1-2 of 2 Results  for:

  • Keywords: colonial painting x
Clear all


Indigenous Portraits and Casta Paintings in the Spanish Americas  

Dana Leibsohn and Meha Priyadarshini

For historians of the Spanish Americas indigenous portraits and casta paintings offer two distinctive lenses for understanding the relationships between indigeneity and colonialism. Both genres of painting anchor indigenous bodies and subjectivities in the racialized practices that were constitutive of, and crucial to, colonialism in the Americas. Indigenous portraits record individual biographies and family histories, offering scholars of the present insights into the lives of people whose desires rarely surface in prose sources. Indigenous portraits also document the economic and material investments people were willing to make in preserving images of lives well lived. In the colonial past, as in the present, indigenous portraits therefore speak to the ways social ambitions fueled identity formation. Cuadros de castas, or casta paintings, are a genre of painting invented and painted in the Spanish Americas in the late 17th and 18th centuries. Casta paintings, like indigenous portraits, describe status and economic wealth; their main aim, however, was to portray the ethnic mixing and concomitant racialized thinking in colonial society. According to the iconography and composition of casta paintings, the mixing of people from Europe, Africa, and the Americas could be ordered and organized such that everyone seemed to have a place and appropriate ethnic designation. Today, casta paintings are understood as persuasive works of art that presented an idealized, hierarchical view of urban life. The painters and patrons of indigenous portraits and casta paintings participated in networks formed by habits of material exchange, patterns of urban mobility, and practices linked to Catholic religious beliefs. Some of these networks stretched across the Americas; others were bound to trade and travel across the Atlantic and Pacific oceans. The histories referenced in indigenous portraits and casta paintings should be understood, then, as tethered to local concerns, global economies, and cosmopolitan ambitions.


Have Mercy on Us: Inca Heritage, Christianity, and Salvation in Colonial Cuzco  

Sebastian Ferrero

The coming of the gospel to America with the Spaniard conquistadors meant the launch of the most important salvation of souls campaign ever seen. The knowledge of the written Law and the administration of the sacraments, such as the sacrament of baptism, allowed the “Indians” to be redeemed from original sin and access, at least, Purgatory. While the colonial church promised salvation to the Andeans, it faced the problem of “deciding” the eschatological destiny awaiting the ancestors of the “Indians” (new Christians), especially the Inca rulers. After an inevitable condemnation of the Incas by the early colonial catechisms, new discursive channels appeared suggesting a possible redemption of the Incas, with arguments that evoked the principle of natural law and the acquisition of natural enlightenment. The redemption and salvation of the monarchs of Tawantinsuyu would reach various discursive spaces. It is found subtly in the field of visual representations, especially in a group of canvases produced during the period commonly called the Inca Renaissance, and in performative acts where the evocation of the Inca past acquires an important eschatological dimension.