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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 espagnolesThis 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 PortugalBanca: 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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Mills, Scott DuPre. "Old World, New Media: Cross-cultural Explorations with Camera and Analytic Text in Cusco, Peru." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3454.
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Abstract OLD WORLD, NEW MEDIA: CROSS-CULTURAL EXPLORATIONS WITH CAMERA AND ANALYTIC TEXT IN CUSCO, PERU By Scott DuPre Mills, PhD. A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. Virginia Commonwealth University, 2014 Major Director: Dr. Nicholas A Sharp, Assistant Professor, Department of English This dissertation draws on my field research in Cusco, Peru, documenting Old World methods of making Andean musical instruments. The cross-cultural interactions I engaged in are concretized and documented in the ethnographic film I shot at the time and in my experimentation with original music recorded with these handmade instruments. I have revisited the family that produces these instruments each summer from 2003-2013 and built a relationship that has provided me with an in-depth perspective on the centuries-old tradition of making musical instruments. These instruments afford an exceptionally high quality sound and are created specifically for local professional musicians. My search for an authentic Andean charango occasioned complex association with local artisans, enabling me to perform various roles as a participant in this cross-cultural interaction, from musician and documentary filmmaker to teacher in the summer study program in Peru. Both the fact that VCU students and faculty expressed interest in buying these instruments, and our group expenditures in Peru, enhanced the instrument-making family economically, providing them with the means to expand their production of instruments. Each year after my return back to the United States, I studied closely the documentary footage I had recorded and found that the camera can function as a writing device. In order to explore further and understand conceptually my intuitions, I researched newer theories about camera consciousness and developed my own concepts that are articulated in this dissertation. In the process, I have drawn interdisciplinary connections between Ethnography, Media theory and Anthropological concepts as they relate to human activities in the area of media, art, text. A central theoretical argument in my dissertation underscores the fact that the new media have altered the definition of literacy. In exploring the elements of (traditional and digital) photography, moving image, audio and written text as they define the new intermediatic context, it became apparent that New Media requires an ability to “read” beyond the medium of the written word. This is relevant also for my study of traditional instrument-making in Peru. Because many of the “Old world” methods of creating instruments and music existed outside of a literary (verbal) account or explanation, these methods often became lost or forgotten as new modes of mass production took over. The type of multimedia approach that I am illustrating in this dissertation, mixing traditional with New Media methodologies, has the potential to reconnect us to “Old World” forms via the visual and audio elements that are not directly present in verbal texts. A significant portion of my dissertation explores the introduction and development of the New Media and the devices that connect human beings to the digital domain. My examination foregrounds both the positive and negative implications of the New Media. The inclusion of an anthropological perspective in this discussion provides a broader view of human behavior in relation to the development of communication technology and multimedia.
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Costa, Roberto. "The domestication of the cross symbolism and images in Andean Peru /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.
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Vargas, León Susana Janet. ""La Gallerie des femmes fortes" de Pierre Le Moyne, version péruvienne : Inscription historique et sociale, principaux protagonistes." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2013.
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Notre présent travail de recherche vise à cerner l’ensemble des spécificités qui entourent et caractérisent la traduction péruvienne de l’ouvrage du jésuite français Pierre Le Moyne La Gallerie des femmes fortes parue en France en 1647 et publiée dans la vice-royauté du Pérou en 1702. C’est à travers cette pièce rare que nous avons souhaité incarner et problématiser notre questionnement sur les rapports multiples entre identité nationale en formation, identité féminine péruvienne et relations culturelles et littéraires franco-péruviennes. Le choix de l’étude de cet ouvrage n’est donc pas uniquement issu d’inclinations personnelles, mais constitue selon nous, un exemple emblématique de l’utilisation religieuse, culturelle et politique d’un texte littéraire, artistique et à grande teneur morale. L’édition de 1702 est une illustration significative des liens dynamiques entre une œuvre littéraire, artistique et son contexte historique, tant du point de vue de ses inspirations, de son enracinement que de ses résonances avec une époque donnée. Dans leur forme vivante, ces maillons littéraire et historique renvoient tout autant aux discours sur le statut social de la femme et à ses mutations, qu’au rôle actif que certains des protagonistes de l’édition péruvienne eurent à l’intérieur de cette époque même. Ainsi, au-delà de la résonance entre la version originale et la version péruvienne du texte, les principaux artisans de la traduction castillane du livre furent principalement incarnés par Pierre Le Moyne, auteur et poète à l’origine de l’ouvrage, ainsi que les créoles, don Fernando Bravo de Lagunas traducteur du livre auteur d’une remarquable dédicace ; Fray Miguel Adame de Montemayor, graveur et peintre qui évolua entre le XVIIème et le XVIIIème siècle et réalisa les gravures pour l’édition péruvienne du texte de 1702 et Joseph de Contreras y Alvarado, imprimeur et éditeur, qui rendit possible la parution de ce premier texte français traduit et publié dans la vice-royauté du PérouOur current research work aims to identify all the specificities surrounding and characterizing the Peruvian translation of the French Jesuit Pierre Le Moyne’s work: The Gallery of heroick women published in France in 1647 and released in the viceroyalty of Peru in 1702. It is through this rare piece that we wished to embody and problematize our questioning on the multiple relationships between the national identity which was in formation process, Peruvian female identity and franco-peruvian cultural and literary relations. The choice of the study of this book is not only the result of personal inclinations, but constitutes, in our opinion, an emblematic example of the religious, cultural and political use of a literary, artistic and moral document. The 1702 edition is a significant illustration of the dynamic links existing between a literary and an artistic work and its historical context, from the point of view of its inspirations, its roots and its resonances with a given era. In their living forms, these literary and historical links refer as much to the discourses on the social status of women and its mutations, as to the active role that some of the protagonists of the Peruvian publication had within this very period. Thus, beyond the resonance between the original version and the Peruvian version of the text, the main artisans of the Castilian translation of the book were mainly embodied by Pierre Le Moyne, author and poet who accounted for the book , as well as the creoles, don Fernando Bravo de Lagunas translator of the Peruvian version, author of a remarkable dedication; Fray Miguel Adame de Montemayor, engraver and painter who evolved between the seventeenth and eighteenth century and realized the engravings for the Peruvian edition of the text of 1702 and Joseph de Contreras y Alvarado, printer and publisher, which made possible the publication of this first French text translated and published in the viceroyalty of Peru
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Wolkowicz, Vera. "Inventing Inca music : indigenist discourses in nationalist and Americanist art music in Peru, Ecuador and Argentina (1910-1930)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/274908.
