Comments:

Comments:

yuca-1     Yacovleff & Herrera 1934:Figure 9j-m

yuca-2     Knobloch 2003:Figure WWWAgentsPlants.jpg

Comments:

Edible roots if sweet manioc(if bitter, then must be cooked to remove prussic acids) and leaves and intoxicating drink.

Comments:

Comments:

Comments:

Comments:

Comments:

l˙cuma-1     Yacovleff & Herrera 1934:Figure 9c

Comments:

maize-1     Knobloch 2003:Figure WWWAgentsPlants.jpg

Comments:

Comments:

quinoa-1     Yacovleff and Herrera 1934:Figure 27c?

Comments:

High protein seed and source of calcium, iron and B vitamins as well as high levels of lysine, an amino acid the body needs to make protein.

oca-1     Knobloch 2003:Figure WWWAgentsPlants.jpg

oca-2     Yacovleff and Herrera 1934:Figure 28d

Comments:

Each plant produces about 8 lbs of buff, pink, red or brown colored, nutty flavored tubers; freeze dried for storage, fermented for chicha beer and baked or boiled for immediate consumption. Trifoliate leaves with silvery soft hairs and bright yellow oxalis flowers. Yacovleff and Herrera (1934:308-309) mention the location of oca as limited to the provinces of Collao and central sierra. Thus, the oca depiction on a vessel from Conchopata is not unexpected.

oca-1     Knobloch 2003:Figure WWWAgentsPlants.jpg

oca-2     Yacovleff and Herrera 1934:Figure 28a

Comments:

A cool season crop; 2 pounds of seed potatoes can yield 50 pounds; there are over 100 varieties of potatoes under cultivation today. Colors include white, gray, golden, pink, deep yellow, rich purple-blue.

olluco     Yacovleff and Herrera 1934:Figure 28b

Comments:

Often freeze dried into chuÒo.

mashua     Yacovleff and Herrera 1934:Figure 28c

Comments:

tuna-1     Yacovleff and Herrera 1934:Figures 39e

tuna-2     Knobloch 2003:Figure WWWAgentsPlants.jpg

Comments:

Drought tolerant; both pads and fruit are edible.

A. colubrina-1 (Pucara)     Rowe 1974:Pl.XL     Rowe and Brandel 1969:Fig.4, 66     Ch·vez 1992:Fig.204     Tello 1942:Lam.XXI

A. colubrina-2 (Pucara)     Ch·vez 1992:Fig.203    

A. colubrina-3 (Pucara)     Rowe and Brandel 1969:Fig.5    

A. colubrina-4 (Pucara)     Ch·vez 1992:Fig.210     see Ch·vez 1992:Fig.204, 206a, 209, 213,220

A. colubrina-5 (Conchopata)     Knobloch 2000b:Figure 2    

A. colubrina-6 (Conchopata)     Isbell and Cook 1987:31, upper left    

A. colubrina-7 (Tiwanaku)     Posnansky 1945:Plate XXV, top    

A. colubrina-8 (Tiwanaku)     RydÈn 1947:Figure 147    

A. colubrina-9 (Tiwanaku)     Ponce 1964:Figure 15    

A. colubrina-10 (Tiwanaku)     Posnansky 1945:Insert    

A. colubrina-11 (Pachacamac)     Eisleb and Strelow 1980:Figure 328    

A. colubrina-12 (Cuzco)     San Roman Luna 1983:73, bottom    

A. colubrina-13 (Pisagua)     Conklin 1983:Figure 24    

A. colubrina-14 (San Pedro de Atacama)     Torres 1995:Figure 6    

A. colubrina-15 (textile; no prov.)     Lavalle 1991:76-77    

A. colubrina-16 (textile; no prov.)     Lavalle 1991:cover     Reid 1986:Plate 33

A. colubrina-17 (San Pedro de Atacama)     Torres 2001:Figure 10a, c    

A. colubrina-18 (Ponce Stelae)     Knobloch 2000d:Figure 1         Knobloch 2000d:Figure 2

A. colubrina-19 (Tiwanaku)     Posnansky 1943    

A. colubrina-20 (Pacheco)     Bennett 1954:Figure 82     Menzel 1977:Fig.123; Posnansky 1957:Plate LVIIIa

Comments:

As a hallucinogen, this plant's seeds are ground up as snuff in the southern Bolivian altiplano area and as a drink additive in the central Andean highlands. Known as vilca the Inca used the seed powder in their chicha or maize beer. The wood is water resistance and very hard thereby it provided a good source for staffs in Inca culture. Recently, the plant's iconography was discovered on ritual pottery from the Huari site of Conchopata. Analysis of this iconography led to its identification on numerous ancient artifacts as listed above. Knowledge of its specific design attributes and iconic associations assists in its continuing identity as depicted on very stylized renditions. The primary design attributes are: 1) circled dots, usually two (typically three in Tiwanaku art), at top of the icon representing the spherical flowers; 2) two, symmetrically positioned ovate or rectangular shaped designs with interior lines representing the leaves; 3) oblong or rectangular shape with interior dots representing the seedpods. Secondary design attributes are: 1) at the bottom of the plant's trunk is appended a head, usually encircled by a band of interlocking fret designs. Examples include staffs with the plant at the top and head at the bottom; 2) a small interior triangle (usually) or square placed between the leaf design elements. (Knobloch 2000b) With these known attributes, the plant's ancient antecedents in the Pucara religious iconography can now be identified. Though some artistic ties are obvious among the Pucara, Tiwanaku and Huari cultures, this fully stylized icon on Pucara artifacts suggests that a pan-Andean cult or religion was maintained intact for hundreds of years. With the mythical references Torres (1987, 2001; Torres and Repke 2006) presented regarding vilca, I find the occurrence of A.colubrina icons on avian attendants (P100-7) facing an anthropomorphic icon believed to represent a sun god on the "Gate of the Sun" at Tiwanaku, a possible ancient documentation of the mythical use and association of this plant with a sun deity. For those who could decipher the entire iconographic image, such design elements probably represented a unit of information similar to an ideogram or glyph though without the sentence structure of verbal communication. When this analysis was first presented (an SAA paper made available to many colleagues, Knobloch 1999b), I also mentioned that " A. colubrina is known specifically for inducing the illusion of flyingÖ" and that Huari and Tiwanaku iconography is characterized by mythological animal spirits with wings or with wing symbols illustrated closely to this plant's symbol" thereby suggesting the plants ability to transform a walking entity into one that could also fly. This transformation or ability to both walk and fly was initially presented as a cosmological model of the sun deity accompanied across the sky by mythical attendants that appeared in the night sky represented by constellations. (see ArtisansoftheRealm.html .)

achira     Yacovleff & Herrera 1934:Figure 30f

Comments:

aji     Yacovleff & Herrera 1934:Figure 13o-p

Comments:

jiquima-1     Yacovleff and Herrera 1934:Figures 14c-f, h-j

Comments:

frijole     Yacovleff & Herrera 1934:Figure 16a, b, j. l. p

Comments: