While cultures like Mesopotamia (Irak), Egypt or Iran can be traced back to 4, 000 B.C., the mysterious ruins of TIAHUANACO, in BOLIVIA, could be 14, 000 years old!
TIAHUANACO is located on the Southern shore of LAKE TITICACA. In the past, the lake was much higher and its shores lapped Tiahuanaco.
This kingdom thrived at an elevation of 13, 000 feet (3, 940 meters) above the sea level. They manage to move stones weighing up to 200 tons (2, 000 kilograms) and invented modular building techniques.
The region was believed to have been populated by about 100, 000 people at its peak, based on the amount of pottery and other artifacts and the total land area (more than 400 acres). Multiple grid and maze like structures were a network of gardens and canals, capable of growing potatoes and other crops
The most famous site at TIAHUANACO is THE SUN GATE. This structure has been described as a
"CALENDAR," thus the SUN GATE has also been called "THE CALENDAR GATE."
This calendar sculpture depicts a "SOLAR YEAR," it cannot however be made to fit into the solar year as we divide it at present. The calendar has only 290 days, divided into twelve groups of 24 days each,
plus 2 intercalary days.
The ancient Tiahuanacan people knew that the earth was a globe which rotated on its axis and they calculated exactly the times of ECLIPSES - even those not visible at TIAHUANACO but visible in
the opposite hemisphere. Extraterrestrial connections were first suggested and have been perpetuated by discoveries of the apparent advanced knowledge that Tiahuanacan engineers seemed to possess - thousands of years ahead of other kingdoms. Tiahuanacans also divided the circle mathematically into
264 degrees (rather than 360 as was indicated by the Babylonians); they determined the correct ratio of pi (22/7), and they could calculate squares (also square roots).
The fact that the kingdom of TIAHUANACO appeared fully developed in this high altitude, arid and inhospitable land is a matter of discussion. Almost immediately they seem to have used advanced build-
ing techniques. Huge blocks were carved from single STONES and designed to fit together on the site
with exact precision and artistic style. The massive blocks are extremely stable, resisting both time and earthquakes.
Tuesday, April 30, 2013
THE INKAS, A REMARKABLE EMPIRE.
Not other empire in history had to conquer some of the world's most forbidding terrain : the towering mountains and desert coast of ANDEAN PERU.
THE EMPIRE OF THE INKA, RULED FROM A CAPITAL at 11, 203 feet (3, 395 meters), above the sea level, IN THE CLOUDS. It expanded from a small kingdom BASED ON THE CITY OF CUSCO to a HUGE EMPIRE including much of present-day ECUADOR and stretching southwards
through PERU to central CHILE.
It was a remarkable WELL - ORGANIZED SOCIETY, RULED BY AN EMPEROR, the INKA, who was regarded as a god, and ADMINISTERED BY A STATE CIVIL SERVICE.
A single king ruled, and the same gods were worshipped throughout AN EMPIRE OF EXTRAORDINARY DIVERSITY IN CLIMATE AND LANDSCAPE - ranging from the rainless,
hot desert of northern CHILE to the tropical wet lowlands of coastal ECUADOR, from the fertile
basins of PERU to the barren highlands of BOLIVIA.
The INKA capacity for social and economic planning was matched by engineering skill. No matter how forbidding the landscape, the INKAS overcame it.
Across the DESERT COAST IN THE WEST and BETWEEN the snow-swept heights of THE ANDES IN THE EAST ran the roads which knit the empire together, spanning DEEP GORGES and RAVINES ON SUSPENSION BRIDGES, and CROSSING BROAD RIVERS ON PONTOONS made of rafts lashed together.
Strongly built FORTS of well-cut stone PERCHED ON HIGHLAND RIDGES; and everywhere in the HIGH ANDES, land FARMING WAS EXTENDED BY TERRACES constructed at dizzy angles.
It was the INKA achievement to create a POLITICAL UNITY in defiance of geography, and even in
defiance of history, for the tribes they nations they conquered were forced into the INKA pattern.
But earlier peoples living in the ANDES area before the INKAS prepared the ground for them.
THE EMPIRE OF THE INKA, RULED FROM A CAPITAL at 11, 203 feet (3, 395 meters), above the sea level, IN THE CLOUDS. It expanded from a small kingdom BASED ON THE CITY OF CUSCO to a HUGE EMPIRE including much of present-day ECUADOR and stretching southwards
through PERU to central CHILE.
It was a remarkable WELL - ORGANIZED SOCIETY, RULED BY AN EMPEROR, the INKA, who was regarded as a god, and ADMINISTERED BY A STATE CIVIL SERVICE.
A single king ruled, and the same gods were worshipped throughout AN EMPIRE OF EXTRAORDINARY DIVERSITY IN CLIMATE AND LANDSCAPE - ranging from the rainless,
hot desert of northern CHILE to the tropical wet lowlands of coastal ECUADOR, from the fertile
basins of PERU to the barren highlands of BOLIVIA.
The INKA capacity for social and economic planning was matched by engineering skill. No matter how forbidding the landscape, the INKAS overcame it.
Across the DESERT COAST IN THE WEST and BETWEEN the snow-swept heights of THE ANDES IN THE EAST ran the roads which knit the empire together, spanning DEEP GORGES and RAVINES ON SUSPENSION BRIDGES, and CROSSING BROAD RIVERS ON PONTOONS made of rafts lashed together.
Strongly built FORTS of well-cut stone PERCHED ON HIGHLAND RIDGES; and everywhere in the HIGH ANDES, land FARMING WAS EXTENDED BY TERRACES constructed at dizzy angles.
It was the INKA achievement to create a POLITICAL UNITY in defiance of geography, and even in
defiance of history, for the tribes they nations they conquered were forced into the INKA pattern.
But earlier peoples living in the ANDES area before the INKAS prepared the ground for them.
DREAMING : what it really meant for the people of the INKA EMPIRE
DREAMS, the THOUGHTS or MENTAL IMAGES a person has while asleep.
Many myths are still performed across local inhabitants of the Andean Mountains Range. It serves as an important social function among their intended audiences : - justifying the received orders of their daily lives, - helping shape peoples' ideas, - and assisting to influence others' behavior.
They believe that the LAW is something DERIVED from ANCESTRAL PEOPLES or through the DREAMING PROCESS, and is passed down to generations in a continuous DIRECT LINE.
While entitlements of particular human beings may come and go, the underlying RELATIONSHIP BETWEEN FOUNDATIONAL DREAMS AND CERTAIN LANDSCAPES ARE ETERNAL.
The entitlements of people to places are regarded to be strongest when they enjoy a relationship of identity with one or more dreams of that place. This is an IDENTITY OF THE SPIRIT, rather than a matter of mere belief. For them the dreams pre-exists and persists, while its human incarnations are temporary.
They learned from their stories that a society must not be human-centered but rather LAND CENTERED, otherwise they forget their SOURCE and PURPOSE.
Humans are prone to exploitative behavior. They need to be constantly reminded that THEY ARE
INTERCONNECTED WITH THE REST OF THE CREATION. Also, they, AS INDIVIDUALS ARE ONLY TEMPORAL IN TIME, and past and future generations must be included in their PERCEPTION OF THEIR PURPOSE IN LIFE.
People come and go but the LAND, and stories about the land, STAY. This is a wisdom that takes lifetimes of listening, observing and experiencing. It is a deep UNDERSTANDING OF HUMAN NATURE and THE ENVIRONMENT.
Sacred places hold "feelings" which cannot be described in physical terms. They are subtle feelings that resonate through our bodies. It is only when we talk and be among these people that these "feelings" can truly be appreciated. This is the INTANGIBLE REALITY of these sacred places and its people.
Many myths are still performed across local inhabitants of the Andean Mountains Range. It serves as an important social function among their intended audiences : - justifying the received orders of their daily lives, - helping shape peoples' ideas, - and assisting to influence others' behavior.
They believe that the LAW is something DERIVED from ANCESTRAL PEOPLES or through the DREAMING PROCESS, and is passed down to generations in a continuous DIRECT LINE.
While entitlements of particular human beings may come and go, the underlying RELATIONSHIP BETWEEN FOUNDATIONAL DREAMS AND CERTAIN LANDSCAPES ARE ETERNAL.
The entitlements of people to places are regarded to be strongest when they enjoy a relationship of identity with one or more dreams of that place. This is an IDENTITY OF THE SPIRIT, rather than a matter of mere belief. For them the dreams pre-exists and persists, while its human incarnations are temporary.
They learned from their stories that a society must not be human-centered but rather LAND CENTERED, otherwise they forget their SOURCE and PURPOSE.
Humans are prone to exploitative behavior. They need to be constantly reminded that THEY ARE
INTERCONNECTED WITH THE REST OF THE CREATION. Also, they, AS INDIVIDUALS ARE ONLY TEMPORAL IN TIME, and past and future generations must be included in their PERCEPTION OF THEIR PURPOSE IN LIFE.
People come and go but the LAND, and stories about the land, STAY. This is a wisdom that takes lifetimes of listening, observing and experiencing. It is a deep UNDERSTANDING OF HUMAN NATURE and THE ENVIRONMENT.
Sacred places hold "feelings" which cannot be described in physical terms. They are subtle feelings that resonate through our bodies. It is only when we talk and be among these people that these "feelings" can truly be appreciated. This is the INTANGIBLE REALITY of these sacred places and its people.
Monday, April 29, 2013
Who founded the CHIMU CULTURE (Kingdom contemporary to the INKAS)
NAY LAMP a legendary warrior arrived to SAN JOSE's beaches IN LAMBAYEQUE, PERU. He was a part of a great fleets of rafts bringing with them a great number of warriors from distant lands. They were able to subordinate THE MOCHICA NATION that was in decadence of whom they adopted their customs. This culture was contemporary to the INKA culture, and they reached as territorial domain the WHOLE NORTH COAST, from TUMBES to the FORTRESS of PARAMONGA in LIMA.
They rejected the INKA domain permanently, with bloody battles, and they were conquered partially.
The great CHIMU NATION had for characteristics an autocrat organization. They were builders of big cities; their biggest CULTURAL CENTER was CHAN CHAN's CITADEL. They also had constructions of high development on the VALLEYS OF LAMBAYEQUE.
CHAN CHAN ( Mochica's voice "Jang Jang" : "SUN SUN")
The CHIMU KINGDOM, of which CHAN CHAN (SUN SUN) was the capital, reached its peak long before falling under the INKAS.
The planning of this huge city, THE BIGGEST IN ANCIENT AMERICA, reflects a strict political and social strategy, marked by its divisions into NINE "CITADELS" OR "PALACES" forming independent units.
CHAN CHAN, city made of mud, considered as the biggest in America is also ONE OF THE BIGGEST OF THE WORLD. Its importance is only comparable to the old cities of Egypt, Mesopo-
tamia, India, China, or Teotihuacan in Mexico.
It occupies an area of 15 square kilometers where exist PALACES, TEMPLES, SQUARE PONDS,
GARDENS, AQUEDUCTS, and LABYRINTHS. Its walls are ornamented with beautiful and stylized carved drawings of fish, pelicans, rhombuses, foxes, etc.
In the time of its maximum splendor it is calculated that its population was above 100,000 inhabitants, with all the services and excellent urban line.
The city is subdivided in rectangular sectors from 200 to 400 meters length, with walls of trapezoidal
shape that reach up to 12 meters height and with roads among the walls. The central part, called GREAT CHIMU PALACE is the more advisable place to start your visit, as well as the HUACA
"EL DRAGON."
They rejected the INKA domain permanently, with bloody battles, and they were conquered partially.
The great CHIMU NATION had for characteristics an autocrat organization. They were builders of big cities; their biggest CULTURAL CENTER was CHAN CHAN's CITADEL. They also had constructions of high development on the VALLEYS OF LAMBAYEQUE.
CHAN CHAN ( Mochica's voice "Jang Jang" : "SUN SUN")
The CHIMU KINGDOM, of which CHAN CHAN (SUN SUN) was the capital, reached its peak long before falling under the INKAS.
The planning of this huge city, THE BIGGEST IN ANCIENT AMERICA, reflects a strict political and social strategy, marked by its divisions into NINE "CITADELS" OR "PALACES" forming independent units.
CHAN CHAN, city made of mud, considered as the biggest in America is also ONE OF THE BIGGEST OF THE WORLD. Its importance is only comparable to the old cities of Egypt, Mesopo-
tamia, India, China, or Teotihuacan in Mexico.
It occupies an area of 15 square kilometers where exist PALACES, TEMPLES, SQUARE PONDS,
GARDENS, AQUEDUCTS, and LABYRINTHS. Its walls are ornamented with beautiful and stylized carved drawings of fish, pelicans, rhombuses, foxes, etc.
In the time of its maximum splendor it is calculated that its population was above 100,000 inhabitants, with all the services and excellent urban line.
The city is subdivided in rectangular sectors from 200 to 400 meters length, with walls of trapezoidal
shape that reach up to 12 meters height and with roads among the walls. The central part, called GREAT CHIMU PALACE is the more advisable place to start your visit, as well as the HUACA
"EL DRAGON."
Sunday, April 28, 2013
Andean Religion continue...
NASCA excelled mostly in its TEXTILES and in a very stylish non-realistic POTTERY making use of many different COLORS. Nasca art expressed its RELIGION in a very RIGOROUS SYSTEM,
which, on one hand, makes it more easily to discern than the MOCHE religious system, but on the other hand, more difficult to relate to NASCA CULTURE, its social organization and everyday life.
After the domination of HUARI, during which art was almost identical to that in Huari itself, VERY DIFFERENT STYLE AROSE, known by the name of THE VALLEY OF ICA, which was GEOMETRIC and devoid of symbolic meaning giving hardly any help in understanding the religion.
TIAHUANCO art in POTTERY and in round and relief STONE SCULPTURE in general had been
very GEOMETRIC and, like NASCA, very formal. Huari art preserved these traits although less stylish. This direct expression of an ABSTRACT RELIGION model, TIAHUANACO HAD IN COMMON with the art of CHAVIN culture.
