The legends are only available in German, French or Spanish
Le musée de la vice-royauté du Cuzco renferme de très belles collections d'art colonial. Sa porte d'entrée est surmontée d'un linteau où l'on aperçoit les portraits des quatre frères Pizarro.

The legends are only available in German, French or Spanish
L'architecture coloniale d'Arequipa fait emploi d'une pierre blanchâtre très facile à travailler. Les monuments religieux sont couverts d'éléments décoratifs exécutés avec un talent remarquable.

The legends are only available in German, French or Spanish
Né, selon la légende, des dents d'un enfant du Soleil, le mais fut «adoré comme un dieu» dans tout l'ancien Pérou. Des épis de maïs en pierre on Sara Mama étaient enterrés dans les champs, et des choclos d'or, avec les momies. Aujourd'hui encore, quand on sème le maïs dans la sierra, de joyeuses fêtes sont célébrées. (Museo regional de Ica, Pérou.)

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.)

The legends are only available in German, French or Spanish
Très lourd récipient liturgique, sculpté dans la pierre. Circulaire, il mesure, d'une anse à l'autre, 59 centimètres. Des amarus lovés en spirale ou serpentant l'entourent (diamètre intérieur: 31,5 centimètres). (Museo e Instituto de Arqueologia de la Universidad nacional del Cuzco, Pérou.)

The legends are only available in German, French or Spanish
Quadrangulaire, ce réceptacle cérémoniel en pierre, lié au culte de l'eau, est orné au fond, en haut-relief, d'un batracien. Tout autour, quatre soleils entre douze ranas que soulignent quatre serpents bicéphales à tête de condor semblent rappeler le thème favori de Tiahuanaco, lieu de la genèse mythique des Incas (largeur: 19,5 centimètres; longueur: 24 centimètres; hauteur: 6,5 centimètres). (Museo e Instituto de Arqueologia de la Universidad nacional del Cuzco, Pérou.)

The legends are only available in German or Spanish
Chavín-Kultur, Peru. Die gewaltige Tempelanlage in der Nähe des Dorfes Chavín de Huántar hinter der Cordillera Blanca, in der sich diese Reliefplatten befinden, gab einer Kultur den Namen, deren Einfluß in weitem Umkreis und in späteren kulturellen Formen festgestellt werden kann, so daß sie mit einer gewissen Berechtigung als Mutterkultur bezeichnet werden darf. Immer wiederkehrende Motive sind der Jaguar oder Mischwesen aus Raubkatze, Schlange und Kondor und Krieger mit Raubtierzähnen, Kondorkrallen und Schlangenhaaren (dieses Bild) oder Haaren mit Kondorköpfen. - 1976

The legends are only available in German or Spanish
Die «Ponce»-Monolithfigur in der Kalasasaya (Aimara für «aufgestellten Stein»), Tiahuanaco, Bolivien. Die mit geometrischen Ornamenten übersäte Stele ist ungefähr vier Meter hoch. - 1976

The legends are only available in German or Spanish
Die Zentralfigur des Sonnentores von Tiahuanaco, Bolivien. Wie bei der Figur auf der Raimondi-Stele (Chavín-Kultur) ist der Kopf annähernd so groß wie der Körper. In beiden Händen hält der Sonnengott Zepter, die in Kondorköpfen auslaufen, sein Haar endet in Schlangen - und Jaguarköpfen. Tränen als Symbol der Fruchtbarkeit und des Regens laufen über sein Gesicht. Umgeben ist er von 148 geflügelten, ihm zugewandten Gestalten, die man als Sinnbild von Bewegung und Zeit deutete. Die Tiahuanaco-Kultur hat die Inka-Zivilisation am direktesten geprägt. - 1976

Detail on a wall in the ruins of Copán. This site, which is significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest. - 1977

Stele D in the ruins of Copán. This site, which is significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest, not far from the border with Guatemala. - 1977

Stele in the ruins of Copán. This site, which is significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest, not far from the border with Guatemala. - 1977

Stele B in the ruins of Copán. This Mayan archaeological site is located in the mountainous western part of Honduras, in the middle of the rainforest. Numerous monuments and fully engraved stone stelae have been reported there. These are three to four metres high and usually evoke the shape of a figure. The figure is accompanied by glyphs and a system of dots and lines which have made it possible to date the stele. This is baroque art where the attention to detail has been pushed to the extreme. Nevertheless, these monuments are never too heavy given their exceptional dimensions. This stonework is a testimony to the incomparable talent of the Maya sculptors of the old empire. - 1977

A head in the ruins of Copán. This site, significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest, not far from the border with Guatemala. - 1977

A head with a round mouth in the ruins of Copán. This site, significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest, not far from the border with Guatemala. - 1977

Altar L in the ruins of Copán. This site, significant for Maya archaeology, is located in the mountainous west of Honduras, in the middle of the tropical forest, not far from the border with Guatemala. - 1977

