Relevant bibliographies by topics / Art of the Viceroyalty of Peru

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  2. Dissertations / Theses
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Academic literature on the topic 'Art of the Viceroyalty of Peru'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Art of the Viceroyalty of Peru"

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Irwin, Christa. "Catholic Presence and Power: Jesuit Painter Bernardo Bitti at Lake Titicaca in Peru." Journal of Jesuit Studies 6, no. 2 (June 21, 2019): 270–93. http://dx.doi.org/10.1163/22141332-00602005.

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Bernardo Bitti was an Italian Jesuit and painter who traveled to the viceroyalty of Peru at the end of the sixteenth century to make altarpieces in the service of the order’s conversion campaigns. He began his New World career in Lima, the viceregal capital and then, over a span of thirty-five years, traveled to Jesuit mission centers in cities throughout Peru, leaving a significant imprint on colonial Peruvian painting. In 1586, Bitti was in Juli, a small town on Lake Titicaca in southern Peru, where the Jesuits had arrived a decade prior and continually faced great resistance from the local population. In this paper, I will argue that Bitti’s paintings were tools implemented by the Jesuit missionaries seeking to establish European, Christian presence in the conflicted city. Thus, Bitti’s contribution at Juli can serve as but one example of how the Jesuits used art as part of their methodology of conversion.
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McCarl, Clayton. "The aftermath of the John Narborough Expedition (1669–1671) in the Viceroyalty of Peru." Colonial Latin American Review 27, no. 4 (October 2, 2018): 507–21. http://dx.doi.org/10.1080/10609164.2018.1560142.

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VIZCARRA, CATALINA. "Bourbon Intervention in the Peruvian Tobacco Industry, 1752–1813." Journal of Latin American Studies 39, no. 3 (July 26, 2007): 567–93. http://dx.doi.org/10.1017/s0022216x07002842.

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AbstractDuring the second half of the eighteenth century the Spanish Crown monopolised the tobacco industry in its American colonies, creating vertically integrated organisations which included factories for the production of cigars and cigarettes. A detailed analysis of the regulations, organisation and policies applied during the Peruvian viceroyalty suggests that Bourbon officials were effective managers. The monopoly was successful at curbing contraband and extracting rents. The evolution of monopoly policies, however, reflected political constraints on the Crown's efforts to raise revenues. The archival evidence suggests that Bourbon officials closed the tobacco factories in Peru in 1791 as a result of public opposition.
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Kubiak, Ewa. "Cuzco School Painting (Esquela Cusqueña) as a Manifestation of Andean Identity in the Past and Present." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 33–57. http://dx.doi.org/10.18290/rh.2019.68.4-2en.

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The Polish version of the article was published in Roczniki Humanistyczne vol. 65, issue 4 (2017). Painting of the Cuzco school developed in the city proper and in the Cuzco region in the 17th and 18th centuries. Its influence was not limited to this area; information about the presence of paintings from Cuzco in distant regions of the Viceroyalty of Peru can be found in numerous sources. The tradition which acknowledged Cuzco painting to be a manifestation of cultural mestization is extremely strong. We can easily point at Spanish (colonial) as well as native (Indian) features in both formal and semantic aspects of representations. However, Cuzco painting is not a matter of the past; nowadays there are still studies which produce neo-Baroque pictures, stylistically imitating old paintings. I would like to present neo-Baroque canvas and subsequent stages of work on them, using field research from 2013 and photographs taken in Galería de Artesanía “Fenix” in Cuzco, run by Luis Alfredo Pacheco Venero. What is important in the summary is reflections on cusqueñismo, a phenomenon typical of the city since the 1920s and wondering whether within its scope there is a place not only for the Inca tradition but also for colonial art. Modern search for regional identity is not limited to the pre-Columbian era, but more and more often highly assesses the colonial legacy.
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Fisher, John. "Kenneth J. Andrien: Crisis and Decline: The Viceroyalty of Peru in the Seventeenth Century (Albuquerque: University of New Mexico Press, 1985, $27.50). Pp. x + 287." Journal of Latin American Studies 19, no. 1 (May 1987): 189–90. http://dx.doi.org/10.1017/s0022216x00017296.

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Fisher, John. "Luis Martín: Daughters of the Conquistadores: Women of the Viceroyalty of Peru (Albuquerque: University of New Mexico, 1983, cloth $29·93, paper $14.95 Pp. xiii + 354." Journal of Latin American Studies 17, no. 1 (May 1985): 229–30. http://dx.doi.org/10.1017/s0022216x00009263.

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Cervantes, Fernando. "Valerie Fraser, The Architecture of Conquest: Building in the Viceroyalty of Peru 1535–1635 (Cambridge and New York: Cambridge University Press, 1990), pp. xiv+204, $55.00, £35.00." Journal of Latin American Studies 24, no. 1 (February 1992): 233–34. http://dx.doi.org/10.1017/s0022216x00023348.

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Poole, Deborah A. "Crisis and Decline: The Viceroyalty of Peru In the Seventeenth Century:Crisis and Decline: The Viceroyalty of Peru In the Seventeenth Century." Latin American Anthropology Review 1, no. 2 (December 1989): 73. http://dx.doi.org/10.1525/jlat.1989.1.2.73.1.

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Marks, Patricia H. "Confronting a Mercantile Elite: Bourbon Reformers and the Merchants of Lima, 1765–1796." Americas 60, no. 04 (April 2004): 519–58. http://dx.doi.org/10.1017/s0003161500070607.

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After Spain’s defeat in the Seven Years’ War (1757-1763), when the British had occupied Havana and Manila, a series of territorial, commercial, and tax reforms brought significant change to the viceroyalty of Peru. Their economic effects have been matters for debate ever since. Some historians have emphasized their positive effects. Following promulgation of the Reglamento de comercio libre of 1778, the volume and value of European manufactures exported to the Pacific coast of Spanish South America increased. Lima and its port city, Callao, remained important as commercial centers of Spanish South America. But others suggest that the viceregal capital—home to a powerful mercantile elite, the magnates of the consulado (merchant guild) of Lima—suffered a decline in its economic fortunes, as did the entire viceroyalty. Support for this point of view was widespread in late colonial Peru. In spite of the evidence for growth, a rising chorus of complaint bemoaned the increasing poverty of the viceroyalty in general and Lima in particular. How can we account for this discrepancy?
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Marks, Patricia H. "Confronting a Mercantile Elite: Bourbon Reformers and the Merchants of Lima, 1765–1796." Americas 60, no. 4 (April 2004): 519–58. http://dx.doi.org/10.1353/tam.2004.0061.

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After Spain’s defeat in the Seven Years’ War (1757-1763), when the British had occupied Havana and Manila, a series of territorial, commercial, and tax reforms brought significant change to the viceroyalty of Peru. Their economic effects have been matters for debate ever since. Some historians have emphasized their positive effects. Following promulgation of theReglamento de comercio libreof 1778, the volume and value of European manufactures exported to the Pacific coast of Spanish South America increased. Lima and its port city, Callao, remained important as commercial centers of Spanish South America. But others suggest that the viceregal capital—home to a powerful mercantile elite, the magnates of theconsulado(merchant guild) of Lima—suffered a decline in its economic fortunes, as did the entire viceroyalty. Support for this point of view was widespread in late colonial Peru. In spite of the evidence for growth, a rising chorus of complaint bemoaned the increasing poverty of the viceroyalty in general and Lima in particular. How can we account for this discrepancy?
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Dissertations / Theses on the topic "Art of the Viceroyalty of Peru"

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Mamet, Roxanne. ""De lo europeo a lo hispanoamericano" : origines, fondements théoriques et pratiques de la peinture dans les Andes coloniales (XVIe-XVIIIe siècle)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA160.

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L'objectif de cette thèse est d'analyser la façon dont les pratiques picturales des Andes coloniales se nouent et se dénouent autour d'une « matière » européenne. La nature d'un tableau répond à des exigences politiques occidentales (l'évangélisation des Indigènes) mais sa fonction va progressivement être démembrée au profit d'une peinture qui s'américanise.C'est d'abord en étudiant le contexte artistique de l'Europe des XVIe et XVIIe siècles, ses pratiques ainsi que ses transferts humains et matériels dans la vice-royauté péruvienne que l'on peut par la suite juger des différences, des nouveautés, mais aussi des transgressions des oeuvres produites sur place, la dimension régionale étant l'un des premiers facteurs de ces changements. Les médiateurs de cette circulation, acteurs sociaux et vecteurs de nouveaux codes, redéfinissent les qualités du peintre indien qui met un terme définitif à sa condition de « main d'oeuvre » pour devenir un artiste indépendant.Alors que tout porterait à croire que l'Espagne refuse l'américanisation de cette peinture, les fondements théoriques de l'art occidental sont pourtant à l'origine de formes et de thèmes nouveaux qui caractérisent essentiellement le XVIIIe siècle andin. L'adoption d'un système iconographique européen par des peintres principalement métis et indiens permet paradoxalement la réappropriation d'un support longtemps utilisé comme un objet de domination, de soumission et de contrôle de la part des autorités espagnoles
This thesis aims to analyse the way pictorial practices of the colonial Andes are formed and dissolved around a “European matter”. The nature of a painting complies with occidental political requirements (the evangelisation of the Indigenous) but its function will be progressively “dismembered” in favour of a painting which is becoming Americanised.The regional dimension being one of the factors of these changes, we will first study the artistic context of Europe in the 16th and 17th centuries. Through the study of its practices and also its human and material transfers in the Peruvian viceroyalty, we can thereafter judge of the differences, the innovations, but also the transgressions of the artworks made on site. The mediators of this circulation, the social actors and the carriers of new codes, redefine the qualities of the Indian painter who put a definitive end to his condition of “labour” to become an independent artist.While we could be led to believe that Spain refuses the Americanisation of this form of painting, yet the theoretical foundations of Western art are at the starting point of forms and new themes which essentially characterise Andean’s 18th century. The adoption of a European iconographic system, mostly by mixed-race and Indian painters, paradoxically allows the reapropriation of a medium used for a long time by the Spanish authorities, as an object of domination, submission, and control
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Pearce, Adrian John. "Early Bourbon government in the viceroyalty of Peru, 1700-1759." Thesis, University of Liverpool, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367697.

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MacKay, W. Iain. "The development of pre-Hispanic art forms in Peru : seen as an outgrowth of textile techniques and their influence upon art forms and depiction of symbols." Thesis, University of St Andrews, 1988. http://hdl.handle.net/10023/7359.

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Pre-Hispanic geometric art forms In Peru and the Andean Area are taken to be an outgrowth of textile techniques. Textiles and fibre arts predate ceramics by several millennia In the Central Andean Area. The artist who created these textiles developed an art style which was to go largely unaltered until the arrival of the Spaniards. The foundations of the Andean art form date to the Pre-ceramic. The restrictive, rather Inflexible nature of the warp and the weft of the cloth (the geometric grid) was to influence the methods of represention that were to follow. Geometric designs were well suited to fit Into the rigid framework. A series of conventions were developed for the representation of symbols. With the development of ceramics, there was leeway for a new style to come Into being. However, this was not to be the case. The potter borrowed extensively from the weaving tradition and Its associated styles (only in Moche times did the potter make a break the highly geometric style developed centuries before, and even then this break with tradition was a short lived one). The pre-Columbian artist often portrayed birds, cats, fish and reptiles. Many of these designs were used frequently and repeatedly throughout the centuries, but none, I would maintain. was represented as frequently as the double-headed serpent, and with so few variants. Andean art Is a truly distinctive art form; very different from European art, and through Its geometricity It conveyed and still conveys a totally different approach to nature and the world surrounding Andean man.
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Broughton, Rachel E. "Cut and Paste: The Art and Sociopolitics of Fanzine Production in Lima, Peru." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587661904856729.

