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QORIKANCHA
The famous Sun Temple of Qosqo was and is in practice a
synthesis of the Incan organization, architecture and
religion; that had already reached the summit of their
level by 1438. It possibly represented the "Navel of the
World"; therefore, the world's center in the pre-Hispanic
Andean Cosmovision.
According to our history, it was the first Inca, Manko
Qhapaq who built the original temple. But, it was the
ninth, Pachakuteq who since 1438 reconstructed, enlarged,
improved and modernized the most important religious
complex of the vast Incan Society.
There are certain discrepancies about the complex's
original name, and though they are not antagonistic ones,
they cause a relative confusion. Frequently in
chronicles and history treatises the name Intiwasi is
found, (inti= sun, wasi= house) it means "Sun House";
also the name Intikancha is used and which would mean
"Sun Palace" (this is considering that almost all Incan
palaces had the noun "Kancha"). While that its most
popular name is Qorikancha that would mean "Golden
Palace". Maria Rostworowski suggests that the ancient
temple was known as "Intikancha" and after Pachakuteq as
"Qorikancha".
All the chroniclers coincide manifesting that the
quality of the building was extraordinary, made with
gray basaltic andesites coming from the quarries of
Waqoto and Rumiqolqa. The walls have the "Sedimentary"
or "Imperial Incan" type that is the maximum expression
of architecture in pre-Columbian America. The stones are
between medium to large which outer surface is
rectangular; the structure is straight horizontal that
in the most important temples exhibit side views with
marked convexity. The joints between stones are polished,
so perfectly made that they do not allow insertion of
even "razor blade". The cross section structure is "tied
up", that is, with "H" shaped bronze clamps or clips in
the internal joints that fastened together the lithic
pieces avoiding harmful horizontal displacements in case
of earthquakes. The wall also have a decreasing vertical
structure, that is, with bigger stones in the lower part
and every time smaller toward the top. The walls are
wider in the base than on the top; with the classical
inclination inward (there is not a general rule or
measurement for that inclination) balanced with the
trapezoidal shape of doorways, niches and openings.
Those characteristics make the walls support themselves
forming a resistant, solid, anti-seismic structure that
was able to resist the two huge earthquakes after the
Spanish invasion, in 1650 and 1950 that destroyed every
tough colonial building. Today in some Incan walls of
the complex there are a few cracks. They are not a
result of bad calculation or technique of the Quechua
architects, but simply, consequence of changes carried
out in colonial times, the earthquakes and mainly
exposition to inclement weather and erosion after all of
them. According to some studies the finely carved stone
walls had a continuation of sun-dried mud-bricks on the
top forming very steep gable ends in order to enable
drainage of rain waters. The roofing was thatched made
in wood and "ichu" the wild Andean bunch grass, with
eaves projecting out about 1.6 mts. (5.25 ft); roofs
which modest aspect was remedied in festivity days when
they were covered with showy multicolored rugs made with
special feathers. Gasparini believes that the often
mentioned by chroniclers "gold edging" that served as a
crown surrounding the whole outer upper side of the
temple served, more over, in order to dissemble the
difference between the fine stone wall and the upper
adobe wall. The floor in the open areas of the temple
must have been completely and finely paved with
flagstones while the floors inside the enclosures were
surely made with kilned clay as a solid ceramic block
like the treated floors found in Machupicchu.
The temple's main gate faced toward the Northeast;
almost in the same position of the present-day entrance
to the Santo Domingo (St. Dominic) Convent, overlooking
the Intipanpa ("Sun Plaza") that today occupies the
small park in front. According to chroniclers this was a
religious complex constituted by temples dedicated to
different deities. It had a layout very similar to that
of a classical "kancha"; with enclosures around a
central patio where according to Cieza de Leon, every
doorway was veneered with gold plates.
The Sun Temple stood out in the complex, covering the
space occupied today by the Santo Domingo Catholic
Church. Its eastern end was completely demolished while
the western one still subsists partially forming what is
known as "solar round building", that is, the
semicircular wall overlooking the present-day Arrayan
street and the Avenida del Sol. The Sun Temple had its
four walls and even the wooden ceiling completely
covered with gold plates and planks, according to
Garcilaso's description it must had a rectangular floor
plan, with a very high thatched roof for facilitating
ventilation. It is worth pointing out that whom gives
the most detailed information about the subject is the
famous Cusquenian Chronicler Garcilaso de la Vega, who
wrote as it is indicated by himself: "... what I
swallowed in the milk and saw and heard from my
ancestors...". On the eastern wall of this temple must
have been the facade and Main Altar that as it is known
contained the representation of the Sun God in a gold
plate with the shape of a "round face and rays and
flames". That solar representation was so huge that it
covered all the temple front from wall to wall; in the
treasures distribution among the conquerors, that golden
piece corresponded by casting of lots to Mancio Sierra
de Leguisamo, an inveterate gambler who lost it during
one night playing dices; event by which the famous
saying " bet the sun before dawn" was created.
