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Abstracts
From Ice to Icon: El Señor de Qoyllur Rit'i as symbol of native Andean Catholic worship
Adrian Locke
Os limites entre História e Ficção na História
do cerco de Lisboa,
de José Saramago
Robson Lacerda Dutra
As fronteiras do cosmos Barroco: geocentrismo e cultura no século XVIII português.
Nelson Pôrto Ribeiro
Design in Latin America:
"Imaginatively inventing what remains
to be done"
Jose Bernardi
Esteban Lisa: Una reflexión
Mario H. Gradowczyk
Guest Contributor: Gordon Brotherston
The yearly seasons and skies in the Borgia and related codices
From Ice to Icon: El Señor de Qoyllur Rit'i as symbol of native Andean Catholic worship
Adrian Locke
Adrian Locke is a third year PhD student working on the significance of religious images in colonial Peru. He is a member of the teaching staff on the Latin American Studies undergraduate programme at the University of Essex.
This paper is an edited version of that originally presented at the inauguration of ARARA, in the Department of Art History and Theory at the University of Essex, January 28, 1999.
The process of evangelisation formed an essential component of the conquest process of the Americas. The Catholic Church and its representatives adapted to the challenge facing them, through the 'invention' of the open-air chapels of Mexico, to the campaigns waged by the extirpators of idolatry in Peru. Native Americans also adjusted to this change in circumstances using the facade of Catholicism to provide a veneer of legitimacy to their continuance of pre-Christian forms of worship. Famous examples include the Virgin of Guadalupe in Mexico, the Virgin of Copacabana in Bolivia, and the practice of Santería in Cuba and Candomblé in Brazil. In the Andes of Peru the miraculous image of El Señor de Qoyllur Rit'i provides an excellent example of the manner in which native Andean religious belief and Catholicism have met to forge a pilgrimage shrine of enormous popularity. This paper aims to demonstrate the way in which the power behind the 'Lord of the Snow Star' lies in the Andean landscape. In an integral aspect of the pilgrimage, which helps shape the identity of the regional communities, groups climb one of a number of glaciers which overlook the sanctuary in order to plant a cross to the accompaniment of music. These crosses are then gathered and placed in the shrine, along with a large number of assembled láminas [reproductions of the original image of Qoyllur Rit'i] which have been brought by participating communities. In this annual event the power believed inherent in the landscape is passed through the crosses to the image of El Señor de Qoyllur Rit'i, and then down into the awaiting images. Thus filled with the force of the glacier to face the year, these images return to their respective communities where they are housed in churches and chapels. It is this process of enpowerment which this paper examines.
Os limites entre História e Ficção na História
do cerco de Lisboa,
de José Saramago
Robson Lacerda Dutra
Professor de Literatura Portuguesa, Universidade Estado do Rio de Janeiro. Aluno do curso de mestrado em Literatura Portuguesa, Universidade Federal do Rio de Janeiro
Literature has been treated in several ways. A dialogue between fiction and history has existed for a long time; historical events have been used as fuel for many writers, especially Portuguese ones who have been insisting on this topic. José Saramago, in his early works, such as Memorial do Convento and Levantado do chão, used history as the background for his novels. In História do Cerco de Lisboa, specifically, the historical fact itself was altered by the main character. Consequently, the story had to be written again to match history and the official version of the facts. This text is about the line that divides history and fiction, some views on Latin America and how they can be linked and interpreted. Key words: History, fiction.
As fronteiras do cosmos Barroco: geocentrismo e cultura no século XVIII português.
Nelson Pôrto Ribeiro
There is a great tendency to identify the heliocentric conception of
world as being an intellectual product of the Renaissance. It should be
observed, nevertheless, that there is a considerable difference between
the History of Ideas and the History of Mentalities. What could be considered
as being almost correct for the former, cannot be accepted for the latter.
It cannot be expected that the society of the time as an ensemble would
have knowledge about or would accept what was being discussed by scholars
in the beginning of Modern Age, especially if one considers the restrictions
imposed by the strong religious censorship of the period.
The Baroque culture was profoundly marked by geocentric conceptions. Therefore,
if we establish that Portuguese Baroque was late, we also need to accept
that the geocentric conceptions survived longer in that society. In fact,
by the beginning of the 19th century Oratorian School students were still
being taught a mixed world conception, such as the one supported by Ticho
Brahé.
Design in Latin America:
"Imaginatively inventing what remains
to be done"
Jose Bernardi
Assistant Professor of Design at the College of Architecture and Environmental Design, at Arizona State University.
In Latin America, all pre-existing cultural structures, languages and
artistic expressions were dismantled by European powers. This cultural
phenomena generated a series of processes of implantation and adaptation,
and the "search for a certain voice" in Latin American design.
As the Colombian critic Silvia Arango wrote, Latin American design consciousness
lies "...in imaginatively inventing what remains to be done."
Esteban Lisa: Una reflexión
Mario H. Gradowczyk
Mario H. Gradowczyk is an independent art historian and curator who has written numerous works on Rio de la Plata Modernism including studies of the artists Torres-Garcia, and Alejandro Xul Solar.
The eruption of Esteban Lisa’s work onto the international arena
could become an important event in the history of abstraction, since he
is not only a pioneer of this art form in terms of Latin American Art,
but also in the context of Spanish abstraction. His work was never shown
during his life-time. This piece tries to explain the extraordinary international
reception of his work by collectors, art critics and the general public.
The resumé included below gives additional information in English
about the artist:
A self-taught artist, Esteban Lisa was born near Toledo (Spain) in 1895
and then emigrated to Argentina at the beginning of this century. He studied
art at the Beato Angélico Art School, and worked as a messenger,
and later as a librarian, for the Buenos Aires Post Offce. Lisa also taught
art in an Adult Education college.
Lisa began to work in the realm of abstraction from c.1935 to 1978. He
was not interested in following an artist’s career, so his work
was never shown to the public. Lisa perceived that he might play a better
role in society by teaching not only pictorial techniques, but contributing
to the spiritual development of his students. In 1955 Lisa retired, and
established his own institution. His ?rst publication, Kant, Einstein
y Picasso, printed in 1956, indicated his preferences. Lisa died in Buenos
Aires on 1983.
Lisa’s work began to be studied and catalogued in 1996, a decade
after an exhibition held in the Museum Sivori of Buenos Aires in 1987
passed unnoticed. One-man exhibitions were held in Buenos Aires (Galería
Palatina, 1997) and Madrid (Guillermo de Osma, 1998). Museum shows were
held on Rosario (1997), Montevideo (1998) and Cordoba (1999). Forthcoming
exhibitions include a large retrospective in the Buenos Aires Museo Nacional
de Bellas Artes (July 1999) and in Santa Fe (November 1999). He was also
shown in ARCO (Madrid, 1987, 1988, 1999) and FIAC (Paris, 1997, 1998)
Art Fairs.
Guest Contributor: Gordon Brotherston
The yearly seasons and skies in the Borgia and related codices
Gordon Brotherston is a professor at Stanford University. He also taught at Indiana University, Bloomington and at the University of Essex, where he helped establish the Latin American programme in 1965. He is the author of numerous books and papers on native texts from Mesoamerica including Book of the Fourth World (1992) and Painted Books from Mexico (1995).
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