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  • Author or Editor: Orlando Hernández Ying x
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This article explores the dynamics of adoption and re-adaptation of European visual culture evident in the production of the series of canonical and apocryphal archangel paintings produced in the Andes during the colonial period. Referencing the theoretical framework proposed by Raquel Chang-Rodríguez (1999) that suggests that behind an item of apparent assimilation there are elements of cultural resistance, this research aims to elucidate the elements of indigenous religiosity that survived within an apparently European visual context using the paintings as documents. The archangel paintings, originally informed by Italian artists, suffered a process of assimilation and transformation by Andean artists who turned them from a symbol of the conquerors and their military might into a symbol of Andean identity, nonconformity, and validation under the Spanish imperial rule.

In: Visual Culture and Indigenous Agency in the Early Americas