Chronicler Sarmiento de Gamboa suggests that Pachakuteq
ordered a layout so that the Sun would occupy the main
place along with the Wiraqocha god representation on its
right side and that of Chuquiylla (it must be "Chuki
Illapa" or thunder, lightning and thunderbolt) to its
left side. Also, on both sides of the Sun image were the
"Mallki" (mummies or embalmed bodies in a fetal position)
of the dead Inka Kings, according to their antiquity,
and over litters of solid gold.
In the Andean Cosmogony it was considered that the Moon
or Mamakilla was the Sun's wife. Therefore, the Moon
Temple was located on the eastern side of the Solar
Temple; it had a rectangular floor plan with the best
quality of architecture, unfortunately it was almost
completely destroyed in order to built the Catholic
Church. One of its gates is still seen as well as its
eastern wall with the classical trapezoidal niches.
Among those niches is the horizontal dark stripe that is
believed to be the support zone of the silver plates
that covered completely its walls. In the center of the
temple there was a silver Moon representation and on
both sides of it the embalmed bodies of the dead Qoyas
(Queens), according to their antiquity.
More over, in this vast complex there were 5 Water
Fountains, in which flowed clean water transported
through underground channels; the water springs or
sources were kept completely secret. Those water
fountains had religious duties as water was another
deity in the Andean Religion; they were also adorned
with precious metals, had golden spillways, and large
gold and silver jars. In colonial times the water was
dried up as a consequence of lack of maintenance and on-purpose
destruction. Garcilaso indicates that he saw just one of
them: the last one that Dominican monks used to irrigate
their vegetable garden. Since 1975, the convent and
church were reconstructed, at the same time some
archaeological digs were performed too; they finally
made possible finding one of the 5 original fountains.
It is located lower and before the "solar round building";
water still flows through its finely carved channels. It
is possible that in the future remains of the other
fountains described by Garcilaso will be found. Until
1990 most of the Solar Garden's space was covered by
different buildings; thanks to a law that was put into
effect by the end of the 80s, the central government and
especially the Qosqo's Municipality bought the lands and
houses of the sector and some archaeological works were
carried out. The aim was to uncover our past and make
known the so little that is left from the complex's
greatness; which as Spanish soldier Cieza de Leon wrote
"... finally, it was one of the rich temples existing in
the world."
In the middle of the cloister's central patio is an
eight sided fountain carved in a single andesite piece
that according to some historians it has Incan
manufacture. However, its shape and characteristics are
not classical in Incan stone masonry. Therefore, if it
was carved in Incan times it must had another shape that
was transformed in colonial times. Also today, around
the archways there is a collection of canvases
representing the life of Saint Dominic Guzman painted by
anonymous local Cusquenian School artists.
After the distribution of houses and palaces during the
Spanish invasion, the Qorikancha corresponded to Juan
Pizarro who donated it to the Dominican Order
represented by the first bishop of Qosqo City Fray
Vicente Valverde. He immediately executed construction
of their church and convent over the most important
Incan Temple demolishing it almost completely for
adapting it to its new use. That original church was
destroyed by an earthquake on March 31, 1650.
Subsequently, the present-day structure was raised as
well as the tower in 1780 with an elaborate baroque
under direction of Fray Francisco Muņoz. On May 21st.
1950 another violent earthquake destroyed a large part
of the convent and church as well as its tower leaving
uncovered many Incan structures and the interior area of
the "Solar Round Building". By that time a strong "Indigenist
Movement" suggested the relocation of the church and
recovery of the Sun Temple; it is a pity that Catholic
Church's political power did not allow that attempt for
clearing the ruins of the major Tawantinsuyo's sanctuary.
Qosqo Inca’s Sacred Capital
SAN BLAS (SAINT BLAISE) CHURCH
San Blas is today a downtown neighborhood in the city
known as the " Artists' District", with narrow and
writhing streets, most of them steep. In Incan times it
was one of the most important districts of Qosqo and its
name was "T'oqo-kachi" (T'oqo = hollow; kachi = salt).
Like the other districts it was inhabited by the Quechua
nobility. It seems that the church was erected over an
Incan Sanctuary devoted to cult of the "Illapa" god
(Thunder, Lightning and Thunderbolt). It was possibly
opened for the first time in 1544 by the city's second
Bishop Juan Solano. Although some other versions say
that it was after 1559 as consequence of viceroy Andres
Hurtado de Mendoza's order by which "Indians" had to
built churches for their indoctrination in the districts
where they lived. Its structure was simple with a
rectangular floor plan and mud brick walls, but after
the earthquakes in 1650 and 1950 it was partially
reinforced with stone walls. It has just one nave and
two gates before which there are big plazas; and a stone
bell tower constructed after the 1950 earthquake instead
of the original made with mud bricks.
Inside the church is one of the greatest jewels of
colonial art in the continent: the Pulpit of Saint
Blaise; which is a filigree made in cedar wood by expert
hands managing a gouge. It is not known with certainty
who was the artist or artists that made it, how long the
work lasted, neither any other details about it. However,
the pulpit is over there as a mute witness of a great
Catholic devotion and devoted work. There are enough
proofs to assert that it was made carved with funds
given by art protector Bishop Manuel Mollinedo y Angulo;
therefore, it was by the end of the XVII century. There
are serious discrepancies about the identity of the
performing artist.
