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This complex, some researchers divided into six sectors, based on which we wrote as follows:
Monolith and enclosures
• The monolith. It is located at coordinates: N 0737767 / 8501272 E is a granite rock of 2.30 m. height, 11 m. circumference and diameter less than 3.10 m. contains over two hundred figures and these can be classified between: anthropomorphic fitomorfas, zoomorphic, geographic settings, scenes, farming terraces, waterways, and human constructions, carved reliefs and depressions taking advantage of natural stone. Many suggested - without much support - the stone Saywite was kind of plan or sketch made by stone Inca architects to take control of hydraulic works they performed. Others to pay homage to those who dwell in the world or the Andean pantheon, divided into three levels of the Inca world view: Hanan Pacha (sky world), Kay Pacha (underworld) and uku pacha (the
· Antropomorfos. They are idols or images representing the sacred deities of the Andean worldview. Prehistoric peoples, developed representations of their huacas or idols of wood and stone, attributing qualities of natural, which were worshiped and offerings. Andean people knew their gods with two names: Vilca and Huaca, which means not just any god and idol, but also all places of worship such as temples, graves or other, who worshiped and offered sacrifices. The idols were representations of divine beings and the Incas were awarded servers, land, property and transported to Cuzco when he tried to control rebellion, as a strategy that paid off, as some of the regions making up the rose Tahuantinsuyo constantly, as is the case of the Collas, Huanca, Avocado and Canaris, without fear of retaliation could have on their huacas, which were the symbol of their nation.
· Zoomorphs. Made up of figures of pumas, monkeys, snakes, toads, lizards, crabs and prawns. No doubt the species found on the surface of the stone Saywite belong to the natural regions of Peru, and who took part in the religious activities of these people. The totems are sacred emblems symbolizing a common identity. In pre-Hispanic cultures of these species are not the sacrifice that was given sacred attributes and some of them were part of the pantheon of deities worshiped by the people. Thus the ancient Peruvians worshiped bears, cats, falcons, snakes and other states, led by the priests were entrusted to cconopas each of these species.
· Fitomorfos. The chroniclers mention that corn was a coveted and festive food. During the harvest the corn is brought home with great festivities. Men and women sang and prayed to last long. If one part was cultivated for the production of chicha for ritual purposes and vitality at the same time was a staple of the basket.
· Architecture hydraulics. The mesh is excellent for irrigation, which designed starting from the summits. These carvings represent the Apus giving water. Perhaps it was the Ampay, whose snowy peaks out from runoff forming tunnels and canals running through veins are divided as the whole rock, and even extend to the back and lateral sides of the large model. The whole design of a large agricultural engineering is described. Is the link between all the figures in this case attached to the central idea of experiential ritual of watering process.
· Palaces. They are well-defined fronts of buildings and fortresses, with access stairs. The chroniclers described the buildings that the Incas did, are fortresses, temples, lodges and other, demanded too much work as manifested in the ruins that remain, which means that each of these works were performed with a system of organization rests with the administrative work mita.
· Cities. There are two groups carved on each side of the monolith, which lends itself to such interpretation. What I most admired of these buildings is to consider how tools and engines could bring these stone quarries, carved and put them where they are, not counting with iron tools, or machines with wheels.
· Scene. It is wonderful how the fight scene graph of the snake (amaru), the toad (hamppatu) which is trapped by the body of the snake, but on the defensive. They say that in this struggle wins the toad, which to be trapped by the snake slime makes a circle enclosed within it, the snake can not touch the slime that is deadly and the frog is alive to the resignation of its predator .
This figure is universal and myths about it are recorded not only in the Andes, but also in Asia, where this representation is profuse. The important thing is that this scene, as part of the whole, expressed myths and transcends geographical representation.
· The precincts.
Facing the great monolith is the set of residences of the priests of the cult comprising 17 campuses in the first sector, associated access openings, passages and three steps that the longest is nine steps, which is within the perimeter wall of 22 m. wide and 20 m. long.
The front of this area is oriented east to west. The construction technique in this sector is characterized by medium-sized stones advantage of 0.60 m. long by 0.40 m. across the flat sides disposed toward the outside, together with mud mortar and pachillas, the interior has been filled with small stones to give greater consistency to the walls, the same that have a width of 0.70 m. These enclosures were built on a level surface.
It is known that in these holy places inhabited by people who were consecrated to join the service to the gods, to conduct rituals to guard the oracles, to manage their income or to maintain cleanliness. What we demonstrate that once institutionalized cults, became a well-organized unit to submit ideologically social classes, who were taxed from one generation to the priests and rulers.
In a past centuries, the Apu Sokllaqasa that dozes in her arms anise-scented shrubs, build on their heritage was a temple to Mama Yaku, water. From its height looked at the carving of a crowned lion solar pyramid atop the Inca and the scale on its edge with a thick border of gold and silver.