Photo Gallery

The Andes
Part 2: The Central Andes Peru – Bolivia
The book was published in 1977 by C.J. Bucher, Lucerne and Frankfurt am Main.
ISBN 3-7658 0250 6

Map of the Central Andes.
The numbers refer to the photographs in the book. They are indicated alongside the relevant photographs.
The photographs were taken between 1969 and 1977.
1969: Trip 10 – Peru
1972–73: Trip 16 – Pan-American Highway
1976–77: Trip 20 – South America – from Argentina to Venezuela

The valley of the Río Jequetepeque, a major river in northern Peru. The striking, columnar and heavily ribbed cacti in the foreground are candelabra cacti (Neoraimondia arequipensis), typical of the western slopes and coastal valleys of Peru. The photograph shows the striking contrast between the barren, stony desert and mountain landscape with its xerophytic vegetation and the artificially irrigated, green farmland in the valley, which is intensively used for the cultivation of rice, sugar cane and fruit. – Peru – 1969

The Jequetepeque Valley is one of the most important and historically significant agricultural regions on the Peruvian Pacific coast. This area is regarded as one of Peru’s largest rice-growing regions. As the coastal climate there is extremely dry (desert climate), intensive wet rice cultivation is made possible by a sophisticated, millennia-old system of canals and by water from the river. Peru – 1969

The photograph shows the typical landscape of the fertile Jequetepeque Valley, which is one of the most important centres for wet rice cultivation in Peru. – Peru – 1976

The rivers flowing down from the Western Cordillera cross the Peruvian coastal desert on their way to the Pacific Ocean. Around forty box-shaped valleys with broad floors and steep sides are carved into the desert plateau, which slopes gently down towards the sea. With their vineyards, lucerne fields and vegetable plots lined with rows of trees, they form green oases in a barren landscape. The rice fields recently established along the Río Jequetepeque, where indigenous people plough with teams of oxen, are reminiscent of their Asian counterparts. - Book: Picture 89 - Peru - 1976

In Cajamarca, situated at an altitude of 2,960 metres, Francisco Pizarro lured the Inca Atahualpa into an ambush and took him prisoner. To this day, the ‘Camara de rescate’ is on display – the room that Atahualpa had filled with gold. However, the ransom did not save him from a violent death. Cajamarca has largely retained its colonial character to this day, and with its 30,000 inhabitants, it is a bustling market town: smallholders queuing outside the agricultural co-operative to collect their milk money. - Book: Picture 87 - Peru - 1976

In Cajamarca, situated at an altitude of 2,960 metres, Francisco Pizarro lured the Inca Atahualpa into an ambush and took him prisoner. To this day, the ‘Camara de rescate’ is on display – the room that Atahualpa had filled with gold. However, the ransom did not save him from a violent death. Cajamarca has largely retained its colonial character to this day, and with its 30,000 inhabitants, it is a bustling market town: Cajamarca’s traditional hats are made from toquilla straw (plant fibre). - Book: Picture 85 - Peru - 1976

In Cajamarca, situated at an altitude of 2,960 metres, Francisco Pizarro lured the Inca Atahualpa into an ambush and took him prisoner. To this day, the ‘Camara de rescate’ is on display – the room that Atahualpa had filled with gold. However, the ransom did not save him from a violent death. Cajamarca has largely retained its colonial character to this day, and with its 30,000 inhabitants, it is a bustling market town: a market vendor spins her wool as she walks. - Book: Picture 84 - Peru - 1976

In Cajamarca, situated at an altitude of 2,960 metres, Francisco Pizarro lured the Inca Atahualpa into an ambush and took him prisoner. To this day, the ‘Camara de rescate’ – the room that Atahualpa had filled with gold – is on display. However, the ransom did not save him from a violent death. Cajamarca has largely retained its colonial character to this day, and with its 30,000 inhabitants, it is a bustling market town: a market vendor carries her new hat home on top of her old one. - Book: Picture 86 - Peru - 1976

Cumbemayo, 19 km south-east of Cajamarca in Peru, at an altitude of around 3,500 metres. The aqueduct is approximately 850 metres long, hewn from rocky volcanic rock, and forms part of an 8-kilometre-long canal. It was built around 1500 BC. The precisely carved zigzag angles served to reduce the flow velocity of the water and prevent soil erosion. The name Cumbemayo may have its roots in the Quechua expression ‘kumpi mayu’, literally ‘well-built water channel’. There are petroglyphs on the aqueduct and in the surrounding caves. – Peru – 1976

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

An old lorry loaded to the brim with freshly harvested sugar cane. The scene is typical of sugar cane transport in the agricultural regions along the Pan-American Highway in northern Peru. – Northern Peru – 1976

The Panamericana crosses many desert stretches of the peruvian coast. In places it is blown with sand by the strong winds, as here near San Pedro de Lloc in the province of Pacasmayo in the department of La Libertad. - 1969

Huanchaco is the beach of Trujillo in the department of La Libertad. As hundreds of years ago, fishermen still go out to sea with their balsa boats. - 1972

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

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

El interior dañado de las ruinas históricas del Convento de San Agustín (convento e iglesia de San Agustín) en Zaña, un importante yacimiento colonial situado en la provincia de Chiclayo, región de Lambayeque, al norte de Perú. Este templo, fundado en 1584 por los padres agustinos y terminado a principios del siglo XVII, sufrió graves daños a causa del devastador terremoto de 1619, así como, sobre todo, por las catastróficas inundaciones provocadas por el fenómeno de El Niño en 1720, que destruyeron la floreciente ciudad colonial. Los restos del complejo sacro presentan estructuras macizas de ladrillo y arcilla, así como bóvedas y arcos de medio punto conservados, que dan testimonio de la antigua grandeza de la arquitectura colonial. – Norte de Perú – 1976

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

Vase in the shape of a kneeling figure from the Vicús culture, northern Peru. Vicús is regarded as a phase of experimentation, chronologically classified as a late phase of the Formative Period, as a wide variety of forms and technical solutions appear in pottery. Private collection, Lima, Peru. - Book: Picture 76 - Peru - 1969

Moche jug depicting a man and a house on a cubic body. The Mochica culture, sometimes also referred to as Proto-Chimú, flourished on the coast of northern Peru, around Trujillo, at roughly the same time as the Nazca culture in the south. Mochica pottery is effectively an ethnological record, as it depicts every detail of daily life. Private collection, Switzerland. - Private collection, Switzerland. – Book: Image 70 – Peru – 1969

Copper death mask from the Chimú culture, Peru (height 22 cm). The Chimú were regarded as the most outstanding gold and silversmiths of the pre-Inca and Inca periods. Following the subjugation of the Chimú, the Incas brought the finest artists to Cuzco. Museo Arqueológico Brüning, Lambayeque, Peru. - Book: Picture 72 - 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

The 180-kilometre-long Cordillera Blanca rises to its highest point at Huascarán, Peru’s highest mountain at 6,768 metres. Snowfields and glaciers also cover the neighbouring peaks, which are scarcely less imposing. Rockfalls and mudslides pose a constant threat to the settlements in the valley. In the foreground are the boulders from a rockfall that occurred in 1970. - Book: Picture 83 - Peru - 1976

This photograph has a deeply tragic and historic background: it shows the mighty Nevado Huascarán (6,757 m), taken from Campo Santo in Yungay. The group of people in the foreground, carrying a coffin together, are standing exactly where, on 31 May 1970, the old town of Yungay was completely buried as a result of a severe earthquake and the subsequent massive mud and ice avalanche. In this natural disaster – the worst in Peru’s history – over 20,000 people in the town lost their lives. Today, the site is a national memorial designated as the Campo Santo (holy field) and also serves as a vast cemetery. – Peru – 1976

The photograph shows the landscape of rubble and debris below the glaciated Nevado Huascarán in the Cordillera Blanca in Peru, which was shaped by the massive avalanches and debris flows that followed the 1970 earthquake. In the background rise the snow-capped twin peaks of Huascarán, Peru’s highest mountain (6,768 m). In the foreground and on the plain, large boulders, masses of debris and sparse, low vegetation can be seen. – Peru – 1976

The photograph shows the picturesque Laguna Chinancocha (one of the Llanganuco Lakes) in Huascarán National Park in Peru’s Cordillera Blanca. The lake lies at an altitude of around 3,850 metres in the Áncash region, not far from the town of Huaraz. It is characterised by its intense, bright turquoise-green colour, fed by glacial meltwater and framed by steep mountain slopes and typical Andean flora (such as the gnarled queñua trees). – Peru – 1976

High above the small town of Yungay, which was buried by an ice avalanche in 1970, the Llanganuco high valley opens up in the Cordillera Blanca, featuring a lake dammed by a wall of rock and moraine. Towards the outside – towards the Callejón de Huaylas or Santatal – it transitions into a vast trough-shaped valley. - Book: Picture 99 - Peru - 1976

A weaver with her spindle makes yarn from sheep's wool. Mancos in the Callejón de Huaylas, Department of Ancash. - 1969

A weaver with her spindle makes yarn from sheep's wool. Cajamarca Region in North Peru. - 1969

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

A vase-shaped ‘rumba ball’ filled with grains, featuring an anthropomorphic neck and two small monkeys perched on top. Santa pottery from the Huari period (height 21 cm). Museo Regional de Ancash, Huaraz, Peru. - Book: Picture 67 - Peru - 1976

The area around Patarcocha, in the Chacas district (Ancash region), within the famous Huascarán National Park, is world-renowned for having the densest populations of Puya raimondii. This rare plant belongs to the bromeliad family (Bromeliaceae) and is native to the high Andes of Peru and Bolivia; it is also known as the Queen of the Andes. It grows at extreme altitudes of between 3,500 and 4,500 metres in barren, sunny mountain steppes. The plant often lives for over 80 to 100 years, flowers only once in its lifetime with a gigantic inflorescence up to 10 metres high, and then dies. – Peru – 1977

The most striking plant of the humid Puna regions of Peru and Bolivia is the Puya raimondii, a giant bromeliad. This plant, which flowers only once before dying, develops a spike of bright green flowers up to eight metres high, pollinated by hummingbirds. This photograph of the plant, which has now become rare, was taken at an altitude of 4,200 metres in the area of Laguna de Patarccocha, Ancash Department, Peru. - Book: Picture 98 - Peru - 1976

Highland landscape (Puna) featuring the striking, snow-capped massif of Nevado Huantsán (6,395 m) in the southern part of the Cordillera Blanca in the Peruvian Andes, situated in the Áncash region. The barren plateau in the foreground, characterised by ichu grass, is typical of the Puna altitude zone between 3,800 and 4,000 metres. – Peru – 1976

Although the Shaqsha, at 5703 metres, is more than a thousand metres lower than Huascarán, it is nevertheless one of the most striking peaks of the ‘White Cordillera’ and poses the greatest challenges for mountaineers. - Book: Picture 97 - Peru - 1976

Sheep and goats cross the Río Mosna via a traditional, simple bridge made of tree trunks; the river flows right past the famous archaeological site of Chavín de Huántar. Chavín is one of Peru’s most important pre-Columbian cultures. – 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

The Raimondi Stele is a 1.95-metre-high, finely carved granite monolith from the pre-Columbian Chavín culture of Peru (c. 900–550 BC), which is now housed in the National Museum in Lima. It depicts the so-called ‘Staff God’ – an anthropomorphic, feline deity holding a staff or sceptre in each hand. The relief is designed in such a way that, when viewed from the opposite perspective (upside down), completely different figurative faces and symbols can be discerned. It is named after the Italian scholar Antonio Raimondi, who discovered it in the 19th century at the archaeological site of Chavín de Huántar. – Peru – 1976