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The Latin American centennial celebrations of independence (ca.1909-1925) constituted a key moment in the consolidation of national symbols and tropes, while also producing a renewed focus on transnational affinities that generated a series of discourses on continental unity. At the same time, a boom in archaeological explorations, within a general climate of scientific positivism, provided Latin Americans with new information about their ‘grandiose’ former civilisations, such as the Inca and the Aztec, which some then argued for as an American equivalent to ancient Greek and Egyptian cultures. These discourses moved from the political to the cultural sphere, themselves shaping ideas about Latin American national and continental identity. In the arts, and particularly in music, artists as a result began to move from using European techniques and depicting European themes, to produce an art that could be considered Latin American. This dissertation explores discourses surrounding the Inca in particular as a source for the creation of a ‘national’ and ‘continental’ art music during the first three decades of the twentieth century, with a concentration on ‘nationalist’ composers of Peru, Ecuador and Argentina. Three main topics bind together my analysis: interpretations of the Inca musical system, the postcolonial style called yaraví, and the composition of opera. To this end, I look into early twentieth-century writings on Inca music and its origins, investigate attempts to reconstruct it, describe how certain composers applied ‘Inca’ techniques into their own works, and consider how this music was perceived by local audiences. Ultimately, I argue that faced with the difficulties of constructing national unity at the time, the turn to Inca culture and music in pursuit of such unity could only succeed within particular intellectual circles, and that the idea that the Inca example could produce a ‘music of America’ would ultimately remain a utopia.
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Alexander, Amanda S. "Collaboratively Developing a Web site with Artists in Cajamarca, Peru: A Participatory Action Research Study." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276529007.
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Jurado, M. Carolina. "Weaving Loyalties in Charcas: The Role of the Second Visita and Land Composition Judge in the Threads of Viceregal Favor, 1594-1600." Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/121595.
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The economy of favor was an essential mechanism in the construction of monarchical and colonial power, encouraging the loyalty of subjects and a more effective control of the territory. Through an analysis of the residencia of don Pedro Osores de Ulloa, this article aims to examine the role of Charcas’s second visita and land composition judge in the exercise of colonial favor. The research suggests that land and the assignment of its property, mediated by Osores de Ulloa, formed the basis of loyalty and patronage relationships that strengthened viceregal power in Charcas and articulated different layers of power.La economía de la gracia era un mecanismo esencial en la construcción del poder monárquico y virreinal, al fomentar la lealtad de los súbditos y el control efectivo del territorio. A partir de la residencia de don Pedro Osores de Ulloa, este artículo examina el rol del segundo juez de visita y composición de tierras charqueñas en el ejercicio de la dádiva virreinal. En ese sentido, se postula que la tierra y la cesión de los derechos a su propiedad, mediatizadas por Osores de Ulloa, constituyeron la base de relaciones de lealtad y patronazgo que afianzaron el dominio virreinal sobre los vecinos charqueños al tiempo que articularon las distintas esferas jurisdiccionales del poder.
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Dohmen, Renate. "The raw and the cooked in common places : art, anthropology and relational aesthetics between Thailand, Euro-America, India and Peru." Thesis, University of Newcastle Upon Tyne, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438324.
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Totten, Kelley D. "Crafting memories in the Mantaro Valley of Peru : performance and visual representation in craftswomen's souvenir production /." Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/10081.
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Ahn, SungHee. "Participation-based public art & design project model for culture-led urban regeneration." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/13873.
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In recent years, public art has evolved to take a central role in urban regeneration in public places and, more recently, has been integrated into city branding. Published research and selected reports revealed that public art frequently opens up sensitive issues like social acceptance, ownership and cultural relevance, and showed that a participation-based approach can be used to address these issues. The literature review confirmed the main issues and the need for a theoretical platform to support future practice. The researcher has been a professional practitioner in the field for many years and was aware of the gap between contemporary practice and academic underpinning, resulting in divergent practices with unpredictable outcomes. Key elements found in the secondary research and overlaid with the fieldwork experience of the researcher were combined to create an analytical tool to analyse 46 practical cases of public art and design. This revealed five invitation elements [triggers to induce participation] which were found to be connected to four participation elements [patterns of participation]. A first conceptual model was formulated to investigate the interactions and transformation processes between these invitation and participation elements. The model was further developed and its validity was tested through two distinctive action-based research projects in which the researcher played a leading role. The projects confirmed the validity of the transformation process in the model and emergent pragmatic value. Expert interviews confirmed the validity of the model and understanding of how it may become sustainable, resulting in a toolkit for implementation to engender debate in the academic and practitioner community. The final theoretical model offers new thinking for leading public art and design practitioners and related stakeholders, to achieve consistent add-value.