During the FIRST MILLENNIUM BEFORE JESUS CHRIST, CHAVIN had INFLUENCED the greater part of PERU from the Northern Highlands. Nasca contacts with the Mountains seem to have been very strong in terms of its abstract BELIEFS.
Although Chavin art superficially is rather different from that of Tiahuanaco, it expressed the RELIGIOUS SYSTEM also mostly IN STONE (specially in its CEREMONIAL CENTRE known today as CHAVIN de HUANTAR). Chavin art influenced very much the artistic CENTRE of PARACAS on the South Coast, from which IN its TURN NASCA art is DERIVED.
The FACT that ancient Peruvians, whose political development was so advanced and at the same time the very CONSCIOUSNESS of the DEEPER ABSTRACT IDEAS underlaying their SOCIAL and
POLITICAL ORGANIZATION and its RELIGIOUS JUSTIFICATION and ITS FUNCTIONING
THROUGH TIME, DID NOT LEAVE US ANY CODICES, NOR ANY SCRIPT OF A HIERO-GRAFICAL kind. They were less worried about in its expression of concepts on an intermediate level.
which, on one hand, makes it more easily to discern than the MOCHE religious system, but on the other hand, more difficult to relate to NASCA CULTURE, its social organization and everyday life.
After the domination of HUARI, during which art was almost identical to that in Huari itself, VERY DIFFERENT STYLE AROSE, known by the name of THE VALLEY OF ICA, which was GEOMETRIC and devoid of symbolic meaning giving hardly any help in understanding the religion.
TIAHUANCO art in POTTERY and in round and relief STONE SCULPTURE in general had been
very GEOMETRIC and, like NASCA, very formal. Huari art preserved these traits although less stylish. This direct expression of an ABSTRACT RELIGION model, TIAHUANACO HAD IN COMMON with the art of CHAVIN culture.
During the FIRST MILLENNIUM BEFORE JESUS CHRIST, CHAVIN had INFLUENCED the greater part of PERU from the Northern Highlands. Nasca contacts with the Mountains seem to have been very strong in terms of its abstract BELIEFS.
Although Chavin art superficially is rather different from that of Tiahuanaco, it expressed the RELIGIOUS SYSTEM also mostly IN STONE (specially in its CEREMONIAL CENTRE known today as CHAVIN de HUANTAR). Chavin art influenced very much the artistic CENTRE of PARACAS on the South Coast, from which IN its TURN NASCA art is DERIVED.
The FACT that ancient Peruvians, whose political development was so advanced and at the same time the very CONSCIOUSNESS of the DEEPER ABSTRACT IDEAS underlaying their SOCIAL and
POLITICAL ORGANIZATION and its RELIGIOUS JUSTIFICATION and ITS FUNCTIONING
THROUGH TIME, DID NOT LEAVE US ANY CODICES, NOR ANY SCRIPT OF A HIERO-GRAFICAL kind. They were less worried about in its expression of concepts on an intermediate level.
ANDEAN RELIGION
Here we are thinking about those peoples conquered by THE INKAS from Ecuador in the North, over Peru and Bolivia at the center, to Northern Argentine and Chile in the South.
In the search for gold the Spaniards killed many andean people, specially the priests who could have been good informants. Because of the centralized nature of the INKA STATE, the Spaniards were mostly interested in the capital city CUSCO in southern Peru, rather than the rest of the cultures dominated by the Inka State.
The expansion of the EMPIRE on the Andean scene initiated some hundred years before the Spaniards
came to the continent, whereas the other cultures conquered were the descendants of Kingdoms and Empires with highly sophisticated RELIGIOUS systems and arts.
In the MOUNTAINS to the SOUTH-EAST of CUSCO, around LAKE TITICACA, originated THE
CULTURE TIAHUANACO. It flourished around 600 AD and later ITS RELIGION INFLUENCED
most of BOLIVIA and PERU deeply, by its WAY OF COMMERCE, CONQUEST and PRESTIGE.
Later, around 700AD, another CENTRE HUARI, to the WEST of CUSCO, near modern Ayacucho,
started to INFLUENCED MOST of the MIDDLE PERU. Its ORIGINAL LINKS were to the CULTURES of the SOUTH PERUVIAN COAST, especially that of THE VALLEY OF NASCA, but soon it became HEAVILY INFLUENCED BY TIAHUANACO. Tiahuanco and, specially Huari,
INFLUENCED ON THE PEOPLES THEY CONQUERED. It meant a very RADICAL social upheaval and a complete break in their arts. This is best noticeable in the more IMPORTANT CULTURES FROM THE PERUVIAN COAST : MOCHE to the North and NASCA to the South.
MOCHE had used in its art as a symbolic expression of its BELIEFS a very realistic language in which
FIGURES and MOTIVES were MODELED or DRAWN on a flat surface, MOSTLY in TWO COLORS BLACK or BROWN on WHITE or CREAM, where GODS and MYTHICAL BEINGS
are REPRESENTED. After the absorption of this culture by the HUARI, the pottery changed to BLACK, which made it impossible to paint on it scenes of everyday life and of religious ideas. The culture of THIS PERIOD is best KNOWN as that of THE KINGDOM OF CHIMU and continued into INKA TIMES and even into early Spanish times. continue...
In the search for gold the Spaniards killed many andean people, specially the priests who could have been good informants. Because of the centralized nature of the INKA STATE, the Spaniards were mostly interested in the capital city CUSCO in southern Peru, rather than the rest of the cultures dominated by the Inka State.
The expansion of the EMPIRE on the Andean scene initiated some hundred years before the Spaniards
came to the continent, whereas the other cultures conquered were the descendants of Kingdoms and Empires with highly sophisticated RELIGIOUS systems and arts.
In the MOUNTAINS to the SOUTH-EAST of CUSCO, around LAKE TITICACA, originated THE
CULTURE TIAHUANACO. It flourished around 600 AD and later ITS RELIGION INFLUENCED
most of BOLIVIA and PERU deeply, by its WAY OF COMMERCE, CONQUEST and PRESTIGE.
Later, around 700AD, another CENTRE HUARI, to the WEST of CUSCO, near modern Ayacucho,
started to INFLUENCED MOST of the MIDDLE PERU. Its ORIGINAL LINKS were to the CULTURES of the SOUTH PERUVIAN COAST, especially that of THE VALLEY OF NASCA, but soon it became HEAVILY INFLUENCED BY TIAHUANACO. Tiahuanco and, specially Huari,
INFLUENCED ON THE PEOPLES THEY CONQUERED. It meant a very RADICAL social upheaval and a complete break in their arts. This is best noticeable in the more IMPORTANT CULTURES FROM THE PERUVIAN COAST : MOCHE to the North and NASCA to the South.
MOCHE had used in its art as a symbolic expression of its BELIEFS a very realistic language in which
FIGURES and MOTIVES were MODELED or DRAWN on a flat surface, MOSTLY in TWO COLORS BLACK or BROWN on WHITE or CREAM, where GODS and MYTHICAL BEINGS
are REPRESENTED. After the absorption of this culture by the HUARI, the pottery changed to BLACK, which made it impossible to paint on it scenes of everyday life and of religious ideas. The culture of THIS PERIOD is best KNOWN as that of THE KINGDOM OF CHIMU and continued into INKA TIMES and even into early Spanish times. continue...
Saturday, April 27, 2013
WIRACOCHA continue...
FROM the UPPER and the SECOND planes or worlds, the world UKU PACHA WAS CLOSED, and A SPRING SEALED THE COMMUNICATION between the planes. In order that MEN COULD PENETRATE the spring FROM THE SECOND PLANE or world, a designated soul had to come VIA THE BIRTH OF THE INKAN EMPEROR.
The founders of this EMPIRE were MANCO CAPAC and MAMA OCLLO. THROUGH THEM at the top, one could be directed to the Upper World in order to communicate with the gods.
Just like the Chibchas with BOCHICA, the Aztecs with HUITZILOPCHTL, the Quinches with Hun-
Apu-Vuch, the Quechuas of the INKA Empire had a Sun God on the first rank of the celestial ladder.
His sacred name was INTI. Although, later, this god evolved into more complex and universal personality giving passage to IRA-COCHA, an abbreviation of the complete name APU-KON-TIKI-
WIRACOCHA.
This new and much more POWERFUL SUN GOD wasn't alone in his reign. He was ACCOMPA-
NIED by his wife and sister. THE MOON accompanied him in EQUAL RANK in the HEAVENLY COURT under the name of KILLA.
The Sun God was REPRESENTED AS AN ELLIPSE OF GOLD, which COULD also RADIATE
RAYS AS A MANIFESTATION OF HIS POWER. He was ADORED and REVERED, but also
SOUGHT OUT FOR HIS FAVOUR and HIS HELP in resolving problems. Therefore, only the Sun could make the HARVEST RIPE, CURE SICKNESS, and GIVE SHELTER to the human.
The Moon was REPRESENTED AS A DISC OF SILVER. Naturally, the goddess QUILLA was
assigned to DIRECT the RELIGIOUS FERVOR OF WOMEN. The WOMEN FORMED the NUCLEUS OF the god's FAITHFUL FOLLOWERS. Therefore, NO BETTER THAN THE GODDESS QUILLA COULD UNDERSTAND HIS DESIRES and FEARS and GIVE HELP.
The founders of this EMPIRE were MANCO CAPAC and MAMA OCLLO. THROUGH THEM at the top, one could be directed to the Upper World in order to communicate with the gods.
Just like the Chibchas with BOCHICA, the Aztecs with HUITZILOPCHTL, the Quinches with Hun-
Apu-Vuch, the Quechuas of the INKA Empire had a Sun God on the first rank of the celestial ladder.
His sacred name was INTI. Although, later, this god evolved into more complex and universal personality giving passage to IRA-COCHA, an abbreviation of the complete name APU-KON-TIKI-
WIRACOCHA.
This new and much more POWERFUL SUN GOD wasn't alone in his reign. He was ACCOMPA-
NIED by his wife and sister. THE MOON accompanied him in EQUAL RANK in the HEAVENLY COURT under the name of KILLA.
The Sun God was REPRESENTED AS AN ELLIPSE OF GOLD, which COULD also RADIATE
RAYS AS A MANIFESTATION OF HIS POWER. He was ADORED and REVERED, but also
SOUGHT OUT FOR HIS FAVOUR and HIS HELP in resolving problems. Therefore, only the Sun could make the HARVEST RIPE, CURE SICKNESS, and GIVE SHELTER to the human.
The Moon was REPRESENTED AS A DISC OF SILVER. Naturally, the goddess QUILLA was
assigned to DIRECT the RELIGIOUS FERVOR OF WOMEN. The WOMEN FORMED the NUCLEUS OF the god's FAITHFUL FOLLOWERS. Therefore, NO BETTER THAN THE GODDESS QUILLA COULD UNDERSTAND HIS DESIRES and FEARS and GIVE HELP.
Friday, April 26, 2013
WHO IS WIRACOCHA?
IN THE BEGINNING : A long time ago, the nameless GOD REFLECTED and THOUGHT he SHOULD CREATE a WORLD. HE HAD EARTH, WATER, and FIRE and this was enough to form anything he wishes to create.
So HE CREATED the WORLD WITH THREE PLANES that composed A UNIQUE UNIVERSE.
IN the UPPER PLANE OR FIRST WORLD, named JANAN PACHA, he put the GODS which shown brilliantly as the Sun and Moon, the Stars, the Comets, and all that shines from above in the heavens. BETWEEN the UPPER PLANE and the MIDDLE PLANE were the GODS of Thunder, Lightning, Rainbows, and all phenomena that have no further explanation than what the gods wanted to know.
IN the SECOND PLANE OR SECOND WORLD, named KAY PACHA, the God of Creation put
the HUMANS, Animals, Plants, and all that lives, including SPIRITS.
IN the THIRD PLANE, the INNER WORLD, named UKU PACHA, were CLOSED SPACES reserved FOR the DEAD.
The THREE PLANES OR WORLDS INTERACTED, but THERE WERE some very special PORTALS or GATES, AVENUES and ROADS that gave access FROM ONE TO ANOTHER.
The son of the Sun, the INKA named INTI CHURIN, could access the Upper Plane. The interior or Inner World could be accessed from the Middle Plane through all natural conduits that open from the
interior to the exterior, conduits from which Water Springs forth from the Earth, such as Springs, Caves, Fissures, and Volcanos. These were the means of transportation to gain access between Worlds
for the Humans, for the seeds that bore Animals, and for the seeds that gave life to all Plants that grew
in the Second Plane or second world.
So HE CREATED the WORLD WITH THREE PLANES that composed A UNIQUE UNIVERSE.
IN the UPPER PLANE OR FIRST WORLD, named JANAN PACHA, he put the GODS which shown brilliantly as the Sun and Moon, the Stars, the Comets, and all that shines from above in the heavens. BETWEEN the UPPER PLANE and the MIDDLE PLANE were the GODS of Thunder, Lightning, Rainbows, and all phenomena that have no further explanation than what the gods wanted to know.
IN the SECOND PLANE OR SECOND WORLD, named KAY PACHA, the God of Creation put
the HUMANS, Animals, Plants, and all that lives, including SPIRITS.
IN the THIRD PLANE, the INNER WORLD, named UKU PACHA, were CLOSED SPACES reserved FOR the DEAD.
The THREE PLANES OR WORLDS INTERACTED, but THERE WERE some very special PORTALS or GATES, AVENUES and ROADS that gave access FROM ONE TO ANOTHER.
The son of the Sun, the INKA named INTI CHURIN, could access the Upper Plane. The interior or Inner World could be accessed from the Middle Plane through all natural conduits that open from the
interior to the exterior, conduits from which Water Springs forth from the Earth, such as Springs, Caves, Fissures, and Volcanos. These were the means of transportation to gain access between Worlds
for the Humans, for the seeds that bore Animals, and for the seeds that gave life to all Plants that grew
in the Second Plane or second world.
Thursday, April 25, 2013
THE MOTHER MOON OF THE INKAS (MAMA QUILLA)
MAMA QUILLA, was the GODDESS OF THE MOON, MARRIAGES, FEASTS, and THE PROTECTOR OF WOMEN.