Iglesia del Espíritu Santo of Quetzaltenango, Guatemala. The first church was built in 1532 by order of Bishop Francisco Marroquín. Only the façade of the Baroque church remains, as the old church was demolished in 1899 to make way for a larger one, the construction of which took up much of the twentieth century. - 1972

Detail of a stele from Tikal in Guatemala. Most of these Mayan-made artworks feature figures and hieroglyphs that have long been studied by archaeologists. The engravings, executed with remarkable mastery, depict people and mythological animals and are often accompanied by symbolic signs representing the days of the year. A witty system of dots and dashes marks the series of numbers invented by the pre-Columbian peoples of Central America. - 1977

Stele 9 in the temple complex of Tikal from the year 475, built under the ruler Kan Chitam. - 1977

Detail of a stone stele from the Maya site of Quiriguá in Guatemala. This remains are believed to date back to 766 AD. Most of the monuments left by the Maya are covered with figures and hieroglyphs that have long attracted the attention of archaeologists. This is the case of the stelae that are often found in large numbers in most of the pre-Columbian sites in Guatemala, Mexico and Honduras. These engravings, executed with remarkable mastery, represent characters as well as mythological animals, often accompanied by symbolic signs representing the days of the year. An ingenious system of dots and lines illustrates the numbering system invented by the pre-Columbian peoples of Central America. - 1977

Stele Maya in Quiriguá, which is an archaeological site of the ancient Maya civilisation in the department of Izabal in north-eastern Guatemala. It is a medium-sized site of about 3 km² located on the lower reaches of the Motagua River, with its ceremonial centre 1 km from the north bank of the river. - 1977

Artísticos trabajos de cantería en el Kelaniya Raja Maha Vihara (también conocido como templo Kelaniya), uno de los lugares budistas más importantes de Sri Lanka. Las paredes exteriores del edificio principal (Viharage) están decoradas con tres frisos distintivos, cada uno con su propio significado simbólico: Friso superior: muestra hamsas (cisnes o gansos), que simbolizan la pureza y la discernimiento. Friso central: muestra ganas (enanos o figuras muragal), representados en diversas poses juguetonas y acrobáticas. Friso inferior: consiste en una procesión de elefantes (gajas), que encarnan la fuerza y la constancia. – 1990

The impressive façade of Patwon Ki Haveli in Jaisalmer, one of the most significant architectural monuments of the ‘Golden City’. The entire residence was built from the local yellow-gold sandstone for which the desert region around Jaisalmer is famous. The façade captivates with its numerous richly decorated, projecting balconies (known as jharokhas) featuring the finest stone carving, reminiscent of lace or lace borders. The delicate stone lattices (jalis) serve not only as decoration but also allow for constant air circulation, keeping the interior of the building cool even in the extreme desert heat. – 1990

The impressive façade of Patwon Ki Haveli in Jaisalmer, one of the most significant architectural monuments of the ‘Golden City’. The complex was commissioned in 1805 by Guman Chand Patwa, an extremely wealthy merchant dealing in brocade, gold and silver thread, and opium. It is not a single building, but a connected complex of five separate havelis, built over a period of around 50 to 60 years for his five sons. Parts of the complex are now managed by the state heritage authority, whilst another part serves as a private museum (Kothari’s Patwa Haveli Museum), offering an insight into the luxurious lifestyle of the merchant class in the 19th century. – 1990

A tailor sits engrossed in his work at his mechanical sewing machine in the historic desert town of Jaisalmer. The window frame is a typical example of the delicate jharokhas (artfully carved sandstone balconies) for which Rajasthani architecture is famous. – 1990

A woman in traditional dress steps out of an intricately decorated doorway, carrying a gleaming water jug. The massive stone columns and the frame around the door are covered from top to bottom with delicate floral patterns, ornaments and reliefs, of the kind frequently found on the historic haveli mansions in Jaisalmer. An outstanding example of the region’s traditional craftsmanship. – 1990

The famous Salim Singh ki Haveli (also known as Moti Mahal) in the desert city of Jaisalmer in Rajasthan. The building was commissioned in 1815 by Salim Singh, the then extremely powerful and equally feared Prime Minister (Diwan) of the Kingdom of Jaisalmer. The upper storey features a striking, sweeping structure modelled on a peacock and is surrounded by a total of 38 elegant balconies, each adorned with unique ornamentation. Due to its ship-like shape, the building is also popularly known as Jahaz Mahal (Ship Palace). The entire façade is constructed from the golden sandstone typical of Jaisalmer. It captivates with its masterfully crafted balconies (known as jharokhas), delicate lattice windows and curved Bengali roofs. – 1990

This relief is located on the outer wall of the historic Lodurva Jain Temple near Jaisalmer in Rajasthan, India. This ancient temple complex was once the capital of the Bhatti Rajputs before Jaisalmer was founded. It is renowned for its intricate stonework and delicate carvings in yellow sandstone. - Seated on the back of the richly decorated elephant is a figure in a traditional posture, likely holding a weapon or an elephant goad (ankusha) to guide the animal. – 1990 Latticed windows and curved Bengali roofs. – 1990

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