>>11541689

(Please read from the start)

“Though labor-intensive, a suka qullu produces impressive yields. […].Significantly, the experimental suka qullu fields recreated in the 1980s by University of Chicago´s Alan Kolata and Oswaldo Rivera suffered only a 10% decrease in production following a 1988 freeze that killed 70-90% of the rest of the region's production. Development by the Tiwanaku of this kind of protection against killing frosts in an agrarian civilization was invaluable to their growth.

As the population grew, occupational niches developed, and people began to specialize in certain skills. There was an increase in artisans, who worked in pottery, jewelry and textiles. Like the later Incas, the Tiwanaku had few commercial or market institutions. Instead, the culture relied on elite redistribution. In this view of Tiwanaku as a bureaucratic state, elites controlled the economic output, but were expected to provide each commoner with all the resources needed to perform his or her function. Selected occupations include agriculturists, herders, pastoralists, etc. Such separation of occupations was accompanied by hierarchichal stratification. The elites gained their status by control of the surplus of food obtained from all regions, which they then redistributed among all the people. Control of llama herds became very significant to Tiwanaku. The animals were essential for transporting staple and prestige goods.

Collapse

Suddenly around 1000 AD, Tiwanaku ceramics stopped being produced as the state's largest colony (Moquegua) and the urban core of the capital were abandoned within a few decades. The end date for the Tiwanaku state is sometimes extended to 1150 AD, but this only considers raised fields, not urban occupation or ceramic production. One proposed explanation is that a severe drought rendered the raised-field systems ineffective, food surplus dropped, and with it, elite power, leading to state collapse. However, this narrative has been challenged, in part because of more refined cultural and climate chronologies, which now suggest that the drought did not start until 1020 or 1040 AD, shortly after the state's explosive collapse.

This lends greater support to alternative theories of collapse that suggest social dynamics within the Tiwanaku state led to its demise. Some areas of the capital show signs of intentional destruction, though this could have taken place at any time. Monolithic gates, like Gateway of the Sun, were tipped over and broken. By the end of Tiwanaku V period the Putuni complex was burned and food storage jars smashed. This indicates an event of destruction, followed by abandonment of the site. Colonies in Moquegua and on Isla del Sol were also abandoned around this time.

It has been conjectured that the collapse of the Tiwanaku empire caused a southward migratory wave leading to a series of changes in Mapuche society in Chile.[20][21] This explains how the Mapuche language obtained many loanwords from Puquina language including antu (sun), calcu (warlock), cuyen (moon), chadi (salt) and ñuque (mother).[20] Tom Dillehay and co-workers suggest that the decline of Tiwanaku would have led to the spread of agricultural techniques into Mapuche lands in south-central Chile. These techniques include the raised fields of Budi Lake and the canalized fields found in Lumaco Valley. […].”

>> I’m including a couple of pictures of the Putini site, with a layout and reconstruction, just to give anons an idea.

I want to draw attention to the Tiwanaku pottery:

1 – There is confusion to the attribution in some of the pottery between the Tiwanaku and the Wari cultures. So be careful when working on them.

2 – The Staff-god is represented on the terracotta, holding a double staff and wearing the feathered headdress.

3 – Some of the Tiwanaky pottery has this creature = design of a “bird of prey” head with wings but with a feline body = the Griffin. Seen many times before in this thread, so I’m not going into it again.

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>>11558594

(Please read from the start)

“Religion

What is known of Tiwanaku religious beliefs is based on archaeological interpretation and some myths, which may have been passed down to the Incas and the Spanish. They seem to have worshipped many gods.

The Gateway of the Sun is a monolithic structure of regular, non-monumental size. Its dimensions suggest that other regularly sized buildings existed at the site. It was found at Kalasasaya, but due to the similarity of other gateways found at Pumapunku, it is thought to have been originally part of a series of doorways there. It is recognized for its singular, great frieze. This is thought to represent a main deity figure surrounded by either calendar signs or natural forces for agricultural worship. Along with Viracocha, another statue is in the Gateway of the Sun. This statue is believed to be associated with the weather:

a celestial high god that personified various elements of natural forces intimately associated the productive potential of altiplano ecology: the sun, wind, rain, hail – in brief, a personification of atmospherics that most directly affect agricultural production in either a positive or negative manner.”

>> I would say this celestial god of theirs sounds identical to Zeus, Jupiter and Baal.

“It has twelve faces covered by a solar mask, and at the base thirty running or kneeling figures.[7] Some scientists believe that this statue is a representation of the calendar with twelve months and thirty days in each month.”

