Niger - Ténéré - a millstone Neolithic, found with his crusher.

Algeria - Tassili n'Ajjer - Site Tin-Tazarift - Several people painted with brown ocher

Algeria - Tassili n'Ajjer - Site Jabbaren - Hunting Scene

Algeria - Tassili n'Ajjer - Site Jabbaren - Pastoral scene painted in red ocher

Niger - Tadrart - Site In-Djaren - Giraffe painted in a shelter, width 43 cm

Niger - Tadrart - Site In-Djaren - Rock isolated with 8 carved elephants

Niger - Aïr – Site Tagueït-up - Fresco of carved giraffes

Niger - Djado - Enneri Blaka, Site 5 - Engraving of a rhinoceros, period of hartebeest

Algeria - Séfar (Tassili-n’Ajjer) – Typical pastoral scene, 2.80 m above ground level.

Algeria - Tin-Tazarift (Tassili-n’Ajjer) – Odd "ship shape". However, the floatability is not proved.

Dabous (Aïr occidentale) – Fresco with animals: giraffes, ibexes (?) Etc. The giraffe measures 1.15 m from nose to tail.

Algeria - Terrarart (Tassili-n’Ajjer) – Engraving of four cattle, very deeply worked, partly polished. In the center "The Weeping Cow".

Tendarine (Niger-Aïr) – Engraving of giraffes and antelopes

The sacred city of Machu Picchu, seen from Huayna Picchu.

Upon a hilltop in the shadow of mount Huayna Picchu (in the background), the sacred city of Machu Picchu (“old mountain” in Quechua) was erected in the 15th century under ¬the Inca emperor Pachacutec. In 1983 it was declared a World Heritage Site by UNESCO and in 2007 it was designated as one of the seven new wonders of the world by NewOpenWorld Foundation.

When the Sahara was still green, it was inhabited by numerous representatives of the African fauna, many of which can still be found in the more fertile areas today. As proof, this 2.65 meter-long engraving of an elephant is to be seen in one of the most beautiful and significant rock-art sites from the so-called Bubaline period (Wadi Mathendous, Fezzan, Libya).

Instead of being engraved on the walls of caves, as usual, this impressive rock engraving of a sleeping gazelle was carved into a rock ledge under open sky at the Tin-Terhert site (Tassili n'Ajjer, Algeria). Nowadays, this site, which was inventoried by Henri Lhote in the 1950’s, can only be reached on foot with the help of a guide.

These enigmatic threefold spirals in the Wadi Djerat were etched in rock with a simple stone wedge next to the imposing engraving of a rhinoceros on the northern Tassili Plateau, Algeria.

Kokopelli, the humpbacked flute player of Galisteo (New Mexico, USA), belongs to the pantheon of the Pueblo Indians (pre-Columbian era). He strangely reminds one of other characters represented in other corners of the world, like in ancient Greece. But why is he humpbacked? The question remains unanswered.

The ruins of Machu Picchu – shot here from the top of mount Huayna Picchu – remained forgotten during four centuries before they were rediscovered in 1911 by American archaeologist and researcher Hiram Bingham, from Yale University.

Projectile points, made of flint and quartz, frequently found near mammoth and bison bones. The fourth point from the left is grooved at the base to make it easier to fasten it to the shaft. Longest point: 3.88 inches. Paleo-Indian Period, Clovis Culture, approximately 9500 B.C., ASM.
ASM = Arizona State Museum, University of Arizona, Tucson (Arizona)

The idea that the first humans lived in a shell is a frequently recurring theme in the various creation myths of the Northwest Coast Indians. This small bone figure, 41 mm (2 inches) high, was dug up together with its protecting shell at Ozette, the archaeological site on the Olympic Peninsula. It is on exhibit at the Makah Museum (Neah Bay, Washington, USA).

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Peintures rupestres de Mazo Cruz, à 4500 mètres (département de Puno, Pérou). Quel Champollion déchiffrera les fresques pariétales des cavernes sacrées de Kelkatani, la «pierre écrite» entre 7000 et 10.000 ans? Ces danses cynégétiques de chorégraphes archaïques, auréolés de plumes, furent peintes à l'ocre rouge sur un kran granitique large de 26 mètres et haut de 6, par le chaman d'une mystérieuse civilisation d'altitude.

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Sorte de «Jérusalem» des Andes, le célèbre site archéologique de Chavin de Huantar s'élève à 3 200 mètres dans la Cordillera Blanca. D'insolites stèles gravées y ont été mises au jour. Celle-ci est ornée d'un grand prêtre-dieu d'un culte magico-religieux qui influença tout l'ancien Pérou environ deux mille ans av. J.C. Portant un sceptre, coiffés et ceinturés de serpents, les étranges personnages de Chavin sont souvent ailés. Crocs et griffes de félins ou serres de rapace sont caractéristiques du style. (Hauteur de la stèle, 78 centimètres; largeur, 70 centimètres.)

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Les tombeaux pillés des Nazcas (IIIe - VIIIe siècle) du Pérou méridional ont livré des milliers de huacas polychromes, figuratifs ou abstraits, qui forment une véritable «encyclopédie par l'image». Par la finesse de la pâte, la perfection des formes et la stylisation poussée du dessin, la céramique nazca relève d'un art inimitable qui rend hommage aux défunts et aux dieux. (Collection privée, Lima, Pérou.)

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Le monolithe Ponce, l'un des dieux pétrifiés «géants» et «pleureurs» de la «Mecque» bolivienne, mesure 3 mètres de hauteur. Il est entièrement gravé de glyphes géométriques indéchiffrables. Trois larmes carrées ruissellent de ses yeux d'où tombe, sur le côté, une «aile» à tête stylisée de poisson. Des anneaux entourent ses chevilles.

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Très fréquentes sur les cimes de l'altiplano du Collao qui cerne le lac Titicaca, de bizarres chulipas monolithiques logeaient les chefs de haut rang momifiés, d'une mystérieuse race «d'avant que le soleil apparaisse». Haute de 12 mètres, la tour funéraire tronquée de Cutimbo, près de Puno, s'élargit d'une corniche supérieure. Elle est sculptée de pumas en relief à la base.

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L'Ingachungana, siège impérial de l'Inca à Ingapirca, en Equateur, est sculpté en triangle à flanc d'abîme, à même la roche. Mais il s'agirait, littéralement traduit, du «jeu de hasard» de l'Inca. En forme de «canapé», le dossier en est bizarrement creusé d'une «chaine» de losanges profonds de 8 centimètres, où aurait couru et rebondi une boule de pierre.

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Sans doute construit vers 1490 par Huayna Capac dans la province équatorienne de Hatun Cafiar, Ingapirca fut l'un des plus beaux monuments du nord de l'Empire du Tahuantinsuyo. A la fois palais fortifié, tambo royal et temple du Soleil, il surprend par son inhabituel plan ovale et ses rangées de pierres bombées au reflet vert (longueur: 37,10m; largeur 12,30).

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Parcourue en 1830 par le voyageur français Alcides d'Orbigny, la stupéfiante chaussée pré-inca de Takezi, en Bolivie, pavée de pierres plates, s'étend quasi en ligne droite "par de larges paliers successifs pour vaincre la pente", sur au moins 65 km.

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Fendu de-ci de-là de caniveaux pour l'écoulement des eaux de pluie, ce chemin empierré par les Incas descend vers Copacabana, au bord du lac Titicaca. Chaque année, le 6 août, des milliers de pèlerins aborigènes l'empruntent pour aller implorer la Mamacha, vierge indienne miraculeuse.

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Six pumas en haut relief ornent la façade d'un original palais aujourd'hui dit «Casa de los Pumas» (Casa Velarde) de la calle Santa Teresa.

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L'énorme rocher de l'adoratoire de Kenko, à 3 kilomètres du Cuzco, est ciselé à profusion de rigoles, de pitons, de marches, d'autels, d'animaux symboliques. Au centre du grandiose amphithéâtre creusé de dix-neuf niches-sièges en éventail se dressait un totem lithique en forme de puma assis.

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Unies à la verticale, ces six dalles plates et rectangulaires en porphyre rose, hautes d'environ 4 mètres, forment le monumental «Miroir du Soleil» d'0llantaytambo, au faîte du palais du Sinchi 0llanta, chef des Tampus de la Vallée sacrée qui osa s'opposer à Pachacutec par ses amours interdites avec Cusi Coylor, la princesse «Étoile Joyeuse».

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Dans le doux «Eden » de la Vallée tropicale sacrée des Incas s'étend à 3.100 mètres d'altitude le vaste complexe archéologique de Pisac, l'une des «capitales» impériales. Une trentaine de résidences au style raffiné entourent l'Intihuatana elliptique, voué au culte astral.

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A l'issue des obscurs dédales du «quartier des prisons» de Machu Picchu repose une dalle plate et triangulaire en forme de condor couché face au soleil levant. Entre la «collerette» de pierre et le bec recourbé, une rigole recueillait le sang fécondant des sacrifices qui s'écoulait jusque dans les entrailles de la Terre-Mère.

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Ce fardo funéraire d'un mètre de hauteur est visible au Museo de Antropologia y Arqueologia de Lima, Pérou. Quel dignitaire inca se cache derrière un masque d'apparat en cuivre? Quelle princière momie coiffée de fines nattes postiches, le front ceint d'un Ilauto à plumes jaunes, vêtue d'un uncu à dessins géométriques ceinturé d'une cordelière à pompons rouges, emporta pour son voyage posthume une besace aux lamas stylisés selon d'ancestrales traditions?..

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Tissée en coton, prolongée de franges abondantes, l'artistique chuspa d'un Indien coquero d'il y a six cents ans contenait encore sa provision de route de feuilles de coca. Le motif en étoile carrée du haut symbolise le lama céleste, géniteur et protecteur de l'espèce. (Museo regional de Ica, Pérou.)