Chavín culture, Peru – Detail of the lower part of the Raimondi stele. Considered a masterpiece of this culture, the stele is 74 centimetres wide, 195 centimetres high and 17 centimetres thick. First described by A. Raimondi at the end of the 19th century, the stele served as a table for a farmer for many years; fortunately, it was turned upside down, meaning that the engravings are exceptionally well preserved and were also spared by the landslides that repeatedly buried the Chavín site. The figure in this detail is sometimes interpreted as a human with big cat attributes, and at other times as a feathered cat god. When turned upside down, a second face appears, formed from the mouth and chin of the upright figure. Museo Nacional de Antropología y Arqueología, Lima, Peru. - 1976

One of the few, if not the only, textiles to have survived from the Chavín culture: painted cotton, once again featuring the familiar motifs of fangs, feathered serpents and condor talons. Museo Amano, Lima, Peru. - Book: Picture 62 - Peru - 1976

A huaco, or stirrup-shaped vessel, from the coastal Chavín culture, Chiclayo Valley, Peru (height 23 cm). A chameleon or cat-like creature in the black pottery characteristic of Chavín. Brüning Archaeological Museum, Lambayeque, Peru. - Book: Picture 65 - Peru - 1976

As you drive from the coast towards Huaraz, this view of Caullaraju (5,682 m) rising above the vast pampa is the first major picture-postcard view of the Cordillera Blanca, a high mountain range in the Andes. Further to the right lies Laguna Conococha (from the Quechua words quñuq, meaning ‘warm’, and qucha, meaning ‘lake’ or ‘lagoon’, hence ‘warm lake’), which is considered the official source of the Río Santa. This river is one of the most water-rich and important rivers on the Peruvian Pacific coast. – Peru – 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 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

The Archbishop’s Palace of Lima (Palacio Arzobispal de Lima) on the Plaza Mayor in the historic centre is the official residence of the Archbishop of Lima. The building is an outstanding example of neo-colonial architecture in the Baroque style. Inaugurated in December 1924, the building features a richly decorated stone façade with imposing neo-Baroque elements. Particularly striking are the large, dark-brown wooden balconies made of carved cedar in the traditional Liman style with Moorish influences. The palace is situated right next to Lima Cathedral. – 1969

Street photographer in the Plaza de Armas in Lima. Wherever the Spanish founded a town, they also created a ‘parade ground’, around which the most important public buildings were grouped. - Book: Picture 183 - Peru - 1969

Around Peru’s capital, Lima, the pueblos jóvenes – the new neighbourhoods, also known as barriadas and which are nothing but slums – are springing up. Given the dire social situation and stagnating agriculture in the Andean valleys, the city is the main destination for a massive exodus from the countryside. - Book: Picture 187 - Peru - 1976

This historical illustration is taken from the chronicle *Nueva Corónica y Buen Gobierno* (c. 1615) by the indigenous Peruvian chronicler Felipe Guamán Poma de Ayala and depicts the meeting between the Inca ruler Atahualpa and the Spanish conquistadors. It depicts the Inca Atahualpa on his throne (usno) in Cajamarca, to whom the Dominican friar Vicente de Valverde is handing the Bible, accompanied by the interpreter Felipillo and Spanish soldiers such as Francisco Pizarro and Diego de Almagro. The drawing illustrates the momentous first contact and the so-called ‘Requerimiento’ in 1532, which led directly to Atahualpa’s capture and the collapse of the Inca Empire.

Lima – Ciudad de los Reyes. The City of Kings, so named because Francisco Pizarro founded it in 1535 on the Feast of the Epiphany. This illustration is taken from the book *Nueva Crónica y Buen Gobierno* by Felipe Huamán Poma de Ayala. His work contains hundreds of illustrations and was produced between 1583 and 1613. Given the scarcity of contemporary visual records, it holds a unique place; however, it must be borne in mind that the Conquista had already taken place fifty to seventy years earlier by the time Poma de Ayala set about depicting it, which is why his illustrations can only claim limited documentary value.

Portrait of the South American independence fighter Simón Bolívar, painted by the Peruvian artist José Gil de Castro around 1823. Simón Bolívar (1783–1830), also known as ‘El Libertador’, was a Venezuelan statesman and military leader who played a key role in liberating several South American countries from Spanish rule. The original of this oil painting is housed in the Museo de Arte de Lima (MALI) in Peru. – 1977

The document that crowned the struggle for independence! Following the defeat at Ayacucho, the Spaniard José Canterac signed the terms of surrender on 9 December 1824. On behalf of the opposing side, the liberator General Antonio José de Sucre – after whom Bolivia’s nominal capital is named – signed the document. - Book: Picture 190 - Peru - 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

In the dazzling light of the waves, Inti, the Inca sun god, sinks into the waters of the Pacific … – 1969

The Paracas Candelabra (El Candelabro). The figure is around 180 metres high and was carved about half a metre into the hard sandy ground. Alongside the Candelabra, other, smaller lines have also been carved into the ground. It can be seen from the sea at a distance of around 20 km. Radiocarbon dating has placed its creation around 200 BC. Who created this mysterious symbol from the pre-Inca period and what purpose it served remains unclear to this day. – Peru – 1977

The Andean Railway, which runs from Lima on the Pacific coast to Huancavelica in the Sierra, crosses the Río Rimac. Fifty kilometres further on, it reaches the world’s highest ‘railway point’ at the Paso del Ticlio (4,818 m). - Book: Picture 179 - Peru - 1969

La Oroya, situated at an altitude of 3,726 metres in the Peruvian department of Junín, is a major railway junction. The most important ore processing plants and smelters are located here. These smelters are all the more important given that, in the past, almost all mining products were shipped in the form of ore and refined abroad. – In 2012, operations at the smelting plants were ceased. - Book: Picture 168 - Peru - 1969

The Peruvian town of Cerro de Pasco, situated at an altitude of 4,350 metres and now home to 30,000 inhabitants, has been an important mining centre since colonial times. Gold, silver, copper and zinc are partly mined in mines situated 5,000 metres above sea level. The coal, however, comes from the deeply incised Goyallarisquisga Canyon, which is nonetheless the highest coal mine on earth. - Book: Picture 172 - Peru - 1969

The Morococha mine produces silver, zinc, copper and lead. It is located at 4,540 m in the central Andes, near the Ticlio Pass, which connects Lima with the eastern parts of the country. - 1969

A miner from the Caudalosa mine in the department of Huancavelica, Peru. - Book: Picture 167 - Peru - 1976

Workers’ settlement at the Ricas mine in the department of Huancavelica, Peru. The ore from this mine contains silver, lead, zinc and copper, as well as various minerals that are separated during smelting. - Book: Picture 173 - Peru - 1976

Miners in front of the entrance to the Ricas mine in the department of Huancavelica, Peru. - Book: Picture 174 - Peru - 1976

Bus stop near the village of Conchamarca in the department of Huánuco, Peru. - Book: Picture 181 - Peru - 1976

In autumn, the predominant color of the cultivated fields in the Sierra is brown. Near Huancayo, Junín Department. - 1969

Nothing illustrates the economic and social diversity as well as farming methods. Whilst tractors are used in some areas, indigenous people on their smallholdings still cultivate their fields in a way that has not changed since Inca times. - Book: Picture 91 - Peru - 1969

Corn on the cob hangs to dry on the wall of the house. Acomayo in the Huánuco region in central Peru. - 1969

Traditional Peruvian carving: The picture shows intricately engraved and fired pumpkins, known as ‘Mates Burilados’. This craft originates from the Peruvian Andes (particularly regions such as Junín) and often depicts scenes from everyday life, historical events or nature. The intricate patterns are carved into the dried pumpkin shell using a burin and are sometimes highlighted with smoke or paint. – Huancayo – Peru – 1969

One of the most attractive forms of Peruvian crafts is the decoration of dried gourds. The artist from the «Centro Artesanal de Huancayo» uses a sharp piece to draw scenes from everyday life. - 1969

A scene from the famous Feria Dominical de Huancayo (Huancayo Sunday Market) in Peru, one of the historically most significant and largest markets in the South American Andes. This weekly market attracts traders and craftspeople from across the Mantaro Valley. The artworks visible in the foreground are dried calabash gourds. Artisans from the nearby villages of Cochas Chico and Cochas Grande use fine chisels (buriles) to carve extremely detailed stories, village chronicles and festive scenes into the shells. The characteristic brown and black contrasts are created using firing techniques. Hand-woven blankets and traditional textiles hang in the background. The women’s clothing – in particular the distinctive white hats with black ribbons and the embroidered waistcoats – is typical of the indigenous people of the Mantaro Valley. – 1969

Detail of a carved and charred gourd from the Huancayo area, Peru, depicting a village festival. Depending on their shape, bottle gourds are cut in half to be used as bowls and plates, or left whole to be used as bottles. - Book: Picture 142 - Peru - 1977

This historical photograph shows the bustling Calle Real, the main thoroughfare and central street of the Peruvian Andean town of Huancayo (Junín Region), characterised by typical car models of the 1960s and the striking, round Inca Kola neon sign in the background. – 1969

The indigenous potters have never used a potter’s wheel, but they produce very beautiful functional and decorative items, which can be bought at one or other of the local markets in the Cordillera. – Quinua, near Ayacucho. – 1969

The Río Mantaro, seen here near Izcuchaca in the Huancavelica region. At this point, the river has carved its way deep into the Andes, forming imposing, steep gorges (canyons). – Peru – 1969

Potato harvest near the village of Jerónimo in the department of Apurímac, Peru. The tradition of communal farming dates back to pre-Inca times, creating a solid foundation for agricultural collectives and cooperatives. - Book: Picture 177 - Peru - 1969

Although the scene in the photograph is visually very reminiscent of the Mongolian steppe, the terraced slopes used for farming in the background, as well as the rider’s clothing (a typical Andean hat and poncho), clearly point to the highland Pampas regions of the Peruvian Andes. The photograph was taken 20 km from Andahuaylas. – Peru – 1969

The Andean condor (Vultur gryphus) in flight. It has dark plumage with a distinctive white ruff and pale stripes on its wings. It belongs to the family of New World vultures and, with a wingspan of up to three metres, is considered one of the largest flight-capable bird species in the world. Although the Andean condor is mostly associated with the high peaks of the Andes (such as the famous Colca Canyon), it actually descends regularly to the Peruvian Pacific coast. This photograph was taken on the Paracas Peninsula. In the Paracas National Reserve and along the nearby cliff-lined coast, the condors make use of the strong sea winds and updrafts along the steep cliffs to glide for kilometres without expending much energy. They are drawn there for one reason above all: the availability of food. On the coast, they feed on the carrion of beached marine mammals (such as sea lions) or the remains of seabird colonies. – 1977

The river valley of the Río Pisco forms a lush, green strip in the midst of one of the driest coastal deserts on Earth. Thanks to meltwater and rainwater from the Andes, oasis farming has been practised here successfully for thousands of years. Whilst the river’s course in its upper reaches carves deep, narrow gorges into the barren Andes mountains, the valley widens towards the coast into a broad, fertile plain before the river flows into the Pacific Ocean north of the port city of Pisco. At the various altitudes within the valley, maize, pulses, fodder crops (such as alfalfa) and fruit are grown, and livestock is reared. – 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

The Toro Muerto petroglyphs in the Majes Valley in the Arequipa region comprise thousands of volcanic boulders bearing prehistoric rock carvings. The site is situated in the desert in the district of Uraca, in the province of Castilla, some 150 km north-west of the city of Arequipa. Over 5,000 to 6,000 engraved boulders depict zoomorphic, anthropomorphic and geometric motifs such as animals, dancers and symbols. The most densely concentrated core area, where most of the engraved boulders are found, covers approximately 5 square kilometres. Within this main area, the finds extend over a length of approximately 3.8 kilometres and a width of about 250 metres. – Peru – 1976

The petroglyphs of Toro Muerto in the Majes Valley in the Arequipa region are among the largest and most significant sites of prehistoric fish and rock art in the world. They date mainly from the Wari period and the late Intermediate Period (c. 500 to 1440 AD). The site covers several square kilometres of barren desert landscape and is regarded as an important testament to the early ritual and cosmological expressions of Andean cultures. Peru – 1976

