The legends are only available in German, French or Spanish
La civilisation Chavin, connue surtout par ses œuvres en pierre, appartient à l’époque formative du Pérou précolombien.

The legends are only available in German, French or Spanish
La religion Chavin est marquée par un culte rendu en l'honneur du condor. Sa représentation, très schématisée, figure sur des dalles qui ornent le temple de la station éponyme de la Cordillère.

The legends are only available in German, French or Spanish
Dans le temple souterrain de Chavin les archéologues ont découvert des dalles montrant la silhouette du puma, un dieu qui sera craint et vénéré pendant toute l'époque précolombienne.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Typical ceramics of the Chavín culture - Private collection, Lima - 1969

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

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

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

Detail 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

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 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, 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

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

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

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