Unveiling Machu Picchu

Inayat Tal
Unveiling Machu Picchu © Copyright 2006 Inayat Tal 1

Introduction............................................................................................................................................... 3 The Call Of Machu Picchu............................................................................................................................ 8 Origins, Fate, and Future of the Inka.......................................................................................................... 13 Pachacuti: Andean Cycles Of Time.............................................................................................................. 18 We Are The Ones We Have Been Waiting For.............................................................................................. 22 Attuning Consciousness............................................................................................................................. 25 Lake Titicaca Attunement........................................................................................................................... 26 Stones Of Unknown Origins........................................................................................................................ 29 Consciousness And Intention...................................................................................................................... 36 Intentional Design In The Electromagnetic Spectrum.................................................................................... 38 Energy Key....................................................................................................................................... 41 The Twelve Energy Bands Of Machu Picchu................................................................................................. 47 Summary Of The Twelve Bands.......................................................................................................... 48 Band 1 – Black.................................................................................................................................. 49 The Faces On Wayna Picchu............................................................................................................... 54 Band 2 – Infrared.............................................................................................................................. 56 Band 3 – Red.................................................................................................................................... 59 Band 4 – Orange............................................................................................................................... 63 Band 5 – Yellow................................................................................................................................ 67 Band 6 – Green................................................................................................................................. 69 Band 7 – Blue................................................................................................................................... 71 Band 8 – Indigo................................................................................................................................ 74 Band 9 – Violet.................................................................................................................................. 77 Band 10 – Ultraviolet......................................................................................................................... 80 Band 11 – White............................................................................................................................... 86 The Sound Room............................................................................................................................... 88 The Garden Of The Gods................................................................................................................... 88 Band 12 – Negative Green................................................................................................................. 96 The Great Puma Carved In Stone............................................................................................................ 99 Light, Form, And Shadows........................................................................................................................ 102 The Temple Of The Moon........................................................................................................................ 118 The Chakana........................................................................................................................................... 120 The Symbolism Of Tumi........................................................................................................................... 129 Healing Through Resonance............................................................................................................. 131 Personal Symbols.................................................................................................................................... 133 Machu Picchu Global Transformation......................................................................................................... 134 Bibliography............................................................................................................................................ 137

Unveiling Machu Picchu © Copyright 2006 Inayat Tal

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Introduction
The unveiling of Machu Picchu began on July 24th 1911 through the efforts of a young explorer named Hiram Bingham. Mr. Bingham was searching through remote parts of Peru for the legendary Inka stronghold of Vilacomba. Under the thick vegetation was a cultural and spiritual timecapsule. Since 1911 Machu Picchu has unfolded like a delicate flower as though guided by some unknown force. There is certainly an aire of romance around this exotic desination. But what lies below the tourist trappings of Peru’s most famous archeological site is more like a spiritual library. Pachamama is the Quecha word for Mother Earth. Today on Pachamama we are struggling to find our true identity. We are in a race to realize what it means to be human and to live sustainably before we pave the planet under our feet. Into our groping for higher consciousness Machu Picchu beams the wisdom of a forgotten people and almost forgotten planet. As a technological civilization we have at our disposal numerous innovations and conveniences. The pace of our inventions has gone from a crawl over hundreds of years to a very rapid rate since the early Twentieth Century. We have the Internet and virtual worlds of facts and figures at our disposal. The one resource we are short of is not to be found amoung the artificial electronic networks. We are tremendously short of spiritual wisdom. If all the world is a stage then into our current drama appears a surprise player in the form of the ancient Inka site of Machu Picchu. We have only begun to understand Machu Picchu from perspectives beyond the conventional views of history and archeology. Every year we begin to understand a little bit more about this special place. Each year brings not just scientific discoveries about ancient peoples but metaphysical realizations as well. We are just beginning to learn about the true sophistication of the peoples who existed long before the current Common Era. Machu Picchu stands out like a dusty old book in a neglected corner of a large library. The code is written in the text of sacred architectural and energetic languages that we have almost completely forgotten how to read. Yet within Machu Picchu’s pages stands some of the greatest sacred science that has ever existed anywhere on the planet. As we cannot solve our existing problems with old solutions we cannot gain new insights into Machu Picchu using conventional tools. This book presents you with keys that you can use to begin to unlock the spiritual design and function of Machu Picchu. These same keys were used in the creation of Machu Picchu, Ancient Egypt, and many sacred sites around the world. Some of these keys exist within the discipline of Sacred Geometry. Still more of these keys are threads within the great mystic traditions including shamanism and Sufism. What is presented for your use is a combination of keys assembled into a useful form to delve into why Machu Picchu is designed the way it is. Without the keys presented in this book it may have been possible to eventually reverse engineer the designs of the Inka. But it is better for us and for the needs of our time to have these original keys and templates and begin to recover the wisdom of the Inka here and now. We are perhaps the civilization most in need of the sacred knowledge that Machu Picchu possesses. It seems Machu Picchu has decided that the messages it holds now be read and passed along as spiritual food to the earth’s inhabitants and to our children. Our very survival as an intelligent, viable, and free civilization may depend on it. Through places like Machu Picchu we realize that Pachamama is telling us to learn the wisdom of living in harmony. Machu Picchu conveys an immense vision of the workings of life, energy, form, light, and shadow. The bulder’s of Machu Picchu knew how to build sacred architecture that harnessed divine spiritual energies and to integrate these energies into spaces for ceremony and everday living. Machu Picchu also shows us evidence of transdimensional architecture. Machu Picchu is a sacred Andean masterpiece. Using the keys to Machu Picchu we can examine each detail of Machu Picchu realizing that this place is an Unveiling Machu Picchu © Copyright 2006 Inayat Tal 3

energetic hologram anchored in stone. It is within the sacred zone of information just beyond normal perception that Machu Picchu requires we send our focus and intention. Walking down this sacred path a short way we realize that this alchemical path that Machu Picchu is speaking to us about is the path of the heart. Part of our attraction to Machu Picchu is the scope and immensity of the wisdom we sense it holds. Our attraction to places like Machu Picchu is confirmation that there is something they have that we need. Machu Picchu stands as a beacon of spiritual wisdom to a civilization in great need. Ultimately this book will show you a new way to view Machu Picchu. Machu Picchu is an energetic Rosetta stone showing us how to design sacred sites according to energetic design principles. The energy keys and overall approach used in this book may be applicable to hundreds of other sacred sites. Only time and more research will answer that question with certainty. There are many other sacred sites that show clear evidence of engineering according to similar energetic principles. My work within these pages builds upon years of cross-disciplinary study. For the past few decades I have ventured into many areas of study such as native and mystic cultures and the use of energy in healing and design. I can now view the twists and turns in my own spiritual journey as having been a journey through a spiritual bazzar adding all the pieces into the story that can now be presented here. Machu Picchu represents a marvelous starting point for my writing as it too embodies a unique combination of many of these disciplines I have been studying into a compact and compelling story. This current writing would not be possible if not for some groundbreaking work by the people of Peru. In the past few years many groundbreaking writings have sought to understand the wisdom of native peoples beyond the standard archaeological framework. Carlos Milla Villena in his book Genesis de la Cultura Andina opened up a flood of deeper thought into the history of the Andean culture. Fernando Elorrieta Salazar and Edgar Elorrieta Salazar in Cusco And The Sacred Valley pioneered an ability to read the landscape of the Inka Sacred Valley. As you will see it is this book and it's ability to read the sacred landscape that seeded many of my own ideas. It was the writing of the Salazar brothers that assisted me in questioning whether a rock is really just a rock. And one of the big keys is that at Machu Picchu no rock is placed accidently. The crystalization of the vision for this book occurred in December 2005 when I took a class on BioGeometryTM taught by Dr. Robert Gilbert. In seven days Dr. Gilbert presented a wide range of topics from sacred geometry and architecture through the French Radiethesiests to the current BioGeometryTM work of Dr. Ibrahim Karim of Egypt. It was during a presentation from Dr. Gilber of energy keys and how the flow of energy changes by passing through an object that I instantly understood the application of the energy key concept to the design of Machu Picchu. It was in that class that I knew I had a key to decipher and understand how the sacred architects of Machu Picchu designed every aspect of the city with its own specific function. It was sitting during that class and looking at the drawing of the energy key that the fertilization for this book occurred. Now I can say that I have measured the energies at Machu Picchu and found them matching the theoretical correspondences of the French Radiesthesists and of a Russian Radiethesist named Enel. The ideas here will challenge many of the assumptions made by researchers and writers from the West who are versed in the traditional archeological and scientific methods. My conclusions refute the view that the Inka were by any measure a primitive people. The energetic evidence makes it difficult, if not impossible, to believe that Machu Picchu was just a retreat house for the Inka king. It was during my return to Machu Picchu in 2006 that I spent five days onsite verifying my theories. I took notes, energy readings, and over 1600 photographs in the visible and infrared light spectrums. On my return from Peru there were hours of post-expedition photo viewing, especially of the infrared photographs and the spectacular messages they hold. This was accompanied by countless hours writing and fermenting the vision of this book. After months of detailed research I have realized that the Inka have something unique to say to us within this book about how to approach their wisdom. There could be a tendency to get stuck on the technical aspects of the energy and layout of Machu Picchu and just view it as intelligent design. But I have come to understand that the secrets of the Inka are not about ‘figuring out’ how the universe works. The way of the Inka is a way Unveiling Machu Picchu © Copyright 2006 Inayat Tal 4

of relationships. If we try to use only our rational minds to figure things out we will never be able to interact with the deeper mysteries that the Inka voyaged. But if we use our hearts to enter deeply into relationships with the Great Mystery of the universe then the secrets unfold before us and indeed within us. This book is not just an energetic analysis of the layout of Machu Picchu. The presentation here is to explain enough of the engineering involved to provide an intellectual context that supports the experiential part of this exploration. My intention is to present the information in a way that supports you in your own orientation to the ways of the Inka. If this book is successful you will not only see what the Inka were doing; you will experience it. The responsibility to the reader is to also seek first the human experience of Machu Picchu. If you take these words as just information or some method then you will miss the majority of the message. But if you first try to be in alignment, attunement, resonance, and harmony with the Inka through this information then you will see something. Your heart will be active in your approach. This way of the heart is the way of the mystic. This is the way of the Inka. It is also important to realize that the information and exercises in this book can be of great value to you even if you never visit Machu Picchu. The human heart is able to make connections to people, places, and things regardless of our perceived distances of space or time. The domain of the heart allows us to make connections that are as well, and sometimes more real, than physical locality. If you are willing to approach Machu Picchu through this book with sincerity then you can receive many of the same energetic initiations as those who use this as a guidebook during a visit to Machu Piccu. This book is a testament to the wisdom of the Inka and a salute of great thanks to their descendants. May we have the courage to join together to create a new world constructed of spiritual love and light. This time of transition is the genesis and appearance of a new species called ‘Homo Luminous’1. It was with these perspectives in mind and accompanied by a great sense of purpose that this book was undertaken. I had taken my first trip to Peru and Machu Picchu with a group of energy healers in April 2005. Machu Picchu had been a kind of personal obsession for over a decade. When I finally had a chance to go it was a very simple decision. On this first trip we had two days at the site itself. Although to me this was a short visit it was long enough for to realize that I was experiencing something that had a very profound meaning for me. At this first visit to Machu Picchu half of my group of twelve made an early morning ascent to the top of Wayna Picchu. A life dream had been accomplished. And the views from Wayna Picchu were truly spectacular. During this same stay in Aguas Calientes, at the base of Machu Picchu, a local Andean priest, Adriel Garay Dales, gave me a coca leaf reading. I remember in great detail how we sat together at a square table with a green tablecloth in the mostly empty dining area of the hotel my group was staying at. Adriel had already worked with Andean high priest Adolfo in leading us through a despatcho offering in Tipon and at Machu Picchu. A despatcho is a beautiful offering to Pachamama (Mother Earth) and other Andean deities. A despatcho is also a spiritual and practical execution of art, devotion, and meditation, which when completed is literally folded up into a beautiful package and then usually burned as an offering.

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Alberto Villoldo Unveiling Machu Picchu © Copyright 2006 Inayat Tal 5

Illustration 1: The Despatcho Prepared By Adolfo And Adriel At Tipon In 2005
Sitting with Adriel within this unassuming hotel at the base of Machu Picchu in Aguas Calientes town he proceeded to take a handful of carefully selected coca leaves. In the Andes coca leaves are amoung the most sacred plants that exist. They have so many uses both spiritual and practical that it is suprising how some countries outside the Andes view coca leafs through misinformed cultural glasses. Coca leaves are seen as gifts from the Creator and Pachamama. They provide beneficial nutrients and support the physical energy needed to live and work at the Andean high-altitudes. Sitting at the table of my coca leaf reading Adriel said a few prayers and then asked me to blow on the coca leaves. Then he proceeded through a series of rounds of gently tossing the coca leaves onto the table. After a second he would speak about a certain area of my life and what to expect. The insights the coca leaves gave Adriel into my life, and my future, were amazing. One of the things that Adriel said that caught my attention was that the Andean gods wanted me to return to South America. He said that the message to me was that I would be a famous author and would be sponsored by others to travel and teach the knowledge I would be given. It was at this encounter that the seeds of this book were firmly planted in my being. I knew at that moment that the two days at Machu Picchu in that trip would not be enough. I had to return prepared to write the book. I was not really clear at that time what the content of my first book was to be. But this book you are reading now is the result of a serious of fortutious events highlighted by the coca leaf reading of that day. That trip in 2005, and especially that coca leaf reading, was my call to Machu Picchu.

Unveiling Machu Picchu © Copyright 2006 Inayat Tal

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Illustration 2: The Author And Adriel During A ‘Chance’ Encounter At Machu Picchu In May 2006

Unveiling Machu Picchu © Copyright 2006 Inayat Tal

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The Call Of Machu Picchu

Illustration 3: Machu Picchu
In what we call the ‘past’ hundreds, perhaps thousands, of Inka adepts created an energy field sustained by consciousness existing beyond time. One of the most profound places that this encoding was placed it at a site named Machu Picchu. Stepping out into the grounds of Machu Picchu is like awakening within a dream. The stone structures are so foreign and yet so familiar. Shrouded by clouds and great mystery Machu Picchu stands as a mystical enigma. Millions of people around the planet are intrigued by the beauty and mystic aroma of this small set of buildings hidden away in the Andean mountains of Peru. Each year thousands of people visit the ruins 2000 feet above the Urabamba River and 9000 feet above sea level. The views at Machu Picchu are more spectacular than can be conveyed in photographs. No one who takes in the beauty and awe of this sanctuary leaves Machu Picchu disappointed. For most people a trip to Machu Picchu is the trip of a lifetime. The site of Machu Picchu recalls the romance and adventure of a civilization more closely aligned to cycles of the Earth. The mountain ridge that Machu Picchu straddles is at once quaintly small and yet vast in its grandeur. You could easily walk through the main areas of the compound in a few hours as most people do. But you could also spend days communing with a resonance the Inka left behind. Truly when the cloud mists enshroud Machu Picchu it is difficult to not drift with her away somewhere else in time and space. Machu Picchu embodies elements of intrigue that peek out from the veneer of an exotic tourist destination. The site is remote and surrounded by mountains on all sides. Winding far below Machu Picchu is the Urabamba river who's roar can be heard at both the east and west edges of the site. The trip to Machu Picchu typically requires a recipe of different types of transportation including train, bus, and foot. Spectacular views, rapidly changing weather, ancient architecture, roaming llamas, and a sense of serenity provide a feast for the senses and the mind at this magical place.

Unveiling Machu Picchu © Copyright 2006 Inayat Tal

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Illustration 4: Looking out of a window near the Intiwatana
Machu Picchu was kept hidden from the Spanish during their conquest of Peru and much of South America. The religious zeal of the Conquistadors, supported by the Catholic Church, was to eradicate Inka sacred sites, places of 'idolatry' and 'devil worship'. Inka temples were torn down to their foundations and rebuild as Cathedrals. Today we have few examples of the grandeur of Inka spiritual architecture. Machu Picchu represents one of those rare jewels. Machu Picchu's remote location helped to save it for our generation. The rediscovery of Machu Picchu by Hiram Bingham in 1911 is like a sacred seed that lay buried for nearly 500 years that now emerges brining the Inka energy back into the world. There are a number of indigenous spiritual traditions that have survived from the time of the Inka Empire. The tradition most written about today is that of the people named the Q'ero. The Q'ero live high in the Andes of Peru at 14000 feet and escaped large-scale contact with the Conquistadors. The anthropologist Oscar Nunez Del Prado made contact with some Q’ero during a festival in 1949. The Q'ero held a prophecy of a 500-year period of darkness called a pachacuti. The Quecha word pachacuti means ‘the world turned upside down’. Certainly to the people alive at the beginning of Pizzaro’s conquest in 1531 the world turned from light to darkness. Many tribes in the Americas foresaw the coming of the Eurpopeans. Lakota shamans had seen the coming of the white people and uprooted their people from the Great Lakes areas in North America to migrate and become one of the most adept horse cultures of the Great Unveiling Machu Picchu © Copyright 2006 Inayat Tal 9

Plains. It is very interesting that Hiram Bingham rediscovered Machu Picchu often called a ‘City of Light’ in 1911 as this Inka defined 500-year period of darkness was ending. There is another aspect of intrigue that comes into play when viewing Hiram Bingham's rediscovery of Machu Picchu within the wider scale of Native American cultures. According to the Mayan Calendar, the rediscovery of Machu Picchu occurs approximately 100 years before the turning of a great cycle around the year 2012. From a metaphysical viewpoint the wisdom and secrets of Machu Picchu have appeared at this time to assist humanity with a great leap forward in consciousness. Machu Picchu is a mystical message in a bottle. The site has a treasure trove of spiritual messages in a beautiful and complex container. Every inch and angle of the original construction holds active sacred knowledge. As you will see Machu Picchu is a fully functional library actively expressing knowledge and wisdom left by the builders for their people and ours. Machu Picchu is a container of spiritual technologies and ‘machines’ that still function for us today if we know how to interact with them. Most pre-Western cultures had people who operated as the experts in the spiritual realms. These learned men and women were called amoung other names the shamans, healers, bards, sangomas, medicine men, or priestphilosophers. The wise ones in the Inka culture were called the Amautas. The particular people involved in building Machu Picchu would have been the high initiates of the Inka priesthood that would have included a number of the Amautas. High spiritual initiates constructed Machu Picchu to serve multiple purposes. First, Machu Picchu expresses the spiritual wisdom accumulated by these learned people and their spiritual lineages. Second, Machu Picchu forms a spiritual crucible for the personal spiritual training. When we travel to Machu Picchu today we often have interesting mystical experiences because we are passing through this spiritual university. Third, Machu Picchu anchors high dimensional harmonics into the earth as a kind of spiritual electrical substation. At Machu Picchu and other sacred sites high spiritual energies are fed into the earth and broadcast out to all life on earth. We are attracted to Machu Picchu because it is a functional site of conscious spiritual technology. Machu Picchu clearly embodies characteristics that make it a machine for the transformation of consciousness. When we talk about spiritual energies, indeed any energy, we are not talking about a dead abstract force. Spiritual energy like all energy is consciousness. You cannot separate consciousness and energy. The electricity running through your dwelling is not a highly organized form of consciousness but it is still a form of consciousness inherantly. Machu Picchu was created by an advanced consciousness feeding a culture that processed knowledge of the energies of existence. Machu Picchu shows the use of these energies for the healing and transformation of consciousness. Individual features of Machu Picchu provide for personal experiential healing of individual human beings. But as a whole Machu Picchu is as a functional beacon transmitting the energies of conscious enlightenment to the world. Machu Picchu at scales both micro and macrocosmiscally is a reflection of our higher selves expressed in organic spiritual architecture. From the spiritual perspective in order to understand or interact with something you need to harmonize and resonate with it. At a certain point in personal spiritual development you become aware of the rhythms of the cosmos. Once you are aware of your own awarness of these cosmic energies then information about reality and how to interact with it in sophisticated ways comes pouring into your consciousness. Through other sites like Caral we know that Andean civilization was very organized even 5,000 years ago. Western culture has been trying to reach a kind of ascendancy apart from and over the earth by literal brute force. We have learned how to be very organized in the abstract and we have refined our capabilities of logic and physical prowess. The real doors of perception and self-mastery using the sacred energies that empower the cosmos can only occur when the human mind is aligned with the eternal rhythms within and around us. The Andean peoples may have been on a fast track to civilization and spiritual understanding specifically by avoiding the kind of superiority complex that is so much a part of Western individualism, dominance, and culture. Indeed at Machu Picchu exist avenues for spiritual growth that are not at all part of modern culture. All evidence indicates that various modes of direct experience are essential to realize the sacred. Direct experience rooted in the warm humility of a thankful and loving heart is a foundation of the mystical experience. Western society having materialized and externalized what we see through the cold filters of our mind leaves us feeling Unveiling Machu Picchu © Copyright 2006 Inayat Tal 10

cut off from reality. The Inka culture demonstrates people in harmony with the many energies and sublime forces around them. Indeed the Andean perspective is that we live on the skin of and feed from the breast of Pachamama. The Sun Father watches overhead providing warmth and energy for everything we need to grow. The rain blesses us with water for drinking, bathing, irrigation, and play. We look to the hummingbird as a sign of the joy of spirit. This perspective is achieved when we first realize our place in this grand family of life. This is a vignette into the earthy yet spiritual radience of the people of the Andes and indeed much of South America. There are many similarities between the Inka and other solar cultures. Like Ancient Egypt the spiritual harmonization of the Inka attunes itself both to terrestrial and solar consciousness. The Andean psyche associates various animal archetypes with the internal progress on the spiritual path. In Andean culture three animals typify the three worlds. The serpent represents the lower world. The puma represents our middle world. The condor represents the upper world. These power animals also represent mastery over that world. Any developing spiritual culture and individual persona must first deal with the energies at the level of the serpent. The serpent’s expression of the divine is not as much limited as it is foundational. In another deep Jungian aspect the serpent symbolizes our undulating DNA. Shamans who drink the Amazonian Ayahuasca psychedelic tea report the serpent as a common motif in their experiences. The Ayahuasca vine itself is shaped like a serpent. The serpent has also been recognized by the Andean people to symbolize the untransformed ego. The serpent is consciousness at the level that crawls upon the ground. Viewed from this aspect a serpentine conscousness is reactive and has not achieved mastery over self. Once we learn both our strengths and shortcomings we usually question our place in the world. This inner reorientation usually comes in the form of a mid-life crisis, dark night of the soul, or other spiritual emergence. At this point we typically commit ourselves to the spiritual path. A process of inner refinement is often accompanied metaphysically by activation of the kundalini life energy that also follows the serpent metaphor. When our personal transformation has begun we learn how to use the basic serpent level energies to empower our lifes path. Often we find that when the spiritual life has begun in earnest then we immediately want to take up our wings and fly like birds or angels. A sense of breaking free from the gravity of mundane life unlocks our imagination and opens immense possibilities for personal growth. Our inner spirit often compels us to undertake spiritual pilgrimage to the ocean or to the mountains. Our hearts long to more fully manifest a breaking free of the constraints of life as we have known it and to seek reunification with the spiritual essence of all things. In the Andean worldview this is the realm of the Condor. The Condor soars high above the earth communing with the Creator Wiracocha. To the Maya and Aztecs this union of serpent wisdom and life force combined with the wings of flight to become respective interpretations of the same spiritual forces of Kulkulcan and Quetzalcoatl. Quetzalcoatl is the rainbow colored flying serpent. The spiritually refined personality finds the way to harness the energies and experinces of living upon the earth in order to take flight to the higher spiritual domains. Today we are witnesses to the return of Quetzalcoatl both individually and collectively. The sacred mythic tones of the past are being sounded again in our time. In the Inka spiritual domain it is the puma that resides in and represents this middle world that we live in. Egyptian symbols like the Sphinx and Sekhmet convey the power of the divine feminine to empower human life. The goal of the human spiritual life is not to escape from the earth. The goal of the human spiritual life is to be a living and breathing human expression of the divine being. It is this transformed personality that the puma represents. To become a puma you must observe the reactive ego and gain mastery over it. Reforming the ego is an act of love, not just power. It takes the courage of the puma to see the shortcomings of self and others and still walk with an open heart. In a certain sense the puma is another way to view Quetzalcoatl the winged-serpent. The earth body joins with the winged inspiration of the heavens to form a divine being that walks upon the earth. This refined puma person is called a ‘Puma Runa’. The repeated iconography of the puma in Inka architecture emphasizes the importance of living as a divine lion-hearted human being. It is the puma, which integrates the Mother Earth (Pacahamama), Sun Father (Inti-Taytay), and all things, into heart of the truly divine human. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 11

It is at this integrated stage in spiritual development that the puma person can stand as a divine solar initiate. Just as the Sphinx that stands next to the pyramids in Egypt the puma person stands on the earth being attunded daily to the presence of the divine solar being as their self. The Buddha and the Christ said to take the middle way. The Inka say the same thing. To live as a divine puma person on the earth is to balance all the energies of the universe while walking in the flesh. There is a divine mission to be accomplished by those who walk in this manner. These beings are the puma people, the modern Inka within our midsts. All spiritual lineages encode the subtle bodies of their initiates with specific information related to the function of that group. The codes of light committed to the Inka lineage are expressed through Inka knowledge and sacred sites like Machu Picchu. The same storehouses of Inka light, knowledge, and wisdom are sitting now right in front us. Places like Machu Picchu resonate with Inka consciousness in sublime and active ways. The Inka sites were designed, visited, and inhabited by great spiritual initiates. The built-in sacred geometry and architecture, some of which is very concealed, formed a resonant container to hold cosmic energy and the spiritual energy of the Inka. Places that have additionally been engineered as premier sacred living machines, like Machu Picchu, possess the added benefit of having been formed as explicit conductors of the highest spiritual energies known to the Inka. It is not an exaggeration to say that when walking through Machu Picchu you are walking in the footsteps and within the community of the advanced spiritual beings who have lived there and continue to exist at this site. Conscious awareness at Machu Picchu plugs you into the same divine informational matrix that exists beyond time and space. Machu Picchu is a sacred library that is supercharged through sacred geometry and architecture. If you walk through Machu Picchu with awareness you can have a very deep experience at many levels. But you will get more out of your experience if you use both your mind and your heart and tune into the information that is there. It is one thing to undertake a trip to a sacred site as a tourist. It is a completely different experience if you travel as a spiritual pilgrim expecting that your trip will have a significant outcome from the very beginning. This amount of consciouss awareness and gentle expectation is one key to experiencing sacred sites to full advantage.