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Jamieson, Ross W. "The Potential for Colonial Period Archaeology in La Libertad, Peru." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625578.

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Urbina, Araya Simón, and Rodríguez Mauricio Uribe. "Tarapacá: contributions to andean history from a regional perspective (s. XV-XVI)." Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/113456.

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Through both an archaeological and historical approach, we present a study of the indigenous sociopolitical formations of the Tarapacá region for the 15th and 16th centuries. Information is systematized from early documentary sources related to the permanent and seasonal populations residing along the Pacific coast between the Loa and Camarones rivers, an area bordered by the chiefdoms of Tacna and the Inca provinces of Atacama, Caranga, and Quillaca. Our qualitative analysis of regional and local historical and archaeological sources from the beginnings of the Spanish colonial period (1535-1571), suggest that regional geopolitical organization was characterized by the fragmentary dynamics among the Tarapacan populations and the provincial Inca apparatus. The available data suggest that at the time of the Spanish conquest of the Tarapacá region, the establishment of a cultural hierarchy and local and regional political affiliation were linked to the operation of an Inca provincial jurisdiction (or wamani).
Se presenta un estudio de las formas sociopolíticas indígenas de Tarapacá mediante un enfoque histórico y arqueológico para el siglo XV y XVI. Se sistematiza la información correspondiente a los habitantes que residían en forma permanente o estacional entre la franja litoral del océano Pacífico, entre el río Loa y Camarones, un extenso territorio colindante con los cacicazgos de Tacna al norte y las provincias incaicas de Atacama al sur, Caranga y Quillacas, al este. El análisis cualitativo de la información local y regional permite avanzar en la lectura de los datos arqueológicos y documentales, sugiriendo que durante la primera mitad del siglo XVI se habría desplegado una organización geopolítica caracterizada por la dinámica segmentaria de las poblaciones tarapaqueñas y el aparato provincial cuzqueño. Este trabajo propone que los españoles, al momento de la invasión, pudieron observar en esta región el funcionamiento de las jurisdicciones incaicas o wamani, a partir de lo cual se deberían analizar las posteriores transformaciones coloniales ocurridas dentro del virreinato peruano.
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Trever, Lisa Senchyshyn. "Moche Mural Painting at Pañamarca: A Study of Image Making and Experience in Ancient Peru." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11013.

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This dissertation is a study of the late Moche murals found within the adobe temples of Pañamarca, Peru (ca. 600-850 CE). This project was designed to redress the problem of iconographic decontextualization of the Pañamarca paintings that, through limited documentation and repetitive scholarly publication, had become effectively untethered from their material moorings and spatial settings. New fieldwork succeeded in contextualizing and conserving remains of all known mural paintings. This field research also resulted in the discovery of a new corpus of paintings at the site. Together these paintings form a case study on image making and visual experience in a Pre-Columbian era without contemporaneous writing. This art historical study of archaeological monuments makes several contextual moves. Most concretely it mounts evidence for the situated experiences of images by ancient beholders. This includes analysis of spatial patterns that governed both visual and kinaesthetic approaches to images, as well as forensic indices of human-image engagement and response through time. The approach is not, however, exhausted by the nested contexts of architecture, archaeology, and geography. Meaning is further established through the discernment of philosophical propositions set forth in the broader corpus of ancient Moche art, material culture, and ritual practice. This work proposes to yield emic perspectives on mimesis, corporeality, and spatiality. An embodied approach to image and space is not merely imported from theory developed elsewhere, but is grounded in the Andean cultural setting at hand. The orthodox Moche imagery of the Pañamarca murals was arrayed in specific, strategic ways in both plazas and private spaces. In some areas life-size paintings may have modeled mimetic performance that perpetually enlivened ritual architecture. Elsewhere densely composed imagery would have enveloped the bodies of ritual practitioners and devotees, as they were absorbed into a private architectural repository of specialized knowledge. This is unusual in the Moche world where the innermost spaces of lavishly decorated temple complexes are themselves usually devoid of painted images. The paintings of Pañamarca are interpreted as efficacious in the articulation, embodiment, and recollection of late Moche ideology and identity as it crystallized on the southern periphery in the Nepeña Valley.
History of Art and Architecture
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Figueiredo, Bárbara Schneider de. "Evangelização no vice-reinado do peru no século xvii : a edificação da extirpação de idolatria entre o clero secular e a ordem dos jesuítas (1621-1649) /." Franca, 2017. http://hdl.handle.net/11449/152626.

