Pilgrimage: Pachacamac Site Museum
Introduction
The following report provides information about the archaeological site and Pachacamac Site Museum. Founded in 1965 being its first director Dr Arturo Jimenez Borja. The objective of the museum is to serve as a prelude to visit the sanctuary. Where it collects data on the importance of the sanctuary and exhibits the main archaeological findings from the site.
The Pachacamac idol and the ornate fabric door with spondylus valves stand out. The museum is organized in a thematic way showing the entire cultural sequence of the Sanctuary of Pachacamac, from about 200 d.C. Until the establishment of the Incas in 1470. In 1533 the Spaniards arrive in Pachacamac and the process of abandonment began.
Developing
In 1965, during the government of Fernando Belaunde Terry the Pachacamac Site Museum was founded, thanks to the constant work of Dr Arturo Jiménez. With the aim of providing information on archaeological findings from the Pachacamac Sanctuary. As well as highlighting the importance of this. (History of the Museum | Archaeological Sanctuary of Pachacamac, S.F.).
Dr Arturo Jiménez Borja since 1960 kept numerous archaeological sites, including the Sanctuary of Pachacamac. For which he faces both person from low resources eager to invade the site, as well as urbanizing companies. Due to the low interest on the government to protect archaeological sites, he obtained financing for the sanctuary, by friends, private companies, etc.
The Pachacamac Site Museum was created by Supreme Resolution No. 192 of July 7, 1962, and Dr Arturo Jiménez Borja would be appointed Ad-Honorem director. Since the beginning of that same year, Dr Jiménez had started with the construction of a small place for the exhibition of objects and to provide information to visitors about the tour of the ruins.
To build a larger place, he raised funds with the contribution of friends through various activities. This is demonstrated by a letter addressed to the mayor of Lima, whereby the DR. Jiménez Borja asks for the free use of the Municipal Theater for the presentation of the dramatic poem "Pachacamac" to be staged by the Dramatic Art Academy of the Ministry of Public Education.[..] In that request Jiménez Borja highlights the importance of Pachacamac as the most important archaeological team on the coast.
Thanks to the efforts made by Dr Jiménez, the State granted the financing that was needed for the construction of the museum. Even so, the budget that the museum was always. On February 16, 2016, the new museum was inaugurated.
The building is composed of two volumetrically differentiated areas: the first by a building destined for expository use consisting of a single level, adjacent to the parking area. This is divided into two differentiated areas, a first and larger size for permanent exposure and a smaller size for temporary exhibitions or diverse uses. The second area is made up of the services building, both internal and external to the visiting public. This second building is located at a lower level according to the land. (The new Pachacamac Site Museum | Pachacamac Archaeological Sanctuary.
Development of cultures settled in Pachacamac.
Throughout their history, different pilgrims have visited Pachacamac’s temples. These traveled for religious reasons, hoping to find the oracle "Pachacamac" whose peak was in the Wari stage. However, thanks to the diverse geography of the area and the different sources of water it possesses, diverse cultures decided to settle in its surroundings.
Valley occupations can be distinguished by periods or stages. The first of these is the archaic period dating in 5000 to.C. about. The next stage was during the formative period that lasted up to 200 to.C. Here are large buildings richly decorated with friezes that constituted the religious centers of the time. In the late formative the occupations focus on the hills and the upper part of the hills.
The cemeteries of this era include fine sculptural ceramics, distinguishing various local styles that will be seen later in this report, this stage concludes in 200 D.C. about. In the period of regional developments 200 – 600 d.C. The Lima culture that has its temples concentrated in the Pachacamac Sanctuary unfolds. As mentioned above, the sanctuary itself was built as a religious center and around 400 d.C. This culture built the "old temple" as its main building. .
However, this ends with the arrival of the Wari Empire, its arrival at the coast and the imminent occupation of the temple between 600 to 1100 d.C. This civilization lets feel its influence on the central Andes;However, in the valley there are few evidence of its presence, because its main center was in Pachacamac. In 1100 D.C. Culture Ychma sits in Pachacamac definitely. They inhabited different areas of the Valley with housing settlements, pyramids and different architectures inspired by the different regions they inhabited, such as the Sierra.
For the year 1470 the Incas had the total domain of the central coast, with its center located in Pachacamac. In the valley, the impact seems not to have been so strong, since large palaces or temples were not built. In addition, they also occupied the sites Ychma, built more religious and administrative buildings, to which they added the new construction of the Temple of the Sun and the Acllawasi, the latter being inhabited by women dedicated to the cult.
This was how they dominated the oracle, adapting it to their own religious and political ends. The Incas made Pachacámac the most imposing sanctuary on the coast, building murals to protect the city, its main temples and creating a direct connection with the Tawantinsuyu through the large Inca road.
