The legends are only available in German, French or Spanish
Céramique Chavin représentant une chauve-souris (collection W. Pelloni, Lima).

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Goldene Totenmaske der Chimú (Breite 31 cm). Privatsammlung, Schweiz. - 1969

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

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

Bowl with monkeys - Tuncahuan culture - 500 BC to 500 AD - negative painting of beeswax and honey - diameter 19cm, height 8.5cm - Museo Banco Central Quito, Ecuador - 1976

Pre-Columbian pottery - Ceramics Bahia culture - Manabi province - Height 64cm - Museo Banco Central del Ecuador, Quito - 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

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

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 stylised birds. Museo Nacional de Antropología y Arqueología, Lima - 1969

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

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

Two gold vases with turquoise inlays - - 1977

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

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

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

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

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

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

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

Nazca culture ceramic vase - Private collection, Lima - 1969

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

Vicús culture ceramic vase - Museo Regional de Ica - 1969

Ceramic of the Mochica culture - Private collection - 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

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

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

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

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

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

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

Offering for the Pachamama - cult object made of stone - farm with animals and agricultural crops - private collection Lima - 1977

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Bas-relief en boue séchée (adobe) de la huaca Esmeralda, près de la ville de Trujillo.

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La civilisation Chavin, connue surtout par ses œuvres en pierre, appartient à l’époque formative du Pérou précolombien.

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L'un des abris sous roche de Pizacoma (département de Puno) est orné de peintures qui représentent une scène de chasse à la vigogne et qui auraient une antiquité d'environ 10’000 ans.

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La religion Chavin est marquée par un culte rendu en l'honneur du condor. Sa représentation, très schématisée, figure sur des dalles qui ornent le temple de la station éponyme de la Cordillère.

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Dans le temple souterrain de Chavin les archéologues ont découvert des dalles montrant la silhouette du puma, un dieu qui sera craint et vénéré pendant toute l'époque précolombienne.

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Entre les scènes peintes des abris sous roche de Pizacoma figurent des signes géométriques dont la signification exacte nous échappe.

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Le vase à étrier, créé par les artisans Chavin, fut employé jusqu'à l'arrivée des Espagnols en Amérique du Sud. Le récipient est orné d'une gravure qui représente un condor très schématisé (collection W. Pelloni, Lima).

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La civilisation Nazca, qui s'est développée au début de notre ère dans le sud du Pérou, a livré aux archéologues de très nombreuses poteries, d'une qualité exceptionnelle et couvertes de dessins polychromes (collection W. Pelloni, Lima).

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On doit aux potiers Mochica une multitude de vases portraits en terre cuite d'un réalisme saisissant (collection W. Pelloni, Lima).

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Les tisserands Paracas, qui vivaient sur la côte sud du Pérou il y a plus de 2000 ans, ont confectionné de remarquables étoffes couvertes de dessins symboliques (Museo antropológico, Lima).

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Les peuples précolombiens ont travaillé l'or qui avait pour eux une valeur symbolique. Ils en ont tiré des objets rituels parmi lesquels figurent des couteaux sacrificiels appelés tumi. Collection privée

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Parmi les dessins du désert de Nazca on distingue une immense araignée. La signification de ces images fantastiques a été l'objet de travaux contradictoires. Pour quelques archéologues, ce serait des signes en relation avec l’astronomie ; pour d'autres il s'agirait de véritables lieux de culte.

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Le désert de la côte sud montre de gigantesques dessins tracés dans le sable et attribués aux Nazca. L'un d'entre eux représente un condor de plusieurs dizaines de mètres de longueur. Ces figures ont été obtenues en enlevant la terre brune, riche en oxyde de fer, qui recouvre le fond sablonneux et jaunâtre, et en entassant cette dernière autour des zones ainsi dégagées.

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Sur le flanc de la colline de sable qui domine la baie de Paracas on remarque une étrange composition que les archéologues ont baptisée du nom de «candélabre».