>> This is a possible explanation. But I’ve got another one:

I want to draw anons attention to the upper side of the Gateway of the Sun where the Celestial Staff-God is represented. We’ve already seen him, so I’m not going to talk about him. What I want to talk about are the “birds” of prey on each side of him = they have a brid headset and they are holding a staff as well, and they are WINGED. Notice the one on your right hand side = the picture I’ve named “Tiwanaku Sun god Helpers” = He is CLEARLY wearing a mask/ helmet which has a BEAK. Both helpers are holding ONE staff, wearing a cap (like superman) and the wings are clearly drawn.

I see them as warriors = soldiers anons, with helmets and weapons at hand just like what I explained it’s possible in page 281. But I won’t deny there is the possibility these are priests holding homage to the diety as well. I’m simply more inclined to the first interpretation than the second, for now, we should retain both possibilities with preference to the first option. I would also like to point out that these 2 god helpers are IDENTICAL to the reliefs of the Anunnaki in Mesopotamia. Just compare anons.

In most civilizations, sometimes Heroes became legendary and some even get deified after their death; but also their companions gets to be deified or honored, it’s rare though. I can give you many examples from Greek Myths, starting with Jason and the Argonauts; Hercules etc. So what I see happening here, is a Hero = a warrior, with exceptional weapons whom got deified, him and his companions after death, because of their exceptional “powers” or “accomplishments”. We have Great Flood survivors here anons, with their military equipments. Such entities are usually associated with celestial or should I say SKY/ Harvest deities because of their weapons which emits something close to electricity = confused with lightning.

One last remark: the celestial staff-god has 12 faces (according to what is written here) + 1 (the central face) so that makes 13 faces, right? I still haven’t figured out up to this point what the number 13 really means, apart the 13 Bloodline families. I think it has a deeper meaning.

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>>11558801

(Please read from the start)

“Other evidence points to a system of ancestor worship at Tiwanaku. The preservation, use, and reconfiguration of mummy bundles and skeletal remains, as with the later Inca, may suggest that this is the case. Later cultures within the area made use of large "above ground burial chambers for the social elite… known as "chullpas". Similar, though smaller, structures were found within the site of Tiwanaku.”

>> I’m not surprised to read this.

“Kolata suggests that, like the later Inca, the inhabitants of Tiwanaku may have practiced similar rituals and rites in relation to the dead. The Akapana East Building has evidence of ancestor burial. The human remains at Akapana East seem to be less for show and more for proper burial. The skeletons show many cut marks that were most likely made by defleshing or excarnation after death. The remains were then bundled up and buried rather than left out in the open.

The Tiwanaku conducted human sacrifices on top of a building known as the Akapana. People were disemboweled and torn apart shortly after death and laid out for all to see. It is speculated that this ritual was a form of dedication to the gods. The type of human sacrifice included victims being hacked in pieces, dismembered, exposed to the elements and carnivores before being deposed in trash. Research showed that one man who was sacrificed was not a native to the Titicaca Basin, leaving room to think that sacrifices were most likely of people originally from other societies.”

>> One example is not conclusif in such situation; if it was practiced on a larger number, then yes, we can say the sacrificed persons came from other societies. This needs further information. Also, I would like to point out that we’ve seen dismemberment before with the Aztecs, with what is called the Coyolxauhqui_Stone (pages 273-274). I have been suspecting from back then that this specific ceremony of dismembering a human is actually a reanctment of an event, or an episode inside of an event. Also, why do you torture a victim this way before killing it via sacrifice? = Andrenochrome.

“Architecture and art

Tiwanaku monumental architecture is characterized by large stones of exceptional workmanship. In contrast to the masonry style of the later Inca, Tiwanaku stone architecture usually employs rectangular ashlar blocks laid in regular courses. Their monumental structures were frequently fitted with elaborate drainage systems. The drainage systems of the Akapana and Pumapunku structures include conduits composed of red sandstone blocks held together by ternary (copper/arsenic/nickel) bronze architectural cramps. The I-shaped architectural cramps of the Akapana were created by cold hammering of ingots. In contrast, the cramps of the Pumapunku were created by pouring molten metal into I-shaped sockets. The blocks have flat faces that do not need to be fitted upon placement because the grooves make it possible for the blocks to be shifted by ropes into place. The main architectural appeal of the site comes from the carved images and designs on some of these blocks, carved doorways, and giant stone monoliths.”

>> This is sign of advanced knowledge in architecture and engineering.

“The quarries that supplied the stone blocks for Tiwanaku lie at significant distances from this site. The red sandstone used in this site's structures has been determined by petrographic analysis to come from a quarry 10 kilometers away—a remarkable distance considering that the largest of these stones weighs 131 metric tons.[24] The green andesite stones that were used to create the most elaborate carvings and monoliths originate from the Copacabana peninsula, located across Lake Titicaca.[24] One theory is that these giant andesite stones, which weigh over 40 tons, were transported some 90 kilometers across Lake Titicaca on reed boats, then laboriously dragged another 10 kilometers to the city.”

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