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Callen, Tara Ashmore. "Video Art and Photography in Creation of Autobiographical Narratives with Adolescent Girls Aging out of an Orphanage (Hogares de Ni?as) in Peru." Thesis, Teachers College, Columbia University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10689108.
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This dissertation was designed using a qualitative research mode of inquiry that utilized a mixed methodology approach. This dissertation was an ethnographic narrative study tracking eight young women who were “aging out” or forced to leave their orphanage in Peru, where most of them had spent a majority of their lives. The study examined the way in which a collaborative art community could support the participants as they narrated their lives over a 16-month period of time through photojournaling and social media outlets.
This study relied upon interviews, on-site observations, personal journaling, and photographing, in addition to an overall thematic analysis of the output of each of the eight participants and two nuns. From these data, six key themes emerged concerning the outcomes of each young girl’s continuing life at the Hogar and their endeavors outside of the orphanage. The focal points of this study were community building via art making and building of personal aesthetic, community engagement, reflection on self-identity, cross-cultural art education, and shared experience via photo-art narratives and social media.
This research also examined the role of collaborative art experiences in helping these young women structure new identities and form collaborations with their peers designed to sustain them into their future lives. This dissertation studied not only the formation of singular identities but how these functioned within a collaborative identity that supported the young participants as they moved out of their orphanage and forward into the outside world.
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Kaulicke, Peter. "Paul, Anne, comp. Paracas Art and Architecture. Object and Context in South Coastal Peru. University of lowa Press. Iowa City 1991.445 p." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/121758.
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Willey, Paul F. "The art of riverine warfare from an asymmetrical approach." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2004. http://library.nps.navy.mil/uhtbin/hyperion/04Mar%5FWilley.pdf.
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Hurt, Lee Anne. "The Huacas of Machu Picchu : Inca stations for the communion between humanity and nature /." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1718.
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Bastos, Moira Anne Bush. "Poética da cabaça : fruto de tradição, arte e comunicação /." São Paulo : [s.n.], 2010. http://hdl.handle.net/11449/86937.
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Orientador: Geralda Mendes Ferreira Silva DalglishBanca: Dilma de Melo Silva
Banca: José Leonardo do Nascimento
Banca: Milton Terumitsu Sogabe
Banca: Cláudia Fazzolari
Resumo: Esta dissertação trata da coleção de mates burilados, que constitui parte do acervo do Memorial da América Latina, no Pavilhão da Criatividade, em São Paulo, que estiveram expostos ao público, entre os anos de 2005 e 2009. Os estudos desenvolvidos sobre os mates burilados são para valorizar a cabaça como jóia ou livro circular, considerada patrimônio cultural peruano por representar a mais antiga tradição artística nesse suporte natural. O estudo do fruto cabaça, cuia ou mate, considera toda a sua potencialidade material e como suporte artístico tradicional e contemporâneo, nas mais diversas expressões de arte latinoamericanas. São abordados os fenômenos materiais e naturais deste fruto, buscando compreender a diversidade de suas espécies, as conexões com as civilizações e os desdobramentos de sua representação simbólica. A poética será o elo e elemento de fruição, nas relações entre as sociedades e suas tradições culturais. Desvelará e aproximará as mais variadas expressões artísticas, em diferentes períodos, revelando parte da história e meios de expressão de sociedades latinoamericanas. O estudo envolve a análise de três exposições de arte editadas na Argentina, Brasil e Peru, cujo foco é o fruto. Os artistas destacados são Mestre Didi, Walter Smetak, Catin Nardi, Gina Celeghini, Miguel Chikaoka, Marepe, Saint Clair Cemim, Os Gemeos e Victor Delfin. O mate é aqui apresentado como patrimônio cultural dos países do Cone Sul e Peru, por ser um fruto original, tradicional, popular, mestiço e, portanto, sua cultura é elemento de inclusão e integração dos povos latinoamericanos
Resumen: Este trabajo es el estudio de la colección de mates burilados, que constituye parte del acervo del Memorial de la América Latina, en el Pabellón de la Creatividad, en Sao Paulo, que fueron exhibidos al público entre los años de 2005 al 2009. Los estudios desarrollados sobre los mates burilados son para la valoración de la calabaza como una joya o un libro circular, considerada patrimonio cultural peruano por representar la más antigua tradición artística en ese soporte natural. El estudio del fruto seco calabaza o mate, considera toda su potencialidad material y como soporte artístico tradicional y contemporáneo en las más diversas expresiones de arte latinoamericanas. Son abordados los fenómenos materiales y naturales de ese fruto, buscando comprender la diversidad de sus especies, las conexiones con las civilizaciones y los desdoblamientos de su representación simbólica. La poética del fruto es el hilo de unión y elemento de fruición en las relaciones entre la sociedad y las diversas tradiciones culturales. Descubrirá y aproximará las más variadas expresiones artísticas en distintos periodos, revelando parte de la historia y medios de vida de las sociedades latinoamericanas. El estudio envuelve el análisis de tres exhibiciones de arte editadas en Argentina, Brasil y Perú, cuyo mote central es el fruto. Los artistas contemporáneos destacados son Mestre Didi, Walter Smetak, Catin Nardi, Gina Celeghini, Miguel Chikaoka, Marepe, Saint Clair Cemim, Os Gemeos e Victor Delfin. El mate es presentado como patrimonio cultural de los países del Cono Sur y del Perú, por ser un fruto original, tradicional, popular, mestizo y, por lo tanto su cultura es elemento de inclusión e integración de los pueblos latinoamericanos
