Notes from a fascinating world.
The world is like a bazaar, full of interesting odds and ends, and I've been exiled into it. This is my all-over-the-map (literally and metaphorically) attempt at capturing some of the world's many wonders.
One of the most fascinating things I learned about Inca culture traveling through the former heart of their empire, Peru, has to do with their astronomy.
Every ancient civilization looked to the night sky and the glimmering fires in it for inspiration and for guidance. Indeed, a serious argument has been made that post-industrial humans, unable to discern most of the stars in the sky from most of the places where we live due to light pollution, are fundamentally losing the cosmic perspective that our ancestors had for millennia. We moderns are liable to forget our place in the universe. But that story will have to wait for a later date.
The constellations that Western peoples saw when they looked up are familiar to us as a matter of popular culture: Aquarius, Leo, Virgo, Pisces, Gemini, Scorpio, Orion, etc. Even today many of us obsessively (and entirely irrationally) check our horoscopes on the basis of that view of the stars. Other cultures — India, Babylon, Persia, China — looked up and connected different dots and named different constellations. But usually they were at least connecting the bright dots as well.
The Inca, on the other hand, looked up and focused on the dark spaces in between.
The Inca Empire, more properly called Tawantinsuyu, had today’s Cusco, Peru as its capital. Designed in the shape of a puma, it stood at the center of the ancient road system known as Qhapaq Nan that connected the whole empire from Chile to Ecuador. After the Conquistadors came, Cusco became the first center in the Americas that taught European painting techniques to native and mestizo artists. In the end it gave birth to a new school of remarkable hybrid religious art that sought to combine, or code-switch between, the Catholic teachings of the missionaries and traditional Incan beliefs.
The missionaries wanted these paintings for didactic purposes, to express Christian doctrines to a native population that mostly could not understand sermons. To make these images acceptable to the native Quechuas, the artists incorporated many ideas already familiar to them.
The figures of warrior angels, for example, became extremely popular because they recalled winged deities in traditional Incan religion. Walking around Cusco even today, you can immediately see this artistic legacy. Seemingly every other storefront has a painting of a Michael or a Gabriel or some other angel on the wall. And they are often depicted in a manner distinct to Cusco, for example as Spanish gentlemen bearing muskets, like in this depiction of Uriel, the guardian of the sun (the sun, Inti, being incidentally a chief god of the Incas).
Writer, traveler, lawyer, dilettante. Failed student of physics. Not altogether distinguished graduate of two Ivy League institutions. Immigrant twice over. "The grand tour is just the inspired man's way of getting home."