Unveiling Machu Picchu © Copyright 2006 Inayat Tal

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Origins, Fate, and Future of the Inka
The origins of the Inka are shrouded in the mists of time and legend. The oldest and largest cultural centers in the immediate region are those of Chavin de Huantar in Peru and Tiwanaku in Bolivia. At Chavin de Huantar, 250km north of Lima, the open courtyards present motifs of serpent figures. Grand plazas were built to sensationalize sound and imagery following threatrical scale and effect. Chavin has underground passages and a very interesting monolith called the Lanzon. It is likely that this culture, 1000-200 BCE, incorporated the etheogen cactus San Pedro into their ceremonies.

Illustration 5: Lake Titicaca Legendary Origin Of the Inka People
But it is to the southeast of Cusco, at Tiwanaku, in Bolivia, that the genesis of the Inka seems to be rooted. The culture and megalopolis of Tiwanaku, near La Paz, from before 200 BCE until 1000 CE teemed with an organized population on and around the shores of the mystical Lake Titicaca. Within the Tiwakanu Cosmovision it is Wiracocha, the weeping God holding staffs, which guided all aspects of daily life. There are numerous similarities between Egyptian and Inka cosmologies and we will touch lightly on a few of them. Taking Wiracocha, the weeping God, there is a similar myth from Egypt that states that human beings have been created from the “tears of God.”

Unveiling Machu Picchu © Copyright 2006 Inayat Tal

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I llustration 6: Weeping God From The Gateway To The Sun At Tiwakaku

The Tiwanaku society collapsed around 1000 CE and the entire area underwent a time of incubation as if waiting the arrival of the Inka some two centuries later. Some theories suggest that the Inka, along with their empasis on the sun, Inti, began as a small religious cult from the Island of the Sun in Lake Titicaca. Other authorities believe that the people who became the Inka were the elite from the Tiwanaku civilization who fled northeastward towards Cusco. Carlos Milla Villena points to evidence showing an orderly migration of the Inka people from Tiwakanu through an almost exact northwest line to and beyond Cusco in a shape following a pattern of the Andean Cross, the Chakana. It is with Manco Capac, the first Inka Emperor, and his sister-wife Mama Ocllo that the stories that are truly Inka unfold. Whether these two founders traveled alone or as a group of four brothers and their sister-wives is uncertain. It is through a mythic pilgrimage that the Inka ancestors traveled northwest to found their new home the city of Cusco. In one story it is a golden staff, given directly by Wiracocha, which sinks into the ground and signals the finding of the Inka Promised Land. Students of mysticism and magic will recall that staffs of specific lengths are tuned to specific functions. From the beginnings of the Inka we are shown signs that the Inka appear with a deep knowledge reminiscent of other mystical and magical traditions. Starting from the mythic Inka foundations it is the historical emperor Inka Pachacuti who forges the region into a functioning empire. It is Inka Pachacuti who solidifies, organizes, and unifies the inhabitants of the Inka lands into a cohesive nation state. We may never know for certain how much of what represents the Inka culture was created directly by the Inka and how much was inherited and later refined. The Inka strategically made alliances with the peoples they annexed. The leadership of the conquered peoples were schooled at the capital in Cusco and shrewdly given important offices within the empire. Inka pottery, weaving, waterworks, and stonework are famous and distinctive in the intricacy, utility, and general design. It is likely that the Inka stonework is one of their unique Unveiling Machu Picchu © Copyright 2006 Inayat Tal 14

refined contributions among their many skills. There are indeed stories that say some parts of Cusco such as the grand stone works above the city, called Saxaywaman, were already in place when the Inka arrived. Perhaps even some of the main streets in Cusco were already in place before the arrival of the Inka. These are details we may never know conclusively. But it is clear that academic discussions cannot easily justify the use of ropes and pulleys to explain away the skill of the Inka. Most of what the Inka were really doing is still hidden from conventional science. Like an unfolding flower the spiritual mysteries are becoming more aware to us. The fate of the Inka is a very sad story. Disease had crept inland ahead of Pizzaro's men. A civil war between the royal princes Huascar and Atahualpa had torn the empire apart. It is within these conditions that a scruffy band of 180 men, 1 cannon, and 27 horses, set the stage to overthrow an empire. Part of the Inka vulnerability was in their legends of Wiracocha. Whether Wiracocha was an individual or a collective people is uncertain. Wiracocha was thought to be fair skinned and sporting a beard. Something the Spaniards had in common with the legend. The Inka also felt it incredulous that the Spanish would attempt to harm let alone dethrone the Sapa Inka Emporer. But as most tragedies would have it bad went to worst and the Spanish unleashed a conquest of destruction of sacred sites and sacred quipu knotted string records, rape, torture, murder, and other behaviors at the forefront of the most brutal forms of colonialism. The invaders had brought the ignorance of their own age of darkness with them. They destroyed a civilization whose greatness they could not even begin to understand.

Illustration 7 Inka Quipu Knotted Record
It is a tribute to the current people of the Andes that their ancestors passed through this time of darkness, this Pachacuti, awaiting the return of truth and light to their world. Even as the rubble was being cleared, bodies buried, and flames extinguished, there remained a light in their ancestors’ hearts. There also remained a vast number of things hidden away from the conquest. It is these living remnants, the Andean people and the sacred sites, that are the beacons and keys of light for us today. For the benefit of Western readers it is appropriate to dispel some myths that have been at the core of at least the European academic mindset. This has to do with the stance that any civilization that did not have written records was somehow more primitive that those that possessed writing. This matter of writing has historically been used as proof of the superiority of the ‘discoverer’-invaders. It has also been used by over five hundred years by European interests to attempt to justify both conquest and colonization. Specifically regarding the Inka our science is at a loss to understand with certainty the function of the quipu knotted records. In the original zeal of the conquistadors, under the direction, or at least complicity of the Catholic Church, all things the Spaniards did not understand or could attribute to the ‘devil’ were destroyed. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 15

Thousands of quipus across the Inka Empire were gathered and burned. Similar tactics were employed against the Mayan and Aztec and today we have less than half a dozen Mayan and Aztec codices intact. Although the Mayan culture appears to have had more extensive use of pictographs, a Mesoamerican version of hieroglyphs, both Central and South American cultures employed visual symbolism. Alternative pioneering Egyptologists such as R.A. Schwaller de Lubicz and John Anthony West have made it clear that stone structures are engineered containers of sacred information. Parallels showing that Inka architecture also possesses sacred information are just now being re-understood. The actions of the conquistadors to destroy a civilization went beyond overthrowing the government and installing their own. The invaders turned the Inka world upside down. Anything to do with the old ways was gathered, burned, and pulverized. Along with the outward destruction is a long reverberation, a dark wave, which lasts hundreds of years, in which the accumulated knowledge and wisdom of the Inka culture was also reduced to the fragments we have today. When we speak of crimes against humanity we usually refer to actions that have affected the victims and their immediate families. But how you can qualify, let alone justify, crimes that reduce the knowledge, wisdom, and richness, of humanity for hundreds of years? It is only in the past few decades that native peoples around the world have begun to get their voice back and been allowed to practice the old ways that have been carried down person to person all these generations. Let us return to the concept of writing, or the lack thereof in a civilization such as the Inka. For now assume that the quipus were the accounting tools of the Empire. Let us also assume that much of the transfer of knowledge was done verbally and through song. These patterns fit with what we can understand from other societies that live closer to the earth than we do. Establishing these minimums of knowledge storage and transfer is there anything else that can be forms of records of civilization beyond pottery fragments, jewelry, weapons, and the kind of artifacts you see in museums? There are at least two areas and mechanisms the Inka are likely to have employed. William Burns Glynn has studied the designs on the textiles woven and worn by Inka nobility. Mr. Glynn believes that the geometric patterns in Inka textiles represent a form of encoded geometric language. Mr. Glynn’s 1990 book Legado de Los Amautas (Legacy of the Wise Men) discusses the system he has decoded. So we have a strong possibility that the Inka had encoded information we would ascribe to writing in at least another graphic form that was worn perhaps as a living testament to the message woven in the threads of their garments. This view begins to open up the possibiltiies that the Inka encoded information in mechanisms that are foreign to us but not inexistant.

Illustration 8 Inka Roca wearing textile patterns as drawn by chronicler Waman Puma
Unveiling Machu Picchu © Copyright 2006 Inayat Tal 16

There is yet another realm of Inka knowledge that has been missed by both the conquistadors and by modern science. That is the realm of metaphysical knowledge. Suppose a visitor to our civilization did not understand radio waves. You could tell them that there are volumes of information in the air in front of them. Everything from television broadcasts, conversations on cell phones, and reams of electronic information accessible on wireless Internet connections. None of this information is written down. If your visitor only understood writing and saw no writings they may assume that your civilization is very primitive. There is a similar question that is used by thinkers in metaphysical circles that goes something like ‘What is the sign of a greater civilization, one that possesses great starships able to travel the galaxy, or one which is able to travel the galaxy without those ships?’ A civilization that must utilize matter and energy rather than consciousness to achieve its goals is certainly less advanced and relatively more primitive. Our culture assumes that the path to the stars lies through space ships. But beings able to travel without UFOs are move advanced than anything that may have occurred at Roswell. Assume for a moment that most of what the Inka civilization was about was unseen and recorded using techniques science cannot currently measure. Our Western civilization has become so material that nonphysical recording would be incomprehensible. Popular culture has viewed other cultures with ‘only’ a spoken tradition and no writing with disdain. But we don’t hold open the possibility that a specific cultures non-use of writing, or other technologies such as the wheel, is an intentional act. I won’t go so far as to say that telepathy was common for the Inka but anyone can understand that communication from mind-to-mind would have little use for writing and somewhat less for talking. The lack of written communication for the Inka, rather than proving their primitiveness, strongly implies that their world, their experience in life, did not require writing. As we will see later the design of Machu Picchu convincingly says that the consciousness of the Inka, at least some of them, extended into planes of existence well beyond what we would call the physical. Machu Picchu proves that the Inka knew reams about energetic fields and solar and cosmic phenomena both in the physical and metaphysical realms. We know from the descendants of the Q’ero people of Peru that they possess knowledge of sophisticated interpersonal and transpersonal energetics. Machu Picchu encodes this type of energetic information and more into actual physical structures If, as is suggested, the Inka civilization utilized information beyond the physical and had a great deal of their consciousness plugged into higher levels of information, then what would someone with no experience of these higher levels of consciousness, such as a conquistador see and do? The invader would surely assume that although seeing that the Inka had lived with order and dignity, they were surely an ignorant people. Being in relative darkness of material consciousness themselves the invader would perceive nothing of the true spiritual essence of the people they were invading. Any structures, artifacts, or phenomena of the people that the invader witnessed being beyond their own understanding, would immediately be labeled as works of the devil, and destroyed. In this manner you have the irony of the spiritual darkness of the European invader unable to perceive the spiritual light of the Inka culture. The Conquistadors lust for gold, fame, fortune, zeal for subjugation, worked hand in hand with the presumed ideology of divine commission. What you have playing out are the materialist and religious memes of the West carried into South America, and indeed out from Europe, like a virus. This was literally illustrated by smallpox and other diseases spreading energetically ahead of both Cortez’s men in Mexico and Pizarro’s men in Peru. The spiritually dark memes brought from Europe in 1492 slowly and systematically spread by disease and conquest to almost fully quench the spiritual light in the American civilizations. During 1492-1532 CE the world turned upside down. A pachacuti of 500 years of darkness had begun. Fortunately for everyone this pachacuti is ending in 1992-2012 CE. The rediscovery of Machu Picchu occurs just as the pachacuti of darkeness is ending. The wisdom of the builders of Machu Picchu, of the great Inkas, now begins to speak to us again. And the really interesting possibility is that the 500 years of the pachacuti saw not the end but just the suspension of the Inka Empire.

Unveiling Machu Picchu © Copyright 2006 Inayat Tal

17

Pachacuti: Andean Cycles Of Time
The Andean prophecies about the return of the age of light are tied to the concept of a ‘Pachacuti’. Pachacuti is usually translated as the world turned upside down. Andean sources have pointed out that the arrival of the Europeans to the Americas represented the beginning of a Pachacuti, a period of 500 years, of darkness. The concept of Pachacuti points to the widely held aboriginal cultural concept of viewing time as a cycle. In the West we generally view time as being linear, start, middle, and end. Most earth-consciousness cultures viewed time, and most of the functioning of the universe, as being circular. The Pachacuti function as alternating time periods of relative spiritual darkness and relative light. These Pachacuti depict the tendencies for spiritual light to be more free, or more constrained, to influence mankind. Even in our language we are challenged to describe the modulation that the Pachacuti provide. In the Hindu religion the movements of the expansion and contraction of the universe are viewed as the inhalation and exhalation of Brahama. Higher spirituality tends towards a unification that is beyond the dualities of light and dark, good and evil. When discussing these periods it is important not to apply our cultural filters to these periods. Instead of alternating periods of absolute light and darkness view these periods as phases of the moon. These periods are the dance of revelation and integration, of expansion and concretation. In the periods of ‘light’ there is new spiritual information that propels consciousness forward. In the periods of ‘darkness’ there is a period of integration. This cyclic alternation mirrors the change of the four seasons. The light of springtime brings growth that matures over the summer. From the growth of summer the seeds of autumn are sown which rest below the soil during the winter. In the West the challenge for us is that our culture has removed us from the normal relationships with the earth that our passage through these time cycles produces unintended side effects. These side effects are most evident in the integrative or ‘dark’ periods. During an integrative ‘dark’ cycle earth-based cultures are generally venturing inward and concretizing the wisdom of the previous light cycle through art, music, and mythology. Because our material civilization is not standing in a correct relationship with the earth there is a shadow aspect of ourselves not properly aligned or expressed during the ‘dark’ phases. When our culture enters a dark period of the time cycle we tend towards the lower drives of fear and warfare. The isolation we find ourselves in comes from cutting off our recognition of or encounter with the irrational and mysterious forces of nature. For instance how many adolescents today reaffirm their relationship to the earth and the community by undergoing rites of passage? Increasingly in Western socities nineteen or twenty year olds, especially young men, create their own psychic transitions that appear to be temporary psychosis. Who in our culture can tell these young people that they are undergoing a psychic reorientation rather than just having an acute chemical imbalance to be treated invasively with foreign chemicals? At a time these young people most need ceremony and community support we drug them and temporarily commit them to mental wards. The psychic and sacred do not exist easily within the clinical and larger scientific nomenclature. Due to our fragmentation and separation from the sacred in Western society the least desirable behaviors tend to be exhibited during the time cycle dark phases. In written history these recurring phases tend to be times of profilic or global strife, warfare, and ignorance. But these side effects are not a function of the time cycles but of our dis-integrated cultural psyche. So keep in mind as we talk about the time cycles that the dark periods are not inherently bad. It is our culture that reacts badly within them. In terms of the Native American cultures the year 1492 is often used as the start of a great and severe time period of darkness. This would mean that the year 1992 was near the ending of the time of darkness and the resumption of a cycle of light. To add precision to the beginning of the Pachacuti of darkness we are now leaving we may want to adjust the current Pachacuti starting year. If you take 1492, the landing of Columbus, and 1532, the Landing of Pizarro to conquer in the Inkas, you have a total of 40 years. The middle of this 40year period is 1512. And not coincidentally if you add 500 years to 1512 you obtain 2012. The year 2012 is a pivotal year in the Mayan calendar as the beginning of a new time. From these set of markers 1492 was a precursor to the Pachacuti. According to the Q’ero it was August 1st 1993 that marked the end of this previous pachacuti cycle. To them this current time marks the entry into the next cycle of light called the taripay pacha. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 18

This is the cycle of ‘returning to ourselves’. The Q’ero point out this is a time of opportunity not of guarantee of spiritual development. In the Andean view of time these periods of light and darkness follow one another. Even beyond the Andes there are numerous time cycles with the Mayan Calendar having another potentially fractal view of time. The magical thing is that the universe is so complex that multiple cycles can function all at the same time. There is not a single canonical time cycle that represents the single version of the truth. For the Andean time cycles we are examining we can assume a 500 year cycle which spans the time of the European discovery of the Americas until just before 2012. The relationship of these periods of light and dark should be natural and follow the example of the phases of the moon. So if we are leaving a 500-year phase of relative darkness then this implies that the greater time cycle is one that is 1000 years long. A complete pairing of a light and dark cycle, each 500 years long, comprises an entire light/dark cycle that lasts 1000 years before the next 1000-year cycle begins. Within a single 1000-year cycle you have one turning of the world from dark to light and another turning, or Pachachuti, of light to dark. Using 1512 and 2012 as nodal points in the transition from one zone to another we can come up with a relative map of time according to the 1000-year overall cycle.

Illustration 9 Hypothetical Mapping Of Years CE To The Andean Pachacuti Cyle Of Time

The direction of time flow in the Pachacuti time diagram is clockwise. At the 90 degree or 3:00 position you have the years 512 and 1512. This position associates roughly to the season of autumn or evening twilight. At the 180 degree or 6:00 position you have the years 762 and 1762. This season is winter and the time of day is midnight. At the 270 degree or 9:00 position you have the years 12, 1012, and 2012. This is the spring season and the time of day is sunrise. At the 360 degree or 12:00 position you have the years 262 and 1262. This area represents summer and the time of day is noon. There are a number of interesting correspondences to history that you can immediately see from this map of time. The year 1512 marks the change in balance of light from predominance of light to one of an increase of Unveiling Machu Picchu © Copyright 2006 Inayat Tal 19

darkness. The year 1512 is exactly in the middle of the landings of Columbus and Pizzaro. In 1520 Cortes begins the conquest of the Aztecs. By 1762, at the dark maximum of a long cycle of conquest and colonization, European governments have firm footings in both of the American continents. The first year listed in this Pachacuti diagram is the year 12 CE. This is a time of increasing light. Not coincidentally this corresponds to the childhood and ministry of Jesus Christ. The entire period through and past the top of the diagram in the year 262 CE mirrors a spreading of both Christian teachings and their general coexistence with the ancient wisdom of the mystery schools. A general decline of spiritual light is already apparent by 387 CE. Note that in 325 CE Constantine begins what Thedosius completes in making Christianity the official religion of the Roman Empire. It is in this period of the late fourth century and early fifth century that the ancient knowledge no longer finds a place in the new Christian governance and most of the ancient knowledge present in Europe is being destroyed. By the year 512 CE the seeds of the Dark Ages have begun. Following the Pachacuti map to the bottom at the year 762 CE there is an interesting development. Islam, with its symbol of the crescent moon, is established. Islam presents a haven for mathematics and other sciences to continue progressing while rational thought in Europe languishes. The year 1012 CE on the left of the map represents a reemergence of another period of light. Mahmud of Ghazhi has already begun a conquest bringing Islam into India. This fusion of cultures provides the creative seedbeds for the great Sufi mystics of India. The Eastern Orthodox Churches break away from the Church of Rome. Troubadours begin singing around Europe to help awaken the hearts of the people to the subtleties of life and love. One of the most interesting points on this Pachacuti circle of time is at the top near the year 1262 CE. The theory behind this Pachacuti circle of time suggests that areas near the top of the circle should be dominated by light and expansion of new growth. James J. Walsh noted the 13th century as the ‘Greatest of Centuries’. In Western society this period marked a final forward movement out of the dark ages. Universities, cathedrals, arts, and crafts helped lift Europe out of its doldrums. Philosophy and the sciences were once again stirring with the inputs of Thomas Aquinas, Roger Bacon, and their contemporaries. City hospitals were opened to heal the sick. Great libraries were established and books were put into circulation. Many old books were being reprinted. At this time the Arthurian legends and the Holy Grail appear to inspire peoples imaginations. Very notable on the way up to this apex is an event in 1215 CE. In the wake of the Norman Conquest the monarchy of England had consolidated power to the ire of the local noblemen. In a preview of events to unfold over 500 years later it was the issue of taxation imposed by King John that led the barons of England to revolt. The result was a document widely regarded as one of the most significant first steps to individual rights; the Magna Carta. This document, signed in 1215 CE, and reissued in 1216 CE after King John’s death, established a basic set of rights and freedoms for citizens of England. It is also during this time that the genesis of the Inka Empire occurs. Manco Capac, followed by Sinchi Roca, establish the Empire centered in Cusco. The Inka build upon the foundations of the earlier cultures to solidify a new dynastic society. What we consider as Inka is established and solidified as a culture and the beginnings of Inka imperial expansion. The thirteenth century is replete which historical events. Marco Polo reaches China. Various forms of Buddhism spread across Asia with some forms supplanting others. Ghengis Khan establishes the second largest empire in history. Islam also finds inroads within the Mongols. It is during the 15th Century that the Inka leader named Pachacuti Inka Yupanqui makes the greatest strides and expansion of the Inka domains. Pachacuti formalizes the governance of the region and rebuilds much of Cusco. His son, Tupac Inka, leads the armies around 1463 and expands the Empire north into Ecuador. It is ironic that from the ascent of Pachacuti Inka the glories of the Inka Empire have less than 100 years remaining before the arrival of the conquistadors. We now examine in greater detail the crossing from the area predominated by light to that of darkness that led to the collapse of the great American civilizations around 1523 CE. Beyond the appearance of the great inventor Unveiling Machu Picchu © Copyright 2006 Inayat Tal 20

and artist Leonardo DaVinci much of this century is marked with unrest. Martin Luther launches the Protestant Reformation. The Church of England breaks from the Catholic Church. Mary the 1st, ‘Bloody Mary’, of England attempts to quash the Protestants. The Ottoman Empire expands through military force on numerous fronts even sacking Rome and ending the Italian Renaissance. There are wars throughout Asia. In 1556 the world’s deadliest recorded earthquake occurs in Shaaxi China. The Valladolid Debate of 1550-1551 CE attempts to argue that AmerIndians did not possess souls. Overall the 16th Century is a period of increasing spiritual darkness and extreme unrest. Moving into the 17th century one of the darkest aspects was the emergence of a form of science which discredited the existence of the spirit. The most famous examples are found in the theories of Rene Descartes. He states ‘Matter and mind can possibly exist separately, therefore they must really be distinct’. This thought becomes a seed into the inevitable distancing of science from the spiritual. Matter is seen as dead, as desacralized, something to be divided down into its component parts to be understood and controlled with the rational mind. The de-animation of nature justifies any treatment of the material world and inhabitants who do not enter into the same type of intellectual banter. The other great intellectual drift away from nature came in the form of the theories of ‘natural law’ of JacquesBeninge Bossuet and later Thomas Hobbes. Natural law says that because governments have been allowed to rule by providence their acts are inherently just. Thus any action of governance justifies the means. Although this view outwardly acknowledges the spirit it does so only to give authority to man-made institutions. Once the institutions are sufficiently empowered they can tell the citizenry what to think and do. Then there is no longer any need to seek a relationship with Spirit directly. Natural law becomes a way to further invest nation governments with the same type of authority that the large religious institutions and monarchys already possessed. This takes us to the bottom of the Pachacuti circle around the year 1762 CE. Ironically this area of the time cycle also corresponds to the ‘Enlightenment’. The Enlightenment is the flowering of the ideas set forth since the downward turn around 1512 CE. These concepts of nature separate from God, blossom in the fields of thought that had been razed since the previous cycle of time around the upper right quadrant in 387. The ancient knowledge had been destroyed at that time and the West languished for nearly a thousand years in the ‘Dark Ages’. At the top of the next cycle in 1262 CE European culture had begun to blossom again. A delicate harmony between rational thought and spiritual matters had been maintained during this period until the right quadrant of the time cycle in the 16th century. It is at this time that the spirit is truncated and exorcised from the rational flowering of the 13th century. The result is a materialistic civilization that is in full bloom in the middle of the period at 1762 CE. During this period numerous wars are occurring throughout the world. There is a glimmer of spiritual light regarding the freedoms of people carried from the sparks of the Magna Carta from the top of the time cycle of the 13th century. By the year 1776 CE the American documents of the Declaration of Independence, the Bill of Rights, and the Constitution are created. Although the young country of the United States of America is born in the lowest part of this cycle dominated by materialism there are many intellectual and spiritual fruits that are also produced within its borders. An influx of emmigrants seeking religious freedom and opportunity seed the new country. Eventually the ideas of freedom and human rights spread out from America’s shores. The continuance of the time cycle that birthed the United States results in a great continental expansion. All indigenous cultures suffer displacement or genocide as a result. Indeed, across all the Americas, local cultures and ways of life are destroyed as the land is taken and reshaped in the name of ‘Manifest Destiny’ and ‘progress’. Through this period of the largest wars in history the native people have carried a spark of life and wisdom. When a native tribe would migrate there would typically be a fire-carrier. This person carried the embers from the old fire and fashioned a tube that would slow burn for hours. Upon reaching the new campsite a new fire would be created from the embers of the old. At around the year 2012 CE the new fires of spiritual light will be fully kindled. With deep gratitude we acknowledge that the emergence of the Pachacuti of light has already begun.

Unveiling Machu Picchu © Copyright 2006 Inayat Tal

21

We Are The Ones We Have Been Waiting For
“We are the ones we have been waiting for.” North American Hopi Elders.

