The Inka Museum of Cusco is the place where the Andean culture is kept alive,
whose presentation involves visitors, allowing them to be actors within the
exhibition, offering them the necessary information to be an interpreter of
the contents, participating in an adventure of knowledge; inviting them to
reflection, inspiration, the imagination of new realities or the exploration
of himself as an individual and his society.
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Entrance to the Inka Museum
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Representation of a stylized howler monkey
Sculped Chavin ceramic. 1500 BCE.
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The Chavín culture developed in the northern Andean highlands of Peru
around 900 BCE, ending around 250 BCE.
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The Chavín culture represents the first widespread, recognizable
artistic style in the Andes.
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Chavín art is known for its complex iconography and its "mythical
realism". There is constant evidence within all types of art
(ceramics, pottery, sculptures, etc.) of human-animal interactions,
which was reflective of societal interconnections and how the Chavín
people viewed themselves connected with "the other world".
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See more at
Chavín culture - Wikipedia.
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Anthropomorphic iguana
Stirrup spout vessel. Mochica, 100 BCE.
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In the river valleys of the North Coast of Peru, the Moche culture
grew and flourished at around 100 CE. For nearly 600 years the Moche
culture developed and expanded throughout the major river valleys in
the dry coastal plains of Peru. The Moche built large monumental
temples, vast irrigation canals and systems, and an impressive wealth
of artwork and ceramics.
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Moche artwork provided an extremely varied account of activities done
throughout the time, and important figures and resources. Moche
artwork included men, women, plants, gods and deities, and
anthropomorphic figures engaging in activities such as hunting,
fishing, combat, sexual acts, warfare, and ceremonial events.
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The Moche were especially adept at the creation of stirrup spout
vessels. They used them largely for the creation of fine wares, but
also for intricately sculpted forms such as portraits of Moche
leaders.
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See more at
Moche Culture and Stirrup Spout Vessels - Wikipedia.
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Lithic fountain
Decorated with felines, snakes and frogs. 250 CE.
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In the central part of the piece there is a frog with a feline head.
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Great Slayer
Baked clay tracing. Pukara, 250 CE - 450 CE.
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Atypical statue that represents a character with feline attributes
sitting on a plinth or pedestal that imposes hierarchy on him.
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There are trophy heads engraved by incision on the back and neck that
are attached to an element similar to a headdress and on this a
quadrangular cap with zig-zag motifs and a feline head sculpted upside
down in half relief, they are identical to the iconography of
classical Pukara ceramics.
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The sculpture presents a cover over the shoulder and the volume of the
head is much more important in relation to the character's body; the
eyes and mouth are figured in the form of feline jaws.
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As for the nose and ears, they were made in half relief and details
were added through incisions for greater ornamentation.
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It is observed that the “cutthroat” character holds a ceremonial knife
in his right hand and in his left hand he holds a human trophy head
without ornamentation on his chest, only the hair can be seen and he
is without ears.
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The trophy head is small, concepts that would denote the notion of
inferiority compared to the main character (it could be captured
prisoners). The representation of the character in its entirety and
the details have similar features with the trophy heads of Pukara
ceramics. Their shared iconographic styles indicate control over
esoteric knowledge as an important source of political power where the
presence of an ideology of hierarchies among the many competing elite
factions, necessary for successful competition against other elites
and the loyalty of the common population. It is no coincidence that
representations of trophy heads appear for the first time in High
Formative at a time that coincides with the development of elites with
marked evidence of hierarchization and competition.
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Pukara sculpture
From the district of Asillo, Puno Region. 250 CE.
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The Pukara culture was an archaeological culture which developed in
Qullaw, along the north-western shore of Lake Titicaca.
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See more at
Pukara culture - Wikipedia.
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Ceremonial sculptural vase
Wood. From the 17th century.
- With zoomorphic decoration (llama head).
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Qero or wooden cup
From the 17th century.
- Representing the llama sacrifice.
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Representation of the Main Altar inside the Coricancha
The original of this line drawing forms part of the chronicle “Relation
of the Antiquities of this Kingdom of Piru” written around 1613 by Joan
de Santa Cruz Pachacuti Yamqui Salcamaygua, native author, descendant of
the governors of the provinces of Canas and Canchis.
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The image illustrates the cults of the temple of Qorikancha of the
Inca times. It must be taken into account that the drawing was made
many years after these cults were expelled from Qorikancha, thus the
author couldn't know them from his own experience. His information
probably was based on the oral tradition of his society.
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The image is usually interpreted as a representation of the interior
wall, as the main altar or as the facade of the Inca temple with the
figures attached to its surface, but the text of the chronicle does
not give precise references about it.
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Some researchers see in Pachacuti's drawing a scheme of the andean
cosmology (Roberto Lehmann-Nitsche, Gary Urton), others consider that
the image was inspired by the structure of catholic altars (Ana
Sanchez Pierre Duviols). Probably it was a result of both influences:
the indigenous and the european.