Abstract: The study is about "mate burilado" - the engraved or etched gourd collection from Peru, which is part of the patrimony of the Latin American Memorial exhibited in the Creativity Pavilion in São Paulo, from 2005 to 2009. The study about this art form serve to value the gourds as jewels or circular books as they are considered Peruvian cultural patrimony by representing the oldest artistic tradition using this natural support of art. The studies about gourds and mates, consider all the material potentiality of the fruit, as well as their use in various Latin American traditional and contemporary art expressions. In this study material and natural phenomena will be considered to comprehend the diversity of species, connections with the civilizations and the unfolding of their symbolic representation. The poetics of the gourds is the link and element for fruition in the relationship between the societies and their many cultural traditions. The piece of art is the tool used to unveil and approach the various art expressions throughout different periods of history and means of living of Brazilian and Latin American societies. Thus this essay involves the analysis of three art exhibitions in Argentine, Brazil and Peru, where the fruit is the main element. Some contemporary artists are made salient, namely Mestre Didi, Walter Smetak, Catin Nardi, Gina Celeghini, Miguel Chikaoka, Marepe, Saint Clair Cemim, Os Gemeos and Victor Delfin. The mate will be presented as part of the cultural patrimony of countries forming the south of Latin America and of Peru, because it is primitive, traditional, popular, "mestizo" and its culture is one of the elements, for inclusion and integration, of the Latin American people and their art
Mestre
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Kramer, Alice. "DIMENSIONS OF IDENTITY." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2896.
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Imagination and fantasy environments created by writers and artists have always drawn people into their worlds. Advances in technology have blurred the lines between reality and imagination. My interest has always been to question the validity of these worlds and their cultures and to transcend the evolving virtual dimension by fusing it with what we perceive to be reality.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Vaudry, Élodie. "Présence et usages des arts précolombiens dans les arts décoratifs en France de 1875 à 1945." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100156.
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Cette thèse traite de la présence et des usages des arts précolombiens dans les arts décoratifs en France. Le point de départ de la recherche se situe en 1875, avec le premier Congrès des américanistes ; elle s’achève en 1945, avec la fin de la Seconde Guerre mondiale et la mort d’un des principaux artistes du corpus, Jean Puiforcat. Globalement, il s’agit de contribuer à l’histoire des transferts culturels entre le Mexique, le Pérou et la France, en mettant d’abord l’accent sur les liens entre les intérêts diplomatiques et le développement culturel de l’américanisme. À partir de là, le regard se concentre sur l’évolution de la perception française des arts précolombiens au travers de l’analyse des expositions temporaires, du marché de l’art et des revues d’art en France. Cela permet de comprendre comment la réévaluation de ces civilisations a favorisé l’appropriation de motifs précolombiens dans la création décorative en France : de nombreux décorateurs se sont intéressés aux possibilités formelles de ces productions et en ont fait usage selon des modalités hétérogènes mais concomitantes. Ces phénomènes sont multilatéraux : l’analyse des recueils d’ornements précolombiens et de leur théâtralisation par les gouvernements a permis de mettre en lumière des collaborations internationales, notamment celle de la liménienne Elena Izcue avec la styliste Elsa Schiaparelli. Dans l’ensemble, cette thèse se présente comme une étude d’histoire des représentations, centrée sur la diffusion et l’instrumentalisation des arts précolombiens, au Mexique, au Pérou et en France, afin de comprendre leur productivité visuelle et culturelle dans le champ des arts décoratifs en FranceThis doctoral dissertation deals with the presence and uses of pre-Columbian arts in decorative arts in France. The research starts in 1875 with the first Congress of Americanists; it ends in 1945, and it ends in 1945 with the conclusion of the Second World War and the death of one of the principal artists of the corpus, Jean Puiforcat. Overall, it seeks to contribute to the history of cultural transfers between Mexico, Peru and France. It begins by focussing on the links between the diplomatic forces at play and the cultural development of Americanism. From there, it concentrates on the evolution of the French perception of pre-Columbian arts through an analysis of temporary exhibitions, the art market and art reviews in France. This analysis makes it possible to understand how the reevaluation of these American civilisations supported the appropriation of pre-Columbian motives in decorative creation in France: many decorators were interested in the formal possibilities of these productions and used them according to heterogeneous but concomitant methods. Such phenomena are multilateral: the analysis of the collections of pre-Columbian ornaments and their dramatizing by governments made it possible to clarify international collaborations, in particular that of the Peruvian artist Elena Izcue with the designer Elsa Schiaparelli. This thesis is presented as a study of history of representations centred on the diffusion and the instrumentalization of pre-Columbian arts in Mexico, Peru and France, in order to understand their visual and cultural productivity in the field of decorative arts in France
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Ferri, carreres Natividad. "Les minorités, l'espace et le droit : Indiens et Morisques dans la configuration territoriale de l'Empire Ibérique." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMC022/document.