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Précurseur du poncho indien, l'uncu inca aux dessins linéaires en cinq couleurs qui alternent à l'oblique avec des étoiles à huit pointes vient de la région de Chincha, sur la côte sud du Pacifique péruvien. Hauteur: 97 centimètres, largeur: 77 centimètres. (Museo nacional de Antropologia y Arqueologia de Lima, Pérou.)

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La «déesse des Neiges» reposait à 5.634 mètres d'altitude, sur le Pichu Pichu, l'un des trois volcans à «nom de chat» d'Arequipa. Protégés par une chape de glace et de cendres du «feu de la terre», des momies à colliers de turquoise et quarante crânes humains trépanés disposés en cercle parfait entouraient la petite idole d'or, haute de 8 centimètres. (Museo de la Universidad nacional de San Agustin, Arequipa, Pérou.)

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Cette autre petite idole féminine de la cime du Pichu Pichu, haute de 14 centimètres, est en argent. Elle était habillée de vêtements miniatures. (Museo de la Universidad nacional de San Agustin, Arequipa, Pérou.)

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Ce plat-fontaine cérémoniel en argent du culte de l'Eau provient de Andahuaylillas, aux environs du Cuzco. Devant l'aryballe sur le rebord, on distingue un petit personnage mâchant la coca, et l'abreuvoir aux lamas dont Fun est couché et l'autre sans tête. Cette très rare qocha est percée de trois orifices par où s'écoule le liquide. (Museo e Instituto de Arqueologia de la Universidad nacional del Cuzco, Pérou.)

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Haute de 24 centimètres, lourde de 550 grammes, cette «vierge» d'or pur fut retrouvée dans une sépulture de Hualla Hualla, au pied du Nevado Ausengate, sommet déifié du Cuzco. Dix lames d'or soudées et repoussées modèlent cette conopa, splendide pièce de l'orfèvrerie inca. L'aryballe d'or modèle réduit, haut de 10 centimètres, est originaire d'Acomayo. (Museo e Instituto de Arqueologia de la Universidad nacional del Cuzco, Pérou.)

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Tumi de Pukamoqo (Cuzco) en Ilaqsa ou tumbaga, le savant alliage d'or, de cuivre et d'étain des orfèvres impériaux. Le manche de la hache sacrificielle est surmonté d'une tête de lama aux oreilles et yeux de cuivre pur. Hauteur: 19,5 centimètres. (Museo e Instituto de Arqueobogia de la Universidad nacional del Cuzco, Pérou.)

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Ce charmant lama miniature (41 millimètres) en argent ornait une sépulture du volcan Quimal, sommet, culminant à 4303 mètres, de la cordillère de Domeyco, au Chili. (Museo de San Pedro de Atacama, Chili.)

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Souvenir de la conquête inca en Equateur, ce bracelet d'argent haut de 11cm et 10,5 centimètres, figure an Museo del Banco central de Quito, Equateur.

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Cette coquille spiralée d'escargot est une céramique inca de l'Equateur. Elle contient un petit récipient dont l'ouverture mesure 4,5 centimètres de diamètre. Largeur 18 cm - hauteur 9 cm (Museo del Banco central, Quito, Equateur.)

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Ullti de basalte noir soigneusement poli, en forme d'alpaca. On distingue la longue toison et l'épais jabot de laine soyeuse de l'un des auquénidés des Andes. Offrande votive, l'ullti au dos creux fait partie du culte agricole visant à obtenir la fertilité de la terre qui nourrit les troupeaux d'alpacas (longueur: 23 centimètres). (Museo e Instituto de Arqueologia de la Universidad nacional del Cuzco, Pérou.)

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Très lourd récipient liturgique, sculpté dans la pierre. Circulaire, il mesure, d'une anse à l'autre, 59 centimètres. Des amarus lovés en spirale ou serpentant l'entourent (diamètre intérieur: 31,5 centimètres). (Museo e Instituto de Arqueologia de la Universidad nacional del Cuzco, Pérou.)

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Quadrangulaire, ce réceptacle cérémoniel en pierre, lié au culte de l'eau, est orné au fond, en haut-relief, d'un batracien. Tout autour, quatre soleils entre douze ranas que soulignent quatre serpents bicéphales à tête de condor semblent rappeler le thème favori de Tiahuanaco, lieu de la genèse mythique des Incas (largeur: 19,5 centimètres; longueur: 24 centimètres; hauteur: 6,5 centimètres). (Museo e Instituto de Arqueologia de la Universidad nacional del Cuzco, Pérou.)

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Enigmatiques et impérissables «testaments» de l'Empire inca du Tahuantinsuyo, les temples s'ouvrent majestueusement sur Inti Cancha, la place cérémonielle du haut quartier magico-religieux de Machu Picchu, que surplombent les quatorze terrasses pyramidales de l'observatoire et acropole solaire où se trouve l'Intihuatana.

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Absolument invisible depuis le fond du sauvage canyon de l'Urubamba, dressée à 2500 mètres d'altitude dans l'ombre du Huayna Picchu, enchâssée dans un imprenable piédestal granitique, la fantomatique «Cité perdue» de Machu Picchu le demeura au sens réel du mot durant quatre cents ans avant que ne la retrouve miraculeusement, en 1911, l'explorateur américain Hiram Bingham.

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Piquillacta: De curieuses figurines en turquoise ont été mises au jour dans ce grand centre pré-inca (Culture Huari 800-1200 ap. J.-C.) qu'occupèrent ensuite les empereurs du Cuzco. (Museo e Instituto de Arqueologia de la Universidad de Cuzco)

Between Cuzco and Abancay, at an altitude of 3,500 meters, emerges a fascinating monolith! Carved in a lava dome more than 2 meters high, between “temples”, lagoons-receptacles and canals, stand out some two hundred allegorical figures: lying dead, pumas, snakes, vicuñas, monkeys, lizards, toads and scorpions. Perhaps Sayhuite's stone “model” was linked to spells and rites of pluviomagic ... - 1969

"Las Ventanillas de Otuzco" is an archaeological site in the district of Baños del Inca, 8 km northwest of the city of Cajamarca. The individual windows are tombs from the pre-Inca period. - 1976

Double vase with monkeys - height 16 cm - Inca Norteño - Museo Brüning Lambayeque - 1976

Double jug with monkeys - Inca costeño - height 17 cm - around 1370 - Museo Regional Ica - 1976

Double jug with bird - Inca - Colonia (transition) - excavation in Tacaraca, Ica - 15th century - Regional Museum of Ica - 1976

Jug or barrel, width 18 cm - excavation in Tacaraca, Ica - around 1370 - Museo Regional Ica - 1976

Vessel with 2 sun virgins and the Qantú flower - height 11 cm - in Quechua it is called Aisana - Museo Arqueológico Cuzco - 1976

Unique vases, height 34 cm, with sun virgins, stylized puma head and the Qantú (Cantuta = national flower) - found in Limaqpampa, Cuzco - Museo Arqueológico Cuzco - 1976

Inca Lambayeque ceramics – man, 23 cm high - Museo Brüning Lambayeque - 1976

Inca norteño - cat with open mouth - height 19.5 cm - Museo Brüning Lambayeque - 1976

Inca Norteño - Black ceramic - length 26 cm - Museo Brüning Lambayeque - 1976

Ceramic container in the shape of a house - height 23.5 cm - on the bottom side with a puma head - Inca Culture - Museo Banco Central Quito - 1976

Glossy black ceramic - Head - height 29 cm - Chimú-Inca - Museo Brüning Lambayeque - 1976

Ceramic - Snake with decorations - length 39 cm - Inca norteño - Pacha type for water worship - Brüning Lambayeque Museum - 1976

Inca ceramic - height 13 cm - Museo Banco Central Quito - 1976

Inca vessel in the shape of a human head with stylized braids - height 17 cm - Cuzco area - Cuzco Archaeological Museum - 1976

Black ceramic - Chicha charger - Chimú-Inca - Origin Lambayeque Region - Brüning Lambayeque Museum - 1976

Jar with head - Inca costeño - Nazca Valley - height 18 cm - around 1370 - Regional Museum of Ica - 1976

Huaco with truncheon (star to hunt) - Chimú-Inca - height 17 cm - Brüning Lambayeque Museum - 1976

Jar - Tallán to Inca transition - 1470 to 1532 - Late Chimú - height 25 cm - Brüning Lambayeque Museum - 1976

Inca ceremonial ax with feline and turquoise inlays - 24 cm - Museo Banco Central Quito - 1976

Inca silver pectoral - width 15 cm - Museo Banco Central Quito - 1976

Inca silver pectoral - width 16 cm, height 13 cm - Museo Banco Central Quito - 1976

Golden lama - Origin: Teteqaqa, near Cuzco - height 82 mm - Cuzco Archaeological Museum - 1976

Musicians - Inca Norteño - weight 3 g each, height 33 mm - silver, copper and gold alloy - 15th century - Brüning Lambayeque Museum - 1976

Silver vase with two heads - Inca Costeño - around 1370 - Pisco valley - height 20 cm - Regional Museum of Ica

Solid silver Inca idol (hunchback) - Cuzco region - height 6 cm - Museum 'Oro del Perú' Miguel Mujica Gallo - Lima - 1977

Inca idol from the top of the Pichu Pichu volcano (5500 m) - Height 14 cm - Museum of the National University of San Agustín, Arequipa - 1976

Silver Inca idol - Cuzco Region - height 10.5 cm - Museum 'Oro del Perú' Miguel Mujica Gallo - Lima - 1977

Solid silver Inca idol (hunchback) - Cuzco region - height 6 cm - Museum 'Oro del Perú' Miguel Mujica Gallo - Lima - 1977

Inca culture gold idol - height 24 cm - weight 550 g - found in a tomb at the foot of the Ausangate mountain - Museum and Institute of Archeology of the National University of Cuzco - 1976

Gold and silver idol - Inca culture - height 24 cm - the gold one weighs 550 g - found in a tomb of Hualla Hualla at the foot of the Ausangate mountain - Museum and Institute of Archeology of the National University of Cusco - 1976