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

The Toquepala mine in the Tacna region is one of the five largest copper mines in the world in terms of reserves. It is operated by Southern Copper Corporation (a subsidiary of Grupo México). The railway line shown in the picture forms part of the private industrial rail network known as the Ferrocarril Ilo-Toquepala-Cuajone. The line was built around 1959–1960 to transport the mined copper concentrate directly from the deep open-cast mine over the Andean passes to the smelter and the export port at Ilo. – Peru – 1976

The photograph shows the mine railway within the Toquepala copper mine in Peru. The mines’ entire rail network comprises intricate hairpin bends along the mining terraces and a tunnel system over 27 kilometres long, designed to cope with the extreme differences in altitude in the mountainous region. Although transport within the vast pit is now mainly carried out using gigantic dump trucks (haul trucks), the railway link to the coast remains the main logistical artery of the mining operation. Peru – 1977

The city of Arequipa, founded by the Spanish as early as 1540 at an altitude of 2,370 metres, now has a population of around two hundred thousand and lies in a narrow high-altitude basin where agriculture is only possible thanks to artificial irrigation. It owes its nickname, ‘the White City’, to the white tuff used as a building material. Arequipa is dominated by the 5,842-metre-high Misti, one of Peru’s few active volcanoes. Only during the summer rainy season is its smooth cone covered by a cap of snow. - Book: Picture 7 - Peru - 1976

The green agricultural landscape, with its traditional terraced fields (campiña) in the foreground, is dominated by the striking, snow-capped volcano El Misti. The stratovolcanic cone of El Misti rises majestically to over 5,820 metres in southern Peru and dominates the panorama of Arequipa. – Peru – 1976

The valley of the Río Vitor near Arequipa in southern Peru. The river feeds the agricultural oases and fields in the midst of this extremely arid landscape of deserts and canyons. On the horizon towers the imposing, snow-capped Chachani volcanic complex. At an altitude of approximately 6,057 metres, it is one of the defining mountains that frame the basin around Arequipa. This panorama illustrates the stark contrast between the barren Andean plateau, the snow-capped volcanic giants and the fertile river valleys on Peru’s Pacific coast. – 1976

The rivers flowing down from the Western Cordillera cross the Peruvian coastal desert on their way to the Pacific Ocean. Around forty box-shaped valleys with broad floors and steep sides are carved into the desert plateau, which slopes gently down towards the sea. With their vineyards, lucerne fields and vegetable plots lined with rows of trees, they form green oases in a barren landscape. When travelling along the Carretera Panamericana and passing through these valleys, such as that of the Rio Vítor, one is constantly surprised by the sight of the fertile strips of cultivated land that criss-cross the desert. - Book: Picture 88 - Peru - 1976

The Santa Catalina Convent in Arequipa is a cloistered complex founded in 1579, laid out like a small colonial-era town. The buildings and arcades were largely constructed from white, porous volcanic stone (sillar), which is characteristic of Arequipa’s historic city centre. The deep ochre and orange tones of the walls in the cloisters form a striking contrast to the light-coloured stone buildings and the blue sky. The walled complex contains labyrinthine alleyways, squares, the nuns’ living quarters and beautiful courtyards. Peru – 1976

The Monastery of Santa Catalina (Monasterio de Santa Catalina de Siena) in Arequipa is a sprawling cloistered complex founded in 1579, which resembles a colourful citadel or a ‘city within a city’. The complex captivates visitors with its walls painted in vibrant blue and deep red, narrow alleyways (such as Calle Sevilla, visible here) and courtyards made of volcanic sillar stone. For almost four centuries, nuns lived here in complete seclusion from the outside world before the historic part was opened to the public as a museum in 1970. The convent is regarded as one of Peru’s most significant colonial buildings and forms part of the UNESCO World Heritage Site of the historic city centre of Arequipa. – 1976

A picturesque alleyway with white archways and red flowers at the famous Monasterio de Santa Catalina (Monastery of St Catherine) in Arequipa. The complex consists of buildings made of sillar (volcanic tuff) painted in bright white and deep red. Founded in the 16th century, this cloistered convent resembles a small, self-contained town within the city of Arequipa. Its narrow alleyways, courtyards and flower beds make it one of Peru’s most important sights. – 1976

A young lottery ticket seller in Arequipa, which, with a population of 200,000, is Peru’s third-largest city and the most important economic centre in the south of the country. - Book: Picture 184 - Peru - 1969

A herd of alpacas and llamas grazing at Laguna de Salinas in the “Reserva Nacional de Salinas y Aguada Blanca”, at an altitude of over 4,200 metres in the Arequipa region. The volcano in the background is Mount Ubinas. It stands at 5,672 metres and is considered Peru’s most active volcano. – Peru – 1969

The Peruvian Puna is a land of tranquillity and solitude. Behind this herd of grazing llamas, the Ubinas volcano rises to a height of 5,632 metres on the border between the departments of Moquegua and Arequipa. - Book: Picture 102 - Peru - 1976

The photograph shows a herd of llamas and alpacas, led by a herder pushing a bicycle. The vast, bright plain in the background is the Laguna de Salinas (also known as the Salar de Salinas), and the striking, snow-capped peak in the background is the highly active stratovolcano Ubinas (5,672 m). This landscape forms part of the southern section of the Salinas y Aguada Blanca National Reserve, which stretches across the regions of Arequipa and Moquegua in southern Peru. – 1976

Sunset on the road from Nazca to Puquio, Abancay and Cusco. These giant candelabra cacti are a common sight on the arid slopes of this region. – 1972

The Yareta (Azorella compacta) is an extremely long-lived cushion plant from the umbellifer family, which grows in the high Andes of South America. It thrives at altitudes of between 3,000 and 5,000 metres in the barren, rocky regions of the Puna. The plant forms dense, hard, cushion-like mats of tiny leaves, which grow extremely slowly and can live for several millennia. Thanks to its compact form and resin-rich structure, it is perfectly adapted to extreme cold, drought and intense sunlight. - In the background, the Yucamana volcano (5,508 m) in the province of Tacna. – Peru – 1976

The Yareta (Azorella compacta) is an extremely long-lived cushion plant from the umbellifer family, which grows in the high Andes of South America. It thrives at altitudes of between 3,000 and 5,000 metres in the barren, rocky regions of the Puna. The plant forms dense, hard, cushion-like mats of tiny leaves, which grow extremely slowly and can live for several millennia. Thanks to its compact form and resin-rich structure, it is perfectly adapted to extreme cold, drought and intense sunlight. - Province of Tacna. – Peru – 1976

These majestic vicuñas graze on the vast plateaus of the ‘Reserva Nacional Pampa Galeras Bárbara D’Achille’ in the Ayacucho region of Peru. The road from Nazca to Abancay runs straight through the reserve, which lies at an extreme altitude of over 4,100 metres. It was established in 1967 and successfully saved the species from extinction caused by poaching. Today, an estimated 17,000 animals live in the wild across the plateau. – Vicuña wool is considered the most expensive and exclusive legal wool in the world. The Incas reverently called the animals’ fine fleece ‘the gold of the gods’. The fibre has a diameter of 8 to 13 micrometres. This makes it significantly finer than cashmere (approx. 15–19 micrometres) and about eight times thinner than a human hair. – Peru – 1972

This wayside cross, decorated with flowers and cloths, stands on the scenic main road between Abancay and Cusco in the Peruvian Andes. The crosses often mark sites that were already regarded as sacred places (huacas) or dedicated to the guardian spirits of the mountains (apus) in Inca times. The placement of Christian crosses led to the fusion of Spanish Catholic traditions with Andean animism. The elaborate decoration with bright strips of fabric and floral arrangements is typical of regional festivals such as the widespread ‘Cruz Velacuy’ (Festival of the Veneration of the Cross) in May, during which the crosses are carried down from the hills into the villages, festively decorated and blessed. – Peru – 1969

A traditional Andean farm in a barren Puna landscape at an altitude of over 4,000 metres, on the road between Puquio and Chalhuanca. The stone walls are used to keep alpacas and llamas together overnight and to protect them from predators and the wind. The small stone structures with conical roofs made of local ichu grass serve as temporary accommodation or camps for the herders during the grazing season. – Peru – 1972

A farmstead in the Limatambo Valley, surrounded by farmland and typical eucalyptus trees against a backdrop of massive, barren mountains. Although these trees were originally introduced from Australia, they now characterise the landscape throughout the valleys near human settlements. The farmstead lies at an altitude of around 2,500 metres, between the Anta plateau and the deep canyon of the Río Apurímac. – Peru – 1972

In the department of Huancavelica, Peru, an indigenous weaver sits in his corral just as he would have done in Inca times: the warp beam tied to the fence, the heddle board fastened around his waist. - Book: Picture 100 - Peru - 1976

A herd of domesticated llamas (Lama glama) in the mountain village of Licapa in the province of Cangallo, in the Ayacucho region. During major religious festivals – such as the famous Holy Week (Semana Santa) in Ayacucho – the herders decorate their finest pack animals with red and pink woollen tassels and ribbons on their ears. In the Andean regions, these ear decorations are often used by owners to mark their animals or to identify them during festivals and hunts. – Peru – 1976

Vicuñas grazing at 4,200 metres above sea level. Alongside the guanaco, the vicuña is the second and smaller wild species of the genus Lama. Its range is now restricted to the Andean highlands between 4,000 and 5,500 metres in altitude, where it grazes on barely visible low-growing vegetation. In adaptation to this diet, it is the only ungulate to have constantly regrowing lower incisors. Because of its wool, which is considered the finest and most precious in the world, it was almost wiped out during the colonial era. Bolívar had already enacted protective laws for this reason, similar to those that had existed under the Incas, who herded the animals into pens for shearing and then released them again. - Book: Picture 94 - Peru - 1976

A shepherdess with llamas and alpacas on the Altiplano, on the road from Abancay to Puquio. - Book: Picture 96 - Peru - 1976

Photo taken in the Peruvian Altiplano in winter. A herd of llamas near Pampamarca on the road from Abancay to Puquio. Ayacucho Department. - Book: Picture 92 - Peru - 1976

The route between Puquio and Abancay crosses several mountain passes reaching altitudes of over 4,000 metres. In these areas, the weather changes rapidly, so that even outside the winter months, sudden cold snaps and heavy snowfall can blanket the entire Puna vegetation in white. – Peru – 1976

The Apurímac is a water-rich river in southern and central Peru, known for having the most distant source of the Amazon. It rises on the slopes of the snow-capped Mismi at 5,597 m in the department of Arequipa and flows through deep gorges (pictured) until it joins the Mantaro to form the Ene. The name is derived from the Quechua words ‘Apu’ (god or lord) and ‘Rimaq’ (the one who speaks), which, due to the loud roar of its rapids, can be translated as ‘the speaking god’ or ‘the great oracle’. – 1972

Nevado Salcantay, the ‘wild’ mountain, is the highest peak in the Vilcabamba Cordillera at 6,264 metres. Machu Picchu lies behind it. Clearly visible here are the famous agricultural patterns on the slopes in front of it, which are typical of traditional Andean agriculture in this region. One can see an artistic ‘coat of arms’ created by the plough, on which the totemic symbols of the puma and the condor are recognisable. – Above Saywite, near the top of the pass, before the descent to Abancay. – Peru – 1976

A panoramic view of the city of Cusco, taken from the hills near the Sacsayhuamán fortress. The name Cusco means ‘Navel of the World’. According to Inca mythology, the sun god Inti sent his children, Manco Cápac and Mama Ocllo, down to Earth. They were to found a city wherever a golden staff sank effortlessly into the ground – this happened in the fertile valley of Cusco. In the 15th century, the ninth Inca ruler, Pachacútec Yupanqui, radically transformed the city. He expanded Cusco in the monumental stone style and arranged the city plan in the shape of a puma – the symbol of power and strength. The head of the puma was the zigzag fortress of Sacsayhuamán. – 1969