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Comment un monarque agit-il pour exercer son pouvoir sur deux territoires éloignés géographiquement, mais tous deux peuplés par des minorités juridiques ? Cette thèse a pour objectif de mener une étude comparative sur la manière dont la Monarchie Hispanique a exercé le contrôle politique, et notamment le contrôle de la mobilité spatiale, sur la minorité morisque du royaume de Valence et sur la minorité indienne péruvienne au cours du XVIe siècle.Notre recherche met l’accent sur l’importance du contrôle de la mobilité spatiale de ces minorités comme un moyen pour mettre en application des objectifs spécifiques au bon fonctionnement de la gouvernance de chaque territoire. De l’analyse de ces objectifs, réalisé en grande partie à partir de l’ordre juridique de l’époque, il découle que les Morisques et les Indiens ont été l’objet d’un traitement différencié, motivé par le contexte politique, social ou économique qui prévalait dans chaque espace géographique. Toutefois, notre travail met en évidence la volonté de déplacer ces minorités pour les éloigner des côtes ou les regrouper dans des villages séparés, afin de les confiner et de les isoler. Paradoxalement, nous avons également observé, à la suite de la mise en place d’un tel contrôle, l’apparition d’effets non prévus, tels que les fuites et d’autres formes de résistanceHow does a monarch exercise his power over two geographically distant territories, both populated by juridical minorities? This thesis intends to carry out a comparative study of the way in which the Hispanic Monarchy exercised political control, and in particular territorial mobility control, over the Morisco minority in the Kingdom of Valencia and the Peruvian Indian minority during the 16th century.This research will show the important role of controlling the territorial mobility of those minorities as the monarchical instrument for reaching its political, social and economic goals in each territory. The analysis of these objectives, based in large part on the legislative rulings of that era, infers that the Moriscos and the Peruvian Indians endured a differentiated control due to the political, social and economic context that prevailed in each of the territories they occupied. Nevertheless, this work reveals the will of the monarchical power in displacing and alienating these minorities from the coasts or grouping them in distant villages, in order to better confine and control them. Paradoxically, it is found that such control ends in creating “undesirable” effects, such as escapes and other forms of resistance
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Bastos, Moira Anne Bush [UNESP]. "Poética da cabaça: fruto de tradição, arte e comunicação." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/86937.
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Esta dissertação trata da coleção de mates burilados, que constitui parte do acervo do Memorial da América Latina, no Pavilhão da Criatividade, em São Paulo, que estiveram expostos ao público, entre os anos de 2005 e 2009. Os estudos desenvolvidos sobre os mates burilados são para valorizar a cabaça como jóia ou livro circular, considerada patrimônio cultural peruano por representar a mais antiga tradição artística nesse suporte natural. O estudo do fruto cabaça, cuia ou mate, considera toda a sua potencialidade material e como suporte artístico tradicional e contemporâneo, nas mais diversas expressões de arte latinoamericanas. São abordados os fenômenos materiais e naturais deste fruto, buscando compreender a diversidade de suas espécies, as conexões com as civilizações e os desdobramentos de sua representação simbólica. A poética será o elo e elemento de fruição, nas relações entre as sociedades e suas tradições culturais. Desvelará e aproximará as mais variadas expressões artísticas, em diferentes períodos, revelando parte da história e meios de expressão de sociedades latinoamericanas. O estudo envolve a análise de três exposições de arte editadas na Argentina, Brasil e Peru, cujo foco é o fruto. Os artistas destacados são Mestre Didi, Walter Smetak, Catin Nardi, Gina Celeghini, Miguel Chikaoka, Marepe, Saint Clair Cemim, Os Gemeos e Victor Delfin. O mate é aqui apresentado como patrimônio cultural dos países do Cone Sul e Peru, por ser um fruto original, tradicional, popular, mestiço e, portanto, sua cultura é elemento de inclusão e integração dos povos latinoamericanos
The study is about “mate burilado” - the engraved or etched gourd collection from Peru, which is part of the patrimony of the Latin American Memorial exhibited in the Creativity Pavilion in São Paulo, from 2005 to 2009. The study about this art form serve to value the gourds as jewels or circular books as they are considered Peruvian cultural patrimony by representing the oldest artistic tradition using this natural support of art. The studies about gourds and mates, consider all the material potentiality of the fruit, as well as their use in various Latin American traditional and contemporary art expressions. In this study material and natural phenomena will be considered to comprehend the diversity of species, connections with the civilizations and the unfolding of their symbolic representation. The poetics of the gourds is the link and element for fruition in the relationship between the societies and their many cultural traditions. The piece of art is the tool used to unveil and approach the various art expressions throughout different periods of history and means of living of Brazilian and Latin American societies. Thus this essay involves the analysis of three art exhibitions in Argentine, Brazil and Peru, where the fruit is the main element. Some contemporary artists are made salient, namely Mestre Didi, Walter Smetak, Catin Nardi, Gina Celeghini, Miguel Chikaoka, Marepe, Saint Clair Cemim, Os Gemeos and Victor Delfin. The mate will be presented as part of the cultural patrimony of countries forming the south of Latin America and of Peru, because it is primitive, traditional, popular, “mestizo” and its culture is one of the elements, for inclusion and integration, of the Latin American people and their art
Este trabajo es el estudio de la colección de mates burilados, que constituye parte del acervo del Memorial de la América Latina, en el Pabellón de la Creatividad, en Sao Paulo, que fueron exhibidos al público entre los años de 2005 al 2009. Los estudios desarrollados sobre los mates burilados son para la valoración de la calabaza como una joya o un libro circular, considerada patrimonio cultural peruano por representar la más antigua tradición artística en ese soporte natural. El estudio del fruto seco calabaza o mate, considera toda su potencialidad material y como soporte artístico tradicional y contemporáneo en las más diversas expresiones de arte latinoamericanas. Son abordados los fenómenos materiales y naturales de ese fruto, buscando comprender la diversidad de sus especies, las conexiones con las civilizaciones y los desdoblamientos de su representación simbólica. La poética del fruto es el hilo de unión y elemento de fruición en las relaciones entre la sociedad y las diversas tradiciones culturales. Descubrirá y aproximará las más variadas expresiones artísticas en distintos periodos, revelando parte de la historia y medios de vida de las sociedades latinoamericanas. El estudio envuelve el análisis de tres exhibiciones de arte editadas en Argentina, Brasil y Perú, cuyo mote central es el fruto. Los artistas contemporáneos destacados son Mestre Didi, Walter Smetak, Catin Nardi, Gina Celeghini, Miguel Chikaoka, Marepe, Saint Clair Cemim, Os Gemeos e Victor Delfin. El mate es presentado como patrimonio cultural de los países del Cono Sur y del Perú, por ser un fruto original, tradicional, popular, mestizo y, por lo tanto su cultura es elemento de inclusión e integración de los pueblos latinoamericanos
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Cabrera-Osorio, Luis-Francisco. "Ampliación del Museo de Arte de Lima." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4333.