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Orientador: Ana Raquel Marques da Cunha Martins Portugal
Banca: Alexandre Camera Varella
Banca: Yllan de Mattos Oliveira
Resumo: A evangelização ocorrida no Vice-Reinado do Peru no século XVII representou o projeto empreendido pela Igreja Católica em prol da salvação das almas indígenas e da consolidação de seu poder e influência na América espanhola. A Extirpação de Idolatria, processo político-religioso que se constituiu na busca e destruição dos objetos indígenas ligados a religiosidade ameríndia, como também na supressão dos cultuadores dessas crenças, está ligada a evangelização como uma de suas formas de expressão. Visualizamos que durante o período de atuação do processo de extirpação foi comum à produção de materiais ligados as doutrinas religiosas e a sistematização de informações que pudessem guiar o projeto impulsionado pela Igreja e pelas ordens religiosas presentes no Vice-Reinado. Assim, por meio da análise dos manuais de Extirpação, Extirpación de la idolatría de los indios del Perú de 1621 do jesuíta Pablo José de Arriaga e Carta pastoral de exhortación e instruccion contra las idolatrias de los indios del arcebispado de Lima de 1649 do Arcebispo Pedro de Villagómes, escritos em benefício da evangelização, buscamos compreender, através da comparação dos discursos e da retórica da alteridade, a relação existente entre os escritos de Pablo José de Arriaga e os de Pedro de Villagomez procurando demarcar as suas diferenças e similitudes a fim de sustentarmos nossa hipótese de que as concepções religiosas de cada um fundamentou uma estrutura diferente para o processo de extirpação, modifican... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The evangelization of the Viceroyalty of Peru in the seventeenth century represented the project realized by the Catholic Church for the salvation of indigenous souls and the consolidation of their power and influence in Spanish America. The Extirpation of Idolatry, a political-religious process that was created in the search and destruction of indigenous objects related to Amerindian religiosity, as well as in suppressing the worshipers of these beliefs, is linked to evangelization as one of its forms of expression. We have seen that during the period of the extirpation process, it was common to produce materials linked to religious doctrines and systematization of information that could guide the project promoted by the Church and by the religious orders present in the Viceroyalty. Thus, through the analysis of the manuals of Extirpation, Extirpación de la idolatría de los indios del Perú, 1621, by the Jesuit Pablo Jose de Arriaga, and Carta pastoral de exhortación e instruccion contra las idolatrias de los indios del arcebispado de Lima of 1649 by the Archbishop Pedro de Villagomez, written for the benefit of evangelization, we seek to understand, through the comparison of the discourses and the rhetoric of alterity, the relation existing between the writings of Pablo José de Arriaga and those of Pedro de Villagomez seeking to demarcate their differences and similarities in order to support our hypothesis that the religious conceptions of each one founded a different struc... (Complete abstract click electronic access below)
Mestre
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Nicewinter, Jeanette Louise. "Cajamarca Ceramic Spoons from Northern Peru: Forming a Symbolic Function." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4200.

