#andean cosmology

[marte-awqakuq]

“Montaña donde pasa el tiempo” (Moutain where the time passes) is inspired by the very known Vinikunka, the “rainbow moutain”, in Peru. It doesn’t represent any specific character from the andean folklore, the intention was to make it to look like a dream from forgotten times, in which things we don’t entirely understand happens.

Watercolor on paper. 23 cm x 16 cm. 2022. 

On Instagram.

[shamanflavio]

"Stellar Ancestry: Unveiling the Ancient Andeans' Cosmic Connection"

Andeans and the cosmos is deeply rooted in their cosmology and worldview, reflecting a holistic integration of their spiritual beliefs, agricultural practices, and societal organization.

The profound connection between the ancient Andeans and the cosmos is deeply rooted in their cosmology and worldview, reflecting a holistic integration of their spiritual beliefs, agricultural practices, and societal organization. The Andean cosmology, characterized by its complexity and depth, emphasizes a symbiotic relationship between humans, nature, and celestial bodies, underscoring the…

[izar-tarazed]

"Stargazer. Have you a favorite constellation?"

‟A favorite? Oh. That would be a tough choice…”

Izar’s gaze flickers from her unfinished map out of the window; stars of ink, stars of silver, by no means all of them sorted in constellations.

‟Let me think. Some of them hold a special place in my heart because of the stories told about them.”

She steps closer to the window, pointing up. ‟There’s The Two Dragons, both easy to spot even without a telescope. The first one is that group of seven stars just above the mountaintop over there—that line of three is its neck with the head—, and the other one, smaller, is that cluster of five very bright stars closer to the horizon… There. I couldn’t find many depictions of them in the Carian records, but those that exist all show the first dragon as resting, and the other one with open wings, flying towards the horizon.”

She smiles as she leans against the window frame, her gaze never leaving the constellations.

‟Back when the stars moved, both dragons would slowly wander across the night sky, and the smaller one would eventually disappear from view. And it’s said that the first one then cried bitter tears—a shower of silver stars. Or maybe just snow. The records aren’t very clear on this. But I’ve read that in some Churches of Dragon Communion, you might still find a little niche in the northern wall—the one closest to the crying dragon—where people would place tiny dragon figurines as a means of comfort for it. They would often be made of wax and paper, sometimes carved in wood. Burnt as offerings, sending up little dragons to the lonely one in the sky to keep it company.

And eventually… since the stars followed fixed patterns, the small dragon would return to the night sky, and the other one would stop crying. I do believe that maybe that was when spring started. Now that the stars aren’t moving, the small dragon never leaves, so the other one never has to cry. But it would be nicer if they moved, wouldn’t it? The Two Dragons carry a lot of meanings in astrology. Love and grief and hope and fidelity. It all depends on which part of their story you focus on.”

She falls silent for a moment, then points again.

‟Maybe, though, my favorite one is one that the nomadic merchants showed me, because it’s all about hope and… protection? You have to squint a little for this one. Up there, a little above the resting dragon’s head? There’s a spot without stars. But darkness is never just darkness. When the merchants look up to the night sky, they see shapes both in silver and the darkest blue. So that spot of darkness over there, just underneath those two smaller stars?

It’s an outstretched hand, and the stars are a candle sitting in its open palm. That brighter star a little to their right? That’s the candle flame. The merchants believed that this is the hand of a forgotten lord watching over them, and if you ever got lost, you could call out and be guided through the darkness… safely along your path. Unlike the small dragon, the Hand would never disappear from view. You’d always be able to see the candle with its flame. You’d never lose your way in the darkness.

The merchants had a lot of tales and knowledge about the night sky. Most of it is lost. I’m glad this one isn’t.”

[wodeworm]

The Amaru or Katari (Aymara) a majestic twin headed serpent like creature depicted across Andean Civilizations, Originally said to have been capable of transcending spiritual and otherworldly boundaries for the world was Separated into the realm of the gods and birds, Hanan Pacha or the world above; the world where mankind resides the Kay Pacha or world of the present; and finally the underground realm of the dead or the Ukhu Pacha, the world below. where its said the Amaru would move the world by its shear size and force of will, creating many of the mountainous outcroppings seen in the region, or creating devastating earthquakes. This would gain the great beasts the ire of the of gods and leading to cataclysmic and deadly conflict's the great serpents deaths would create vast mountain ranges.

