LEADER 04189oam 22006254a 450 001 9910798771403321 005 20170922081327.0 010 $a1-4773-0044-9 024 7 $a10.7560/309544 035 $a(CKB)3710000000842826 035 $a(MiAaPQ)EBC4770545 035 $a(OCoLC)957701152 035 $a(MdBmJHUP)muse53176 035 $a(DE-B1597)587948 035 $a(DE-B1597)9781477300442 035 $a(EXLCZ)993710000000842826 100 $a20150805d2016 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aHeaven, Hell, and Everything in Between$b[electronic resource] $eMurals of the Colonial Andes /$fAnanda Cohen Suarez 205 $aFirst edition. 210 1$aAustin, Texas :$cUniversity of Texas Press,$d2016. 210 4$dİ2016 215 $a1 online resource (305 pages) $cillustrations, photographs 225 1 $aRecovering languages and literacies of the Americas Mellon Foundation Initiative 311 $a1-4773-0954-3 320 $aIncludes bibliographical references. 327 $aIntroduction -- The painted walls of the Andes : chronology, techniques, and meanings -- The road to hell is paved with flowers : journeys to the afterlife at the church of Andahuaylillas -- Clothing the architectonic body : textile murals of the seventeenth and eighteenth centuries -- Turning the Jordan river into a pacarina : murals of the baptism of Christ at the churches of Urcos and Pitumarca -- Earthly violence/divine justice : Tadeo Escalante's urals at the church of Huaro -- Conclusion. 330 $aExamining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen-Aponte also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness. This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas? preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals. 410 0$aRecovering languages and literacies of the Americas. 606 $aArt$xPolitical aspects$zAndes Region$xHistory 606 $aArt and society$zAndes Region$xHistory 606 $aIndians of South America$zAndes Region$xReligion 606 $aIndians of South America$zAndes Region$xAntiquities 606 $aIndian mural painting and decoration$zPeru (Viceroyalty) 606 $aIndian mural painting and decoration$zAndes Region 607 $aSpain$xColonies$zAmerica 608 $aElectronic books. 615 0$aArt$xPolitical aspects$xHistory. 615 0$aArt and society$xHistory. 615 0$aIndians of South America$xReligion. 615 0$aIndians of South America$xAntiquities. 615 0$aIndian mural painting and decoration 615 0$aIndian mural painting and decoration 676 $a751.7/3098 700 $aCohen Suarez$b Ananda$01507465 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910798771403321 996 $aHeaven, Hell, and Everything in Between$93738237 997 $aUNINA