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Cult, Countenance, and Community: Donor Portraits from the Colonial Andes

Cult, Countenance, and Community: Donor Portraits from the Colonial Andes <jats:sec><jats:title>Abstract</jats:title><jats:p>The article outlines the nature of the donor portrait, including its origins in Europe and its manifestations in Spanish colonial Peru. Then it considers three paintings featuring donor portraits and the miraculous statue known as Christ of the Earthquakes (<jats:italic>El Señor de los Temblores</jats:italic>). An introduction to the original statue, housed in the Cathedral of Cusco, and its cult is provided. Then the portraits are analyzed for the ways in which they express both similarity and difference. On one hand, the works served to unite the donors as pious Christians within the wider devotional community of Cusco; on the other hand, the works’ details served to distinguish and differentiate the donors based on their particular social and ethnic identities.</jats:p> </jats:sec> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Religion and the Arts Brill

Cult, Countenance, and Community: Donor Portraits from the Colonial Andes

Religion and the Arts , Volume 15 (4): 429 – Jan 1, 2011

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Publisher
Brill
Copyright
© 2011 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1079-9265
eISSN
1568-5292
DOI
10.1163/156852911X580784
Publisher site
See Article on Publisher Site

Abstract

<jats:sec><jats:title>Abstract</jats:title><jats:p>The article outlines the nature of the donor portrait, including its origins in Europe and its manifestations in Spanish colonial Peru. Then it considers three paintings featuring donor portraits and the miraculous statue known as Christ of the Earthquakes (<jats:italic>El Señor de los Temblores</jats:italic>). An introduction to the original statue, housed in the Cathedral of Cusco, and its cult is provided. Then the portraits are analyzed for the ways in which they express both similarity and difference. On one hand, the works served to unite the donors as pious Christians within the wider devotional community of Cusco; on the other hand, the works’ details served to distinguish and differentiate the donors based on their particular social and ethnic identities.</jats:p> </jats:sec>

Journal

Religion and the ArtsBrill

Published: Jan 1, 2011

Keywords: Francisco de Zurbarán; Christian art; Christ of the Earthquakes; Cusco/Cuzco; Andes region; colonial sculpture; Inca/Inka; Catholic Church; Peru; painting; cultural identity; Cuzco School of Painting; portraiture; Fernando Gallegos

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