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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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Paracas-Necrópolis aux premiers siècles de notre ère. L'incomparable art textile des tisseuses-brodeuses des déserts du Sud-Pérou illustre à profusion le culte obsédant des têtes-trophées et réduites, portées en plastron, en franges et en pendeloques. (Museo nacional de Antropologia y Arqueologia, Lima, Pérou.)

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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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Taillée à vif dans le roc sur un kilomètre de long, la «grecque» du canal pré-inca de Cumbe Mayo fut conçue de façon à réduire la vitesse du courant. Tunnels, pictographies symboliques, sièges et tables à sacrifices accompagnent le trajet de cet ingénieux ouvrage hydraulique qui a la particularité de dévier, à 3.700 mètres d'altitude, les eaux du versant Pacifique vers la sierra de Cajamarca.

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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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Exhumés des sables du Pérou septentrional, plus de 100.000 huacas à anse-étrier décrivent de façon réaliste et vivante la vie quotidienne des Mochicas d'il y a deux mille ans. Comme en témoigne ce guerrier agenouillé, coiffé d'un casque matelassé de coton et décoré de spirales, avec de gros rouleaux d'or aux oreilles et un bouclier au bras. (Collection privée, Lima, Pérou.)

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Succédant aux Mochicas, l'opulent royaume des Chimus connut il y a une dizaine de siècles des fastes éblouissants. De merveilleux joyaux, tel ce masque d'or funéraire (22 carats), aux yeux percés de 14 pendeloques d'émeraudes, furent retrouvés dans les ruines des pyramides colossales en briques de pisé. (Museo de Oro del Perù, Miguel Mujica Gallo, Lima.)

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"Sphynx" solaire du haut-plateau bolivien, le légendaire dieu créateur Kon Tiki Viracocha, au masque de Puma auréolé, garde les secrets d'un monde disparu du haut de la fameuse Porte du Soleil de Tiahuanaco. Haute de près de 3 mètres et large de 4 mètres, elle est découpée dans un seul bloc d'andésite, qui pèse plus de 10 tonnes!

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Lors de son apogée (VIIIe - XIIe siècles), la haute culture de Tiahuanaco déferla tout au long de la côte péruvienne. L'iconographie de ce tissu dit tiahuanacoïde (115 x 58 centimètres) en laine et coton, trouvé sur le site de Campanario (Huarmey) et la frange au signe scalaire, rappellent les étranges petits hommes allis au nez en bec de condor, du linteau de la Porte du Soleil. (Museo Yoshitaro Amano, Lima, Pérou.)

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Précieuse parure de momie d'un tombeau antique de Larache, au nord du Chili, datée d'environ 1.000 av. J.-C. par le Père Le Paige. Deux colliers, l'un en rondelles de turquoises, l'autre en petits tubes de lapis-lazuli, entourent une plaque pectorale en or, une grosse turquoise et quatre clochettes d'or, entre deux «plumes» d'or ajourées. (Museo de San Pedro de Atacama, Chili.)

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C'est par la gueule ouverte sur des crocs aigus que s'échappe la fumée des offrandes (résine ou suif de lama brûlés) de cette lampe à encens en céramique, en forme de puma (Tiahuanaco, 667 ap.J.C.). (Haute 20 cm - Museo del Instituto nacional de Arqueologia, La Paz, Bolivie.)

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En forme de fausse cloche, ce très beau kero à libations en céramique nous dévoile le faciès autoritaire d'un Pakaje de la noble caste solaire des hommes-condor de Tiahuanaco. Hauteur: 16 centimètres. (Museo del Instituto Nacional de Arqueología, La Paz, Bolivie.)

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Kero de la 4e époque de Tiahuanaco (667-1000 apr. J.-C.), est frappé d'un mascaron de ofrenda, masque de tête ornemental d'offrande en relief. H: 13,5cm. (Museo del Instituto Nacional de Archeologia, La Paz, Bolivie)

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Vu du templete semi-souterrain de Tiahuanaco, l'escalier monumental aux six marches lithiques et la grande portada d'entrée du Kalasasaya restaurée. On aperçoit au centre la stèle «Ponce» du sanctuaire du Soleil.

