At 10, feet meters in elevation, it sits between the eastern Cordillera Negra—snowless and western Cordillera Blanca—snowy ranges of the Andes, near two of the few mountain passes that allow passage between the desert coast to the west and the Amazon jungle to the east.
As construction material the stone prevails, although in some sectors the walls were stuccoed with clay that was roasted to resist the embates of the time.
A particular note is conformed by the stones depicted on high with mythical figures and bajorelieve. In their majority these veneered walls and they decorated the buildings and one of the sunken squares.
On the other hand, stones sculpted in form of heads of fierce expression went embedded in the high of the walls, placed halfway and in horizontal array. There is who they suppose that they can have been symbolic imitations of heads. Their face infuses respect, it combines anatomical human elements, of feline and of bird.
Walls and monolithic lintels freed these passages of the mass of mud and constituent stones of the construction. It is of noticing that there Iconography at chavin de huantar not lack of perfection in the construction of the bases of the external walls of "The Castle", since this sector shone originally covered or veneered by big stone blocks, of square tendency and that with running of the time they collapsed.
In the passages interior queen total and perpetual dimness unless for the sheafs of light that penetrate for the ducts or "vents" that communicate with the exterior and they constantly renovate the air.
And not only by means of their architectural spaces dedicated to the world exteriory to the interior or underground world, but also through the division in two halves that observe some perrons, as much as the cover of "The Castle": The same iconography, captured in the many monoliths, seems to be governed by these symbolic poles if seconsidera that the supernatural represented beings exhibit attributes of prey birds and of felines that, for its nature, they are linked a day and at night and respectively to the male and lahembra.
Luz and darkness, day and night, they were symbolic factors represented in the architecture chavinense. Their perrons also expressed the division in two halves, as the cover of "The Castle"; a dark one and another white.
This enunciated belongs to Julio C. Years later, inJohn H. With lapsing of the time, this structure would have supported diverse amplifications.
Rowe bases its hypothesis aided in the presence of kind of a visible cracks in the walls and that it considers they are vestiges of points of union of the "additions. Indeed, when these are comparadascon other architectural Andean examples in those that show up also, it is verified that they are not another thing that you mark printed for the technical deconstruir based on modules, that is to say adding sectors laterally without it implies it chronological significant separation.
And, what turns out to be even more significant, neither the architectural same concepts and their symbolic implicit values. These veneered, in their majority, the walls of buildings. The figures represented in these monoliths observe accented grades of stylization and they are for logeneral difficult to identify.
Also, and at first sight, the figures appear incomprehensible, because they represent beings with human attributes and mythical unknown extracted zoomorfos of stories. It has motivated it that they swarm the most diverse opinions as for that represented.
Estela Raimondi and an interpretive hypothesis of that figured in this monolith FKD Naturally that the proportions of the elements vary. In other words, this flying archaeological feline could correspond to the God of the Water that should par excellence arise as corollary of the context of the Andean arid nature and with tribulations of atmospheric order, droughts for example.
Due to the phenomenon of cultural continuity that presents the Andean world, Illapa, the being supernatural controller of the meteorological phenomena of the times of Incario, it could be the late incarnation of the Flying Feline. The case of the temple Chavin, like center of power and cult, allow to infer that it was lifted in a carefully elected place, under strict approaches magic-religious.What kind of hallucinogenic snuff was used at Chavín de Huántar?
An iconographic identification Richard L. Burger Iconography and artifacts from Chavín de Huántar attest to the importance of psychoactive substances consumed na- sally as snuff, and consequently hallucinogens other than San Pedro cactus must have been utilized.
Photograph by Panoramic Images/National Geographic. according to a team led by archaeologist Francisca Zalaquett of the Universidad Nacional Autónoma de México. Sep 02, · Category People & Blogs; Song Ameno (Remix) Artist ERA; Licensed to YouTube by UMG (on behalf of Mercury); CMRRA, ASCAP, SODRAC, ADDAF, UMPI, UMPG Publishing, and 11 Music Rights Societies.
An essay assessing the significance of Chavin de Huantar, an Chavín de Huantár's iconography reflects an ideological system incorporating material from the tropical lowlands, the coast and the highlands.
Chavin and the Origins of Andean Civilization, Thames and Hudson, London. Burger, Richard L., Show how the iconography at Chavin de Huantar can be understood and what it can tell us about the Early Horizon ceremonialism in the Andean Highlands - Iconography at Chavin de Huantar introduction.
The Chavin iconography is expressed in a number of media and over a large area, having its focal point in central highland.
The Chavín cult, whose iconography spread across much of Peru, was not a coherent pan-Peruvian religion, but more of a widespread – and unevenly interpreted.