Silver idol representing a woman - height 57 mm - from an Inca sanctuary at the top of the Pili volcano in Chile - 6050 m - Museo San Pedro de Atacama - 1976

Objects from a sanctuary inca at the top of the Pili volcano in Chile - 6050 m - above: bag of coca, feather duster, hair / below: cotton shirt, man carved in shell from the Caribbean Sea, poncho - Museo San Pedro de Atacama - 1976

Inca / Colonial - glass necklace - Regional Museum of Ica - 1976

Aríbalo - Inca culture - height 90 cm - Cuzco Archaeological Museum - 1976

Aysana - height 18.5 cm, with Virgin of the Sun (width 4 cm) - ceramics from the Cuzco area - Museo Arqueológico Cuzco - 1976

Aríbalo - Inca costeño - Ica valley - around 1370 - height 34 cm - Ica Regional Museum - 1976

Aríbalo - with representation of a man - Nazca Valley - around 1370 - height 32 cm - Museo Regional Ica - 1976

Aríbalo, urpu in Quechua - Inca costeño - around 1370 - height 19 cm - Museo Regional Ica - 1976

Aríbalo - Inca / Chancay Culture - comes from the Lauri site - height 30 cm - Amano Museum, Lima - 1976

Aríbalo with tassels - Inca Norteño - height 19 cm - Museo Brüning Lambayeque - 1976

Inca ear ornament - Cuzco region - diameter 43 mm, thickness 2 cm - Museo de Oro del Peru, Lima - 1977

Three ulltis or conopas, carefully polished alpaca figures made of black basalt used as votive offerings to the Pachamama - heights: 8 cm, 9.5 cm, 10 cm - Cuzco Archaeological Museum - 1976

Ceremonial vessel for the cult of water - length 25 cm, hole 10 cm diameter - Museum and Institute of Archeology of the University of Cuzco - 1976

Macana Inca Costeño in stone and Huarango wood - silver inlays and feathers - length 58 cm - Regional Museum of Ica - 1976

Kero of polychrome ceramic - Inca - height 13 cm - Museo Banco Central Quito - 1976

Classic Kero No. 49 - with platinum repair - Museum of the National University of San Agustín Arequipa - 1976

Kero from the transition period Inca colonial - with Tocapus ornaments - Cuzco zone - height 22 cm - Cuzco Archaeological Museum - 1976

Kero Nro. 50 - Archaeological Museum Cuzco - 1976

Kero Inca - The houses represent granaries (Qolqas) - with drawings of plants for food (white corn, two varieties of chili pepper) - height 24 cm - Cuzco Archaeological Museum - 1976

Kero with Tocapus in the center and flowers in the lower part - Inca-Colonial Transition - height 19.5 cm - Museo Arqueológico Cuzco - 1976

Kero Nr. 55 (back) - Museum of the National University of San Agustín Arequipa - 1976

Kero Nr. 55 - Museum of the National University of San Agustín Arequipa - 1976

Kero 'Selva' of Inca-Colonial transition - Cuzco area - height 18.5 cm - Cuzco Archaeological Museum - 1976

Kero with Tocapus - Inca-Colonial Transition - Museum of the National University of San Agustín - Arequipa - 1976

Kero Inca with feline and condors - Cuzco area - height 25 cm - Cuzco Archaeological Museum - 1976

Kero Inca with stylized puma head - Cuzco region - height 19 cm - Cuzco Archaeological Museum - 1976

Wooden Kero number 52 - height 19.5 cm - Period of transition to colonial Inca - with Tocapus = Inca letters - Museum of the National University of San Agustín - Arequipa - 1976

Wooden Kero No. 53 - Period of transition to colonial Inca - Museum of the National University of San Agustín - Arequipa - 1976

Wooden Kero number 52 - height 19.5 cm - Period of transition to colonial Inca - with Tocapus = Inca letters - Museum of the National University of San Agustín - Arequipa - 1976

Quipus Inca - Detail of a Quipus 3m long by 30cm high - Nazca Valley - Regional Museum of Ica - 1976

Tassel - Inca period - length 30 cm - National University of San Agustín, Arequipa - 1976

Coca bag - Inca - height 66 cm - Museum of Anthropology, Lima - 1977

Ceremonial shirt from the Inca period (Coast) - 15th century - height 88cm and width 77.5 cm - squares 75x75 mm - Nazca valley - Regional Museum of Ica - 1976

Unku of the emperor with central Tocapus, detail (88 different figures) - Archaeological Museum Cuzco - 1976

Fabric with decorations of stylized people and lamas - width 30 cm, height of people 37 mm - Inca costeño culture - Nazca valley - around 1370 - Regional Museum of Ica - 1976

Inca costeño fabric with representation of stylized feathers - around 1370 - Nazca Valley - width 26 cm - Regional Museum of Ica - 1976

Inca fabric - Lauri, Chancay - Amano Museum Collection - Lima - 1976

Inca Weaving from Pisquillo, Chancay - with Chacana - Amano Museum Collection, Lima - 1976

Inca-Chancay fabric - with green and red - Amano Museum Collection, Lima - 1976

Inca-Chancay fabric - with different browns - Amano Museum Collection, Lima - 1976

The internal drainage system of the terraces of Machu Picchu, created by the Incas, consisted of three layers, a first layer of mulch, a second of sand and a third of gravel. These layers allowed the water sucked in by the terraces not to flood the terraces, but to run downhill and be quickly absorbed without creating landslides that would endanger the city and its inhabitants. - 1976

Along the partly restored Barracas of the former farmers, 100 stairs with more than 3000 steps run down the slope. They connect 260 palaces, temples, sanctuaries, thermal baths, sacrificial altars, caves of mummies and "hanging gardens" and make Machu Picchu a "stone poem". . . a challenge of nature ... an unfathomable secret. - 1976

The imposing entrance to this palace in Ollantaytambo is amazing. Undoubtedly, the stone cones on the incredible "dice game" of the Incas were used for this purpose. Lifting the gigantic monoliths into place and putting them together without gaps. - 1976

Inca basket - diameter 19 cm - comes from an Inca grave in Solcor - Museum San Pedro de Atacama (province Antofagasta) - Chile - 1976

Character representing the Inca with offerings - Inca culture 1300-1400 - Height 21 cm - Museo Nacional de Arqueología del Instituto Nacional de Arqueología - Bolivia - 1976

"Las Ventanillas de Otuzco" is an archaeological site in the district of Baños del Inca, 8 km northwest of the city of Cajamarca. The individual windows are tombs from the pre-Inca period. - 1976

Rock paintings of Mazo Cruz, 4500 m above sea level (Puno department, Peru). Which Champollion will ever be able to interpret the 7000 to 10 000 year old wall frescoes of the "described stone" in the holy caves of Kelkatani? The dances of the hunters decorated with a wreath of feathers were painted with red ochre paint on a granite surface of 26 by 6 metres and bear witness to a mysterious highland civilisation. - 1976

Chavín Culture, Peru. The huge temple complex near the village of Chavín de Huántar behind the Cordillera Blanca gave its name to a culture whose influence around 1000 BC can be traced over a wide area and in later cultural forms, so that it can be called with some justification the mother culture. Recurring motifs are the jaguar or a mixture of predator, snake and condor and warriors with predator teeth, condor claws and snake hair or hair with condor heads. Here the main portal to the temple complex with the large ceremonial square in the foreground. - 1976

The Chavín culture, which we know mainly through its stonemasonry, belongs to the developmental period of pre-Columbian Peru. - 1969

The Chavín religion is characterised by a cult in honour of the condor. The very schematic representation of this giant vulture is also found on stone slabs that decorate the temple of the Chavín site in the Cordillera. - 1969

The Lanzón of Chavín is a sacred monolith or wanka that belongs to the Chavín culture. It is carved in irregular granite, 4.54 m high and is located in its original location in a sector of an interior gallery of the Old Temple of Chavín. It is called the "Lanzón" because it has the shape of a giant spire whose ends are firmly embedded in the floor and ceiling of the gallery. It has three sides covered with engraved motifs representing a deity with human features mixed with those of animals. It is the largest of the sculptures or monoliths preserved from the Chavín culture. - 1969

Chavín Culture, Peru. Recurring motifs are the jaguar as in this picture or a mixture of predatory cat, snake and condor and warriors with predator teeth, condor claws and snake hair or hair with condor heads. This relief plate is located at the edge of a circular square between the old and the new temple. - 1976

On one of these blocks is carved the image of a mythical creature that today's archaeologists call "Medusa", but in reality it is the representation of the same mythical creature of the New Temple period that was carved on the " Lanzón " of the Old Temple. - 1976

The heads of nails (Cabezas clavas) are a series of sculptures representing heads of cats, snakes and birds, combined with human features. They owe this name to the fact that they end like a nail in an extension, which meant that they could easily be embedded into the façade of the temple at symmetrical intervals. One theory assumes that they were the guardians of the temple. They were carved in sandstone of different consistency, quartzite and granite. Unfortunately, of the 56 who were there, only one is still on site. The others have disappeared or are kept in museums. - 1976

The heads of nails (Cabezas clavas) are a series of sculptures representing heads of cats, snakes and birds, combined with human features. One theory assumes that they were the guardians of the temple. They were carved in sandstone of different consistency, quartzite and granite. Unfortunately, of the 56 who were there, only one is still on site. The others have disappeared or are kept in museums. - 1969

The heads of nails (Cabezas clavas) are a series of sculptures representing heads of cats, snakes and birds, combined with human features. They have been carved in sandstone of different textures, quartzite and granite. Unfortunately, of the 56 that were there, only one is still on site. The others have disappeared or are kept in museums. - 1969

The heads of nails (Cabezas clavas) are a series of sculptures representing heads of cats, snakes and birds, combined with human features. They have been carved in sandstone of different textures, quartzite and granite. Unfortunately, of the 56 that were there, only one is still on site. The others have disappeared or are kept in museums - 1969