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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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Puma Puncu, l'un des plus vastes ensembles archéologiques de Tiahuanaco, n'est plus que ruines disloquées et chaotiques. Quel culte ésotérique réunissait des milliers de pèlerins dans l'immense enceinte quadrangulaire? Des clés de bronze fondu dans des mortaises assemblaient les énormes dalles qui gisent pêle-mêle, longues de 8 mètres, larges de 5 mètres, épaisses de 2 mètres.

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Idole de pierre de l'île du Soleil (lac Titicaca). Hauteur: 45 centimètres. Ce bossu de l'époque Tiahuanaco (1000-1100 ap.J.-C.) tient un pututo, gros coquillage de mer (Strombus galeatus), utilisé comme trompette par tous les aborigènes des Amériques jusqu'aux Incas et encore de nos jours. (Museo del Instituto nacional de Arqueologia, La Paz, Bolivie.)

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Entre Cuzco et Abancay, à 3500 mètres d'altitude, surgit un fascinant monolithe! Sculptés dans un dôme de lave haut de plus de 2 mètres, entre des «temples, des lagunes-réceptacles et des canaux, ressortent quelque deux cents figures allégoriques: morts allongés, pumas, serpents, vigognes, singes, lézards, crapauds, scorpions. Peut-être la «maquette» en pierre de Sayhuite était-elle liée à des sortilèges et à des rites de pluviomagie...

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Exhumés de tombeaux pré-inca et inca, ces très vieux instruments sont conservés au Museo Yoshitaro Amano de Lima, Pérou. Longue de 20,5 centimètres, une quena d'os blanc à quatre trous, ponctuée de petits cercles poinçonnés au centre, provient du site de Lauri-Chancay, sur la côte. Et de Chincha, plus au sud, l'autre quena en forme de bras prolongé d'une main et gravée d'un totem humain.

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Exhumés de tombeaux pré-inca et inca, ces très vieux instruments sont conservés au Museo Yoshitaro Amano de Lima, Pérou. Trouvée à Palpa, dans les sables des déserts, la zampoña (flûte de Pan américaine, 32 cm) est faite de bambous inégaux liés avec des cordelettes végétales. La petite zampoña on a trouvé à Lauri, Chancay.

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L'un des «trésors» les plus «hauts» du globe: celui découvert à 6.050 mètres d'altitude, au sommet du volcan Pili, dans les Andes du Chili. Un éventail de plumes rouges, des cordelettes tressées, une ceinture tissée, des fragments de tunique multicolore, des tupus (fibules) et un bracelet de cuivre oxydé, une idole d'argent, furent trouvés près du cratère éteint. Ces offrandes rappellent le culte des volcans d'où se disaient issues de vieilles ethnies, encore pratiqué au moment de la Conquête espagnole. (Museo de San Pedro de Atacama, Chili.)

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Offert en holocauste au dieu Soleil, comme calmement endormi d'hier, la tte entre les mains et prêt à s'éveiller, le petit prince inca du Cerro El Plomo, au Chili, devait avoir neuf ans. Lui aussi comblé d'offrandes d'or et d'argent, d'amulettes emplumées, coiffé de cent vingt-trois nattes, anesthésié de coca et de chicha, il garde miraculeusement depuis plus de cinq cents ans les couleurs de la vie. Porté en litière jusque sur la cime sacrée où le gel le surprit et le momifia, découvert en 1954, il dort aujourd'hui dans un... réfrigérateur au Museo de Santiago, Chili!

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Très réaliste, ce couple de jorobados en argent, haut de 6 centimètres, nouis rappelle que les bossus étaient au service personnel de l'Inca et de la Coya. (Museo e Instituto de Arqueologia de la Universidad nacional del Cuzco, Pérou.)

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Sous la longue coiffe rectangulaire des Acllas et fardée de cinabre, une «femme choisie » d'argent doré semble tendre les bras à l'Inca (23 centimètres de haut). (Museo de Oro del Perû, Lima.)