Cuzco, situated at 3,500 metres above sea level and known as the ‘Navel of the World’, was founded by the Incas around 1100 AD. In 1536, the conquistadors destroyed the city and rebuilt it in the Spanish style, making use of many Inca foundations. Thus, the buildings themselves clearly illustrate the coexistence and simultaneity of two peoples and cultures, as is evident in the colourful street scene. The vast majority of the 120,000 inhabitants, however, are still indigenous people. Cuzco is the starting point for visits to most of the major Inca sites such as Pisac, Machu Picchu, Ollantaytambo and Sacsayhuamán, but it also boasts magnificent examples of Spanish colonial architecture: the cathedral, the Jesuit church of La Merced, the churches of Santo Domingo – built on the site of the ancient Inca sun temple – and Belén de los Reyes. During the reconstruction following the 1950 earthquake, efforts were made to restore the churches to their original appearance from before 1650. - Book: Picture 80 - Peru - 1969

Cuzco, the sacred "navel" of the Tahuantinsuyo Empire, is today the archaeological capital of South America: Inca, colonial and republican at the same time. In front of the Plaza de Armas, the old ceremonial Huacaypata, stands the baroque church of La Compañía de Jesús where the Amarucancha de Huayna Capac once stood. - 1969

The historic Hatun Rumiyoq alley in Cusco features a masterfully constructed Inca wall made of massive, perfectly hewn blocks of green diorite. These blocks originate from the original palace of the Inca ruler Inka Roca. The stones were fitted together so precisely, without any mortar, that not even a knife blade can fit between them. Following the Spanish conquest, the conquistadors erected their own buildings on top of the extremely earthquake-resistant Inca foundations. The white façade in the upper section belongs to what is now the Archbishop’s Palace. Roughly in the middle of this wall lies the world-famous "Piedra de los 12 ángulos". This single stone has exactly twelve corners, which fit seamlessly into the surrounding wall. – Peru – 1969

Alpacas and llamas graze in front of the impressive zigzag walls of Sacsayhuamán, a monumental archaeological site of the Inca civilisation situated directly above the city of Cusco. The fortress was built in the 15th century under the Inca ruler Pachacútec Yupanqui. The heaviest stones in the complex weigh over 100 tonnes. The blocks were hewn with such precision and fitted together without mortar that often not even a sheet of paper can fit between them. The historic city plan of Cusco was laid out by the Incas in the shape of a puma – the symbol of the earthly world. Sacsayhuamán formed the head of the puma, whilst the zigzag-shaped walls represented the animal’s teeth (or the lightning bolts of the thunder god Illapa). The entire complex served primarily as a ceremonial and religious centre. Today, only around 20% to 40% of the original structure remains. The Spanish removed the smaller stones to build colonial churches and houses in Cusco; however, the gigantic megaliths forming the foundations remained firmly in place. – 1969

At 3500 meters above sea level, the cyclopean fortress of Sacsayhuamán dominates the city of Cuzco. With its three monolithic ramparts in the shape of saw teeth, this “Maginot Line” of the Incas “overshadows the pyramids on the Nile ...” (Tirso de Molina, 1583-1648). Some of these blocks of this giant puzzle, set like gemstones by unknown and great jewelers, are 9 meters high, 4 meters thick and weigh more than 350 tons! - 1969

This young indigenous woman is taking part in the traditional Inca ceremony Inti Raymi (the Festival of the Sun), which is celebrated annually on 24 June. Her clothing and headdress have symbolic significance. She is wearing an ornate crown made from dried agave leaves (maguey) and decorated with small sea snails. Her body is wrapped in a long robe made of natural moss. Beneath it, a traditionally colourful, patterned woven fabric can be seen. – 1969

A re-enactment of the Inti Raymi (‘Festival of the Sun’), a traditional ceremony from the Inca period honouring the sun god Inti. Originally established by Inca Pachacútec around 1430, the festival marks the winter solstice in the Southern Hemisphere and the Inca New Year. The event takes place every year without fail on 24 June. The photograph shows people dressed as Inca rulers, wearing traditional headdresses, colourful robes and carrying ritual vessels. – Cusco – Peru – 1976

Whilst the main ceremony of Inti Raymi (the Inca Festival of the Sun) traditionally takes place on the esplanade of the Sacsayhuamán fortress, the dances and musical accompaniment are often moved to Cusco Stadium to accommodate the crowds, as seen in this photograph, taken on 24 June 1976. The musicians play the traditional Peruvian Andean harp (Arpa andina) and violins to accompany the traditional dances (Danzas) from the various provinces, which are performed in honour of the sun. – Cusco – Peru – 1976

Musicians from the province of Paruro at the famous Inti Raymi festival (the Inca Festival of the Sun) in Cusco. They play a type of transverse flute, the flauta andina (Andean transverse flute), which is often referred to regionally as a pifano or pífano andino. It is traditionally made entirely from local bamboo (caña) or Andean wood. Such rustic bamboo flutes are typical of rural music groups (Bandas de Músicos Tradicionales) in the highlands of Cusco. They accompany festive dances and ceremonial processions at indigenous celebrations. – Peru – 1969

The picture shows traditional Peruvian Andean inhabitants holding so-called pututos (ceremonial wind instruments made from large sea shells) in their hands. The pututo is a prepared conch shell (often Lobatus galeatus) that has been used in the Andes since pre-Columbian times. The instrument produces a very loud, deep sound and was originally used to gather communities, send signals over long distances or initiate sacred rituals. The people are wearing typical, hand-woven Peruvian ponchos with fringes and traditional legwear. – Inti Raymi in Cusco – Peru – 1976

The photograph shows a large crowd sitting on the historic Inca stone walls of the Sacsayhuamán fortress in Cusco, watching the re-enactment of the ancient rituals and dances of the traditional Inti Raymi sun festival up close. – Peru – 1976

The Corpus Cristi festival, brought by the Spanish, acquires a special splendor every year in Cuzco. During the ceremony, the statues of twelve saints are shouldered around the Plaza de Armas. – 1969

At the market in Cusco. An open-air stall set up in front of a light-green building with signs for Pepsi and Fanta. Numerous stacked metal pots, cauldrons, buckets and aluminium bowls, as well as bagged goods and household items, are on sale. – Peru – 1976

A street food vendor in Cusco who prepares traditional anticuchos on a small metal grill; this is a traditional, very popular dish in Peru and Bolivia. The skewers consist of thinly sliced beef heart (anticuchos de corazón). The meat is very lean, has a firm texture and tastes juicy and spicy once grilled. It is marinated for hours in a mixture of ají panca (a Peruvian red chilli variety), garlic, vinegar, cumin and herbs. A typical side dish is usually a boiled potato or thick slices of Andean maize (choclo). – Book: Image 186 – Peru – 1969

The inner courtyard of the Santo Domingo Monastery in Cusco, Peru, showcases the harmonious blend of Spanish colonial architecture and the exposed walls of the ancient Inca sun temple, Qorikancha, lying beneath it. The Christian Dominican monastery was built in the 16th century directly on the foundations and walls of the Inca Empire’s most important religious centre. The precisely fitted Inca stones, laid without mortar, form the foundation for the arcades of the Spanish colonial period. In the background rises the Baroque tower of the Church of Santo Domingo, which forms part of the UNESCO World Heritage Site of the historic centre of Cusco. – Peru – 1976

Detail of a mummy shroud (manto) from the Paracas Necropolis culture, featuring human figures holding fans and ceremonial staffs. Museo Nacional de Antropología y Arqueología, Lima, Peru. - Book: Picture 71 - Peru - 1977

‘To the Liberator of Peru, Don Simón Bolívar’. Historical painting by Santiago Juárez, 1825. Museo Histórico Regional de Cuzco, Peru. - Book: Picture 136 - Peru - 1976

Vessel with a double spout and loop handles from the Nazca culture. This culture, which flourished during the Classical Period of pre-Columbian Peru between 100 and 800 AD in the coastal valleys of Ica, Pisco and Nazca, influenced both the surrounding areas and later cultures, right up to the Incas, with its outstanding pottery featuring vibrant colours. Museo Regional de Ica, Peru. - Book: Picture 68 - Peru - 1969

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

Virgin Mary (oil on wood, 37 x 54.5 cm). School of Cajamarca. Juan Reiser Collection, Lima, Peru. - Book: Picture 135 - 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 Bolivian talisman, which embodies the power of Pachamama, symbolises the stages of life and fertility: on the left, a bearded old man; in the centre, a zampoña player; and on the right, a nursing woman (height 7 cm, Eva Bruggmann Collection, Yverdon). - Book: Picture 109 - Peru - 1977

A 3.700 m de altitud se alzan las cuatro terrazas de Tampu Machay, el «baño del Inca». Unos nichos trapezoidales adornan el «templo del agua» más elegante, que servía para la purificación ritual del monarca y su esposa, la Coya, con motivo de su unión ritual. – Cuzco – Perú – 1969

Three kilometres from Cuzco stands the huge rock of the Kenko sanctuary, which is covered with grooves, jagged edges, steps, altars and animal symbols. In the centre of the magnificent amphitheatre, surrounded in a fan-shaped arrangement by 19 niches or seats, stood a stone totem in the shape of a seated puma. – Peru – 1976

It was not only in the area around Cusco that the Incas made intensive use of the steep slopes for terraced farming (andenes) to secure food supplies for the surrounding settlements. These are stepped, flat terraces dug into the ground on steep mountain slopes and supported by stone walls, which thus prevent soil erosion during heavy rain. The stones of the walls store heat during the day and release it to the plants at night (protection against frost). – This photograph was taken south of Cusco on the road between Checacupe and Urcos, on the upper reaches of the Vilcanota River, which flows downstream to join the Urubamba River. Peru – 1976

The Urcos market is renowned for being a very authentic, local market where indigenous women traders and craftspeople from the surrounding mountain communities sell their wares – ranging from fresh produce to traditional pottery and textiles – directly on the ground or from simple stalls. The typical round hill hats (monteras) and hand-woven garments are characteristic of the indigenous people of this Andean region. – Cusco – Peru – 1976

Unlike the better-known markets in and around Cusco, the Sunday market in Urcos (Quispicanchi Province, Cusco Region) remains almost untouched by mass tourism. Locals from the surrounding villages arrive dressed in their finest traditional costumes to sell fresh produce and share a large glass of freshly fermented ‘chicha de jora’. This is a traditional, alcoholic maize beer from the Andes, with a history stretching back thousands of years in what is now Peru, Bolivia and Ecuador. It is regarded as the ‘sacred drink of the Incas’ and was traditionally drunk during religious ceremonies in honour of the sun deities and the Earth Mother, Pachamama. – Peru – 1976

Checacupe is a traditional village in the district of Checacupe (Canchis Province, Cusco Region) in southern Peru. The region is renowned for its historical significance, the preservation of indigenous traditions and Andean craftsmanship. The large earthenware jugs are known as urpus (also called raquis), which are typically used for the fermentation and transport of chicha (traditional maize beer) or water. The jugs are wrapped in thick, hand-woven ropes (Qeswa or Ichu grass ropes) to secure them for transport on the back or on pack animals. The clothing and distinctive hats are typical of the Quechua people of Canchis Province in the Cusco Region. – 1969

Flute player in the pueblo of Checacupe (3,430 m above sea level), Cuzco Department. Unlike the indigenous wind instruments, which all have specific names (kena, pincullo, etc.), the flutes are simply called ‘flauta’, which suggests that they only came into being after the Conquista as replicas of the European instrument. - Book: Picture 116 - Peru - 1976

Two women in the traditional dress of the Cusco region. The textiles are characterised by their craftsmanship and symbolism. The women are wearing colourful, patterned woven shawls draped over their shoulders. These traditional shawls are used in everyday life both to protect against the cold and to carry objects or babies. The typical, loose-fitting skirts, usually dark in colour or with colourful trim, are characteristic of the Andean region. The woman on the left is wearing a light-coloured felt hat decorated with coloured ribbons. In Peru, the shape and colour of such hats often reveal the exact region of origin or village community of the person wearing them. – 1976