“That the Eagle and the Condor will fly together.” Andean Prophecy Something is up. All across the Americas there is a renewed sense of vitality among native peoples. Small countries are standing up to the larger countries demanding fair treatment. The methods and ways of Western civilization are under scrutiny and many old things that do not work are being set aside. Environmentalism, New Age, Conscious Living, Alternative, TechoMaxi, and TechnoMini are all energized by what seems to be a world that is speeding up. We are clearly, from all sides and indicators, in a time of great, if not immense change. Accompanying this undercurrent is a great sense of uncertainty and often fear. We have been taught to look for the solutions from somewhere, anywhere, outside of ourselves. If only the wise ones, the great leaders and healers of old, were here to help us make it through. The people who are going to make it through this transition are already here. Instead of looking outside for the answers maybe we need to look inside. The allies we have in the trek of life and wisdom are known to us. Trust in the beauty of the inner self. Trust in the loving arms of Pachamama. Trust in the earth, air, water, fire, and sun. Our helpers are forces and angels of light and love. Yet, to really make this all happen, a transition to a world of wisdom and beauty, it takes you and me. Into this mix appear sacred sites all around the world like Machu Picchu. The ability, in our time, for someone from Amsterdam or Denver or Tokyo, to be able to travel to a place like Machu Picchu is significant. You can pay for special tours to receive some initiations. But walking around Machu Picchu is an initiation in it's own right. Machu Picchu waits like a priestess to activate within you those gifts of love and light that we carry already. Machu Picchu truly is a special place. The consciousness of the Inka and Machu Picchu again awakens. You can associate this with the ending of the Pachacuti of darkness in the period from 1992-2012 CE. There is harmonic convergence and harmonic concordance. You have cosmic emissions from the center of the galaxy and magnetar gravity waves acting as metaphysical sources of transformation inspiration. We are in a universe far stranger and more alive in ways that science is only beginning to allow into their paradigms. At a deeper level what is really happening is a process of self-reflexive unfolding as part of a universal consciousness. I’m sure many of you have seen images of fingers or other body parts being pressed against large sheets of mylar, latex, or other types of plastic. What you can see of the person poking through the other side of the sheet is a very small representation of what that person really is. This subset of information appearing from the other side is similar to the amount of understanding that science and culture can measure and has allowed as ‘fact’. What we have been conditioned to expect and perceive is a small subsection of what is really out there. The wonderful thing about this situation is that something has happened which makes the old standards of materialism and ideology no longer sufficient in the minds of growing numbers of people. It’s almost like large populations are coming out of a stupor. And these awakening souls are discovering a universe far stranger, more subtle, and more beautiful than ever conceived. We stand at the crest of a wave of change. This change is peeling away the incomplete abstractions of the past in order that more honest and accurate understandings can occur. Some North American Indian prophesies pointed to the age and culture of the 1960’s. These predictions stated that the children of the Europeans would seek an alternative to what their fathers told them and begin to seek the wisdom of the aboriginal elders. Other prophecies speak of the children born in the American lands from the dust of the bones of the ancestors. Some of the names for these children include the Rainbow Warriors or Rainbow children. Still other messengers say that the souls Inkarnating now are from higher bands of consciousness. You have indigo children, crystal children, dolphin children, all variations of beings and all types of terms to attempt to describe how the children coming into the world are different than before. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 22

What is clear is that the children of today will be faced with some difficult choices. Choices between rising trends of so-called material wealth verses trends of declining planetary health. The children and young adults of today are increasingly tuned into the words of Chief Seattle where he says ‘What we do to the earth we do to ourselves’. The real solutions to the challenges facing our children will come from sources on the other currently unseen side of this plastic boundary. It is not primarily breakthroughs of science that will help save our species. It is breakthroughs of consciousness that we most need. What is reassuring is that the advances in consciousness are present in cultural resources such as aboriginal peoples and in the great spiritual and physical resources like Machu Picchu. Even more astounding is the energy and consciousness that produced the great spiritual civilizations of the world is present to everyone. Almost beyond believability is that this great spiritual energy and consciousness is the reality behind every single human heart and mind. Recall once again the image of the plastic boundary. From our cultural conditioning we perceive to varying degrees that there is something more magical behind the workings of the universe than our culture allows room for. The thickness of this boundary is only maintained by the conventionality of the ways we try to explore reality. For people today who are opening to meditation, yoga, energy work, channeling, divination, and all forms of non-scientific and immediate experience, the boundary between conventional life and the spiritual path becomes more and more a permeable layer allowing both information exchange and osmosis. The children of today are those who are able to stand outside of the accepted conventions. Children today have a strong sense of self and increasingly a sense of purpose. Society today is challenged by these new children who look at the world differently, they learn differently, and will not accept things that people have just gone along with for hundreds or thousands of years. Ultimately the path of direct experience is a path to self-knowledge, gnosis, and even salvation. Within you, right now, are all the keys that are needed for you to understand how the universe works. Seemingly on this side of the boundary is a mundane and secular life. On the other side of the boundary are the angels and all joy and all truth. What is the truth? The boundary that you think separates you from everything that is divine exists only in your mind. There is no boundary. There is no separation between you, in this moment, and the divine essence. It is not your heart, and breath, and all your organs that sustains you in each moment. In each instant it is the divine essence you carry within you which energizes the holy mechanics of body and mind. The realization of the immediacy of the divine in every moment is a hallmark of the mystical consciousness we name as being Inka. In some sense every person on the earth at this moment made a choice to be part of this experience. What we are seeing is the re-emergence of the sacred experience as a normal part of human life. And there is every reason to believe that the unfolding experience of consciousness will be much more universal across populations than has ever existed before. Imagine that eight people from an advanced civilization begin a journey from a lake somewhere. This journey takes some years. When this group finally reaches the site of their new outpost these people, because of their relatively advanced state of consciousness, take the positionof leaders amoung the local people. Within a few hundred years this society unifies vast areas under its governance. These same people create numerous temples and structures that operate according to spiritual technologies. So from eight people you now have many more people with some understanding of the spiritual principles. These others beyond the eight include the initiates into the spiritual tradition. And in accordance with the divine principle of the seed being sown, that great civilization comes to a seeming end. This is the story of the Inka. The great spiritual knowledge of the Inka comes under the influence of greater cycles of time than can be altered. The great Inka civilization, composed of people with great spiritual awareness, is sown into the bosom of Pachamama. Here under the darkness of the rich loam of the earth for the period of 500 years all the spiritual cultures of the Americas have laid in an extended germination. Now we find another spiritual cycle taking over in the period from 1992-2012 CE. The age, the Pachacuti, has Unveiling Machu Picchu © Copyright 2006 Inayat Tal 23

changed into an age of light. And in following the example of what is written elsewhere in Middle Eastern literature, the result of what is happening is the resurgence of spiritual knowledge some twenty fold, some forty fold, some one hundred fold. Consider this book as a message from Pachamama, the Apus (Andean mountain deities), Inti TayTay (Sun Father), the plants and animals, and ancestors of South America. If you have the chance, please come to Machu Picchu. Even if you don't have the chance, let the dreams of Machu Picchu come to you. Imagine the beauty here as part of who you are, that is the truth. You are the beauty you have been waiting for.

Illustration 10: Machu Picchu As Seen From Wayna Picchu Mountain

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Attuning Consciousness
When you arrive at a sacred area, especially those areas that are frequently described by myths or legends, it is prudent to be self-aware. We always carry with us a consciousness that has with it a certain frame of reference. This consciousness and vibration forms our current energy signature. When we walk into a sacred area our own energy signature will be affected by the energy signature of the place where we are. This ability to become aware of energetic changes and get glimpses of other dimensions is all supported by attuning consciousness. The act of attuning is to impress upon yourself an openness to the existence, energy, and vibrations, of another person, being, or place. When two musicians come together to play the first thing they will do is to tune their instruments. Tuned instruments play in harmony with one another and actively support one another. If the instruments were not tuned then the sounds they made would not be pleasant. In fact sounds that are harmonously tuned together actively create a synergistic space between the notes that give music a spritual quality. It is these harmonics, through attunement, that are vehicles to entering deeply into sacred relationships. Upon entering a sacred area you should attune yourself by first asking permission to enter. Asking permission is a form of attuning. You are giving recognition to that which is around you and asking for a relationship to be established. All forms of sacred interaction are based on relationship through attunement. If you walk through a sacred site without having first tuned to it through permission then you will be lucky to experience anything of the real essence of the site. You will be like any other tourist. After asking for permission to enter a sacred site it is advisable to give an offering. The offering is a manifestation of your request and acknowledgement the value you place on your visit. Your offering could be a small flower or flower petal, some water poured on the ground, a strand of your hair, or a pinch of a sacred herb like tobacco. Your offering does not need to be physical it could be a sacred phrase like Namaste or short chant or prayer. If you are at a small sacred site, especially one with the importance of Machu Picchu, it is better to not leave physical offerings and if you do it should be something that will decompose quickly and not persist at the site. You should generally not leave offerings like crystals at mountains or other sacred sites. There are often local caretakers around these sites who work with the energy all the time. Leaving a crystal at a site or on a mountaintop can disrupt the energy flows making more work for the local caretaker. Remember that your offering should convey the feelings in your heart for the beauty that you are being allowed to experience. During your stay at the sacred site you will be seeking to enter into deeper communication with the area. You may have with you a list of features at the site that you want to make sure you don’t miss. You may be following a guidebook. All of this is fine. But also allow yourself time to just follow your intuition. Allow yourself to be guided to certain areas for no apparent reason. Once you feel you are in those areas allow yourself the time, alone if necessary, to tune in a find out why you were guided to those areas. This concept of ‘spirit-walking’ is embodied in many aboriginal cultures. Most people would be familiar with the term ‘walkabout’ from movies or video we have seen about Australia. This type of walking can and often does reach an altered state of reverie. In fact much of the great tracking skills of the American Indians deals with both fantastic observation and awareness skills couple with this type of consciousness. Some of the most significant information in this book came about though just following guidance given to me on my visits to Machu Picchu and surrounding areas. Once you have completed your time at the sacred site it is important before leaving to give thanks. Again thanks can be in the form of an offering. In some traditions it can be touching your forehead to a stone or kneeling on the ground. It could be just standing facing the setting sun with the wind caressing your hair holding gratitude in your heart. Often you feel yourself never wanting to leave. It is at this time that you can say that you will always carry the memories of the place, even the place itself, within your heart. The final activity you should consider either immediately after leaving the site or at your final return home is some form of artistic expression. This can be in the form of writing and it can be art like drawing or painting. It Unveiling Machu Picchu © Copyright 2006 Inayat Tal 25

could also be braiding or other type of craft. The point is that there should be some reflection on your experience. If you are traveling with a group then discussing your experience can really be insightful. But also make sure you have personal time to go within and not be concerned about how your expression looks to others. What matters is how it looks to you.

Lake Titicaca Attunement
Before we start unveiling the mysteries of Machu Picchu there is some attuning of our consciousness to do right now. For this attuning we will travel in our minds backwards in the footsteps of the Inka. Traveling back through the mists of time and legend we arrive at the legedanary point of emergence of the Inka at Lake Titicaca. To the Inka Lake Titicaca and Tiwanaku is the pacarina; the place of emergence. Lake Titicaca is the highest navigable lake in the world. Many of the islands of the lake are shaped like mytical animals. It seems you could almost call this place Lake of Legends. There are numerous legends about the lake and it’s origins. A number of these legends involve its formation as part of the flood of Noah or the demise of Lemuria. Not far from Lake Titicaca is the famed ancient city of Tiwanaku which is thought to be the earliest city complex in the Americas. In high-energy areas like Lake Titicaca our energy, conscioussness, and hence our view of reality will be affected. Often times people report seeing lights, angels, UFOs, or other phenemona in these areas. Partly these things are seen because the normal rules that we place on what is real are reshaped by the energy of sacred sites. It is as if doorways and windows that have been closed through lack of use are reopened by the energy of the sacred site. It is at sites heavily associated with myth and legend like Lake Titicaca that you can peer around the corners of your normally perceived reality into something different and often higher. Once these doors of perception are coaxed open do not be surprised if you begin to perceive things in your mind and to physically see things you would not normally expect. Lake Titicaca is a powerful location that, like Machu Picchu, can reshape your view of reality. And to really understand what the ancient builders of the sacred sites where doing it is crucial that we work on our concept of reality. If we can look at what we perceive of as reality, and understand it enough to change our perceptions and awareness, we can then change our reality. There is much symbology associated with Lake Titicaca that encodes deep aspects of understanding reality. In the Andean Aymara origin myth the creator Wiracocha sends out the woman Ymay Mama Wiracocha and the man Tocapa Wiracocha. Mama Wiracocha is told to go towards the mountains and create people. Tocapa Wiracocha is told to go towards the plains and create people. Wiracocha travels in the middle with the act of creation. In this myth we can see semblences to the concept of the Tao. The Tao is one representing Wiracocha. But the Tao Wiracocha chooses to manifest into a seeming set of polarities in order to create. The one becomes the two and the three. So the one Wiracocha shows us how the female and male polarities support each other in the act of creation. And still with polarities the oneness of Wiracocha exists. This is remeniscent of the words of the Buddha who encourages us to take the middle way in life. Beyond the Wiracochas and Inka rulers arguably the most legendary person associated with both Lake Titicaca and the Inka is someone named Amaru Muru. This person was undoubtedly an Amaru, a master teacher. In Quecha the word Amaru means a serpent. The Amaru were considered to be a class of high spiritual masters. The Aymara phrase Amauta is also used to describe these spiritual masters. Amaru is roughly equivelant to the Mexican Nahuatl word Quetzlcoatl, the plumed serpent. Amaru Muru is said to be a survivor from a previous civilization who brought with him a great golden disk. This disk is a symbol of the sun and is a kind of sacred information-hologram that contains the secrets of the universe. It is said that when the Inka civilization came to the region that Amaru Muru brought the golden disk to Cuszo. In Cuszo the gold disk was hung in the center of the Coriconcha, the Temple of the Sun. Just before the Spaniards came Amaru Muru took the golden disk from Cuszco and hid it within Lake Tititica. Then Amaru Muru disappeared through doorway of stone named after him into another dimension. We will examine this legend in more detail later. This story is yet another example of the mythic nature of Lake Unveiling Machu Picchu © Copyright 2006 Inayat Tal 26

Titicaca. Regarding the person of Amaru Muru there are some words I want to convey to you and it would be appropriate to consider these as coming from someone like Amaru Muru because they really convey the energy and mystery of Lake Titicaca and Amaru Muru.

What you perceive as reality is the intersection of a number of planes of existence that you have become conditioned to expect to see. You understand that a point in space exists at the intersection of length, height, and depth, or X,Y, and Z coordinates. Your reality is a product of your perception and your perception is the result of an intersection of a set of planes presented to the seer within your consciousness. Normally you are unable to see who you really are because you believe this assembled compositite picture is something you exist within. The builders of Machu Picchu are amoung those beings who have learned that there is more than what the picture in the mind says. The builders use their wisdom to create ‘places’ for your mind to go to so that your perception may be adjusted, healed, and that you would be empowered to see a clearer, more sacred, version of reality.
Each person perceives and interprets reality differently. Quantum physics makes clear that the outcome of any experiment depends on the observer and the expectations of the observer. What appears in your reality is the outcome of your thoughts and beliefs. If you can modify the components that generate your reality you can generate a different reality. We are not talking about self-help. We are talking about sacred technology. The Amaru are those who can look behind the curtain and understand how the levers and gears work. In the past and still today the Amarus, shamans, and other sacred persons know how to interact and influence, even change, their reality. The first step to doing this is considering that it is possible. It is this mindset of possibility that would benefit you most in your journeys. Lake Titicaca and Machu Picchu represent some of the best places one can go to repattern our realities. Here you can participate in the active architecture and divine engineering of the people who passed through this area of South America. Your experience of these places can be heightened actively by attuning your consciousness. Exercise your mind to see beyond what is just taken for granted as an archeological location or an old story. Try to look deeper and see whether there are layers of meaning waiting for you. And trust that ultimately the doorways of wisdom that open for you are supported by your experiences. The highest sacred wisdom that will be opened to you comes from within. Let us exercise our developing awareness of our Andean attunement to look more deeply at the story of Amaru Muru. The legends of Amaru Muru always include three items or places. The first is Lake Titicaca. From the Jungian perspective of symbolism water represents many things including the collective unconsciousness. There is something very mysterious about such a large lake existing so high in the mountains. The second item around Amaru Muru involves the golden disk. The golden disk is a complex metaphor representing a range of things from the sun to divine wisdom. The third thing around Amaru Muru is the doorway through which Amaru Muru is said to have traveled to other dimensions. Doorways are prominent symbols in Andean mysticism. The Andean Cross is the Chanaka that means the doorway or portal. How can we orient this story of Amaru Muru and put into it an attunement of spiritual metaphor relavant to today? When looking at legends it is helpful to realize that these stories often encode information and are not just tall tales. In Hamlets Mill Giorgio De Santillana and Hertha Von Dechend point out that many myths have encoded within them descriptions of astronomical alignments that point to a specific time when the drama of the myth occurred. William Sullivan in The Secret of the Incas: Myth, Astronomy, and the War Against Time describes Inka myths and how these are encoded astronomical positions relating to specific dates. Astronomical encoding is just one orientation that can be used in interpreting a myth. Since other myths of the Andean people involve time or cycles of time then applying a concept of modified time may yield some information about the legend of Amaru Muru. In the original myth if we take the major events and summarize them around the Inka center we have the golden disk installed in the temple of the sun, the disk taken and hidden in Lake Titicaca, and finally Amaru Muru disappearing through a doorway. The installation of the golden disk in the temple of the sun is chosen as the center of this story because it represents a steady state where an object associated with Amaru Muru is in the most fitting place. A disc of gold should be installed Unveiling Machu Picchu © Copyright 2006 Inayat Tal 27

in a temple covered with gold as the Coriconcha was in Inka times. As the cycles of time turn from light to darkness they also turn from darkness to light. If you could not understand fully cycles of time you might think that time reversed itself when after turning from light to dark the dark changed back to light. So what happens if we reverse the story of Amaru Muru? This is similar to writing a message backwards as a form of hidden code. This has been done with secret messages that were written so that they had to be held in a mirror to be seen. Does such an interpretation of reversing the events around Amaru Muru provide us any insight or attunement in the intelligence behind the Andean mysteries? One of the first things to understand about Andean, and indeed any deep mysticism, is that time does not exist. The only moment that exists is now. So it is equally valid to tell the Amaru Muru story in reverse as it is forward because ultimately a layer of the myth is not about a history event. Sacred myths are also about internal processes that occur first within individuals and then are echoed in extended groups of people. The child to be born in Bethlehem is a personal event for everyone. So what about collective Amaru? What follows is one possible interpretation of the story in reverse with its methophors implied in an interpersonal way. You realize that within Andean cosmology exists a doorway. This doorway allows someone, ultimately many people, to travel from the viewpoint of ordinary consciousness to insights and understandings connected to higher dimensions. These Amarus travel to the shores of Lake Titicaca. Lake Titicaca is that portion of all of us that has a hidden aspect that is not easy to see but possess. This hidden aspect is the impulse to birth the sacred. Deep below our minds and our culture the golden disk awaits like a pearl within an oyster. This golden disk represents a future image of ourselves in harmony with the sacred. The Amarus stand on the shores of humanity and beckon the sacred nature of humanity to come forth. At some point, first within the individual, the golden disk rises from the depths. When the disk is seen and can be examined and held it must be taken to Cuszo. Cuszo is the center of our being. And in the center of our being is a temple of the Sun. When the golden disk is installed in the golden temple of the sun then an attunement to the divine exists in every day reality. The story of Amaru Muru can be looked at as a reverse-encoded allegory of the process of the sacred evolution of the human family. The allegory of Amaru Maru is no less powerful that that of the child born in Bethlehem. In fact these two stories are very similar. The aspirations of the human race appear repeatedly in these myths and legends to remind us of where we are headed and what we should be focused on. These myths also help to answer the deep questions of why are we here in the universe.

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Stones Of Unknown Origins
There are no residents of Machu Picchu we can interview to learn about the site. The number of theories about the building of Machu Picchu, its function, and the fate of its inhabitants are as varied as theories about ancient Egypt or Atlantis. Machu Picchu has been thought to be any numbers of things from the Inka Emperors vacation villa to a convent for the Virgins of the Sun, to a landing place for aliens from the stars. Ultimately we can gain deeper insights into Machu Picchu by looking deeper with different approaches and. The signatures and messages of the builders of Machu Picchu are all around if we know how to look. These messages exist in many forms both visible and invisible. Some of the invisible signatures of the builders are measurable by technologies of our civilization that are clearly 'low tech' compared to the builders of Machu Picchu's own toolchest. The standard academic view of the construction of Machu Picchu holds that the Inka Pachacuti in the 15th century built Machu Picchu. The Conquistadors burned the Quipu records of the Inka Empire we will never know for certain by whom, or when, Machu Picchu was constructed. However, if we know how and where to look, we read and interpret the builders of Machu Picchu within and around the site. Some of these messages are monumental both in scale and in meaning. Some of what is encoded at Machu Picchu stands on par with the information left by the great Egyptian civilizations. Just from a viewpoint of the stonework, Machu Picchu represents the efforts of at least three, and possibly four civilizations or periods. The term 'organic architecture' 2 is a key in understanding the heart of Machu Picchu architecture and technology. The most advanced technologies at the site are those that appear the most organic and blended into their environment. Many of the advanced tools and message containers at Machu Picchu appear to be ordinary rocks. One of the easier forms of organic stone machines to recognize, and the one most central to the site is the Intiwatana.

2 'Organic Architecture' related to Peruvian buildings was coined extensively by James Arevalo Merejildo (aka Mallku) Unveiling Machu Picchu © Copyright 2006 Inayat Tal 29

Illustration 11: The Intiwatana – A machine of spiritual and consciousness energies
From the native Quecha language Intiwatana is typically translated as 'hitching post of the sun'. As we shall see this is an extremely veiled translation. Tour guides say that the Intiwatana is a sundial. This is partly true as there are some directional and solar alignments on this form. But ultimately the Intiwatana is a machine of spiritual and conscious energies. To the energetically sensitive standing near the Intiwatana is like standing in front of an energy transmitter. The Intiwatana appears to be, at least originally, a single piece of granite stone situated on one of the highest points overlooking the main sections of Machu Picchu. This sculpture has many intricate and blended angles. The primary alignments of the Intiwatana are:
−North and South: From Machu (Old) Picchu mountain to the south to Wayna (New) Picchu mountain to the

north. −East and West: From Cierro San Miguel mountain to the west to Putucusi mountain to the east.

Author, and National Geographic Explorer In Residence, Johan Reinhard, in his excellent book Machu Picchu: The Sacred Center, explains the alignments between the site of Machu Picchu proper and the corresponding mountains. The layout of Machu Picchu reflects a harmonization with site design and with the surrounding elements. This is clearly seen in the site selection of Machu Picchu that places it on a ridge surrounded on all sides by significant mountains. On a deeper level the relationship of the human being in general, and consciousness in particular, continually plays out in the design of Machu Picchu. It is worth noting from the start of our detailed look at Machu Picchu that the effects and function of Machu Picchu would not be possible without pre-existing positive natural effects. As we are learning from the history of Feng Shui and other earth arts, the original location of any sacred site is of prime importance. There is much you can do to improve an already energetically positive site. Sacred sites really do start with a naturally Unveiling Machu Picchu © Copyright 2006 Inayat Tal 30

occurring blend of harmonious supporting aspects. For Machu Picchu you have a balanced arrangement of mountains, valleys, a large river, and a gently sloped main ridge upon which to build. Returning to the Intiwatana it has many angles and some very interesting trapezoidal shapes. The first trapezoid is at the very top of the Intiwatana and the second is the projection pointing north towards Wayna Picchu.

Illustration 12: Trapezoidal Projection At The Top Of The Intiwatana Facing North Towards Wayna Picchu
From the study of sacred geometry and the general flow of energies through shapes we can associate the function of a trapezod to that of a prism. A trapezoid is also said to possess the function of moving energy across dimensions. By examining the shape and position of the top trapezoid of the Intiwatana we can see that energy is being pulling down into the entire structure. Additionaly the diagonal of this same prism aligns generally towards Wayna Picchu to the north. There is another trapezoidal projection on the north face of the Intiwatana which also directs energy north towards Wayna Picchu.

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Illustration 13: Side Projection On The Intiwatana Pointing North Towards Wayna Picchu
The typical translation of Intiwatana as 'hitching post of the sun' is inadequate as to the full function of this object. The Inka were not attempting to stop the sun or tie the sun up. Even the solar alignments of the outer form of the Intiwatana do not tell the entire story. Rather the term Intiwatana is better translated in our consciousness as 'transducer of solar energy'. Later we will discuss how the Intiwatana is a grand prism broadcasting solar and cosmic energies across the entire complex. This energetic broadcast reaches to the surrounding mountains and to the entire planet. Another example of the fine organic architecture at Machu Picchu is the stone on the ground at the Temple of the Condor. This stone is variously described as appearing similar both to the continent of South America and to the head of a condor in flight. In any event this stone represents beautiful form concealing a function that standard science cannot yet detect. When we cover the energy bands the function of the Temple of the Condor will become clear. These stones are sculpted with blended angles forming prisms and represent a pinnacle of engineering at Machu Picchu.

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Illustration 14: Organic Architecture Of The Stone At The Foot Of The Temple Of The Condor

Beyond the organic stonework at Machu Picchu like the Intiwatana there exists another category within the site of very fine ordered block work such as at the Sacred Plaza and the Temple of the Sun. This stone is typically smooth faced and tightly joined. These smooth finish stones resemble the stonework at other sacred sites such as the Great Pyramid in Egypt. These stones could be considered a separate category in both finish and period of construction. The original stonework of Machu Picchu is the finest and smoothest stone and is followed later by other sets of builders who no longer possess the original skillsets. Over time Machu Picchu has been added to and individual features such as the Intiwatana, Temple of the Sun, and Temple of the Condor have been filled in with other structures. The construction of Machu Picchu shows definite signs of period change. In some cases this period change appears abruptly within a wall or towards the end of a structure. These examples show one or more expansion phases beyond the original construction. The presence of both subtle and oblique changes in the stone faces tells the tale. There is also a very visible but hardly mentioned example where the stones change from tight fitting and smooth faced to tight fitting and slightly rounded face. There is yet another type of stone at Machu Picchu which although joins together nearly as tightly as the smooth stone is of a more curved face. You can see such a transition on the back west wall of the Temple Of The Sun.