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A 11 kilomètres de Lima, au bord de la Carretera central, la route des Andes, s'élève l'élégant palais pré-inca (XIIe) de Puruchuco, le «Seigneur au casque emplumé» soumis par les Incas. Nous voyons ici son merveilleux poncho cérémoniel au dos couvert de plumes jaunes d'ara. Masquée et couronnée d'argent bruni, la noble momie portait un couvre-nuque dont les motifs stylisés illustrent un art plumaire de toute beauté. Par-devant, le poncho est entièrement constellé de petits cercles d'argent et bordé de plumes noires et bleu turquoise. (Museo de Puruchuco, Lima, Pérou.)

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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)

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Detail eines Stoffes der Vorinkazeit aus Puruchuco im Rímactal mit einem für die Kulturen der zentralperuanischen Pazifikküste charakteristischen Vogelmotiv in geometrischer Stilisierung, wie es besonders in Arbeiten der Chancay-Kultur häufig erscheint. - 1976

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Felsmalereien von Taira am Río Loa in der Atacamawüste, Nordchile. Diese gepunzten und bemalten Darstellungen von Lamas werden jungsteinzeitlichen Atacameños zugeschrieben. - 1976

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«La Cueva de las Manos» ist ein schwer zugängliches Abri oberhalb des Río Pinturas, zwischen Bajo Caracoles und Perito Moreno in der argentinischen Provinz Santa Cruz. Die Bedeutung der Hände ist nicht geklärt, ist jedoch sicher magischen Charakters. Die Malerei gehört zum Kreis der Toldense-Kultur, deren Alter bis auf etwa 8000 v. Chr. zurück geschätzt wird. Sie gehören heute zum Weltkulturerbe. - 1973

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Kultur von San Agustín, Kolumbien. Monolithstatue eines Mannes mit dem «Zweiten Ich», photographiert auf dem Alto de las Piedras. - Parque arqueológico de San Agustín - 1977

The legends are only available in German or Spanish
Keramikstandbild Naymlaps, des mythischen Gründers des Chimúreiches (Höhe 18 cm). Museo Arqueológico Brüning, Lambayeque, Peru. - 1976

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Chavín-Kultur, Peru. Die gewaltige Tempelanlage in der Nähe des Dorfes Chavín de Huántar hinter der Cordillera Blanca, in der sich diese Reliefplatten befinden, gab einer Kultur den Namen, deren Einfluss in weitem Umkreis und in späteren kulturellen Formen festgestellt werden kann, so dass sie mit einer gewissen Berechtigung als Mutterkultur bezeichnet werden darf. Immer wiederkehrende Motive sind der Jaguar (dieses Bild) oder Mischwesen aus Raubkatze, Schlange und Kondor und Krieger mit Raubtierzähnen, Kondorkrallen und Schlangenhaaren oder Haaren mit Kondorköpfen. - 1976

The legends are only available in German or Spanish
Chavín-Kultur, Peru. Die gewaltige Tempelanlage in der Nähe des Dorfes Chavín de Huántar hinter der Cordillera Blanca, in der sich diese Reliefplatten befinden, gab einer Kultur den Namen, deren Einfluß in weitem Umkreis und in späteren kulturellen Formen festgestellt werden kann, so daß sie mit einer gewissen Berechtigung als Mutterkultur bezeichnet werden darf. Immer wiederkehrende Motive sind der Jaguar oder Mischwesen aus Raubkatze, Schlange und Kondor und Krieger mit Raubtierzähnen, Kondorkrallen und Schlangenhaaren (dieses Bild) oder Haaren mit Kondorköpfen. - 1976

The legends are only available in German or Spanish
Detail aus der Tempelanlage des Cerro Sechín im Casmatal an der peruanischen Pazifikküste. Der Komplex aus rund neunzig zum Teil gewaltigen Monolithplatten wird dem Küsten-Chavín-Stil zugeordnet, obwohl die Reliefs wenig mit den anderen altperuanischen Steinarbeiten zu tun haben und eher Ähnlichkeiten mit der mexikanischen Monte-Albán-Kultur aufweisen. Die im Profil dargestellten Figuren blicken alle zum Haupteingang des Tempels. - 1976