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

Sunday market in Chinchero, Cusco Department. Just as in Inca times, one can still recognise tribal or local affiliations today by the hats or the patterns on the ponchos. For example, the Cuzqueños wear a sort of doctoral cap; the hat from Pisac is gently curved, and those wearing the stiff white hats with coloured ribbons all come from the same area. - Book: Picture 112 - Peru - 1969

Sunday market in Chinchero, Cusco Department. The equivalent of a European sausage stall – an open-air kitchen. - Book: Picture 115 - Peru - 1976

Sunday market in Chinchero, Cusco Department. Chicha seller – maize beer was probably known soon after maize was first cultivated. - Book: Picture 113 - Peru - 1976

An indigenous woman from Chinchero wearing the hat typical of the Cuzco region. The borders on the top of the hat symbolise the Inca empire of Tahuantinsuyu, the empire of the four corners of the world with Cuzco at its centre. The delicate motifs on the manta are also characteristic of this region. - Book: Picture 101 - Peru - 1969

Using a traditional hand spindle (known as a ‘pushka’), this woman spins raw wool into yarn. The spindle consists of a wooden rod and a whorl, which acts as a flywheel to stabilise the rotation as the fibres are drawn out. This centuries-old technique is still practised today in the Peruvian Andes to produce fine yarns for handmade textiles. – Cusco – Peru – 1972

Fruit sellers at Cusco railway station. - Book: Picture 114 - Peru - 1973

The procession in honour of the ‘Señor de Choquekillka’, the principal patron saint of the Inca city of Ollantaytambo in the Sacred Valley of the Incas. This major local event is celebrated every year around the Christian feast of Pentecost in May or June. It combines Catholic traditions with ancient Andean customs to form a significant cultural syncretism and has been declared part of Peru’s national cultural heritage. The villagers carry the cross, richly adorned with flowers and white robes, from the main church through the streets of the town. The relic being carried is an ornate cross which, according to local legend, was found in the nearby Vilcanota River at the beginning of the 20th century. – Peru – 1969

The clothing, the hats and the playing of the pututo conch shell are deeply rooted in the vibrant culture of the Cusco region and are still proudly displayed there today at festivals and receptions. The pututo is a traditional wind instrument made from a large sea snail, which has been used in the Andes since Inca times for ceremonies, rituals and long-distance communication. – This photograph dates from 1969 and was taken in Ollantaytambo. The person behind the player is an alcalde (mayor) with his staff, the varayoc, which translates as ‘the lord of the staff’. – Peru – 1969

During the Whitsun festival in Ollantaytambo, this mask is worn by the dancers of the Ukuku troupe. These mythological figures represent beings that are half-human and half-bear. They act as humorous yet disciplined intermediaries between humans and the mountain gods (Apus). During the colourful processions through the Inca streets of Ollantaytambo, they maintain order, joke with the spectators and accompany the holy cross. – Peru – 1969

Indigenous people in the small church at Ollantaytambo in the Urubamba Valley, above Machu Picchu, in the Department of Cuzco. Under the zealous Spanish missionaries, the indigenous people were very quickly converted to Catholicism; yet, on closer inspection, the old customs and deities can still be found beneath the European veneer in all the rites. For example, St James, the patron saint of the Spaniards, is celebrated with great fervour on 25 July, yet at the same time this day marks the festival of the mountain god Taita Wamani, and Pachamama, the Mother Earth from pre-Inca times, is today identified in many places with the Virgin Mary. - Book: Picture 108 - Peru - 1969

Cereal harvest near Tiobamba in the Cusco region. In the background rises Nevado Chicón, a glaciated peak in the Urubamba Cordillera, some 5,530 metres high. – Peru – 1969

The colonial church of Tiobamba in the department of Cusco. In the background the Nevado Chicón, 5530m, from the Cordillera Urubamba. - 1969

The picture shows the impressive archaeological site of Moray, a historic Inca terraced complex in Peru. It is situated on a high plateau in the Sacred Valley of the Incas, around 50 kilometres north-west of Cusco. The funnel-shaped design creates a temperature difference of up to 15 °C between the top and bottom terraces. The Incas used these zones to gradually acclimatise and cultivate crops from other parts of the empire (such as the coast or the tropical lowlands) to the harsh high-altitude climate of the Andes. – Peru – 1969

According to legend, Ayar Cachi was locked away by his three brothers in a cave on Mount Tamputoco. Trapped in the darkness and deeply saddened by the bitter betrayal of his own family, Ayar Cachi began to weep inconsolably. His salty tears of anger and despair flowed out of the mountain in vast quantities. They gathered in the valley in thousands of tiny pools. Over time, the scorching Andean sun dried out these pools, leaving behind the white and pink salt that is still harvested today. Over 3,000 small, terraced basins are fed by an underground, highly saline thermal spring called Qoripujio. – The Maras salt flats in a side valley of the Sacred Valley of the Incas – 1969

The classic general view of the ruins of Machu Picchu. In the middle distance the dominant Huayna Picchu. - 1969

The famous Inca ruin city of Machu Picchu, photographed from the opposite peak of Huayna Picchu. On the left, on the hillside, you can see the winding road (Carretera Hiram Bingham) along which buses climb up from Aguas Calientes. The photograph looks south from the higher slopes of Huayna Picchu towards the ridge below, on which stands the citadel of Machu Picchu. The agricultural terraces and stone buildings of the historic Inca site lie at an altitude of around 2,430 metres. – 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 mountain fortress of Machu Picchu, Peru. Initially, it was believed that the various types of masonry found in Cuzco, Machu Picchu and other Inca structures dated from different periods. Today, it is thought that both the walls constructed from interlocking megalithic blocks and those made from smooth, uniformly sized stones, as well as the mortar-bonded fieldstone technique were all employed by the same master builders from the period after 1440, depending on their intended purpose: the megalithic construction method for retaining walls, smooth, evenly rounded ashlars for representative buildings, and mortar-bonded rubble stone walls – alongside adobe bricks – for functional buildings. In Machu Picchu, however, various elements, such as the oval Torreón, suggest that construction continued here even into the colonial period. Inca architecture otherwise features only rectangular or trapezoidal shapes, and vertical arches are completely absent, which, for example, imposed certain limitations on the construction of gates. - Book: Picture 125 - Peru - 1969

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 imposing, snow-capped peak of Nevado Salcantay (6,271 m) lies directly to the south of the Inca citadel. It forms the geographical and spiritual centre of the region. For the Incas, Salcantay was one of the most important deities (apus), controlling the weather, the rain and the fertility of the region. Viewed from the central sundial rock (Intihuatana) in Machu Picchu, the Southern Cross stands directly above the summit of Salcantay at its highest point during the rainy season. On a clear day, the mountain’s white, ice-capped pyramid rises high in the south, towering far beyond the green ridges and ruins, lending the site a deeper sacred dimension. – Peru – 1976

The picture shows the Sacred Valley of the Incas (Spanish: Valle Sagrado de los Incas) in the Cusco region of Peru. The Urubamba River (also known as the Río Vilcanota) winds its way through the fertile valley. In the background and on the slopes, you can see the characteristic agricultural terraces (andenes) built by the Incas, as well as winding roads. – 1976

The Sacred Valley of the Incas (Valle Sagrado de los Incas) in the Cusco region of Peru. On the left in the background, the Urubamba River (Río Urubamba) flows through the flat valley floor. On the right-hand side, the characteristic, curved agricultural terraces of the Incas can be seen. These served to make steep mountain slopes cultivable, prevent erosion and create microclimates for various crops (primarily maize). The flat floor of the Urubamba Valley is divided into regular, chequerboard-like fields and is still used intensively for traditional farming today. A historic, highly sophisticated system of canals runs through the fields, channelling meltwater from the surrounding Andean glaciers directly onto the cultivated land. – 1969

The picture shows the archaeological complex of Písac, one of the most significant Inca ruins in the Sacred Valley of the Incas in Peru. The site is perched on a ridge above the town of Písac and is renowned for its gigantic, stepped agricultural terraces (andenes). These terraces were masterfully integrated by the Incas into the steep mountain slopes to create microclimates for the cultivation of various crops (primarily maize) whilst preventing soil erosion. At the top of the cliff, the stone remains of Inca outposts and residential buildings can also be seen, which served to defend and monitor the valley. – 1969

In a widening of the deeply incised Urubamba Valley, which links Cuzco with Machu Picchu, lies the small town of Pisac, famous for its Sunday market. On the slopes above the town, artfully laid out agricultural terraces have stretched upwards since Inca times, transforming even the steepest mountain flanks into gigantic staircases that were used for growing potatoes, maize, oca and quinoa. - Book: Picture 126 - Peru - 1976

In the idyllic ‘Eden’ of the tropical sacred valley of the Incas, the great ruined city of Pisac, one of the ‘capitals’ of the empire, stands at an altitude of 3,100 metres. Around thirty residences of the finest architecture surround the elliptical Intihuatana, dedicated to the worship of the sun. – 1969

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

On the way from Acomayo to Urcos in the Cusco region, you pass this waterfall. – Peru – 1976

The striking, rugged peak in the background is Cerro Antapunco in the province of Acomayo in the department of Cusco (4,824 m). The name comes from Quechua (anta meaning ‘copper’ and puncu meaning ‘gate’), which roughly translates as ‘Copper Gate’. In contrast to the heavily touristed Sacred Valley to the north of Cusco, this photograph shows the rugged, equally historic landscape to the south of the regional capital. The slopes in the foreground bear witness to the deeply rooted, traditional Andean farming practices that have adapted to the extreme high-altitude conditions. – 1976

Llamas have traditionally served as important pack animals for transporting goods in the Andes. – A plateau in the Acomayo region, south of Cusco. The striking, (still!) snow-capped peak in the background is Nevado Accoyac. – Peru – 1976

The village of Acomayo (at an altitude of 3,770 metres) in the department of Cuzco. The pueblo is a residential and productive community which, as an ayllu, dates back to pre-Inca times, although the Spanish determined the location and number of today’s pueblos. One third of a village community’s total land holdings is generally held in common and is also cultivated collectively, although the majority of the descendants of the Incas practise a purely subsistence economy. - Book: Picture 104 - Peru - 1976

The village of Acomayo (at an altitude of 3,770 metres) in the department of Cuzco. The pueblo is a residential and productive community which, as an ayllu, dates back to pre-Inca times, although the Spanish determined the location and number of today’s pueblos. One third of a village community’s total land holdings is generally held in common and is also cultivated collectively, although the majority of the descendants of the Incas practise a purely subsistence economy. - Book: Picture 107 - Peru - 1976

The village of Acomayo (at an altitude of 3,770 metres) in the department of Cuzco. The pueblo is a residential and productive community which, as an ayllu, dates back to pre-Inca times, although the Spanish determined the location and number of today’s pueblos. One third of a village community’s total land holdings is generally held in common and is also cultivated collectively, although the majority of the descendants of the Incas practise a purely subsistence economy. - Book: Picture 105 - Peru - 1976

The village of Acomayo (at an altitude of 3,770 metres) in the department of Cuzco. The pueblo is a residential and productive community which, as an ayllu, dates back to pre-Inca times, although the Spanish determined the location and number of today’s pueblos. One third of a village community’s total land holdings is generally held in common and is also cultivated collectively, although the majority of the descendants of the Incas practise a purely subsistence economy. - Book: Picture 106 - Peru - 1976

Detail of a cycle of frescoes in an old mill in Acomayo (Cuzco Department) by Tadeo Escalanda (1807–1832), a mestizo who claimed Inca ancestry and who became known primarily for his frescoes in the church at Huaro (near Urcos). The detail shows an Inca princess, accompanied – in keeping with the fashion of the time – by a hunchback carrying her parasol. - Book: Picture 129 - Peru - 1976

Virgin Mary (90x120cm). The painting is thought to date from around 1690; it clearly reveals Byzantine influence, yet is attributed to the Cuzco school, which, alongside that of Quito, was the most important centre of training for painting, sculpture and the arts and crafts in the Andean countries during the colonial period. Museo Histórico Regional de Cuzco (on loan from Vega-Centeno), Peru. - Book: Picture 130 - Peru - 1976