She was THE DAUGHTER OF WIRACOCHA, THE CREATOR GOD, and MAMA COHA,
THE MOTHER SEA. She was the SISTER to and WIFE OF INTI, THE SUN GOD.
Her CHILDREN were MANCO CAPAC and MAMA OCLLO, WHO WERE SENT TO THE SHORES of LAKE TITICACA to TEACH THE PEOPLE and ESTABLISH LAWS.
They are KNOWN AS THE MYTHICAL FOUNDERS OF THE INKA EMPIRE.
Also MAMA QUILLA, in later myths, she BECAME MOTHER OF PACHA CAMAC, THE
EARTH-MAKER. His WIFE was the popular GODDESS, PACHA MAMA (very important for the people who lived in the Andes Mountains), EARTH-MOTHER, WHO PROTECTED CROPS and CAUSED EARTHQUAKES.
MAMA QUILLA, the goddess of the Moon, WAS THE THIRD MOST POWERFUL GOD of the INKAS. Their EMPIRE EXPANDED ALL ALONG the ANDES MOUNTAIN RANGE, and as OTHER NATIONS WERE CONQUERED, THEIR GODS AND GODDESSES WERE INCLUDING AND COMBINED WITH the INKA's patrons.
The INKAS were very afraid of LUNAR ECLIPSES (it happens when the Earth blocks out the Sun's
light shining on the Moon), since they BELIEVED that they were CAUSED BY A WILD ANIMAL's
SPIRIT (possibly a mountain lion, serpent, or puma) ATTACKING MAMA QUILLA. During the
eclipses, they would try to scare away the animal's spirit by throwing weapons, waving their arms, and shouting. They BELIEVED that IF THE ANIMAL's SPIRIT SUCCEEDED, the WORLD WOULD BE IN DARKNESS.
THE INKA'S CALENDAR calculated the TIME by USING the PHASES OF THE MOON : FROM
a FULL MOON TO A NEW ONE and back again. The CALENDAR MARKED OUT WHEN THEIR RITUALS and FESTIVALS took PLACE. Each month of the calendar had a marked festival.
If we look at the Moon we can see dark spots. According to the INKAS, these were formed when a Fox who fell in love with Mama Quilla went to visit her, and she squeezed the creature against her.
During RELIGIOUS CEREMONIES, the Andean People WORE GOLDEN MASKS.
The mask representing Mama Quilla has her face like a Full Moon, which symbolized beauty. It also has tears coming from her eyes. The INKAS believed that the silver they found was the tears of the goddess, which fell to the Earth.
She was THE DAUGHTER OF WIRACOCHA, THE CREATOR GOD, and MAMA COHA,
THE MOTHER SEA. She was the SISTER to and WIFE OF INTI, THE SUN GOD.
Her CHILDREN were MANCO CAPAC and MAMA OCLLO, WHO WERE SENT TO THE SHORES of LAKE TITICACA to TEACH THE PEOPLE and ESTABLISH LAWS.
They are KNOWN AS THE MYTHICAL FOUNDERS OF THE INKA EMPIRE.
Also MAMA QUILLA, in later myths, she BECAME MOTHER OF PACHA CAMAC, THE
EARTH-MAKER. His WIFE was the popular GODDESS, PACHA MAMA (very important for the people who lived in the Andes Mountains), EARTH-MOTHER, WHO PROTECTED CROPS and CAUSED EARTHQUAKES.
MAMA QUILLA, the goddess of the Moon, WAS THE THIRD MOST POWERFUL GOD of the INKAS. Their EMPIRE EXPANDED ALL ALONG the ANDES MOUNTAIN RANGE, and as OTHER NATIONS WERE CONQUERED, THEIR GODS AND GODDESSES WERE INCLUDING AND COMBINED WITH the INKA's patrons.
The INKAS were very afraid of LUNAR ECLIPSES (it happens when the Earth blocks out the Sun's
light shining on the Moon), since they BELIEVED that they were CAUSED BY A WILD ANIMAL's
SPIRIT (possibly a mountain lion, serpent, or puma) ATTACKING MAMA QUILLA. During the
eclipses, they would try to scare away the animal's spirit by throwing weapons, waving their arms, and shouting. They BELIEVED that IF THE ANIMAL's SPIRIT SUCCEEDED, the WORLD WOULD BE IN DARKNESS.
THE INKA'S CALENDAR calculated the TIME by USING the PHASES OF THE MOON : FROM
a FULL MOON TO A NEW ONE and back again. The CALENDAR MARKED OUT WHEN THEIR RITUALS and FESTIVALS took PLACE. Each month of the calendar had a marked festival.
If we look at the Moon we can see dark spots. According to the INKAS, these were formed when a Fox who fell in love with Mama Quilla went to visit her, and she squeezed the creature against her.
During RELIGIOUS CEREMONIES, the Andean People WORE GOLDEN MASKS.
The mask representing Mama Quilla has her face like a Full Moon, which symbolized beauty. It also has tears coming from her eyes. The INKAS believed that the silver they found was the tears of the goddess, which fell to the Earth.
WHAT PEOPLE SAY ABOUT LOST CIVILIZATIONS
The philosopher PLATO, in a very limited way, REFERS TO THE EXISTENCE OF A LOST CONTINENT that was LOCATED IN THE ATLANTIC OCEAN and INHABITED BY MEN OF GREATNESS. This REFERENCE TRAVELS BACK IN TIME to TEN or TWELVE THOUSAND YEARS before CHRISTIAN ERA.
Additionally, THERE ARE other STORIES that SPEAK OF another LOST CONTINENT called LEMUR and THE ANDEAN CULTURE linked together. Who can explain exactly what happened TWELVE THOUSAND YEARS AGO where the spiritual and the real world were interconnected in a WAY that PEOPLE KNEW when THE GATES BECAME VISIBLE and BLESSING or CURSE RESULTED FROM THEIR OWN ACTIONS TOWARDS THE FORCES OF NATURE.
Some prefer not to enter a discussion of SUCH DELICATE MENTAL and ROMANTIC THEMES.
Some say that FOREIGNERS CONSTRUCTED THE SACRED CITY OF MACHU PICCHU. For the minds of people who have never been to geographic regions like the one in which Machu Picchu is situated, probably the best explanation for them is that foreigners constructed it.
MACHU PICCHU is situated IN A REGION AT THE BEGINNING OF THE JUNGLE, and this NATURAL PORTAL, because of ITS ALTITUDE, TEMPERATURE, and GEOGRAPHY allowed
the TRANSFORMATION and EVOLUTION of a surprising VARIETY of FLORA and FAUNA that, taking the flora along we see that its growth is rugged and continuous. This implies that if we were
to visit a CERTAIN PART OF THE CITY TODAY, and for some reason we had motives to RETURN TO THE SAME SPOT THE FOLLOWING YEAR, if THERE WERE NOT A SANITATION AND URBAN MAINTENANCE SYSTEM, during the following year WE WOULD NOT BE ABLE TO FIND THE SAME PLACE WE SAW THE YEAR BEFORE.
The place would be lost to our sight because it would BE COVERED WITH VEGETATION.
If it is UNTOUCHED FOR A LONGER PERIOD OF TIME, we probably would FIND A TREE.
Sufficient time for some areas of MACHU PICCHU to have TURNED INTO FOREST INTEGRA-
ED WITH THE MOUNTAINS.
Additionally, THERE ARE other STORIES that SPEAK OF another LOST CONTINENT called LEMUR and THE ANDEAN CULTURE linked together. Who can explain exactly what happened TWELVE THOUSAND YEARS AGO where the spiritual and the real world were interconnected in a WAY that PEOPLE KNEW when THE GATES BECAME VISIBLE and BLESSING or CURSE RESULTED FROM THEIR OWN ACTIONS TOWARDS THE FORCES OF NATURE.
Some prefer not to enter a discussion of SUCH DELICATE MENTAL and ROMANTIC THEMES.
Some say that FOREIGNERS CONSTRUCTED THE SACRED CITY OF MACHU PICCHU. For the minds of people who have never been to geographic regions like the one in which Machu Picchu is situated, probably the best explanation for them is that foreigners constructed it.
MACHU PICCHU is situated IN A REGION AT THE BEGINNING OF THE JUNGLE, and this NATURAL PORTAL, because of ITS ALTITUDE, TEMPERATURE, and GEOGRAPHY allowed
the TRANSFORMATION and EVOLUTION of a surprising VARIETY of FLORA and FAUNA that, taking the flora along we see that its growth is rugged and continuous. This implies that if we were
to visit a CERTAIN PART OF THE CITY TODAY, and for some reason we had motives to RETURN TO THE SAME SPOT THE FOLLOWING YEAR, if THERE WERE NOT A SANITATION AND URBAN MAINTENANCE SYSTEM, during the following year WE WOULD NOT BE ABLE TO FIND THE SAME PLACE WE SAW THE YEAR BEFORE.
The place would be lost to our sight because it would BE COVERED WITH VEGETATION.
If it is UNTOUCHED FOR A LONGER PERIOD OF TIME, we probably would FIND A TREE.
Sufficient time for some areas of MACHU PICCHU to have TURNED INTO FOREST INTEGRA-
ED WITH THE MOUNTAINS.
Wednesday, April 24, 2013
THE FEMININE FORCE IN THE INKAN EMPIRE
WOMAN always represented the EARTH (in a spiritual way it is where the emotions are), and there lies her divine value since it fell into her hands to be the creator of man's great advances.
SHE was who DISCOVERED AGRICULTURE AND ITS ORDER when MEN were required to travel great distances from their homes TO HUNT and look for food.
SHE DISCOVERED the VIRTUES OF THE EARTH after observing repeatedly that seeds from the fruit they ate could reproduce; she began to sow, and as a result, THE BEGINNING OF AGRICULTURE EMERGED. The WOMAN WAS THE EARTHLY GODDESS, THE ONE IN CONTROL, and THE ONE MAKING DECISIONS, since SHE POSSESSED KNOWLEDGE OF NATURE's MYSTERIES.
Roles had been reversed and today it is man who controls the external part of this world.
The WOMAN complemented in the ordinance of the empire, but it was the man who performed the deeds because they possessed the physical strength given to them by nature.
The withdrawal of MACHU PICCHU's inhabitants were slow. Little by little they died, but at the end more WOMEN remained than men, and there they died; but not completely because as they retired, they left in charge of the city the vegetation and animals that had already begun to show the power of their own kingdoms.
Thirty six years of wars was sufficient time for the vegetation, after having been left unattended by the INKAS, to grow, gradually covering structures situated closest to the cliffs. In this way MACHU PICCHU disappeared from a time only to RETURN TRIUMPHANTLY AT THE BEGINNING OF A NEW ANDEAN ERA, the ERA OF THIS CENTURY.
SHE was who DISCOVERED AGRICULTURE AND ITS ORDER when MEN were required to travel great distances from their homes TO HUNT and look for food.
SHE DISCOVERED the VIRTUES OF THE EARTH after observing repeatedly that seeds from the fruit they ate could reproduce; she began to sow, and as a result, THE BEGINNING OF AGRICULTURE EMERGED. The WOMAN WAS THE EARTHLY GODDESS, THE ONE IN CONTROL, and THE ONE MAKING DECISIONS, since SHE POSSESSED KNOWLEDGE OF NATURE's MYSTERIES.
Roles had been reversed and today it is man who controls the external part of this world.
The WOMAN complemented in the ordinance of the empire, but it was the man who performed the deeds because they possessed the physical strength given to them by nature.
The withdrawal of MACHU PICCHU's inhabitants were slow. Little by little they died, but at the end more WOMEN remained than men, and there they died; but not completely because as they retired, they left in charge of the city the vegetation and animals that had already begun to show the power of their own kingdoms.
Thirty six years of wars was sufficient time for the vegetation, after having been left unattended by the INKAS, to grow, gradually covering structures situated closest to the cliffs. In this way MACHU PICCHU disappeared from a time only to RETURN TRIUMPHANTLY AT THE BEGINNING OF A NEW ANDEAN ERA, the ERA OF THIS CENTURY.
PACHAKUTEK, LORD OF THE WORLD.
The INKA PACHAKUTEK WAS THE PRINCIPAL BUILDER OF THE CITY OF MACHU
PICCHU. IT WAS A SATELLITE CITY BELONGING TO THE ANDEAN SOCIETY. The architectural style was revealed by its prefection and order, labeling it "IMPERIAL EPOCH."
PACHAKUTEK INKA YUPANKI WAS the NINTH INKA of the KINGDOM OF CUSCO, which
HE TRANSFORMED INTO THE EMPIRE TAWANTINSUYU, or THE INKA EMPIRE.
In Quechua, PACHAKUTEK means "HE WHO SHAKES THE EARTH," and YUPANKI means
"HONOR."
During his reign, CUSCO GREW INTO AN EMPIRE, and eventually OVERTAKE the CHIMU.
He began an ERA OF CONQUEST than, WITHIN THREE GENERATIONS, EXPANDED THE
INKA DOMINION FROM THE VALLEY OF CUSCO TO NEARLY THE WHOLE OF WEST-
ERN SOUTH AMERICA.
Due to the REMARKABLE EXPANSION OF THE TERRITORy, HE WAS CONSIDERED AN EXCEPTIONAL LEADER.
Besides being A CONQUERING WARRIOR and EMPEROR, HE WAS ALSO A GREAT
ADMINISTRATOR, PLANNER, PHILOSOPHER, OBSERVER OF HUMAN PSYCHOLOGY
and CHARISMATIC GENERAL.
PICCHU. IT WAS A SATELLITE CITY BELONGING TO THE ANDEAN SOCIETY. The architectural style was revealed by its prefection and order, labeling it "IMPERIAL EPOCH."
PACHAKUTEK INKA YUPANKI WAS the NINTH INKA of the KINGDOM OF CUSCO, which
HE TRANSFORMED INTO THE EMPIRE TAWANTINSUYU, or THE INKA EMPIRE.
In Quechua, PACHAKUTEK means "HE WHO SHAKES THE EARTH," and YUPANKI means
"HONOR."