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Die «Ponce»-Monolithfigur in der Kalasasaya (Aimara für «aufgestellten Stein»), Tiahuanaco, Bolivien. Die mit geometrischen Ornamenten übersäte Stele ist ungefähr vier Meter hoch. - 1976

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Keramik-Räuchergefäß in Raubkatzenform (20 cm Höhe) der Tiahuanaco-Kultur (4. Epoche, 667 n. Chr.). Der Schwanz ist als Henkelgriff geformt, und der in der Rückenschale entfachte Rauch entweicht durch die Augen. Instituto Nacional de Arqueología, La Paz, Bolivien. - 1976

The legends are only available in German or Spanish
Fussschale aus der Kultur Tuncahuán-Carchi mit Vogelmotiv (Durchmesser 21 cm, Höhe 8,5 cm). Museo del Banco Central del Ecuador, Ouito. - 1976

The legends are only available in German or Spanish
Vase der Panzaleo-Kultur mit Negativornament (Durchmesser oben 13,5 cm, Höhe 19 cm). Die Panzaleo-Kultur blühte in den Provinzen Tungurahua und Cotopaxi zwischen 500 v. und 500 n. Chr. Museo del Banco Central del Ecuador, Ouito. - 1976

The legends are only available in German or Spanish
Anthropomorpher Krug aus der Zweiten Phase der Atacama-Kultur (Höhe 19 cm) in der typischen schwarzen Keramik. Museo San Pedro de Atacama, Chile. - 1976

The legends are only available in German or Spanish
Schädel mit Stirnband aus einem Atacameño-Grab der Zweiten Phase im Fundort Quitor 6, Atacamawüste. Das Grab enthielt nur den Schädel ohne das restliche Skelett. Solche rituellen Schädelbestattungen sind bisher von keiner anderen Fundstelle Südamerikas bekannt geworden. Museo San Pedro de Atacama, Chile. - 1976

The legends are only available in German or Spanish
Monolithstatue aus dem «archäologischen Park» von San Agustín (Departement Huila, Kolumbien). Die häufige Darstellung menschlicher Figuren mit Raubkatzenzähnen zeugt für den einst hier herrschenden Jaguarkult und lässt in Verbindung mit dem Kind auf kannibalische Riten schließen. Die Hochblüte dieser Kultur wird um Christi Geburt vermutet: bei Ankunft der Spanier war sie längst erloschen. - 1972

The legends are only available in German or Spanish
Felsmalereien von Toquepala, Departement Moquegua, Peru. In den Höhlen von Toquepala fand man Spuren menschlicher Besiedlung, die mit der Radiokarbonmethode auf ein Alter von rund 10‘000 Jahren datiert wurden. Dies beweist allerdings nicht, dass die sich zum Teil überschneidenden Malereien ebenso alt sind. Obwohl sie stilistisch durchaus einer altsteinzeitlichen Jägerbevölkerung zugeschrieben werden dürfen, könnten sie auch von späteren Menschen stammen, standen doch verschiedene Stämme Patagoniens und Südchiles bis in die neueste Zeit auf einer vergleichbaren Kulturstufe. - 1976

Offering for the Pachamama - Father, mother and two children - Cult object made of stone - Bolivia - 1977

Offering for the Pachamama - Hand - Length 10 cm - Private collection Lima - 1977

The legends are only available in German or Spanish
Die Statue des «EI Tablón» wurde von dem deutschen Archäologen K. Th. Preuß, der 1913/1914 in San Agustín arbeitete, als Mondgöttin interpretiert: heute neigt man eher dazu, in ihr einen Würdenträger mit den Insignien seiner Macht zu sehen. Die verschiedenen Stile belegen, dass San Agustín über Jahrhunderte als Kultstätte diente. Luis Duque Gomez, der seit 25 Jahren den «Parque» betreut, unterscheidet drei Phasen. Ein Rätsel bleibt, weshalb diese Kultur nicht wie andere in Südamerika auf ihre weitere Umgebung ausgestrahlt hat. - 1977