The nave of the church in Andahuaylillas, a small town with a population of around 3,900 near Cuzco. Built at the end of the 16th century on the foundations of an Inca palace, the church contains many colonial treasures, which is why it is often referred to in Peru – in an effort to rival the Old Continent – as the ‘Sistine Chapel of the Andes’. - Book: Picture 133 - Peru - 1976

An indigenous man in the Altiplano of Peru plays the zampoña with a dreamy expression; its sounds (perhaps a ‘Yaraví’ or a ‘Triste’?) seem to capture all the melancholy of the vast expanse and solitude. - Book: Picture 6 - Peru - 1976

An indigenous man in the Altiplano of Peru plays the zampoña with a dreamy expression; its sounds (perhaps a ‘Yaraví’ or a ‘Triste’?) seem to capture all the melancholy of the vast expanse and solitude. - Book: Picture 6 - Peru - 1976

A campesino from the village of San Antonio de Chuca, Arequipa Department, Peru. The ear-flapped hat, known as a ‘chullo’, protects against the often biting cold of the Altiplano. Occasionally, the indigenous people wear a hat over the chullo to shield themselves from the glaring sun. - Book: Picture 82 - Peru - 1969

A charango player in the department of Cuzco, Peru. Stringed instruments appear to have been unknown to pre-Columbian civilisations. The original charango is a small guitar whose soundbox is made from an armadillo shell. Its rather high-pitched sound is produced by five or six pairs of strings. - Book: Picture 143 - Peru - 1976

A charango player in the department of Cuzco, Peru. Stringed instruments appear to have been unknown to pre-Columbian civilisations. The original charango is a small guitar whose soundbox is made from an armadillo shell. Its rather high-pitched sound is produced by five or six pairs of strings. - Book: Picture 143 - Peru - 1976

This photograph shows a ceremony for Pachamama, which was held at 4 am at -17 °C. The offerings consist of coca leaves, salt, brandy, chicha, cigarettes and food (Puno Department, Peru). - Book: Picture 111 - Peru - 1969

This photograph shows a ceremony for Pachamama, which was held at 4 am at -17 °C. The offerings consist of coca leaves, salt, brandy, chicha, cigarettes and food (Puno Department, Peru). - Book: Picture 111 - Peru - 1969

This photograph shows a ceremony for Pachamama, which was held at 4 am at -17 °C. The offerings consist of coca leaves, salt, brandy, chicha, cigarettes and food (Puno Department, Peru). - Book: Picture 111 - Peru - 1969

Nothing illustrates the economic and social diversity better than farming methods. Whilst tractors are used in some areas, the indigenous people on their small farms still work the fields in a way that has not changed since the time of the Incas. - This image shows the breaking up of the soil with the taclla, an agricultural tool originating in the Peruvian Andes. It is essentially a long-handled spade that the Incas have used since ancient times. Its shape allows it to be pushed with the foot into hard ground. - Book: Picture 90 - Peru - 1976

Nothing illustrates the economic and social diversity better than farming methods. Whilst tractors are used in some areas, the indigenous people on their small farms still work the fields in a way that has not changed since the time of the Incas. - This image shows the breaking up of the soil with the taclla, an agricultural tool originating in the Peruvian Andes. It is essentially a long-handled spade that the Incas have used since ancient times. Its shape allows it to be pushed with the foot into hard ground. - Book: Picture 90 - Peru - 1976

A woman and a child are riding on a horse across the vast, snow-covered plain near Chuquibambilla in the Peruvian department of Puno. The region is situated on the barren Andean plateau (the Altiplano) at an altitude of well over 3,900 metres. The photograph vividly illustrates the extreme weather conditions in the Peruvian highlands, where cold snaps and sudden snowfall in winter have a profound impact on the lives of the local herding communities. – 1976

The church of San Juan de Chuquibambilla near Ayaviri, in the department of Puno, at an altitude of approximately 3,900 metres. - Book: Picture 95 - Peru - 1976

In the Altiplano, near Chuquibambilla in the province of Melgar, close to Puno, at an altitude of almost 4,000 metres, winter nights can become bitterly cold when cold spells set in. Along the Río Santa Rosa, the Altiplano reveals its particular harshness and beauty. Amongst the ice-covered grasses, cows move slowly across the pasture, whilst the river winds its way through the cold landscape. In the morning, frost still lies on the ground. Only when the sun appears and climbs higher does the icy stillness gradually melt away. – 1976

Photo taken in the Peruvian Altiplano in winter. An indigenous woman with a child in the Department of Puno. She is collecting dried llama or cow dung to use as fuel. - Book: Picture 93 - Peru - 1976

An indigenous woman cooking with her child on her back. She uses dried llama or cow dung as fuel and stokes the embers with a blowpipe. Puno Department, Peru. - Book: Picture 117 - Peru - 1976

An indigenous woman cooking with her child on her back. She uses dried llama or cow dung as fuel and stokes the embers with a blowpipe. Puno Department, Peru. - Book: Picture 117 - Peru - 1976

On the shores of the deep-blue Lake Titicaca, small piles of straw or grain (quinoa or barley harvest) are stacked up. Beyond them, on the horizon, rise the mighty, ice-capped peaks of the Cordillera Real. – Peru – 1969

A view of Lake Titicaca, the highest commercially navigable lake on Earth, situated at an altitude of 3,812 metres. Behind a traditional dry-stone wall in the foreground, traditional Andean farming with small plots of land can be seen along the shore. In the background, the Cordillera Real can only be glimpsed behind the low-hanging clouds. – Puno – Peru – 1972

The photograph shows a rural dwelling and farmland on the shores of Lake Titicaca in the Peruvian Altiplano. Small, simple stone houses with thatched roofs and fenced-in courtyards characterise the barren landscape. – Juli region – Peru – 1969

An indigenous couple return with their llamas from the market in Sicuani in the department of Cuzco. - Book: Picture 103 - Peru - 1973

Lake Titicaca, situated at an altitude of 3,812 metres and straddling the border between Peru and Bolivia, is fifteen times the size of Lake Constance. It fills a tectonically formed highland depression, is divided into several sub-basins by peninsulas and dotted with islands (Amantani, Moon Island, Sun Island, etc.). Two species of rush thrive on its shores, from which the indigenous people build their boats as well as floating dwellings. - Book: Picture 3 - Peru - 1969

What could be more picturesque than a reed raft floating on Titicaca? For millennia, the Aymara people of the paradisiacal "Mediterranean" of the Andes have been fishing in their elegant reed boats in the sacred lake. The boats are made “by hand” by bundling the reeds with ichu strings. - 1969

On Lake Titicaca, near Puno, the Uros people live on artificial, floating islands made of dried totora reeds, which have to be renewed regularly. Both the huts and the traditional reed boats (balsas) are made entirely from the totora reeds that grow in the lake. – Peru – 1969

An indigenous woman in a reed boat on the Bolivian side of Lake Titicaca. As the lake is only a few metres deep over large areas, the indigenous people use a long pole for poling as well as the reed sail. The striking resemblance of these reed boats to depictions of papyrus boats in ancient Egyptian tombs, together with certain parallels between Mesoamerican cultures (for example, the Maya pyramids) and the culture of the Nile Valley, has given rise to the most daring hypotheses. Thus, a few years ago, Thor Heyerdahl attempted to cross the Atlantic in a papyrus boat. However, this does not disprove the assumption that similar environmental conditions and the inherent properties of the available materials must lead to analogous solutions. - Book: Picture 145 - Peru - 1969

Traditional reed boats (made from totora reeds) of the indigenous Uros people on Lake Titicaca. The reeds, which grow in abundance on the lake’s shores, have served as their main building material for centuries, used to construct islands, houses and boats. – Puno – Peru – 1976

A woman of the "Uros" who lives on the floating islands on Lake Titicaca. She still grinds the wheat as it did hundreds of years ago. - 1969

These melon-shaped hats (often called ‘bombín’) are characteristic of the indigenous people of the Altiplano in Peru and Bolivia. The clothing in this region reflects the centuries-old traditions of the indigenous communities. – Puno – 1972

The village of Juli on the southwest bank of Lake Titicaca was a religious center during the colonial period. This is reminiscent of a number of churches, the rich interior of which testifies to the past glory. Here is an imposing portal in front of the Santa Cruz Church, over whose esplanade two boys lead their pigs. - 1969

A portal in the village of Juli on the south-western shore of Lake Titicaca, which was a religious centre during the colonial period. This is commemorated by a whole series of churches, whose rich interior decoration bears witness to their former splendour. - Book: Picture 132 - Peru - 1976

The photograph shows the richly carved stone gateway of the historically significant Casa de la Inquisición (also known as the Casa de Cuentas) on the Plaza de Armas in the town of Juli in the Puno region. The portal, in the colonial Andean style, is characterised by finely crafted reliefs, columns and an 18th-century coat of arms. Juli lies on the shores of Lake Titicaca and is renowned for its significant colonial-era religious and secular architecture. – Book: Image 132 – Peru – 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 Ponce Monolith is a well-preserved stele, carved from a single block of andesite, situated in the inner courtyard of the Kalasasaya Temple at the pre-Inca archaeological site of Tiwanaku (Tiahuanaco) in Bolivia. The statue features delicate, complex geometric and zoomorphic reliefs (such as sun, fish and condor motifs) as well as a mask-like facial form. The monolith is named after the Bolivian archaeologist Carlos Ponce Sanginés, who uncovered it in 1957. – Bolivia – 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

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

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

Bolivian street scene: A boy in the small village of Tiahuanaco, not far from the massive pre-Inca ruin complex of the same name, does his homework on the stone steps in front of his house. - Book: Picture 148 - Bolivia - 1976

Isla del Sol (Sun Island) on Lake Titicaca in Bolivia, with the snow-capped peaks of the Cordillera Real in the background. In Inca mythology, the island is regarded as the birthplace of the sun and is home to numerous archaeological sites. In the foreground, typical historic terraced fields and ruins can be seen. – Bolivia – 1976

The hilly, terraced landscape of Isla del Sol, which is the largest island in Lake Titicaca. Some of the stone terraces date back to Inca times and are still used for farming today. Lake Titicaca has deep blue water and is the highest commercially navigable lake on Earth, at an altitude of around 3,812 metres. In the background, you can see the snow-capped Cordillera Real mountain range in Bolivia. Among the most striking mountains in this region, visible from the island, is the Ancohuma (Cerro Jankhouma), which rises to over 6,400 metres. - In Inca mythology, the island is regarded as a sacred place and the origin of the sun, as well as the birthplace of the founders of the Inca Empire (Manco Cápac and Mama Ocllo). Today, it is a popular destination for hikers and nature lovers, with no motorised vehicles permitted on the island. – Bolivia – 1976

The simple houses scattered across the picture, with their typical corrugated iron roofs, are characteristic of the rural communities in Bolivia’s Lake Titicaca region. The slopes reveal the millennia-old Inca and pre-Inca terraced structures for which the Incas’ sacred island is known throughout the world. – Presumably the area around Yumani on the ‘Island of the Sun’. – 1976

This is one of the unusual gateways featuring the stepped meanders of Iñakuyu, the palace and temple of the maidens on the Moon Island. 2,000 male and female servants of the moon goddess Quilla tended this silver-clad sanctuary and cultivated the terraced fields. The Inca vestal virgins spun their precious vicuña wool there and wove it together with hummingbird feathers and gold. – Bolivia – 1976

Relief depicting the four cardinal directions (40 x 60 cm) from the Chiripa culture of the Taraco Peninsula on Lake Titicaca, Bolivia (c. 300 to 1 CE). As the much later Incas called their empire Tahuantinsuyu, or ‘Empire of the Four Parts of the World’, it may be surmised that their world view already had parallels in this culture. Museo Nacional de Arqueología, La Paz, Bolivia. - Book: Picture 79 - Bolivia - 1976