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Illustration 15: Transition Of Stone Types On Back West Wall Of The Temple Of The Sun. The Smooth Faces Stones Are On The Left. The Rounded Face Stones Begin In The Middle Of The Picture And Continue To The Right.
The back West wall of the Temple of the Sun shows an abrupt change from smooth flat-faced stone to less fine curved stone. This gives the impression that the temple of the Sun was expanded at some point by another set of builders not possessing the same skills as the first builders. This is one example of a likely expansion of an original structure. The builders during the expansion understood how to make and cut the stones but their abilities to cut corners was not as precise as the original builders. This shows the knowledge and techologies used during the expansion was missing something that the original stoneworkers had. Given the sacred importance of such an area as the Temple of The Sun it would be incorrect for us to assume that the later stonework was the consequence of some rush to finish the structure. The evidence shows us a different product that must be the result of a different process. There are other stones at Machu Picchu that are very rough, almost if they were not worked at all before placement. You see this in a lot of the reconstructed areas of Machu Picchu. An example of simple stone placement lacking precise fitting are the stones around the wings at the Temple of the Condor. These stones just seem to be piled up without much planning. Many of these stones are late period construction or restoration.

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Illustration 16 Rough Stonework Around The Temple Of The Condor
There are many reasons to be aware of the types of stonework at Machu Picchu. The awareness required to experience Machu Picchu is not the tourist mindset. If you want to enter into communication with Machu Picchu you have to start with a level of awareness that expects to hear what Machu Picchu is saying. You have to be looking outside and inside yourself for the messages. You need to become aware of every stone, every shadow, and every angle. Knowing the types of stonework in use at the location where you are standing helps you to realize when you are in an important area. The smooth finely fitted stonework generally designates important ceremonial areas. The organic stonework typically depicts a power spot or an area of energy transmission or reception. A simple principle to remember is that each stone of the original building periods is shaped and placed intentionally and not just to get it done. Each of those first period stones has a meaning and a purpose. None of those original stones are accidents. The large stones, which look the most natural, are often the most significant portals to a personal experience at Machu Picchu.

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Consciousness And Intention
We are ready as a species to looker deeper than just the surface of matter. Indeed, peering deeply into and beyond matter through quantum physics, we see that the hard stuff we perceive as matter does not exist. Instead we are presented with a dance of energy that is beyond rational explanation. More fascinating is research into how the brain assembles our world. Based on how the brain processes signals in the dream state and waking consciousness we cannot conclusively prove that the world before us exists. It is self-evident that awareness of consciousness exists. We can prove consciousness exists through the adage “I think. Therefore I am.” Rather than attempting to understand outer mechanics through physics we should be launching expeditions into the realms of consciousness. Instead of looking at sacred sites as merely empty shells of past cultures we are now becoming ready to experience them as active expressions of an all-pervading consciousness. To the Inka of the past, and the indigenous peoples of today, the earth is a living being named Pachamama. This is similar to the Greek term borrowed by the New Age ‘Gaia’. The intimacy of the native Andean peoples to the earth expresses itself further into an animate and personal relationship with all things but especially with mountains. To people living closely to the earth all things are seen as animate. To the Andean cultures the presence of the longest mountain chain in the world looms large within their minds and spiritual practices. To the Inka and their descendants the mountains are beings called the Apus. Though there are different views of people’s relationships to the Apus in the various Andean spiritual threads, it is roughly accurate to associate the Apus to Western spiritual concepts of angels. Pachamama (Mother Earth), along with Inti-TayTay (Father Sun), the moon, and the Apus are the locus of Andean spiritual devotion. The Andean power animals representing the three worlds of snake, puma, and condor round out the cosmovision. In Andean spirituality everything is alive. Within an orientation that everything is alive the realization comes that you need to be in relationship with these aspects of being. As an example it matters what I think as I step on this rock. When I look at this temple the thoughts in my mind and my expectations will affect my experience. So your orientation at all levels, psychically, mentally, and physically are all aspects of the keys that you need to read the secrets hidden away at Machu Picchu and other sacred sites. And what is the real key? It’s you. It’s your heart. If you are tuned and oriented, aware of the sacred relationships, the messages and insight you seek will dance in full awareness in front of you and within you. It is this active acknowledgement of relationships and orientation that is the essence of the living embodiment of consciousness. And the center of this activity is within your heart. Machu Picchu represents a design we can call conscious architecture. It is not just design with intent. The Inka were not simply being thoughtful in their engineering choices. The Inka saw the entire universe as being animated with life and consciousness. Machu Picchu represents consciousness itself making design choices for consciousness to interact with it. Machu Picchu is a structure extruded from advanced consciousness. In a similar way that mythic and advanced consciousness is at the root of the appearance of the Inka people, so too this same sacred impulse produced the many unique sacred sites such as Machu Picchu.

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Illustration 17 New Light Of Consciousness Is Being Revealed At Machu Picchu
The design at Machu Picchu actively and repeatedly harmonizes with the surrounding elements. The establishment of these qualities of harmony and reflection form a dynamic for spiritual communication. The communication dynamic that exists at Machu Picchu facilitates the ability for you to enter into the conversation of the sacred. The program playing every day at Machu Picchu is sacred resonance and communication. Machu Picchu is a sanctuary designed to communicate and harmonize with creation and to support your entry into that dialog. The site is engineered to manifest a complex series of relationships and correspondences. You can access features of the site that open you up to inner communication with your personal microcosm. You can also access features of Machu Picchu that connect you to transpersonal qualities of the macrocosm, the universe. Ultimately Machu Picchu is a teacher, leading by example, that shows you how the inner microcosm and the outer macrocosm are really the same. Machu Picchu holds up a mirror for you to gaze into and realize that you are the singular universe of sacred light. The site of Machu Picchu is itself a living being. It has all the nuances and delicate beauty of any creature alive. Machu Picchu is a living being that has manifested itself to us now at our great hour of need for consciousness expansion and transformation. The question is who is willing to step into the next level of divine consciousness?

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Intentional Design In The Electromagnetic Spectrum
This book is the recognition of an ancient set of universal philosophical and energetic design principles. It has been widely suspected that civilizations prior to our own that were more advanced then we are. Some of the common historical components of civilizations include an advanced understanding of astronomy and energy. Archeology has been able to peer into the cultures such as the Egyptian, Babylonian, Mayan, and Inka and find evidence of advanced astronomical understanding. But our science has not had the tools to see the more subtle use of energetics by these same civilizations. It is as if we have been peering around looking at large grained concepts leading us to large grained conclusions. But the amount of information we can perceive from a telescope on the earth is only a fraction of what we can see from something in orbit. What we need is to understand a science of spiritual energy that will give us Hubble Telescope results of the metaphysical. Our current science has peered into nature and seen clearly some aspects of the electromagnetic spectrum. We have been able to exploit this knowledge in specific ways from radio, television, microwave ovens, cell phone, radar, and a multitude of other applications.

Illustration 18: The Electromagnetic Spectrum (need new diagram)

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Illustration 19: Radiethesiests Arrangement Of Energies Into A Wheel To Show Their Relative Relationship To Each Other

In the years 1798-1801 Napoleon conducted a campaign of Imperial expansion in Egypt. Many relics were taken from Egypt back to France. This archaeological infusion affected not only archaeological circles but also the French society as a whole. Napoleon had opened the East to the West in a significant way. Both the sciences and arts of France specifically and Europe in general danced with delight in the exoticism of things Oriental. This sparked an interest for things Oriental in general and for things Egyptian specifically. Egypt was viewed as very important and was considered the genesis of European thought, where towering figures such as Pythagoras and Homer had studied. French society integrated a romanticism of Egyptian culture along with the multitude of other intellectual and artistic streams seeded by their Imperial aspirations. The treasure trove of artifacts taken back to France immediately provided a plethora of research material for French archaeologists. French scientists of all disciplines began peering deeper into the mysteries of ancient Egypt. This Egyptian influence was still manifesting itself in France at the beginning of the twentieth century. As the mysteries of matter were being explored more deeply by physicists such as Albert Einstein, a small group of French scientists were exploring the forces of nature through different means. At the time the etheric fields were still accepted by science and the field of study known as radiethesia was born. The radiesthesists were physicists who understood the theories behind the electron but decided to investigate the electromagnetic forces using different methods. A small number of French physicists began to look closely at the Egyptian artifacts in order to see whether the Egyptians themselves had achieved an understanding of the electromagnetic theory. Two of the leading physicist radiesthesists were Chaumery and De Belizal. They termed their specific field of study microvibrational physics. Using Egyptian artifacts such as the Wadj pendant they discovered they could measure subtle energetics unknown to conventional science. They soon realized that energy waves of shape, or ‘physical radiesthesia’, were known to the ancient Egyptians. This fact was clearly evidenced in Egyptians artifacts and Illustration 20: Egyptian architecture. Wadj Energy Pendulum. Commonly Called A Papyrus Scepter.

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Chaumery and De Belizal realized that the shapes of Egyptian pendulums were tuned to measuring certain types of energy. A pendulum is tuned to a particular energy was due to its shape. In large part it is the angle of the pendulum width to its tip, which causes it to act as a transceiver for that particular set of energies. Chaumery and De Belizal designed a single pendulum with a moveable disc to measure the various energy bands. They called it the Cone Fictive (Virtual Cone) Pendulum. The Virtual Cone Pendulum is a rod of wood or acrylic divided into the energy zones. Onto the Virtual Cone Pendulum is placed a movable disc. Depending on where the disc is moved up and dow the rod the pendulum can measure the energy associated with that segment or band of energy. The energy bands located on the Virtual Cone Pendulum as the same twelve energy bands depicted on the energy wheel in Illustration 19. The Virtual Cone Pendulum is a tool used to measure specific energy bands as they are formed by the features of Machu Picchu.

Illustration 21: Virtual Cone Pendulum Used To Measure Subtle Energies The movable disc is currently set to the energy associated with the color Blue.

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Energy Key
Another important principle to understanding the energies at Machu Picchu relates to how energy and shapes affect each other. Shapes affect the energy passing through them. One simple way of understanding energy flow and how it is affected by passing through a shape is by using a simple energy key. Imagine energy flowing in one direction. We can either identify or assign a primary direction of energy flow. The energy flow passes through an object. After passing through the object some of the energy will spin clockwise off the right of the object. Other energy will spin counterclockwise off the left of the object. The clockwise energy spin off the right side of the object supports the processes involving biological life. The counterclockwise energy spin off the left side of the object support processes involving the recycling of matter and energy after life. The energy key is of primary importance because Machu Picchu was designed so that all structures were on the right (East) side of the northward flow of energy from Machu Picchu to Wayna Picchu. In this diagram the center of the object is the center for energy distribution from both sides of the object.

Illustration 22: Energy Key Showing Major Energy Flows Through And Object

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What is interesting about the energy flow off either side of the object is that is can be divided into the same twelve energy bands as in the complete circle. Here is an illustration from the original radiesthesia work showing the energy distribution. The same twelve energy bands from the distribution on the Virtual Cone Pendulum and the energy circle are present but now eminating out from one side of a form across 180 degrees. The importance of this specific distribution of the energies is a template for the energy eminations at Machu Picchu with a specific structure at Machu Picchu as the center of the hemispherical point of origin.

Illustration 23: Illustration From The Original Works Of Russian Radietheist Enel
The twelve energy bands are broken down across the 180-degree distribution into twelve bands of fifteen degrees each: Band 1 2 3 4 5 6 7 8 9 10 11 12 French Name Noir Infrared Red Orange Juane Vert Bleu Indigo Violet Ultra-violet Blanc Négatif Vert English Name Black Infrared Red Orange Yellow Green Blue Indigo Violet Ultraviolet White Negative Green 0 16 31 46 61 76 91 106 121 136 151 166 Start Degrees 15 30 45 60 75 90 105 120 135 150 165 180 End Degrees

Illustration 24 The 12 bands of energy

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When we apply the twelve energy bands to an energy key we arrive at a detailed diagram of energy distribution. This energy distribution uses the primary energy flow and a point within the central object as the point of origin for the energy distribution. The combined energy key and twelve band distribution becomes an energy template. Note that although the energy is distributed in a similar way on each side of the energy key we assume that any people familiar with these principles are primarily interested in energies supporting biological life functions.

Illustration 25 Energy Key With Twelve Energy Bands Applied

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To apply these energy theories at Machu Picchu we need to establish two primary inputs into our energy template. First, what is the primary energy flow at Machu Picchu? The larger mountain Machu Picchu proper is south of the Machu Picchu site. The smaller mountain Wayna Picchu is nearly due north of the site. Although there are other alignments to nearby mountains because the site of Machu Picchu lies on a ridge running from Machu Picchu to Wayna Picchu we will use a south to north energy flow as our primary energy input. The second step to applying our energy template is the identification of some feature or structure within or near Machu Picchu that will serve as the primary object within the energy key. If we assume that most of the structures or rooms at the site were meant to be within the beneficial part of the energy template then this feature or object should be located to the left or west of most elements at Machu Picchu. Because of the radial nature of the resulting twelve energy bands we might also wish to look at a survey map of Machu Picchu and see whether multiple walls point converge towards a central point within or near the site. To corroborate our choice for candidate of the energy distribution center the feature or structure may exhibit certain features such as unique shape or elevated position in relation to much of the site. It turns out that there is a single structure at Machu Picchu that fulfills these criteria. This mysterious feature, elevated from most of the rooms at Machu Picchu, is called the ‘Hitching Post of the Sun’, or the Intiwatana.

Illustration 26 The Intiwatana

If the Intiwatana is the center of the primary energetic template at Machu Picchu then there should be evidence in the other structures on site that indicate a correspondence to the energy band where the structure is located. If the Intiwatana is the center then there should be evidence of Red energy measured by the Virtual Cone Pendulum within the Red band. Within each band there should also be evidence of structures design to support whatever function each color energy band has in its specific role in supporting biological life.

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Let’s review the application of the energy key and the twelve energy bands to Machu Picchu. Using the energy key and the Intiwatana as the energy nexus of the site we would expect that the important buildings and facets of the site would be situated to the east (right) of the Intiwatana. This is exactly what is present. Virtually no structure or important area in the Machu Picchu site exists to the left or west of the Intiwatana. Once the main north energy flow at Machu Picchu is recognized we can look in more detail at the twelve energy bands that are created from the Intiwatana and understand the function of each. Then we can look for structures within each band having functions related to that particular band.

Illustration 27: Machu Picchu Site With Energy Key Overlay. The Major Energy Flow Is The Bottom Line Which Runs South (from the Right) Through The Intiwatana (Middle) And North Towards Wayna Picchu (Left)

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The Twelve Energy Bands Of Machu Picchu
An investigation of the theory of the twelve energy bands was applied to the layout and structures of the complex of Machu Picchu. The analysis of each of the twelve energy bands within Machu Picchu consisted of: • • Measuring for the presence of the primary energy of that band within the predicted energy range at the site. For instance, in the Blue band the virtual cone pendulum was set to blue and the pendulum was checked for the proper reaction indicating the positive presence of that energy band. In a number of bands energies that were not the primary one designated for that band were checked. For instance, in the Green band a check was made for Red energy. In most cases energies other than the one being measured were not found. In some cases there were special local designs or features in a particular band that gave an energy reading other than the primary for a small area of the site. For instance, the presence of vegetation in a band would result in reading Green on the virtual cone pendulum even through you were in another band such as Ultraviolet. Examining structures within a band to understand how the structure as a whole fit into the energy band. The Temple of the Condor appears in the Indigo energy band that deals with communication. How the Temple of the Condor functioned to support communication was examined and is elucidated later in this book. Important features of Machu Picchu within a particular band are hidden from the casual observer. After some investigation a number of these features and their functions were found.

Illustration 28: The Author Measuring Energy In A Doorway At Machu Picchu

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Summary Of The Twelve Bands
Band 1 Color Black Range 0-15 degrees 16-30 degrees 31-45 degrees 46-60 degrees 61-75 degrees 76-90 degrees 91-105 degrees 106-120 degrees Symbolism The Void Body Area Artifact(s)

Below any form Llama head, faces on Wayna Picchu Below the feet Feet, legs, perineum, root chakra Usno area Animal Stones

2 3

Infrared Red

Threshold of Manifestation The Foundation

4

Orange

Sacred Movement Transformation of Energy Balance in Life Expressive Communication Receptive Communication

Sacred, second Healing Stone chakra, lower abdomen Solar plexus, third chakra Heart chakra Throat chakra Eyes, Ears, Third eye chakra Top of head, crown chakra Healing Stone Large Stone Stone with Seats Temple of the Condor

5 6 7 8

Yellow Green Blue Indigo

9 10

Violet Ultraviolet

121-135 degrees 136-150 degrees

Connection to the Divine Sun, angels, Sacred heart

Water Fountains

Above the head Temple of the Sun Heart shaped stone

11 12

White Negative Green

151-165 degrees 166-180 degrees

Archangels Return to the Source

Moving beyond Serpent Stone form Beyond the body Puma on Machu Picchu

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Band 1 – Black
Color Range Symbolis m Body Area Black 0-15 degrees The Void Below any form

The color black brings us to the beginning. In the beginning was black. Before any colors or forms there is only deep black. Black draws our attention first inward. Black later becomes the backdrop for creation. Black is the chalkboard upon which the sketches of the divine are drawn. To begin to understand the Inka it is important to understand their cosmology and how they viewed the universe around them. One of the intriguing aspects of both Central and South American astronomy was the fascination with the dark aspects of the sky within the Milky Way. The Inka called the Milky Way ‘Mayu’. To the Inka the dark areas within the Milky Way formed mythic animals from the origin of creation. These animals included an adult llama and baby llama, a fox, a toad, a partridge, and a serpent. The llama is one of the most important animals in the Andes being a primary source of clothing and food. In the Inka Empire all llamas were considered property of the Inka Emperor. It is interesting to note that Hiram Bingham, the explorer who found Machu Picchu, correlates the geographic extent of the Inka Empire with the natural range of the llama. Llama sacrifices also played a large part in Inka ceremonies ensuring fertility of the land in the coming year. Offerings of llama fetuses were frequently used because the llama was seen as a messenger to carry prayers into the upper world and to the creator. In many aspects there is a deep and profound link between the worlds of the Inka and the archetype of the llama. It would be impossible to convey to the reader the intense and deep mythic nature of Inka life. The origin of the Inka begins in myth. Details of daily life from clothing, song, ceremony, and architecture remind the Inka about their mythic origins. Just seeing a llama would bring up deep connections to the Milky Way, the Mayu, and to the Creator, Wiracocha. Seeing a coca leaf would remind them of both Mama Coca and Pachmama. For us it would be like going to Italy and seeing the Roman gods imprinted on buildings, the currency, billboards, and on television ads. The immersion in the mythic was that deep. In a sense you could say that Inka culture was so steeped into this mythic view that their concepts of the distinction of the sacred and profane were much weaker than ours. To the Inka nearly everything was sacred. Nearly everything was perceived as being alive. At Machu Picchu the beginning of the black energy band emanating from the Intiwatana passes just to the left and west of the Sacred Rock. The Sacred Rock is large stone at the end of the complex on the path to Wayna Picchu. So we have the beginning of the black band encompassing the Sacred Rock. The Sacred Rock is a marker for the start of the entire series of twelve energy bands.

Mallku in Machu Picchu Forever has pointed out that this rock resembles Machu Picchu, a kneeling puma, and a Cuy, an Andean Guinea Pig, which is a staple of Peruvian cooking. Clearly any and all of these interpretations are applicable to the foundations of Andean civilization. However none of the animals the Sacred Rock is said to match any of those that are ascribed to the black zones seen within the Milky Way, the Mayu. Part of my research was to try and read the landscape left by the Inka. I felt there must be a better correspondence between features of the black band. Certainly the Sacred Rock is partly black as are many of the stones here.

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The black band is one of the most mythic bands of the energy spectrum. There should be something that either points to an animal in the black areas of Mayu or more directly to Wiracocha. After returning from Peru and looking at the photographs of the Sacred Rock I realized that there seems to be information like a large mosaic on the face of the Sacred Rock. You have to look at it almost in a trance state to see it. Although the Sacred Rock does have information on it none of it stands out immediately. It is very interesting to note that in the black band within the central plaza are a number of pyramidal stones with acute and unmistakable angles. It appears the Inka were making prototypical references to the Spirit or to the desire of Spirit to move upon and within matter through these pyramidal forms. While walking from the Sacred Stone on the path back towards the Intiwatana I felt there was more information here. With the view that all stones at Machu Picchu were significant the search was on for any stone out of place and especially for a keystone. A keystone is a stone that juts away at an angle from another stone. These exist at Machu Picchu in order to draw your attention to significant stones. It’s like leaving a marker behind to say ‘look here.’ Using a keystone near the so-called ‘Rock Quarry’ brought a significant discovery, which will be described later in this book. A few meters along the path back towards the Intiwatana there was a stone offset in the yard. And it had a keystone pointing to it. Since it had rained earlier that day it was easier to recognize the shape of the stone. The rain had filled in the location of the eyeball. The stone was shaped like the head of a llama, one of the animals found in the dark void of the Milky Way.

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Illustration 29: Location Of Llama Head Stone In Black Zone Of Machu Picchu. Note The Keystone In The Far Left Of The Picture Next to The Llama Head. The IntiWatana Is At The Top Of The Terraces In The Background.

Here was a clear message left by the Inka. The head of the mythic llama from a black area of the Milky Way is a marker left within the black energy band. We have the first confirmation that we are reading Machu Picchu using an energy key matching the site. If we find other similar markers or functional stones in other aress within the twelve bands then we have shown something very significant. We can prove that the builders of Machu Picchu were using this universal energy key. Using this energy key and the twelve bands we have found a way to enter into communication with the builders of Machu Picchu.

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Illustration 30: Rock In The Shape Of A Llama Head. Keystones Next To The Path Are To The Left Of The Llama

Illustration 31: Head Of A Live Llama At Machu Picchu

For a moment we need to harvest more information about this llama that has meaning for reading the rest of the clues left at Machu Picchu. There is something very significant about the llama we need to keep in mind. In Quecha, the word for the indigineious healer, or shaman, is paqo. This is also the same word for a male llama. In many cases in Andean mythology the concept of the person who is a paqo can replace the word llama for deeper insight into that particular myth. These correspondances between the word for shaman being the same word for male llama are not just fanciful. The Spanish chroniclers noted that the Inka themselves held this close concept between the male llama and the paqo shaman. Both paqos eat primarily vegetables, live alone away from most people, and the paqo shaman typically wears wool or other animal fibers including llama or alpaca. Within this first energy band we are presented with a sublime and signifcant introduction to Machu Picchu. The message is this. If you want to understand what Machu Picchu is about you need to cultivate the heart of the llama, the paqo, the shaman. The message and essence of Machu Picchu can only be fully entered by someone carrying the perspective of the shaman. What is that perspective? It is that Machu Picchu, like all of creation, is Unveiling Machu Picchu © Copyright 2006 Inayat Tal 52

not separate from you. You are the walking snapshot of the cosmos. It is within your skin and through your breath that the universe clothes itself. The paqo sees Machu Picchu as a set of keys describing both the Universe and the Self. You are not a separate human being walking around on this planet. And you are clearly not just the body you are in. The paqo sees his form as the divine spirit extruded into three-dimensional space. It is here, at the beginning of our journey to understand Machu Picchu that we are helped to understand ourselves. It is also here that we are greeted by the llama with a wink and a nod.

Suggested Meditation: Like all meditations at the end of each section of the twelve bands it is best to use this meditation while you are actually at Machu Picchu standing in the appropriate band. But if you are not at Machu Picchu then get a map of Machu Picchu and find the band and put your finger or a ring or pendant that you wear on that section of the energy band. This will help connect you energetically to that energy band at Machu Picchu while you do the meditation. In this section of Machu Picchu begin by finding a comfortable seat on the ground and closing your eyes. Breath normally in and out at a relaxed pace. When you are ready use your imagination to connect to the vastness of the Milky Way. Imagine what it was like before any stars appeared. Imagine a deep yet maternal blackness. Stay with this image for a short while. Pay attention to any sensations in your body. Then gently bring your focus back to your breath. When you are ready try to connect with the consciousness behind this blackness. See if you can feel within the blackness a great sense of potential. As if the black void was pregnant with life waiting to manifest. Stay with this senation for a few moments. When you are ready slowly come back to the awareness of the Mother Earth supporting your body. When you feel ground open your eyes and thank the Wisdom of th evoid. Another variation on this meditation is after focusing on Mayu (Milky Way) to imagine you are seeing a llama. First you see the two eyes of the llama. Then see the llama’s head. Then see as much of the llama as you want. Keep returning to the llama that is looking at you peacefully with gentleness and wisdom in its eyes. For some a baby llama is better. The key here is that there is some energy in the llama that you may want to connect with. After these meditation exercises you may find it useful to journal, take notes, sketch, or get out some colored pencils or crayons. In these meditations you have connected to an aspect of the universe, which is really an aspect of your higher self. In the moments of your meditations the scope of your awareness expands well beyond normal for most people. It is in this expanded space that you have access to enormous amounts of rich wisdom. In your meditation you are downloading large amounts of data you are not conscious of. The artwork after the meditation helps you bring up to consciousness some important aspects that were waiting to be known or seen. Any artwork after meditation or other deep spiritual experiences will help you ground your experience in your everyday reality. Your artwork will serve as a bridge to help open you more to sacred experience. In fact, just before starting to draw, you can say something like ‘I invite my higher self and my spiritual guidance to bring to my mind those things which I need to become most aware of from my meditation’. In this way you align your intention with the activity. This helps to focus more of your being and to make accessible those qualities of yourself that will assist you in this process. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 53

The Faces On Wayna Picchu
In some energy bands there are discoveries that were not expected as part of the research. These discoveries are documented within the respective bands where they appear. The black band includes most of the SouthEastern face of Wayna Picchu. There are some very interesting features on Wayna Picchu as you will see. When I came to Machu Picchu to conduct the research for this book I was focused primarily on the relationships of the energy bands to the entire site with the Intiwatana as the focal point. I had purchased a Nikon D50 6.0 megapixel digital SLR with a Nikkor 18-70mm lens to do most of the photography. As a backup I had brought a Canon A520 4.0 megapixel camera. For the Canon A520 I also brought a Hoya R72 Infrared filter. I thought I could get some nice dark sky photographs of Machu Picchu for a dramatic effect. The use of the Canon A520 was secondary to my research. That is until I looked at some of the infrared photographs I had taken on the 4th of June 2006. On June 4th my partner and I hiked up the Inka trail to the Intipunku, the Gateway of the Sun. I had brought a small tripod in my pack and we stopped at a few places on the way up to test out my infrared filter with the camera set to capture black and white images. I did not realize what was captured until looking at the images on the small 2.0-inch camera LCD at the hotel later that night. What I was seeing there sent shock waves of surprise, disbelief, and humility through me. Below is the first face that I saw in the image named IMG_2666.jpg at 4.0 megapixels.

