Photo Gallery

The legends are only available in German, French or Spanish
C'est par la gueule ouverte sur des crocs aigus que s'échappe la fumée des offrandes (résine ou suif de lama brûlés) de cette lampe à encens en céramique, en forme de puma (Tiahuanaco, 667 ap.J.C.). (Haute 20 cm - Museo del Instituto nacional de Arqueologia, La Paz, Bolivie.)

The legends are only available in German, French or Spanish
En forme de fausse cloche, ce très beau kero à libations en céramique nous dévoile le faciès autoritaire d'un Pakaje de la noble caste solaire des hommes-condor de Tiahuanaco. Hauteur: 16 centimètres. (Museo del Instituto Nacional de Arqueología, La Paz, Bolivie.)

The legends are only available in German, French or Spanish
Kero de la 4e époque de Tiahuanaco (667-1000 apr. J.-C.), est frappé d'un mascaron de ofrenda, masque de tête ornemental d'offrande en relief. H: 13,5cm. (Museo del Instituto Nacional de Archeologia, La Paz, Bolivie)

The legends are only available in German, French or Spanish
Sur fond d'azur dilué, deux napas, lamas blancs aux longs cous croisés, totems des Collas du lac Titicaca, décorent cette céramique plate à deux anses. Elle daterait de la conquête inca (1300-1470) des tropicales vallées boliviennes. (Instituto nacional de Arqueologia, La Paz, Bolivie.)

The legends are only available in German, French or Spanish
Une autre porra étoilée, en lourde pierre taillée à huit pointes, de l'époque inca (1300-1400). Diamètre: 13 centimètres. (Instituto nacional de Arqueologia, La Paz, Bolivie.)

This Cabeza clava is located in the Parque monolios in La Paz. - 1976

A ceramic incense burner in the shape of a big cat (20 cm high) from the Tiwanaku culture (4th period, 667 AD). The tail is shaped as a handle, and the smoke kindled in the back cavity escapes through the eyes. Instituto Nacional de Arqueología, La Paz, Bolivia. - Book: Picture 48 - Bolivia - 1976

The Altiplano between the ruins of Tiahuanaco and La Paz, with the Cordillera Real and the 6,500-metre-high Huayana Potosí in the background. The indigenous woman in the foreground is tending sheep and pigs. - Book: Picture 0 - Bolivia - 1976

A panoramic view of La Paz, the seat of government in Bolivia. The photograph was taken from the surrounding mountains and captures the city’s unique topography, which stretches across a vast valley basin in the Andes at an altitude of over 3,600 metres. The dense urban development, which extends from the valley floor up the steep slopes, is clearly visible. In the background lies the snow-capped Cordillera Real. The striking, towering peak on the right is the majestic Illimani (6,438 m), the city’s local mountain and its landmark. In the foreground are steep, rugged rock formations typical of the geological features surrounding the La Paz basin. – 1976

With an elevation ranging from 3,630 to 3,770 meters, La Paz is the highest capital city in the world. It lies in a basin on the edge of the Altiplano, which shields the city from the high-altitude winds; the more affluent neighborhoods are therefore located as low as possible in the valley. Originally an Aymara settlement, the town was expanded by the Incas and conquered by the Spanish in 1535. With 800,000 residents, La Paz is home to about 14 percent of the country’s population, and 60 percent of Bolivia’s industrial production is concentrated in the greater La Paz area. - Book: Picture 149 - Bolivia - 1976

A panoramic view of La Paz, the seat of government in Bolivia, nestled in a deep canyon on the Altiplano. In the foreground, two local people sit in traditional Andean dress, looking out over the city. The dense urban landscape stretches across the steep slopes of the gorge. At the top left, the city merges seamlessly into the rapidly growing neighbouring city of El Alto, which lies on the flat plateau. In the background, the snow-capped Cordillera Real mountain range towers above. The most striking, gleaming white peak on the right is the majestic Illimani (6,439 metres), the unmistakable landmark and ‘guardian’ of La Paz. – 1976

The Cañón de Palca, about 25 kilometres south-east of La Paz. The photograph shows the striking view of the huge, eroded clay and sandstone walls that open up at the end of the gorge towards the small mountain village of Palca. They are made up of mud, clay and gravel left behind by prehistoric glaciers and shaped by the wind. – Bolivia – 1976

Surreal-looking, jagged rock formations and gorges, created by years of weathering of earth and clay. These striking clay towers and rock spires can be found in the Valle de las Ánimas (Valley of Souls) near La Paz. – Bolivia – 1976

The Basilica Menor de San Francisco in La Paz dates from 1743–1784. Its main façade, with its three portals, is regarded as an outstanding example of Mestizo art, a term coined to describe works that reflect both Iberian-European and Indigenous artistic sensibilities. However, the validity of this term is increasingly being called into question. - Book: Picture 131 - Bolivia - 1976