On the boat trip from Moon Island back to the mainland. In the background, you can see the snow-capped peaks of the Cordillera Real. In Inca religion, Moon Island is regarded as a sacred place where, according to legend, the creator god Viracocha commanded the moon to rise into the sky. The island is home to the ruins of the Inca temple of Iñakuyu (Palace of the Sun Maidens), where selected women performed ritual duties. Bolivia – 1976

The Altiplano between the ruins of Tiahuanaco and La Paz, with the Cordillera Real and the 6,500-metre-high Huayana Potosí in the background. The indigenous woman in the foreground is tending sheep and pigs. - Book: Picture 0 - Bolivia - 1976

Against the backdrop of the majestic Nevado Illimani (6,438 metres), a shepherdess walks past with her sheep. – 1976

From the La Paz basin, the road climbs over 1,000 metres to the La Cumbre pass (picture) at an altitude of 4,643 metres, before descending into the Yungas via countless hairpin bends through a deeply incised U-shaped valley, with the Cordillera Real towering in the background. The treeless scrub and grassy vegetation of the Puna still covers the saddle here, where indigenous people are resting with a herd of llamas. A little further down the valley, scrub begins to appear, until finally a dense forest takes over. - Book: Picture 2 - Bolivia - 1976

The famous La Cumbre Pass in Bolivia links the city of La Paz with the tropical Yungas lowlands. Travellers traditionally leave offerings at this strategic and windswept spot. These offerings – often bottles of alcohol and coca leaves – are frequently addressed to the Andean guardian goddess Pachamama and to Christian saints, in order to pray for a safe journey along the notorious mountain roads. – Bolivia – 1976

A panoramic view of La Paz, the seat of government in Bolivia. The photograph was taken from the surrounding mountains and captures the city’s unique topography, which stretches across a vast valley basin in the Andes at an altitude of over 3,600 metres. The dense urban development, which extends from the valley floor up the steep slopes, is clearly visible. In the background lies the snow-capped Cordillera Real. The striking, towering peak on the right is the majestic Illimani (6,438 m), the city’s local mountain and its landmark. In the foreground are steep, rugged rock formations typical of the geological features surrounding the La Paz basin. – 1976

With an elevation ranging from 3,630 to 3,770 meters, La Paz is the highest capital city in the world. It lies in a basin on the edge of the Altiplano, which shields the city from the high-altitude winds; the more affluent neighborhoods are therefore located as low as possible in the valley. Originally an Aymara settlement, the town was expanded by the Incas and conquered by the Spanish in 1535. With 800,000 residents, La Paz is home to about 14 percent of the country’s population, and 60 percent of Bolivia’s industrial production is concentrated in the greater La Paz area. - Book: Picture 149 - Bolivia - 1976

A panoramic view of La Paz, the seat of government in Bolivia, nestled in a deep canyon on the Altiplano. In the foreground, two local people sit in traditional Andean dress, looking out over the city. The dense urban landscape stretches across the steep slopes of the gorge. At the top left, the city merges seamlessly into the rapidly growing neighbouring city of El Alto, which lies on the flat plateau. In the background, the snow-capped Cordillera Real mountain range towers above. The most striking, gleaming white peak on the right is the majestic Illimani (6,439 metres), the unmistakable landmark and ‘guardian’ of La Paz. – 1976

The Cañón de Palca, about 25 kilometres south-east of La Paz. The photograph shows the striking view of the huge, eroded clay and sandstone walls that open up at the end of the gorge towards the small mountain village of Palca. They are made up of mud, clay and gravel left behind by prehistoric glaciers and shaped by the wind. – Bolivia – 1976

Surreal-looking, jagged rock formations and gorges, created by years of weathering of earth and clay. These striking clay towers and rock spires can be found in the Valle de las Ánimas (Valley of Souls) near La Paz. – Bolivia – 1976

The Basilica Menor de San Francisco in La Paz dates from 1743–1784. Its main façade, with its three portals, is regarded as an outstanding example of Mestizo art, a term coined to describe works that reflect both Iberian-European and Indigenous artistic sensibilities. However, the validity of this term is increasingly being called into question. - Book: Picture 131 - Bolivia - 1976

This photograph depicts an everyday scene of local women and men on the steps in front of the ornate wooden gate of the Basílica de San Francisco in La Paz, Bolivia. The backdrop is a prime example of what is known as Mestizo Baroque (also Barocco Mestizo). This architectural style blends European Catholic architectural traditions with indigenous motifs and symbols from the Andean region. The artistically carved stone columns on the left of the picture display these typical, intricately detailed reliefs from the colonial era. – Bolivia – 1976

EI Alto, the airport in La Paz on the Altiplano, is the highest jet airport in the world at 4,082 metres above sea level. Aircraft play a crucial role in opening up the Andes, as infrastructure remains one of the most pressing and unresolved problems. Not all roads on which buses operate are passable in all weather conditions - Book: Picture 180 - Bolivia - 1976

The Fiesta del Gran Poder, the Festival of Divine Power, in La Paz is arguably one of the largest and most colorful religious celebrations in Bolivia. The photo shows the characteristic Diablada dancer—the devil, who embodies evil and dances frenetically against the forces of good throughout the hours-long procession, only to be ultimately defeated by Divine Power. - Book: Picture 150 - Bolivia - 1976

The festival is officially known as the ‘Festividad del Señor Jesús del Gran Poder’. It is celebrated in honour of a representation of Jesus Christ and blends Andean beliefs closely with the Catholic faith. Although the Morenada is regarded as the dominant dance of this festival in La Paz, groups performing the Diablada (as pictured here) open and enrich the spectacle with great vigour and magnificent colours. The dancers belong to one of the traditional fraternities that parade through the streets of the capital every year in May or June. – This huge celebration has also been recognised by UNESCO as an Intangible Cultural Heritage of Humanity. – Bolivia – 1976

The Fiesta del Gran Poder, the Festival of Divine Power, in La Paz is arguably one of Bolivia’s largest and most colorful religious celebrations. The photo shows the characteristic Diablada dancer—the devil, who embodies evil and dances frantically against the forces of good throughout the hours-long procession, only to be ultimately defeated by Divine Power. - Book: Picture 151 - Bolivia - 1976

The Fiesta del Gran Poder, the Festival of Divine Power, in La Paz is arguably one of Bolivia’s largest and most colorful religious celebrations. The female dancers may be inspired by the North American tradition of majorettes. - Book: Picture 152 - Bolivia - 1976

A traditional devil’s mask (Máscara de Diablada), typically worn at the Chilean festival ‘Fiesta de la Tirana’, at the ‘Festividad de la Virgen de la Candelaria’ in Puno, Peru, or at the Bolivian ‘Carnaval de Oruro’. – This dance symbolises the eternal struggle between good and evil. The dancers dress up as devils (Lucifer or demons), who are ultimately defeated by the Archangel Michael and submit to the Virgin Mary. A magnificent, colourful multi-headed dragon is mounted on the mask. In Andean iconography, European conceptions of the devil blend here with indigenous mythical creatures (such as the sacred snake Amaru) and Asian influences. The large, protruding eyes are intended to create a fixed, terrifying gaze. The mask features a wide-open mouth with pointed teeth and a protruding tongue, which emphasises the demon’s malice and ferocity. – La Paz – Bolivia – 1976

A dancer in a traditional, vibrantly coloured red devil’s costume from the Diablada dance troupe. The Diablada dance depicts the struggle between good and evil and forms the centrepiece of the various carnivals in the Andean region around Lake Titicaca. The ornate devil’s mask is adorned with horns, snakes and glittering embellishments. The dancer wears a red costume featuring embroidered aprons, metallic embellishments and distinctive boots. – La Paz – Bolivia – 1976

The Fiesta del Gran Poder, the Festival of Divine Power, in La Paz is arguably one of Bolivia’s largest and most colorful religious celebrations. - Book: Picture 153 - Bolivia - 1976

Wedding in the village of Toledo, Oruro Department, Bolivia. The entire village population takes part in the celebrations. The bride and groom lead the wedding guests in a dance around the village’s main square. Friends have hung banknotes around the groom’s neck as a morning gift. - Book: Picture 120 - Bolivia - 1976

All Saints’ Day at a cemetery near Oruro. Every year, the indigenous people visit their dead at the cemetery and pray for them, as well as for ancestors who died long ago. They then sit around the graves, eat the food they have brought with them and drink chicha. They also visit the graves of friends to emphasise the strong bonds that unite people even beyond death. - Book: Picture 122 - Bolivia - 1976

In the Bolivian Altiplano, between the towns of Toledo and Corque in the department of Oruro, there are numerous shallow, salt-rich waterholes scattered across this barren high-altitude desert landscape. They lie at an altitude of around 3,700 metres on the western side of the Lake Poopó basin, where shallow salt lakes and lagoons form periodically during the rainy season. This is an ideal habitat for the endangered Andean flamingos (Phoenicoparrus andinus) and James’s flamingos (Phoenicoparrus jamesi). – Bolivia – 1976

On the way from La Paz to the Takesi Inca Trail, you pass this historic cemetery chapel with its distinctive, slightly leaning adobe bell tower and the small, chapel-like burial structures in front of it. – Bolivia – 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

Three prospectors in the Bolivian Cordillera Real at an altitude of 4,640 metres. Together, these three treasure hunters mine easily accessible deposits of tungsten, tin and gold; they call their method ‘makipura’. - Book: Picture 175 - Bolivia - 1976

The ‘Cerro Rico’, the ‘rich mountain’ of Potosí in Bolivia. Potosí, with its silver mines, was the source of the wealth of the colonial Viceroyalty of Peru. The coat of arms of the city, whose economic importance came to an end in the late 18th century, bore the proud motto: ‘I am the rich Potosí, treasury of the world, king of the mountains; to kings I serve as pasture.’ - Book: Picture 170 - Bolivia - 1976

A mining town in the department of Potosí in Bolivia. In the foreground is a massive embankment that serves as a dam to contain fine-grained processing residues (known as tailings or slurry). These waste products are generated during the extraction of metals from ore. In the background lies the densely built-up mining town. The extreme proximity of industrial waste dumps to residential areas is typical of historic mining regions in the Bolivian Andes and poses significant environmental and safety risks to local residents. – Bolivia – 1976

Man carrying a coffin in Potosí, Bolivia. In funeral rites, ancient indigenous beliefs are intertwined with certain Catholic elements. For example, a wake (velorio) is held, during which provisions for the journey are placed around the body alongside candles. The soul of the deceased travels for eight days to all the places the deceased had visited during their lifetime. On the eighth day, it returns, whereupon the deceased’s clothes are burnt. - Book: Picture 121 - Bolivia - 1976

A scene from the streets of Bolivia: In Potosí, a street vendor waits for customers; she is wearing the hat characteristic of this region. - Book: Picture 147 - Bolivia - 1976

An indigenous man from Tarabuco in the Bolivian department of Chuquisaca. His cap is reminiscent of the shape of Spanish helmets from the time of the Conquista. - Book: Picture 144 - Bolivia - 1976

An indigenous man ploughing in Chuquisaca Department, Bolivia. Often, however, the soil is simply loosened using a narrow spade, the taclia (see Figure 90). - Book: Picture 118 - Bolivia - 1976

An indigenous woman pounding chuño. To make chuño, the potatoes are left for several days and nights, alternating between drying in the sun and freezing during night-time frosts. Pounding removes the skins. The dehydrated potatoes can be stored for considerably longer than raw tubers. Bolivia. La Paz Department. - Book: Picture 119 - Bolivia - 1976

A scene on the way to Oruro: an indigenous woman who has spread her freshly washed laundry out to dry on the stony ground and on small bushes. Laying the clothes out on the clean ground, warmed by the sun, or on bushes makes the most of the strong UV rays and heat of the high-altitude sun to dry the clothes quickly. – Bolivia – 1976

A scene from the streets of Bolivia: An indigenous woman with a child in Sucre, the nominal capital of Bolivia, named after the liberator General Antonio José de Sucre. - Book: Picture 146 - Bolivia - 1976