Illustration 32: Face On The Lower Left Of Wayna Picchu As Seen From the Inka Trail Near The Gate Of The Sun
This face is clearly a right side profile of a face with eyes open, a clear nose line and an apparently open mouth. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 54

As I continued zooming the image around I saw additional faces. At first a very alien face appeared. Then I saw the head of an Inka with headdress as well. I had already come to believe that the abilities of the Inka to work with stone were well advanced beyond the common theories of rolling stones on logs and using chipping stones. But now I was literally faced with what were likely signatures of the builders of Machu Picchu all over the side of Wayna Picchu. Whoever built Machu Picchu seemingly had the ability to sculpt across the entire mountainside. The idea of the Inka as being in any way an ordinary tribe or people of the Andes quickly vanished. And only later, from infrared photographs of my last days visit to Machu Picchu, would I understand the scope and size of the stone carvings that were left around Machu Picchu.

Illustration 33: Portion Of Wayna Picchu Presenting An Alien Looking Face

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Band 2 – Infrared
Color Range Symbolis m Body Area Infrared 16-30 degrees Threshold of Manifestation Below The Feet

The infrared band, at just below normal human visual perception, represents those things that are on the outskirts of physical manifestation. This band corresponds to energy sites and chakras at and below our feet. It is within this band that we are to consider the primal forces of creation, which sustain our physical existence. In contrast to the mythic aspects of the white band and the embryonic aspects of the black band, the infrared band represents the beginning of organization within matter and spirit. You can think of this level as the transformation or stabilization of energy into matter. This is very similar to the theories behind the first few seconds of the big bang. Matter is attempting to organize itself into coherent structures. The process is so primal that it may appear to be chaotic. At Machu Picchu this band manifests across the plaza to the east of the Intiwatana in an area called the Usno3. This area is formally through to be something the Inka just didn't get around to finishing. To the contrary, this area represents the beginning of the formation of energy into organized forms of matter and structure.

Illustration 34: 'Unfinished' Area In The Infrared Band Across The Plaza From The Intiwatana
It is a great challenge for most people in our culture to relate to the Infrared energy band. Here we are not talking about an infrared remote control or your cars’ keyless remote entry. We are talking about interacting with this band as an energetic aspect of consciousness. This band is about the gestational period of holding your creative ideas before they manifest. Our culture is so intellectually mechanized and over-clocked that anything shorter than instant results are satisfying. What is it like to spend nine months in the womb? 3 See Zereceda 1999, P. 35 Unveiling Machu Picchu © Copyright 2006 Inayat Tal 56

We have great minds and wonderful imaginations. But we are not familiar with how to sow our dreams into the black of night and nurture them in the predawn stillness. For your own preparation for working with this band it may be helpful to study what women in various cultures around the world have done to prepare for conception and childbirth. In some traditions the man and the woman who want to have a child will hear a song while standing under a tree. It is thought that the song is being sung by the spirit of the child who wishes to come into their lives. This is a wonderful example of working with the unmanifest energy and sowing ouor personal dreams. If you find yourself at some point in time faced with some major life decisions or directions you want to take there is an easy way you can work with the earth to assist you. Take a piece of paper and write on it your goal or your wish. Take this piece of paper and hold it in your hands for a few minutes visualizing the desired outcome. Then take this piece of paper and bury into the earth. Ask the earth to receive your wish and ask for its assistance in bringing your wish to reality. You wish has become a seed planted into the womb of creation, the Earth. In this way you are working with infrared energy; the threshold of manifestation. There are still other ways to bring your vision about. A more mythic approach is to imagine that you have the ability to sing your wish into fulfillment. In many cultures the women or shamans sang songs that were used when planting seeds to help the spirit of the plants to grown. Many cultures also believe that ceremony is more powerful either at or just before the full moon or at the new moon. Here is a ceremony you can do to help germinate your ideas. Find a private place preferably outside in nature in the infrared zone. It should be a spot fairly secluded so you will not have much chance of being interrupted. Make sure to ask permission of the earth and plants and animals around you to do your work here. Also ask for their help. You can bring a photo of your wish or a piece of paper or something else that represents your wish. What you want to do next is to spend a fair amount of time, say at least 30 minutes focused on your desire. During this time you can begin humming and singing about your wish. You may want to bring an instrument like a drum or flute to help you. Playing a drum or guitar are great for this because you can play them while you are singing. Just imagine that with each vibration of your voice your wish collects more of the energy for your vision. If you are fortunate to have a cave or hole in the ground or hollow tree stump to sing near or into that may be even better. After you are finished singing spend some time in meditation and listening both outside and inside. Leave some gift and a blessing of thanks. Because this ceremony may have the aspect of sound involved you may want to perform this at home before your trip to Machu Picchu. If you decide to perform this ceremony at a park or sacred site make sure your activity will not disturb others. Also keep in mind that before just sunrise and just after sunset it is said that the energy is the calmest. Light at these times is just on the edge of manifestation therefor tuning into the infrared at these times may be more effective.

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Suggested Meditation: In the infrared section of Machu Picchu find a quiet place and relax. Close your eyes and bring your awareness to your breath. Try and notice the sensation of the air moving in and out of the tips of your nostrils. When you are ready bring your awareness to the earth below you. Imagine that you are on the earth just as life is preparing to appear. The earth is shrouded in clouds. The place you are is at the edge of a great shallow sea. The only sounds are those of the waves breaking gently and lapping on the shore. If you can, imagine the great expectancy within the earth. Everything has been prepared for life to spread on the planet. Bring this feeling into your body. Without being specific about any goals in your life just bring in a great feeling of expectation. Wonderful things are about to happen to you. Enjoy the anticipation. Feel how carefree this is. Feel how relaxed you are. Stay with this feeling for a few moments. When you are satisfied you really have this feeling deposited in your body then slowly come back to the awareness of Pachamama supporting your body. When you feel grounded and embodied open your eyes and thank the threshold of manifestation.

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Band 3 – Red
Color Range Symbolis m Body Area Red 31-45 degrees The Foundation Feet, legs, perineum, root chakra

It is at the red band that energy makes it full visible manifestation into physical form. To maintain physical life we need basic life energy, strength, and vitality. The color of our blood helps us remember just how much red is associated with life. In the red energy band, commonly associated to the root chakra, we have our connection, our grounding, to Pachmama. In order to have a healthy spiritual and physical life you need to be grounded to the earth. Many people are not grounded. There are indeed spiritual forces that would have us strive to only be spiritual creatures. A large part of our role as human beings is to integrate the heavenly and earthly forces into a dynamic harmony. The earth provides our foundation for performing our role and walking forward in life. If we are not grounded we can feel disconnected from everything. Lack of grounding can mean that we have ideas that change too often or are not practical. Challenges with grounding can also occur from very early childhood traumas that we could be too young to remember. Practicing touching the earth, carrying a small hematite stone, walking with bare feet, taking sea salt baths, getting foot massages, and eating root plants are all common ways to increase our connection and energy flow to the earth. Not coincidentally, across the plaza from the Intiwatana, at the edge of the red band that the walls of Machu Picchu begins. Having left the infrared band and the seemingly unstructured Usno field we now cross into the red energy band and the beginnings of defined physical structure. There are a number of large stones within the structures in this area of Machu Picchu. The stones here resemble mythic animals of the sea such as a whale and a dinosaur or alligator head. Just as red light marks the boundary of visible light to us so to these mythic figures represent the beginning of Spirit manifested into living beings.

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Illustration 35: Stones In The Red Zone Across The Plaza From The Intiwatana

Illustration 36: Close-up Of 'Whale' Stone In The Red Zone

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Within the Red energy band we see stones holding the expression of mythic or prehistoric animals. At this energy band the mythic and cosmic aspirations have become visible upon the earth. Just like most large stones in any band these stones are placed here intentionally for you to connect with the foundations of your own existence. This energy band supports you in exploring how your own mythic aspirations have become your reality. From this area you can also learn how to support the gestation of your current aspirations into future realities. In this same area of the energy band, very close to the whale stone is a small circular stone whose original purpose is uncertain. This stone resembles two stones in the blue band that are called the ‘mortars’. The stone looks like a large eye. The shape also resembles a seed or bacterial carrying an internal nucleus. The shape of the circle represents the eternal Spirit. A circle carved into a stone represents the eternal reaching a physical expression.

Illustration 37 Unique Stone In The Red Band

It is at this energy band, in the clear transition to the physical, that we can also ponder questions about created life. In the Inka mind the distinction between the sacred and the secular was not the duality we hold today. Part of the reason for this is that numerous aspects of Inka culture brought the mythic and the sacred into daily life. But the Inka had also internalized a perspective that was the inner secret to their consciousness. What is the difference between the un-manifest spiritual and the manifest physical? Or what would you say is the difference between the sacred and the profane? The difference between these is exactly the same as that between the eternal and the temporal. You can imagine all of these terms as being synonyms for two ends of a continuum. At every moment you choose where to position your consciousness between these two poles. Most people choose the temporal as their normal perspective. At some profound moments of realization your awareness may shift slightly from the temporal to the eternal. Do you want to know a secret? The physical is only a thin veil upon the spiritual. It is the eternal that hides under the sheers of the temporal. Quantum physics tells us clearly that the hard concrete characterists that we attribute to matter are illusionary. The Inka obtained a realization that all mystical traditions have achieved. They realized that the spiritual initiate is someone who has seen the mystery of the sacred dance. And that within their selves the can find the signature and dwelling of divinity.

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Inka means children of the Sun. We know that the Inka had a solid astronomical understanding of the physical sun that gives light and heat to the earth. But the Inka also had profound realizations about the metaphysical and spiritual aspects of the sun as well. In the Inka mind the earth, the Pachamama, is she who gives of herself so that we may be clothed in physical form. It is the sun, the Inti-taytay, as the spiritual father who infuses the divine consciousness into us. Just as the wind inflates the sails of ships our spiritual consciousness is sustained by the solar and spiritual emissions from the sun. We also receive spiritual emanations from the cosmos in general, from the heart of the Milky Way, Mayu, in particular. The Inka knew all of this. An Inka is someone who can enter into a realization of divine consciousness. If you can begin to enter into this realization then you are on the threshold of the mind of the Inka. The Inka use of gold was not for ornamentation in the material sense, as western culture understands it. The Inka saw in gold great metaphysical properties that resonated with spiritual light and consciousness in general. The Inka saw in gold the ability for the spiritual to have a strong manifestation in the physical planes. It is the red energy zone that solidifys divine spiritual energy into physical form. From the structures within the red zone at Machu Picchu we can learn that the Inka realized the cosmos through understanding relationships. From the perspective of relationships we can tune into the same sacred dynamics that the builders of Machu Picchu keep orienting us towards.

Suggested Meditation: Find a quiet place and relax. Close your eyes and bring your awareness to your breath. Feel how your head is balanced on your neck and shoulders. Tune into the area around your throat and see if you can feel your pulse in your neek. Your physical body is kept alive by the flow of blood circulating from your heart. Feel how your feet and perhaps your bottom are connected to the earth. Feel your weight resting on the earth. Now bring your awareness to your perineum. Imagine that you can breath in and out through your perineum. On the in breath imagine a column of light coming up through the base of your spine. This column of light goes all the way up your back and neck and head. Imagine that you are carrying within you a column of light like a great fluorescent light. Now imagine that this column of light can bring through to your physical body all of the health and rejuvenation that you need. Just let healing light flow from this tube of light through to all parts of your body. Stay with this feeling for a few moments. When you are satisfied you really have this feeling rooted in your body then slowly come back. When you are ready slowly open your eyes. Feel your connection to this energy zone and your thankfulness for it and for yourself.

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Band 4 – Orange
Color Range Symbolis m Body Area Orange 46-60 degrees Sacred movement Sacrum, second chakra, lower abdomen

The orange energy band represents a further expression of energy into material form. Energy now moves from being grounded in physical existence to beginning to develop and expression in the physical plane. The orange band relates to all forms of physical, creative, and sexual expression. Every energy zone in our bodies can have a shadow side. Part of our exploration of Machu Picchu through our own energetic zones is to learn more about ourselves in order to bring healing into our lives. Fear is the shadow side of the Solar Plexus and guilt the shadow of the Sacral region. Many people find themselves challenged in this lower abdominal area of their bodies. Western culture has not yet learned how to interact in a balanced way with this very sacred area of the body and with sexuality in particular. We get mixed messages about the beauty of the body and the shame associated with it. Some of us deal with guilt over things done to us as children in this part of our bodies. But let us use this opportunity now to tune into Machu Picchu and our bodies and see if we can move some energy in a positive way. On your visit to Machu Picchu you will discover a special place to support your healing and transformation. Because of the design of the orange zone and the comfort and serenity you can achieve at Machu Picchu you may find this a wonderful place to embrace personal healing. A vibrant and healthy sacral chakra embraces the beauty and function of everything in this band of the human body. For women readers I can tell you a little secret. The womb is not just a place for growing babies. The sacred matrix that you carry in your womb is an energetic incubator. There is nothing shameful about the female form or any of its functions. Ladies, there is a power in your wombs. Your bellies, which expand so beautifully and lovingly during nine months of pregnancy, are energetic temples of the sacred. But use the sacred power you possess wisely. Any thought, conceived in love, can be placed in your womb. You can hold your hands in front of you in prayer position. Then take your hopes and aspirations and image them moving into your womb as a ball of light within your hands. Take that ball of light and slowly, lovingly, place that ball of light into your womb. Bless your dreams and prayers in this way. Then tune into the power you have to do this sacred work. The rest I leave to your intuition. This is not the only secret you are holding within your bodies. For the men let me say this. Part of the secret that the women possess here is the power of emptiness. The open round form of the womb is part of its power. Mystics like Ibrahim Karim say “The center is a transcendental gateway beyond time and space”. Every organ which allows itself for be filled with fluid or tissue has transcendental and transpersonal functions. For men the most obvious round area, but not the most powerful, is the cranium. The brain is able to do what is does in part because it is enclosed in a round structure. Put the brain in a square instead of a sphere and you will not have adequate function. Think of the term ‘block-head’ as a contrast. For men and women a very important containing space to work with is the heart that we will cover later. Let’s return to the orange band at Machu Picchu. Across the plaza from the Intiwatana in the orange band there is within a cluster of buildings a large set of stones. One set of stones forms a special area for meditation and for working with the orange energy band. This area features a carved seat to sit upon and a reflector stone in front of the carved seat. Interestingly this area also includes a direct view of the Intiwatana area from you position in the carved seat.

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Illustration 38: Meditation Area In The Orange Band Showing The Carved Seat Below The Two Windows On The Left And The Reflector Stone In The Right Foreground.
When you visit Machu Picchu you can work with any of these stones. Once you find this area at Machu Picchu find the seat and get comfortable. You can feel the curve in the stone that will support a good upright posture. Now, beyond the seat in the stone, imagine why this rock is here and what is its function. Look all around at the stones and get a sense of this place. This one area alone can show you how the Inka built very powerful and purposeful technology in a specific place for a specific function and make it all look so blended and subtle.

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Illustration 39: Proper Seating Posture In The Orange Band Carved Seat
While sitting on this stone look a few feet in front of you at the large stone lying horizontally. This stone is shaped so that a flat surface of the stone is facing you. The function of this stone in front of you is to reflect energy back towards you. This reflecting stone reaches above your head as you are seated. If you look carefully beyond the stone you can look at the space between the two structures beyond it. If you look up within this gap you will see a wall of stone that is directly in front of the Intiwatana. You can use the suggested meditation for this section or another meditation of your choice. Examine the feelings in your body to try and feel where you are sitting in relationship to the entire Machu Picchu complex. This type of orientation should be a skill you focus on developing during your visit. You may not be able to automatically tell which band you are in but you should be able to develop a general energetic orientation to the Intiwatana itself. At this point it is important to talk about how much time all of this meditation and energetic work will take. If you are going to Machu Picchu to connect with it for spiritual work then consider giving yourself at least two days onsite. If you only have one day then think about the bands you are most drawn to and start there. It is possible to cover all twelve bands during four hours if you only have one day. If you must do the short version then pace yourself and try to bring a notebook and write down any thoughts or images that come to you in each area. Physically make sure you have enough water to drink. Try not to eat a large meal before coming to Machu Picchu. Following the advice of many spiritual schools and paths you may be more sensitive to the energy if you have not had sex within the prior seven or more days. Most important you need to approach Machu Picchu with respect and anticipate the sacred site is waiting for you to converse with it. If you only have a day and you do lots of spiritual work in advance then you can have an experience that will be rich enough to reflect on for months or years.

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Illustration 40: View When Seating On The Curved Stone In The Orange Band. The Energy Reflector Stone Is At The Bottom. The Intiwatana Is At The Top Between The Other Two Buildings.

Suggested Meditation: Close your eyes. Feel connected to the earth through your bottom. Allow your mind to settle and clear. When you are ready bring your awareness to your breath. Feel your abdomen expand and contract with each inhale and exhale. You may want try placing your hands in a mudra or prayer position or you could place your right hand on your abdomen and your left hand on the ground. Pay attention to any peristalsis or other motion in your belly. When you feel rooted you may want to pretend that you can breath in an out of the area below your navel. Allow your breath to flow in and out of this area. Remember that you are safe. If any uncomfortable feelings come you can feel free to release them into Pachamama on the out breath. On the in breath imagine your belly filling with light. You can use white light or orange light. You can check your intuition for any other hand positions or imagery that is appropriate for you to use. When you feel a sense of connection and then completeness you can slowly come back. Allow more time for reflection and any note taking before getting up. Give thanks and expect that something wonderful in you has shifted and cleared.

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Band 5 – Yellow
Color Range Symbolis m Body Area Yellow 61-75 degrees Transformation of Energy Solar plexus, third chakra

In the yellow band energy is now formed into more complex information reaching into what we call emotions. In the human body this is the area called the solar plexus. This solar plexus is also called the inner sun. There is a great deal of mystical energetic processing that occurs in this area. Many esoteric schools consider the solar plexus to be a part of the spiritual heart. This energy band represents the fire of vitality, which allows us to manifest our own special gifts and powers to the world. When joined properly with the heart this area allows us to act beyond fear and to be able to join courage and love together into a powerful and dynamic union. Within Machu Picchu there is a special healing stone across the plaza from the Intiwatana, which though fully in the yellow energy band can assist with healing and balancing in any of the lower energy centers. This stone is one of the most powerful stones at Machu Picchu and yet it is one most people would just walk past. It is a case where you have a room and the only thing in this room is a large stone that takes up pretty much the entire space. HELLO!!! Why is this stone here? Remember, no stone in the original construction of Machu Picchu exists without reason. Every single original stone has a purpose and a function. The challenge here while walking the path of healing is to read the site using the energy keys and then look at the stone for clues on how it is shaped to accomplish its purpose. This stone has a very conspicuous projection that matches right up to your abdomen. When viewed from the side the shape of the stone points forwards to this projection. Anytime you have a projection from an intentional stone its purpose is the projection of energy. It is this contact with the stone at the abdomen height projection that activates the stone for healing.

Illustration 41: Healing Stone In Yellow Band Across The Plaza From The Intiwatana

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Illustration 42: The Healing Stone In Use. Note How The Body Fully Connects To The Stone From Abdomen Through Chest, Head, And Hands.. Gloves Are Recommended With Many Stones To Preserve Them For Future Generations.
Suggested Meditation: If you are at Machu Picchu then use the aforementioned healing stone in the yellow band in this exercise. If you are not at Machu Picchu either find a large stone you can stand against in a similar manner or find a stone at least as large as your closed fist that you can hold next to your solar plexus. In any case you should get permission from the stone first. Some stones may be more suited to certain functions or other body parts so ask first to find out. The answer will come as something like a yes or no sensation. Your intuition and inner voice will know which it is. Look at the stone and speak to it. Speak your intention for healing and communication. Close your eyes and see if you can feel the stone without touching it. After a minute or when you are ready go ahead and touch the stone. Holding the stone now watch your breathing and see if it changes in any way. Next move so the stone is pressed gently on your abdomen around the solar plexus or area at and just below the stomach. Imagine that you can breath in and out of your body and into and out from the stone. If you have any specific emotional healing bring that feeling to your solar plexus. If the healing is physical imagine a conduit of energy moving from your solar plexus to the area in need of healing. Silently or quietly ask Pachamama and the stone to help you with your healing. Continue breathing and visualize white or yellow light flowing between your abdomen and the stone. Now be willing to let go of any thought, memory, emotion, or thing that is around this healing opportunity. Take three deep and long inhales and exhales allowing whatever change in you that is to occur. You may feel a mild contraction and release in your solar plexus. See if you can feel any energy movement from your solar plexus down to the ground through your feet or to the stone through your hands. Just notice and don’t try and force anything. Don’t doubt the potential for chenge even if you don’t feel anything. Sometimes wonderful gifts are very small and sublte. Then spend a minute or however long is right for you to just stay watching your breath and feeling the stone. Before breaking contact with the stone you may want to look at it for a minute. Then when you are ready pull back from the stone. And give thanks.

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Band 6 – Green
Color Range Symbolis m Body Area Green 76-90 degrees Balance in life Heart chakra

The green band is in the center of the energy spectrum at Machu Picchu. For us the green band is the heart center. The heart is the central organ in the body. To many spiritual paths the heart functions in a sacred alchemy in joining earth to heaven. The heart is the alchemists’ cauldron turning dross or lead into gold. The heart, like many organs and areas of the body, which are spherical, is a portal beyond space and time. The heart is the great container of compassion and love. At Machu Picchu this band contains at least six significant stones in the structures across the plaza from the Intiwatana. Practice using your intiution in this area to find the stone or stones that is right for you to work with. Often you will sense a more relaxed or lighter energy within when you are in the right area. You can also ask the stone whether it wants to work with you and listen inside for the feeling that arises. Many of the stones here have carved seats upon them. One stone that is at the far end of the green band is sculpted both with seats and the shape of a mountain for a little added power. There is even a small cave below and in front of this particular stone. When seated upon such a stone find a comfortable position. Often there are explicit places, like a saddle, to place your pelvis upon the stone. Maintain an erect posture and become aware of everything around and within you. When doing this type of stonework become very aware of your breathing. If you close your eyes you may see colors. You may have sensations in your body like heat or cold. You may have emotional responses or memories. Just watch what unfolds and then gently return to your breath. The stone you are touching is working with the energy from the Intiwatana and your own essence to perform the balancing and healing that you need. Don’t be concerned about having to feel a change. Even if you don’t feel anything that is still fine. Often our most profound healing experiences occur after the 'official' healing session.

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Illustration 43: This Photo Is Taken Facing Putucusi To The East. Sitting On The Stone You Face West Towards The Intiwatana And Ceirro San Miguel Mountain.

Suggested Meditation: At Machu Picchu you can find any of the larger stones in the green band to sit on. At home you can find a sacred space that has a large rock for this meditation. Once you are seated take some time to become aware of what is around you. Listen to the sounds. When you are ready, close your eyes and tune into your breathing. You may want to do some gentle arm stretching movements that will open your chest. If you are flexible enough you can try to touch your hands behind your back. You can also touch your hands straight up over your head. After you feel opened in your chest then place your right hand over your heart and your left hand over your solar plexus. Imagine that you are completely safe and being held as a baby. Try breathing in an out the front of your chest where your heart is. If this is uncomfortable then try breathing in and out the back of your chest at the heart level. When you are ready, imagine your heart filling with either green or pink light. Maybe you want to try both colors one at a time for a few minutes. When you are ready imagine that your heart is connected to the center of the sun. Imagine that the sun is a star of love shining infinite love into you. After some time imagine your heart is connected to the center of the Milky Way. If you have anything you need to release from your heart take a large inhale and a large exhale letting go of whatever it is. If you sense any space in your heart that has opened up then breathe into that area the green or pink light. Imagine your heart as being confident, yet loving and open. When you are ready slowy return. Spend a few more minutes with your eyes open or closed just feeling what it is like to be alive. Look inside and find that kernel of gratitude waiting to be sent out from you to the universe.

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Band 7 – Blue
Color Range Symbolis m Body Area Blue 91-105 degrees Expressive Communication Throat chakra

Within the blue band the energy moves fully to communication. In our bodies this is the area around the throat. This is where our emotions and our heart must be able to express what we are feeling. One of our greatest needs is to be able to say what we feel. Often we don't say anything when we are faced with a unpleasant situation. Whether the pattern we are following is Mr. Nice Guy or Miss Polite Lady if what is involved touches our truth we should always find an honest and loving way of speaking up. The throat is a place of integration for the trunk of the body and the head. If we think too much and don't use our bodies enough in exercise then we can develop problems with our throats. In a similar way if we always day dream about how much we just want to be spirit beings and shy away from fully being in our bodies then the throat may not have enough energy circulating through it. At Machu Picchu there are large stones and stoneworks for working with throat energy. Like most other bands the majority of these stones are in the structures across the plaza from the Intiwatana. When working with these stones in the blue band it can be very helpful to practice toning vowel sounds, humming, singing, or chanting divine names. If you decide to exercise your voice just make sure to not be too loud. Sound carries a long way in Machu Picchu. Be free in your healing but be considerate as well of others.

Illustration 44: Seated In One Of The Seats In The Blue Band Facing Southeast.