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Ten painted Cajamarca-style ceramic spoons form the foundation for an investigation of the way that these seemingly utilitarian objects were bestowed with economic and symbolic value both within and outside of the borders of the Cajamarca region, located in the north highlands of present-day Peru. Since the ceramic spoons have been recovered from sites associated with large and powerful societies and states, such as the Moche of the north coast and the Wari of the central highlands, an analysis of the form, style and imagery present on these spoons reveals how these objects transcended cultural boundaries. To assess and evaluate the cultural traits shared by the Cajamarca and neighboring polities, George Kubler’s concept of form-classes, which groups together objects with similar primary traits regardless of chronology, is utilized. The application of the concept of form-classes is significant because of the lack of written language in the region and the dearth of archaeological investigations in the Cajamarca area. Consequently, the form and style of the object is considered as the primary point of analysis and can be compared and contrasted with the form and style of spoons from other pre-Hispanic cultures, including the Wari, Huarpa and Chimu. Perceived as small, utilitarian items, ceramic spoons were actually elite goods traded or carried across thousands of miles for the purpose of establishing new, and reaffirming existing, ideological connections in a period of intense exchange and economic growth.
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Pena, Jose Luis. "Pottery Production during the Late Horizon in the Huancabamba Valley, Cajamarca - Peru." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4559.

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Elemental analysis of pottery sherds provided insights on the ceramic production in the Huancabamba Valley (northern highland-Peru) and the way in which the Incas administrate the provinces. The pottery sherds from six archaeological sites selected for elemental analysis indicated the use of similar clay sources in the manufacture of pottery. The production of ceramic vessels took place at the local level without the strict control of the Inca state. The Incas built administrative structures in the Huancabamba Valley in order to maintain control of their road system, which connected the north area of Peru to Ecuador. The ceramic assemblage recovered from Inca sites does not illustrate typical Inca pottery style or decoration from the heartland. The administrative centers built by the Incas throughout the Empire provided the means to support state activities such as pottery production of local wares. In addition, ethno-historic evidence suggests that during the Inca period coastal communities were relocated to highland settlements in order to serve as officers in state facilities, or to maintain the Inca road system. These coastal communities continue producing pottery following the traditional techniques from their homeland.
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Books on the topic "Art of the Viceroyalty of Peru"

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Mo, Charles L. Splendors of the New World: Spanish Colonial masterworks from the Viceroyalty of Peru. Charlotte, N.C: Mint Museum of Art, 1992.

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Moulard, Barbara L. Tabula rasa: Art of the Mexican viceroyalty. [Mesa, Ariz.]: Mesa Southwest Museum, 1988.

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Luis, Martín. Daughters of the conquistadores: Women of the viceroyalty of Peru. Dallas: Southern Methodist University Press, 1989.

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Martín, Luis. Daughters of the conquistadores: Women of the viceroyalty of Peru. Dallas: Southern Methodist University Press, 1989.

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Politics of a colonial career: José Baquíjano and the Audiencia of Lima. 2nd ed. Wilmington, Del: SR Books, 1990.

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Crisis and decline: The Viceroyalty of Peru in the seventeenth century. Albuquerque: University of New Mexico Press, 1985.

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Fraser, Valerie. The architecture of conquest: Building in the Viceroyalty of Peru, 1535-1635. Cambridge [England]: Cambridge University Press, 1990.

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Faces of ancient Peru. [Perú]: AFP Integra, 2008.

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Sebastián, Antonio San Cristóbal. Teoría sobre la historia de la arquitectura virreinal peruana. Lima, Perú: Universidad Nacional de Ingeniería, Facultad de Arquitectura, Urbanismo y Artes, Instituto General de Investigación, 1999.

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Cristóbal, Antonio San. Teoria sobre la historia de la arquitectura virreinal peruana. Lima, Perú: Universidad Nacional de Ingenieria, Facultad de Arquitectura, Urbanismo y Artes, Instituto General de Investigación, 1999.

