were located on the
last flat surface before the summit ridge, with relatively easy access
for a greater number of pilgrims.
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In each of the dairy farms there were large squares probably used for
festivals. The plazas were exposed to the valleys and peaks,
maintaining visual contact with the summits. The upper part of the
dairy farms is characterized by better masonry and smaller
constructions. The structure of the tambos suggests a division of
pilgrims according to their status. The upper tambos were probably
designated for high-ranking pilgrims and a very limited number of
participants.
- Authors: Dagmara Socha and Dominika Sieczkowska.
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Investigation of sacred oracles
The Coropuna volcano (6,425 meters above sea level) is one of the most
important mountains in the pre-Hispanic Andes. Since the second half of
the 1990s, researchers from the University of Warsaw, in collaboration
with the UCSM of Arequipa, have been working in this area,
reconstructing the complex network of settlements in the high parts
(above 3,000 meters above sea level) of the provinces of Castilla y
Condesuyos, department of Arequipa. The Spanish chronicles mention an
oracle from the Inca era related to the Coropuna cult. Research clearly
indicates that the headquarters of said oracle was located in an
archaeological site today called Maucallacia - Pampacolca. It was there
that groups of pilgrims arrived to participate in ceremonies and listen
to the oracle. The scientific work that was carried out between 1997 and
2017 had a multidisciplinary approach. The excavation work was
complemented by restoration work in sections selected for the tourist
flow.
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The aforementioned Maucallacta is the meeting point of the ceremonial
paths that lead to the peaks of Coropuna. Since 2018, research has
focused on the highest parts of the mountains, work carried out by
archaeologists: Dr. Maciej Sobezyk, Lic. Ruddy Perrea Chávez with the
support of high mountain guides led by Arcadio Mamami Viza. Three of
these trails have been located and verified, which are related to
three different high mountain dairy farms. The tambos were built as
stopping points for pilgrims participating in ceremonies (including
capacocha) in the highest parts of the mountain range.
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Tambo Coropuna - Tambo Coropuna is located at an altitude of
between 4,770 - 4,850 meters above sea level, on the southern slope of
Coropuna. The complex consists of more than 20 buildings and 5
squares. The buildings are small, due to the difficult climatic
conditions at these altitudes. The presence of numerous exceptionally
large buildings is surprising. Tambo Coropuna is located at the foot
of the sacred mountain and is connected to a network of communication
routes with the Maucallacta complexes. It is a complex of rectangular
ceremonial plazas oriented towards the central part of the Coropuna
massif. During the work carried out in 2019, organic remains related
to the trails that led to the highest parts of the mountain were
located.
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Coropuna Plaza - Coropuna Plaza (locally also called Inga
Perja), is a site located at an altitude of 4,700 meters above sea
level, directly at the foot of the volcano. Of the sites mentioned, it
is the closest to Maucallacta. Coropuna Plaza is made up of a large
oval enclosure that delimited the plaza of 45 meters on the east-west
axis and 65 meters on the north-south axis, with the wall that
surrounds the plaza. Inside the square, in the northern area, there is
an oval building with a diameter of around 9 meters. In the southern
part of the square there are remains of an unidentified construction,
of which only the foundations are preserved. This structure was
erected from poorly elaborate stones. The spatial plan of the
enclosure and its elaboration indicate the lack of any feature of Inca
architecture. Most likely, this well-preserved complex dates back to
pre-Inca times. However, the superficial finds of ceramics and
fragments of dishes classified as Inca-provincial irrefutably testify
to the use of this set in Inca times. The plaza surrounded by the wall
and with the building in its northern part offered appropriate
logistical conditions for the chosen group of pilgrims, who went with
offerings from the central sanctuary to offer them directly to the
Coropuna.
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Ajocancha - The Ajocancha site is located at an altitude of
5,050 meters above sea level, on the western slopes of the Coropuna
above the Acchcaymarca site with which it is connected by a road. At
the same time, it is also directly connected to Maucallacta. The
complex has been erected on a plain, delimited on the western side by
a rocky outcrop, which rises about 4 meters above the level of the
flat land with the buildings. The central part of the site is made up
of a plaza 45 to 50 meters long, delimited by two walls with an
apparently more symbolic than practical function, around 4 meters long
each. The lines formed by extensions of the walls reach the natural
barriers of the plain, which form the north-eastern and north-western
sides of the plaza. On the south-western side, the plaza is delimited
by the aforementioned rock outcrop. In this precise place you can see
a pile of stones that apparently corresponds to the remains of a type
of staircase or steps, attached to the rock, with a height of 2.5 m.
Apparently the stairs facilitated the ascent of the rock and together
with it they formed a ceremonial platform, part natural and part
artificial. There are more than 20 buildings within the site, of which
special attention is paid to the compact complex (kancha)
adjacent to the plaza and the rock near the stairs.
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Also on the western slopes of the volcano above Tambo Ajocancha
(between 5,100 and 6,000 meters above sea level) there are numerous
vestiges that accompanied the activities related to pilgrimages and
ceremonies carried out near the summits. This is confirmed by
information from colonial sources by Pedro Cieza de León, Pachacuti
Yamquí Salcamaygua, Guamán Poma de Ayala and Cristóbal de Albornoz.
How strong and lasting were the traditions associated with the
Coropuna cult is evident in a record of the 19th century voyage of the
Italian explorer Antonio Raimondi: “They still preserve their
primitive habits and not many years ago they found some clay idols, of
which one represented an animal similar to a calf, and another a woman
with a very bulging abdomen. These Indians took these idols to the
foothills of the great snow-capped Coropuna and there they paid them a
kind of worship” (Raimondi, 1983:235).
- Author: Maciej Sobczyk.
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See also
Source
Location