The legends are only available in German or Spanish
«Tierradentro» (Land, das drinnen liegt) gehört zum heutigen Siedlungsgebiet der Paez-lndianer. Man vermutet Zusammenhänge zwischen den Kulturen von San Agustín und Tierradentro, jedenfalls finden sich an beiden Orten ähnliche Wächterfiguren. Einen besonderen Platz unter den vorkolumbischen Kulturen nimmt Tierradentro jedoch wegen seiner Grabkammern ein: in Kreidesandstein gehauene, bis zu 70 Quadratmeter große Kavernen, die vollständig mit geometrischen Ornamenten ausgemalt sind. Das vorherrschende Rot erinnert daran, dass auch in Mexiko die Farbe der Toten Rot ist. - 1976

The legends are only available in German or Spanish
Einer der wenigen, wenn nicht der einzige Stoff, der uns aus der Chavín-Kultur erhalten geblieben ist: bemalte Baumwolle und wieder die bekannten Motive der Reißzähne, Federschlangen und Kondorkrallen. Museo Amano, Lima, Peru. - 1976

The legends are only available in German or Spanish
Goldener Brustschmuck der Tolima-Kultur, Kolumbien, ein Vogel-Mensch-Mischwesen mit durchbrochenem Mittelteil und ankerartigem Fuß (10,5 x 19,2 cm, 184 g). Museo del Oro, Bogotá, Kolumbien. - 1972

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

The legends are only available in German or Spanish
Huaco oder Steigbügelgefäß aus der Küsten-Chavín-Kultur, Chiclayotal, Peru (Höhe 23 cm). Chamäleon oder Katzenwesen in der für Chavín charakteristischen schwarzen Keramik. Museo Arqueológico Brüning, Lambayeque, Peru. - 1976

The legends are only available in German or Spanish
Mit Körnern gefüllte «Rumbakugel» in Vasenform mit anthropomorphem Hals und zwei aufgesetzten Äffchen. Santa-Keramik der Huari-Epoche (Höhe 21 cm). Museo Regional de Ancash, Huaraz, Peru. - 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

The legends are only available in German or Spanish
Gefäß mit Doppelausguß und Bügelhenke der Nazca-Kultur. Die in der Klassischen Epoche des vorkolumbischen Peru zwischen 100 und 800 n. Chr. in den Küstentälern von lca, Pisco und Nazca blühende Kultur beeinflusste mit ihrer hervorragenden Keramik mit leuchtenden Farben sowohl die umliegenden Gebiete wie spätere Kulturen bis hin zu den Inka. Museo Regional de lca, Peru. Fundort Cuahuáchi, Nazca. - 1969

The legends are only available in German or Spanish
Gefäss in «Reitergestalt» der Cañari, Provinzen Cañar und Azuay, Ecuador (Höhe 16 cm). Periode der Integration, 500 bis 1400 n. Chr. Museo del Banco Central del Ecuador, Quito. - 1976

The legends are only available in German or Spanish
Relief eines Kriegers mit Kopftrophäe und Schild (Höhe 32 cm). Recuay-Kultur. Museo Regional de Ancash, Huaraz, Peru. - 1976

The legends are only available in German or Spanish
Krug der Moche mit Mann und Haus auf kubischem Körper. Die Kultur der Mochica, manchmal auch Proto-Chimú genannt, blühte an der Küste Nordperus, um Trujillo, etwa gleichzeitig mit der Nazca-Kultur im Süden. Die Töpfereien der Mochica sind geradezu ethnologische Dokumente, geben sie doch alle Einzelheiten des täglichen Lebens wieder. Privatsammlung, Schweiz. - 1977

The legends are only available in German or Spanish
Detail eines Mumientuches (manto) der Paracas-Nekropolis-Kultur mit menschlichen Figuren, die Fächer und Zeremonienstäbe in den Händen tragen. Museo Nacional de Antropología y Arqueología, Lima, Peru. - 1977

The legends are only available in German or Spanish
Kupferne Totenmaske der Chimú-Kultur, Peru (Höhe 22 cm). Die Chimú galten als die hervorragendsten Gold- und Silberschmiede der Vorinka-und lnkazeit. Nach der Unterwerfung der Chimú holten die Inka die besten Künstler nach Cuzco. Museo Arqueológico Brüning, Lambayeque, Peru. -1976