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Book chapters on the topic "Art of the Viceroyalty of Peru"

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Quiles, Fernando. "Transatlantic Markets and the Consumption of Sevillian Art in the Viceroyalty of Peru." In American Globalization, 1492–1850, 266–81. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003168058-16.

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Lauro, Claudia Rosas. "Enlightenment, reform, and revolution in the Viceroyalty of Peru*." In The Routledge Companion to the Hispanic Enlightenment, 384–98. London ; New York, NY : Routledge/Taylor & Francis Group, 2019. | Series: Routledge companions to Hispanic and Latin American studies: Routledge, 2019. http://dx.doi.org/10.4324/9781315180281-28.

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Mazzanti, C. "The construction of the vaults in the cathedrals of the Viceroyalty of Peru." In History of Construction Cultures, 26–32. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781003173359-4.

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Gaviria, F. Moises, Dev S. Pathak, Joseph Flaherty, Carlos Garcia Pacheco, Hector Martinez, Ronald Wintrob, and Timothy Mitchell. "Designing and Adapting Instruments for a Cross-Cultural Study on Migration and Mental Health in Peru." In Psychiatry The State of the Art, 505–9. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_81.

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Penry, S. Elizabeth. "Comunero Politics and the King’s Justice." In The People Are King, 145–66. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780195161601.003.0008.

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In 1774, a mob of commoner Andeans in one town in the viceroyalty of Peru attacked and killed their cacique, claiming that no person could be held responsible because the común, the community of commoners, had done it. The political theory was simple: if the cacique is good, he should be obeyed, but if he is a tyrant, if he does not serve justice, the people of the community have a right to overthrow him. A synthesis of pre-Columbian practices, religious teachings, and Spanish political philosophy, it was taught by officers in the cabildo and cofradías of the town. Also known as the rey común, Andeans defined it as “the ayllus together.” In testimony and written petitions, comuneros defended their right to overthrow their cacique, while professing loyalty to the Crown by paying tribute and serving mita. This idea of commoner self-government spread to other indigenous towns.
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"Antecedents: The Viceroyalty of Peru Prior to 1750." In Bourbon Peru 1750-1824, 9–25. Liverpool University Press, 2003. http://dx.doi.org/10.5949/liverpool/9780853239086.003.0002.

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Molina, Fernanda, and Lucía Cordone. "Sodomy, Gender, and Identity in the Viceroyalty of Peru." In Sexuality and the Unnatural in Colonial Latin America, 141–61. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520288140.003.0008.

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Fisher, John. "Silver Production in the Viceroyalty of Peru, 1776–1824." In Mines of Silver and Gold in the Americas, 283–301. Routledge, 2020. http://dx.doi.org/10.4324/9781315248875-11.

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"7. Sodomy, Gender, and Identity in the Viceroyalty of Peru." In Sexuality and the Unnatural in Colonial Latin America, 141–61. University of California Press, 2019. http://dx.doi.org/10.1525/9780520963184-010.

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Rau, Pilar. "Art for a modern peru." In The Andean World, 485–503. Routledge, 2018. http://dx.doi.org/10.4324/9781315621715-32.

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Conference papers on the topic "Art of the Viceroyalty of Peru"

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JORDÁN, Régulo Franco. "Art, symbolism and power in Moche Society, North Coast of Peru." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-001.

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Van Waerebeek, Kenzo, Diego Linares, and Daniel Alejandro Subauste Oliden. "Design And Development Of An Augmented Reality Application For Art Galleries And Museums In Peru." In The 19th LACCEI International Multi-Conference for Engineering, Education, and Technology: “Prospective and trends in technology and skills for sustainable social development” “Leveraging emerging technologies to construct the future”. Latin American and Caribbean Consortium of Engineering Institutions, 2021. http://dx.doi.org/10.18687/laccei2021.1.1.378.

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