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"This unique volume illustrates and discusses in detail more than 160 extraordinary fine and decorative art works of the colonial Andes, including examples of the intricate Inca weavings and metalwork that preceded the colonial era as well as a few of the remarkably inventive forms this art took after independence from Spain. An international array of scholars and experts examines the cultural context, aesthetic preoccupations, and diverse themes of art from the viceregal period, particularly the florid patternings and the fanciful beasts and hybrid creatures that have come to characterize colonial Andean art."--Jacket.
"Based on thorough archival research combined with stunning visual analysis, Maya Stanfield-Mazzi demonstrates that Andeans were active agents in Catholic image-making and created a particularly Andean version of Catholicism. Object and Apparition describes the unique features of Andean Catholicism while illustrating its connections to both Spanish and Andean cultural traditions"--Provided by publisher.
Author : Jeremy Ravi Mumford Publisher : Duke University Press Page : 308 pages File Size : 27,69 MB Release : 2012-11-06 Category : History ISBN : 0822353105
In 1569 the Spanish viceroy Francisco de Toledo ordered more than one million native people of the central Andes to move to newly founded Spanish-style towns called reducciones. This campaign, known as the General Resettlement of Indians, represented a turning point in the history of European colonialism: a state forcing an entire conquered society to change its way of life overnight. But while this radical restructuring destroyed certain aspects of indigenous society, Jeremy Ravi Mumford's Vertical Empire reveals the ways that it preserved others. The campaign drew on colonial ethnographic inquiries into indigenous culture and strengthened the place of native lords in colonial society. In the end, rather than destroying the web of Andean communities, the General Resettlement added another layer to indigenous culture, a culture that the Spaniards glimpsed and that Andeans defended fiercely.
This volume examines images and beliefs related to birdmen among Incas and other peoples of South America, and the transformation of that phenomena in the colonial era by Christian missionaries. The author brings to light previously-unknown images of Saint Francis of Assisi with wings, flying through the air as a militant angel of the Apocalypse. Although commissioned by the Franciscan friars, these works of painting and sculpture were executed by native artists with native sensibilities. They reveal a social critique of colonial society, an expectation of an approaching end of the world, and a controversial role for Francis of Assisi at a final cosmic battle. Natural catastrophes, such as earthquakes and volcanic eruptions, combined with mythology, prophecy, piety and public performance, assert a "Franciscan exceptionalism" at a crucial time in Latin American history. A side trip to colonial Mexico reveals that similar dynamics were occurring there, but with different artistic solutions. Birdman of Assisi documents how a beloved medieval saint gained new life among Incas and other native civilizations of the Americas, and continues to fascinate their descendants today.
Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen Suarez also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness. This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas’ preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.
Policies concerning marriage, morality, and intimacy were central to the efforts of the Spanish monarchy to maintain social control in colonial Charcas. The Bourbon Crown depended on the patriarchal, caste-based social system on which its colonial enterprise was built to maintain control over a vast region that today encompasses Bolivia and parts of Peru, Chile, Paraguay, and Argentina. Intimacy became a fulcrum of social control contested by individuals, families, the state, and the Catholic Church, and deeply personal emotions and experiences were unwillingly transformed into social, political, and moral challenges. In Of Love and Loathing, Nicholas A. Robins examines the application of late-colonial Bourbon policies concerning marriage, morality, and intimacy. Robins examines how such policies and the means by which they were enforced highlight the moral, racial, and patriarchal ideals of the time, and, more important, the degree to which the policies were evaded. Not only did free unions, illegitimate children, and de facto divorces abound, but women also had significantly more agency regarding resources, relationships, and movement than has previously been recognized. A surprising image of society emerges from Robins’s analysis, one with considerably more moral latitude than can be found from the perspectives of religious doctrine and regal edicts.
Examines the Spanish invasion of the Inca Empire in 1532 and how European and indigenous life ways became intertwined, producing a new and constantly evolving hybrid colonial order in the Andes.
The Andean Hybrid Baroque is the first comprehensive study of the architecture and architectural sculpture of Southern Peru in the late colonial period (1660s-1820s), an enduring and polemical subject in Latin American art history. In the southern Andes during the last century and a half of colonial rule, when the Spanish crown was losing its grip on the Americas and Amerindian groups began organizing into activist and increasingly violent political movements, a style of architectural sculpture emerged that remains one of the most vigorous and creative outcomes of the meeting of two cultures. The Andean Hybrid Baroque (also known as "Mestizo Style"), was a flourishing school of carving distinguished by its virtuoso combination of European late Renaissance and Baroque forms with Andean sacred and profane symbolism, some of it originating in the pre-Hispanic era. The Andean Hybrid Baroque found its genesis and most comprehensive iconographical expression in the architecture of Catholic churches, chapels, cloisters, and conventual buildings. Drawing on hundreds of primary documents and on ethno-historical and anthropological literature that has rarely been applied to an art-historical subject, Gauvin Alexander Bailey provides the most substantial study of colonial Peruvian architecture in decades. The product of five years of photographic surveys in Peru, Bolivia, and Argentina, as well as research in governmental and ecclesiastical archives in Latin America and Europe, Bailey's richly illustrated study examines the construction history and decoration of forty-four churches. It offers a fundamentally new understanding of the chronology, regional variations, and diffusion of the Andean Hybrid Baroque style, as well as a fresh interpretation of its relationship to indigenous Andean culture. "Gauvin Alexander Bailey's The Andean Hybrid Baroque is a magnificent and ambitious study that not only covers an important geographic area of the southern Andes but also encompasses, in an informative and ordered style, a complex and dense constellation of pre-Hispanic and European cultural references in constant change." --Ramon Mujica Pinilla, Universidad de San Marcos, Lima, Peru "Gauvin Alexander Bailey's new book will surely become a textbook and standard resource for Andean art and architecture. With exciting insights into the colonial period in the southern Andes for the avid reader, and with original archival research for the inquisitive scholar, The Andean Hybrid Baroque challenges many of the facile suppositions about the indigenous and European cultural encounter and religious worldview. The author examines church facades in Peru and Bolivia, dating and scrutinizing the detailed carving work of native artists and combining that visual information with the testimony of colonial historians, inquisition records, and the images on textiles and queros (drinking cups). The result is an original and nuanced contribution to Andean scholarship." --Jaime Lara, University of Notre Dame