During his reign, CUSCO GREW INTO AN EMPIRE, and eventually OVERTAKE the CHIMU.
He began an ERA OF CONQUEST than, WITHIN THREE GENERATIONS, EXPANDED THE
INKA DOMINION FROM THE VALLEY OF CUSCO TO NEARLY THE WHOLE OF WEST-
ERN SOUTH AMERICA.
Due to the REMARKABLE EXPANSION OF THE TERRITORy, HE WAS CONSIDERED AN EXCEPTIONAL LEADER.
Besides being A CONQUERING WARRIOR and EMPEROR, HE WAS ALSO A GREAT
ADMINISTRATOR, PLANNER, PHILOSOPHER, OBSERVER OF HUMAN PSYCHOLOGY
and CHARISMATIC GENERAL.
THE KURAKAS, MESSENGERS BETWEEN WORLDS
The KURAKA was an OFFICIAL OF THE INKA EMPIRE, who held the role of MAGISTRATE,
about 4 levels down from the INKA, the HEAD OF THE EMPIRE.
KURAKA means "SUPERIOR" or "PRINCIPAL" and his authority was granted by the INKA.
The KURAKAS WERE THE HEADS OF THE AYLLUS (clan-like family units). Each AYLLU actually has 4 KURAKAS: UPPER and LOWER (HANAN and HURIN), each of these had an assistant. However, of the 4, ONE KURAKA was still superior to the rest.
The KURAKA SERVED as TAX COLLECTOR, and HELD RELIGIOUS AUTHORITY, in that
THEY MEDIATED BETWEEN THE SUPERNATURAL SPHERE and THE MORTAL REALM.
THEY WERE RESPONSIBLE for making sure THE SPIRIT WORLD BLESSED THE MORTAL ONE WITH PROSPERITY, and WERE HELD ACCOUNTABLE should DISASTER STRIKE, such a drought.
KURAKAS enjoyed privileges such as being exempt from taxation and the right to polygamy. They also has the right to ride in the gold carriages.
KURAKAS do not hesitate to RECOGNIZE the INKA PACHAKUTEK AS THE PRINCIPAL BUILDER OF THE WHOLE EMPIRE, his EXCEPTIONAL SKILLS and IDENTIFY him as "SON OF THE SUN."
about 4 levels down from the INKA, the HEAD OF THE EMPIRE.
KURAKA means "SUPERIOR" or "PRINCIPAL" and his authority was granted by the INKA.
The KURAKAS WERE THE HEADS OF THE AYLLUS (clan-like family units). Each AYLLU actually has 4 KURAKAS: UPPER and LOWER (HANAN and HURIN), each of these had an assistant. However, of the 4, ONE KURAKA was still superior to the rest.
The KURAKA SERVED as TAX COLLECTOR, and HELD RELIGIOUS AUTHORITY, in that
THEY MEDIATED BETWEEN THE SUPERNATURAL SPHERE and THE MORTAL REALM.
THEY WERE RESPONSIBLE for making sure THE SPIRIT WORLD BLESSED THE MORTAL ONE WITH PROSPERITY, and WERE HELD ACCOUNTABLE should DISASTER STRIKE, such a drought.
KURAKAS enjoyed privileges such as being exempt from taxation and the right to polygamy. They also has the right to ride in the gold carriages.
KURAKAS do not hesitate to RECOGNIZE the INKA PACHAKUTEK AS THE PRINCIPAL BUILDER OF THE WHOLE EMPIRE, his EXCEPTIONAL SKILLS and IDENTIFY him as "SON OF THE SUN."
Tuesday, April 23, 2013
FLOOD STORY ( based on an Inkan Myth)
At ONE TIME, PEOPLE became very evil. They were so busy DOING EVIL DEEDS that THEY NEGLECTED THE GODS. Only THOSE IN THE HIGH ANDES MOUNTAINS WERE HONEST AND TRUE.
One day, TWO BROTHERS WHO LIVED IN THE HIGH ANDES MOUNTAINS NOTICED their LLAMAS WERE ACTING STRANGELY. They ASKED the LLAMAS WHY they were STARING UP AT THE SKY. The LLAMAS ANSWERED THAT THEY WERE TOLD BY THE STARS THAT A GREAT FLOOD WAS COMING. The BROTHERS BELIEVED THE LLAMAS. THEY MOVED THEIR FAMILIES AND FLOCKS INTO A CAVE THEY FOUND
ON THE HIGHEST MOUNTAIN.
It began to rain. The RAIN continued FOR FOUR MONTHS and FOUR DAYS. At last the RAIN
STOPPED. The WATER RECEDED. The BROTHERS AND THEIR FAMILIES REPOPULATED THE EARTH.
The LLAMAS WERE MOST GRATEFUL TO THE STARS FOR WARNING THEM ABOUT
THE FLOOD. THAT IS WHY LLAMAS PREFER TO LIVE ON THE MOUNTAIN TOPS,
SAFE FROM FLOODS, and NEAR THEIR FRIENDS, THE STARS.
One day, TWO BROTHERS WHO LIVED IN THE HIGH ANDES MOUNTAINS NOTICED their LLAMAS WERE ACTING STRANGELY. They ASKED the LLAMAS WHY they were STARING UP AT THE SKY. The LLAMAS ANSWERED THAT THEY WERE TOLD BY THE STARS THAT A GREAT FLOOD WAS COMING. The BROTHERS BELIEVED THE LLAMAS. THEY MOVED THEIR FAMILIES AND FLOCKS INTO A CAVE THEY FOUND
ON THE HIGHEST MOUNTAIN.
It began to rain. The RAIN continued FOR FOUR MONTHS and FOUR DAYS. At last the RAIN
STOPPED. The WATER RECEDED. The BROTHERS AND THEIR FAMILIES REPOPULATED THE EARTH.
The LLAMAS WERE MOST GRATEFUL TO THE STARS FOR WARNING THEM ABOUT
THE FLOOD. THAT IS WHY LLAMAS PREFER TO LIVE ON THE MOUNTAIN TOPS,
SAFE FROM FLOODS, and NEAR THEIR FRIENDS, THE STARS.
DID YOU KNOW THAT LLAMAS ARE THE CAMELS' cousins?
The LLAMA is a MEMBER of the CAMELID FAMILY. CAMELIDS ORIGINATED IN NORTH
AMERICA around 45 million years ago.
Animals that MIGRATED NORTH over THE BERING LAND BRIDGE wandered into ASIA and
NORTH AFRICA and DEVELOPED INTO THE ONE-HUMPED DROMEDARY and THE
SHORTER-LEGGED, TWO-HUMPED BACTRIAN, DESERT CAMELS familiar to us today.
The CAMELIDS that STAYED IN THE AMERICAS and MIGRATED SOUTH BECAME LLAMAS, ALPACAS, GUANACOS, and VICUNAS.
The LLAMA REMAINS, as it has been for thousands of years, an ESSENTIAL and VALUABLE
ANIMAL FOR PEOPLE LIVING AMONG THE PEAKS OF THE ANDES.
The LLAMA PROVIDES an EVER-READY SOURCE OF FOOD, FIBER, FUEL, and
MOUNTAIN TRANSPORT.
If you ever meet a LLAMA, be sure and follow this simple rule of LLAMA ETIQUETTE - DO NOT
STARE AT HIM - otherwise the LLAMA might spit in your face for being so rude! Peek at a LLAMA out of the corner of your eye.
The LLAMA IS ABOUT FOUR FEET TALL and FOUR FEET LONG and CAN WEIGH 300
POUNDS.
They CAN TRAVEL LONG DISTANCES WITHOUT NEEDING WATER.
They CAN CARRY LIGHT LOADS OF NOT OVER 100 POUNDS.
They CAN EASILY TRAVEL 6 MILES A DAY OVER LUMPY BUMPY GROUND. On FLAT
ground, the LLAMA CAN RUN FASTER THAN A HORSE.
LLAMAS AR HERD CREATURES. They NEED TO BE WITH OTHER LLAMAS TO BE HAPPY.
Most LLAMAS HAVE BIG PERSONALITIES. They ARE VERY LOVING AND GENTLE.
BUT, REMEMBER, THEY DO NOT LIKE TO BE STARED AT.
AMERICA around 45 million years ago.
Animals that MIGRATED NORTH over THE BERING LAND BRIDGE wandered into ASIA and
NORTH AFRICA and DEVELOPED INTO THE ONE-HUMPED DROMEDARY and THE
SHORTER-LEGGED, TWO-HUMPED BACTRIAN, DESERT CAMELS familiar to us today.
The CAMELIDS that STAYED IN THE AMERICAS and MIGRATED SOUTH BECAME LLAMAS, ALPACAS, GUANACOS, and VICUNAS.
The LLAMA REMAINS, as it has been for thousands of years, an ESSENTIAL and VALUABLE
ANIMAL FOR PEOPLE LIVING AMONG THE PEAKS OF THE ANDES.
The LLAMA PROVIDES an EVER-READY SOURCE OF FOOD, FIBER, FUEL, and
MOUNTAIN TRANSPORT.
If you ever meet a LLAMA, be sure and follow this simple rule of LLAMA ETIQUETTE - DO NOT
STARE AT HIM - otherwise the LLAMA might spit in your face for being so rude! Peek at a LLAMA out of the corner of your eye.
The LLAMA IS ABOUT FOUR FEET TALL and FOUR FEET LONG and CAN WEIGH 300
POUNDS.
They CAN TRAVEL LONG DISTANCES WITHOUT NEEDING WATER.
They CAN CARRY LIGHT LOADS OF NOT OVER 100 POUNDS.
They CAN EASILY TRAVEL 6 MILES A DAY OVER LUMPY BUMPY GROUND. On FLAT
ground, the LLAMA CAN RUN FASTER THAN A HORSE.
LLAMAS AR HERD CREATURES. They NEED TO BE WITH OTHER LLAMAS TO BE HAPPY.
Most LLAMAS HAVE BIG PERSONALITIES. They ARE VERY LOVING AND GENTLE.
BUT, REMEMBER, THEY DO NOT LIKE TO BE STARED AT.
THE KONDOR AND THE EAGLE
One could say that THE EAGLE IS THE MOST RECOGNIZED BIRD, since THE KONDOR IS NOT A WIDELY KNOWN BIRD.
The EAGLE IS CONSIDERED TO BE A BIRD OF VERY SPECIFIC, SELECT STATUS.
The EAGLE IS A BIRD OF PREY, WHEREAS THE KONDOR, ALSO A BIRD OF PREY,
PREFERS FEEDING ON DEAD AND SOMETIMES DECOMPOSED ANIMALS, making it
ALSO A A BIRD WHO EATS CARRION.
The FACT that the KONDOR INGEST DECOMPOSED ANIMALS has made it, IN ANDEAN
SYMBOLISM, a BIRD CAPABLE OF TRANSFORMING ALTERED OR CORRUPTED STATES OF BEING INTO PURE AND ELEVATED STATES OF BEING.
For the ANDEAN BELIEVE, IT IS NOT WHAT ENTERS THE MOUTH THAT CORRUPTS;
RATHER IT IS WHAT GROWS DEEP WITHIN THE SOUL THAT HAS NEITHER DIRECTION NOR INNER VISION.
The message here is not that we should consume something specific, but rather that WE SHOULD TRANSFORM ANYTHING and EVERYTHING THAT IS NOT IN HARMONY WITH OUR
OWN LIFE EXPERIENCE, and ALWAYS STRIVE TO ELEVATE OURSELVES TOWARDS
THE DIMENSIONS OF WIRACOCHA.
The EAGLE IS CONSIDERED TO BE A BIRD OF VERY SPECIFIC, SELECT STATUS.
The EAGLE IS A BIRD OF PREY, WHEREAS THE KONDOR, ALSO A BIRD OF PREY,
PREFERS FEEDING ON DEAD AND SOMETIMES DECOMPOSED ANIMALS, making it
ALSO A A BIRD WHO EATS CARRION.
The FACT that the KONDOR INGEST DECOMPOSED ANIMALS has made it, IN ANDEAN
SYMBOLISM, a BIRD CAPABLE OF TRANSFORMING ALTERED OR CORRUPTED STATES OF BEING INTO PURE AND ELEVATED STATES OF BEING.
For the ANDEAN BELIEVE, IT IS NOT WHAT ENTERS THE MOUTH THAT CORRUPTS;
RATHER IT IS WHAT GROWS DEEP WITHIN THE SOUL THAT HAS NEITHER DIRECTION NOR INNER VISION.
The message here is not that we should consume something specific, but rather that WE SHOULD TRANSFORM ANYTHING and EVERYTHING THAT IS NOT IN HARMONY WITH OUR
OWN LIFE EXPERIENCE, and ALWAYS STRIVE TO ELEVATE OURSELVES TOWARDS
THE DIMENSIONS OF WIRACOCHA.
THE ANDEAN CULTURE IDENTIFIED THEMSELVES WITH THE KONDORn
The ANDEAN CULTURE IDENTIFIED THEMSELVES WITH THE KONDOR. The great MALKU KAPAK ( first leader of the INKA DYNASTY) accepted this sacred bird and recognized in
it the same SUN (Inti).
The KONDOR's WINGSPAN IS SO IMPRESSIVE that just TO SEE IT FLY FILLS US with an
intense EMOTION. Seeing a BIRD APPROXIMATELY FOUR METERS LONG with ITS WINGS
EXTENDED approaching us overwhelm us.
The KONDOR's stories are varied. They represent a model of interdependence and necessity.
In order TO ELEVATE ITSELF OFF THE GROUND, the KONDOR NEEDS WARM AIR currents originating in the valleys and flowing upwards towards the heights of snow-capped mountain peaks.
The interesting fact is that THE KONDOR IS NOT CAPABLE OF FLYING AS WELL AS OTHER SPECIES OF BIRDS. IT MOVES and GLIDES WELL ONLY WITH THE HELP OF WARM WINDS, the kind found in mild climate areas. For this reason the KONDOR ALWAYS LOOKS FOR VALLEYS, WARM CLIMATES, and other PLACES WHERE WARM WINDS ARE FOUND. The KONDOR DOES NOT have the same skill possessed by other birds of its kind to
ASCEND AND DESCEND IN THE AIR. It RELIES ON THE WIND for BALANCE and maintaining its EQUILIBRIUM when leaving the ground.
