Art, Nature, and Religion in the Central Andes Themes and Variations From Prehistory to Present

369 Pages·16.704 MB·English

by  Strong, Mary

Art, Nature, and Religion in the Central Andes
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Joe R. and Teresa Lozano Long Series
in Latin American and Latino Art and Culture
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Art, nature, and Religion
in the Central Andes
Themes and Variations from Prehistory to Present
Mary Strong
UniveRSiTy of TexAS AUSTin
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Copyright c 2012 by the University of Texas Press
All rights reserved
Printed in the United States of America
first edition, 2012
Requests for permission to reproduce material from this work should be sent to:
Permissions
University of Texas Press
P.o. Box 7819
Austin, Tx 78713-7819
www.utexas.edu/utpress/about/bpermission.html
∞ The paper used in this book meets the minimum requirements of
ansi/niso z39.48–1992 (r1997) (Permanence of Paper).
library of congress cataloging-in-publication data
Strong, Mary, 1947–
Art, nature, and religion in the central Andes : themes and variations from
prehistory to present / Mary Strong. — 1st ed.
p. cm. — (Joe R. and Teresa Lozano Long series in Latin American and Latin art
and culture)
includes bibliographical references and index.
isbn 978-0-292-73571-2 (cloth : alk. paper) — isbn 978-0-292-73572-9 (e-book)
1. indian art—Andes Region 2. indians of South America—Andes Region—
Religion. 3. indians of South America—Andes Region—History. 4. indians of
South America—Andes Region—Social life and customs. i. Title.
f2230.1.a7.s79 2012
980'.01—dc23
2011042861
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To Adela, Katiusha, César, Madeline, and Harry
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Contents
Acknowledgments ix
introduction 1
part i. themes 15
chapter 1. Pre-Columbian Andeans 17
chapter 2. Andean Thinking 59
part ii. variations 95
chapter 3. The Spanish Colonial Period 97
chapter 4. Globalization Today 130
part iii. andean arts today 163
chapter 5. The Scissors Dance (La Danza de las Tijeras) 165
chapter 6. Home Altars (Retablos) 195
chapter 7. Carved Gourds (Mates) 219
chapter 8. Ceramics (Cerámica) 242
chapter 9. Painted Boards (Tablas de Sarhua) 263
chapter 10. Weavings (Textiles) 279
chapter 11. Tinware (Hojalatería) and Huamanga
Stone Carving (Piedra de Huamanga) 305
Conclusion 323
Bibliography 330
index 343
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Acknowledgments
The author wishes to thank the following artists, scholars, supporters of
the arts, and people in other fields for their immeasurable contributions
to this book.
Adela Katiusha Barrio Tarnawiecki de Batticani, Adela Tarnawiecki
(Saco) de Barrio, César Barrio Mendoza, Marta Betty Herrera Altamirano,
Lucy núñez Rebaza, Antonio vásquez, Patricia Moyano, Máximo
Damián, Jaime Guardia, Luis oscco, Carlos flores, Basilio Pichihua, ysabel
Asto, elsa Damián, Joachín López Antay, Alberto Ayala, edwin Pizarro,
ignacio López Antay, eulalia Bustamante, Magdalena Aymi, Roberto
Contreras Montero, Delia García ynga, Donato enríquez, Rolando
enríquez, vidal Gutierrez Cordero and son Juan, Arístedes Quispe López,
felicitas Quispe López and daughter, Primitivo evanan Poma, Santiago
Huarcayo and wife Mari, Grimaldo escalante, victor Paredes, Adolfo
Quispe, Roberto Huarcayo, Teodoro, Samuel, Maxidomio Palomino
Torres and wife, Teófilo Araujo, Antonio Prada Cuadros, Teófilo Araujo
Choque, Juan Araujo Choque, Rebeca Gómez, Julio Galvez, edgar
Gálvez, Raúl García Zárate, Manuelcha Prado, najwa Adra, Steven
Syrop, Kathleen Price, edward ochsenschlager, Stuart Schaar, Paul
Doughty, Peter Biella, Rafael Domingo, and Madeline and Harry Strong,
Ann, Joan, ned, and Don Strong and their families.
The writer would not have been able to take on the task of produc-
ing this book were it not for Theresa J. May, editor–in-chief of the
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