During the excavations in Chavín, fragments of stone slabs with anthropomorphic figures were found, probably belonging to a roof cornice. - 1969

This stele shows a figure of a magical-religious cult, under whose influence the whole of ancient Peru was under around 1000 BC. The figure carries a sceptre; hair and belt are made of snakes. Most of these peculiar representations of Chavín also have wings; fangs, cat's claws or birds of prey claws are characteristic features. - 1969

During the excavations in Chavín, fragments of stone slabs with anthropomorphic figures were found, probably belonging to a roof cornice. - 1969

Ceramic Huaco of the Chavín Culture - Private collection - Lima - 1969

One of the few, if not the only fabric preserved from the Chavín culture: painted cotton and again the familiar motifs of fangs, feather snakes and condor claws. - Museo Amano, Lima, Peru. - 1976

Detail from the temple complex of Cerro Sechín in the Valley of Casma on the Peruvian Pacific coast. The complex of around ninety monolithic slabs, some of them enormous, is attributed to the coastal Chavín style, although the reliefs have little in common with other ancient Peruvian stonework and show more similarities with the Mexican Monte Albán culture. - 1976

Detail from the temple complex of Cerro Sechín in the Casmatal on the Peruvian Pacific coast. The complex of around ninety monolithic slabs, some of which are enormous, is attributed to the coastal Chavín style, although the reliefs have little in common with other ancient Peruvian stonework and show more similarities with the Mexican Monte Albán culture. The figures in profile all look towards the main entrance of the temple. - 1976

Detail of a mummy cloth (manto) of the Paracas necropolis culture with human figures carrying fans and ceremonial staffs in their hands. Private collection. - 1969

Detail of a mummy cloth (manto) of the Paracas necropolis culture with a stylised reptile. The whole cloth has 9 figures and measures 2.50m x 1.18m. Museo Nacional de Antropología y Arqueología, Lima - 1977

Detail of a mummy cloth (manto) of the Paracas necropolis culture with four warriors with masks. In one hand they are holding a trophy head, in the other apparently a musical instrument. Four trophy heads hang from the trousers. Museo Nacional de Antropología y Arqueología, Lima - 1977

Detail of a mummy cloth (manto) of the Paracas necropolis culture. On the dress are trophy heads. Museo Nacional de Antropología y Arqueología, Lima - 1969

Detail of a mummy cloth (manto) of the Paracas necropolis culture with stylised birds. Museo Nacional de Antropología y Arqueología, Lima - 1969

Detail at the edge of a mummy cloth (manto) of the Paracas necropolis culture. Each person carries two trophy heads. Museo Nacional de Antropología y Arqueología, Lima - 1977

Detail of a mummy cloth (manto) of the Paracas necropolis culture with a stylised person carrying wings. Museo Nacional de Antropología y Arqueología, Lima - 1969

Detail of a mummy cloth (manto) of the Paracas necropolis culture with a stylised cat (11 cm). Museo de la Universidad Nacional de San Agustín - Arequipa - 1976

Chan Chan was the capital of the pre-Columbian Chimú Empire. Best preserved is the Tschudi area, named after the Swiss researcher Tschudi. The palace is now known as Palacio Nik-An. This area is being restored and is open to tourists. Here you can still see some of the banqueting halls with their magnificent decorations. - 1969

The "Huaca del Dragon", or as it is also called, rainbow temple, is located outside the city of Trujillo near Chan Chan. It is a large religious monument, ceremonial and administrative centre made of mud bricks, whose murals are decorated with relief friezes depicting anthropomorphic figures and depicting the rainbow in stylised form. - 1969

Detail eines Federkleides - Chimú-Kultur - Amano-Museum - Lima - 1976

Gold death mask - Chimú culture - width 32 cm - Museo Nacional de Antropología y Arqueología, Lima - 1977

Coastal ceramics influenced by the Chimú culture - Height 16 cm - Museo Regional de Ancash - Huaraz - 1976

Black, shiny ceramics of the Chimú-Inca culture - height 29 cm - Museo Arqueológico Brünning - Lambayeque - 1976

Chimú-Lambayeque Culture - XII. Century - Diameter: 10 cm - Weight 25 g - Burial figure dressed with an ornamental skirt and a burial mask on the face - consists of equal parts of gold, silver and copper - cast and hammered - Museo Arqueológico Brünning - Lambayeque - 1976

Two gold vases with turquoise inlays - - 1977

Gold vase of the Chimú culture - Height 20,5 cm, diameter on top 17 cm - Museo Nacional de Antropología y Arqueología - Lima - 1977

Gold vase and ear pendant of the Chimú culture - height of the vase 20,5 cm - diameter top 17 cm - Museo Nacional de Antropología y Arqueología - Lima - 1977

Bangle, pin and earrings of the Chimú culture - Private collection - 1969

Chimú breast jewellery - with 166 faces, silver figures - Origin: Lambayeque - Archaeological Museum Brünning - Lambayeque - 1976

The golden tumi of Íllimo was a knife or ceremonial axe of the Lambayeque culture (8th to 14th centuries), although it was long wrongly attributed to the Chimú culture. It was made of embossed gold leaf and inlaid with semi-precious stones. Its blade had a semi-circular shape and its handle was an elaborate representation of a deity, probably the mythical Naylamp mentioned in Spanish chronicles. It is the most famous example of old Peruvian goldsmithing. It was stolen from the Museum of Anthropology and Archaeology in Lima in 1981. The valuable stolen piece had the following dimensions: Total length 43.5 cm; length of the figure of the god 29 cm; length of the knife in the shape of a half-moon 14.5 cm; maximum width 15.5 cm. The weight was 1 kilogram. - 1977

Tumi of gold, ceremonial axe - Height 35,4cm - Weight 457,5 g - 22 carat - set with turquoise - Chimú culture - Museo Oro del Perú - Lima - 1977

Tumi of gold, ceremonial axe - Chimú culture - Private collection - Lima - 1969

Lambayeque culture - gold tumi with turquoise inlays, representing the deity "Naymlap" - 22 carat - weight 536 g - Museo Oro del Perú - Lima - 1977

Gold and silver cast brooch of the Chimú Lambayeque culture - hammered and embossed work - with shells and earrings in turquoise - 12th century - Height 4.5 cm, weight 7 g - Museo Arqueológico Brünning - Lambayeque - 1976

Detail of a pre-Inca fabric. Height 43 cm, width 29 cm. There are 15 motifs on the fabric, it measures 3.22 m by 1.57 m. - Museo Puruchuco - Lima - 1976

Detail of a pre-Inca fabric. There are 15 motifs on the fabric and it measures 3.22 m by 1.57 m. - Museo Puruchuco - Lima - 1976

Feather hat - 12th century - Contents of a burial bundle - Ceremonial dress of feathers interspersed with silver - Puruchuco Museum - Lima - 1976

Fabrics of wool and cotton - Mochica culture - Origin Chiquitoy, Trujillo - Museo Amano - Lima - 1976

Tissue of the Nazca Culture - Museo Nacional de Antropología y Arqueología, Lima - 1977

Gold bracelet of the Nazca culture - Colobri figures in flight and rings in high relief - 18 carat - Weight 60 g - Length 14.2 cm, width 7 cm - Museo Oro del Perú - Lima - 1977

Bottle with double spout and bridge from the Nazca culture depicting a Nazca god - age ca. 1700 years - height 22 cm - found in the Hacienda Cahuachi - Department Ica - Regional Museum of Ica - 1969

Bottle with double spout and bridge from the Nazca culture depicting a Nazca god - age ca. 1700 years - height 22 cm - found in the Hacienda Cahuáchi - Department Ica - Regional Museum of Ica - 1969

Ceramic drinking vessel of the Nazca culture in the shape of a fish - Museo Regional de Ica - 1969

Nazca culture ceramic bottle - Museo Regional de Ica - 1969

Nazca culture ceramic bottle representing a monkey - Museo Regional de Ica - 1969

Bottle with double spout and bridge from the Nazca culture - Private collection, Lima - 1969

Nazca culture ceramic vase - Private collection, Lima - 1969

Doll from Chancay - Height 35 cm - Private collection - Lima - 1976

Doll from Chancay - Height 34 cm - Private collection - Lima - 1976

Belt with male figures in cotton and wool - width 10,2 cm - Museo Amano - Lima - 1976

Chancay fabric with stylised personified animals - Height 22.5 cm - Width 8 cm - Museo Nacional de Antropología y Arqueología, Lima

Vicús culture ceramic vase - Museo Regional de Ica - 1969

Vicus-Frías culture - golden hair remover - 20 carats - weight 41,5 g - height 13 cm - Museo "Oro del Perú" Miguel Mujica Gallo - Lima - 1977

Ceramic of the Mochica culture - Private collection - 1969

Ceramic huaco of the Chimú culture - Private collection - Lima - 1969

Ceramic huaco of the Mochica culture - Private collection - Lima - 1969

Ceramic huaco with a toucan - culture Mochica - Private collection - Lima - 1969

Big pot with cat relief - tricolour - 3 cats with body and head - found in Jancu near Huaraz, Ancash - culture Recuay - Regional museum of Huaraz - 1976

Huaylas ceramics - Representation of the sun deity on the back. Height 17,5 cm - Place of discovery Jancu near Huaraz, Ancash - Museo Regional de Huaraz - 1976

Ceramic vessel Huaylas with a cat-like creature in negative painting - Height 23 cm - Place of discovery Jancu near Huaraz - culture Recuay - Museo Regional de Huaraz - 1976

Ceramics of the culture Santa, Huari period, with two monkeys and snakes with human head - Height 20,5 cm - Museo Regional de Huaraz - 1976

Ceramics of the culture Santa, Huari period, with two monkeys and a musician playing on the zampoña - on the vessel a stylized cat animal is painted - Height 26 cm - Museo Regional de Huaraz - 1976

Human figure with child carved in stone - Height 84 cm - culture Recuay - Museo Regional de Huaraz - 1976

