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A theme in Inca mythology is the duality of the Cosmos. The realms were separated into the upper and lower realms, the hanan pacha and the ukhu pacha and urin pacha.Hanan pacha, the upper world, consisted of the deities of the sun, moon, stars, rainbow, and lightning while ukhu pacha and urin pacha were the realms of Pachamama, the earth mother, and the ancestors and heroes of the Inca or ...
Inca mythology of the Inca Empire was based on pre-Inca beliefs that can be found in the Huarochirí Manuscript, and in pre-Inca cultures including Chavín, Paracas, Moche, and the Nazca culture. The mythology informed and supported Inca religion. [1] One of the most important figures in pre-Inca Andean beliefs was the creator deity Viracocha.
The Inca maintained the site as a religious shrine and allowed the Pachacamac priests to continue functioning independently of the Inca priesthood. This included the oracle, whom the Inca presumably consulted. The Inca built five additional buildings, including a temple to the sun on the main square.
Ritual ceremonies functioned as mechanisms for cultural continuity and identity formation, binding together diverse communities under a shared religious framework. [26] The belief system of the Incas was polytheistic. Inca perceived the cosmos as a sacred order governed by the harmonious interplay of the sun, moon, and stars. [27]
Pachacuti's role was that of an archetype of the perfect Inca ruler according to the philosophical principles of the Inca ruling caste, and of spreading the Inca cultural model and pantheon to the various ethnic groups of the Andes. [10] Pachacuti built irrigation networks, cultivated terraces, roads and hospices.
The Inca referred to their empire as Tawantinsuyu, [13] "the suyu of four [parts]". In Quechua, tawa is four and -ntin is a suffix naming a group, so that a tawantin is a quartet, a group of four things taken together, in this case the four suyu ("regions" or "provinces") whose corners met at the capital.
In the pre-Columbian Andean world, the conception of time was associated with space, both collectively called pacha (earth, soil), which was in continual development toward order and toward "functional differentiation and discontinuity of forms, factors of complementarity rather than rivalry, therefore of peace and productivity". [1]
The arts of this period reflect a fusion of European and indigenous religious beliefs, aesthetics, and artistic traditions. The term Indochristian art was coined by Constantino Reyes-Valerio, a scholar of pre-Columbian Mesoamerican culture and arts, in his book, Indochristian Art, Sculpture and Painting of 16th Century Mexico.