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Illustration 45: Entrance To The IntiMachay In The Blue Energy Band
In the blue band is a special place that most visitors do not see. It is called the Intimachay (pronounced Inti Ma Chai, like a Chai tea drink). Interestingly in Quecha the word machay means drinking, wisdom, or drinking wisdom. It is within the blue band, and especially at the Intimachay, that you can drink in the solar healing of the blue band broadcast from the sun and the Intiwatana. Visually the Intimachay has a rock in front of the cave entrance. This reminds me of the Adam's apple in front of the human throat. If you are really curious about the IntiMachay then take an early bus to Machu Picchu and be at the Intimachay for sunrise. Plan on spending some time at the mouth of this cave and within the cave and watch how the light and energy changes here. Also make sure to spend time in prayer and to watch how you are affected. Also in the blue band is an interesting set of two shallow circular containers, which inevitably fill up with water. These have been called the mortars. But here in one of the primary communication bands and located within an area of very refined stonework are these “bowls” carved from one large stone. We have two similar circular shaped stones each with a triangular based all carved from a single stone. One theory is that these were reflecting pools used by Inka priest-astronomers to help tell time through the seasons. When viewed in light of Inka mythology a pair of some round things in the sky must brings you to the eyes of the Llama. The llama is the great animal of creation and sacrifice in Inka culture. In the Milky Way, or Mayu as the Inka called it, the eyes of the Llama are the stars in the southern cross of Alpha and Beta Centauri. It is likely these two depressions were used as reflecting pools to work with the stars in Mayu to receive information.

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Illustration 46 Interesting Water Containers Named The Mortars. They Are Likely Receivers For Information From The Milky Way.

Meditation: Find an area within the blue band that you are drawn to. Find a seat in that area. Remembering that the large stones are tools to assist you in your healing and transformation. Be seated and close your eyes. Follow the sound of your breath. See if you can feel the stones in the area around where you are sitting. Imagine that you can breathe in an out of the front of your throat. When you are ready reach out with your right hand and touch a stone. Silently or quietly intone the phrase ‘hu’ for a few seconds. Then bring your right hand up to your throat and again silently or quietly intone the phrase ‘hu’ for a few seconds. Try to feel the vibrations in your throat as you make this sound. Try to change this sound so you can feel it in different parts of your throat. After some experimenting with the sound sit quietly with your hands down and try to feel the resonance or afterglow of the sound in your throat. Once you can feel this imagine what message you want to give to Machu Picchu. With each exhalation imagine that message as a picture leaving your throat and being received by the stones. Wait a few moments and see if you feel a response in your body and from the stones around you. When you feel that something has shifted then gently blow air out of your mouth like you were trying to whistle but with your lips further apart. Blowing slowly to make the sound of the air passing through your mouth. Pretend that you make the sound of the wind and are empowering your hopes out into Machu Picchu and the world. When you are ready return to your breathing again. Then you may open your eyes and reflect on your experience. Send out your thanks and gratitude to the life around you.

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Band 8 – Indigo
Color Range Symbolis m Body Area Indigo 106-120 degrees Receptive Communication Eyes, Ears, Third eye chakra

At the indigo band the energy increases its vibration again. The communication abilities increase and move from the throat to the level of the eyes and the pineal gland. In the chakra system it is the third eye that exists at this frequency. At Machu Picchu there is a very unique stone structure called the Temple of the Condor. The condor, similar to the eagle, is associated with being closer to the creator in order to communicate with the heavenly realms. The condor is also known for its ability to see far into the world. The Temple of the Condor again provides a very strong correspondence between the function of the energy band and a structure at Machu Picchu. There is much speculation about the Temple of the Condor. There was talk about a jail being around this area. But such talk ignores the energetic qualities predominate in this band. This area is about seeing reality clearly and communicating beyond time and space. If you have some time it is best for you to see what areas around the condor wings you can get to and spend some time there in silence. There is an easy path to walk below the wings on the left side of the Temple of the Condor as viewed facing it from the front. If you look at this stone on that is the left wing of the condor it does look like it has eye sockets, a nose, and a mouth line. Perhaps the stone forming the left wing of the condor is a face. This interpretation would imply that the stone forming the right wing of the condor is actually a communication device like a bullhorn. If you can then spend some time in meditation with your eyes closed. This entire area is an Internet node of sorts if you can understand how to log on.

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Illustration 47: The Temple Of The Condor

Illustration 48: Cave Entrance Under The Wing Of The Temple Condor

Suggested Meditation:

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Find a spot to sit in the indigo band. First find a direction to look up into the sky that is not towards the sun. You should be able to look at the sky or the clouds for a minute or two. You may want to leave your sunglasses on for this part. But if for any reason you cannot look into the sky then do what you feel is right for you. Then when you are ready close your eyes and become aware of your breath. When you are settled and calm begin concentrating on the space between your eyebrows. Imagine that you are breathing in and out of the space between your eyes. Take your right handle and take a finger and slowly and gently rub the spot between your eyes seven times in a circle in one direction and then seven times in another direction. Repeat this motion so that you have completed at least two sets of seven circles in each direction. Then placing your hands down and again imagine once more that you are breathing in and out of the space between your eyes. Try to relax and just allow your imagination to fuse into a reverie. You can’t try to force anything to appear but just wait for any visual impressions you have. After a minute or two return to your breath and just relax. When you are ready open your eyes and send out thanks and gratitude for your experience. For this next part you either want to be seated or stand up. You want to find a direction where you can look at one of the mountain peaks around Machu Picchu or whatever sacred site you are at. You want to look just slightly above the crest of the mountain ridge. See if you can spot an area lighter in color just above the mountain’s shape. Try to see the area that follows the mountain shape in light. Look for any vertical bands of light along this same area. Sometimes you may want to try squinting to see if the effect changes. What you are seeing is the aura or energy of the mountain. And if you are attuned well enough, over time, you will see more than that. After a few minutes of this exercise you should spend at least five minutes with a small notebook or sketchbook and just let your imagination guide your hands to draw. It does not matter if you did not see anything physically. There are messages waiting for you on the paper in front of you.

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Band 9 – Violet
Color Range Symbolis m Body Area Violet 121-135 degrees Connection to the Divine Top of head, crown chakra

In the violet band the energy increases and organizes further to anchor our connection with the divine. We find this vibration in the area is at the top of the head also known as the crown chakra. There are sixteen water fountains at Machu Picchu that flow through and past the Violet Energy Band. Fourteen of these fountains can be followed starting from just below the Temple of the Sun. If you are fortunate to see these with water running it them please spend extra time meditating on the sight and the sounds of the water. The sound of moving water, from a waterfall to the smallest water drops, contains a very powerful healing force. At Machu Picchu or at another location you should try and spend extended amounts of time listening to the flow of water. There are many areas at Machu Picchu where you can connect to the Urabamba River that flows around the site. You can also hike to the Temple of the Moon where you can clearly hear the river and which is also a great places away from the crowds to meditate. If you tune in using a kind of day dreamy consciousness you can begin to hear the water talking to you. In many spiritual traditions there is the concept of annointing the head with water or oil during initiation or baptism. The act of the blessing with the sacred fluid has multiple functions. One aspect of this blessing is to cleanse the initiate both psychically and energetically. An additional aspect of this blessing is to activate sacred centers and sacred functions in the person being initiated. But perhaps the most mysterious aspect of placing a sacred fluid like water or oil on the person undergoing initiation is identified with or joined to the spiritual archetype of the fluid being used. Both oil and water have been used to signify aspects of the Spirit. At Machu Picchu there is both numeric and functional symbolism within the number of fountains and their measurements. The water flowing through each of sixteen sacred fountains at Machu Picchu speaks volumes. Part of their message is that Machu Picchu is a place that has been engineered to work with Spirit and matter to channel divine energies from higher levels and dimension down to feed and nourish all who enter there and beyond. The astute reader and student of sacred geometry will recognize the association between the number sixteen and harmonic of the Golden Mean Φ value of 1.618. At this point we should talk about water and other sites you can visit on your trip to Peru. If you have an opportunity for an extended visit to the Cusco region then make sure that two sacred sites focusing on water are on your list. The first site is Tambomachy and is very near to Cusco. You will find many tour operators which stop at Tombomachy. If you are adventurous you can take a local bus to the site for less than a dollar. If you are into hiking you can walk the road from Cuzco past Saxayahuaman to Tambomachy in less than 2 hours. The other water site is about 45 minutes drive to the south and is called Tipon. This is a very large site that has many intricate fountains and large scale terracing. There is evidence of carefully designed stonework and many ceremonial fountains. If you go to Tipon you many want to either hire a car or take a small tour of say a dozen or fewer people. There are many tour operators in Cusco serving spiritual pilgrims including Angel Tours. In fact if you can participate in a Inka water cleansing ceremony before you go up to Machu Picchu that would really be a great way to prepare your sublte energy body to be purified. Let us return to the violet band at Machu Picchu. The energy of the color violet itself is very high and definitely manifests higher spiritual energy. Alchemically the violet ray is the seventh ray of perfection and an active ray for purification and self-transformation. Like all the other energetic bands you can wear a crystal or mineral to help you attune those energies. For the violet band the mineral is Amethyst. In the Inka culture purple corn, Maize Morado, is thought to have special healing powers. Many people have sensations at different parts of their bodies and their chakras. For most people the crown Unveiling Machu Picchu © Copyright 2006 Inayat Tal 77

chakra feels something between a tingling and running water. There are water meditations in many traditions around the world where the meditator stands under a gentle waterfall. This is said to be a very powerful way to tune into your energy field and the energy of water. Although many people who sense the energy around the crown can feel energy flowing down their bodies in reality there are multiple energy currents running through our bodies in more than one direction. There is one energy current that flows down from the crown chakra to the feet. There is another energy current that is a return flow from the feet up to the head. In Chinese Medicine the meridians are meticuously mapped according to the main energy flows in the body. Suggested Meditation: Find a place to sit within the violet band. Take a few minutes to relax. Focus on your breath. To work with the energy in this band pretend that you can breathe in and out the top of your head like a dolphin or whale. Take each breath in and out through the top of your head. For some people it may help to move your right hand an inch above your head. In a few seconds you should be able to feel the energy of your hand. If you still don't feel anything then move your hand closer so that your palm lightly brushes your hair. If you still don't fell anything, or don't have any hair, just rest in whatever experience you are having. Imagine breathing in violet light in the top of your head. Pay attention to the sensations on the top of your head. You may feel a tingling like rain drops or like wind. Bring your hands down to your sides and continue breathing focusing on the top of your head. Once you have spent a few minutes with this focus then imagine being able to send violet light out to your entire body. When you are ready slowly return to normal awareness. As you are coming back make sure that you connect to the realization that at each moment the divine sustains you. The divine energy, wisdom, knowledge, and love, is always available to you. Send out thanks and gratitude for your experience.

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Illustration 49: One Of Sixteen Water Fountains Appearing Mostly In The Violet Energy Band.

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Band 10 – Ultraviolet
Color Range Symbolis m Body Area Ultraviolet 136-150 degrees Sun, angels, Sacred heart Above the head

The tenth band corresponds to the energy of the Ultraviolet (UV). This energy has a very high vibration. It is worth considering from the outset that much of the study of the sun is done within the ultraviolet spectrum. The Sun looms large in the cosmology and exists at the core of what it means to be Inka. Everything in the empire of the Inka always pointed back to the Sun.

From a spiritual perspective UV corresponds to your life purpose. This encompases both the direction you are trying to go and the impressions and karma you have carried with you across any Inkarnations. In some esoteric traditions it is within this area that the guardian angel overshadows each person. It is at the eighth chakra, the tenth energy band, that we acquire the ability to both understand a spiritual existence but to also live it beyond the physical. It is important now to deeply examine the word Inka. Inka means the ‘son of the Sun’. It is at this level that the ability to actively participate in a significant relationship with the Sun becomes crucial. Keep in mind that the physical sun that we see, through whatever band of light we choose, is only an abstraction of a much more significant and great spiritual being. To the Inka the Sun in the first aspect is a grand spiritual being named Inti-TayTay, Sun Father. The Inka saw not just the physical sun but they saw the sun as a great being, a great consciousness. Remember the earlier example of body parts being pressed against the plastic barrier? What you end up seeing through the barrier is a reduced abstract representation. Using the phraseology of Terence McKenna, the sun we see is a lowerdimensional cross-section of a hyper-dimensional being. What we see when we look at the sun with our eyes is a low fidelity approximation of the great spiritual being that exists at and beyond that location. The same reduction functions are applied when you look at anything. The brain is said to process around 400 billion bits of information each second but we are only aware of 2,000 bits. Your eyes are delivering to you an approximation of the phenomena in front of your face. In other words anything you view as a physical object is not concretely ‘there’. It is your mind and your brain that are constructing an image for you. More than 99% of the energy and information about the object you are looking at is unknowable in most people’s experience. Most every academic view trying to interpret what the Sun meant to the cultures that ‘worshipped’ it has gotten Unveiling Machu Picchu © Copyright 2006 Inayat Tal 80

the story wrong. From Egypt to the Maya to the Inka and many more the Sun was not just an external god crossing the sky by day in the solar barque and going into the underworld by night. The Sun is first a grand metaphor for concepts such as resurrection and mental concentration. Even more the Sun is an external representation of the heart of those awakened upon the path of spiritual enlightenment. And if you can advance far enough along the path then even the concept of externality falls away. Reaching an active point of intimacy with the Sun enters the frontiers of the consciousness of the Inka.

Illustration 50: View Of The Temple Of The Sun From Above.
When you look at the Temple of the Sun at Machu Picchu you are given clues about how to approach your interaction with the temple and with the sun. If you were able to walk up the stairs straight towards the large horizontal stone inside the temple you would walk straight into the curved wall. The design of the Temple of the Sun says that you have to use a path around or beyond the physical to interact with it. The other striking thing about the shape of the Temple of the Sun is that the curving and sloping shapes on the walls seems to imply capturing the solar energy and moving it around in a clock-wise vortex and then down through the stone into the area named the ‘Royal Mausoleum' below. With the Intiwatana you have a diffuser or broadcaster of energy. Here at the Temple of the Sun it appears more like a convex lens to capture and channel energy downward in energetic spirals. The walls of the Temple of the Sun also speak about the sacred nature of what is happening within this temple. The walls act like curtains from the surrounding area. Aside from being inside the temple the only way to see its complete layout is to take a higher vantage point either physically, as in most photographs, or spiritually. As the large stone within the center of the Temple of the Sun has a sculpted surface it stands to reason that the stone is intentially encoded with shape information related to it’s function and that it contains messages for us on it’s surface waiting to be decoded according to the rules of sacred geometry. Encoding stones with information is a hallmark of Inka spiritual craftsmanship. Other writers, most notably Mallku, have pointed out that there is a heart shaped stone near the so-called 'Royal Mausoleum' below the Temple Of The Sun. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 81

Illustration 51 Heat Shaped Stone Below The Temple Of The Sun

For a short time I was a bit concerned that there is such a clear symbol of the heart, from band 6, Green, sitting in band 10, Ultraviolet. But my background in Sufism brings an analogy that explains one aspect of the association. In many mystical traditions there is a strong association between the sun and the heart. Some have theorized that the actual energy, which powers the hearts pumping action, is intimated tied to solar energy. There is also an image, which should be familiar to most people, which I present here for illustration.

Illustration 52 Sacred Heart
The image of the sacred heart is a mystical illustration of the solar initiate. Once someone delves deeply onto Unveiling Machu Picchu © Copyright 2006 Inayat Tal 82

the spiritual path they will begin the process of transformation. The sacred heart is an image that depicts the heart of the initiate becoming transformed by light and into light. The pursuit of the alchemist is to turn lead or dross into gold. We are all searching for a heart of gold. If the Inka were aware of the principles of alchemy, which I believe they were, then they may have been alluding to the association between the sun, the solar initiate, transformation, and the sacred heart. The associations between gold and the sun are so strong within the Inka Empire that the appearance of the heart stone under the Temple of the Sun may be one of the most subtle and poetic allegories at Machu Picchu.

Illustration 53 ‘Royal Mausoleum’ Below The Temple Of The Sun
Below the Temple of the Sun and the heart stone is a very interesting set of carved steps. It is actually two sets of steps. One set of three and another set of five steps in the foreground. We know that the three levels correspond to the three worlds in Andean cosmology. But what about the five steps in the foreground?

Illustration 54 Egyptian Ankh
One of the most sacred symbols in Egyptian culture is the Ankh. The history of the Ankh is steeped in mystery. The academic source for the Ankh is most often related to knots of rope. In Egyptian mysticism the Ankh is a symbol for life. The Ankh is a symbol for a soul that is in resonance with the divine. The Ankh does look like a person with outstretched arms with good reason. The Ankh also shows us the center of five connecting streams of energy. In the Ankh proper these five streams flow from the bottom, left, right, and two from the top. In the human being these five streams are from the legs, arms, and head. So there is a deeper message here in Unveiling Machu Picchu © Copyright 2006 Inayat Tal 83

the Ankh showing us the spiritual currents that are constructed in the energy field of the initiate. The top arch of the Ankh shows the energy fields of the head being carried in balance with the heart. What the Ankh shows us is that the center of a person in balance is an integrated being with a fully functioning heart. The heart functioning as the central alchemical sun, joining heaven and earth, is a primary goal of the spiritual path. But in order to get there you have to climb the three steps of creation and the five steps of ascension. From our Inka training we recognize that the world exists in reality as three energetic worlds. In classic Andean cosmology these are the lower world, the middle world that we live in, and the upper world. From the perspective of modes of consciousness the three worlds are the lower reactive serpent consciousness, the integrated puma consciousness, and the transcendental condor consciousness. Coincidentally, or not, these three animals in the Andean cosmology have correspondences to our brain structures. At the bottom of our cranial triad is the reptilian brain geared for survival. In the middle is the mammalian brain. At the pinnacle is the frontal cortex where higher reasoning and speech is supported. The Ankh and the five steps under the Temple of the Sun remind us that to get to the reality of what an Inka is there is some process we need to go through. It is fairly well known in metaphysical circles that the spiritual energy, the kundalini, must arise from the base of the spine and ascend up through to the crown chakra. The rising of the kundalini to the crown chakra then results in a greater shower of divine energy within the persons’ energy field. This return loop of sacred life energy is what is reflected at the top of the Ankh. What the Inka remind us is that in order to become the spiritual person we aspire to manifest we must have taken the fifth step. And what is the fifth step? The fifth step is the step of the initiate. The fifth step is the opening not just of the heart but also of the higher energy centers or charkas. The fifth chakra is in the throat. The heart shaped stone could also represent not only the heart but also the front of the Adam’s apple in the throat. As the body represents the earth and the middle world and the head represents heaven and the upper world it is the throat that must also enter into the alchemy of spirit. It is the throat and third eye energy centers that plug us into active and receptive modes of awareness of the spiritual domains. At the Temple of the Condor, the throat, we begin to take up our wings and ascend into the upper world. When infused with the divine our words take up wings and travel to sacred domains beyond imagination. The initiate becomes the Ankh when the roundness of the sun and of heaven is coupled with the vertical and horizontal aspirations of directions of terrestrial life. On finds many places at Machu Picchu with seven steps in stone. Take the time to find these places and to stand on the fifth step. Remember that timing and alignment are often superchargers to sacred experience. The initiate, the Inka, is one who has taken the fifth step. He/she stands as one who integrates heaven and earth. After taking the fifth and subsequent steps the Inka is able to open their energy field like a net and to receive the energy from the sun and the cosmos and bring these energies into the heart. The Inka is then able to broadcast, as appropriate, these integrated divine loving energies outward across the earth. The Inka also sends love down into Pachamama and to all beings at all levels of existence. Suggested Meditation: Find a location to sit within the ultraviolet band. Spend a few moments listening to the sounds outside of you. When you are ready close your eyes and bring your awareness to your breath. See if you can feel how far into your lungs your feel air movement. When you feel settled bring your awareness about a hands width above your head. Imagine that you are wearing a halo on top of your head. See if you can project your breath up to the halo above your body. When you are ready imagine that there is a beam of divine light coming up through your body. This light rises inside of you in front of your spine and goes up through the top of your head. This light started at the center of the earth. See if you can feel down into the bountiful earth. This light extends all the way out into space. See if you can feel that. Imagine that this beam of light is a conduit for divine earthly and cosmic energies to come in and feed your being. When you are ready you may want to stop your meditation or continue with the next meditation. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 84

For this second meditation imagine that you are able to reach out and touch the sun. You won’t feel any pain or that much heat because you are touching the sun from your spiritual essense to its spiritual essence. Imagine that you can take handfuls of the sun and carry that light and place it within your own heart. Take several handfuls of the sun and put it into your heart. Imagine what it feels like to have the sun within your heart. Imagine the light of the inner sun shining on all parts of your being. Everything inside is free and healed. Everything is bathed in light and supplied in each moment. Give thanks realizing that everything is enlightened, enlivened, and peaceful. Stay with this feeling for a few moments before slowly returning.

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Band 11 – White
Color Range Symbolis m Body Area White 151-165 degrees Archangels Moving beyond form

In the white band energy steps up again. In the human body we are now above the eighth chakra. In the Inka worlds we are fully in the upper world. Everything here is clothed in white. Everything at this level is purified and in harmony. As the ultraviolet band is the primary source for receiving solar energies the white band now interacts with energy from the highest levels of what we can call manifest source. To progress higher in the energy spectrum we would cross beyond what can become manifest in the created realms. Reaching the white band we cross through the levels of solar energies into the most subtle and refined energies of the cosmos. This is the threshold of manifestation and creation. Here exist all the mythic archetypes and archangels we can imagine. At this level we are at the upper limits of expressing levels of light, love, and wisdom. Resonance turns out to be a large portion of what the white band is about. One of the most significant areas within the white band at Machu Picchu is the Sacred Plaza.

Illustration 55 Temple of the Three Windows In The Sacred Plaza

The most famous area at The Sacred Plaza is the Temple Of The Three Windows that looks out to the east from Machu Picchu. Amoung the items you should pay attention to here are the well rounded corner stones at the ends of the Temple of the Three Windows and at the other structures here. If you can arrive early in the day near the Winter (June) Solstice then you can watch the play of light forming a Chakana from the stone in front of the Temple Of The Three Windows.

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Illustration 56 Stone In Front Of Temple Of The Three Windows Which Forms A Chakana With The Shadow
There are many individual elements here within the sacred plaza. You need to look around and see what you can find. Be sure to look around corners and in places not directly in your line of sight. If you find a small cave and can fit inside take a look.

Illustration 57 Small Intiwatana Stone At The Sacred Plaza

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The Sound Room
At Machu Picchu the white band also finds expression as resonance in sound. Next to the Sacred Plaza on the way to the Intiwatana is a very interesting room. It has trapezoid windows, which are blocked off. This room is all about sound. We will cover this room in greater detail a little later.

Illustration 58 The Sound Room Between The Sacred Plaza And The Intiwatana.

The Garden Of The Gods
There is a unique area at Machu Picchu that straddles both the White and Negative Green energy bands. This area has been called the Rock Quarry. This seeming jumble of rocks and stones is viewed as quarry and source of unfinished stones for Machu Picchu. But according to our principle of intentional design for all of Machu Picchu thus far this area is not what it seems. This is not a jumble of stones. Just like every other area in Machu Picchu this rock outcropping is encoded with sacred information. To read this library the natural stone shapes must be viewed very carefully. A careful reading of the stones in this area shows us that this place is a detailed record of Inka cosmology. The so-called Rock Quarry is in reality the Inka Garden Of The Gods. In Andean cosmology there exist at least three worlds. These worlds are metaphors for levels of consciousness and for dimensions. The lowest level is Ukhupacha, the underworld, represented by the serpent. The middle level is Kaypacha, our world, represented by the puma. The highest level is Hanakpacha, the upper world, represented by the condor. At the apex of creation is the creator named Wirococha. The White energy band corresponds to one or more energy centers above the crown chakra. This area represents the full transition to the mythic world, the Hanakpacha. In this way the sense of self is merged into the one great being. Being plugged into this transdimensional portal means that images of the mythic story of creation come flooding into our consciousness. The stones in the area record this dynamic and living mythology of the Inka.

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Most good tour books on Machu Picchu record the location of the Serpent Rock that is in this area. This is a long rock that is on a slight incline sticking up from the ground. Recalling that the serpent is the power animal for the lower world it makes sense for us to keep an eye out for other stones that may represent other animals. These other stones exist in plain sight. Just beyond Serpent Rock is a series of closely joined stones that depict the wings, tail, and body of a bird. Given our understanding of Inka cosmology this ‘bird’ is a condor.

Illustration 59: Serpent Rock In Front Of Condor Rock

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Illustration 60: Profile Of Condor Stone Next To Serpent Stone. Note the tail feathers rock to the left of the main body rock. The right wing stone is in front of the body stone.

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Illustration 61: Detail Of The Tail Of The Condor In The Garden Of The Gods. Rather Than Being An Example Of Inka Quarry Methods These Markings Contain A Specific Message. The Reader Will Note That According To Inka Prophecy We Are Crossing Into The Fifth Age Or Sun.
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Orientation is very important in order to see messages left for us. Without the proper orientation we will not see the messages. In the case of the Garden of the Gods there is a conspicuous keystone left for us. Like the keystone at the face of the llama in the Black Energy Band the keystone here in the White Energy Band calls out to us. The message of this keystone is that we need to look in the direction that the keystone is pointing in order to see the message left for us.

Illustration 62: Keystone On The Ground As A Viewing Reference Point To See The Figures In The Garden Of The Gods. Many Such Keystones Cry Out To The Visitor To Take Note Of Something In View.

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We have already seen the Serpent Rock and the Condor Stone what more could we see by taking the perspective offered by the keystone? How about an entire story of creation?

Illustration 63: The Garden Of The Gods. Stones From Left To Right: Serpent Rock, A Condor, A Puma, And Wiracocha
Standing in the direction pointed to by the keystone we find starting from the left there are major figures from Inka mythogody. These figure are beings, or archetypes, of the Andean energies representing worlds or levels of consciousness. We can see the head of the Serpent Rock behind one rock on the left (which looks a little like a turtle). Just past the Serpent Rock is the Condor Stone series. Remember that all the faces found in this series are oriented in the same direction. This is to the right from the viewpoint of the keystone. Past the Condor stones is a large stone that resembles a Puma. Regarding the Puma shaped stone specifically this stone is itself a marker for something much larger also in the shape of a Puma that we will cover later. Keep in mind that sacred messages are often coded by showing you a small representation of something when the larger version is just beyond what your senses would normally perceive. Arriving at the Puma we now have encountered the three power animals of the Inka worlds. The careful reader will see that the order of these animals is different than usually encountered. Most often the progression is from serpent to puma to condor. But here at Machu Picchu the emphasis is on the human being existing as the fusion of heaven and earth to live as the Puma Runa, the Puma Person. We see this emphasis echoed in a much larger puma we will see soon within this same band. Returning to this mytical stone garden what is left in the Inka myths beyond the three power animals of the Andean creation? Wiracocha, the Creator would be the next logical step in the progression. And what do we find past the Puma stone? A very human looking stone with eye sockets and a very convincing profile.