Human figure carved in stone - Height 97 cm - culture Recuay - Museo Regional de Huaraz - 1976

Stone slab with man and two pumas - width 1.65 m - culture Recuay - Museo Regional de Huaraz - 1976

Stone slab with two pumas and two birds - height 57 cm - culture Recuay - Museo Regional de Huaraz - 1976

Stone slab with two pumas and a human holding two trophy heads - Height 38 cm, width 1.69 m - Height of the human 32 cm - culture Recuay - Museo Regional de Huaraz - 1976

Stone figure of the Huaylas type - Private collection - Lima - 1969

Very often, on the heights of the Collao Altiplano around Lake Titicaca, one finds those strange monolithic chullpas, mummy graves of high leaders and members of a mysterious race that existed "before the sun rose". In Sillustani, on the Umayo peninsula on the lake of the same name, there are twelve tomb towers, some of which have collapsed. - 1976

Very often, on the heights of the Collao Altiplano around Lake Titicaca, one finds those strange monolithic chullpas, mummy graves of high leaders and members of a mysterious race that existed "before the sun rose". In Sillustani, on the Umayo peninsula on the lake of the same name, there are twelve tomb towers, some of which have collapsed. - 1969

Very often, on the heights of the Collao Altiplano around Lake Titicaca, one finds those strange monolithic chullpas, mummy graves of high leaders and members of a mysterious race that existed "before the sun rose". In Sillustani, on the Umayo peninsula on the lake of the same name, there are twelve tomb towers, some of which have collapsed. This tower has the relief of a lizard. - 1969

Detail of the wall of a square Chullpa of Cotimbo near Puno on Lake Titicaca. - 1969

The square shape of a Chullpa is very rare - Cotimbo near Puno on Lake Titicaca - 1969

Very often, on the heights of the Collao Altiplano around Lake Titicaca, one finds those strange monolithic chullpas, mummy graves of high-ranking leaders and members of a mysterious race that existed "before the sun rose". The blunt, 12 m high burial tower of Cutimbo, near Puno, has a relief with pumas at its base.

This puma head is part of a well in Juli - Puno - 1976

Detail of a Tiahuanaco fabric, 160x62 cm, made of cotton and wool - Origin: Campanario, Huarmey - Amano Museum - Lima - 1976

Tiahuanaco warrior mummy from the coast - Nazca Valley - Regional Museum of Ica - 1976

Burial bundles of the coastal Tiahuanaco culture - Nazca Valley - 11th century - Regional Museum of Ica - 1976

Tiahuanaco fabric with four hands in red - Amano-Museum - Lima - 1976

Tiahuanaco culture ceramic vessel - Private collection Pelloni - Lima - 1969

Plate of the coastal Tiahuanaco culture - Nazca valley - 11th century - diameter 26 cm - Regional Museum of Ica - 1976

Coastal Tiahuanaco - Vessel with anthropomorphic representation of a warrior - Nazca valley - Height 32 cm - 10th century - Ica Regional Museum - 1969

Coastal Tiahuanaco - Vessel with anthropomorphic representation of a warrior - Nazca valley - Height 32 cm - 10th century - Ica Regional Museum - 1976

Ceramics of the coastal Tiahuanaco culture in the form of a man (priest?) with a Kero in his hands - 11th century - Nazca Valley - Museo Regional de Ica - 1976

Ceramics of the Chorotega Indians from the island of Ometepe in Lake Nicaragua. This is the world's largest volcanic island in a freshwater lake with about 270 km². - Height of the pottery 38 cm. - 1977

This engraving of a bird is located near Estelí, a town in the north of Nicaragua. It is located 148 km north of Managua on the Panamericana in the central highlands at an altitude of about 840 m and surrounded by mountains up to 1600 m. In pre-Columbian times, the area was settled by the Chorotegas, who called the area Estelí (i.e. blood river). - 1977

The M stele and the "Escalinata de Jerogíficos" which stand in the ruins of Copán. This Mayan archaeological site is located in the mountainous western part of Honduras, in the middle of the tropical forest. Numerous monuments and fully engraved stone stelae have been reported there. These are three to four metres high and usually evoke the shape of a figure. The figure is accompanied by glyphs and a system of dots and lines which have made it possible to date the stele. This is baroque art where the attention to detail has been pushed to the extreme. Nevertheless, these monuments are never too heavy given their exceptional dimensions. This stonework is a testimony to the incomparable talent of the Maya sculptors of the old empire. - 1977

Detail on a wall in the ruins of Copán. This site, which is significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest. - 1977

Stele D in the ruins of Copán. This site, which is significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest, not far from the border with Guatemala. - 1977

Stele in the ruins of Copán. This site, which is significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest, not far from the border with Guatemala. - 1977

Stele B in the ruins of Copán. This Mayan archaeological site is located in the mountainous western part of Honduras, in the middle of the rainforest. Numerous monuments and fully engraved stone stelae have been reported there. These are three to four metres high and usually evoke the shape of a figure. The figure is accompanied by glyphs and a system of dots and lines which have made it possible to date the stele. This is baroque art where the attention to detail has been pushed to the extreme. Nevertheless, these monuments are never too heavy given their exceptional dimensions. This stonework is a testimony to the incomparable talent of the Maya sculptors of the old empire. - 1977

A head in the ruins of Copán. This site, significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest, not far from the border with Guatemala. - 1977

A head with a round mouth in the ruins of Copán. This site, significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest, not far from the border with Guatemala. - 1977

Altar L in the ruins of Copán. This site, significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest, not far from the border with Guatemala. - 1977

In the mountainous area of northern Guatemala, near the provincial capital of Huehuetenango, stand the ruins of Zaculeu. Some archaeologists place these glorious remains chronologically before the Maya of the first empire (Culture Mam). However, there is no unanimous agreement among scholars on this subject. The ruins of Zaculeu have been partially restored. The usefulness of some of these interventions could be questioned. Nevertheless, the site occupies a fairly large area and is set in a splendid landscape that is well suited to seduce the traveller. Moreover, from an ethnographic point of view, the Huehuetenango region is rich and deserves a visit. - 1977

In the mountainous area of northern Guatemala, near the provincial capital of Huehuetenango, stand the ruins of Zaculeu. Some archaeologists place these glorious remains chronologically before the Maya of the first empire. However, there is no unanimous agreement among scholars on this subject. The ruins of Zaculeu have been partially restored. The usefulness of some of these interventions could be questioned. Nevertheless, the site occupies a fairly large area and is set in a splendid landscape that is well suited to seduce the traveller. Moreover, from an ethnographic point of view, the Huehuetenango region is rich and deserves a visit. - 1977

The Jaguar Pyramid of Tikal (or Tik'al, according to modern Maya spelling), which is one of the largest urban centres of the pre-Columbian Maya civilisation. It is located in the municipality of Flores in the department of Petén and is part of the Tikal National Park. - 1977

The Jaguar Pyramid of Tikal (or Tik'al, according to modern Maya spelling), which is one of the largest urban centres of the pre-Columbian Maya civilisation. It is located in the municipality of Flores in the department of Petén and is part of the Tikal National Park. At the foot of the structure, one can recognise stelae one to two metres high, often laid out in a straight line, with strange signs and hieroglyphics. - 1977

The city of Tikal is located in the north of Guatemala, in the heart of the Petén jungle. It is one of the largest sanctuary cities in the classical Maya world, covering an area of at least 100 square kilometres. North American archaeologists have been studying this extraordinary site for several years now. Their work is all the more commendable because archaeological excavations are very difficult in the forest. The exuberant vegetation, kept alive by the heat and the year-round humidity, makes it difficult to carry out large-scale research. It is calculated that only one-sixteenth of the city has been studied to date, and this despite the greatest difficulties. The site shows a series of palaces, temples and pyramids. Some of the latter, which are nearly sixty metres high, dominate the jungle. Some of these amazing constructions represent a mass of material estimated at 200,000 cubic metres! This figure, in truth, leaves one dreaming. Almost vertical staircases lead to the upper part of these pyramids, which is a platform on which an often highly decorated temple still stands. Unfortunately, rain erosion, which is almost constant in the forest, has caused the destruction of many of these works of art. At the foot of the buildings and often forming alignments, one can see steles of one to two metres in height, covered with strange engravings and hieroglyphs. - 1977

Temple II of Tikal (or Tik'al, according to modern Maya spelling), which is one of the largest urban centres of the pre-Columbian Maya civilisation. It is located in the municipality of Flores in the department of Petén and is part of the Tikal National Park. At the foot of the structure, one can recognise stelae one to two metres high, often laid out in a straight line, with strange signs and hieroglyphics. - 1977

Temple complex of Tikal (or Tik'al, according to modern Mayan spelling), which is one of the largest urban centres of the pre-Columbian Mayan civilisation. It is located in the municipality of Flores in the department of Petén and is part of the Tikal National Park. - 1977

Stele 22 in the temple complex of Tikal from the year 771, built under the ruler Yax Nuun Ahiin II. - 1977

Detail of a stele from Tikal in Guatemala. Most of these Mayan-made artworks feature figures and hieroglyphs that have long been studied by archaeologists. The engravings, executed with remarkable mastery, depict people and mythological animals and are often accompanied by symbolic signs representing the days of the year. A witty system of dots and dashes marks the series of numbers invented by the pre-Columbian peoples of Central America. - 1977

Stele 9 in the temple complex of Tikal from the year 475, built under the ruler Kan Chitam. - 1977

Detail of a stone stele from the Maya site of Quiriguá in Guatemala. This remains are believed to date back to 766 AD. Most of the monuments left by the Maya are covered with figures and hieroglyphs that have long attracted the attention of archaeologists. This is the case of the stelae that are often found in large numbers in most of the pre-Columbian sites in Guatemala, Mexico and Honduras. These engravings, executed with remarkable mastery, represent characters as well as mythological animals, often accompanied by symbolic signs representing the days of the year. An ingenious system of dots and lines illustrates the numbering system invented by the pre-Columbian peoples of Central America. - 1977