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The drawing includes comments written by the side of each element in
three languages: spanish, quechua and aymara.
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See more at
Inca mythology - Wikipedia.
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Mamakuka
Ceremonial use of coca.
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Mama Koka (Mother of coca leaves) was the goddess of health and
happiness in Inca mythology.
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She was originally a promiscuous woman who was torn in half by several
jealous lovers.
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After her death, one of her parts would originate the coca plant,
widely consumed by the Andean people, according to their mentality,
these plants gave health and happiness.
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See more at
Inca mythology: Deities - Wikipedia.
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Coca ceremony for the llamas
«...trying to remove coca is wanting there to be no Peru.» Matienzo,
1567.
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Coca has been a vital part of the religious cosmology of the Andean
peoples of Peru, Chile, Bolivia, Ecuador, Colombia and northwest
Argentina from the pre-Inca period through to the present.
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Coca leaves play a crucial part in offerings to the
apus (mountains), Inti (the sun), or Pachamama (the earth).
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Coca leaves are also often read in a form of divination analogous to
reading tea leaves in other cultures.
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As one example of the many traditional beliefs about coca, it is
believed by the miners of Cerro de Pasco to soften the veins of ore,
if masticated (chewed) and thrown upon them.
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In addition, coca use in shamanic rituals is well documented wherever
local native populations have cultivated the plant. For example, the
Tayronas of Colombia's Sierra Nevada de Santa Marta would chew the
plant before engaging in extended meditation and prayer.
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See more at
Coca: Religion - Wikipedia.
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Showing the cultural and social importance of coca
The exhibition concludes by showing the cultural and social importance
of coca, both in historical and current times, which includes the cult
of mountain divinities and pilgrimages to high altitude sanctuaries.
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The paintings in the qeros, which date from the 17th and 18th
centuries, along with the drawings of Felipe Guaman Poma de Ayala, are
visual sources of great importance, due to the fidelity with which
they reproduce events from the time of the Inkas that are used
throughout the exhibition for the expansion of the Museum and the
exhibition “Los Inkas Del Qosqo”.
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Coca Showcase Plan
Plan Legend:
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Curved reproduction - Kuka Palay (coca collection) and its transport.
Print of 18th century qero Inka painting.
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Mamakuka - Mother Coca: sacred leaf of the Incas. Essential element
for social relationships and for communicating with Andean deities.
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Vase - Cultivation and transport of coca leaves. Inca vase from the
18th century.
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Groups of three leaves - Groups of three coca leaves have great
importance in rituals. Ceremonies are prepared with perfectly shaped
leaves. When they are found in their natural state, they are
considered proof of good fortune and blessings from Andean spirits.
- Statue - Inca sculpture with a character who chews coca.
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Painting - God Punchao (The light, the day, the sun) chewing coca
leaf. Metal image. 15th century.
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Center - Coca (Erythroxylum coca) has been used since pre-Inca
times, when it was cultivated on the coast, in the mountains and in
the Amazon. It was for general consumption because it was important in
social relationships, work and religion.
It is consumed with "llipta or lluaqtha", made from the ash of various
plants that acts as a catalyst to extract components such as:
minerals, proteins and vitamins.
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Small vases - Deposits for Llipta (a product that is chewed with coca
leaves).
- Bottom right - Three types of Llipta.
- Photos - Quechuas chewing coca leaves.
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Offering table for the Andean gods (Enqa missa)
Andean deities formed part of the social world in the time of the Incas,
and were honored with food and drinks.
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This practice continues with the name "pago" (payment), "pagapo",
"haywarisqa" (to reach), "Enqa missa" (Inka mass) among the most
frequent.
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The actual ceremony is like a banquet, the objects of the mass are
arranged on a blanket (manta), in two equivalent halves (male
and female), on the sides of a central axis (chawpi).
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The ceremony concludes with the incineration of the offerings so that
the deities can "eat" them.
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Ch'urukuna
Stone sculptures representing Andean deities. In Tawantinsuyu (Inca
empire) they were called huacas. Today they are still venerated.
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Caption of the photo on the left: «Ritual space delimited by coca
leaves».
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Caption of the center photo: «Llamas with loads. Stones placed on a
sacred path in the mountain range».
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Caption of the photo on the right: «Invoking the Gods of the
mountains».
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Showcase of Andean gods
Andean gods reside in the mountains. The Incas built sanctuaries on
their peaks to carry out their ceremonies and pilgrimages.
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Today, they continue to be sacred places, with Catholic sanctuaries
built over those of the Incas.
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Pilgrimage to the snowy mountain
Inkan qero from the 18th century.
- Print of the painting of the pilgrimage to the snowy mountain.
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Mochica warriors
Warrior characters with different headdresses, carry weapons and
shields.
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Deer hunters
Characters carrying arrows used to hunt deer.