The revered creatures lore and depictions would be altered to suit changing society's and foreign colonial influence trying and suppress Indigenous beliefs and values, some Incan rulers even tried to harness this power by adopting name for themselves to try and cement their political gain . Eventually this lead to depictions that suited a more chimeric monstrous for, reflecting its old world counter parts, adopting traits from many other creature, to now be defeated by mere humans.

some cultures preserved and even re incorporated these new aspects with the old, creating hybrid depictions and gaining very broad symbolism such as the economy of water, and tending to the land, and even more cosmological aspects of space or wisdom, or simple fundamentals of the creativity of the peoples, sometimes these new Amaru could be seen clashing with each other. representing the more destructive side of nature, devastating the peoples and the lands, too only be stopped by the storms themselves or through the intervention of their old rivals, now taking a new cast of god's. once again through death creating the Mantaro valley returning to their earthly roots.

[zuvluguu]

Can we acknowledge the importance of darkness in our journey towards consciousness and spiritual awakening? And stop seeing darkness as a problem but more as an opportunity? To finally understand that without that darkness, none of this world we see would exist?

I am always fascinated and troubled by the stereotype of darkness as inherently sinister in modern cultures. Cultures globally have long venerated the light as an ideal of goodness and purity (think of the white virgin) while unfairly banishing darkness to the realm of malevolence and fear. Yet, from a shamanic and ancient perspective, to truly understand the nature of existence, we must dive into inquiries both into light and darkness, seen and unseen, conscious and unconscious, uncovering the intrinsic beauty and wisdom contained therein.

It is fair to assume that our ancestors, observing the ceaseless interchange of day and night, sought comfort in the sun's embrace and mistrusted that which they couldn't see at night and where prey animals and dangers were more present. Fear was an intuitive response to perceived threats that loomed unseen. But the realm of darkness offers far more than the fear of the unknown. Once we move past inherited fears and societal constructs, we can begin to perceive this realm's profound wisdom.

It is clear that we are fascinated by the fire that we domesticated, yet experience an even more profound awe for the dark, starry night skies. At least for me, I feel way more connected and close to the Great Mystery in the dark forest at night, even if my fear arises strongly, than when I am watching a beautiful summer day sky.

Also, is it not evident that we are designed to sleep, going into "nothingness" daily, to heal, restore, rest, and rebirth? Biology needs that darkness and invisible realms to keep us alive. Trees need the hidden life in the dark soil to thrive. Babies need nine precious months in the dark womb to be created. The universe from which we are born contains 85% of dark matter, meaning only 15% of all matter is "normal matter." Indeed, we are designed similarly, with the subconscious processing 27,500 times more data than the Conscious Mind. To say it another way, the brain takes in 11 million bits of data per second, but the conscious mind can only process around 400 of those bits.

So yes, darkness is shrouded in mystery - where unseen, unprocessed emotions and forgotten memories reside, expressions of the human condition that remain hidden in the subconscious. Often, these are those painful traumas, frozen and well protected, becoming invisible burdens we carry and generating the defense and aggressive patterns of division, aggression, hate, anger, and wars.

For anyone who has gone through deep healing, you know it requires a courageous plunge into this darkness, for enlightenment demands that we cast light onto the unseen, the shadowy, and the overlooked. It means making the unconscious conscious and exploring the depths of our psyche to understand and process these hidden emotions and memories.

In shamanic language, we refer to this healing journey as entering the UkuPacha, a realm in Andean cosmology associated with Mother Earth, represented by the snake and the color red, which symbolizes the Earth's blood and ours. Here, we confront our unseen traumas and unprocessed emotions, momentarily living the paradox of being both the subject and object of our healing. We are both the troubled and the healer, birthing a transformative process - much like a snake, reborn and invigorated, having shed its old, restrictive skin.

Embedded within these nocturnal narratives of the universe, a seed's journey beneath the soil, a fetus developing in the nurturing darkness of the womb, is a profound lesson: darkness is integral to creation and growth. It is a metaphorical realm wherein we encounter and reconcile our buried traumas. Ancestors' wisdom echoes - our healing and transformation begin in the embrace of darkness, opening the path to awakening.