The legends are only available in German or Spanish
Flachrelief einer menschlichen Figur (Höhe 25 cm) der Recuay-Kultur im Santatal, Peru, aus der Klassischen Epoche. Museo Regional de Ancash, Huaraz. Peru. - 1976

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

The legends are only available in German or Spanish
Vase in Form eines Knienden der Vicús-Kultur, Nordperu. Vicús wird als Etappe des Experimentierens, zeitlich als Spätform der Formativen Periode angesehen, da in der Töpferei die verschiedensten Formen und technischen Lösungen erscheinen. Privatsammlung, Lima, Peru. - 1969

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

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

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

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

The legends are only available in German or Spanish
Die Zentralfigur des Sonnentores von Tiahuanaco, Bolivien. Wie bei der Figur auf der Raimondi-Stele (Chavín-Kultur) ist der Kopf annähernd so groß wie der Körper. In beiden Händen hält der Sonnengott Zepter, die in Kondorköpfen auslaufen, sein Haar endet in Schlangen - und Jaguarköpfen. Tränen als Symbol der Fruchtbarkeit und des Regens laufen über sein Gesicht. Umgeben ist er von 148 geflügelten, ihm zugewandten Gestalten, die man als Sinnbild von Bewegung und Zeit deutete. Die Tiahuanaco-Kultur hat die Inka-Zivilisation am direktesten geprägt. - 1976

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

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

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

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

The legends are only available in German or Spanish
Vase in Form einer Stillenden (Höhe 24.5 cm) der Carchi-Kultur, Ecuador. Museo del Banco Central del Ecuador, Quito. - 1976

The legends are only available in German or Spanish
Diese Statue dürfte einen Sonnengott mit zwei mazas (Zeremonienstäben) in den Händen und dem Symbol des Lebensbaumes im Stirnband darstellen. Die verschiedenen Stile belegen, dass San Agustín über Jahrhunderte als Kultstätte diente. Luis Duque Gomez, der seit 25 Jahren den «Parque» betreut, unterscheidet drei Phasen. Ein Rätsel bleibt, weshalb diese Kultur nicht wie andere in Südamerika auf ihre weitere Umgebung ausgestrahlt hat. - 1972

The legends are only available in German or Spanish
Eine «Ídolo de Frías» genannte, da im Frías-Stil gearbeitete goldene Figur, die jedoch der Vicús-Kultur an der nordperuanischen Küste zugeschrieben wird. Sie wurde aus sechzehnkarätigem Gold getrieben und gelötet (Höhe 15,5 cm, Gewicht 60 g). Museo Arqueológico Brüning, Lambayeque, Peru. - 1976

The legends are only available in German or Spanish
«Der Kokakauer». Tonfigur (Höhe 32 cm) der Carchi-Kultur, Provinzen lmbabura und Carchi, Ecuador. Museo del Banco Central del Ecuador, Quito. - 1976

The legends are only available in German or Spanish
Griff eines Schnupftabakbrettchens der Atacameños (Fundort: Coyo oriental) aus geschnitztem schwarzem Holz mit Muschelapplikationen (Breite oben: 7 cm). Formal erinnert die Darstellung an die zentrale Figur des Sonnentores in Tiahuanaco (vgl. Bild 124). Museo San Pedro de Atacama. Chile. - 1976

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

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

Bowl with monkeys - Tuncahuan culture - 500 BC to 500 AD - negative painting of beeswax and honey - diameter 19cm, height 8.5cm - Museo Banco Central Quito, Ecuador - 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

Monolithic statues from the "archaeological park" of San Agustín (Huila department, Colombia). The heyday of this culture is assumed to be around the birth of Christ: when the Spaniards arrived, it had long since ceased to exist. - 1977

Monolithic statues from the "archaeological park" of San Agustín (Huila department, Colombia). The heyday of this culture is assumed t to be around the birth of Christ: when the Spaniards arrived, it had long since ceased to exist. - Tumulus B - height of the figure 1.85 m. - 1977

