Simone Waisbard
Le piste di Nazca

Despite the unexpected encounter with a garua⁽¹⁾, archaeologist Waisbard, driven by the desire to visit the famous 'land of the Incas', explored the Nazca pampas for the first time on July 18, 1954. During the fifteen years she spent in Peru, the experiences she acquired were transferred into her compendium, becoming a true treasure trove of information.

Surprising archaeological discoveries, mysteries, curiosities, legends, bold hypotheses, carbon-14 dating, macabre rituals⁽²⁾, stimulating encounters, and shocking revelations with computer support. It's hard not to be captivated by Waisbard's insights on this mysterious location, from traditions on astronomy, to magical-polytheistic religion, to a three-tier system of cosmovision⁽³⁾. The most relevant and enigmatic topic is the presence of gigantic depictions of various species of animals, surrounded by geometric shapes of enormous proportions. As early as the 16th century, Cieza de León, a well-known Spanish chronicler, had the opportunity to see the colossal drawings, and in 1927 archaeologist Xesspe published the results of his explorations. In 1930, Johnson conducted an aerial reconnaissance, while on June 22, 1939, it was the turn of the American astronomer Kosok, specialized in paleo-irrigation. He was astounded to see the monumental Nazca cryptography on one of the world's most arid deserts when deepening his study on Peruvian hydraulic works.

The 'drawings' of Nazca were categorized into three types: plazoletas (paths), raies (lines), and figures (figures). Waisbard will engage in meticulous descriptions and analyses of the mysterious geoglyphs, but also on many other fascinating topics. The term geoglyph, proposed in 1964 by Mostny, was used to describe the vast zoomorphic, anthropomorphic figures drawn on the pampas or adjacent mountainous slopes. Among the experts she met, the author had the opportunity to meet Maria Reiche, whose work is considered fundamental. She is the 'conservator ad honorem' of Nazca's artistic heritage. Unfortunately, already in that period, the renowned location was undergoing continuous destruction on multiple levels. The Peruvians themselves showed little respect for their own past. Fortunately, providential natural and climatic factors manage to preserve the millennial beauty of those masterpieces. During the day, stones accumulate a lot of heat, resulting in the formation of an insulating layer of hot air that sand and wind cannot penetrate. High percentages of gypsum in the soil are capable of keeping the embedded stones compact. The absence of rain and the presence of highly saline fogs, precipitating on sand and gravel, harden them.

Reading the volume is challenging due to the long and detailed stories, descriptions, notes, but at the same time, it is stimulating and full of charm. The volume is accompanied by a good number of drawings, sketches, and photographs. The great Maquisapa Monkey, the Dog with outstretched legs, the geoglyph of the Spider, the Hummingbird, the Frigate, the Stag Beetle, and others. The questions raised about the creation of the traces visible in their entirety only from the sky are numerous. How did they, with what tools and techniques, manage to draw these marvelous artistic images? How could they achieve a perfect straightness and sinuous curves, to finish exactly where they started? Most archaeologists believe that to achieve these 'drawings', the raspaje method, or scraping of the soil, was used. Stones and pebbles blackened by sun exposure were aligned on the sides, thus exposing the lighter ochre earth between the two edges, obtaining easily visible lines by contrast. An incredibly ingenious work and mystical patience, as the prepared surfaces are vast. According to the author, to unravel the enigma of the geoglyphs, it is essential to completely abstract from our strongly intellectualized spirit. Only by returning to the sources of archaic thought, through the bipolarity of complementary opposites, becoming conscious of the indefinable, is it possible to reach an understanding of their meaning.

_Notes.

_{(1). The Peruvian garua is a weather phenomenon consisting of a dense fog stagnating near the ground that comes from the sea. It forms because of a powerful saturation of the air (100% relative humidity). The atmosphere, being unable to hold a greater amount of water vapor, condenses into tiny droplets.}

_{(2). The erotic Llallagua was a sacred (or ritual) dance of barbaric cruelty. The men played the bramador, a wind instrument made of shells, from which a rough sound with frightening vibrations came out when blown. In the end, a bloodthirsty priestess equipped with a sharp cleaver would cut off the head of the unfortunate turn (cult of trophy heads).}

_{(3). In Peru, the term cosmovision is often used and encompasses the meanings of cosmogony, cosmography, and cosmology. Hanan Pacha is the upper world, that of the Gods and the spirits of the noble deceased. Kay Pacha is the middle world, where the earth and living beings are found. Uku Pacha is the lower underground world, where the fertility spirits and mummies are.}

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