Whenever I contemplated my relationship with darkness and the unseen, challenged inherited stereotypes, and disrupted learned fears, I started to recognize its pivotal role in creation, new beginnings, and, most critically, healing.

Darkness will always reveal profound truths if we dare to journey into its depths, not just on an individual level but also as a collective.

When we see troubled individuals, systems, or collective behaviors, when we hit internal pain, there is always an important question to ask:

What unseen legacies, hidden within our own individual and collective subconscious, await our courageous dive into the darkness?

How might our life and societies transform if we embarked on the path of making the unconscious conscious, of trying to explore where those root of darkness started?

The ancient, the mystics, the sage, the shamans always quested in that direction. I feel it is time we remember where to find the answers and new ways we need more than ever to awaken from this broken dream.

[galeriacontici]

Symbolism and Use of Red Pigments in Pre-Columbian Art

The use of red pigments and oxides in pre-Columbian art extends to various artifacts made of ceramics, textiles, stone, and wood, with each culture employing these materials in unique and meaningful ways. The Olmecs, Maya, Aztecs, Inca, Chancay, Wari, and Moche all utilized red pigments, reflecting a blend of symbolic, aesthetic, and practical considerations.

The Olmecs

The Olmec civilization, one of the earliest Mesoamerican cultures, used red pigments, particularly hematite (iron oxide), to color their monumental stone sculptures and ceramics. The red color, often associated with life, vitality, and the sacred, enhanced the spiritual significance of their art. Hematite was ground into a fine powder and mixed with other materials to create a durable paint that adorned their colossal heads and intricate carvings.

The Maya

The Maya civilization, renowned for its complex iconography and vibrant murals, extensively employed red pigments derived from hematite and cinnabar (mercury sulfide). The Maya used these pigments on stone stelae, murals, ceramics, and codices. Red symbolized blood and the life force, often used to depict deities, rituals, and elite figures. The pigments’ durability ensured their elaborate designs remained striking over centuries, preserving the rich detail of their carvings and inscriptions.

The Aztecs

The Aztecs, who followed the Maya in Mesoamerica, also used red pigments in codices, stone sculptures, and ceremonial wooden objects. The Aztecs symbolized life and death with red, closely linking it to the blood sacrifices central to their religious practices. Red was applied to carved stone reliefs and wooden ceremonial masks, emphasizing essential figures and events in Aztec history and mythology. These pigments highlighted intricate details, adding depth and dimension to their art.

The Moche

The Moche culture of northern Peru, renowned for its realistic and expressive ceramics, utilized red pigments to accentuate details in their pottery, stone carvings, and wooden objects. Red in Moche art often highlighted human figures, animals, and scenes from mythology, providing a vivid contrast that brought their depictions to life. Iron oxide pigments ensured the durability and vibrancy of their ceramic and carved artwork.

The Wari

The Wari culture, or Huari, preceded the Inca in the Andean highlands and used red pigments extensively. Wari textiles, known for their complex iconography, featured red dyes derived from cochineal insects and other natural sources. Stone sculptures and wooden artifacts, including ceremonial bowls and masks, were painted red to highlight religious and social symbols, underscoring the cultural significance of the artifacts.

The Chancay

The Chancay culture of the central coast of Peru, known for its distinctive ceramics and textiles, employed red pigments to decorate their pottery and woven goods. They also used red pigments on wooden artifacts, such as ceremonial staffs and figurines. Red in Chancay art created geometric patterns and symbolic motifs, reflecting their cosmological beliefs and societal structure.

The Inca

In South America, the Inca civilization utilized red pigments in their textiles, ceramics, stonework, and wooden artifacts. The Inca sourced red pigments from iron oxides and plant-based dyes to create intricate patterns and designs that conveyed social status, cosmology, and religious beliefs. Stone structures, such as the famous Inca walls, occasionally featured red-painted carvings. Wooden artifacts, including ceremonial objects and tools, were adorned with red pigments to signify their importance and connection to the divine.