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Esta investigación tiene como objetivo principal explorar y definir los lineamientos de las intervenciones contemporáneas en edificios históricos, y servir de guía para la elaboración de un programa de ampliación para el Museo de Arte de Lima.Tesis
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Church, Rebecca. "The Influence of Culture and Arts on the Development of Peruvian Children." University of Toledo / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1271384749.
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Cornejo, Happel Claudia A. "Decadent Wealth, Degenerate Morality, Dominance, and Devotion: The Discordant Iconicity of the Rich Mountain of Potosi." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404653562.
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Moretti, Alexia. "La sculpture recuay : signification iconographique et fonction sociale d’un marqueur territorial dans la sierra nord centrale du Pérou (100-700 ap. J.-C.)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL174.
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Dès lors que les explorations voient le jour sur le territoire péruvien au XIXème siècle, les sculptures en pierre recuay suscitent un intérêt certain. Les toutes premières esquisses et descriptions formelles réalisées à cette époque se voient très rapidement enrichies par la véritable première étude iconographique et archéologique des sculptures qui sera menée au début du XXème siècle par Julio Tello, le père de l’archéologie péruvienne. Toutefois, les études ultérieures, largement influencées par les travaux pionniers de Tello, se pencheront majoritairement sur l’aspect stylistique et iconographique des sculptures. La carence en travaux concernant la signification, l’utilisation et la fonction de ces sculptures au sein de la société recuay limite notre compréhension de ce type d’objet pourtant détecté et enregistré sur de nombreux site dans la sierra nord centrale du Pérou. Fondée sur un corpus de 711 sculptures recuay, cette étude interroge précisément cet aspect social des sculptures en considérant deux axes de réflexion complémentaires. Le premier est orienté vers la compréhension des représentations sculptées au travers d’une lecture iconographique révisée, fondé sur le système de pensée préhispanique. Le second axe utilise les données archéologiques mais aussi certaines informations ethno-historiques et ethnographiques pour compléter l’analyse iconographique et clarifier la fonction et l’usage de ces sculptures. Enfin, cette étude interdisciplinaire démontre que les sculptures seraient des objets sacrés faisant partie intégrante de la vie socioreligieuse des RecuayRecuay stone sculptures have received particular attention since the early explorations of Peru in the 19th century. The first sketches and formal descriptions of such sculptures were enhanced by 20th century iconographic and archaeological studies conducted by Julio Tello, considered to be the “father” of Peruvian archaeology. Subsequent work on Recuay sculptures, however, has mostly focused on stylistic and iconographic characterizations largely influenced by Tello’s pioneering work. The lack of studies concerning the significance, use, and function of these sculptures in Recuay society limits our understanding of this type of objet that has been detected and registered in various sites across the Peruvian North Central Highlands. Based on a corpus of 711 recuay sculptures, this study employs two complementary approaches to explore the social significance of Recuay sculptures. The first one interprets sculptural iconography from a revised perspective rooted in prehispanic systems of thought. The second one uses archaeological data but also some ethno-historic and ethnographic information to complement the iconographic analysis and clarify sculptural use and function. Overall, this interdisciplinary study argues that these sculptures were sacred objects that played important roles in Recuay socio-religious life
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Ferrero, Sebastian. "Representación de la naturaleza y el espacio en la pintura andina de los siglos XVII y XVIII." Thèse, 2016. http://hdl.handle.net/1866/18466.