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Illustration 65: The Serpent Stone

Illustration 64: Close-up Of Puma At Center Left (facing Right) And Wiracocha at Center Right (also facing Right) In The Garden Of The Gods

The Wiracocha Stone is very interesting because there are faces present from at least three angles. From our view standing at the keystone we can see one representation as if we are looking from the right side of Wiracocha’s face with a pair of bushy eyebrows near the top right of the stone. We can take a slightly different view of the face by imaging we are seeing Wiracocha from his left side with a long nose ridge running down to the left. But the most stunning and convincing view for this stone representating Wiracocha is seen only from walking around to the other side of the stone.

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Illustration 66: Head Of Wiracocha In Profile From The Far-Right Side Of The Stone.
The walk around the Wiracocha stone yields a rewarding view. Wiracocha in profile appears complete with a very Inka looking headdress. Although there are many human looking faces around Machu Picchu this stone face of Wiracocha is one of the most accessible up close. What is presented here is only a small set of the stones within the Garden Of The Gods. The reader is encouraged to spend time in the area and enter an expanded dream-like consciousness. First find the stones listed here and then find others in this area that are shaped like animals and other mythic creatures. Suggested Meditation: Find a comfortable place to sit within the white band of Machu Picchu. There are so many stones in the Garden Of The Gods to choose from. Once you are seated being focusing on your breath. Feel your chest and abdomen expand with each breath. Become aware of the sounds and sensations around you. Feel your connection down to the earth. Imagine your energy connecting up into the sky. When you feel settled focus your intention on the stones around you. Imagine that these stones have messages recorded on them and within them. Next begin to develop a feeling of expectation within you. You are here to receive whatever these stones, Machu Picchu, your spiritual guidance, and your higher self have for you. Stay in this feeling for a little while. After a few minutes slowly come back. Give thanks for your experience whatever it was. Feel yourself connected to the earth. Listen to the sounds around you. When you are ready open your eyes. If you have received any messages try to write them down. Bless the area where you were sitting and carry gratitude in your heart.

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Band 12 – Negative Green
Color Range Symbolis m Body Area Negative Green 166-180 degrees Return to the Source Beyond the body

At the level of the twelfth energy band we now cross and energy threshold beyond the manifest creation. The French Radiesthesists called this band ‘Negative Green’. This band is not negative or bad and it is not green. If you refer back to the energy wheel this band appears on the exact opposite from the color green. The label Negative Green was a simple way to denote this band relative to the Green band. The Green Energy Band contains those energies that support creation and biological life. The Negative Green Energy Band functions in a way that is beyond biological life and it’s function does not support life as we understand it. The energies here are now directed back to the unmanifest, back beyond our concept of source. We are beyond the mythic. We are now seemingly passing through darkness. This is the full return to the unexplainable Tao. Yet at Machu Picchu the story of return is told with a visceral illustration of the destination. We have discussed the Garden Of The Gods and it's wonderful and amazing sculptures. The Garden Of The Gods is a record of Andean creation set in stone. Now in this area of Machu Picchu we turn our hearts and minds back to the source of all existence. Negative Green energy prepares us for our eventual return to source. The French Radiesthesists discovered that Egyptian mummies emitted strong Negative Green energy. Structures and forms that channel uncorrected Negative Green energy have been shown to dry food and mummify the bodies of animals and people. This energy is the same energy that has been associated with some aspects of 'pyramid power'. In fact one of the French Radiesthesists, Léon Chaumery, reportedly died due to an experiment he created which emitted uncorrected Negative Green energy. Modern day Egyptian energy researchers have a protocol in which everyone understands that you do not attempt to dowse the energy of a mummy due to the interaction with the Negative Green energy. But don’t worry, in this area of Machu Picchu the Negative Green energy has been adjusted so it is safe for you to spend time there.

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Illustration 67: Terrace Of The Ceremonial Rock. ‘Cemetery’ Area Of Machu Picchu In The Negative Green Energy Band. Note The Small Building At The Opposite End Of The Courtyard.

So it is with little surprise that we understand that near the famous 'Guard House' above Machu Picchu proper is where Bingham's expeditions thought the area to be a cemetery. Although archaeology work in 1974 concluded that this area showed no signs of housing bodies. This later work found that many stones place in this courtyard were evidently carried up from the river and placed here near the Ceremonial Rock. In either case this area does carry the energetic signature of returning to the creator. Looking once more at the Ceremonial Rock in its place within the Negative Green band we can say that the ceremonies here involved some kind of return or connection to source. Despite the original reports from Bingham’s team the bodies that were found at Machu Picchu were roughly half men and half women. None of the bodies showed any signs of hard work let alone sacrifice. At Ceremonial rock what you have is a place for a symbolic living sacrifice. If you look in Mallku 1997 (Inka Initiation Path) you can see a picture of someone laying down on this rock. Standing poses are required during certain sunrise alignments such as one at the Intiwatana. But the Ceremonial Rock suggests full surrender in a laying down pose. In Yoga placing your body horizonally on the earth is called Savasana, or corpse pose. The stories behind the initiations in the Great Pyramid of Egypt state that the initiate laid down for three days in the stone sarcophagus while their soul traveled through the universe acquiring the knowledge of a master. It is also well known in yogic circles that while in Savasana the yogi may experience the deepest meditation states know as samadhi. Samadhi is an experience of deep union with the great being of existence. At Ceremonial Rock the Inka initiates surrender all attention of their bodies and offer themselves up as representatives of the great being. Rather than enduring physical death the initiate rises with renewed energy being more closely united with source.

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Suggested Meditation: Find a comfortable place to sit within this twelth band, the Negative Green, at Machu Picchu. It may be helpful to select a spot where you can either be alone or have a view of the Ceremonial Rock. Begin by focusing on your breath. Pay attention to how your chest and abdomen are moving. If you have a view of Machu Picchu city then take a few moments and look around. See if you have a different feeling in your body in this area than at other spots at Machu Picchu. When you are ready close your eyes and refocus on your breathing and your heart. Imagine that you have some gifts to give to the universe. These gifts could be your service, your love, or your smile. Imagine that from where you are sitting there is a conduit of energy starting from under you that moves through you and up through the sky. This beam of energy moves far out above the earth and returns to the universe. Imagine now that any gifts that you want to send up to the universe can be carried up on this energy beam. Spend a few moments in this give-away of the heart. When you are ready see if you feel a return flow of blessings coming back from Pachamama and the universe coming back to you. Take some time to feel that you are really empowered in your walk on the earth. When you feel a sense of completeness slowly bring your senses back to your body and the immediate area where you are seated. Take a few moments to tune into each sense. What can you hear? What can you smell? What do you feel on your skin? And finally, open your eyes. What do you see? If you have some physical offering such as a few coca leaves, tobacco, or some water, now is a good time to offer these in thanks either where you are seated or somewhere close by that you are led to. Feel that you are totally empowered and blessed in this sacred giving and working with the universe.

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The Great Puma Carved In Stone
The Black Energy Band opened the energy spectrum at Machu Picchu. Within the Black Energy Band we have seen one or more faces visible in infrared light that appear on the eastern side of Wayna Picchu. These faces on Wayna Picchu are most easily visible from the Intipunku a short distance up the Inka Trail from Machu Picchu. It is fitting that at the completion of the twelve bands of energy around Machu Picchu there is another set of indicators pointing to the ‘source’ of Andean cosmology also carved in stone. When you are standing at the southern most point of the Machu Picchu complex, or from the Inka trail towards the Inti Punktu (Sun gate), a clearly visible mythic figure can be seen carved into Machu Picchu Mountain itself. Machu Picchu Mountain has been modified into the image of the head of a giant puma completed with a very well sculpted eyebrow and eyeball.

Illustration 68: Infrafred photo of Puma Head With Round Eyeball On Machu Picchu Mountain To the South Of the Complex.

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Illustration 69 Puma Head On Machu Picchu Mountain Above Complex

Illustration 70: Detail Of The Eye Of The Puma On Machu Picchu Mountain
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merging with the divine in the form of Horus. Rather than closing the energy bands with a condor, the seemingly higher symbol for the divine, the builders of Machu Picchu lead us clearly to the image of the puma. Why? Andean cosmology points us to an immediate experience of the divine within the context of our current lifetime. This immediacy of experience is in all aspects of both Amazonian and Andean spiritual views. The Andean spiritual path is a path of munay or love expressed in right action in helping one another. It is also a path of gnosis, immediate knowledge through experience. The Western mind has created layers of abstraction away from direct experience. In the West we equate writing with cultural development but this bias makes it difficult for us to read the rich nuances of an advanced culture based on experience that has no need of writing. The Andean mind reads the text of nature in every moment. The Andean soul sees the greatest accomplishments in this life as achieving the mastery of love and balance within this life. To the Inka it is not conquest or dominion that are paramount achievements but harmony and love. The animal archetype and form for the Inka that symbolizes mastery of life in this way is the puma. The builders of Machu Picchu are gently reminding us to be fully present, and fully human, in this world. In Inka and other cosmologies to be fully human is to be a kind of puma embodying mastery of courage, love, and balance. The appearance of this puma on the side of Machu Picchu is compelling. There are a number of theories I can think of as to how the faces on Wayna Picchu and on Machu Picchu got there. The first theory is that the Inka, or whoever carved this puma face, noticed the existing shapes on these mountains and used some form of technology to sculpt and refine existing lines and features. This theory follows the approach that an artist uses approaching a piece of three-dimensional work. Today we see wood carvers and stone sculptures who work with the existing lines and form of the piece they are shaping. The frequency of the puma motif in stone within the Inka Empire and other Andean cultures is significant. The size and scale of the puma form placed upon Machu Picchu is in intriguing. Constructing things in the large is a common aspect of very ancient cultures. One of my theories is that some aspects of Machu Picchu, such as the Intiwatana, are much older than the rest of the complex. It would not surprise me if the sculpting of the puma on Machu Picchu coincides with the astrological age of Leo, approximately 12000 years ago. Another theory about the faces on the mountains in this area is a bit more exotic. Using the first theory you have beings like us using either brute force or advanced technology carving the sides of these mountains as though they were Peruvian Mt. Rushmores. Under this second theory the forces forming the faces here are spiritual in nature. It is clear that the Sacred Valley of the Inkas, including Machu Picchu, is a highly charged spiritual center. Therefore it embodies a set of harmonics that enable it to come under the direct influence of benevolent spiritual forces frequently, if not constantly. There are many stories in a variety of cosmologies about spiritual beings having helped to form the earth. It is not unreasonable to assume that this area in Peru is one place where these beings have left signatures and messages waiting for us to be able to read them. This theory is not so far fetched. Rather than imaging that such messages are not possible we should keep in mind how the current cultral mind is, noting it rarely notices the sacred which is all around us.

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Light, Form, And Shadows
The origins of the Inka, the Children of the Sun, are mythic and grand in the imagination of man. The association of the Inka culture with light, and with the Sun (Inti) in particular, stands as a key for deeper investigation. There are numerous examples of Inka architecture throughout the empire, which use the interplay of sun and shadow. From the layout of the city of Cusco to the Intiwatana at Machu Picchu the Inka made structures, which aligned with light and shadow in a living replay of mythic stories and energies. In many ways this active interplay of light, structure, and shadow places the Inka culture as equal to the Ancients Egyptians in their fascination with light. No other culture so constructed their world around the mythic attributes of light. What were the Inka doing and why?

Illustration 71 - My Friend Paul And I At The Gate Of The Sun In Tiwanaku, Bolivia in 2005. This Is The Mythic Point Of Origin Of The Inka People.

Many of the structures in Machu Picchu are stones shaped in the form of mountains. From these totally organic forms you cross into a hybrid of sculpted forms such as the Intiwatana. Finally you reach more abstracted forms of windows or doorways all made of magnificent stone. You will find examples of the play of light and shadows in all of these forms.

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Illustration 72 Sunset At Machu Picchu

There are a variety of mystical keys available to understand the use of stonework at Machu Picchu. This is especially true in the stones shaped in the form of mountains. If we can posit that the universe is constructed of sound and light then two of the most important principles to understand are those of harmonics and the play of light including reflection. Inayat Khan stated

“The sun is reflected in all things, be they dull pebbles or sparking diamonds, and their radiance is according to their capability of reflection.” 4
This implies that creating forms sharing similar characteristics increases their ability to interact with each other, to reflect each other. Forms with similar shapes tend to form an energetic resonance with each other. By creating a miniature mountain in stone within the site of Machu Picchu the builders are doing more than just making an artistic statement. That miniature mountain is an active connection to interface to the real mountain. There is an energetic communication established that anchors the energy of the real mountain into the site. Additionally the flow of that energetic exchange also allows someone to project sacred intention toward the real mountain resulting in a magnification of the through the mountain. What is established is a mystical communication conduit. That is the function of many of these stones. Because of the energetic reflectivity established by the miniature stone there is more spiritual light brought into Machu Picchu. The miniature stones are both communication ports and areas of light emission.

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Illustration 59 Small Intiwatana Stone In The Sacred Plaza.

Besides miniature mountain stones there are many stones positioned to send spiritual light into the complex. Some examples are conspicuous stones below the ‘Guard House’ at the southern end of Machu Picchu.

Illustration 60 Light Beaming Rock Below 'Guard House'.

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Illustration 61 Angular Clues On The Beaming Rock
The Beaming rock has special cut angles on it which point to its specific function of redirecting energy. The large faces on this rock point generally towards the Intiwatana. This rock is supplied with energy in part from below it by energy coming up the side of the mountain through an open stairway. The Beaming rock is shaped intentionally for this purpose of sending energy across the complex.

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Illustration 62 Open Unused Staircase Acting As Energy Conduit For The Beaming Rock In The Foreground.

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Illustration 63 The Reflecting Rock.

The Reflecting Rock is another of many examples of stone placement at Machu Picchu acting as spiritual light reflectors. The 45-degree angle of the main face of the Reflecting Rock allows it to channel solar and celestial energies towards the main complex and specifically towards the Intiwatana. The Intiwatana is thus fed by dozens, perhaps hundreds, of angled rock faces in this manner across the complex. It is also likely that there are rock faces in the surrounding mountains intentionally and specifically shaped for this same purpose. The mountains also have more secrets to share about their sacred functions. Much of this energetic reflecting and associating has to do with communication with the divine personality of the mountain, the Apu. In Andean culture the mountains are viewed as physical manifestations of tutelary spirits called the Apus. The Apus form the locus of many Andean spiritual paths including those of the Q’ero. It is easy to understand why the spiritual beliefs of such a mountainous region would include respect and supplication towards the mountain spirits. The Apus are more than an intriguing aspect of Andean spiritual imagery. If we accept that the Earth is alive then everything upon the Earth is also alive. To intentionally shape stones into the image of mountains is to create a resonance and connection to that mountain. Thus the shaping becomes a way to bring a mountain of Great Power into a size more interactive to the human visual and energetic fields. To intentionally place objects and forms in the boundaries of light and shadow from the mountains, or their representatives, calls forth both mythic and transpersonal powers. In one personal vision saw the Apu as a being of light standing at the peak of a mountain. The physical shape of the mountain manifests under the energetic light beams of the Apu standing near the top. The mountain sustains its physical shape due to the energy of the Apu overshadowing it in higher dimensions. If you believe that the earth is a manifestation of a living being named Gaia, or Pachamama, don’t you think if that spiritual being disappeared that the earth would disappear as well? If the Apu were to step away, even for a moment, the mountain would disappear. We humans exist upon and within a constellation of spiritual beings who all literally hold the world we know together in every instant.

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Illustration 73 Apus Atop The Mountain Peaks
From my experiences in the North American Southwest deserts at sacred sites I can confirm that resonance’s of specific personages associated with sacred sites can also be seen with careful looking at etheric flows along the tops of ridgelines. When performing ceremony the North and South American medicine people that look towards the mountains are not just using their imagination. In Inka myths many persons make the transition from physical body into the form of mountains and back again. There is a story that at one point during a battle an Inka King is assisted by a large stone, which turned into warriors. In the Andean mind stones are certainly not inanimate objects of hard matter. They are animate and full of power. There are numerous Inka structures, which utilize the light of the rising sun. Some of the most important of these structures play with light and shadows around the time of the equinoxes, the summer and especially the winter solstices. It is during the winter solstice (June 21st) that the energies of the sun are reborn. The deity of the Sun, and the other host of deities which interact with the earth, reestablish their relationships with the earth at this time. It is within the boundary between light and shadow that this energetic transmission is most powerfully manifested. The boundary between light and shadow becomes part of an active demonstration of power. The Inka formed stones around this interplay to create profoundly meaningful visual statements. These images in shadow and light served to further reinforce the mythic power of the events being reenacted, remembered, and re-embodied. Astronomy tells us that theoretically there are portals in the universe called wormholes. It is theoretically possible to enter a wormhole and travel to another part of the galaxy bypassing the dimensionality usually involved in getting there. In a similar way the boundary of a shadow is the energetic boundary or edge of some kind of hyperdimensional portal or projection. A shadow is not just a missing piece of light ‘behind’ an object opposite the light source.

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Illustration 74 Energy Zones Appears Within And Around A Shadow
If you look carefully into these phenomena then you can realize that the Inka saw the shadow as not the shadow of the form of stone but as a set of energies representing a hyperdimensional projection of the actual spiritual being. The shadow of the spirit is the visible proof that this portal is aligned and active. The real being behind the form is embodied in the projection of light and shadow is interacting with the earth in a specific manner and for a specific purpose. Just like passing smoke in front of laser beams the shadow is the evidence of the mythic figure become visible. The shadow is an energetic emination of the originating being containing the resonance, properties, and powers of the source. Many Inka initiation rituals involve seeing and working with this shadow or the boundary of light and shadow. Some of the initiations involve placing parts of your body in the shadow or shadow boundary. The Inka are not alone in this concept of a special spiritual zone within a shadow. To the ancient Egyptian the Khaibit is the Shadow of the Soul. In the tomb of Seti I is a black painted human figure representing the Khaibit. The Khaibit can be compared to the etheric body of the individual. In a similar way the shadows of mountains and stones throughout the Inka Empire point to an understanding of the etheric connections available through the shadow. The interplay of light and shadow upon the streets of the city of Cusco, especially at June 21st solstice, is a well-documented case of shadow and light engineering. How much could we transform our civilization by projecting sacred shape and forms in the areas where we work and live? Let’s go back to the example of the Apus for clarification of this etheric energy dynamic. If you are standing in the shadow or boundary of an Andean mountain peak, especially at sunrise, particurally at an equinox, and even more so at the Winter solstice, the light passing from the sun through the mountain top is carrying an energetic transmission of the Apu into your energy field. The light and shadow are not passive secondary aspects of physics. The light and shadow are active transmitters of etheric spiritual information. By interacing with the etheric information of a spiritual being you are receiving energy and information from that being. This is one of the ways the Inka were able to reach so great an ascendancy into their understanding of solar culture and to reflect what they understood back in their design of physical structures. The Inka society was a spiritual community involved in sacred feedback loops of divine engineering. The Inka understood how to enter into these etheric relational dynamics with stone, plants, Apus, and other beings to create a spiral of ascending realizations for their community. The result was a culture that had exposure to deep understandings into matters both spiritual and practical.

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Illustration 75 Depiction Of Solar Transmission Through Form + Being
The use form, sunlight, and shadow form projectors from the mythic plane into our world. The Inka could literally anchor everyday existence more firmly into the divine through transmitters such as Intiwatana stones and other mytically shaped stones or strategically placed buildings. The numbers of these spiritual stone engines escaping destruction by the Spanish remains into the hundreds. The remnants could easily be in the thousands with more thorough investigation. How many existed during the reign of the Inka is something we will never know. Hopefully the reader will be impressed by the intentional design of the Inka awareness to discover and construct these relationships of light, form, and shadow. This should also indicate the level of awareness you need to understand what Machu Picchu and the Inka’s culture were all about. If you go to Machu Picchu, the Sacred Valley, or even Cusco, with just a tourist mindset you will miss most of what your experience could be. While at Machu Picchu, or any other sacred site, it would greatly benefit you to be at the site as the sun is rising. There are specific places at Machu Picchu such as the Intiwatana, the IntiMachay, and the Intipunku (notice the word Inti here), which are powerful theatres of the divine solar experience. Spend the time to find out when sunrise is and make the effort to be there on time for the experience. You will be connecting with the same divine knowledge that the Inka encountered. Having experienced for myself sunrises at the Intiwatana and other sacred sites in Peru and around the world I feel the need to clarify a few points. The world you perceive and live in is a reflection of your state of consciousness. If you are focused on beauty and love that is what you will draw into your experience. Being aware of what is happening around you opens many level of perception that you could otherwise miss. It is through these deeper levels of awareness that you can perceive and recognize omens and increase the number of synchronicities you experience. Standing at Machu Picchu and seeing the sunrise over the mountain ridge is a profound experience. At the very least it is a wonderful vision. At deeper levels it is healing and therapeutic. At still deeper levels the experience is initiatory. Watching a sunrise at Machu Picchu you witness the sacred source of your physical energy rising before you. The sun, Inti, is also rising within your entire being. You are Unveiling Machu Picchu © Copyright 2006 Inayat Tal 110

experiencing a physical, mental, and spiritual awakening. Such as experience tends to reveal itself slowly over time. You often do not realize the depth of this type of experience until many weeks afterwards. It is clear that the Inka were ‘right there’ in understanding the effects and benefits of these experiences. Their structural solar engineering attests to that awareness. The Inka’s ability to engineer these experiences points also to a more active and more shamanic aspect of being than most archeologists are ready to accept. One of the indicators of the spiritual path is the ability to be very aware of your environment. You will notice more details of your world and tend to pick up on sounds, smells, and motion to a fuller extent. Your awareness is becoming developed, more focused, more refined. Ultimately your sensitivity can extend into awareness of things beyond the physical into the levels of intuition and the paranormal. Another indicator of the spiritual path is being able to harmonize the environment and even gently guide your sacred and ceremonial experience. There are many methods to support the consciousness into experienceing the sacred. These include drumming, chanting, meditation, physical deprivation of food or sleep, the addition of etheogens, and in this case spiritual engineering in stone. From looking at Machu Picchu we can see that the Inka had explicit and detailed knowledge of both the natural solar cycles and structural stone engineering. Whether this knowledge came with them from Tiwanaku or somewhere along their pilgrimage we cannot be certain. But we know they have sculpted stone to create these experiences in concert with the natural cycles. From the energetic evidence at Machu Picchu we now see the Inka as intentional engineers of the sacred. Machu Picchu provides us living a physical body full duplex, bi-directional, communication between the spiritual, mental, and physical worlds. It takes someone who has been initiated into these experiences to be able to engineer them. The builders of Machu Picchu are virtuoso engineers of the sacred aspects of light, form, and shadow. They were able to read the cycles and understand the impacts that energy have on all aspects of their lives. At Machu Picchu we have a complete and supportive environment for experiencing the sacred. Machu Picchu surrounds you with the beauty, harmony, and design that actively constitutes an enveloping sacred environment. Machu Picchu contains the spiritual engineering to facilitate your contact with the sacred spirit directly. Machu Picchu is an example of how to engineer your surroundings to experience the sacred. How does our engineering affect us? Living in mechanical cities, often far above Pachamama, living far from where we grow our food, how many chances do we get to be caressed by the harmonies of life? What kind of human being was produced from living in our environments? What do the shadows of cold steel rectangles project upon our citizenry? But the failures in the civil engineering of the West are already historical artifices. The spiritual age has changed. What you see today in the megalopolis will quickly fade in the time frames of the earth. Let the true sacred engineering now spread across the earth. Let the children of tomorrow learn in the schools of the sacred. Machu Picchu is such a prototype of sacred living. Machu Picchu is as much a time capsule from the future as from the past.

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Sound
When you go to Machu Picchu you will hear a lot of sounds. Try to stay overnight at Machu Picchu so you can be there after the crowds have left when you can really hear. Machu Picchu is a tightly designed complex so a little sound carries a long way. Between 11:00 AM and 2:30 PM when the tourist trains arrive and depart you will hear a constant low-level drone of peoples voices. Then there is the occasional person clapping trying out the echo across the plaza. You may even hear a flute concert depending on who is brave enough to play. Another common sound during busy time at Machu Picchu are the whistles of the guards who will let you know if you are somewhere you should not be. In general please keep sounds to a minimum while at the site. There are two really impressive uses of sound at Machu Picchu. One is in a room between the Sacred Plaza and the Intiwatana. The other is at the Temple Of The Moon on the far side of Wayna Picchu. If you want to study sound and are not athletic enough to make it to the Temple Of The Moon then the sound room at Machu Picchu should be your focus. If you decide to take the trail from the summit of Wayna Picchu to the Temple Of The Moon you should have on solid hiking boots, food, water, and do not go alone. The trail down from the summit to the Temple Of The Moon is much more challenging than what you encounter on the path from Machu Picchu to Wayna Picchu.

Illustration 76 North Wall Of The Sound Room Between The Intiwatana And The Sacred Plaza.
To work the sonic technology in the sound room to the west behind the Sacred Plaza it is better if you have a partner. There are two walls on either end of this room that each have two sets of blocked windows. One of you place your head inside one of the windows. Another person should place their head in the window exactly opposite at the other end of the room. Now take turns chanting or toning. If you can make your voice into a low drone like a didgeridoo then the sound is even better. The vibrational experience is amazing. Somehow the builders have found a way for the sound to pass through the entire structure to the opposite side. It is possible that the stone bench that runs the length of the room has an open channel that is connected through to the windows. This room is worth at least five to ten solid minutes of exploration in sound. Then when you are not chanting or toning just sit in silence and see what you encounter.

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Illustration 77 Very Interesting Shapes, Almost Like Hand Holds, Adorn Many Of These Rocks
The other major sound center at Machu Picchu is within the Temple of the Moon. At that site there are a number of similar trapezoidal shaped windows. One of them in particular has amazing resonance. The key to getting a solid vibrating sound out of it is to get on your knees and put your head as far into the window as you can. Try to tone the lower notes in your voice range. If you can make a droning noise while slowly varying the shape of your mouth and the note you will likely come into a rich deep harmonic with the stones. It is an amazing experience as the sound seems to acquire a richness beyond the physical space around you.

