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Viracocha (also Wiraqocha, Huiracocha; Quechua Wiraqucha) is the creator deity and supreme deity in the pre-Inca and Inca mythology in the Andes region of South America. According to the myth Viracocha had human appearanceMathieu Viau-Courville: Spatial configuration in Tiwanaku art. A review of stone carved imagery and staff gods Boletín del Museo Chileno de Arte Precolombino, Vol. 19, No. 2 (2014), p. 15–16 and was generally considered as bearded.Alphons Stübel, Max Uhle: Die Ruinenstätte von Tiahuanaco im Hochlande des alten Perú: Eine kulturgeschichtliche Studie auf Grund selbständiger Aufnahmen. Hiersemann, Leipzig 1892, Zweiter Teil, p. 58 ( digi.ub.uni-heidelberg.de). According to the myth he ordered the construction of Tiwanaku.Alphons Stübel, Max Uhle: Die Ruinenstätte von Tiahuanaco im Hochlande des alten Perú: Eine kulturgeschichtliche Studie auf Grund selbständiger Aufnahmen. Hiersemann, Leipzig 1892, Zweiter Teil, p. 57 ( digi.ub.uni-heidelberg.de). It is also said that he was accompanied by men also referred to as Viracochas.
It is often referred to with several Epithet. Such compound names include Ticsi Viracocha ( T'iqsi Wiraqocha), Contiti Viracocha,César Itier (2025). 9789972623783, IFEA Institutos Francés de Estudios Andinos, UMIFRE 17, CNRS/MAE : IEP Instituto de Estudios Peruanos. . ISBN 9789972623783. 'Bajo este nombre i.e. o el de ⟨ticci viracocha⟩ lo conocen también Polo Ondegardo(1990, pp. 265, 266), Huaman Poma (1936, p. 911) y Bernabé Cobo (1956, p. 155, L. XIII, cap. IV). En un trabajo que está por salir, Rodolfo Cerrón-Palomino ha mostrado que el epíteto ⟨ticci⟩ no fue el mismo elemento que aparece dentro del compuesto ⟨Contiti⟩ (Betanzos), ⟨Conditi⟩ o ⟨Condici⟩ (Las Casas, 1967, pt. I, p. 659), también epíteto de Viracocha.' (p. 49) Translation: 'It is known by the same name of or the one of ⟨ticci viracocha⟩ by Polo Ondegardo (1990, pp. 265, 266), by Guaman Poma (1936, p. 911), and by Bernabé Cobo (1956, p. 155, book XIII, chap. IV). In a piece that is about to be published, Rodolfo Cerrón-Palomino has proven that the ⟨ticci⟩ epithet is not the same formative that appears within the compound ⟨Contiti⟩ (Betanzos), ⟨Conditi⟩, or ⟨Condici⟩ (Las Casas, 1967, part. I, p. 659), which is also an epithet for Viracocha'. and, occasionally, Kon-Tiki Viracocha (the source of the name of Kon-Tiki). Other designations are "the creator", Viracochan Pachayachicachan,Alphons Stübel, Max Uhle: Die Ruinenstätte von Tiahuanaco im Hochlande des alten Perú: Eine kulturgeschichtliche Studie auf Grund selbständiger Aufnahmen. Hiersemann, Leipzig 1892, Zweiter Teil, p. 55 ( digi.ub.uni-heidelberg.de). Viracocha PachayachachiMathieu Viau-Courville: Spatial configuration in Tiwanaku art. A review of stone carved imagery and staff gods Boletín del Museo Chileno de Arte Precolombino, Vol. 19, No. 2 (2014), p. 16 or Pachayachachic ("teacher of the world").Alphons Stübel, Max Uhle: Die Ruinenstätte von Tiahuanaco im Hochlande des alten Perú: Eine kulturgeschichtliche Studie auf Grund selbständiger Aufnahmen. Hiersemann, Leipzig 1892, Zweiter Teil, p. 55 ( digi.ub.uni-heidelberg.de).
For the Inca the Viracocha cult was more important than the sun cult.Alphons Stübel, Max Uhle: Die Ruinenstätte von Tiahuanaco im Hochlande des alten Perú: Eine kulturgeschichtliche Studie auf Grund selbständiger Aufnahmen. Hiersemann, Leipzig 1892, Zweiter Teil, p. 56 ( digi.ub.uni-heidelberg.de). Viracocha was the most important deity in the Inca pantheonJean-Pierre Protzen: Inca Architecture and Construction at Ollantaytambo. Oxford University Press, New York 1993, p. 8. and seen as the creator of all things, or the substance from which all things are created, and intimately associated with the sea.:56 Viracocha was immediately followed by Inti, the Sun.Jean-Pierre Protzen: Inca Architecture and Construction at Ollantaytambo. Oxford University Press, New York 1993, p. 8.
Viracocha created the universe, sun, moon, and stars, time (by commanding the sun to move over the sky) and civilization itself. Viracocha was worshipped as god of the sun god and of storms.
