Anthropos: Anthropos, 86.1991,1/6

Jahrbuch für Volkskunde, 28.2005 N.F.

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Strukturtyp:: Zeitschrift

Werks-URN (URL):: https://digi.evifa.de/viewer/resolver?urn=urn:nbn:de:kobv:11-714820

URN:: urn:nbn:de:kobv:11-714820

Persistenter Identifier:: BV043334262

Titel:: Anthropos

Untertitel:: internationale Zeitschrift für Völker- u. Sprachenkunde

Erscheinungsort:: Fribourg

Verlag:: Ed. St. Paul

Erscheinungsjahr:: 1906

Sammlung:: Zeitschriften und Zeitungen > Zeitschriften zur Ethnologie

Wissensgebiet:: Sozial- und Kulturanthropologie > Allgemeines

Zeitschriftenband

Strukturtyp:: Zeitschriftenband

Werks-URN (URL):: https://digi.evifa.de/viewer/resolver?urn=urn:nbn:de:kobv:11-711879

URN:: urn:nbn:de:kobv:11-711879

Persistenter Identifier:: 1513674362149

Titel:: Anthropos, 86.1991,1/6

Erscheinungsjahr:: 1991

Signatur:: LA 1118

Sammlung:: Zeitschriften und Zeitungen > Zeitschriften zur Ethnologie

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Strukturtyp:: Nachsatzblatt

Sammlung:: Zeitschriften und Zeitungen > Zeitschriften zur Ethnologie

Inca Copacabana 193 Vh r °pos 101.2006 Vl sitor passes a single, slightly rounded triangular Se at below a pictograph portraying red geometric Patterns (Fig. 8). I have designated this portion °f the site the Lower Sector. Triangular carvings are unknown in the Cusco region but abound at ar uaipata in the southeast of Bolivia. Thus tri- ari §ular seats may be a stylistic feature that de- ^ e loped in Collasuyu, in sites to the southeast of u sco which are now in Bolivia. Porfirio Huan- Ca Sanchez, the vigilante at Copacati, offered an ^resting interpretation of this carving. He sug- §^sted that an idol was placed upon it and people , °uld have knelt in four depressions in the rock e ° w the triangular carving to worship it. Porfirio j he grew up at Copacati and has learned a about Aymara history and traditions from his a udfather. While his interpretations may reflect yuiara beliefs but not necessarily historical and ^ Ideological facts as we Westerners define them, ^ ave P°^ nte( ^ out a P oss ihle location of p ^ Copacati idol (see below). The arrangement of fo emS * n t ^ ie pi ct °g ra ph consists of red squares truing the stepped design of a Southern Cross lj lc h is divided in two halves by two straight a Ufi S h ^ ^ aS ^ een ^kened to l* 16 Collasuyu flag n Pence the painting as well as the whole site of Pict Cati ^ ave he 611 nicknamed “Banderani.” The Uot °^ ra Ph is most likely not Inca because it was L s an l nc a custom to paint on rocks (see also ala nte Moscoso 1997: 371). 13 ro r ° n ^ * nca Pi ct °g ra Ph I know of is situated on a high a "'all near the entrance to Ollantaytambo. It represents & Ur e and overlooks the main road coming from Cusco. Further uphill, there are two important features and a number of walls which I tried to identify as well as they can be observed on the surface without excavations. The first feature is a rectangular stone block with three carved steps descending from both upper corners (Fig. 9). According to Porfirio, this carved rock marked one of the gates at which visitors had to confess and repent before they were allowed to enter Copacati. While this idea sounds highly speculative to the Western scholar, it is reminiscent of the three gateways visitors had to pass on the Island of the Sun before reaching the Sanctuary of the Sacred Rock. The second feature is a large crude stone which Porfirio calls an “altar.” It is overgrown by a thick bush and only partly sticks out of the ground so that no further conclusions can be drawn without excava tions. 14 A series of seat-like carvings are situated fur ther up along the foot of the steep outcrop. Porfirio pointed to a rounded depression in the wall above the upper seat and explained that during the rainy season in February and March water seeps out of this depression, trickles down the carvings, and collects in a crude canal which terminates in three deep cavities (Fig. 10). While there was no water coming out in June 2003, water stains on the rocks confirmed Porfirio’s statements. Most intriguingly, he referred to a small and shallow square carving 14 Sergio Chavez is working at Copacati and will produce a more detailed plan than mine and provide excavation data (personal com. 2003). Thus new information is forthcoming and our understanding of Copacati may continue to change.

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