The KONDOR , before BEFORE BEGINNING TO FLY, he PREFERS TO GLIDE with elegance
and majesty.
The Andean culture, and by extension THE INKAS identified themselves with THE KONDOR, a BIRD that EXEMPLIFIED THE HIGHEST VIRTUES ACHIEVABLE BY MAN AND A BIRD
THAT HELD THE HIGHEST RESPECT FOR HIS OWN PLACE IN THE UNIVERSE.
Comparing with the Hummingbird's ability to fly, these two birds are opposite. The Hummingbird is one of few birds with an outstanding freedom of motion attributed to the agility of its wings. The bird is also capable of flying backwards.
it the same SUN (Inti).
The KONDOR's WINGSPAN IS SO IMPRESSIVE that just TO SEE IT FLY FILLS US with an
intense EMOTION. Seeing a BIRD APPROXIMATELY FOUR METERS LONG with ITS WINGS
EXTENDED approaching us overwhelm us.
The KONDOR's stories are varied. They represent a model of interdependence and necessity.
In order TO ELEVATE ITSELF OFF THE GROUND, the KONDOR NEEDS WARM AIR currents originating in the valleys and flowing upwards towards the heights of snow-capped mountain peaks.
The interesting fact is that THE KONDOR IS NOT CAPABLE OF FLYING AS WELL AS OTHER SPECIES OF BIRDS. IT MOVES and GLIDES WELL ONLY WITH THE HELP OF WARM WINDS, the kind found in mild climate areas. For this reason the KONDOR ALWAYS LOOKS FOR VALLEYS, WARM CLIMATES, and other PLACES WHERE WARM WINDS ARE FOUND. The KONDOR DOES NOT have the same skill possessed by other birds of its kind to
ASCEND AND DESCEND IN THE AIR. It RELIES ON THE WIND for BALANCE and maintaining its EQUILIBRIUM when leaving the ground.
The KONDOR , before BEFORE BEGINNING TO FLY, he PREFERS TO GLIDE with elegance
and majesty.
The Andean culture, and by extension THE INKAS identified themselves with THE KONDOR, a BIRD that EXEMPLIFIED THE HIGHEST VIRTUES ACHIEVABLE BY MAN AND A BIRD
THAT HELD THE HIGHEST RESPECT FOR HIS OWN PLACE IN THE UNIVERSE.
Comparing with the Hummingbird's ability to fly, these two birds are opposite. The Hummingbird is one of few birds with an outstanding freedom of motion attributed to the agility of its wings. The bird is also capable of flying backwards.
The legend of the Kondor and the Hummingbird.....
FEELING AT ONE WITH THE SKY's PURITY, looking towards the Earth and all its confines, he said : "I AM THE KING OF THE BIRDS." As soon as THESE WORDS LEFT HIS MOUTH, he FELT SOMETHING UNUSUAL BENEATH HIS FEATHERS, and without knowing what it was,
SPUN AROUND SWIFTLY. In that instant the HUMMINGBIRD FLEW OUT from beneath his feathers and PROUDLY PROCLAIMED to him : "YOU ARE THE KING OF THE BIRDS, but
I FLY THE HIGHEST."
As soon as the competition began, the HUMMINGBIRD HAD APPROACHED the KONDOR, and ACTUALLY HID HIMSELF AMONG the KONDOR's FEATHERS, thereby USING the KONDOR AS HIS OWN VEHICLE INTO THE SKY UP TO THE HEIGHTS OF WIRACOCHA.
The COMPLICITY of these TWO BIRDS is PRESENTED in THIS STORY. For THIS REASON
the KONDOR HAS ALWAYS BEEN LINKED TO THE HUMMINGBIRD, and BOTH ARE
REPRESENTED IN ANDEAN SYMBOLISM.
-------------------------------------------------
The End
Without a doubt the KONDOR is the BIRD that SURPASSES the LIMITS OF ONE's OWN MIND
and IS CAPABLE OF SURPASS THE EARTLY LIMITS, ENABLING OTHER BEINGS TO BE ELEVATED.
The ANDEAN PEOPLE RECOGNIZES WIRACOCHA's INTENTIONS for THIS BIRD, and as a result, in myths and legends about WIRACOCHA's DESCENT TO EARTH, it was the KONDOR that BROUGHT AND GUIDED HIM AMONG THE FIRST CIVILIZATIONS.
SPUN AROUND SWIFTLY. In that instant the HUMMINGBIRD FLEW OUT from beneath his feathers and PROUDLY PROCLAIMED to him : "YOU ARE THE KING OF THE BIRDS, but
I FLY THE HIGHEST."
As soon as the competition began, the HUMMINGBIRD HAD APPROACHED the KONDOR, and ACTUALLY HID HIMSELF AMONG the KONDOR's FEATHERS, thereby USING the KONDOR AS HIS OWN VEHICLE INTO THE SKY UP TO THE HEIGHTS OF WIRACOCHA.
The COMPLICITY of these TWO BIRDS is PRESENTED in THIS STORY. For THIS REASON
the KONDOR HAS ALWAYS BEEN LINKED TO THE HUMMINGBIRD, and BOTH ARE
REPRESENTED IN ANDEAN SYMBOLISM.
-------------------------------------------------
The End
Without a doubt the KONDOR is the BIRD that SURPASSES the LIMITS OF ONE's OWN MIND
and IS CAPABLE OF SURPASS THE EARTLY LIMITS, ENABLING OTHER BEINGS TO BE ELEVATED.
The ANDEAN PEOPLE RECOGNIZES WIRACOCHA's INTENTIONS for THIS BIRD, and as a result, in myths and legends about WIRACOCHA's DESCENT TO EARTH, it was the KONDOR that BROUGHT AND GUIDED HIM AMONG THE FIRST CIVILIZATIONS.
LEGEND OF THE KONDOR AND THE HUMMINGBIRD CONTINUE...
They reached ONE THOUSAND METERS and ALMOST ALL WERE SEEN FLYING IN PAIRS. They continued TWO THOUSAND METERS, and SOME FELL BEHIND, UNABLE
TO PASS THE SMALLER MOUNTAINS.
The AIR at THREE THOUSAND METERS was MUCH THINNER, and many VALLEY and
COASTAL BIRDS WEAKENED for LACK of OXIGEN.
At FOUR THOUSAND METERS the SEVERE EFFECTS of the HIGH ALTITUDE FORCED
OTHER BIRDS to GIVE UP. Nevertheless, they felt PROUD FOR HAVING PARTICIPATED in this HONORABLE EVENT ON BEHALF OF THEIR OWN FAMILIES.
NOW ONLY THE STRONGEST and MOST FIT BIRDS of the kingdom REMAINED in the competition.
FIVE THOUSAND METERS coincided with DESOLATE, SNOWCAPPED MOUNTAINS, and
GLIMPSES OF THE ETERNAL SNOWS OF OTHERS IN THE HORIZON; the EAGLES,
FALCONS, HAWKS, KESTRELS and others of these same families STILL COMMANDED the
CELESTIAL ALTITUDES, whereas FAMILIES OF OWLS HA REACHED THEIR LIMITS and were left to observe these and higher limits of the sky.
At SIX THOUSAND METERS ALMOST ALL BIRDS HAD BEEN LEFT BEHIND EXCEPT the
EAGLE and the KONDOR who CONTINUED FLYING HIGHER with GRANDEUR and
SERENITY CHARACTERISTIC OF THEIR LINEAGE.
When they reached SEVEN THOUSAND METERS and taller snowcapped mountains, the EAGLE's
BEAUTY BEGAN TO DARKEN from the distance and AS DID HIS CHANCES TO REIGN THE KINGDOM.
The KONDOR CONTINUED, CALM and UNAFFECTED, and SMILED an inner smile as HE CELEBRATED HIS PRESENCE AMONG THE HIGHEST PEAKS OF THE EARTH.
TO PASS THE SMALLER MOUNTAINS.
The AIR at THREE THOUSAND METERS was MUCH THINNER, and many VALLEY and
COASTAL BIRDS WEAKENED for LACK of OXIGEN.
At FOUR THOUSAND METERS the SEVERE EFFECTS of the HIGH ALTITUDE FORCED
OTHER BIRDS to GIVE UP. Nevertheless, they felt PROUD FOR HAVING PARTICIPATED in this HONORABLE EVENT ON BEHALF OF THEIR OWN FAMILIES.
NOW ONLY THE STRONGEST and MOST FIT BIRDS of the kingdom REMAINED in the competition.
FIVE THOUSAND METERS coincided with DESOLATE, SNOWCAPPED MOUNTAINS, and
GLIMPSES OF THE ETERNAL SNOWS OF OTHERS IN THE HORIZON; the EAGLES,
FALCONS, HAWKS, KESTRELS and others of these same families STILL COMMANDED the
CELESTIAL ALTITUDES, whereas FAMILIES OF OWLS HA REACHED THEIR LIMITS and were left to observe these and higher limits of the sky.
At SIX THOUSAND METERS ALMOST ALL BIRDS HAD BEEN LEFT BEHIND EXCEPT the
EAGLE and the KONDOR who CONTINUED FLYING HIGHER with GRANDEUR and
SERENITY CHARACTERISTIC OF THEIR LINEAGE.
When they reached SEVEN THOUSAND METERS and taller snowcapped mountains, the EAGLE's
BEAUTY BEGAN TO DARKEN from the distance and AS DID HIS CHANCES TO REIGN THE KINGDOM.
The KONDOR CONTINUED, CALM and UNAFFECTED, and SMILED an inner smile as HE CELEBRATED HIS PRESENCE AMONG THE HIGHEST PEAKS OF THE EARTH.
LEGEND OF THE KONDOR AND THE HUMMINGBIRD...
The INTENSE PRESSURE FORCED THE KONDOR TO ACCEPT, but HE PROCLAIMED ONCE AGAIN that "He was the the king and the one that could fly the highest."
The SIGNAL WAS GIVEN and all the BIRDS WERE READY TO START. The HUMMIN-
BIRD approached the KONDOR one last time and said "YOU ARE 'KING OF THE BIRDS' and I
admire you for that, but I FLY THE HIGHEST." The KONDOR smiled and said to him, "DEAR HUMMINGBIRD OF THE VALLEYS and MEDOWS, YOUR VERY PRESENCE INSPIRES ME AND YOUR SIZE REVEALS TO ME THE GREATNESS OF YOUR SPIRIT, but the great
WIRACOCHA SOWED WITHIN ME THE POWER TO REIGN IN THIS WORLD and IT IS I THAT FLIES THE HIGHEST."
The FOX had been LISTENING INTENTLY and QUIETLY to this interchange, and BEFORE long
REALIZED THAT HE WOULD NEED TO REPLACE THE KONDOR AS THE JUDGE of competition. The instant THE COMPETITION BEGAN, the multicolor FIELD OF BIRDS came alive LIKE A BEAUTIFUL GARDEN as they ALL EXTENDED THEIR FEATHERS, POISED and READY TO ENTER INTO COMMUNION WITH EACH OTHER AND THE SKY.
The KONDOR WAITED FOR A SWIFT WIND TO PROPEL HIMSELF UPWARD INTO THE AIR. With a STRONG and STEADY MOVEMENT of HIS WINGS, HE LEFT THE GROUND, and IN THAT MOMENT the HUMMINGBIRD WITH HIS GOLDEN COURAGE SPREAD HIS
WINGS and within a blink of the eye FLEW very CLOSE TO THE KONDOR and DISAPPEARED
At that point ALL the BIRDS were IN THE AIR, each one demonstrating their flying abilities, shar-
ing the desire to be crowned "king." SOME cheerfully and freely GLIDED IN THE AIR ; OTHERS TOOK ADVANTAGE of the WIND's DIRECTION and STRENGTH. SOME FLEW TOWARD
the SUN, and OTHERS, CALLED ON the STRENGTH of PACHAMAMA ( MOTHER EARTH),
were ABLE TO SURPASS THEIR OWN PERSONAL LIMITATIONS. ALL FLEW WITH VITALITY, PROUDLY REPRESENTING THEIR OWN FAMILIES.
The SIGNAL WAS GIVEN and all the BIRDS WERE READY TO START. The HUMMIN-
BIRD approached the KONDOR one last time and said "YOU ARE 'KING OF THE BIRDS' and I
admire you for that, but I FLY THE HIGHEST." The KONDOR smiled and said to him, "DEAR HUMMINGBIRD OF THE VALLEYS and MEDOWS, YOUR VERY PRESENCE INSPIRES ME AND YOUR SIZE REVEALS TO ME THE GREATNESS OF YOUR SPIRIT, but the great
WIRACOCHA SOWED WITHIN ME THE POWER TO REIGN IN THIS WORLD and IT IS I THAT FLIES THE HIGHEST."
The FOX had been LISTENING INTENTLY and QUIETLY to this interchange, and BEFORE long
REALIZED THAT HE WOULD NEED TO REPLACE THE KONDOR AS THE JUDGE of competition. The instant THE COMPETITION BEGAN, the multicolor FIELD OF BIRDS came alive LIKE A BEAUTIFUL GARDEN as they ALL EXTENDED THEIR FEATHERS, POISED and READY TO ENTER INTO COMMUNION WITH EACH OTHER AND THE SKY.
The KONDOR WAITED FOR A SWIFT WIND TO PROPEL HIMSELF UPWARD INTO THE AIR. With a STRONG and STEADY MOVEMENT of HIS WINGS, HE LEFT THE GROUND, and IN THAT MOMENT the HUMMINGBIRD WITH HIS GOLDEN COURAGE SPREAD HIS
WINGS and within a blink of the eye FLEW very CLOSE TO THE KONDOR and DISAPPEARED
At that point ALL the BIRDS were IN THE AIR, each one demonstrating their flying abilities, shar-
ing the desire to be crowned "king." SOME cheerfully and freely GLIDED IN THE AIR ; OTHERS TOOK ADVANTAGE of the WIND's DIRECTION and STRENGTH. SOME FLEW TOWARD
the SUN, and OTHERS, CALLED ON the STRENGTH of PACHAMAMA ( MOTHER EARTH),
were ABLE TO SURPASS THEIR OWN PERSONAL LIMITATIONS. ALL FLEW WITH VITALITY, PROUDLY REPRESENTING THEIR OWN FAMILIES.
