1 0
    £24.99 GBP
    £24.99 GBP
    Sale Sold out
    Free UK Shipping

    Freshly Printed - allow 7 days lead

    Heaven, Hell, and Everything in Between
    Murals of the Colonial Andes

    Ananda Cohen Suarez (Author)

    9781477309551, University of Texas Press

    Paperback / softback, published 24 May 2016

    304 pages
    22.9 x 15.2 x 2 cm, 0.454 kg

    [T]his is an important book that makes a valuable contribution to a dynamic field. It fills in many lacunae in our understanding of Andean mural culture.
    (Hispanic American Historical Review)
    [A] well-written and amply illustrated contribution to Andean colonial history.
    (The Americas)
    A clearly written, mostly jargon-free, and scholarly book, which manages at once to be rigorous and comprehensible to a wider audience…The story [Cohen-Aponte] tells, of murals progressing from being a locally mediated tool of evangelisation to a medium for social critique, is compelling and convincing.
    (Bulletin of Latin American Research)
    The field should be grateful to have this book, both for the scholarly inroads it makes into this corpus and for its unusually readable and well-encapsulated chapters, which make it a wonderful teaching resource.
    (Ethnohistory)
    The author presents us with an all-encompassing view that covers over two hundred years. She takes excellent art historical interpretations of Christian iconography into new territories of social discourse to offer a description of the murals within the context of sacred architectural space.
    (CAA Reviews)

    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-Aponte 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.

    Introduction    

    Chapter One: The Painted Walls of the Andes: Chronology, Techniques, and Meanings    
    Chapter Two: The Road to Hell is Paved with Flowers: Journeys to the Afterlife at the Church of Andahuaylillas    
    Chapter Three: Clothing the Architectonic Body: Textile Murals of the Seventeenth and Eighteenth Centuries    
    Chapter Four: Turning the Jordan River into a Pacarina:  Murals of the Baptism of Christ at the Churches of Urcos and Pitumarca    
    Chapter Five: Earthly Violence/Divine Justice: Tadeo Escalante’
    s Murals at the Church of Huaro    

    Conclusion    

    Abbreviations
    Bibliography
     
    View full details