Stele Maya in Quiriguá, which is an archaeological site of the ancient Maya civilisation in the department of Izabal in north-eastern Guatemala. It is a medium-sized site of about 3 km² located on the lower reaches of the Motagua River, with its ceremonial centre 1 km from the north bank of the river. - 1977

A small pot from the Maya culture made of clay. It is a polychrome almost cylindrical bowl in the style of Tepeu I from the Petén. Diameter 12 cm, height 13 cm. - Museo Nacional de Arqueología y Etnología de Guatemala en Ciudad de Guatemala - 1977

A polychrome pot of the Maya culture made of clay. It is a Magdalena phase bowl with human motifs and hieroglyphics. The place of discovery is San Agustín Acasaguastlán. Diameter 14.3 cm, height 20.5 cm. - Museo Nacional de Arqueología y Etnología de Guatemala en Ciudad de Guatemala - 1977

Funerary vase from temple no. 1 in the ruins of Tikal, Guatemala. It is a polychrome ceramic vessel with a height of 29.8 cm and a diameter of 17.3 cm. This beautiful example dates back to 700 AD. (Museo Nacional de Tikal). The vase represents two figures. One of them is seated; he seems to occupy a particularly important place in the social hierarchy of his group judging by the way he is dressed and the monumental headdress he wears. A number of hieroglyphs and essentially symbolic decorations can also be seen on this pottery, which are closely related to the scene depicted. These signs make it possible to date the funerary vessel with a fair degree of accuracy. Indeed, archaeologists have come to the conclusion that the vessel is about 1300 years old. The colours used are extremely delicate and show both the taste and the incomparable mastery of pre-Columbian artists. The manufacturing techniques were nevertheless very basic, as the Indians did not know how to use a lathe. The method known as the "colombin", known to other populations of the continent, was very widespread among the ancient Maya. It is still used today in many parts of the American continent. It consists of using small clay rods which, when welded together, make it possible to create the desired container. - 1977

Burial vase from temple no. 1 in the ruined fields of Tikal in Guatemala. It is a multi-coloured ceramic of 29.8 cm height. The diameter of the opening is 17.3 cm. This beautiful piece is thought to have been made around 700 AD and is in the Museo Nacional of Tikal. The vase shows two people, one of whom is seated and seems to occupy a high rank in the hierarchy of the community, judging by her clothing and the powerful headdress she wears. One also notices a number of hieroglyphs and symbolic decorations closely related to the scene depicted. These signs make it possible to determine fairly precisely when the vase was made. Archaeologists believe that it must be about 1300 years old. - 1977

Carved and engraved jade pectoral from the site of Nebaj (Quiché department) in Guatemala. It is 14.5 cm wide and 10.2 cm high (Museo Nacional de Arqueología y de Etnología de Guatemala). This magnificent piece belongs to the late classical Maya civilisation. It proves that the Indian craftsmen worked with an unquestionable mastery of the most diverse materials, be it stone, clay or wood. Imitating their illustrious predecessors of the Formative period, the Olmecs, the Maya used jade, which they imported from the mountainous regions of the continent. From this stone they made a multitude of statuettes, ornaments and representations of their gods. Some of these jade pectorals are often covered with fine engravings that represent figures seen in profile and in the most diverse poses. They have a characteristic face that can still be found today among many Indians of the high plateaus of Mexico and Guatemala. - 1977

Polychrome terracotta vase from the Late Classic Maya period (Chama style) probably representing a priest wearing an impressive headdress made of rainforest bird feathers. This example is 21 cm high; the diameter of the opening is 13 cm (Museo Nacional de Arqueología y Etnología de Guatemala). Maya ceramics, of which a great number of samples have been collected, went through four stages of evolution, from the simplest and most utilitarian forms to more and more complicated, even baroque, ritual vessels and anthropomorphic pieces representing clergy or nobility. Other clay pieces are in the form of mythological animals. The study of these ceramics and their ornamentation has enabled specialists to supplement the information obtained from excavations carried out in the different regions occupied by the Maya throughout the pre-Columbian period. - 1977

Polychrome ceramic plate from tomb no. 33 at Tikal. The interior shows a person dressed in jaguar skin. Diameter 30.5 cm, height 10 cm. - Museo Nacional de Tikal, Guatemala. - 1977

Ceramic plate from tomb no. 33 at Tikal. The figure represents the deity Tchac. Diameter 48 cm. - Museo Nacional de Tikal, Guatemala. - 1977

Stone tombs on a slope near In-Affelalea, in the south of the Tassili. - Algeria - 1975

At El Beyed, Mauritania, although no palaeontological documents are available, a very important Acheulean deposit, characterised mainly by bifaces and choppers, outcrops on the present ground. The position of the geological layers in which the industries are found gives a first chronological approach. But, of course, it is not known to which human type they belong. No serious excavations have yet been carried out in this region, which is becoming increasingly rich.

That man populated even the most desolate places in the Sahara is amply attested by the countless worked implements he left there. But the quern-stone for grinding grain, seen here together with the handstone, and elsewhere the ceramic containers still filled with grain seem to have been suddenly abandoned, as if a brutal upheaval had forced the people to flee. Perhaps there was a sudden lack of water ... Historically, it is possible that this happened and those affected all died of thirst. (Erg d' Admer, Algerian Sahara). - Algeria - 1975

This prehistoric millstone was found in the north of Erg Bréard. It is located east of the Aïr Mountains in the Ténéré. - Niger - 1975

Stone mill found near site 11 in Enneri Blaka - Niger - 1975

These pottery sherds come from the Adrar Bous area - West Ténéré - Niger - 1975

At Terarart, south of Djanet, you will not only find the highly stylised but carefully executed Weeping Cattle on a group of rocks, which are among the most beautiful Saharan rock art has left behind. If you are lucky, you will also find Neolithic stone axes in the sand.

Probably the most common evidence of the Neolithic in the Sahara are arrowheads. - The polished axe must have been the primary weapon or implement of Neolithic man. Thousands of them have been found, and the beauty of its shape and the fine grain of the minerals chosen are a source of admiration. – Site 1 - Enneri Blaka - Niger – 1975

These prehistoric pottery shards and bones come from the Adrar Bous area - West Ténéré - Niger - 1975

These giraffes can be found in the lower part of the Oued Tagueït. Do they come from the pastoral period? - Aïr - Niger - 2002

In the lower part of the Oued Tagueït - end of the pastoral period. Five highly stylised giraffes. From the head to the base of the legs of the largest giraffe: 0.95 metres. - Aïr - Niger - 2002

In the lower part of the Oued Tagueït - Punched giraffe and ostriches on boulders. Height of the stone: 0.50 m. - Aïr - Niger - 2002

Punched giraffe and cattle on a boulder between Arakao and the grotto at the big dune - Aïr - Niger - 2002

There are many rock engraving sites in the Oued Arakao. - Aïr - Niger - 1999

Abri Ilem - A shelter with rock art - Tamgak - Aïr - Niger - 2001

The giraffes of Dabous are life-size rock engravings of two giraffes in the Sahara from the Neolithic period. They are located on the sloping top of a sandstone block about 15 metres high and cannot be seen from the ground. The larger, male giraffe is 5.8 metres high from horns to hooves and is one of the largest rock engravings of its kind in the world. The female giraffe, which also carries a rope from its nostrils, measures 3.02 metres from head to tail tip. It is estimated to be between 7,000 and 10,000 years old. The giraffes are characterized by their great attention to detail and the preservation of proportions. - Niger - Aïr - 1999

Shelter with rock paintings near the well of Afis - Niger - Aïr - 2001

An overview of the two previous photos.

The Windows of Otuzco (Ventanillas de Otuzco) are a significant archaeological necropolis dating from the pre-Inca period (Cajamarca culture, c. 200–800 AD). They are situated approximately 8 km north-east of the city of Cajamarca at an altitude of around 2,850 metres. Hundreds of window-like, rectangular burial niches are carved deep into a steep cliff face of volcanic rock. The individual niches served as separate burial sites, arranged one above the other, in which the region’s ancestors laid their dead to rest. – Northern Peru – 1976

Chan Chan was the capital of the pre-Columbian Chimú Empire. Best preserved is the Tschudi area, named after the Swiss researcher Tschudi. The palace is now known as Palacio Nik-An. This area is being restored and is open to tourists. Here you can still see some of the banqueting halls with their magnificent decorations. - 1969

The "Huaca del Dragon", or as it is also called, rainbow temple, is located outside the city of Trujillo near Chan Chan. It is a large religious monument, ceremonial and administrative centre made of mud bricks, whose murals are decorated with relief friezes depicting anthropomorphic figures and depicting the rainbow in stylised form. - 1969

Golden Chimú death mask (width 31 cm). Private collection, Switzerland. - Book: Picture 50 - Peru - 1969

A golden figurine known as the ‘Ídolo de Frías’ – so named because it is crafted in the Frías style – but which is attributed to the Vicús culture on the northern Peruvian coast. It was hammered and soldered from 16-carat gold (height 15.5 cm, weight 60 g). Brüning Archaeological Museum, Lambayeque, Peru. - Book: Picture 64 - Peru - 1977

Ceramic statue of Naymlaps, the mythical founder of the Chimú Empire (height 18 cm). Brüning Archaeological Museum, Lambayeque, Peru. - Book: Picture 49 - Peru - 1976

Bas-relief of a human figure (height 25 cm) from the Recuay culture in the Santa Valley, Peru, dating from the Classical period. Museo Regional de Ancash, Huaraz, Peru. - Book: Picture 73 - Peru - 1976

Relief of a warrior with a head trophy and shield (height 32 cm). Recuay culture. Museo Regional de Ancash, Huaraz, Peru. - Book: Picture 74 - Peru - 1976

