Archive | March, 2014

“La Nube” Juan Wallparimachi Author translated by Jesus Lara

21 Mar
   * ¿Ima phuyun jaqay phuyu,
   * Yanayasqaj wasaykamun?
   * Mamaypaj waqayninchari
   * Paraman tukuspa jamun.
   ¿Qué nube puede ser aquella nube
   Que obscurecida se aproxima?
   Será tal vez el llanto de mi madre
   Que viene en lluvia convertido.
   * Tukuytapis inti k'anchan,
   * Noqayllatas manapuni.
   * Tukuypajpis kusi kawsan,
   * Noqay waqaspallapuni.
   El sol alumbra a todos,
   Menos a mí.
   No falta dicha para nadie;
   Mas para mí solo hay dolor.
   * Pujyumanta aswan ashkata
   * Má rejsispa waqarqani,
   * Mana pipas pichaj kajtin
   * Noqallataj mullp'urqani.
   Porque no pude conocerla
   Lloré más harto que la fuente,
   Y porque no hubo quien me asista
   Mis propias lágrimas bebí.
   * Yakumanpis urmaykuni,
   * "Yaku, apallawayña", nispa.
   * Yakupis aqoykamuwan
   * "Riyraj, mask'amuyraj", nispa.
   También al agua me arrojé
   Queriendo que ella me arrastrara.
   Pero el agua me echó a la orilla
   Diciéndome: "Anda aún a buscarla".
   * Paychus sonqoyta rikunman,
   * Yawar qhochapi wayt'asqán,
   * Khishkamanta jarap'asqa,
   * Pay jinallataj waqasqan.
   Si ella viera mi corazón,
   Cómo nada en lago de sangre.
   Envuelto en maraña de espinas,
   Lo mismo que ella está llorando. 

Juan Wallparimachi Mayta, traducido y adaptado por Jesús Lara, en la:”Literatura de los Quechuas”, Librería y Editorial “Juventud”, Cuarta Edición, La Paz, 1985, p. 242. Se encuentra también en Poésie quechua en Bolivie, Antología de Adolfo Cáceres Romero e Inge Sichra, ediciones Patiño, Ginebra, 1990, p. 112.



“La Puerta del Sol” “The Sun’s Door”–Tiwanaku, Bolivia

17 Mar

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This photo of Tiahuanaco is courtesy of TripAdvisor”>

“The Magical, Mystical and Megalolithic” Empire of Tihuanaku (South America)

6 Mar

In our present “modern” style of writing, we have chosen  numbers  and letters whose interpretation vary on our geographical position i.e. name of the country.

Tiwanakus’ system was built for the eternity–at its apogee Tiwanaku covered most of South America with about 9 million inhabitants.
They had to develop a system that could be written and read for each person of their Empire.
So, let us analyze how they achieved this Herculean task.
The stated task was– find the word for ear.
Immediately, they asked for more information–what kind of ear do I want?
In their thinking, they had to represent ideograms of anthropomorphic (human beings)  and zoomorphic (animals) expressions.
At the beginning they used crude drawings, refer to the pictures numbers 1-3. As they study the human ear, they refined their pictures of what the ear looked like until on ear #4, the representation added to include the external orifice and what is more important, that the lobule was perforated and there was introduced in it a small round plate in the manner of an adornment with a hole in the center. (See last row of first the sign “Human Ear”).
On the next example, it was not just an ear representation, it indicated to what animal did it belong. Numbers 1-4 Fig. 62 show the principal variants of sign “Puma” seen in front view. Numbers 5,7-9 show the same in profile. In some of these figures one notes the characteristic cut and structure of the short ear of the puma while in the other drawing show characteristics of the vicuna, the guanaco and other members of the Camelidae family. In the fish and the birds, the auditory channel is indicated by a small circle.
One of their most important symbols was their “Angular Sign” which was an abbreviation of a “Cosmic Sign” that appears very often in a number of their ceramic vases. It is their complete symbol, which show their connection with the Cosmos. It’s their “complete sign”–that is to say that the inferior angle began with a step sign and the superior angle ended with an inverted step sign; in short it is an abbreviated sign for “Earth and Sky”.
So, is there any doubt that the “TiwanakanImageImageImageImageImageImageImageImageImageImageImageImageImage
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