The Shape of Inca History Narrative and Architecture in an Andean Empire PDF
Preview The Shape of Inca History Narrative and Architecture in an Andean Empire
THf SHAPE OF lNCA HlSfORY This Page Intentionally Left Blank T H E SHAPE Of INCA HISTORY Narrative and Architecture in an Andean Empire Niles Susan A. Ell OF IOWA PRESS IOWA CITY University of Iowa Press, Iowa C5it2y2 42 Copyright 0 1999 by the Universityo f Iowa Press All rights reserved Printed in the United States ofAmerica Design by Omega Clay http://www.uiowa.edu/-uipress No part of this bookm ay be reproduced or used in any formo r by any means, electronico r mechanical, including photocopying and recording, without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whomit has not been possible to reach. Figures 6.42,9.4, and 9.15 are reproduced fromIn ca Architecture and Construction at Ollantaytarnbo by Jean-Pierre Protzen with drawings by Robert N. Batson. Copyright0 1993 by Oxford UniversityP ress, Inc. Used byp ermission ofO xford University Press, Inc. Figures 3.5,8.4,8.8, and 8.9 are reproduced fromInc a Architectureb y Graziano Gasparini and Luise Margolies, translated by Patricia J. Lyon. Copyright 0 1980 by Indiana University Press. Used by per- mission ofI ndiana University Press. Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Niles, SusanA . The shape of Inca history: narrative and architecture iann An- dean empire/ by Susan A. Niles. cmp . . Includes bibliographical references and index. ISBN 0-87745-673-9( cloth) I. Inca architecture-Peru-YucayR egion. 2. Incas-Peru- Yucay Region-Historiography. 3. Incas-Peru-YucayR egion- Kings and rulers. 4. Huayna Capac, Inca, d. ca. 15254ontribu- tions in architecture. I. Title. F3429-3.A65NI59 69 9 985 ' .37--dcz1 98-51181 99 00 01 02 03 c 5 4 3 2 I For the people ofurubamba, most especially Seiiora Elizabeth, Angel, and my3iends on the BarriosA ltos de Urubamba soccer team, with affection and gratitude. This Page Intentionally Left Blank Contents Acknowledgments ix A Note on the Orthography and Translation xi A Note on the Illustrations xiii Introduction xv 1 Genre and Context in Inca Historical Narratives I 2 StructuringR ememberedH istory 28 3 MakingH istory Visible 45 4 HuaynaC apac’sH istory 85 5 HuaynaC apac’s Royal Estate 121 6 The Architecture on the Estate 154 7 The Agricultural Workso n the Estate 208 8 Huayna Capac’s Built Legacy 232 9 Inca Architecture in Historical Context 262 Notes 299 Glossary 311 Bibliography 315 Index 327 This Page Intentionally Left Blank Acknowledgments This work is the product of twenty yearso f thinking aboutI nca archi- tecture and history. For all that time, John Rowe has been a valued mentor and colleague. Ever generous with his knowledge, John sug- gested I see whawt as in Urubamba when I was casting aboufto r a new project in 1986. His enthusiasm for my work (alongw ith, surely, his puzzlement at my reports of such weird architecture) brought him to visit Quispiguanca, and tom ake observations that hes hared with me. He also generously gave me copies of his own transcriptions of var- ious sixteenth-century legal documents related to lands on Huayna Capac’s estate. In preparing thisw ork I have benefited fiom theh elp and support of many friends. Above all, I am grateltlo Robert Batson for bringing his architect’s eye and artist’s hand to thep roject. Many of the ideas that appear in chapters 6,7,a nd g were refined in conversations with him and arere presented in the plans and drawings that present thveis - ual argument about thed esign of Huayna Capac’s estate. Most of the drawings in those chapters were made by Robert. In the field, Robert uncomplainingly bounded over terrace walls to pull a tape across fields as we checked and rechecked measurements and, back in Texas, faith- fully faxed sketches across the country when I wanted to test out yet another hunch about the site’s design. Always able to find the right mix of humor, architectural reasoning, and patience, Robert managed to pull me back to there al worldw hen I proposed ideas that were unre- alistic and coaxed me farther out ona limb whenm y suggestions were too earthbound. I am fortunate to have him as a friend and colleague. Christopher Blechschmidt pushed me to think more about Inca great halls as he prepared a thesis on Inca roofing techniques. With creativity and energy he modeled the roof structuroef Quispiguanca’s great hall, providing information that is central to the discussion of that building provided in chapters 6 and g. I am grateful to Chris for his interest in Inca architecture and his continuing willingness to spend time thinking aboutI nca engineering andd esign issues. Catherine Julien commented on ane arlier version of this book, of- fering insighdul suggestions thaht ave sharpened its focus and bib- liographical references that have improved it. My ideas about Inca architecture have been shaped over the years
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