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Illustration 78 Open Entrance Of The Temple Of The Moon

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Unveiling Machu Picchu © Copyright 2006 Inayat Tal Illustration 79 Vision Of The Octave Transducers Given

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repeats in the next octave as the frequency doubles. Middle C is at 263 Hz. The next higher C note is at 526 Hz. This may be used individually or in combination to produce energetic effects. Robert Monroe discovered that the separation between two tones causes the brain to produce a tone that equals the difference. A tone generated at 263 Hz in the left ear and a tone generated at 270 Hz in the right ear will produce a tone of 7 Hz in the brain. Western science will soon discover that human voices, and all sounds made by us, are charged with the qualities of our energy fields. Most people know this intuitively by listening to the great composers like Mozart or Beethoven. Part of the spirit of the composer comes through in their music. In truth part of our essence comes through in everything we do. The architectural designs of the Inka made it possible to produce sounds that resonate with the structures they left behind. This resonance helps to blur the boundaries between the energy fields of the stones and the human body. If you tone or chant at a stone structure you are activating the energy field of that structure. The activation of that structure will cause the energetic information that has been placed within that structure to become available to you. Imagine an Inka priestess who tones into a structure hundreds of years ago and uses her intention to hold a vision of a certain piece of information. If the chant or tones the priestess is using are in harmony with the stone then the stones quantum structure will record both the sound and the psychic information the priestess is intending to transmit. The priestess has just created something like a stone CD of information. This information can be read later by someone else using the same techniques. A combination of tone and intention along with a free and open mind and a slight bit of imagination will create the conditions to read this information. I mention the use of imagination as part of this technique because you need something that can lift the mind past the limits of its mundane conditioning. Without opening to the possibility of some high information coming through your mind will filter out the message. It is likely that all of the great cultures that have built in stone realized the full utility of the medium. Using stone you can build impressive structures that can last a long time. You can shape stone into interesting shapes. Together the stones form lasting aesthetic forms. The stones can be shaped using sacred geometry energetics to further enhance the structure. And you can program vast libraries of information into them. Each individual stone can contain the equivalent of books worth of information. After all an image is worth thousands of words.

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The Temple Of The Moon
On the far side of Wayna Picchu is a set of two very interesting structures. The trail from the summit of Wayna Picchu down to this area is very challenging even the for the avid hiker. But if you pay attention there are many sights on the way to reward your effort. One of these sights is a large rock in the middle of the path. It is an example of Inka sculpture forming an unmistakable profile of a person with their eyes closed in meditation.

Illustration 82: Face On The Path To The Temple Of The Moon. Figure is facing to the right in profile with eyes closed.

The two sites on the far side of Machu Picchu illicit some very important questions. Why would these two significant sites not be at Machu Picchu? Why would these two sites be on the opposite side of Wayna Picchu from Machu Picchu? Archeologists have proposed that the positioning of these structures has to do with alignments to the surrounding mountains. That makes sense as the main Machu Picchu location also follows important alignments. But being aware of energy gives you some additional information on the placement of these sites. With all of the energetics involved at Machu Picchu if you wanted to tune into another set of energies it might be difficult to do so at Machu Picchu directly. You need some energetic insulation to form a buffer. Being on the opposite side of Wayna Picchu uses the mountain itself as the buffer. Similar concepts are used when scientists measuring the flow of cosmic particles place their instruments deep underground. This principle of isolated unwanted signals or information is also used when astronomer picks a site higher in the atmosphere and away from urban lighting to get the best views with less air turbulance and electromagnetic noise. Energetically the Temple Of the Moon is on the other side of Wayna Picchu away from the main site of Machu Picchu to measure very subtle energies. And it makes sense that some of the energies measured and experienced here would be from the moon.

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Illustration 83 Interior Of The Temple Of The Moon. Note The Rectangular Working Of the Large Stone On The Lower Left.
There is a lot that you can experience on the far western side of Wayna Picchu. Take time to meander around the sites here and to sit and look intently. You can assume that you are an explorer and that there are messages here left for you. This type of attitude of expectancy will increase the probability that you will find something meaningful to you. On the practical side make your hike early so you will have adequate time. Make sure you have seen everything you are guided to before you head back.

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The Chakana
The Chakana, or Andean Cross, is one of the most mystical symbols in existence. A simple explanation about this form is that each side of the Chakana shows the three levels or worlds in the Andean cosmology. These levels consist of the lower world, middle world, and upper world. These three levels are a very helpful way to view reality across many mystical and shamanic cultures.

Illustration 84 The Chakana Or Andean Cross.

Three steps or three levels often appear in Inka architecture to infer the three worlds. The power animals of snake, puma, and condor signify these worlds. They can be viewed as levels of consciousness. If you go shopping in Cusco, Augas Calientes, or other major tourist areas in Peru you can find Chakana pendants, which use more stylized designs. It is important to realize that the Chakana is not just a stylized piece of jewerly. The Chakana is a mystical symbol and sacred technology. You could spend an entire lifetime studying this form and not exhaust its meaning.

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Illustration 85 Stylized Chakana Commonly Seen In Jewelry
The three steps seen in chakanas are used so frequently in Inka structure and decoration indicating clearly the Inka communicating something of great importance. With some careful study we can glean some interesting answers. We already are aware of the three levels that appear on all four sides of the Chakana. The four sides also represent the four corners of the world. This is another theme very common in mystical and shamanic cosmologies. To the North American natives the medicine wheel is a similar and also a powerful iconic locus for finding the sacred center.

Illustration 86 A Medicine Wheel

The Chakana in many respects is a key to understanding the universe. The root Quecha word Chaka means bridge. The Chanaka is a metaphysical bridge to many worlds and other dimensions. The Chakana can help us relate to this world in terms of both orientation and composition. In the classical mystical traditions the elements that make up the universe are earth, water, fire, air, and ether. In the Western Spiritual tradition these elements are expressed in the form of the Pentagram. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 120

Illustration 87 Pentagram With Elemental Associations
Not surprisingly the Chakana also represents these elements. From the writings of Sufi mystic Inayat Khan comes these insights that can be directly applied to the Chakana. • • • • • The The The The The horizontal direction shows the earth element downward direction shows the water element upward direction shows the fire element zigzag direction shows the air element form taken by ether is indistinct and misty

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We can see that the Chakana embodies the mystical knowledge of how the universe is constructed. We know that structures interact with energy. Wearing a Chakana will bring beneficial affects including the nourishment and balancing of your energetic bodies. If we turn a portion of the Chakana sideways we see something resembling the mountains, the Apu spirits.

Illustration 88 Part Of The Chakana Outline Turned Sideways
The zigzag section corresponds to the air element. The Apu spirits are very active in their function. Apus are often equated with the Angels. In a certain type of ceremony when an Andean Priest invites the presence of the Apus the sound of rushing wind similar or large wings flapping can be heard at their arrival and departure. Besides the outer shape of the Chakana there is another very significant feature to look at. This feature is the center of the Chakana, the circle. The Egyptian founder of BioGeometery TM, Dr. Ibrahim Karim, has a saying he often uses to speak about the energy of an open center of a form. “The center is a transcendental gateway beyond space and time.” In addition to the Chakana this makes me immediately think of the Gateway of the Sun at Tiwanaku in Bolivia. Tiwanaku is the mythical point of origin of the Inka. Did the Inka physically manifest on the earth through this portal? Or was there some ceremony conducted here which imparts higher dimensional knowledge or anointing to them while standing within this portal? In my personal meditations on the origins of the Inka the energies of Tiwanaku are always present.

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Illustration 89 Gateway Of The Sun At Tiwanaku .
There is another mystical portal near Tiwanaku on the shores of Lake Titicaca called the Muru Doorway. It is reputed to be a trans-dimensional doorway through which one of the great Inka priests of the sun stepped through and left this world around the time of the Spanish conquest of the Inka. The Muru Doorway also bears mysterious encodings that await translation.

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Illustration 90 The Muru Doorway In Peru Near Lake Titicaca.

Returning to the Chakana we see that there is a circle in the center of the figure. The form of the Chakana, with its arms pointing to the four directions of creation along with the circle in the center implies numerous functions. My first hint about the functions of the Chakana came in 2005. I was in Peru on a spiritual tour of fellow energy healers and light workers. The leader of that tour was Mary Jo Bulbrook. Mary Jo picked up a Chakana pendant and held it up to her eye and said “You can use this as a portal and look through it to see other worlds.” I was not sure what to make of her statement back then. But since having learned more about Egyptian and Inka use of sacred geometries I can say she was correct. The Chakana is another wonderful Andean example of a spiritual energy receiver. The shape of the Chakana allows it to function as an antenna for spiritual energies associated with higher states of consciousness. These spiritual energies can be measured by using a Virtual Cone Pendulum. There are other aspects to the Chakana here that I leave for the interested reader to discover on their own. My advice to the spiritual seeker is to wear a Chakana and be open to new perspectives. There is another approach to examining the Chakana and that is to view the visible Chakana as a lowerdimensional cross section of a higher-dimensional figure. The Inka and Egyptians are expert at inferring a complete figure by showing just a portion of it. One example is the three level stone in front of the Temple of the Three Windows. At sunrise this three level stone when combined with its shadow produces a more or less full shaped Chakana.

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Illustration 91 Stone In Front Of The Temple Of The Three Windows Awhile After Sunrise Forming A Partial Chakana.

The Chakana provides prime material for comparisons waiting to be made between the Inka and other spiritually advanced cultures. And the Chakana is only one example of Inka symbolism that can be used. There is also a direct association between the Chakana and Egypt.

Illustration 92 Winged Isis Kneeling with a 3-stepped headdress.
Isis is one of the central figures in Egyptian mysticism. The history of Isis is complex and many layered. For our purposes we are concerned with Isis’ headgear. Isis normally either wears an orb with wave-like ‘horns’ on her head or a three-stepped figured. This three stepped figure fits in directly to the Inka art and architecture that depicts the three worlds. It is this depiction of the three worlds that forms the integral outline of the Chakana. One of the hallmarks of Egyptian magical art is partial symbolism. The Egyptians would use a simplified form to represent a more complex form. The sun simplified becomes a circle. The horizon becomes a line. This symbolic reductionism is also embodied in the earlier hieroglyphics. Many Egyptian structures and other art forms are still hiding knowledge within this paradigm of reductionism. For our study the association between the edges of the Chakana and the stepped form that Isis wears upon her head, is worthy of consideration. If you take the form of Isis’ head and duplicate it three times and rotate those forms you create a Chakana. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 125

You can also use the Chakana as a type of Yantra. In Hinduism it is understood that sacred energies can be represented. One of the most complex, sacred, and powerful designs, or Yantras, is the great Sri Yantra. Yantras are used in meditation as tools for self-exploration and for self-transformation. The Chakana and its derivatives may also be used as Yantras.

Illustration 93 Sri Yantra Returning to this principle of representing a complex or complete form using a simplified or incomplete shape I considered whether the Chanaka is in itself a simplifed represetation of a more complete form. As an experiment I drew a Chakana using software and experimented with various ways of configuring multiple chakanas together. Here are some of the more interesting designs.

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Illustration 94 Four Chakanas Overlaid To Form Multiple Vesica Pisces In The Center.

Illustration 95 - A Spiritual Chakana Machine?
Ultimately the Chakana is a symbol of the Hutan Runa or perfected (puma) human. If you can align all of the aspects of your life according to your truth, your purpose, your spiritual signature, then you will reach out to the ends of the cosmos. And the love, light, and wisdom of the cosmos will flood into you. This is because you can reach the state where you have become the sacred center of the Chakana.

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The Symbolism Of Tumi
The word Tumi originates with the pre-Inka Andean culture called the Moche. In Inka times Tumi came to represent the patron diety of healing. Archeologists say that Tumi is merely a sacrificial or ceremonial knife. But you should be wondering that if Tumi is related to healing and the Andeans understood energy so well how is Tumi relegated to sacrifice, ceremony, or physical surgery. With all the symbolism and references to energy that are richly abundant in Andean cosmology Tumi should represent something deeper. Is there something about Tumi or the design of this artifact that are conveying some deeper meaning? Could Tumi be another form of ancient mystical technology that we just don’t know how to interpret?

Illustration 96 Tumi
It is very difficult for us in the Western/Northern cultures to realize how deeply ingrained our baises towards other cultures are. Our sciences provide for us a very detailed set of colored glass through the scientific method which makes little accomodation for the sacred. But if we can examine Tumi from the science of form and energetics then we might see something more. Examining the most basic of shapes that Tumi embodies we find two hemispheres connected by a central rectangular conduit. One hemisphere in Tumi’s form is the area of the head and crown. The other hemisphere in Tumi’s form is at the bottom of the form that is commonly thought to be the ceremonial blade itself. Each hemisphere is pointing to the center. If we were able to connect both hemispheres together they would form a complete circle. So energetically the form of Tumi is presenting us a diagram for two areas entering into communication or resonance. Think of the simple type of telephone that can be constructed of two food cans with a string tied in between. Each hemisphere on each side of Tumi represents a place or condition that is in relationship with the other place or condition. In a sense the torso of Tumi becomes the Axis Mundi, or world tree, which joines the plane of the earth with the plane of the heavens. The concepts of relationship and resonance are deeply engrained in Andean culture. Not only in sacred temple design does resonance play a great deal. But also in the fundamental base of Andean society resides a fundamental concept of relating called Ayni.

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Illustration 97 Tumi With Forms Highlighted
On the surface Ayni can be thought of as reciprocity. You help me with my work and I help you with yours. Ayni appears to be the epotimy of helping your neighboor, giving them your coat, or just helping them in any way you can. But Ayni is more than just a social expression of family and neighbors helping each other. Anyi is a fundamental mystical property that gives us insight into the sacred mechanics behind Andean mysticism. Ayni is the Andean representation of a very deep mystical principle. It is by establishing an orientation of being in relationship with something that allows us to enter deeply into communication with the object of our focus. Ayni is the Andean form of the sacred science of harmonic attunement. Just as when striking a bell causes other nearby bells to begin to enter into resonance so to attuning our inner being to some object of concentration casuses us to begin to resonate with the qualities of that thing. Ayni harmonics cause the central channel of communciation to become established between two or more hemispheres of being. We can use this newly formed harmonic portal to interact with another being, place, or time. Ayni allows us to enter into deep relationships that inform us. Ayni is the basic technology allowing us to enter into deep relationship, resonance, and understanding with the universe. It is by using Ayni harmonics that Andean shamen, the paqos, are able to communicate with the mountain spirits, the Apus.

Illustration 98 The Energetic Form For Relationship & Resonance

The establishment of resonance through relationship opens an energetic conduit that empowers the exchange of energy and information between both sides of the portal. Theese energetics can be applied to the macrocosm to attach you more deeply to the Milky Way. The same energetics can be invoked to connect you to inner aspects of yourself for insight and healing. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 129

Healing Through Resonance
The human body is designed as an energy system. Health means that energy is flowing properly in the body. Any blockage of energy typically manifests as imbalance, disease, or physical blockage. When the energy is flowing freely this is called radiant health. If we experience some emotional trauma that is unresolved the energy around this trauma can be stored in the body as a denser form of energy. It is as if traumas are ‘banked’ in the body until we can reprocess the energy around the event and release the original energy back into the energy flow. Unfortunately for most people a large portion of available life energy is locked up as dense or heavy energy from traumas. Whenever we feel that we have been hurt and do not appropriately express our feelings then we risk stuffing an energetic deposit into our physical and energetic system. Andean paqos realize there is no bad energy, just heavy, or densified, energy. The object of Andean mysticism is to support the release and transformation of heavy forms of energy to lighter forms. Our bodies are not meant to carry around any type of extra weight physical or energetic. When we do not give wings to the expression of our trauma then the energy around the hurt condenses within us. This stored energy is passively supporting the resonance from those emotions relating to hurt, anger, guilt, disappointment and fear. When you put food in a refrigerator it requires energy to maintain it in the cold state. It is no different for storing trauma in the human energy systems. Stored energetic trauma takes a portion of your life energy to maintain itself within you. Any energy that you use to store energetic trauma takes away, or constricts, the energy flow through you that should be manifesting as radiant health, relationships, and the full spectrum of blessings we are meant to experience. If not released densified energy can manifest as mental, spiritual, or physical disease.

Illustration 99 Constricted Energy Flow Hampering Harmony

We can look to the sacred harmonics of Tumi to understand how to unlock dense energies. What is takes to untangle densified energy is space. Densified energy is like a ball of string that has been tightly wound. If you have ever cut into a golf ball and seen the layers of rubber bands tightly packed together you have a very good visual metaphor for dense energy. It may seem impossible to unravel energy that has been packed this way. The method to apply is not by using force but by allowing the energy to unravel like a flower in bloom. The dense energy does not want to stay in the dense form. All energy wants to flow. So the method of healing is to use the light of your conscious awareness as one hemisphere in the Tumi transaction. The dense energy your are looking at for healing is the other hemisphere. By placing your awareness within your body or back to a certain event and just watching you are establishing a resonance and relationship to the dense energy. This is like opening the doors to a cage. The energy will respond to every moment of awareness. Just watch without judgement. Eventually more details or understanding around the original trauma may emerge. The energy ball of twine begins to unravel and untie itself. This process may lead you to experience emotional release through tears or reliving portions of the trauma in a safe way. After spending some time in such a process you may feel lighter or have a sense of more peace or healing. These are all signs that an energetic shift has indeed occurred within you. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 130

By using the power of our awareness and establishing a relationship with aspects of our hurts and other challenges we are enabling transformation and healing to occur. We may notice becoming less angy and more open to joy. For some people disappointment in self and others is replaced by a growing sense of trust. People who their entire lives have struggled with self-confidence may feel empowered to make courageous changes in their lives. Many opportunities for healing are greatly facilitated by using the leverage of forgiveness. The act of forgiveness is one of the single most important tools in neutralizing blocks to energy release. Forgiveness immediately reduces or cancels much of the energetic charge around hurt and pain. As you are going through your healing process you may have many realizations about forgiveness. There may be other people who need you to forgive them for things you have done. There are probably also people who you need to ask for forgiveness. And as most people tend to be very self-critical everyone has plenty of opportunities to forgive themselves. Tumi, as the god of healing, shows us that the power of relationships, is a fundamental power that enables healing to occur. By shining the light of our awareness upon some aspect of ourselves we establish a harmonic resonance that allows energy and information to flow in both directions. In a wider metaphysical sense Tumi is a symbol for the foundations of Andean sacred tradition. You can shine the light of your awareness on a flower, a mountain, or a saint, and enter into sacred relationship in that moment. The Andean mystics are those who stand within an animated world that responds every moment to the light of conscious communication.

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Personal Symbols
As you journey to Machu Picchu you will encounter a variety of experiences. During my first trip in 2005 there were a number of symbols that appeared in my mind. Make sure you take a small notebook to record any impressions or symbols that you see. These symbols may not mean anything to you consciously at first. But over time use them as personal mandalas. Take time to encorporate them into your own art whether that is in doodling, painting, or computer graphics. These personal symbols, like crop circles, are messages from the earth and the higer realms sent to help awaken you. Here are two symbols that came to me during my first trip to Peru and Machu Picchu in 2005.

Illustration 100 Symbol From 2005 Machu Picchu Trip.

Illustration 101 Symbol From 2005 Machu Picchu Trip.

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Machu Picchu Global Transformation

Illustration 102: The Eyes Of The Great Being Manifesting For Us At Machu Picchu.

Well into the twenty-first century Machu Picchu stands as a mystical enigma to the entire world. Reappearing in 1911, about 100 years before the great cycle of the Mayan Calendar in 2012, Machu Picchu has activated our imaginations. Thousands of people who saw the photos of this exotic place have fulfilled a life dream by traveling here. But Machu Picchu is not a casual tourist destination. Like everything else in life, you will get out of Machu Picchu what you put into the experience. If you go with little preparation don’t expect to receive as much as if treating your trip like a spiritual pilgrimage. Machu Picchu is playing an active role to bring forth the next age of light. Machu Picchu is an energetic transmitter and spiritual engine for broadcasting positive energies to the entire planet. Historically spiritual realization manifested primarily in unique individuals who were given specific revelations for a certain place, time, and spiritual condition of the people. Great spiritual figures of our past are proof that the inclinations and movements of higher consciousness have been manifesting throughout history. Our names for the higher realms of human consciousness that have manifested on the earth include the Buddhic, Krishna, Mohammaden, or Christ conscousness. The true nature of what it means to be Inka is in this same sacred stream of realization. The Inka rulers and perhaps many of their followers also embodied this consciousness. Inka consciousness is divine consciousness. Today we stand on the verge of something really amazing. Something wonderful that is spoken of with anticipation in many of the holy writings is manifesting. A large group, perhaps a majority of people, will enter into this ascended Inka-Divine consciousness very soon. Machu Picchu is a city of light. Machu Picchu is a city of the Inka. Machu Picchu is a city of divine consciousness. So what do we do with Machu Picchu? Machu Picchu is a metaphysical university. It is a place of initiation and Unveiling Machu Picchu © Copyright 2006 Inayat Tal 133

co-activation. As Peru and UNESCO endeavor to strike a balance between preservation and revenues let us make the most of this site. When you visit please treat the site with respect. Set your intention to support Machu Picchu in mediations and other spiritual endeavors. Consider is there something more we can do? For most people the visit to Machu Picchu may only occur once in their lifetime. How can we best leverage the abilities that Machu Picchu has to offer? Start by taking the perspective that everything is part of the Great Being. Machu Picchu, like any place, has it’s own personality. If you are planning a trip to Machu Picchu first ask permission of your own spiritual guidance and of Machu Picchu for your safe passage. Begin preparing yourself by making sure you have done what you can to understand the site and to be in good physical conditioning to make the trip. These steps provide you with a good foundation so that when you return you have a clear connection to Machu Picchu. That relationship becomes something lasting you can work with. Once in Peru begin interacting with the land by looking at the mountains and connecting to them. Say hello and ask for safe passage and for wisdom. On the train ride down from Cusco to Aguas Calientes connect with the land. Notice as much as you can about the colors, the shapes, the light, and the sky. On the bus ride up to Machu Picchu ask permission to enter this sacred city. Once inside the city gates state your intention for being there and begin orienting yourself. Understand which way is north, south, east, and west. Recall from your study the names of the mountains immediately surrounding the site and greet each one. If possible make this part of a short meditation or even a brief ceremony. You could pour some water on the ground in thanks or just raise your hands to the sky and then bring them to your heart. This signifies your embracing the land and sky and site of Machu Picchu. And then become quiet and very aware. Try to talk as little as possible for at least 30-60 minutes of your visit. Before leaving Machu Picchu state your intention again for being there and state your intention for what you want to carry back home with you in spirit. While standing there at the site you can say “I use this moment to create a firm connection to this place. When I return I will be able to connect to Machu Picchu in full way by remembering myself standing in this place.” That is all you need to do to leave an anchoring point that you can later access anytime you want. Once you return home give thanks to Machu Picchu, your spiritual guidance, and the spiritual beings where you live for the blessings. It is helpful to both journal and sketch some of your experiences while in Peru and right after you get home. This will help you establish a dynamic where you are both in the energies of your normal life and anchored to Machu Picchu. For those who consider themselves light workers, or think they might be so spiritually inclined, there is much more to help the planet and your brothers and sisters that you can do. You could connect to Machu Picchu on a regular basis. Doing so creates more than just nice memories. Let me explain. In the past few years most of us have seen the development of the Internet. From our early days of using a web browser perhaps on a dial-up line, we now have all kinds of access from high speed and wireless to DSL and many flavors in between. The youngest of us have grown up as the Internet has. All of this technical interconnectivity is just a shadow of the spiritual inter-connectivity that has been going on. Since sometime in the late 1980’s or 1990’s the earth has been creating spiritual connections at a growing rate of acceleration. The inner spiritual activity is being echoed in the outer technical activity of our culture. So what is the earth doing? According to the descendants of the Inka the years 1992-2012 mark the end of the pachacuti 500-year period of darkness that corresponded to events around the year 1492 CE. There are multiple long cycles at work here. The current cycle is one of restoration and light whereas the previous cycle was about destruction and darkness. If you can think about the role of the Llama in Inka culture there are many lessons for us. While in Peru keep an eye out for women sitting down spinning Llama or Alpaca wool on a hand spindle. In a similar way Pachamama is weaving a new fabric of life. There are many threads in this fabric. You and I are some of those threads. Unveiling Machu Picchu © Copyright 2006 Inayat Tal 134

Just like on the Internet there are certain places in the Pachamama network of life, which have very important functions. Machu Picchu is one of those important places. Take time to connect to Machu Picchu and other sites that are sacred to you. Once you set your attention to such a site you have opened an active connection on the network. Insight and positive energies will flow to you. And if you want to you may send positive energy back to the node. That positive energy will then spread out from sites like Machu Picchu to other people and places all across the earth. This is the kind of network we need to build and operate today. This network is grounded at Machu Picchu in places like the Intiwatana, Temple of the Condor, Temple of the Sun, and so many other intimate sites. Ultimately sacred sites like Machu Picchu serve as sacred nodes in Pachamama’s great heart linking project. You have undoubtly read science fiction where a race of extraterrestrials communicates telepathically, but what about a race where everyone is linked through their hearts? Pachamama’s great project today is in establishing sacred linkages of light and love through all her children. Machu Picchu is a golden router in this sacred network design. May Pachamama be filled with joy and peace. May all beings live in happiness. May the spirit of the Inka now return to Earth.

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Bibliography
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Von Hagen, Adriana 1998 The Cities Of The Ancient Andes ISBN 0-500-05086-4 Westerman, James 1998 The Meaning Of Machu Picchu ISBN 0966561805 Wilcox, Joan Parisi 1999,2001,2004 Masters Of The Living Energy ISBN 159477012-3 Wilkinson, Richard H. 1994 Symbol & Magic In Egyptian Art ISBN 0-500-28070-3 Wright, Ruth M. 2004 The Machu Picchu Guidebook: A Self-Guided Tour ISBN 1555663273 Zereceda, Oscar Chara 1999 Machupicchu An Inka University

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