In southern Bolivia, in the transitional region between the barren foothills of the Andes and the wetter valleys of the Tariquía National Flora and Fauna Reserve. Smallholders on the slopes and in the valleys mainly grow maize, wheat and barley. The picture shows the traditional method of winnowing (separating the chaff from the wheat or grain) by hand. The farmers toss the threshed grain high into the air using pitchforks or shovels. The wind blows the light chaff (husk and straw remnants) to one side. The heavier grains fall straight down to the ground and are thus collected cleanly. This method has been used for thousands of years. It requires no machinery and relies solely on the power of the wind. – Bolivia – 1976

Near Huanuni in the department of Oruro. Having finished their day’s work, a farming couple are on their way home. Whilst the urban economy in Huanuni is dominated by Cerro Posokoni and the tin mine, small family farms in the surrounding countryside, at an altitude of just under 4,000 metres, ensure their basic subsistence by growing hardy, traditional crops such as potatoes, quinoa and cañahua. The region around Huanuni and the nearby Lake Poopó suffers greatly from the environmental consequences of centuries of mining, which is why traditional, nature-friendly farming methods without heavy machinery remain essential for the farmers. A team of two oxen (yunta) breaks up the dry, often stony soil. The donkey often carries the precious seeds for the upcoming sowing before the rainy season. – Bolivia – 1976

Arable farming in the high-altitude Andean region of the municipality of Yunchará in the department of Tarija, in southern Bolivia. In the higher elevations of the Altiplano, frost-resistant crops such as field beans (haba), barley and camomile are primarily grown. In this remote highland region of Bolivia, the use of draught animals to plough the small plots enclosed by dry stone walls remains the most important method of preparing the soil before sowing. – Bolivia – 1976

Winding its way along the slopes in long hairpin bends, mostly without any engineering structures, this Andean road runs through the department of Tarija in Bolivia. - Book: Picture 182 - Bolivia - 1976

The barren desert landscape with giant cacti of the species Echinopsis atacamensis (also known as Cardón) in the Department of Potosí in the southern Altiplano of Bolivia. The plateau is strongly characterised by the dry, cold Puna. Alongside the massive Cardón cacti, the area is home primarily to hardy Thola shrubs and the characteristic Ichu grass. – Near Tomola – Bolivia – 1976

The historic ‘Puente Antonio José de Sucre’ (also known as Puente Sucre or Puente Méndez). The suspension bridge spans the Río Pilcomayo and connects the two departments of Chuquisaca (Sucre) and Potosí. The structure was built at the end of the 19th century (between 1890 and 1910) and is characterised by its distinctive, almost medieval-looking brick towers. Today, the historic wooden structure serves exclusively as a footbridge. – Bolivia – 1976

A gravel track leads to the Salar de Empexa, a lesser-known yet fascinating salt lake (salar) in the South American Altiplano, situated in south-western Bolivia (Potosí Department) near the border with Chile. It lies to the west of the world-famous Salar de Uyuni and is a prime example of the unspoilt, rugged high-altitude desert landscape of the Andes. – Bolivia – 1976

The old Church of Santa Ana in Chipaya was built of adobe (air-dried mud bricks) and had a fragile thatched roof (paja). The photograph shows the roof being repaired (1976). Due to the extreme weather conditions in the highlands (strong winds, sandstorms and seasonal flooding from the River Lauca), the unprotected mud walls of the old structure crumbled over the decades after the roof was damaged. Rather than undertaking a costly restoration of the old, dilapidated adobe church, a new, modern church building was erected in the village centre. The historic, free-standing bell tower from the colonial era, which was deliberately built in isolation and completely separate from the main building, remained standing untouched as an important landmark and ritual focal point for the village community. – Chipaya (Oruro Department) – Bolivia – 1976

The Chipaya tribe in the Bolivian department of Oruro, which now numbers just under a thousand people, inhabits a particularly inhospitable region of the Andean high plateau on the Río Lauca, which flows into a salt lake. The Chipayas are the only highland indigenous people who obtain part of their food through hunting, as agriculture and livestock farming alone are unable to meet their needs due to the highly saline soil. At dawn, groups of hunters lie in wait on the lake shore for flamingos, ducks and Andean geese, which they catch using bolas – throwing balls attached to long straps. The word ‘Chipaya’ comes from the Aymara language and means ‘a mat of reed or straw woven with reed cords’. To protect themselves from the strong winds of the Altiplano, the Chipayas have, in fact, had to tie down the thatched layers of their roofs with cords since time immemorial. The belief that the Chipayas are the direct descendants of pre-Inca populations is supported by mummy finds in burial towers from that period, which, amongst other similarities, display the same hairstyles that the women spend hours and hours creating. - Book: Picture 155 - Bolivia - 1976

Children of the Chipaya culture in the barren Altiplano of Bolivia. The Chipaya are considered one of the oldest indigenous communities in the Andes. They live in a very salty and isolated region near the Lauca River and Lake Coipasa in the department of Oruro. The boys are wearing the typical, coarsely woven, sleeveless garment of the Chipaya people, known as an ‘ira’ or ‘tipoy’. The girls in the background usually wear the traditional, very fine braids (trenzados), which have a distinctly African appearance. The houses in the background are the famous round or rectangular huts (putucus), built from peat and grass sods (tepes) and thatched with straw. This construction method provides perfect protection against the region’s extremely icy winds. – Chipaya – Bolivia – 1976

The Chipaya tribe in the Bolivian department of Oruro, which now numbers just under a thousand people, inhabits a particularly inhospitable region of the Andean high plateau on the Río Lauca, which flows into a salt lake. The Chipayas are the only highland indigenous people who obtain part of their food through hunting, as agriculture and livestock farming alone are unable to meet their needs due to the highly saline soil. At dawn, groups of hunters lie in wait on the lake shore for flamingos, ducks and Andean geese, which they catch using bolas – throwing balls attached to long straps. The word ‘Chipaya’ comes from the Aymara language and means ‘a mat of reed or straw woven with reed cords’. To protect themselves from the strong winds of the Altiplano, the Chipayas have, in fact, had to tie down the thatched layers of their roofs with cords since time immemorial. The belief that the Chipayas are the direct descendants of pre-Inca populations is supported by mummy finds in burial towers from that period, which, amongst other similarities, display the same hairstyles that the women spend hours and hours creating. - Book: Picture 156 - Bolivia - 1976

The striking redness of this child’s cheeks is typical of the inhabitants of the Altiplano. It is caused by a combination of thin high-altitude air, intense UV radiation and an icy wind. The child is wearing a typical, thickly woven woollen tunic or poncho, which provides protection against the extreme temperatures and the cold at high altitudes. The dark felt hat (often known as a bombín or bowler hat) is a key cultural symbol of the indigenous people of the Bolivian Andes. – Escara in the Department of Oruro – Bolivia – 1976

The Chipaya tribe in the Bolivian department of Oruro, which now numbers just under a thousand people, inhabits a particularly inhospitable region of the Andean high plateau on the Río Lauca, which flows into a salt lake. The Chipayas are the only highland indigenous people who obtain part of their food through hunting, as agriculture and livestock farming alone are unable to meet their needs due to the highly saline soil. At dawn, groups of hunters lie in wait on the lake shore for flamingos, ducks and Andean geese, which they catch using bolas – throwing balls attached to long straps. The word ‘Chipaya’ comes from the Aymara language and means ‘a mat of reed or straw woven with reed cords’. To protect themselves from the strong winds of the Altiplano, the Chipaya people have, since time immemorial, had to tie down the straw thatch on their roofs with cords. The belief that the Chipaya are the direct descendants of pre-Inca populations is supported by mummy finds in burial towers from that period, which, amongst other similarities, display the same hairstyles that the women spend hours and hours creating. The picture shows a typical pre-colonial loom. - Book: Picture 154 - Bolivia - 1976

An indigenous woman from Chipaya in the Bolivian highlands. Typical of the traditional costume are multi-layered ponchos or capes made of heavy, warm fabric to protect against the harsh climate of the high mountains. The intricate braided hairstyle, featuring woven hair ornaments and pins, reflects the cultural identity and centuries-old traditions of the Andean people. – Chipaya – Bolivia – 1976

This man belongs to the Chipaya culture, which is one of the oldest surviving cultures on the American double continent. His traditional identity is clearly reflected in his clothing: the hat is an absolutely distinctive feature of the Chipaya people. It is traditionally handmade from pressed sheep’s or alpaca wool. It has a characteristic brim and often features a dark band. Underneath the hat, he wears the typical, colourfully patterned Andean cap with ear flaps, which protects against the extreme, icy winds of the Altiplano. – Chipaya – Bolivia – 1976

The picture shows people in the ‘Salar de Coipasa´ in Bolivia, which, at over 10,000 square kilometres, is the largest salt flat on Earth. In the foreground is a small makeshift hut – or rather an igloo – made of salt bricks, in front of which people are standing. In the background, the Andean volcanoes (such as the well-known Tunupa volcano) can be seen, surrounding the flat, white salt pan. – Bolivia – 1976

Workers engaged in traditional salt extraction on the bright salt crust of the Salar de Coipasa. They break off and stack blocks of salt from the crust using simple tools such as poles and shovels. Historically, these blocks were used as a durable building material for the famous salt hotels and other accommodation, as well as salt licks for livestock (llamas and alpacas). The people are wearing warm, protective clothing and hats, as the climate at these high altitudes is windy and cool. – Bolivia – 1976

The two large salt pans of the Bolivian Altiplano, the Salares of Coipasa (picture) and Uyuni, are the remnants of a vast Ice Age freshwater lake, Lago Minchin. Due to low rainfall, the absence of tributaries and the extreme dryness of the air, the former freshwater lakes have evaporated into shallow lagoons and salt pans, their shores lined with deposits of common salt. Cut into blocks, the snow-white salt – considered to be of exceptional purity – is transported by lorry to the areas where it is consumed. - Book: Picture 158 - Bolivia - 1976

Traditional salt mining in the Salar de Coipasa in the Bolivian Andean highlands. Workers use simple tools such as axes or poles to chisel solid blocks of salt from the crust. The scene is set against the glistening white salt crust, with a mountainous backdrop in the Altiplano at an altitude of around 3,600 to 3,800 metres. – Bolivia – 1976

Traditional salt mining in the Salar de Coipasa in the Bolivian Andean highlands. Workers use simple tools such as axes or poles to chisel solid blocks of salt from the crust. The scene is set against the glistening white salt crust, with a mountainous backdrop in the Altiplano at an altitude of around 3,600 to 3,800 metres. – Bolivia – 1976

The Río Lauca is an international river in the Andean highlands, some 225 kilometres long, which eventually flows into the Salar de Coipasa, Bolivia’s second-largest salt lake. The river is the lifeblood of the highlands’ extremely arid ecosystem. – Ice has formed on the river overnight, which melts again during the morning. – Near the Salar de Coipasa – Bolivia – 1976

A herd of llamas grazes by the shallow, mineral-rich waterholes on the edge of the Salar de Coipasa. During the rainy season, parts of this arid landscape are transformed into vast, mirror-like expanses of water. – Bolivia – 1976

A herd of llamas is moving near the little village of Villa Vitalina on the edge of the Salar de Coipasa. Houses can be seen in the background. – Bolivia – 1976

A small village, presumably on the edge of the Salar de Coipaso. – Bolivia – 1976

The small Chilean border town of Ollagüe lies at an altitude of around 3,700 metres in the Altiplano. It is best known for its location directly at the foot of the active Ollagüe volcano (5,868 m) and as an important hub for cross-border freight transport. The railway line shown in the photograph forms part of the historic FCAB (Ferrocarril de Antofagasta a Bolivia) line. To this day, this line is mainly used to transport mining cargo (such as copper, lithium and sulphuric acid) from the Bolivian mines to Chilean Pacific ports such as Antofagasta. Trains from Bolivia arrive here at the Chilean border station. This is where the locomotives are swapped between the railway companies of the two countries. – Bolivia/Chile border – 1976