Chavín Culture, Peru. The huge temple complex near the village of Chavín de Huántar behind the Cordillera Blanca gave its name to a culture whose influence around 1000 BC can be traced over a wide area and in later cultural forms, so that it can be called with some justification the mother culture. Recurring motifs are the jaguar or a mixture of predator, snake and condor and warriors with predator teeth, condor claws and snake hair or hair with condor heads. Here the main portal to the temple complex with the large ceremonial square in the foreground. - 1976

The Portada de las Falcónidas (also known as the Black-and-White Portal) at the archaeological site of Chavín de Huántar in the Ancash region of Peru. It is the magnificent main entrance to the New Temple of the pre-Inca Chavín culture, which flourished between approximately 1500 and 300 BC. The portal is supported by two cylindrical stone columns engraved with complex mythological reliefs (falcon-like or bird-of-prey creatures). The name derives from the differently coloured stone blocks (black limestone and white granite) used in the architecture of this ceremonial area. – Peru – 1969

The heads of nails (Cabezas clavas) are a series of sculptures representing heads of cats, snakes and birds, combined with human features. They owe this name to the fact that they end like a nail in an extension, which meant that they could easily be embedded into the façade of the temple at symmetrical intervals. One theory assumes that they were the guardians of the temple. They were carved in sandstone of different consistency, quartzite and granite. Unfortunately, of the 56 who were there, only one is still on site. The others have disappeared or are kept in museums. - 1976

Chavín culture, Peru. The immense temple complex near the village of Chavín de Huántar, behind the Cordillera Blanca, where these relief slabs are found, gave its name to a culture whose influence can be traced over a wide area and in later cultural forms, so that it may, with some justification, be described as a ‘mother culture’. Recurring motifs include the jaguar or hybrid creatures combining big cats, snakes and condors, as well as warriors with predator’s teeth, condor’s talons and snake’s hair (this image) or hair adorned with condor heads. - Book: Picture 45 - Peru - 1976

Chavín culture, Peru. The immense temple complex near the village of Chavín de Huántar, behind the Cordillera Blanca, in which these relief slabs are found, gave its name to a culture whose influence can be traced over a wide area and in later cultural forms, so that it may, with some justification, be described as a ‘mother culture’. Recurring motifs include the jaguar (this image) or hybrid creatures combining a big cat, a snake and a condor, as well as warriors with predator’s teeth, condor’s talons and snake’s hair, or hair with condor’s heads. - Book: Picture 44 - Peru - 1976

Detail from the temple complex of Cerro Sechín in the Casmatal on the Peruvian Pacific coast. The complex of around ninety monolithic slabs, some of which are enormous, is attributed to the coastal Chavín style, although the reliefs have little in common with other ancient Peruvian stonework and show more similarities with the Mexican Monte Albán culture. The figures in profile all look towards the main entrance of the temple. - 1976

Detail from the temple complex at Cerro Sechín in the Casma Valley on the Peruvian Pacific coast. The complex, comprising around ninety monolithic slabs—some of them enormous—is attributed to the Coastal Chavín style, although the reliefs bear little resemblance to other ancient Peruvian stone carvings and show greater similarities to the Mexican Monte Albán culture. The figures, depicted in profile, all face the main entrance to the temple. - Book: Picture 46 - Peru - 1976

Detail from the temple complex of Cerro Sechín in the Valley of Casma on the Peruvian Pacific coast. The complex of around ninety monolithic slabs, some of them enormous, is attributed to the coastal Chavín style, although the reliefs have little in common with other ancient Peruvian stonework and show more similarities with the Mexican Monte Albán culture. - 1976

A detail of a pre-Inca textile from Puruchuco in the Rímac Valley, featuring a bird motif in a geometric style characteristic of the cultures of the central Peruvian Pacific coast, as frequently seen particularly in works of the Chancay culture. – 1977

The famous Nazca Lines in the Peruvian coastal desert are huge prehistoric geoglyphs depicting geometric shapes and animal figures. The picture shows the famous figure of the condor (or hummingbird) with a large wingspan and lines stretching across the ground. The lines were created between 500 BC and 500 AD by the ancient Nazca culture by removing dark stones to reveal the lighter soil beneath. They have been a UNESCO World Heritage Site since 1994; their exact purpose (astronomical, religious or social) remains a subject of research to this day. – 1969

The photograph shows the foot of the gigantic condor geoglyph, which is around 135 metres long. (see previous photo) – Peru – Nazca – 1969

Rock paintings from Toquepala, Moquegua Department, Peru. Traces of human settlement were found in the caves of Toquepala, which have been dated to around 10,000 years ago using the radiocarbon method. However, this does not prove that the paintings – some of which overlap – are equally old. Although they may well be attributed stylistically to a Palaeolithic hunter-gatherer population, they could also have been created by later peoples, given that various tribes in Patagonia and southern Chile remained at a comparable cultural level right up to modern times. - Book: Picture 57 - Peru - 1976

A kero, a wooden ritual cup from the early colonial period (height 19.5 cm). The colourful illustrations in the style of the chronicler Huamán Poma de Ayala depict the Inca on his golden throne holding keros – on this side, however, only two warriors with spears and shields can be seen. The graphic representations on the central ring are interpreted as tocapus or a form of writing. Museo de la Universidad Nacional de San Agustín, Arequipa, Peru. - Book: Picture 128 - Peru - 1976

A typical vessel of Inca culture, a so-called Type A aryballos (height 34 cm, mid-13th century) in the Coastal Inca style from the Ica Valley. The paintings vary depending on the region. Museo Regional de Ica, Peru - Book: Picture 123 - Peru - 1976

The picture shows a quipu, a complex and enigmatic system of knotted cords that was used by the Incas and other earlier Andean cultures for data storage and administration. A quipu consists of a horizontal main cord from which numerous coloured subsidiary cords of varying lengths hang down. The type of knots, the colour and length of the cords, and the position of the knots were used to encode primarily numerical data (such as tax figures or stock levels), but possibly also narrative information and calendar dates. To this day, the exact codes of this ‘knotted script’ have not been fully deciphered, making it one of the most fascinating examples of pre-European writing and administrative history in South America. – Peru – 1976

The image shows how an Inca quipu (khipu) works – a system of knotted strings used to represent numbers in the decimal system. This specific example illustrates an addition problem. The horizontal dotted lines divide the strings into place values (from top to bottom: hundreds, tens, ones). String Ba: 1 hundred, 3 tens, 4 ones = 134 String Bb: 3 hundreds, 2 tens, 9 ones = 329 String Bc: 0 hundreds, 7 tens, 1 unit = 71 String C (total): 5 hundreds, 3 tens, 4 units = 534 The mathematical equation is: 134 + 329 + 71 = 534

The picture shows the colonial church of Nuestra Señora de Monserrat in Chinchero. The village lies around 30 kilometres north-west of Cusco at an altitude of approximately 3,762 metres. The Spanish built the church in the early 17th century (around 1607) directly on the foundations and palace walls of the Inca ruler Túpac Yupanqui. – Every Sunday, the large square in front of the historic complex is transformed into a lively, colourful hub of Andean culture: the traditional Sunday market. The market is a real meeting place for the indigenous population. Families from the surrounding mountain communities travel there to trade crops such as potatoes, quinoa and broad beans directly, or to swap them amongst themselves. The women from Chinchero wear their traditional red and black costumes. They sell world-famous, hand-woven alpaca products and demonstrate how the wool is dyed using natural plants and insects (cochineal). – 1976

Completely hidden from view from the bottom of the wild Urubamba Valley, the ‘lost city’ of Machu Picchu stands enthroned on an impregnable granite pedestal at a dizzying altitude of 2,500 metres, in the shadow of Huayna Picchu. It remained hidden for 400 years until the American explorer Hiram Bingham miraculously rediscovered it in 1911. – 1976

The Inca mountain fortress of Machu Picchu, situated at an altitude of 2,690 metres, set against the cone of Huayna Picchu. None of the Spanish conquistadors mention this city on the edge of the jungle, overlooking the River Urubamba (on the right), one of the headwaters of the Amazon. Like other pucaras (fortified settlements), Machu Picchu was self-sufficient in an emergency, but the terraced fields could feed no more than 500 people. This late Inca complex contains buildings of various styles, foremost among them the Royal Palace, constructed from beautifully hewn granite blocks with trapezoidal gateways and window openings. But there are also densely packed, simple stone huts and barrack-like quarters for the soldiers. An oval tower – the only one of its kind – has led to speculation that Machu Picchu was further expanded even after the arrival of the Spaniards. The city was not discovered until 1911 by an expedition searching for the legendary last Inca fortress, Vilcabamba. - Book: Picture 81 - Peru - 1976

The Intihuatana, the ‘resting place of the sun’ or ‘stone to which the sun is tied’, at Machu Picchu. Depending on the shadow cast by this stone, the Inca priests determined the season and thus the time for sowing, an approaching rainy season, and so on. - Book: Picture 127 - Peru - 1976

Along the partly restored Barracas of the former farmers, 100 stairs with more than 3000 steps run down the slope. They connect 260 palaces, temples, sanctuaries, thermal baths, sacrificial altars, caves of mummies and "hanging gardens" and make Machu Picchu a "stone poem". . . a challenge of nature ... an unfathomable secret. - 1976

The impressive Inca ruins of Písac, situated in the Sacred Valley of the Incas in the Cusco region of Peru. The archaeological site lies on a mountain ridge high above the village of Písac and the River Urubamba. It is famous for its sophisticated architecture, the extensive agricultural terraces (andenes) and its strategic and religious significance during the Inca Empire. In the foreground is the Q’alla Q’asa sector, which, according to researchers, probably served as a residential quarter for guards, soldiers or priests. The buildings are precisely constructed from stone and nestle perfectly against the steep terrain. In the centre lies a sacred rock – the ‘place where the sun is tied’ – which served as an astronomical calendar for the Incas to determine the solstices. – 1976