Legend of the Kondor and the Hummingbird continue...
The DAY ARRIVED and BEFORE DAWN all the BIRDS had already GATHERED ON A GREAT MOUNTAIN, AWAITING THE ARRIVAL OF FATHER SUN. The preparation and gossip that permeated this HUGE CONCENTRATION were plagued with comments and criticism
about the ARROGANCE and PRIDE of some.
All were present, even the Kondor. The FIRST SUN's RAYS LIT UP THE NERBY HILLS, and a COOL BREEZE characteristic of ANDEAN DAWNS was felt. Already some birds were celebrating the SLIGHT WARMTH that would grow slowly as FATHER SUN ROSE over their heads.
The EVENT WAS WORTHY OF RECORDING AS A CELESTIAL FICTION where the most fascinating COLORS, SHAPES, and SINGING were INTERMINGLED this MORNING.
The DAY HAD BEGUN and the arrival of THIS GREAT MOMENT stirred the EMOTIONS OF ALL who were present. The KONDOR's PRESENCE commanded RESPECT and no one dared to challenge the fact that HE WAS THE JUDGE OF THE EVENT.
All BIRDS were READY when suddenly, as if JUMPING OUT of the AIR, the HUMMINGBIRD
APPEARED. He had just HEARD that the KONDOR would NOT PARTICIPATE in the event because HE CONSIDERED HIMSELF "King of the BIRDS and the one that COULD FLY the
HIGHEST," a comment the HUMMINGBIRD found believable for a BIRD OF SUCH INCREDI-
BLE SIZE and POWER.
With HIS DELICATE WINGS the HUMMINGBIRD FORCED HIS WAY THROUGH, and posi-
tioning himself IN FRONT OF THE KONDOR, REBUKED HIM saying that HE, TOO, WAS A
BIRD and such he should HAVE TO DEMONSTRATE WHAT HE BELIEVED TO BE TRUE.
In all HIS HUMBLENESS the HUMMINGBIRD said that he ACCEPTED THAT THE KONDOR
WAS "King of the Birds," but, that HE, the HUMMINGBIRD, COULD FLY THE HIGHEST.
After hearing this the OTHERS felt confident and capable of INSISTING THAT THE KONDOR
PARTICIPATE.
about the ARROGANCE and PRIDE of some.
All were present, even the Kondor. The FIRST SUN's RAYS LIT UP THE NERBY HILLS, and a COOL BREEZE characteristic of ANDEAN DAWNS was felt. Already some birds were celebrating the SLIGHT WARMTH that would grow slowly as FATHER SUN ROSE over their heads.
The EVENT WAS WORTHY OF RECORDING AS A CELESTIAL FICTION where the most fascinating COLORS, SHAPES, and SINGING were INTERMINGLED this MORNING.
The DAY HAD BEGUN and the arrival of THIS GREAT MOMENT stirred the EMOTIONS OF ALL who were present. The KONDOR's PRESENCE commanded RESPECT and no one dared to challenge the fact that HE WAS THE JUDGE OF THE EVENT.
All BIRDS were READY when suddenly, as if JUMPING OUT of the AIR, the HUMMINGBIRD
APPEARED. He had just HEARD that the KONDOR would NOT PARTICIPATE in the event because HE CONSIDERED HIMSELF "King of the BIRDS and the one that COULD FLY the
HIGHEST," a comment the HUMMINGBIRD found believable for a BIRD OF SUCH INCREDI-
BLE SIZE and POWER.
With HIS DELICATE WINGS the HUMMINGBIRD FORCED HIS WAY THROUGH, and posi-
tioning himself IN FRONT OF THE KONDOR, REBUKED HIM saying that HE, TOO, WAS A
BIRD and such he should HAVE TO DEMONSTRATE WHAT HE BELIEVED TO BE TRUE.
In all HIS HUMBLENESS the HUMMINGBIRD said that he ACCEPTED THAT THE KONDOR
WAS "King of the Birds," but, that HE, the HUMMINGBIRD, COULD FLY THE HIGHEST.
After hearing this the OTHERS felt confident and capable of INSISTING THAT THE KONDOR
PARTICIPATE.
Monday, April 22, 2013
LEGEND OF THE KONDOR AND THE HUMMINGBIRD continue...
The FOX explained the REASONS and MOTIVES for the INVITATION. To the KONDOR it SEEMED REASONABLE that the CELESTIAL BIRDS ORGANIZE THEIR OWN ORDER, but
he also said HE WOULD NOT PARTICIPATE because HE and only he WAS the "KING OF THE BIRDS."
NO other BIRD could possibly COMPETE WITH HIS MAJESTY or ABILITY TO SOAR the SKIES since NO other BIRD COULD ELEVATE ITSELF TO THE HIGHEST MOUNTAIN PEAKS.
The KONDOR made it very clear that HE WAS THE "KING OF THE BIRDS" and also the
"ONE THAT FLIES THE HIGHEST." The Kondor advised the Fox : "BELOVED FOX, YOU HAVE BEEN WITH ME DURING THIS GREAT BANQUET, PLEASE COMMUNICATE MY
RESPONSE TO THE CELESTIAL CHILDREN AND TELL THEM THAT 'I ALREADY AM
THE KING OF THE BIRDS AND I AM THE ONE THAT FLIES THE HIGHEST,' and that I do not need to compete. Perhaps among them THERE WILL BE A REPRESENTATIVE OF THE AIR
but I AM THE KING. I would BE GLAD to do the FAVOR OF SERVING AS JUDGE for the
competition if they so DESIRE, and if they do so desire, HAVE THEM SEND YOU again TO DELIVER THE MESSAGE TO ME.
The Fox returned to the other birds of the kingdom and delivered the Kondor's message. Upon hearing
what the Kondor had said, THEY FELT DISRESPECTED. THEY FELT LIMITED AND CUT DOWN IN THEIR VIRTUES, but REALIZED THAT THEIR ONLY OPTION WAS TO GIVE IN. So, with the BIRDS' INSTRUCTION, the FOX told the KONDOR that his offer had been accepted, that THEY WANTED HIM TO JUDGE THE COMPETITION, and that HIS PRESENCE
WOULD BE HIGHLY ESTEEMED.
he also said HE WOULD NOT PARTICIPATE because HE and only he WAS the "KING OF THE BIRDS."
NO other BIRD could possibly COMPETE WITH HIS MAJESTY or ABILITY TO SOAR the SKIES since NO other BIRD COULD ELEVATE ITSELF TO THE HIGHEST MOUNTAIN PEAKS.
The KONDOR made it very clear that HE WAS THE "KING OF THE BIRDS" and also the
"ONE THAT FLIES THE HIGHEST." The Kondor advised the Fox : "BELOVED FOX, YOU HAVE BEEN WITH ME DURING THIS GREAT BANQUET, PLEASE COMMUNICATE MY
RESPONSE TO THE CELESTIAL CHILDREN AND TELL THEM THAT 'I ALREADY AM
THE KING OF THE BIRDS AND I AM THE ONE THAT FLIES THE HIGHEST,' and that I do not need to compete. Perhaps among them THERE WILL BE A REPRESENTATIVE OF THE AIR
but I AM THE KING. I would BE GLAD to do the FAVOR OF SERVING AS JUDGE for the
competition if they so DESIRE, and if they do so desire, HAVE THEM SEND YOU again TO DELIVER THE MESSAGE TO ME.
The Fox returned to the other birds of the kingdom and delivered the Kondor's message. Upon hearing
what the Kondor had said, THEY FELT DISRESPECTED. THEY FELT LIMITED AND CUT DOWN IN THEIR VIRTUES, but REALIZED THAT THEIR ONLY OPTION WAS TO GIVE IN. So, with the BIRDS' INSTRUCTION, the FOX told the KONDOR that his offer had been accepted, that THEY WANTED HIM TO JUDGE THE COMPETITION, and that HIS PRESENCE
WOULD BE HIGHLY ESTEEMED.
Legend of the KONDOR and the HUMMINGBIRD continue..
Since a BIRD's VIRTUE IS TO RISE ABOVE THE MOUNTAINS, SUSTAINED ONLY BY WIND and SUN, the privilege of being crowned KING OF THE BIRDS WOULD BE BESTOWED
UPON THE BIRD THAT COULD FLY THE HIGHEST.
They concurred with this suggestion and decided that ALL BIRDS IN THE KINGDOM WOULD BE INVITED to a COMPETITION to demonstrate their flying abilities. THE DATE for this import-
ant GATHERING was set of THE EIGHTH MONTH at THE EIGHT o' clock in the MORNING.
ALL BIRDS of the Earth would be summoned to COME TOGETHER on THAT DAY. As there was sufficient time for individual practicing, no bird could allege that they were not given enough advanced notice.
The SEAGULL WAS CHOSEN TO TRAVEL THROUGHOUT THE EARTH TO COMMUNICATE THE WISE BIRDS' DECISION. He completed this mission almost to perfection,
with the exception that HE COULD NOT LOCATE THE KONDOR.
The SEAGULL HAD NO CHOICE but to SEEK ASSISTANCE FROM THE LORDS OF THE LAND. The LORDS of the LAND instructed the SEAGULL TO FIND the FOX, because only the
FOX COULD DELIVER A MESSAGE TO THE KONDOR about the competition where one deserving bird would be crowned king of the birds.
The FOX ASCENDED INTO THE MOUNTAINS IN SEARCH OF THE KONDOR and SAW
IN THE DEPTHS OF THE CLIFFS A DARK SILHOUETTE with white bands. It was the KONDOR who HAD GONE DOWN INTO THE VALLEY FOR WATER, and now satisfy, was
RETURNING TO HIS extraordinary PLACE IN THE UNIVERSE. As the KONDOR FLEW upward out of the valley, HE SPOTTED THE FOX. The FOX had just finished eating and was
WAITING WITH THE ONLY HOPE THAT THE KONDOR WOULD SENSE THE SMELL OF THE ANIMAL'S REMAINS. Upon SEEING this, the KONDOR DECIDED TO DESCEND to serve himself, and did not pay much attention to the Fox, who was already satisfied from a great banquet he was not able lo finish because of his size. After the KONDOR FINISHED EATING, the
FOX APPROACHED him and told him that the BIRDS of the EARTH had SUMMONED ALL BIRDS IN THE KINGDOM to be present for the identification and crowning of their king.
The KONDOR DID NOT LISTEN TO THE FOX'S WORDS and APPEARED COMPLETELY
DISINTERESTED.
UPON THE BIRD THAT COULD FLY THE HIGHEST.
They concurred with this suggestion and decided that ALL BIRDS IN THE KINGDOM WOULD BE INVITED to a COMPETITION to demonstrate their flying abilities. THE DATE for this import-
ant GATHERING was set of THE EIGHTH MONTH at THE EIGHT o' clock in the MORNING.
ALL BIRDS of the Earth would be summoned to COME TOGETHER on THAT DAY. As there was sufficient time for individual practicing, no bird could allege that they were not given enough advanced notice.
The SEAGULL WAS CHOSEN TO TRAVEL THROUGHOUT THE EARTH TO COMMUNICATE THE WISE BIRDS' DECISION. He completed this mission almost to perfection,
with the exception that HE COULD NOT LOCATE THE KONDOR.
The SEAGULL HAD NO CHOICE but to SEEK ASSISTANCE FROM THE LORDS OF THE LAND. The LORDS of the LAND instructed the SEAGULL TO FIND the FOX, because only the
FOX COULD DELIVER A MESSAGE TO THE KONDOR about the competition where one deserving bird would be crowned king of the birds.
The FOX ASCENDED INTO THE MOUNTAINS IN SEARCH OF THE KONDOR and SAW
IN THE DEPTHS OF THE CLIFFS A DARK SILHOUETTE with white bands. It was the KONDOR who HAD GONE DOWN INTO THE VALLEY FOR WATER, and now satisfy, was
RETURNING TO HIS extraordinary PLACE IN THE UNIVERSE. As the KONDOR FLEW upward out of the valley, HE SPOTTED THE FOX. The FOX had just finished eating and was
WAITING WITH THE ONLY HOPE THAT THE KONDOR WOULD SENSE THE SMELL OF THE ANIMAL'S REMAINS. Upon SEEING this, the KONDOR DECIDED TO DESCEND to serve himself, and did not pay much attention to the Fox, who was already satisfied from a great banquet he was not able lo finish because of his size. After the KONDOR FINISHED EATING, the
FOX APPROACHED him and told him that the BIRDS of the EARTH had SUMMONED ALL BIRDS IN THE KINGDOM to be present for the identification and crowning of their king.
The KONDOR DID NOT LISTEN TO THE FOX'S WORDS and APPEARED COMPLETELY
DISINTERESTED.
LEGEND OF THE KONDOR AND THE HUMMINGBIRD
The PARROT of the AMAZON VALLEY ha insinuated to THE BIRDS in HIS KINGDOM that he
was ADMIRED all over the world for his beautiful COLORS, and that he DESERVED TO REPRESENT ALL LIVING CREATURES THAT MOVED THROUGH THE SKY, since A CREST OF FEATHERS LIKE HIS could only be found IN THE TEMPLES OF FATHER WIRACOCHA.
He ALSO SUGGESTED that the CHILDREN OF THE SUN COMMUNED WITH THE SEVEN DIVINE RAYS and agreed that the great PARROT DESERVED TO BE CELESTIAL KING.
Such chatter spread far and wide to the ears of OTHER BIRDS IN THE KINGDOM, and was regarded as HARMLESS ATTEMPTS OF SUPERIORITY in his own limitations. They TRIED TO
DISREGARD THE PAPAGAYO's declarations, but the SEEDS OF PRIVILEGE, PRIDE, and
EGO had already SPROUTED inside THEIR HEARTS. They began to FEEL ANXIOUS TO REPRESENT THEIR OWN ROYALTY and CREATED among THEMSELVES AN ANARCHY
where not even the EAGLE received any respect.