However, after the Atahualpa capture in 1533, a group of Spaniards arrived to collect the promised gold and silver for the rescue of the Inca. They went to the temple of the god Pachacamac, seeking the camera where the representation of the most powerful God on the coast was. This camera was destroyed with the witness population. This fact marked the dethroning of his God and the Andean deities. Here begins the power of the Christian god. After the fall of Tawantinsuyu, the sanctuary was abandoned.
Variety of techniques in the pieces. Most important pieces
Within the collection of pieces, we find the cultures Lima, Wari, Ychma, etc. The textiles date from the period and late states and manors, we find female dresses, male t -shirts, bags and ornaments. Wood used to elaborate objects for ceremonial and domestic purposes, one of the most characteristic is a piece of ancient Peru with the Pachacamac idol. Metal corresponds to the Ychsma style. As for ceramics, we find the cultures settled, in which we have the Lima culture.
Wari period, which covers 600 – 1100 D.C. Found in the old temple, plants, animals, fish, animals and plants make up the vessels. As for Ychma we find tricolor vessels that show the first stages of this culture and faces designs that correspond to the final part. And Villa El Salvador style found in the surrounding cemetery.
It is important to highlight that it was different cultures that were part of the Pachacamac archaeological complex, being pre -Hispanic occupations. In the different elements that are part of the museum collection we find ceramics, wood objects, metal objects, shell valves, spondylus, etc.
As for Wari ceramics, it is characterized by being polychrome and sculptural. Also the design of characters are the fish and others, possible references to deities belonging to their culture. "A particular type of design is the one characterized by a character with a bird’s head, headdress of feathers and wings in attitude of flying, known as the" Pachacamac tap "which is represented in bottles and vessels."
Technically, the cooking process can be mentioned, on the other hand the carving as a technique that also characterized them.Among the XI to XIV centuries, we find the domain andchma in the valleys of the Rímac and Lurín rivers. Ceramics Ychma has been studied by several authors. Jane Felthan and Peter Eeckhout focus their analysis on their stratigraphic data and the vessels that are part of the funeral contexts from the archaeological sanctuary of Pachacamac.
Régulo Franco is based on his materials from the pyramid with ramp No. 2 and Krzysztof Makowski in his recent excavations in Pachacamac and those made in Pueblo Viejo. Important contributions to the sequence have been provided by Francisco Vallejoquie.
Also its ceramics can be divided into 3 phases, being the first phase the Early Ychma, where the characteristic of tricolor ceramics, decoration and the subsection method are present, we are at the end of the average horizon and the beginning of the intermediate periodlate. On the other hand we have YCHMA Middle, which characterizes its ceramics with vertical designs and finally the late Ychma that corresponds to the Late Horizon Period Contemporary to the Inca occupation.As for technical management we can rescue polished surfaces.
Of Lima Culture that occupied the west of the sanctuary, we find architecture as an important element since the adobe handmade adobe, known as the "adobitos" stands out. In its ceramics it can be mentioned that designs of stylized snakes stand out, being innovative in the Nievería style.The technique would have consisted through a modeling and drying process, also the use of natural pigments.
The Villa El Salvador style, vessels of this style found in the surrounding cemeteries.White -style ceramics have been found, possibly referential to this style.
conclusion
Sanctuary, is an archaeological complex that covers an area of 465 ha. Pachacamac was attributed the power to see the future predict the future, also control the movements of the Earth. On the complex, we have the Central Chamber, which is an Inca space delimited and open. It consists of a prelude, a square and two passages: this and west. It was a pilgrimage place. Remains of mural paint.
In the excavations carried out inside the square and prelude, religious materials such as Mullu, Ishpingo seeds and mummified guinea pigs have been found. Pilgrim’s travel space.On the Sanctuary the Central Chamber allowed the control of access to the sanctuary, the square, prelude, were ritual spaces.La Tablada de Lurín, refers to archaeological complexes that are linked to the sanctuary because they share space in which the evidence of the cultures mentioned above has been found.
In what corresponds to the textiles, we can face akgunas characteristics, in the case of culture andchma, mostly cotton, being brown and blue nuances some of these characteristics.In the case of the Lima culture, fabrics are predominate as flat fabrics, on the other hand the Wari culture characterized its textiles by cotton and camelid wool, also by color vibration and iconography as felines and mythical beings.
The panel, a ceramic style possibly already settled since the beginning of the sanctuary, which highlights bottles in the form of birds and felines.Idolo Pachacamac, an oracle that was a mediator of communication with the world above.The different cultures went to the sanctuary to communicate with the deities through this character.
After this stage, an Inca domain arrives with it that will have influence in the temple, in broad strokes, the Inca ceramics includes vessels from regional Inca styles, such as aribalos, dishes and cups.Also among the Inca tissues found dating from the period late and Inca, characterized by the geometric designs known as "toucapus", made of cotton and camelid fiber.
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