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Recuay Culture
The Recuay Culture developed in the Northern Sierra of Peru, in the
Callejón de Huaylas. It extended across the Western Cordillera, from the
Virú river to the headwaters of the Casma and Huarmey rivers to the
south. In the east, it reached close to the Marañón River.
Stone sculptural art with the representation of anthropomorphic and
feline monoliths in high relief is important.
The ceramics are sculptural and pictorial with the negative technique,
which consists of not painting the designs that are intended to be
represented and, on the contrary, the background appears dark. It is
characterized by the representation of scenes from everyday life and the
representation of domestic animals such as dogs and llama.
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Top caption: «Anthropomorphic character. Replica of a Recuey
ceramic. Anthropomorphic character richly adorned with a tunic and
ornithomorphic headdress that ends with a semi-circular diadem. Shows
off a large discoidal necklace and earmuffs. Carries a rectangular
shield. A llama standing with a blanket on its back accompanies the
character.»
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Middle caption: «Sculptural representation of a house. Recuay
ceramic replica. Sculptural representation of a house on a base of
three steps. The flat roof supported by four supports is notable,
beneath which a character with large earmuffs and a beaded necklace
can be seen. On the steps we can see two characters in a prayerful
attitude, a vase and a dog.»
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Lower caption: «Anthropomorphic character. Recuay ceramic
replica. Anthropomorphic character richly adorned with tunic and
skirt, large discoidal earmuffs and zoomorphic headdress. He is lying
on his face in an attitude of holding on to the edge of a vessel that
supports him.»
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Trophy head
Nazca characters who carry the Trophy Heads of their enemies in their
hands.
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The mouth is sewn shut or closed with spines and the eyes are closed.
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Sex life
Representation of Nazca sexuality.
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The Bearers of Goods
Characters related to agricultural activity called Bearers of Goods.
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The diversity of male headdresses is notable: globular, triangular and
mantles with fantastic beings. One carries the skin of a fox.
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The women, seated, wear cloaks and have their hair combed in braids. A
mythological character brings several fruits.
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Life at sea
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Caption on the left: «Totora rafts. Father Joseph de Acosta
(1590), chronicler, saw these rafts in Lima: "They make bundles of
sedge or tied dry cattails, which they call rafts there, and they take
them flat to the sea, where, throwing them quickly, they climb up on
them, and in this way, the gentlemen enter the sea, rowing with very
wide blade oar on one side and on the other, go one or two leagues
offshore to fish. They carry their nets and ropes in the said cattails
and, holding on to the rafts, they cast their nets and are fishing for
much of the night or day..." "...seeing them go fishing in Callao de
Lima, was for me something of great recreation."
Historia Natural y Moral de las Indias, Libro II, cap. XV.».
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Caption on the right: «Sea transport. Totora rafts
(Scirpusriparus) used by the Moche for fishing and maritime
transport in general. The rafts take the form of supernatural beings.
A Moche character leads tied prisoners to the raft. Its oar is in the
shape of a serpent and the raft is in the shape of a big fish.»
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The Moche Lord
Moche character richly adorned, wearing a tunic that reaches the knees.
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It has helical earmuffs, a semi-circular nosepiece and a showy chest
piece.
- In his right hand he holds a scepter with a trapezoidal head.
- At waist level we can see a rattle and a "tumi" knife.
- The character has sandals.
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Mythological characters
Mythological characters that present human and feline features.
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We can see a mythological warrior with the head of a bird of prey,
human features and large earflaps.
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Another character with feline teeth in a praying attitude is
accompanied by two large snakes.
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Another anthropomorphic character in a praying attitude is accompanied
by two skeletal beings.
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Notable is the anthropomorphic character with feline teeth and hands
in the shape of shrimp tongs standing on a spherical base with a large
fish in high relief.
- All of these beings are richly dressed and have large earmuffs.
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Archaeomusicology
Prehispanic music of the high Andean cultures.
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Trumpets (Aerophones)
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Left caption: «Two-headed trumpet. Moche culture. Replica of a
screw trumpet with double bell that represents two puma heads roaring
simultaneously. It was used in war situations.».
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Right caption: «Puma trumpet. Moche culture. Replica of a
trumpet that represents a roaring puma. It emits a very strident sound
with the notes E, F and B.»
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Timpanis
- Left caption: «Hummingbird timpani. Nazca culture.».
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Right caption: «Seagull timpani. Nazca culture. Replica of a
ceramic globular timpani, with figures of mythological beings. It has
four supports. Its membrane is made of animal leather and has the
drawing of a seagull.»
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Pan flutes (Aerophones)
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Left caption: «Nazca Antara No. 6. Nazca culture. Nazca ceramic
pan flute replica. It has thirteen hyperbolic tubes and a design of
two trophy heads on each side».
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Right caption: «Nazca Antara No. 2. Nazca culture. Replica of a
Nazca ceramic tricolor pan flute. It has eleven hyperbolic tubes».
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See also
Source
Location