The NATURAL CELESTIAL ORDER WAS BROKEN and BIRDS FLEW CHAOTICALLY in the sky, HUNTING unnecessarily and DESTROYING THE LAND. As newly ALLIED FLOCKS
OF BIRDS EMERGED, the SKY GREW DARK and sown with TERROR and INSECURITY.
They ABUSED THEIR FREEDOM and the MOUNTAINS and VALLEYS were FILLED WITH
SADNESS.
It was TIME TO PRAY TO THE GODS for a DIVINE MESSENGER TO RESTORE
ORDER TO THE LAND. But the WISE BIRD'S CRIES WERE NOT CONSIDERED and the
HEAVENS DISREGARDED THEIR REQUEST.
There must be another way to restore the natural order of the kingdom. But how?
At that moment THEY HEARD THE SONG OF THE SPARROW saying that THE TIME HAD COME TO SELECT A DESERVING REPRESENTATIVE TO INTERCEDE ON BEHALF OF
ALL BIRDS WITH THE CELESTIAL GODS.
was ADMIRED all over the world for his beautiful COLORS, and that he DESERVED TO REPRESENT ALL LIVING CREATURES THAT MOVED THROUGH THE SKY, since A CREST OF FEATHERS LIKE HIS could only be found IN THE TEMPLES OF FATHER WIRACOCHA.
He ALSO SUGGESTED that the CHILDREN OF THE SUN COMMUNED WITH THE SEVEN DIVINE RAYS and agreed that the great PARROT DESERVED TO BE CELESTIAL KING.
Such chatter spread far and wide to the ears of OTHER BIRDS IN THE KINGDOM, and was regarded as HARMLESS ATTEMPTS OF SUPERIORITY in his own limitations. They TRIED TO
DISREGARD THE PAPAGAYO's declarations, but the SEEDS OF PRIVILEGE, PRIDE, and
EGO had already SPROUTED inside THEIR HEARTS. They began to FEEL ANXIOUS TO REPRESENT THEIR OWN ROYALTY and CREATED among THEMSELVES AN ANARCHY
where not even the EAGLE received any respect.
The NATURAL CELESTIAL ORDER WAS BROKEN and BIRDS FLEW CHAOTICALLY in the sky, HUNTING unnecessarily and DESTROYING THE LAND. As newly ALLIED FLOCKS
OF BIRDS EMERGED, the SKY GREW DARK and sown with TERROR and INSECURITY.
They ABUSED THEIR FREEDOM and the MOUNTAINS and VALLEYS were FILLED WITH
SADNESS.
It was TIME TO PRAY TO THE GODS for a DIVINE MESSENGER TO RESTORE
ORDER TO THE LAND. But the WISE BIRD'S CRIES WERE NOT CONSIDERED and the
HEAVENS DISREGARDED THEIR REQUEST.
There must be another way to restore the natural order of the kingdom. But how?
At that moment THEY HEARD THE SONG OF THE SPARROW saying that THE TIME HAD COME TO SELECT A DESERVING REPRESENTATIVE TO INTERCEDE ON BEHALF OF
ALL BIRDS WITH THE CELESTIAL GODS.
Friday, April 19, 2013
MACHU PICCHU, understanding without words
We have inconsistencies in our history because in the world we live on, we are followers. We follow a path of ideologies that are not our own. Ever since the occidental world arrived, it has tried to impose in
their entirety forms of dress, dogma and practices that ACCORDING TO THE INTEGRITY OF THE ANDEAN people OPPOSE HARMONY WITH NATURE.
Since MACHU PICCHU is situated in a protective zone, it has not suffered this cultural catastrophe in
spite of the religious movements of our era already settled in the small, valley town known as AGUAS
CALIENTES (warm water); that is the farthest they already reached.
Today we must strive for oneness with our true essence, and travel the path of inner peace. These is the only way that we can conquer our own demons and harmonize our SOUL elements with the ones that comes from the beauty of NATURE.
The urban distribution of MACHU PICCHU, along with its agricultural settings, like terraces and farms, suggest that it was designed for an estimated 600 to 800 inhabitants. The CITY was capable of
producing enough food and raw material necessary for its own survival. So then MACHU PICCHU was an independent center that demonstrated organization and provided protection for all its residents.
It was not a satellite city, on the contrary it was a center for other groups of people and entire communities.
The INKAN society in its more elevated stages of development became an empire whose frontiers extended thousands of kilometers from its center and capital of CUSCO. Any empire with a land region so expansive, like that of the INKAS, would establish at its most distant points, entire teams of people prepared in the art of war, just as the INKAS did in their time, to control both its access and its
likely expansion if necessary. There would have been no reason to construct a fort less than 100 kilometers from its capital, and further more, its limited dimensions made it incapable of sheltering and sustaining thousands of soldiers that would have been required for a potential defense. This holds true when we consider the INKAN society as an empire, but when we consider MACHU PICCHU as a
CITY-COMMUNITY, we should keep in mind that the concept of material wealth in those times was
very different from the European definition of material wealth. Gold was just a metal and was valued for its spiritual significance over its modern economic value. Gold represented the Earth's Sun, and
silver represented the Moon. The ANDEAN WORLD's community principle stated that everything belongs to Mother Earth (Pachamama) and all was to be shared among all people as life had arranged
it. To rob or unjustly appropriate for one's own selfish good was not practical in the ANDEAN WORLD.
their entirety forms of dress, dogma and practices that ACCORDING TO THE INTEGRITY OF THE ANDEAN people OPPOSE HARMONY WITH NATURE.
Since MACHU PICCHU is situated in a protective zone, it has not suffered this cultural catastrophe in
spite of the religious movements of our era already settled in the small, valley town known as AGUAS
CALIENTES (warm water); that is the farthest they already reached.
Today we must strive for oneness with our true essence, and travel the path of inner peace. These is the only way that we can conquer our own demons and harmonize our SOUL elements with the ones that comes from the beauty of NATURE.
The urban distribution of MACHU PICCHU, along with its agricultural settings, like terraces and farms, suggest that it was designed for an estimated 600 to 800 inhabitants. The CITY was capable of
producing enough food and raw material necessary for its own survival. So then MACHU PICCHU was an independent center that demonstrated organization and provided protection for all its residents.
It was not a satellite city, on the contrary it was a center for other groups of people and entire communities.
The INKAN society in its more elevated stages of development became an empire whose frontiers extended thousands of kilometers from its center and capital of CUSCO. Any empire with a land region so expansive, like that of the INKAS, would establish at its most distant points, entire teams of people prepared in the art of war, just as the INKAS did in their time, to control both its access and its
likely expansion if necessary. There would have been no reason to construct a fort less than 100 kilometers from its capital, and further more, its limited dimensions made it incapable of sheltering and sustaining thousands of soldiers that would have been required for a potential defense. This holds true when we consider the INKAN society as an empire, but when we consider MACHU PICCHU as a
CITY-COMMUNITY, we should keep in mind that the concept of material wealth in those times was
very different from the European definition of material wealth. Gold was just a metal and was valued for its spiritual significance over its modern economic value. Gold represented the Earth's Sun, and
silver represented the Moon. The ANDEAN WORLD's community principle stated that everything belongs to Mother Earth (Pachamama) and all was to be shared among all people as life had arranged
it. To rob or unjustly appropriate for one's own selfish good was not practical in the ANDEAN WORLD.
MACHU PICCHU, City of Kowledge
MACHU PICCHU, the "CITY OF KNOWLEDGE," is located IN the URUBAMBA province,
department of CUSCO, PERU.
The CITY is seated at approximately 400 meters above the WILLKAMAYU RIVER, at an altitude ranging from 2400 to 2450 meters above sea-level. Its placement HALF-WAY between the Queswua
region and the Amazon cloak produces a mild climate, neither excessively hot nor cold, and an ecological floor ideal for varieties of farming normally found at higher altitudes or in valleys.
The CITY's remote location required that it be AUTONOMOUS, INDEPENDENT, and at the same time RIGOROUSLY CONTROLLED.
The invaders of the INKAN EMPIRE did not know about the existence of this precious center; thanks to their ignorance and the passion with which the city's builders guarded their secret, the city's fundamental structures remained mostly intact. The city's builders chose the perfect setting for this urban institution and the ideal people capable of preserving it.
The INKA's orders were respectfully obeyed and under no circumstances would the secret of MACHU PICCHU's existence reach the ears of the external world.
The INKAS were road experts and constructed thousands of kilometers of highway, connecting almost the entire western part of the continent of SOUTH AMERICA. The land's geographical abruptness required them to use their bodies as the principal mode of transportation, and in doing so, they became rugged and prepared for any geographical barrier they encountered, using the tallest mountains and deepest valleys as their worship centers.
In MACHU PICCHU we find a MODEL OF ALLIANCE between MAN and NATURE (masculine and feminine); primarily for the valley's capricious form that is a continuation of THE SACRED VALLEY OF THE INKAS. The VALLEY accompanied by the RIVER forms A CIRCLE AROUND MACHU PICCHU, the sphere representing PACHA MAMA (mother earth) as a PROTECTIVE ELEMENT for the CITY.
The INKAS were convinced NATURE formed AN ALLIANCE with the forces of the gods, perfectly
ordering the mountains so that all strength and power converged at this sacred center where the construction of THE CITY OF LIGHT was destined.
The INKAS, expert engineers of NATURE, immediately recognized the privileged zone they had found, and after resolving not to abandon the land, constructed in its soil the "HOUSE OF KNOW-
LEDGE" as a future message for our days on earth.
department of CUSCO, PERU.
The CITY is seated at approximately 400 meters above the WILLKAMAYU RIVER, at an altitude ranging from 2400 to 2450 meters above sea-level. Its placement HALF-WAY between the Queswua
region and the Amazon cloak produces a mild climate, neither excessively hot nor cold, and an ecological floor ideal for varieties of farming normally found at higher altitudes or in valleys.
The CITY's remote location required that it be AUTONOMOUS, INDEPENDENT, and at the same time RIGOROUSLY CONTROLLED.
The invaders of the INKAN EMPIRE did not know about the existence of this precious center; thanks to their ignorance and the passion with which the city's builders guarded their secret, the city's fundamental structures remained mostly intact. The city's builders chose the perfect setting for this urban institution and the ideal people capable of preserving it.
The INKA's orders were respectfully obeyed and under no circumstances would the secret of MACHU PICCHU's existence reach the ears of the external world.
The INKAS were road experts and constructed thousands of kilometers of highway, connecting almost the entire western part of the continent of SOUTH AMERICA. The land's geographical abruptness required them to use their bodies as the principal mode of transportation, and in doing so, they became rugged and prepared for any geographical barrier they encountered, using the tallest mountains and deepest valleys as their worship centers.
In MACHU PICCHU we find a MODEL OF ALLIANCE between MAN and NATURE (masculine and feminine); primarily for the valley's capricious form that is a continuation of THE SACRED VALLEY OF THE INKAS. The VALLEY accompanied by the RIVER forms A CIRCLE AROUND MACHU PICCHU, the sphere representing PACHA MAMA (mother earth) as a PROTECTIVE ELEMENT for the CITY.
The INKAS were convinced NATURE formed AN ALLIANCE with the forces of the gods, perfectly
ordering the mountains so that all strength and power converged at this sacred center where the construction of THE CITY OF LIGHT was destined.
The INKAS, expert engineers of NATURE, immediately recognized the privileged zone they had found, and after resolving not to abandon the land, constructed in its soil the "HOUSE OF KNOW-
LEDGE" as a future message for our days on earth.
MACHU PICCHU, Sacred Space.
MACHU PICCHU is situated in a region protected by nature like a society where vegetation, mountains, valleys, and even animals live in communion with each other in an harmonize way, with a common objective of preserving one of the ANDEAN World's most sacred centers. It resembles the most advance university dedicated to the understanding of NATURE.
In MACHU PICCHU we could identify preparation centers for architecture, engineering, mathematics,
mechanics, agriculture, art, astronomy, and many more disciplines. Respect for NATURE and natural order formed part of their primary teachings. Respecting NATURE with such pure integrity, they built everything in equilibrium, and they did not merely select stones at random for this sacred center, but carefully planned each wall in advance, following a spontaneous and natural rhythm, converting all centers into organic architectural projects.
In MACHU PICCHU we could identify preparation centers for architecture, engineering, mathematics,
mechanics, agriculture, art, astronomy, and many more disciplines. Respect for NATURE and natural order formed part of their primary teachings. Respecting NATURE with such pure integrity, they built everything in equilibrium, and they did not merely select stones at random for this sacred center, but carefully planned each wall in advance, following a spontaneous and natural rhythm, converting all centers into organic architectural projects.
MACHU PICCHU, City of Lights
Everything IN MACHU PICCHU exists in harmony, not only through man's creation of the structures,
but also because the earth appears as an intelligent living being, designing all that is pleasing to her.
Nature is brilliantly presented, like a divine dance with beauty as its main character.
Experience the SUNRISE in your visit to this sacred city and surely you will be rewarded with
unsurpassed beauty the moment LIGHT begins flowing from the sky, inundating your heart with PEACE.
Observing and meditating at dawn in the "CITY OF LIGHT," you will have a moment of communion
with the land of the Sun. The "CITY OF LIGHT" is always radiating magic and beauty.
MACHU PICCHU and the dance of colors make every dawn a poem. Nature reveals to us the sacred
city's secrets. The organic architecture formed part of the concept of beauty and harmony in the Inkas'
constructions. We can find many doors of entry into the "CITY OF LIGHT." Inside the "Temple of the
Three Open Windows," MACHU PICCHU and its mountains are seen through a window.
The symbol of Pachamama (the SACRED RIVER WILLKANOTA) surrounds the CRYSTAL CITY OF MACHU PICCHU and the HUAYNA PICCHU.
but also because the earth appears as an intelligent living being, designing all that is pleasing to her.
