Composing the World in Spanish Colonial Painting: The Descent of Christ into Limbo and the Pilgrimage to Paradise

dc.contributor.advisorKoontz, Rex
dc.contributor.committeeMemberNevitt, H. Rodney, Jr.
dc.contributor.committeeMemberProsperetti, Leopoldine
dc.creatorGirard, Ana P.
dc.creator.orcid0000-0003-2494-4885
dc.date.accessioned2021-05-26T15:55:15Z
dc.date.available2021-05-26T15:55:15Z
dc.date.createdMay 2021
dc.date.issued2021-05
dc.date.submittedMay 2021
dc.date.updated2021-05-26T15:55:17Z
dc.description.abstractComposing the World in Spanish Colonial Painting explores the cross-fertilization between western images of the world and indigenous traditions of envisioning the earth through one enigmatic seventeenth century painting from the Cuzco School: The Descent of Christ into Limbo. This thesis is dedicated to understanding the re-arrangement of the figured world in Spanish Colonial painting through the fusion of indigenous (Andean) and European worldviews. I am especially interested in how indigenous artists of the Spanish colonies participated in what has been known as the “Global Baroque,” and how looking at them as native artists creating a figured world in a specific place may help us more fully understand works such as the one before us. I believe that The Descent of Christ into Limbo, calls for the study of symbolic and religious meanings embedded in it, by both Andean and European cosmologies. This painting is part of a collection of paintings largely from production centers of the Andes, such as Cuzco and Quito. But it does not quite fit the kind of paintings associated with these flourishing schools. Therefore, I have dedicated great part of my thesis to study the reasons of why this enigmatic work is so unique and different from other Spanish Colonial paintings from the same period. This in part, because church officials conveniently selected and approved images as “art” that were consistent with European taste. Yet, there is a fine line between indigenous religious concepts and the Christian ones embedded in this painting. It is my hope that this study can contribute to the understanding of how visual images and theological concepts like Limbo, served as aids to replace and/or erase ancient religious cults and behaviors, with the purpose of composing a new world in the Andes. Yet, this was a partial accomplishment since indigenous art and culture played a huge role in building what we know as Viceregal or Spanish Colonial Art.
dc.description.departmentArt, School of
dc.format.digitalOriginborn digital
dc.format.mimetypeapplication/pdf
dc.identifier.urihttps://hdl.handle.net/10657/7750
dc.language.isoeng
dc.rightsThe author of this work is the copyright owner. UH Libraries and the Texas Digital Library have their permission to store and provide access to this work. Further transmission, reproduction, or presentation of this work is prohibited except with permission of the author(s).
dc.subjectComposing
dc.subjectAndean
dc.subjectCosmopoietic
dc.subjectLimbo
dc.subjectPilgrimage
dc.subjectParadise
dc.subjectQuadripartite
dc.subjectmulti-zone
dc.subjecttripartite
dc.subjectlandscape
dc.subjectprints
dc.subjectSpanish
dc.subjectColonial
dc.subjectCuzco
dc.subjectPainting
dc.subjectJesuit
dc.subjectmissions.
dc.titleComposing the World in Spanish Colonial Painting: The Descent of Christ into Limbo and the Pilgrimage to Paradise
dc.type.dcmiText
dc.type.genreThesis
thesis.degree.collegeKathrine G. McGovern College of the Arts
thesis.degree.departmentArt, School of
thesis.degree.disciplineArt History
thesis.degree.grantorUniversity of Houston
thesis.degree.levelMasters
thesis.degree.nameMaster of Arts
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