The central ceremonial area known as Intihuatana within the Parque Arqueológico de Písac in the Sacred Valley of the Incas in Peru. The most striking feature in this area is the semi-circular, D-shaped wall in the top right-hand corner of the picture. It encloses the sacred Intihuatana stone. In Quechua, the term means ‘place where the sun is tied’. It is a pillar hewn from natural rock which served the Incas as a precise solar compass, an astronomical observatory and a ritual altar for determining solstices and harvest cycles. The precise stonemasonry (masonry of finely hewn pink granite without mortar) clearly distinguishes this royal and religious precinct from the simpler residential or military structures in the rest of the fortress. – 1976

Very often, on the heights of the Collao Altiplano around Lake Titicaca, one finds those strange monolithic chullpas, mummy graves of high leaders and members of a mysterious race that existed "before the sun rose". In Sillustani, on the Umayo peninsula on the lake of the same name, there are twelve tomb towers, some of which have collapsed. - 1976

The archaeological site of Qelqatani (often also spelled Kalkatani or Quelcatani) is situated in the province of Chucuito in the department of Puno, not far from Mazo Cruz, at an altitude of over 4,000 metres. In contrast to the region’s better-known, purely figurative depictions of animals and hunting scenes (such as the typical guanaco and llama scenes), this particular panel features a dense, lattice-like arrangement of geometric diamonds, zigzag bands and abstract patterns. It is attributed to a later transitional phase (the Formative period), during which people became more settled and began to domesticate alpacas and llamas. – Peru – 1976

On the Bolivian plateau, the legendary creator god Kon Tiki Viracocha guards the secrets of a sunken world like a "sphinx". In the mask of a radiation-framed puma, he adorns the famous sun gate of Tiahuanaco, which consists of a single block of andesite, almost 3 m high and 4 m wide, weighing almost 10 tons. - 1976

The central figure of the Sun Gate at Tiahuanaco, Bolivia. As with the figure on the Raimondi Stele (Chavín culture), the head is almost as large as the body. In both hands, the Sun God holds sceptres that end in condor heads; his hair ends in snakes and jaguar heads. Tears, symbolising fertility and rain, stream down his face. He is surrounded by 148 winged figures facing him, which have been interpreted as symbols of movement and time. The Tiahuanaco culture had the most direct influence on the Inca civilisation. - Book: Picture 124 - Bolivia - 1976

View from the semi underground temple of Tiahuanaco to the monumental staircase with the six stone steps and the large restored entrance gate to the Kalasasaya. In the centre the "Ponce" stele of the Shrine of the Sun. - 1976

The Patio Hundido ("sunken courtyard") of Tiahuanaco is an almost square complex with a side length of about 28 m and is surrounded by an enclosure wall about 2 m high and with stone heads. - 1976

This Cabeza clava is located in the Parque monolios in La Paz. - 1976

A ceramic incense burner in the shape of a big cat (20 cm high) from the Tiwanaku culture (4th period, 667 AD). The tail is shaped as a handle, and the smoke kindled in the back cavity escapes through the eyes. Instituto Nacional de Arqueología, La Paz, Bolivia. - Book: Picture 48 - Bolivia - 1976

Vessel for grave goods - Tiahuanaco culture - year 667 to 1000 - height 18 cm - Museo Nacional de Arqueología del Instituto Nacional de Arqueología - Bolivia - 1976

Ceramic vase with modelled head of a figure from the 4th period of the Tiahuanaco culture - on the cheek a bulge due to the use of coca - the arrows represent the main organs of the person: the visor and the ear - height 14 cm - Museo Nacional de Arqueología del Instituto Nacional de Arqueología - Bolivia - 1976

Vessel with a ceramic portrait of an anthropomorphic head of a figure from the 5th period of the Tiahuanaco culture - the arrows represent the main organs of the person: the sight and the ear - Height 11 cm - Museo Nacional de Arqueología del Instituto Nacional de Arqueología - Bolivia - 1976

Grave vessel of the Tiahuanaco culture 5th period - year 1000 to 1100 - height 12 cm - Museo Nacional de Arqueología del Instituto Nacional de Arqueología - Bolivia - 1976

Ceremonial vessel with a crowned snake - 4th period of the Tiahuanaco culture - years 667 to 1000 - height 8 cm - Museo Nacional de Arqueología del Instituto Nacional de Arqueología - Bolivia - 1976

Large ceremonial kero - height 47.5 cm - the head is related to the sun gate of Tiahuanaco - 4th epoch - Museo Nacional de Arqueología del Instituto Nacional de Arqueología - Bolivia - 1976

Wooden kero with anthropomorphic head - height 19 cm - Museo Nacional de Arqueología del Instituto Nacional de Arqueología - Bolivia - 1976

Vessel in Tiahuanaco style - Height 12 cm - Place of discovery: Pukará de Quitor (province Antofagasta) - Museum San Pedro de Atacama - Chile - 1976

The world-famous Takesi Trail (Camino Precolombino Takesi) in Bolivia, one of the best-preserved sections of the pre-Columbian Inca Trail within the historic road network. The perfectly laid, flat paving stones and drainage channels were originally constructed by the Tiwanaku and Inca cultures. They protect the steep mountainside from severe erosion caused by rainwater. The highest point of the Inca Trail is the windswept Apacheta Takesi Pass, which runs at a spectacular altitude of 4,640 metres right alongside the snow-capped flanks of Mount Mururata. The photograph shows the paved ascent to this mountain pass. – Bolivia – 1976

Rock paintings at Taira on the Río Loa in the Atacama Desert, northern Chile. These engraved and painted depictions of llamas are attributed to the Neolithic Atacameños. - Book: Picture 41 - Chile - 1976

Snuff set - Origin: Quitor - Museum San Pedro de Atacama (province Antofagasta) - Chile - 1976

Tablet male - Origin: Coyo Oriental - Museum San Pedro de Atacama (Province of Antofagasta) - Chile - 1976

Handle of a snuff box from the Atacameños (found at Coyo Oriental), made of carved black wood with shell inlays (width at top: 7 cm). Formally, the depiction is reminiscent of the central figure of the Sun Gate at Tiahuanaco (cf. Figure 124). Museo San Pedro de Atacama, Chile. - Book: Picture 78 - Chile - 1976

Tablet female - Origin: Quitor - Museo San Pedro de Atacama (Provincia Antofagasta) - Chile - 1976

Arrowheads - in natural glass or meteorite showers - Neolithic period - Origin: Sequitor Alambrado, San Pedro de Atacama - Museum San Pedro de Atacama - Chile - 1976

Anthropomorphic jug from the Second Phase of the Atacama culture (height 19 cm) in the characteristic black pottery. Museo San Pedro de Atacama, Chile - Book: Picture 54 - Chile - 1976

Abstract anthropomorphic bottle - Second phase of the Atacameña culture - Height 18,5 cm - Museum San Pedro de Atacama (Antofagasta province) - Chile - 1976

Two anthropomorphic bottles, naturalistic left 19 cm, abstract right 18,5 cm - Second phase of the Atacameña culture - Museum San Pedro de Atacama (Antofagasta province) - Chile - 1976

Vessel Incisa - diameter 18,5 cm - Atacameña culture, last period of the second phase - Museum San Pedro de Atacama (Antofagasta province) - Chile - 1976

Carob wood duck - length 18 cm - Atacameña culture - Origin: Quitor - Museum San Pedro de Atacama (province Antofagasta) - Chile - 1976

Basket with figure with axe and 3 javelins - diameter 35 cm - Atacameña culture second phase - Museum San Pedro de Atacama (Antofagasta province) - Chile - 1976

Detail of a basket with figure with axe and 3 throwing spears - diameter 35 cm - Atacameña culture second phase - Museum San Pedro de Atacama (Antofagasta province) - Chile - 1976

Skull with a headband from an Atacameño grave of the Second Phase at the Quitor 6 site in the Atacama Desert. The grave contained only the skull, without the rest of the skeleton. Such ritual skull burials have not yet been recorded at any other site in South America. Museo San Pedro de Atacama, Chile. - Book: Picture 55 - Chile - 1976

Female skull with hair band - Atacameña culture second phase - Origin: Coyo Oriental - Museum San Pedro de Atacama - Chile - 1976

Skull of a child - Second phase of the Atacameña culture - Origin: Quitor (province of Antofagasta) - Museo San Pedro de Atacama - Chile - 1976

Mummy of a young woman - Second phase of the Atacameña culture - 300 BC - Origin: Solor - Museum San Pedro de Atacama - Chile - 1976

Skull of a man with Bonnet-Turban - with a blanket with geometrical figures - Atacameña culture second phase - Origin: Coyo Oriental - Museum San Pedro de Atacama - Chile - 1976

Mummy of a woman with child - Atacameña culture second phase - blanket with borders - volcanic rock and turquoise necklace - Origin: Sequitor Alambrado - Museum San Pedro de Atacama - Chile - 1976

The archaeological site of Santa Rosa de Tastil in the province of Salta, Argentina, features the well-preserved, pre-Inca stone foundations of one of the country’s largest pre-Hispanic settlements. The complex consists of compact stone houses without windows and narrow alleys. The ruins cover 17 hectares in the Quebrada del Toro gorge at an altitude of around 3,200 metres and form part of the Qhapaq Ñan (Inca road system), which is protected as a UNESCO World Heritage Site. The settlement is thought to have been inhabited between the 14th and 15th centuries, prior to the full-scale Inca expansion, and could have accommodated up to 3,000 inhabitants. – Argentina – 1975

Representations of a younger, more developed culture depict meanders, either painted or carved, forming intricate overall patterns. In certain cases, they are even extremely complex labyrinths. They too are probably an expression of religious ideas, but the exact meaning of all these symbols cannot be determined. - This rock painting is located near San Martín de los Andes. - 1975

‘La Cueva de las Manos’ is a hard-to-reach rock shelter above the Río Pinturas, between Bajo Caracoles and Perito Moreno in the Argentine province of Santa Cruz. The significance of the hands is unclear, but they are certainly of a magical nature. The paintings belong to the Toldense culture, which is estimated to date back to around 8000 BC. They are now a World Heritage Site. - Book: Picture 42 - Argentina - 1973

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