Most authors suggest that it was made by the most famous
Quechua woodcarver: Juan Tomas Tuyro Tupaq, that was
contemporary and protected of Mollinedo y Angulo, who
entrusted him the manufacture of several works. It also
could have been work of some other artists contemporary
with Mollinedo such as Martin de Torres, Diego Martinez
de Oviedo who made the monumental High Altar of the
Compaņia de Jesus Church, or the Franciscan Luis Montes
that made the San Francisco Church's choir. Oral
tradition has its version gathered by Angel Carreņo who
in his "Cusquenian Traditions" manuscript had stated in
writing the name Esteban Orcasitas as the pulpit's
author; but, for the 1st. edition of his book the name
was changed by that of Juan Tomas Tuyrutupa. Tuyrutupa
was Quechua and Cusquenian, but according to that
traditional version he was a leper woodcarver from
Huamanga (Ayacucho). The story tells that once he had in
his dreams a revelation of the "Holy Virgin of the Good
Happening" who told him that if he wanted to get healed
from his leprosy he had to look for her in the small
plaza of Arrayanpata in Qosqo City. After a long journey
and many mishaps, one day he found her painted on a wall
after that the roofing of the "Lirpuy-Phaqcha" chapel
fell in. Falling on his knees and weeping he invoked
her, as the Virgin's rosary became rose petals with
which he rubbed hard his whole body remaining thus
completely healed. The piece of wall containing the
painting was cut and moved to the Saint Blaise Church,
then people agreed upon to build an altarpiece and a
pulpit for the Virgin. The grateful Quechua woodcarver
committed himself to make the pulpit without charging
any money for the work estimated in 1400 pesos. The work
took him 4 years of hard labor with wood from an
enormous cedar tree that was cut in the Kusipata square
(present-day Regocijo). But, when finishing his work the
woodcarver failed his oath as he asked the church's
curate for 70 pesos in order to lionize a Cusquenian
half-breed woman. After fastening the Saint Paul statue
over the pulpit's sounding board, he stumbled and fell
off dying soon after. His corpse was buried under the
pulpit but some time later it was taken out and his
skull placed before the feet of the Saint Paul sculpture,
where it is seen today.
As any other normal pulpit, that of Saint Blaise has a
balcony (basin), a thorax (main body), a sounding board
(cupola), and a gallery (entrance). The Basin is
spherical and supported by a bronze structure; it
contains eight human busts representing the Catholicism
heretics
The Saqsaywaman archaeological complex has an area of
3,000 hectares and is located North of Cusco and is
controlled by the National Cultural Institute. It
includes the following archaeological monuments:
SAQSAYWAMAN ARCHAEOLOGICAL PARK
SAQSAYWAMAN.-
Located 2km from the city. Together with the city of
Cusco, this monumental complex is considered the first
of the new seven wonders of the world. This huge
construction was planned and built by Andean Man. The
Incas called it the House of the Sun and the Spaniards
called it a fortress because of its zig-zag shape and
the 1536 revolution. The construction, which is made up
of three platforms one on top of the other, was one of
the most important religious complexes of its time.
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The mixed-blood historian Garcilaso Vega described in
his book "The Royal Commentaries" every detail of this
sacred spot, its walls, rooms, towers, doors and canals,
which have sparked great interest and admiration from
visitors and residents alike. The enormous boulders that
form part of the construction were put together
perfectly without using mortar. The heaviest weighs up
to 125 tons. Archaeologists are currently excavating and
have discovered water fountains, canals and rooms. In a
nearby flat area, every June 24 local inhabitants hold
the Festival of the Sun, or Ind Raymi. Saqsaywaman
witnessed important historic events.
Q'ENQO.-
The name means labyrinth or zigzag. Located 3km from
Cusco, this temple dedicated to Mother Earth is a unique
center of worship and for ceremonies. It has numerous
ceremonial carvings, holes and canals cut into the rock.
One of its features is a semi-natural underground
chamber.
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PUCA PUCARA.-
This construction is located 6km from Cusco. "Puca" in
Quechua means "Red" and "Pucara" means
"Fortress-Watchtower. Located at a strategic point along
the road to the Antisuyo (the jungle part of the Inca
empire), it also served as a checkpoint on the Inca road
and was a military and administrative center.
TAMBOMACHAY.-
Located 7km from Cusco at 3,700 meters above sea level,
this site was popularly known as the "Inca's Baths".
Researchers believe Tambomachay was an important center
of worship of water. It is an archaeological complex
made up of well-crafted canals, walls and windows which
show the Incas' extraordinary architectural talents and
their in-depth knowledge of hydraulics.
LAQO, LANLAKUYOQ AND KUSILLUCHAYOQ.-
These pre-Columbian observatories have felines, serpents
and birds carved into the rock and were ceremonial
centers of worship. These observatories have to be
visited by on foot.
The Saqsaywaman archaeological complex also boasts a
singularly beautiful landscape and abundant flora and
fauna. This includes llama, kestrels and falcons
("Wuaman" in Quechua).
Continuing along the route we come to Pisaq.
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