Conclusion

In conclusion, red pigments in pre-Columbian art were widespread across various cultures and materials, each with unique applications and symbolic meanings. Red pigments were integral to expressing cultural values, religious beliefs, and artistic traditions from the Olmecs and Maya in Mesoamerica to the Inca, Chancay, Wari, and Moche in the Andes. The durability and vividness of red pigments made them a favored choice for creating art that has withstood the test of time, allowing us to appreciate the rich heritage of these ancient civilizations. Their application on ceramics, textiles, stone, and wood artifacts further highlights the versatility and importance of red pigments in pre-Columbian art.

Olmec Green Stone Masks: Symbolism and Ritual Significance

Research Academic Papers and News Articles

[foodandfolklore]

Urcuchillay -The Incan Rainbow Llama

You ever seen the Disney movie 'The Emperor's New Groove'? Turns out, it's actually a relatively faithful representation of the Ancient Incan Empire, give or take some Cartoon Hijinks. But you ever thought it was hilariously random the title character was turned into a Llama? Well it turns out, llamas were a very important part of the day to day Incas.

Llamas were where most Inca people got their materials for clothing, as llama (and alpaca) wool is warm and durable. They also ate llamas when needed, and llamas were able to traverse the high cliffs while carrying some cargo. Remember, there were no horses. And though the llama was not strong enough to carry a person or pull a cart, their help was still greatly appreciated.

The god Urcuchillay was a multicolored llama who could control the weather. It was mainly worshiped by farmers since weather would be important to growing crops. If they had log periods of time of bad weather, the Incas would sacrifice llamas to Urcuchillay with hopes to appease them. So knowing this, the fact that Urcuchillay was like a commoner God, makes it all the more funny the self centered emperor was turned into a Llama.

The Story of Urcuchillay

According to Inca mythology, Urcuchillay was considered a benevolent god associated with fertility, agriculture, and the cycles of nature. The Incas believed that Urcuchillay played a role in bringing rain, which was essential for the prosperity of their crops in the Andean highlands.

The story of Urcuchillay is not as extensively documented as some other Inca myths, but it is often recounted in the context of the larger Inca pantheon and their cosmological beliefs. Here is a fictionalized retelling based on the available information:

Long ago, in the high reaches of the Andes, where the air is thin and the mountains touch the sky, there lived a powerful and benevolent god named Urcuchillay. His domain was the realm of rainbows, and his presence brought color and life to the world below.

Urcuchillay was often depicted as a magnificent, llama creature with a body that shimmered in all the hues of the rainbow. His movements were said to be graceful, like the dance of sunlight on raindrops, as he glided through the celestial skies.

The people of the Inca Empire revered Urcuchillay as a deity of fertility and agriculture. They believed that his influence brought forth the rains that nurtured the fertile soil, ensuring bountiful harvests and the prosperity of their communities.

Legend has it that Urcuchillay would emerge after a refreshing rain, his colors vivid against the backdrop of the clear, post-storm sky. Farmers would offer thanks to him, believing that his presence signaled a promise of abundance for the season ahead.

In the heart of the Andean villages, priests conducted rituals to honor Urcuchillay. These ceremonies were vibrant with colors, mirroring the hues of the rainbow god. The Incas believed that by appeasing Urcuchillay, they ensured the continued harmony between the natural world and their agricultural endeavors.

As the seasons turned and the agricultural cycles progressed, Urcuchillay's influence was evident in the flourishing crops that covered the terraced landscapes. The people of the Inca Empire saw his benevolence in the rainbow that arched across the sky, a celestial bridge connecting the heavens to the earth.

While the specific details of Urcuchillay's stories may vary, his role as a symbol of fertility, agriculture, and the life-sustaining rains remains a central aspect of Inca mythology. The reverence for Urcuchillay reflected the deep connection between the Inca people and the natural forces that shaped their lives in the highlands of the Andes.

[noralaxo]

The Symbolism Behind Uncuymaza: More Than Just Art

Uncuymaza textiles are more than just beautiful designs—they are symbols of Andean cosmology, telling stories of mountains, the sun, and animals. Explore how these stunning pieces preserve centuries-old traditions and beliefs.

[69explorerperu]

Glacial Lakes and Majestic Peaks: The Beauty of Ausangate Trekking

If you’re yearning for a trekking adventure that combines breathtaking landscapes, cultural immersion, and a touch of Andean mysticism, the Ausangate Trek in Peru is your dream destination. Managed by 69Explorer, this trek offers a journey through one of the most pristine regions of the Andes, unveiling nature’s raw beauty at every step.