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Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée des documents visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.Pendant la période coloniale, le grand sujet de la nature fut différemment instrumentalisé selon les intérêts particuliers des secteurs distincts de la société coloniale péruvienne. Fondamentale comme outil d'évangélisation, mais surtout comme espace de canalisation de la religiosité et de la spiritualité coloniale, la nature a su se manifester de manière diverse dans la production artistique de la vice-royauté du Pérou. Dans cette thèse, nous nous penchons sur le phénomène de la représentation de la nature dans la peinture andine coloniale, en nous concentrant en particulier sur la région occupée actuellement par le Pérou et la Bolivie, et sur une périodisation qui comprend principalement les XVIIe et XVIIIe siècles. Ce travail cherche à approfondir une problématique qui a été majoritairement oubliée ou sous-estimée par le discours critique de l’histoire de l’art de la période coloniale. Nous aborderons cette problématique à partir de différentes perspectives. Cependant, l'aspect religieux semble l’élément fondamental pour expliquer les principaux enjeux derrière ce geste pictural. La peinture de la nature et de l'espace fut représentative des valeurs et des fondements spirituels de la religiosité coloniale. Les andins ont pensé la nature comme un moyen de visualiser des expériences métaphysiques profondes, de repenser les identités religieuses et d’accorder aux images des pouvoirs magico-religieux qui s’avéraient essentiels pour le bien-être de différentes communautés. Bien que l’étude des rapports religieux soit indispensable pour élucider cette structure symbolique complexe, tant pour la peinture de paysage (comme unité organique), que pour la représentation des éléments individuels, la représentation de la nature a révélé, dans bien d'autres cas, des préoccupations concrètes directement liées aux circonstances, autant politique qu’ historique, de la société coloniale, en s’adaptant aux changements constants d’un espace et d’une société en transformation. Loin d'être uniquement soumis à l'exercice décoratif, ou dans le cas de la peinture religieuse, de remplir la fonction de contexte pictural, les peintres coloniaux ont valorisé cet élément en l'abordant comme un objet individuel, chargé de pouvoir symbolique et capable de transmettre des messages et de produire des discours, toujours en lien avec les préoccupations des différents secteurs de la société coloniale.
In the colonial period, the great subject matter of nature was instrumentalized by different sectors of Peruvian vice regal society. Essentially as an evangelization tool, but also as a space where colonial religiosity was manifested, the representation of nature was interpreted in different ways by artists and consumers of vice regal paintings. In this dissertation, we analyze the representation of nature in colonial Andean painting, focusing especially on the Central Andean region (currently covered by Peru and Bolivia) in the seventeenth and eighteenth centuries. This work seeks to move forward on an issue that has been largely underestimated by critical discourse of art history regarding the Latin American colonial period. We will discuss this problem from different perspectives. However, the religious aspect seems to be above all a fundamental element to explain the key issues behind this pictorial manner. The representation of nature was consistent with spiritual values that forged colonial religiosity. Andean people considered nature as a way to visualize deep metaphysical experiences by rethinking religious identities and granting to the images magical-religious powers essential for the well-being of communities. Beyond the religious aspect, we focus on the analysis of other consequences and interests that are related to the different forms of representation of territories and elements of nature, allowing different social groups to assert their ideological, political and cultural positions. The representation of nature and space in colonial painting was never a simple decorative object, nor, in the case of religious painting, did it fulfil the role of scenographic framework and background to pictorial stories. The colonial painters treated this element with particular concern, conceding it special value and narrative powers, according to different preoccupations in colonial society.
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Pekařová, Jana. "Obchod s kakaem v koloniální Španělské Americe." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-337688.
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My dissertation is focusing on the cocoa trade in colonial Spanish America. Cocoa is undoubtedly one of the New World products which has dominated Europe. The work is divided into four chapters. The first chapter focuses on pre-Columbus period. It describes the origin of cocoa bean, its spread and its significance to the first cultivators. Considerably big part of this chapter is dedicated to the importancy of cocoa bean for the Aztecs culture.The next chapter focuses on the arrival of Spanish colonists, their first experiences with cocoa bean, the beginning of the cocoa trade and its introduction and spread to Europe. The main points of the third chapter are the main areas of cocoa production and trading in the colonial period. Each part of this chapter focuses not only on the trade in Venezuela, Ecuador and New Spain but also on other related topics. The fourth chapter briefly describes Bourbon reforms and shows their influence on different areas of production in 18th and the beginning of 19th century. All findings are summarized at the final part. Keywords: Cocoa, trade, colonial Spanish America, Colonial administration, Spain, Viceroyalty of New Spain,Viceroyalty of Peru
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"The Mobile Image: Prints and Devotional Networks in Seventeenth- and Eighteenth-Century South America." Tulane University, 2018.
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Dean, Carolyn Sue. "Painted images of Cuzco's Corpus Christi social conflict and cultural strategy in viceregal Peru /." 1990. http://catalog.hathitrust.org/api/volumes/oclc/22533745.html.
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Nieves, Ana Cecilia 1971. "Between the river and the Pampa: a contextual approach to the rock art of the Nasca Valley (Grande River System, Department of Ica, Peru)." Thesis, 2007. http://hdl.handle.net/2152/3236.
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This dissertation applies the contextual approach, as outlined by Patrick Carmichael, to the rock art of the Nasca Valley (Grande River System, Department of Ica, Peru). This approach uses different sources of information so as to construct a basic, indigenous framework within which to view and interpret the subject matter of an art object for which there is no written information due to its age. In this dissertation, I used information about the local environment and archaeology, as well as the art historical methods of formal and iconographic analyses. Comparative information was provided through ethnographic analogy to Andean myths and practices. Data for this study was gathered in a rock art survey that was carried out during the spring of 2000. This survey covered the lower part of the Nasca valley, downriver from the site of Cahuachi and southwest from the Nasca Pampa, site of the greatest concentration of geoglyphs in the south coast. Information about the location, orientation, and the relationship to archaeological and natural features, gathered in the survey, are examined in order to provide informed hypotheses about Nasca Valley rock art's function and use. The study reveals that rock art sites may have marked points of transition in the natural and cultural landscape. A concern for water is also suggested by the location and orientation of the rock art, and petroglyphs that display evidence of liquid pouring may also relate to local water sources. Using a study of form and iconography, rock art motifs in the Grande River System are separated into types and groups according to similarities to datable, portable art and to geoglyphs, providing a tentative time frame for their making. In the Nasca Valley, one period of petroglyph making activity is contemporary to Paracas Cavernas and another dates to the Early Intermediate Period (Nasca). On the upper valleys such as Palpa, Aja, and Santa Cruz, petroglyph-making activity seems to be largely associated to Paracas Necropolis and there does not seem to be Nasca rock art at those locations. With this contextual information at hand, I provide a re-evaluation of the Nasca Mythical Killer Whale motif, which is depicted in two Nasca Valley rock art sites. I propose using a new name for this motif: The Aquatic Composite Being. The location and iconography of this motif's petroglyphs provide additional information that contributes to our understanding of the meaning of this motif in Nasca art.text
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Gannaway, Amanda. "Visualizing Divine Authority: An Iconography of Rulership on the Late Middle Horizon and Late Intermediate Period North Coast of Peru." Thesis, 2015. https://doi.org/10.7916/D8F76BKH.