Pre-Columbian pottery - Ceramics Jama-Coaque culture (coast) - Height 39,5cm - Museo Banco Central del Ecuador, Quito - 1976

Monolithic statues from the "archaeological park" of San Agustín (Huila department, Colombia). The heyday of this culture is assumed to be around the birth of Christ: when the Spaniards arrived, it had long since ceased to exist. - Tumulus 8 - The figure is 60 cm high, holding two fish in her hands. - 1977

Monolithic statues from the "archaeological park" of San Agustín (Huila department, Colombia). The heyday of this culture is assumed to be around the birth of Christ. - "El tablón" - coffin lid. - 1977

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

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

Monolithic statues from the "archaeological park" of San Agustín (Huila department, Colombia). The heyday of this culture is assumed to be around the birth of Christ. - Statue with a vessel in his hands. - 1977

Monolithic statues from the "archaeological park" of San Agustín (Huila department, Colombia). The heyday of this culture is assumed to be around the birth of Christ. - Tumulus B - The crocodile measures 2.40 m x 0.96 m - 1977

"Tierradentro" (land that lies inside) belongs to the present settlement area of the Páez Indians. It is assumed that there is a connection between the cultures of San Agustín and Tierradentro, but in any case similar guardian figures can be found in both places. Tierradentro occupies a special place among the pre-Columbian cultures, however, because of its burial chambers: caverns of up to 70 square metres, hewn in chalk sandstone and completely painted with geometric ornaments. The predominant red colour reminds us that the colour of the dead is red in Mexico too. - Detail of burial chamber 10. - 1977

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

"Tierradentro" (land that lies inside) belongs to the present settlement area of the Páez Indians. It is assumed that there is a connection between the cultures of San Agustín and Tierradentro, but in any case similar guardian figures can be found in both places. Tierradentro occupies a special place among the pre-Columbian cultures, however, because of its burial chambers: caverns of up to 70 square metres, hewn in chalk sandstone and completely painted with geometric ornaments. The predominant red colour reminds us that the colour of the dead is red in Mexico too. - Detail of burial chamber 1. - 1977

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

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

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

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

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

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

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

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

Ceramics of the culture Tacalshapa in the provinces of Azuay and Cañar, Ecuador - Integration period from 500 to 1400 A.D. - Height 16 cm - Museo Banco Central Quito - 1976

Ceramics of the culture Tacalshapa in the provinces of Azuay and Cañar, Ecuador - Integration period from 500 to 1400 A.D. - Height 23 cm - Museo Banco Central Quito - 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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Chavín Culture ceramics with a bird - Private collection, Lima - 1969

Typical ceramics of the Chavín culture - Private collection, Lima - 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 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 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 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 eines Federkleides - Chimú-Kultur - Amano-Museum - Lima - 1976

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

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

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

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

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

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

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

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

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

Nazca culture ceramic bottle - Museo Regional de Ica - 1969

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

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

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

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

Nazca culture ceramic vase - Private collection, Lima - 1969

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

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

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

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

Detail of the wall of a square Chullpa of 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 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

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.

The petroglyphs of Toro Muerto are located in the Majes valley and are spread over an area of 5 km². It is perhaps the richest area of rock art in the world; it has more than 6'000 blocks engraved in bas-relief. These blocks have been engraved with all kinds of geometric and anthropomorphic representations, birds, quadrupeds, reptiles, etc. - 1976

Archaeological discoveries have been numerous in the northwestern provinces of Argentina. The picture shows a female figure in terracotta, 31 centimetres high. This object belongs to the Condorhuasi culture (Museo Calchaquí, Catamarca). - 1973

Many pre-Columbian objects have been discovered in tombs, hence their religious character. This ritual bronze bell, decorated with anthropomorphic figures, is from the Santa Maria culture (Catamarca). The object is 22.5 centimetres high (Museo de Cachi, Province of Salta). - 1973

Among the traditional pieces collected from pre-Columbian burials, we should mention this grey stone mask with red decorations on the cheeks. It belongs to the Selen culture (Catamarca). It is 29.5 centimetres high (Museo Calchaqui, Catamarca province). - 1973

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