The Ausangate Trek isn’t just another hike—it’s a passage into a world of towering snow-capped peaks, shimmering glacial lakes, and traditional Quechua communities. The trek circles Mount Ausangate, a sacred mountain in Andean cosmology, standing tall at over 6,300 meters. As you traverse this majestic terrain, you'll encounter dramatic landscapes, including rugged cliffs, rolling valleys, and vibrant, rainbow-colored hills.

A Journey Through Nature’s Masterpieces

One of the trek's most captivating features is the stunning array of glacial lakes. From the turquoise waters of Laguna Ausangate to the emerald hues of Laguna Sibinacocha, these natural wonders reflect the surrounding peaks, creating picture-perfect moments at every turn. The vibrant flora and fauna add to the experience, with sightings of llamas, alpacas, and even the elusive condor.

The route also offers panoramic views of the Andes’ highest summits, including Mount Ausangate. The stark contrast between the icy peaks and the vibrant landscape is nothing short of mesmerizing. With 69Explorer, you’ll have the guidance of experienced local experts who ensure your safety while sharing fascinating insights into the region’s history and culture.

Cultural Immersion at Its Best

The Ausangate Trek is more than just a physical challenge; it’s an opportunity to connect with Peru’s rich cultural heritage. Along the way, you’ll encounter remote villages where locals continue to live in harmony with nature. These communities preserve age-old traditions, offering a glimpse into the Andean way of life.

With 69Explorer, you’ll have the chance to engage with these communities responsibly, learning about their customs, weaving techniques, and spiritual practices. It’s a humbling experience that adds a profound layer of meaning to your adventure.

Why Choose 69Explorer?

Choosing the right trekking company can make all the difference in your adventure, and 69Explorer stands out for its commitment to quality, safety, and sustainability. With a deep respect for the environment and local communities, they craft immersive experiences that leave a positive impact. Their expert guides, well-planned itineraries, and eco-conscious practices ensure you get the most out of your Ausangate Trek while treading lightly on the planet.

Whether you’re an avid trekker or a nature lover seeking your next great adventure, the Ausangate Trek promises an unforgettable experience. Book your journey with 69Explorer today, and prepare to be awestruck by the glacial lakes, majestic peaks, and cultural richness of this incredible trek.

[trexperience-peru]

What is Chinchero in Cusco, Peru?

Chinchero is a historic town in the Cusco region of Peru, known as the "Land of the Rainbow."

Located at an altitude of approximately 3,762 meters above sea level in the Sacred Valley of the Incas.Renowned for its rich cultural, archaeological, and natural heritage, blending Inca and colonial architecture.

Notable sites include agricultural terraces, ancient structures, kallankas, water channels, huacas, and the Colonial Temple of Monserrat.

Served as a residential, administrative, and political center during the Inca period.

It was Tupac Inca Yupanqui's resting place, functioning as his residence, palace, and agricultural hub.

The community is dedicated to cultivating and preserving ancient traditions and customs.

Chinchero Archaeological Park is divided into residential and agricultural sectors, showcasing sophisticated Inca urban and religious planning.

Agricultural terraces for growing crops like potatoes and corn.

The Colonial Temple of Monserrat, featuring Cusco-style paintings and gold leaf decorations.

The Chinchero Market is a cultural hub for traditional textiles.

The Inca Trail connects Chinchero to Urquillos and the Pocpoc waterfalls.

Sacred places Pumaqaqa and Teteqaqa are important in Andean cosmology.

Discover the best time to visit Chinchero.

[sbowen]

Delcy Morelos

is one of the creatives Artsy staff is captivated by. The Colombian artist’s all-consuming installations transform mud into stunning Minimalist sculptures that fill cavernous rooms, drawing on Andean and Amazonian cosmologies. #delcymorelos

[marte-awqakuq]

This piece is called “Apu Wayra”, the name of the wind god on andean cosmology. My intention was to show how I relate with this entity throughout my day, hearing his voice in the whispers of the leaves, the grass and in our wind chimes singing songs with the bananaquits. It’s a devotion work and an offering to the deity that control the ways the rain moves across the sky.

2022.

On Instagram.