This photograph depicts an everyday scene of local women and men on the steps in front of the ornate wooden gate of the Basílica de San Francisco in La Paz, Bolivia. The backdrop is a prime example of what is known as Mestizo Baroque (also Barocco Mestizo). This architectural style blends European Catholic architectural traditions with indigenous motifs and symbols from the Andean region. The artistically carved stone columns on the left of the picture display these typical, intricately detailed reliefs from the colonial era. – Bolivia – 1976

EI Alto, the airport in La Paz on the Altiplano, is the highest jet airport in the world at 4,082 metres above sea level. Aircraft play a crucial role in opening up the Andes, as infrastructure remains one of the most pressing and unresolved problems. Not all roads on which buses operate are passable in all weather conditions - Book: Picture 180 - Bolivia - 1976

The Fiesta del Gran Poder, the Festival of Divine Power, in La Paz is arguably one of the largest and most colorful religious celebrations in Bolivia. The photo shows the characteristic Diablada dancer—the devil, who embodies evil and dances frenetically against the forces of good throughout the hours-long procession, only to be ultimately defeated by Divine Power. - Book: Picture 150 - Bolivia - 1976

The festival is officially known as the ‘Festividad del Señor Jesús del Gran Poder’. It is celebrated in honour of a representation of Jesus Christ and blends Andean beliefs closely with the Catholic faith. Although the Morenada is regarded as the dominant dance of this festival in La Paz, groups performing the Diablada (as pictured here) open and enrich the spectacle with great vigour and magnificent colours. The dancers belong to one of the traditional fraternities that parade through the streets of the capital every year in May or June. – This huge celebration has also been recognised by UNESCO as an Intangible Cultural Heritage of Humanity. – Bolivia – 1976

The Fiesta del Gran Poder, the Festival of Divine Power, in La Paz is arguably one of Bolivia’s largest and most colorful religious celebrations. The photo shows the characteristic Diablada dancer—the devil, who embodies evil and dances frantically against the forces of good throughout the hours-long procession, only to be ultimately defeated by Divine Power. - Book: Picture 151 - Bolivia - 1976

The Fiesta del Gran Poder, the Festival of Divine Power, in La Paz is arguably one of Bolivia’s largest and most colorful religious celebrations. The female dancers may be inspired by the North American tradition of majorettes. - Book: Picture 152 - Bolivia - 1976

A traditional devil’s mask (Máscara de Diablada), typically worn at the Chilean festival ‘Fiesta de la Tirana’, at the ‘Festividad de la Virgen de la Candelaria’ in Puno, Peru, or at the Bolivian ‘Carnaval de Oruro’. – This dance symbolises the eternal struggle between good and evil. The dancers dress up as devils (Lucifer or demons), who are ultimately defeated by the Archangel Michael and submit to the Virgin Mary. A magnificent, colourful multi-headed dragon is mounted on the mask. In Andean iconography, European conceptions of the devil blend here with indigenous mythical creatures (such as the sacred snake Amaru) and Asian influences. The large, protruding eyes are intended to create a fixed, terrifying gaze. The mask features a wide-open mouth with pointed teeth and a protruding tongue, which emphasises the demon’s malice and ferocity. – La Paz – Bolivia – 1976

A dancer in a traditional, vibrantly coloured red devil’s costume from the Diablada dance troupe. The Diablada dance depicts the struggle between good and evil and forms the centrepiece of the various carnivals in the Andean region around Lake Titicaca. The ornate devil’s mask is adorned with horns, snakes and glittering embellishments. The dancer wears a red costume featuring embroidered aprons, metallic embellishments and distinctive boots. – La Paz – Bolivia – 1976

The Fiesta del Gran Poder, the Festival of Divine Power, in La Paz is arguably one of Bolivia’s largest and most colorful religious celebrations. - Book: Picture 153 - Bolivia - 1976

On the way from La Paz to the Takesi Inca Trail, you pass this historic cemetery chapel with its distinctive, slightly leaning adobe bell tower and the small, chapel-like burial structures in front of it. – Bolivia – 1976

An indigenous woman pounding chuño. To make chuño, the potatoes are left for several days and nights, alternating between drying in the sun and freezing during night-time frosts. Pounding removes the skins. The dehydrated potatoes can be stored for considerably longer than raw tubers. Bolivia. La Paz Department. - Book: Picture 119 - Bolivia - 1976

A scene on the way to Oruro: an indigenous woman who has spread her freshly washed laundry out to dry on the stony ground and on small bushes. Laying the clothes out on the clean ground, warmed by the sun, or on bushes makes the most of the strong UV rays and heat of the high-altitude sun to dry the clothes quickly. – Bolivia – 1976