The Disappearance Of The Children Of Viracocha, Part 3: Cuzco: The City Which The Inca Found, Not Founded (cont.)
By Brien Foerster
The most famous and enigmatic structure at Tiwanaku is the Sun Gate; one solid slab of diorite about 8 feet high and 10 feet across with a door in the center. The image of Viracocha, the creator god, is carved in low relief above the doorway entrance, the rest of the upper portion of the stone, where a lintel would be had the structure been made of three or more pieces, is adorned with “birdman” characters.
A massive diagonal crack in the structure shows that it was, in the distant past, the victim of some sort of catastrophic event. Erosion along the edges of the crack, and the fact that diorite is one of the hardest stones in the world, would lead one to believe that the damage took place in deep antiquity, and not the result of it having simply fallen over.
Also, most of Tiwanku is composed of red sandstone blocks, with the odd diorite one added in, in a somewhat haphazard manner. The reconstruction of the site was conducted during the 1960s?, and the workmanship can hardly be called high quality. In fact, the rebuilding was probably undertaken as guesswork, as no blueprints or even oral traditions exist that could help in the reconstruction.
What seems to be original, just like in some of the megalithic sites in Cuzco and the Sacred Valley of Peru, are the largest of stones, being made of hard limestone or sandstone. These form what are the outline of the Kalasasaya complex. Though filled in with the red sandstone/diorite walls today, there is no reason why these large “marking stones” which are approximately 20 feet apart, could not have been separate standing stones (like Stonehenge) in the distant past.
The huge size would have dissuaded plunderers from attempting to convert them into smaller building materials, and thus they may in fact be in their original locations.
The Sun Gate, it is known, has been moved from its original location; but where would that have been? The most obvious place is Puma punku, as that is where we find the majority of diorite stones, and those of high precision finish and sculpting.
Also, on top of the Akapana Pyramid, which is next to the Kalasasaya, is another diorite Sun Gate. This one lies flat on the ground, and is in pieces, but is of the same shape and size as it’s more famous twin. It has also clearly been moved from its original place, which again I suggest is Puma punku.
Moreover, there are two more Sun Gates, same size and shape again. And where do we find these; Puma punku. Both are lying flat and broken, but their original shapes are self-evident. Could these four Sun Gates have been originally positioned at the four cardinal points? It seems quite obvious that this could have been so.
All of the main structures or “compounds” at Tiwanaku are square in shape, except the Akapana, which is 12 sided, yet sits within a square courtyard, and all are more or less in perfect alignment with each other, except for the Akapana, which is slightly askew.
Puma punku, on the other hand, is about 45 degrees “off” in relation to the other buildings in the area. It is not being suggested that the planet had shifted so dramatically in it’s axis that Puma punku was once aligned with north and south, but it’s odd positioning has not been explained by other researchers.
Perhaps even more interesting is the presence of what Cuzco researcher Jesus Gamarra, based on his father Alfredo’s earlier work, calls Hanan Pacha stone work. This is defined as large and exposed bedrock, often andesite, which has clearly been manipulated by human hands, often in the form of cut out “seats” or similar depressions.
But this is not at Puma punku, but situated in a field, abandoned and covered with tall grass, northeast of the Kalasasaya complex. No one has even dared to date these stones, or discover who shaped them, as they are categorized under the topic of what researcher Michael Cremo would call “forbidden archaeology”; structures or artefacts that don’t fit within the theories and timelines of general archaeological thought, and are thus either hidden or ignored.