[shamanflavio]

Circular Time in the Andean Cosmovision

This is a cosmogony that understands existence in layers. A human for instance is considered a point in time, space and consciousness. Reality as experienced it’s mostly based on the level of consciousness that the observer possesses. “Space”, through a process of a gravitational dynamic will be correspondent to the ratio of consciousness achieved. “Time” is experienced cyclically in an ever…

[fatehbaz]

Indigenous knowledge; Chihuahuan and Sonoran desert landscapes; mining and nuclear colonialism in New Mexico; Quechua/Andean languages; epistemicide and imperialist erasure of Indigenous worlds/cosmologies through racialization of language: “translation” as extractivism. New autumn 2022 releases from University of Arizona Press.

Bountiful Deserts: Sustaining Indigenous Worlds in Northern New Spain foregrounds the knowledge of Indigenous peoples in the arid lands of northwestern Mexico, for whom the desert was anything but barren or empty. Instead, they nurtured and harvested the desert as a bountiful and sacred space. [...] [A]uthor Cynthia Radding develops the relationships between people and plants and the ways that Indigenous people sustained their worlds before European contact through the changes set in motion by Spanish encounters, highlighting the long process of colonial conflicts and adaptations over more than two centuries. This work reveals the spiritual power of deserts by weaving together the cultural practices of historical peoples and contemporary living communities, centered especially on the Yaqui/Yoeme and Mayo/Yoreme.

Contrary to previous works that suppress Nuevomexicana/o presences throughout U.S. nuclear history, Nuclear Nuevo Mexico: Colonialism and the Effects of the Nuclear Industrial Complex on Nuevomexicanos focuses on recovering the voices and stories that have been lost or ignored in the telling of this history. By recuperating these narratives, Myrriah Gómez tells a new story of New Mexico, one in which the nuclear history is not separate from the collective colonial history of Nuevo México but instead demonstrates how earlier eras of settler colonialism laid the foundation for nuclear colonialism in New Mexico.

Reading the Illegible: Indigenous Writing and the Limits of Colonial Hegemony in the Andes examines the history of alphabetic writing in early colonial Peru, deconstructing the conventional notion of literacy as a weapon of the colonizer. This book develops the concept of legibility, which allows for an in-depth analysis of coexisting Andean and non-Native media. The book discusses the stories surrounding the creation of the Huarochirí Manuscript (c. 1598–1608), the only surviving book-length text written by Indigenous people in Quechua in the early colonial period. The manuscript has been deemed “untranslatable in all the usual senses,” but scholar Laura Leon Llerena argues that it offers an important window into the meaning of legibility.

Visualizing Genocide: Indigenous Interventions in Art, Archives, and Museums, edited by Yve Chavez and Nancy Marie Mithlo, examines how creative arts and memory institutions selectively commemorate or often outright ignore stark histories of colonialism. The essays confront outdated narratives and institutional methods by investigating contemporary artistic and scholarly interventions documenting settler colonialisms including land theft, incarceration, intergenerational trauma, and genocide. Interdisciplinary approaches, including oral histories, exhibition practices, artistic critiques, archival investigations, and public arts, are among the many decolonizing methods incorporated in contemporary curatorial practices.

In Translation and Epistemicide: Racialization of Languages in the Americas author Joshua Martin Price tracks how through the centuries translation practices have enabled colonialism and resulted in epistemicide, or the destruction of Indigenous and subaltern knowledge. The book gives an account of translation-as-epistemicide in the Americas, drawing on a range of examples from the early colonial period to the War on Terror. The first chapters demonstrate four distinct operations of epistemicide: the commensuration of worlds, the epistemic marginalization of subaltern translators and the knowledge they produce, the criminalization of translators and interpreters, and translation as piracy or extractivism. The second part of the book outlines decolonial translation strategies, including an epistemic posture the author calls “bewilderment.”

-------

All text by: The University of Arizona Press. “Explore New Titles from the University of Arizona Press Fall 2022 Catalog.” Press release published online. 26 May 2022. [Italicized first paragraph/heading added by me.]

