EL ARTE CUSQUEÑO DURANTE EL PROCESO DE INDEPENDENCIA Y FUNDACIÓN DE LA REPÚBLICA.

Political and Cultural Dynamics in Cusco Painting

The Role of Cusco Painting in Colonial Institutions

• The political charge of Cusco painting reinforced colonial institutions through allegories depicting the triumphant relationship between the church and Spanish monarchy.

• The need for evangelization led to the adaptation of artistic expressions within specific Andean social dynamics, especially during significant rebellions and revolutionary processes.

• Many symbolic proposals emerged but were largely destroyed due to military failures, as part of campaigns aimed at erasing local memories of emancipatory movements.

Impact of Rebellions on Artistic Expression

• Cultural manifestations from Cusco that arose during preceding rebellions before Ayacucho's triumph in 1824 were marked by destruction due to failed political projects.

• Remaining art from this period reflects monarchical triumph, emphasizing Spanish imperial supremacy supported by the church, aiming to reaffirm subjects' commitment to colonial institutions.

Changes in Artistic Techniques and Themes

• Late colonial South Andean art simplified forms, reducing chiaroscuro use and chromatic diversity, leading to flatter, archaic shapes.

• Traditional landscapes and monumental architectural backgrounds were abandoned; religious scenes began using neutral backgrounds with bluish tones evoking fictional celestial spaces.

Evolution of Portraiture in Cusco Art

• The tradition of portraiture developed significantly since the 17th century but shifted away from naturalism towards a providentialist spirit, diminishing individual character portrayal.

• In contrast to other artistic centers where individual portraits gained prominence, Cusco's portraits remained tied to religious themes and institutional images.

The Great Rebellion and Its Aftermath

• The rebellion starting in November 1780 marked a culmination of various uprisings throughout the 18th century, disrupting colonial order and transforming regional socio-economic structures.

• Leaders understood painting's role as propaganda; José Gabriel Tupac Amaru commissioned an equestrian portrait to present himself as a legitimate authority among indigenous populations joining the rebellion.

Symbolic Destruction Post-Rebellion

• Following his trial, Tupac Amaru’s image was crafted reflecting descriptions from historical accounts; he was depicted in Spanish attire adorned with royal insignia.

• Authorities ordered immediate destruction of Inca symbols used by descendants during public celebrations as part of efforts to suppress indigenous identity post-rebellion.

Broader Implications for Indigenous Nobility

• Proscriptions against visual representations extended beyond rebels’ personal belongings into broader indigenous nobility spheres; even opponents faced symbolic persecution.

Miraculous Events and Historical Figures in Tinta

The Miracle of Joseph and the Virgin Mary

• In 1980, a significant painting was discovered in the old chapel of Nuestra Señora de los Dolores in Tinta, depicting a miracle linked to the defeat of Tupac Amaru's forces and his subsequent captivity.

• The central scene illustrates the Virgin Mary leading an Andean man named Joseph back to life amidst a crowd witnessing the punishment of Tupac Amaru's allies.

• This miraculous event allowed Joseph to escape execution and survive until 1792, highlighting themes of divine intervention during times of oppression.

• Below this scene, men await confession from their priest; one figure is believed to represent Tupac Amaru, reflecting local interest in his identity and legacy through art.

Mateo Pumacahua: A Complex Historical Figure

• Mateo Pumacahua emerged as an antagonist against Tupac Amaru’s rebellion, claiming descent from Huayna Cápac while being more closely associated with the Haya ethnic group historically located in Chinchero.

• He inherited chieftainship from his father Francisco Pumacahua Inca Cusihuamán and gained economic power by accumulating properties across regions like Burguillos and Cusco.

• Pumacahua leveraged military achievements during uprisings to gain privileges that were otherwise limited due to his ethnic background.

Iconography Reflecting Power Dynamics

• Two notable paintings commissioned by Pumacahua for churches depict battles against Tupac Amaru’s forces, symbolizing his victory through allegorical representations (the puma vs. dragon).

• A complex iconographic work located in Urquía reflects religious and political interests beyond personal claims, emphasizing colonial administrative structures under Carlos IV.

Religious Symbolism in Conflict

• The artwork emphasizes providentialism regarding the 1781 conflict against Tupac Amaru's troops, featuring miraculous elements such as the Virgin of Angels aiding Pumacahua.

• Central figures include San Miguel assisting in battle alongside portraits of key religious leaders reinforcing alliances between indigenous chiefs and Spanish monarchy.

Shifts in Allegiance Post-Rebellion

• Despite initial military successes benefiting from royal privileges, Pumacahua later fought for Spanish forces during campaigns aimed at suppressing uprisings in Upper Peru after 1811.

• Following victories for royalists at Guaqui, commemorative works emerged portraying military camps where he was recognized among other leaders involved.

Ideological Struggles Through Imagery

• The Angulo brothers' rebellion showcased a more developed use of imagery as ideological tools against colonial rule underpinned by patronage from figures like Virgen de las Mercedes.

The Symbolism of Power in Peruvian Art

The Emblematic Representation of Authority

• The symbol of the two suns, combined with lettering, conveys the idea that the Peruvian empire's expansion should align with where the sun rises and sets.

• José Ángulo's portrait reflects Baroque emblematic tradition, constructing a new political authority and image of power through its composition.

• Pascual Olivares, a prominent Cusqueño artist active until 1837, was expected to execute this work; his style blended European academic influence with local Cusqueño traditions.

Historical Context and Political Implications

• Following the defeat of the Angulo brothers' rebellion, social movements in southern Peru experienced a temporary retreat due to new administrative changes in Cusco until 1824.

• Bolívar's visit to Cusco post-Ayacucho victory symbolized recognition of an independent nation and political freedom for the Andean territory.

Artistic Fusion and Allegorical Themes

• Santiago Juárez’s work merges Greco-Roman elements with Incan symbols, depicting the Andean condor's victory over the Spanish lion as a symbolic restoration of Inca power.

• New patriotic allegorical compositions emerged alongside changing commercial routes post-independence while maintaining ties to religious themes in Cusqueño painting.

Celebrating Independence Through Art