Heaven, Hell, and Everything in Between Murals of the Colonial Andes
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...
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| Médium: | E-kniha Kniha |
| Jazyk: | English |
| Vydavateľské údaje: |
Austin
University of Texas Press
2016
|
| Vydanie: | 1 |
| Edícia: | Recovering Languages and Literacies of the Americas |
| Predmet: | |
| ISBN: | 1477309543, 9781477309544, 9781477309551, 1477309551 |
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| Abstract | 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. |
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| AbstractList | 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. This first comprehensive English-language study of the church-wall paintings created in Peru’s Cuzco region from the sixteenth through the early nineteenth centuries unveils the complex intersections of religious artists, indigenous congregants, and colonizers. No detailed description available for "Heaven, Hell, and Everything in Between". |
| Author | Cohen Suarez, Ananda |
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| Copyright | 2016 the University of Texas Press |
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| Discipline | Religion History & Archaeology Visual Arts |
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| Notes | Includes bibliographical references (p. 237-259) and index |
| OCLC | 957701152 |
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| Snippet | Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in... This first comprehensive English-language study of the church-wall paintings created in Peru’s Cuzco region from the sixteenth through the early nineteenth... No detailed description available for "Heaven, Hell, and Everything in Between". |
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| SourceType | Publisher |
| SubjectTerms | America Andes Region Antiquities Art & Art History Art -- Political aspects -- Andes Region -- History ART / Caribbean & Latin American ART / General Art and society Art and society -- Andes Region -- History Caribbean & Latin American Colonies History Indian mural painting and decoration Indian mural painting and decoration -- Andes Region Indian mural painting and decoration -- Peru (Viceroyalty) Indians of South America Indians of South America -- Andes Region -- Antiquities Indians of South America -- Andes Region -- Religion Peru (Viceroyalty) Political aspects Religion Spain Spain -- Colonies -- America |
| Subtitle | Murals of the Colonial Andes |
| TableOfContents | Front Matter
Table of Contents
Acknowledgments
Introduction
CHAPTER 1: The Painted Walls of the Andes:
Illustrations
CHAPTER 2: The Road to Hell Is Paved with Flowers:
CHAPTER 3: Clothing the Architectonic Body:
CHAPTER 4: Turning the Jordan River into a Pacarina:
CHAPTER 5: Earthly Violence/Divine Justice:
Conclusion
Notes
Bibliography
Index Acknowledgments Introduction 1. The Painted Walls of the Andes: Chronology, Techniques, and Meanings 2. The Road to Hell Is Paved with Flowers: Journeys to the Afterlife at the Church of Andahuaylillas 3. Clothing the Architectonic Body: Textile Murals of the Seventeenth and Eighteenth Centuries 4. Turning the Jordan River into a Pacarina: Murals of the Baptism of Christ at the Churches of Urcos and Pitumarca 5. Earthly Violence/Divine Justice: Tadeo Escalante’s Murals at the Church of Huaro Conclusion Notes Bibliography Index Contents Half Title, Frontispiece, Title Page, Copyright, Dedication Cover Image Plates Intro -- Acknowledgments -- Introduction -- 1. The Painted Walls of the Andes: Chronology, Techniques, and Meanings -- 2. The Road to Hell Is Paved with Flowers: Journeys to the Afterlife at the Church of Andahuaylillas -- 3. Clothing the Architectonic Body: Textile Murals of the Seventeenth and Eighteenth Centuries -- 4. Turning the Jordan River into a Pacarina: Murals of the Baptism of Christ at the Churches of Urcos and Pitumarca -- 5. Earthly Violence/Divine Justice: Tadeo Escalante's Murals at the Church of Huaro -- Conclusion -- Notes -- Bibliography -- Index Acknowledgments -- 5. Earthly Violence/Divine Justice -- Contents -- Index Conclusion -- 2. The Road to Hell Is Paved with Flowers -- 1. The Painted Walls of the Andes -- 3. Clothing the Architectonic Body -- Frontmatter -- Notes -- Introduction -- 4. Turning the Jordan River into a Pacarina -- Bibliography -- |
| Title | Heaven, Hell, and Everything in Between |
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