[aic-americas]

Gold Pectoral with Zoomorphic Face, Chavín, -600, Art Institute of Chicago: Arts of the Americas

The archaeological site of Chavín de Huántar, high in a valley in the northern Andes of Peru, was a seat of economic, political, and religious power, giving rise to art and symbolic imagery that deeply affected the Andean world between 900 and 200 B.c.1 The rulers of Chavín brought about a cultural synthesis, adapting architectural and sculptural forms that had been associated with ruler-ship by the urban coastal societies of Peru for at least a thousand years. Artists created a new imagery, deriving forms from both the human figure and dominant predators—caymans, harpy eagles, jaguars, and pumas, some of them native to the Amazon forests east of the Andes mountains. These animal and anthropomorphic icons were often combined in a fearsome visual vocabulary. Expressed in imposing architectural reliefs, monumental three-dimensional sculptures, textile designs, and splendid ritual attire and portable objects, this symbolic imagery was emblematic of Chavín priestly rulers and the warrior aristocracy, affirming their spiritual connections with the domain of animal powers and the deified forces and phenomena of nature. Chavín art was a distinctly Andean expression of the cosmological and religious worldview that once held sway throughout the Americas.This pectoral is a rare example of the attire worn by a Chavín leader on ceremonial occasions. Metallurgy was well developed in the Andes; to make this object, an artisan would first have cut a hammered sheet of gold and copper alloy into a rectangular shape, with four "arms" extending at the corners in a cruciform pattern; then he used a sharp instrument to engrave the design of the mask and the ornamental curls and linear appendages; the sculptural low relief was achieved by hammering the metal over a carved wooden mold. The menacing face with its zigzag eyebrows, bulbous nose, and fanged, grinning mouth is an iconic type found on gold work, stone monuments, textiles, and ceramic vessels. Many objects of Chavín gold work are found in broken condition: the deliberate damage done to this piece was undoubtedly inflicted when it was ritually "killed" for burial and sent to accompany its wearer on his journey to the world of the ancestor spirits. Joanne M. and Clarence E. Spanjer and Curator’s Discretionary funds Size: 27.9 × 25.4 cm (11 × 10 in.) Medium: Gold

https://www.artic.edu/artworks/184361/

[skati-fjolnirsbur]

I do distance readings and energy healings! My prices are listed below, but if you’re interested please pm me and we can work out payment that works for you!

I do all my work via either video call or audio call. In some circumstances I can do the work without a call - pm me for questions.

Here are my usual rates:

Readings and consults:

30 min — $75

1 hr — $130

Past life regressions:

1-2 hr — $145

Soul Retrievals:

2-3 hr — $290

Chakra Realignment:

~1 hr — $145

Harmony Restorations:

~1 hr — $110

Seque Line Activations:

~1 hr — $175-$215

Attachment Removal:

$215/hr

Light Body Cleansing:

$145

Usui Reiki:

15 min — $45

30 min — $80

1 hr — $160

Usui Attunements and Classes:

Level 1 - $100

Level 2 - $100

Level 3 - $100

Master/Teacher - $200

Crystal Healing:

~1 hr — $145

Angelic Healing:

~1 hr — $145

Angelic Star Gateway:

~ 1.5 hr — $185

Below is my resume for anyone curious who may wish to work with me:

Q’ero Shamanic practitioner since 2008 with the following initiations into Andean Cosmology: Pampamesayoq (Steward of the Earth), Altomesayoq (Practitioner of the People’s Medicine), Munay Ki Rites, Hatun Karpay, and Munay Karpay.

Usui Ryoho Reiki, Terra Mai Reiki, Karuna Ki, and Seichem Reiki Master/Teacher.

Crystal Masters crystal healing program, Angelofos energy healing attunements, pillars of priestessing initiation.

The Path of Celtic Shamanism initiations.

I am certified and accredited through the International Association of Therapists as an Advanced Angelic Healing Practitioner.

Deeply claircognizant, clairvoyant, clairaudient, medium, and channel with extensive experience doing professional intuitive readings since 2009.

Can facilitate the following: divination/intuitive readings, harmony restoration, chakra realignment, past life regressions, soul retrievals, intrusion/entity/attachment removal and illumination, curse reversal, extraction, ancestral healing, distance healing, and specialized ritual and ceremony (this means we can tailor it to your needs).

Has extended experience teaching adults in a learning and development environment. Has extensive knowledge of use and application of adult learning principles and training methods.

So I can explain shit to you in several different ways and really enjoy teaching, so ask me the same question three times and it won’t bother me. ☺️