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19 Cards in this Set
- Front
- Back
Huaca |
Quechua for holy or sacred, can refer to an object or space |
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Sapa Inca |
Quechua for "the only Inca" The ruler of the Incan Empire |
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Hanan and hurin |
Upper and lower Cuzco; The two social divisions of the city (duality - viewed as complimentary, not identical) Hanan: military, dominant sector Hurin: sacred religious entities and structure (Qorikancha), sub-dominant |
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Ceques |
The many lines leading out from Cuzco - not physical roads, but paths that people walked - connected sacred spaces, radiating out from the city - people made offerings along these lines - MOVEMENT: connection to places, nature, other people - ephemeral (temporary), religious actions (NOT administrative) |
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Kalanka and kancha |
KANCHA: mini complex; Rectangular buildings that were grouped in threes (or more) and arranged around an open but walled courtyard, perhaps the most common Inca arrangement of buildings. - functioned as administrative buildings, workshops, temples, accommodation or a mix of these. KALANKA: very large buildings, typically have several doors and face a large open space, often trapezoid in layout. - probably used for public gatherings and as accommodation for representatives of the Inca administration and were clear public symbols of imperial control. |
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Sacred Rock at Machu Picchu (pg. 203) Late Horizon Designed by Incas to echo the form of the mountain peak beyond Subtle focusing of attention onto natural and manipulated shapes characterizes Inca approach to architectural landscaping of their mt. homeland |
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The zigzag wall of Saqsa Waman (pg. 208) (see fig 3 and 7 of Niles pdf) Late Horizon A series of sharp steps slices into the curve of the stone hillside Sapa Inca may have reviewed his troops from here and watched ceremonies; many see it as a place for offerings to Pachamama Shadows cast by the walls echo the shape of the peaks beyond Some of the monolithic stones reached over 13 feet and weighed as much as 100 tons --> effort expended in quarrying and transporting these stones was matched by the time-consuming fitting of the stones. |
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Rock Outcrop (pg. 205) Late Horizon Incas concentrated much on creative energy on modeling rock outcroppings, ranging from small boulders to stones large enough to contain rooms inside their clefts, to entire hillsides Rather than carving a stone into an image of something (like an animal), stepped forms like miniature terraces, rectangular shelves and niches, zigzag channels, and occasional pegs and semi-circles were the preferred abstract forms. contrast of the play of light & shadow, horizontal & vertical planes Incas managed to suggest an elusive human hand at work modifying the living rock |
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Plan of Cuzco with ceque lines (pg. 212) Late Horizon Cuzco was conceived of as a puma with Sasqa Waman as the head and the canalized rivers' junction as the tail |
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Cleft Shrine at Machu Picchu (pg. 224) Late Horizon Room beneath observatory at Machu Picchu - naturally split below with large cleft, set with masonry to create a small, niched room with a stepped diagonal entrance Space transformed from natural to sacred |
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Intihuatana stone, Machu Picchu c. 1500 aka: 'Hitching Post of the Sun" The heart of Machu Picchu; Embodied forces residing in the Earth Designed to hitch the sun at the two equinoxes: -At midday on March 21st and September 21st, the sun stands almost directly above the pillar, creating no shadow at all. At this precise moment the sun "sits with all his might upon the pillar" and is for a moment "tied" to the rock. Intihuatana stones were the supremely sacred objects of the Inca people When the Intihuatana stone was broken at an Inca shrine, the Inca believed that the deities of the place died or departed. Were systematically searched for and destroyed by the Spaniards. - The Spaniards never found Machu Picchu, even though they suspected its existence, thus the Intihuatana stone and its resident spirits remain in their original position. |
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Observatory at Machu Picchu (pg. 222) Late Horizon Space frames natural rock - Curved wall - almost seamlessly emerges from the tall outcrop and creates a room, sacred space Alternating niches and windows - central window oriented toward rising sun of June solstice (celebrated as grandest ritual of the year, Inti Raymi - Festival of the Sun) --> sun rays pour through window and create a trapezoidal shape on natural rock - TRAPEZOID = important element in Inca architecture: helped to keep structures intact (earthquake-prone area), optical illusion to make space appear larger than it is, can even see this shape with tunics and textiles (body turns into a trapezoidal shape) |
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Ceremonial precinct leading to central plaza, Huanuco Pampa |
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Inca stonework at cave below Machu Picchu |
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Reconstruction of Qorikancha, Cuzco “Golden House”; center point of the empire most sacred shrine of the Inca, dedicated to the worship of the sun; exceptionally fine masonry After the conquest, the Qorikancha was one of many Inca shrines turned into a Christian holy space. - The monastery and church of Santo Domingo were built around and on top of the original shrine, incorporating the old structure into the new one in a way that makes for a strange appearance today. All doorways, windows, and wall niches of the Qorikancha were the distinctive Inca trapezoid shape, with double-jambed doorways |
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Usnu at Willka Waman |
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Fine coursework in Cuzco |
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Guaman Pompa. “The Inca at Pacaritambo |
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Guaman Pompa, Sapa Inca with huaca |