Full textAbstract:
Before the mid-1980s Lambayeque style artifacts were often mislabeled in museums, private collections and catalogues as representative of the Chimú style. This “Chimuization” (Zevallos Quiñones 1971) of Lambayeque style objects was symptomatic of long-standing confusion between the two sets of material culture, which are now better defined thanks to ongoing archaeological projects in the north coast regions of Peru where the objects were produced. The semblance between these artistic traditions, which was responsible for their initial classificatory muddling, is often mentioned anecdotally in works concerning the late Middle Horizon and Late Intermediate Periods of Andean prehistory during which the styles flourished. The exact nature of the relationship between them, however, awaits a thorough, directed study. This dissertation aims to address this lacuna in pre-Columbian art historical scholarship by means of a comparative iconographic analysis focused on a specific type of figural imagery that was ubiquitous in each corpus and associated with institutions of divinely sanctioned rulership. The primary sample of images compiled and reviewed by this project is limited by medium to those found on ceramic vessels. Ultimately, however, iconographic representations and objects of ritual use in various media are positioned as different facets of the same overarching aesthetic concept, offering one possible model for interpreting the visualization of divine rulership in ancient cultures more generally.
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Callen, Tara. "Video Art and Photography in Creation of Autobiographical Narratives With Adolescent Girls Aging Out of an Orphanage (Hogares De Ninas) in Peru." Thesis, 2018. https://doi.org/10.7916/D83F6267.
Full textAbstract:
This dissertation was designed using a qualitative research mode of inquiry that utilized a mixed methodology approach. This dissertation was an ethnographic narrative study tracking eight young women who were “aging out” or forced to leave their orphanage in Peru, where most of them had spent a majority of their lives. The study examined the way in which a collaborative art community could support the participants as they narrated their lives over a 16-month period of time through photojournaling and social media outlets. This study relied upon interviews, on-site observations, personal journaling, and photographing, in addition to an overall thematic analysis of the output of each of the eight participants and two nuns. From these data, six key themes emerged concerning the outcomes of each young girl’s continuing life at the Hogar and their endeavors outside of the orphanage. The focal points of this study were community building via art making and building of personal aesthetic, community engagement, reflection on self-identity, cross-cultural art education, and shared experience via photo-art narratives and social media. This research also examined the role of collaborative art experiences in helping these young women structure new identities and form collaborations with their peers designed to sustain them into their future lives. This dissertation studied not only the formation of singular identities but how these functioned within a collaborative identity that supported the young participants as they moved out of their orphanage and forward into the outside world.
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González, Olga. Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/80404.
Full textAbstract:
El presente artículo discute el destino que tienen algunas memorias peligrosas asociadas al “conflicto armado interno” en el Perú. Mi estudio se centra en las experiencias con la violencia política en la comunidad campesina de Sarhua y sus representaciones en la serie de tablas pintadas Piraq Causa (Quién es causante?). Un análisis detallado de este testimonio visual revela cuáles son las memorias peligrosas a las que se les ha negado representación. Sostengo que estos silencios y ausencias dan expresión a “huecos traumáticos” vinculados a la violencia fratricida y al apoyo inicial de la comunidad a Sendero Luminoso. Asimismo mantengo que la serie Piraq Causa refleja el secretismo magnificado que existía en la comunidad de Sarhua con respecto a aquellos eventos que acordaron de manera deliberada “recordar para olvidar”. Desde esa perspectiva, propongo que los vacíos percibidos en la narrativa pictórica provocan el desenmascaramiento de lo “secretamente familiar” en Sarhua. En esa medida, Piraq Causa desenmascara tanto como afirma el secretismo sobre las memorias traumáticas de la violencia política.This article discusses the fate of dangerous memories of war associated with the “internal armed conflict” in Peru. It focuses on the Andean community of Sarhua in Ayacucho and their experiences with political violence as depicted in a collection of paintings, Piraq Causa (Who Is Still to Blame?). A close examination of this visual testimonio reveals that some dangerous memories have been denied representation. I suggest that these become silences and absences that give expression to a “traumatic gap”, which includes memories of fratricidal violence and the community’s initial endorsement of the Maoist Shining Path. I argue that Piraq Causa reflects the magnified secrecy around events that the community agreed to deliberately “remember to forget”. In so doing, I also propose that the perceived gaps in the pictorial narrative provoke the unmasking of what is “secretly familiar” in Sarhua. To that extent, Piraq Causa exposes as much as it affirms the secrecy around traumatic memories of war.