Nature is brilliantly presented, like a divine dance with beauty as its main character.
Experience the SUNRISE in your visit to this sacred city and surely you will be rewarded with
unsurpassed beauty the moment LIGHT begins flowing from the sky, inundating your heart with PEACE.
Observing and meditating at dawn in the "CITY OF LIGHT," you will have a moment of communion
with the land of the Sun. The "CITY OF LIGHT" is always radiating magic and beauty.
MACHU PICCHU and the dance of colors make every dawn a poem. Nature reveals to us the sacred
city's secrets. The organic architecture formed part of the concept of beauty and harmony in the Inkas'
constructions. We can find many doors of entry into the "CITY OF LIGHT." Inside the "Temple of the
Three Open Windows," MACHU PICCHU and its mountains are seen through a window.
The symbol of Pachamama (the SACRED RIVER WILLKANOTA) surrounds the CRYSTAL CITY OF MACHU PICCHU and the HUAYNA PICCHU.
MACHU PICCHU, City of the Rainbow
Tones of BLUE-VIOLET, RED-PINK, and YELLOW-GOLD are inspirations for ANDEAN people, guiding them along their path. For them THE RAINBOW's ARC was a SIGN OF THE
SKY's PROTECTION.
This phenomenon was so mysterious that when it occurred in the presence of simultaneous rains,
or periods and intensities of rain separated by winds, a beautiful RAINBOW could be seen with its color band of VIOLET closest to the earth, along with a second or double RAINBOW, its colors inverted with the VIOLET color band at the highest point or "roof" of THE ARC.
This experience was so magical that an individual able to reach the SPACE BETWEEN THE TWO ARCS would receive an INSTANTANEOUS OPENING, since passing through DOUBLE RAINBOWS was like PROCEEDING THROUGH THE ENTRANCE TO THE KINGDOM OF THE SEVEN RAYS.
The ANDEAN people created altars and temples for its worship and reverence, not for external expressions but instead for the symbolism and power contained in THE ESSENCE OF its COLORS.
The ANDEAN people constructed their temples to give thanks to the power of MOTHER EARTH, not for polytheistic worship. The "form" is the external manifestation of a structure of power, but what
matters is found on the inside and kept secret.
The ANDEAN people living in active communication with the power of NATURE were expert communicators with the different frequencies and existential planes in which NATURE lives its life.
This type of language is totally different to the one we know and use in our present world.
When you need THE STRENGTH OF THE RAINBOW's SEVEN RAYS, go to the mountains and ask to the invisible guardians to send a message to the divine CREATOR to send you drops of rain so that a beautiful "CIRCULAR RAINBOW" can form around you, and in that very moment, you will be transformed into a CHILD OF THE RAINBOW and a vehicle of the LIGHT.
When you arrive at MACHU PICCHU, take advantage of every moment, surrender all thoughts that one moment might be better than the next. Whether it is early in the morning or late in the evening, rain or shine, this magical city never stays the same, and these variations are exactly what will alloy you to enjoy every unique moment.
In the ANDEAN WORLD we often say "the weather has changed" and not "what bad weather we have!" when it begins to rain.
SKY's PROTECTION.
This phenomenon was so mysterious that when it occurred in the presence of simultaneous rains,
or periods and intensities of rain separated by winds, a beautiful RAINBOW could be seen with its color band of VIOLET closest to the earth, along with a second or double RAINBOW, its colors inverted with the VIOLET color band at the highest point or "roof" of THE ARC.
This experience was so magical that an individual able to reach the SPACE BETWEEN THE TWO ARCS would receive an INSTANTANEOUS OPENING, since passing through DOUBLE RAINBOWS was like PROCEEDING THROUGH THE ENTRANCE TO THE KINGDOM OF THE SEVEN RAYS.
The ANDEAN people created altars and temples for its worship and reverence, not for external expressions but instead for the symbolism and power contained in THE ESSENCE OF its COLORS.
The ANDEAN people constructed their temples to give thanks to the power of MOTHER EARTH, not for polytheistic worship. The "form" is the external manifestation of a structure of power, but what
matters is found on the inside and kept secret.
The ANDEAN people living in active communication with the power of NATURE were expert communicators with the different frequencies and existential planes in which NATURE lives its life.
This type of language is totally different to the one we know and use in our present world.
When you need THE STRENGTH OF THE RAINBOW's SEVEN RAYS, go to the mountains and ask to the invisible guardians to send a message to the divine CREATOR to send you drops of rain so that a beautiful "CIRCULAR RAINBOW" can form around you, and in that very moment, you will be transformed into a CHILD OF THE RAINBOW and a vehicle of the LIGHT.
When you arrive at MACHU PICCHU, take advantage of every moment, surrender all thoughts that one moment might be better than the next. Whether it is early in the morning or late in the evening, rain or shine, this magical city never stays the same, and these variations are exactly what will alloy you to enjoy every unique moment.
In the ANDEAN WORLD we often say "the weather has changed" and not "what bad weather we have!" when it begins to rain.
MACHU PICCHU, CRYSTAL CITY
The entire region in which the city of MACHU PICCHU is embedded has been called : BATHOLITH
OF VILCABAMBA. The type of rock that exist in abundance is composed of a mixture of white and
small amounts of pink granite; along with granite, in many of the rocks we also find QUARTZ CRYSTAL.
the QUARTZ CRYSTAL is the element that gives MACHU PICCHU as a city a very special characteristic, AN ENERGETIC VIRTUE, AN INTENTION FOR ELEVATION, making it a
SUPERIOR CENTER FOR ALL SORT OF THERAPIES.
The QUARTZ CRYSTAL is known for its ability to CLEANSE, PURIFY, TRANSMUTE and
TRANQUILIZE. The tranquilizing effects cause many who came near to MACU PICCHU, at some
point in their visit, TO FEEL A NEED TO QUIET THEMSELVES AND ENTER INTO A TRANQUIL STATE OF MIND, allowing THE CITY to SPEAK TO THEM, revealing the PATH OF COMMUNION WITH NATURE. For many visitors, the experience discloses answers that they need for their own personal growth. Almost as a rule, THE CITY connects to each one who visits and that the desire to be alone in solitude and silence comes from within the person. They feel and enjoy the city's charm and perfection.
Walking on MACHU PICCHU's soil embrace the soul of the visitor and make each one of them to feel the gate of the inner world. Many open the gate and enter into a meditative state, and listen to the land's
message.
MYSTICAL EXPERIENCES inside the subtle world that embrace the sacred city have revealed to us the existence of great structures, city-like structures that house beings operating at very subtle frequen-
cies. These beings act as guardians from a world that we can not see or touch but exists and governs the laws of nature. They send their messages to all people that are able to surrender their conceptual attach-
ments to the material world. They are also responsible for energetically cleansing the sacred city of mental charges of our time left by hundreds of visitors stepping on its soil daily.
MACHU PICCHU is an important VORTEX OF ENERGY for our planet, serving at times as a
catalyst, freely offering its best for the benefit of all. Only one visit to this sacred city is enough to cause some change in the life of anyone visiting it. An unexpected connection that will grow inside us.
Looking at the scenery in a state of meditation make us feel the feminine power of nature and her presence will give us the strength and guidance that we need to overcome our greatest challenges.
OF VILCABAMBA. The type of rock that exist in abundance is composed of a mixture of white and
small amounts of pink granite; along with granite, in many of the rocks we also find QUARTZ CRYSTAL.
the QUARTZ CRYSTAL is the element that gives MACHU PICCHU as a city a very special characteristic, AN ENERGETIC VIRTUE, AN INTENTION FOR ELEVATION, making it a
SUPERIOR CENTER FOR ALL SORT OF THERAPIES.
The QUARTZ CRYSTAL is known for its ability to CLEANSE, PURIFY, TRANSMUTE and
TRANQUILIZE. The tranquilizing effects cause many who came near to MACU PICCHU, at some
point in their visit, TO FEEL A NEED TO QUIET THEMSELVES AND ENTER INTO A TRANQUIL STATE OF MIND, allowing THE CITY to SPEAK TO THEM, revealing the PATH OF COMMUNION WITH NATURE. For many visitors, the experience discloses answers that they need for their own personal growth. Almost as a rule, THE CITY connects to each one who visits and that the desire to be alone in solitude and silence comes from within the person. They feel and enjoy the city's charm and perfection.
Walking on MACHU PICCHU's soil embrace the soul of the visitor and make each one of them to feel the gate of the inner world. Many open the gate and enter into a meditative state, and listen to the land's
message.
MYSTICAL EXPERIENCES inside the subtle world that embrace the sacred city have revealed to us the existence of great structures, city-like structures that house beings operating at very subtle frequen-
cies. These beings act as guardians from a world that we can not see or touch but exists and governs the laws of nature. They send their messages to all people that are able to surrender their conceptual attach-
ments to the material world. They are also responsible for energetically cleansing the sacred city of mental charges of our time left by hundreds of visitors stepping on its soil daily.
MACHU PICCHU is an important VORTEX OF ENERGY for our planet, serving at times as a
catalyst, freely offering its best for the benefit of all. Only one visit to this sacred city is enough to cause some change in the life of anyone visiting it. An unexpected connection that will grow inside us.
Looking at the scenery in a state of meditation make us feel the feminine power of nature and her presence will give us the strength and guidance that we need to overcome our greatest challenges.
MACHU PICCHU FOREVER
It is impossible for a traveler entering deeply into the heart of the Andes to remain untouched by the
magical force of the mountains where the magnetic vibration and radiation frequency is highly
feminine.
MACHU PICCHU = INITIATION CITY
City of Hanan Pacha - Crystal City - City of the Rainbow - City of Light
BIRDS represent HANAN PACHA. They create in every human being a state of inner peace. People that lived connected to the nature intuitively knew that BIRDS were divine messengers capable of
elevating man to the heights of the gods.
The OWL was a bird of mysteries and transcended vision capable of seeing in the dark. Its exceptional
night vision, like the quietness of its movements, awakened in man's imagination possibilities of discovering hidden states of his own mind. They practiced exercises to travel deep into layers of the subconscious and from there lift themselves higher and higher, confident they would ultimately encounter their true reality.
The SEAGULL is the celestial messenger and master of the earthly dimension. This BIRD was able to transpose its own limitations without getting lost.
The EAGLE was the most important BIRD in almost all parts of the world. The Eagle represents
strength, vision, territorial control, the highest form of authority and solemn presence, and therefore was
respected and worshiped to such extent that it became like an idol. The EAGLE is a bird of prey.
The KONDOR is also a BIRD of prey that surpasses the limits of one's own mind. The KONDOR prefers feeding on dead and decomposed animals, making it a BIRD who eats carrion. The fact that the KONDOR ingests decomposed animals has made it, in ANDEAN SYMBOLISM, a BIRD capable of transmuting altered or corrupted states of being into pure and elevated states of being. It is not what enters the mouth that corrupt, rather it is what grows deep within the soul that has neither direction nor inner vision.The Andean people recognized Wiracocha's intentions for this BIRD.
It was theKONDOR that brought and guided him among the first civilizations.
The KONDOR's wingspan is so impressive that seeing a BIRD approximately four meters long with its wings extended overwhelm us.
The KONDOR needs warm air currents originating in the valleys and flowing upwards towards the heights of snow-capped mountain peaks. But a very curious fact indicates that the KONDOR generally
is not capable of flying as well as other species of birds. It moves and glides well only with the help of
warm winds, the kind found in mild climate areas. For this reason the KONDOR always looks for
valleys, warm climates, and other places where warm winds are found. The KONDOR does not have
the same skill possessed by other birds of its kind to ascend and descend in the air. It relies on the wind
for balance and maintaining its equilibrium when leaving the ground. Before beginning to fly, the KONDOR prefers to glide with elegance and majesty.
magical force of the mountains where the magnetic vibration and radiation frequency is highly
feminine.
MACHU PICCHU = INITIATION CITY
City of Hanan Pacha - Crystal City - City of the Rainbow - City of Light
BIRDS represent HANAN PACHA. They create in every human being a state of inner peace. People that lived connected to the nature intuitively knew that BIRDS were divine messengers capable of
elevating man to the heights of the gods.
The OWL was a bird of mysteries and transcended vision capable of seeing in the dark. Its exceptional
night vision, like the quietness of its movements, awakened in man's imagination possibilities of discovering hidden states of his own mind. They practiced exercises to travel deep into layers of the subconscious and from there lift themselves higher and higher, confident they would ultimately encounter their true reality.
The SEAGULL is the celestial messenger and master of the earthly dimension. This BIRD was able to transpose its own limitations without getting lost.
The EAGLE was the most important BIRD in almost all parts of the world. The Eagle represents
strength, vision, territorial control, the highest form of authority and solemn presence, and therefore was
respected and worshiped to such extent that it became like an idol. The EAGLE is a bird of prey.
The KONDOR is also a BIRD of prey that surpasses the limits of one's own mind. The KONDOR prefers feeding on dead and decomposed animals, making it a BIRD who eats carrion. The fact that the KONDOR ingests decomposed animals has made it, in ANDEAN SYMBOLISM, a BIRD capable of transmuting altered or corrupted states of being into pure and elevated states of being. It is not what enters the mouth that corrupt, rather it is what grows deep within the soul that has neither direction nor inner vision.The Andean people recognized Wiracocha's intentions for this BIRD.
It was theKONDOR that brought and guided him among the first civilizations.
The KONDOR's wingspan is so impressive that seeing a BIRD approximately four meters long with its wings extended overwhelm us.
The KONDOR needs warm air currents originating in the valleys and flowing upwards towards the heights of snow-capped mountain peaks. But a very curious fact indicates that the KONDOR generally
is not capable of flying as well as other species of birds. It moves and glides well only with the help of
warm winds, the kind found in mild climate areas. For this reason the KONDOR always looks for
valleys, warm climates, and other places where warm winds are found. The KONDOR does not have
the same skill possessed by other birds of its kind to ascend and descend in the air. It relies on the wind
for balance and maintaining its equilibrium when leaving the ground. Before beginning to fly, the KONDOR prefers to glide with elegance and majesty.
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