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Ubicado en la plaza de armas del distrito construido en 1575, sobre cimientos de una
tambo incaico del periodo clasico imperial; su construccion esta hecha en adobe, techo
de doble agua y una torre cuadrada. Su interior es de una sola nave, el recinto tanto
exterior como interior presenta restos de pintura mural los cuales tienen temas como el
rostro de la virgen inmaculada el cual posee evocaciones romanticas y bizantinas. Asi
mismo se encuentran lienzos pertenecientes a la escuela pictorica cusqueña teniendo
como principal artista al Diego Quispe Tito. Su altar esta hecho de una finisima madera
tallada y revestido en delicado pan de oro. Destacan sus numerosos retablos de tres
cuerpos y tres calles, de estilo renacentista. Entre otros elementos que sobresalen del
templo se tiene la imagen de la Piedad en la hornacina central del altar, la imagen de
San Miguel con flamigera espada de una de las vigas del presbiterio y una talla del
comulgatorio con las imágenes de los doce apostoles en madera dorada y policroma.
Located in the main square of the district built in 1575, on the foundations of an Inca
drum of the imperial classic period; Its construction is made of adobe, double water
roof and a square tower. Its interior is of a single nave, the enclosure both exterior and
interior presents remains of mural painting what we have as the face of the immaculate
person who possesses romantic and Byzantine evocations. The elements of the
pictorial school are also found, with Diego Quispe Tito as the main artist. Its altar is
made of carved wood and covered in delicate gold leaf. They emphasize their
numerous altarpieces of three bodies and three streets, of Renaissance style. Among
other elements that stand out the temple has the image of the Pieta in the central niche
of the altar, the image of San Miguel with flamigera sword of one of the beams of the
presbytery and a carving of the communion with the images of the twelve apostles in
gilded wood and polychrome.
PULPITO
Es uno de los dos mejores tallados en cedro y que representa en sus tres cuerpos el
hanan Pacha (lugar de los dioses), kay pacha (mundo de los vivos) y el uhu pacha
(lugar de los muertos) concepción andina que se contrapone al pensamiento
occidental, trabajo dirigido por el artista Checacupeño Juan Tomas Tuyro Túpac artista
tallador indígena que después tallo el pulpito de San Blas (Cusco). Cuenta con un
tornavoz, guardamalleta, respaldo y una cátedra. Esta las imágenes de los doctores de
la iglesia y en el antepecho San Pedro con las llaves yen la parte superior San Pablo
con la espada. Tiene como elementos decorativos columnas salomónicas, roleos,
follajes y relieves de excelente factura.
THE PULPIT
It is one of the two best carved in cedar and it represents in its three bodies the hanan
Pacha (place of the gods), kay pacha (world of the living) and the uhu pacha (place of
the dead) Andean conception that is opposed to the Western thought, work directed by
the Czech-Cuban artist Juan Tomas Tuyro Túpac, an indigenous carving artist who
later stalks the pulpit of San Blas (Cusco). It has a tornavoz, valance, support and a
chair. This is the images of the doctors of the church and on the San Pedro parapet
with the keys and in the upper part of San Pablo with the sword. It has as decorative
elements salomónicas columns, volutes, foliages and reliefs of excellent invoice.
PUENTE COLONIAL
Construido por orden del rey de España Carlos III entre 1759 – 1788; al pasar por el
puente se pagaban los impuestos que eran recaudados para la corona española y el
cabildo de Checacupe, su construccion es a base de piedra sillar, labrada y unida con
cal (cal y canto) y revocado de canto rodado, con una perfecta cohesion al estilo del
arco romano, es una obra vial estupenda e ingeniosa que se construyo sobre un
formacion de roca pizarrosa, la plataforma esta decorada ademas de una capa de
piedrecillas de color artisticamente empedradas formando figuras geometricas que dan
una apariencia extraordinaria.
COLONIAL BRIDGE
Built by order of the King of Spain Carlos III between 1759 - 1788; when passing by the
bridge the taxes that were collected for the Spanish crown and the council of
Checacupe were paid, its construction is based on sillar stone, carved and united with
lime (lime and song) and revoked of boulder, with a perfect cohesion in the style of the
Roman arch, is a wonderful and ingenious road work that was built on a formation of
slate rock, the platform is decorated in addition to a layer of pebbles of color artistically
paved forming geometric shapes that give an extraordinary appearance.
PUENTE INCA
Construida entre 1400 – 1448 por oden del Inca Wiracocha como parte del qapaq ñan,
camino real al Qollasuyo, en su proyecto de expansión territorial hecho de lloque,
cuero de llama y quiswa actualmente se logra aun apreciar la cimientacion inca
original.
INCA BRIDGE
Built between 1400 - 1448 by the Inca Wiracocha as part of the qapaq Ñan, royal road
to the Qollasuyo, in its project of territorial expansion made of lloque, llama leather and
quiswa, it is still possible to appreciate the original Inca foundations.
PUENTE REPULICANO
Construido en 1895 de fierros de riel en el mandato del Mariscal Ramon Castilla, por
aqui pasaban antiguas maquinas impulsadas a carbon.
REPULICAN BRIDGE
Built in 1895 of rail irons in the mandate of Marical Ramon Castilla, here passed old
machines driven to coal.
CORDILLERA DEL ARCO IRIS
DANCE SARGE
Probably the name of this dance comes from the apocope "SARGE" of the word
sergeant and that artistically comes from another Andean position that has its origins in
the Pre Incario. It is said that this dance is from the pre-Inca period when the famous
chaku of vicuñas and alpacas (painted of these animals) was made, originally it was
danced with reeds moored on the feet and with the arrival of the Spaniards it was
replaced with bells made of bronze , the Sarge demonstrates his dexterity with the feet
making steps to the beat of the music, the Sarge is accompanied by his partner the
"Wifala" a man disguised as a woman, they will ask why a man dresses as a woman it
is said that before both ayllus they faced each other because of border problems
(territory) and since originally a woman the couple of the Sarge decided to disguise a
man so that she could pass off as a woman and could hit harder, the Wifala at the
moment of performing the dance comes a moment to do the greetings to the presents
this takes out of its Uncuñas (blankets) peaches, apples and loaves to vote to the
presents and that these can grab such foods, this custom continues in the time and is
still dancing today, it is more now a festival to rescue, revalue and strengthen this
ancestral legacy.