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The Virgin of the Andes: Art and Ritual in Colonial Cuzco, by Carol Damian
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Following the Spanish conquest of the Inka empire in 1532,the native people were obliged to recognize the king of Spain as their ruler and to accept the teachings of the Christian faith. In this illuminating study, author Carol Damina reveals how the artists of post-conquest Cuzco combined European styles of painting and iconography with anciet Peruvian traditions to forge an original Andean Colonial goddess-the Virgin of the Andes.
By the early years of the 17th century,the native artists of Cuzco established their own school, the first indigenous organization of artists in the New World. While most studies of the school of Cuzco are written from the European perspective, Prof. Damian uses records and contracts located in Peruvian archives to investigate the meanings of the Virgin of the Andes to the native people of Cuzco.
The rich spendor of Cuzco paintings, characterized by lavish gold ornamentation and elegantly painted jewels and feathers, is bautifully illustrated on over 40 color plates.
- Sales Rank: #1756680 in Books
- Brand: Brand: Grassfield Pr
- Published on: 1995-06
- Original language: English
- Number of items: 1
- Dimensions: 11.00" h x 9.00" w x .75" l, 1.80 pounds
- Binding: Hardcover
- 114 pages
- Used Book in Good Condition
Review
Superbly illustrated with color plates featuring images of the Virgin Mary in her many apparitions,this volume is an invaluable source for art historians as well as those interested in material culture and religion in Peru. Art historian Carol Damian explores how indigenous artisans of post-conquest Peru combined European styles of painting and iconography with pre-Columbian art,lore,and tradition to create the colonial Virgin of the Andes. To that end,Damian writes,"Christian art by Cuzco natives,however sincere it may have appeared,was something quite different from the religious art of the Conquerors. Just as the Spanish campaigns to destroy the idols of the Andean people revealed ritual objects hidden beneath the gown of statues of the Virgin Mary,this book will reveal that the artist rendered the Virgin Mary as a disquise for Pachamamma,the earth Mother of the Andean people". -- Colonial Latin American Historical Review
About the Author
Carol Damian, an associate professor of art history and Chairperson of the Visual Arts department at Florida International University, is a noted authority on colonial and contemporary Latin American art.
Most helpful customer reviews
24 of 28 people found the following review helpful.
More Mist from the Mountains
By Charles Newman
Ever learn to draw a kitty by making a stack of three circles, progressively smaller from top to bottom? If so, would you conclude that everywhere you see three circles (a pawn shop, for example) there is occult symbolism of a secret feline cult? That's the kind of argument that underlies one of the basic premises of this slender volume: Andean paintings of the Virgin Mary show Her dressed in a stiff, voluminous cloak that creates the impression of a triangle, a cone; mountains are somewhat conical; inhabitants of the Andes worshipped mountains: therefore, pictures of the Virgin are actually secret objects of pagan idolatry.
There may be merit to the premise, but it is not demonstrated in this book except by a single (remarkable) painting that shows the Virgin's features actually emerging from Cerro Potosi. But does this prove the author's premise, or is it a reference to the hill's proverbial status as a source of limitless riches? It would be useful to see more overt examples that support the author's point of view, but this one picture and an anecdote are all the proof that's given. Curiously, many of the full-page illustrations show pre-columbian pieces (especially featherwork) that could easily be referenced at thumbnail scale, leaving room for a broader assortment of examples of the main topic. This monograph could also profit from a deeper inquiry into the dressing of religious statues in the Catholic tradition. (Many of the Virgin paintings actually portray statues that were objects of devotion, rather than the person of the Virgin. The cult of the Infant of Prague is one of the few examples of dressed-up statues familiar, at least to Catholics, in the United States.)
I found the price rather high ..., since there is not much in the text to make it an object of study and reference; and the illustrations, while attractive, cannot be described as sumptuous.
2 of 3 people found the following review helpful.
Well-written introduction to Cuzco School of painting and history
By Pat
After returning from a trip to Peru in 2012, where I was able to visit the Osma Museum of Colonial Art in Lima and also visit Cuzco, I was interested in re-reading this wonderful book about the Cuzco School of Art. The book not only contains beautiful illustrations, but it also provides a well-written and clear account of the history behind the development of this art and the manner in which indigineous and mestizo painters achieved the syncretism of two different religious beliefs and traditions, by imbibing the European art forms with their own symbolism. Anyone interested in learning about this type of art would do well to start with this book. The author writes in a way that is easy to understand, even for non art-historians, and provides a wonderful and revealing explanation of the cultural significance of these paintings.
1 of 2 people found the following review helpful.
Irresponsible scholarship
By Amazon Customer
The problems with this book, and Damian's approach to Virgin paintings produced in colonial peru in general, are VAST. She simplifies the goals, religions and cultures of the indigenous artists. Damian claims that ancient adoration of all mountain huacas was intimately linked with veneration of Pachamama. I would like to emphasize, though, that colonial sources never make this correlation. Colonial sources do cast mountains as characters in mythical legends, but, none of the transcribed fables feature Pachamama as a character. Pachamama's existence must be approached as a creation of the colonial era, rather than an Incan Goddess with established characteristics or sites of veneration.
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