So-called do not all necessarily fit well with the Viracocha interpretation.Mathieu Viau-Courville: Spatial configuration in Tiwanaku art. A review of stone carved imagery and staff gods Boletín del Museo Chileno de Arte Precolombino, Vol. 19, No. 2 (2014), p. 18
Viracocha eventually disappeared across the Pacific Ocean (by walking on the water), and never returned. He wandered the earth disguised as a beggar, teaching his new creations the basics of civilization, as well as working numerous miracles. Many, however, refused to follow his teachings, devolving into warfare and delinquency; Viracocha wept when he saw the plight of the creatures he had created. It was thought that Viracocha would re-appear in times of trouble. Pedro Sarmiento de Gamboa wrote that Viracocha was described as "a man of medium height, white and dressed in a white robe like an alb secured round the waist and that he carried a staff and a book in his hands." "Viracocha and the Coming of the Incas" from History of the Incas, by Pedro Sarmiento De Gamboa, translated by Clements Markham, Cambridge: The Hakluyt Society 1907, pp. 28–58.
In one legend he had one son, Inti, and two daughters, Mama Killa and Pachamama. In this legend, he destroyed the people around Lake Titicaca with a Great Flood called Unu Pachakuti, lasting 60 days and 60 nights, saving two to bring civilization to the rest of the world. These two beings are Manco Cápac, the son of Inti (sometimes taken as the son of Viracocha), which name means "splendid foundation", and Mama Ocllo, which means "mother fertility". These two founded the Inca civilization carrying a golden staff, called 'tapac-yauri'. In another legend, he fathered the first eight civilized human beings. In some stories, he has a wife called Mama Qucha.
In another legend, Viracocha had two sons, Imahmana Viracocha and Tocapo Viracocha. After the Great Flood and the Creation, Viracocha sent his sons to visit the tribes to the northeast and northwest to determine if they still obeyed his commandments. Viracocha traveled North. During their journey, Imaymana and Tocapo gave names to all the trees, flowers, fruits, and herbs. They also taught the tribes which of these were edible, which had medicinal properties, and which were poisonous. Eventually, Viracocha, Tocapo and Imahmana arrived at Cusco (in modern-day Peru) and the Pacific seacoast, where they walked away across the water until they disappeared. The word "Viracocha" literally means "Sea Foam."
Some linguists think that linguistic, historical and archaeological evidence suggest that the name could be a borrowing of Aymara Wila Quta ( wila "blood"; quta "lake"), due to the sacrifices of that were celebrated at Lake Titiqaqa by pre-Incan Andean cultures that spoke Aymara.
Similarly to the Inca Empire god Viracocha, the Aztec god Quetzalcoatl and several other deities from Central and South American pantheons, like the Muisca people god Bochica are described in legends as being bearded.Siemens, William L. "Viracocha as God and Hero in the Comentarios Reales." Hispanic Review 47, no. 3 (1979): 327–38. doi:10.2307/472790. The beard, once believed to be a mark of a prehistoric European influence and quickly fueled and embellished by spirits of the colonial era, had its single significance in the continentally insular culture of Mesoamerica. The Anales de Cuauhtitlan is a very important early source which is particularly valuable for having been originally written in Nahuatl. The Anales de Cuauhtitlan describes the attire of Quetzalcoatl at Tula:
In this quote the beard is represented as a dressing of feathers, fitting comfortably with academic impressions of Mesoamerican art. The story, however, does not mention whether Quetzalcoatl had facial hair or not with the point of outfitting him with a mask and symbolic feathered beard being to cover his unsightly appearance because as Quetzalcoatl said "If ever my subjects were to see me, they would run away!"
While descriptions of Viracocha's physical appearance are open to interpretation, men with beards were frequently depicted by the Peruvian Moche culture in its famous pottery, long before the arrival of the Spanish. Portrait Vase of Bearded Figure, Brooklyn Museum Modern advocates of theories such as a pre-Columbian European migration to Peru cite these bearded ceramics and Viracocha's beard as being evidence for an early presence of non-Amerindians in Peru. In Quest of the Great White Gods, Robert F. Marx, Crown Publishers, 1992 pp. 7–15. Although most Indians do not have heavy beards, there are groups reported to have included bearded individuals, such as the Aché people of Paraguay, who also have light skin but who are not known to have any admixture with Europeans and Africans. When the Southern Paiute were first contacted by Europeans in 1776, the report by fathers Silvestre Vélez de Escalante and Francisco Atanasio Domínguez noted that "Some of the men had thick beards and were thought to look more in appearance like Spanish men than native Americans". cites: |pages=187–193
Wiracochan, the pilgrim preacher of knowledge, the master of time, is described as a person with superhuman power—a bearded, tall man dressed as a priest or astronomer.
Spanish interpreters generally attributed the identity of supreme creator to Viracocha during the initial years of colonization.
The decision to use the term "God" in place of "Viracocha" is seen as the first step in the evangelization of the Incas. The reasoning behind this strategy includes the fact that it was likely difficult to explain the Christian idea of "God" to the Incas, who failed to understand the concept. In addition, replacing reference to Viracocha with "God" facilitated the substitution of the local concept of divinity with Christian theology.
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