Sebastián Ferrero

Landscape painting in Peru typically does not receive much attention from critical discourse, even though the adoption of the Flemish landscape by Andean viceregal painters became a distinctive feature of Peruvian painting of the second half of the 17th century. Considered a consequence of a change in the artistic taste of viceregal society, the landscape was perceived as a secondary element of the composition. In this article, we will analyze the inclusion of the Flemish landscape in Andean religious painting from another critical perspective that takes into account different spiritual processes that colonial religiosity goes through. We analyze how the influence of the Franciscan and Jesuit mysticism created a fertile ground where landscape painting could develop in Peru. The Andean viceregal painters found in the landscape an effective way to visualize suprasensible spiritual experiences and an important device for the development in Peru of a painting with visionary characteristics.

Landscape painting in Peru typically does not receive much attention from critical dis-course, even though the adoption of the Flemish landscape by Andean viceregal painters became a distinctive feature of Peruvian painting of the second half of the 17th century. Considered a consequence of a change in the artistic taste of viceregal society, the landscape was perceived as a secondary element of the composition. In this article, we will analyze the inclusion of the Flemish landscape in Andean religious painting from another critical perspective that takes into account different spiritual processes that colonial religiosity goes through. We analyze how the influence of the Franciscan and Jesuit mysticism created a fertile ground where landscape painting could develop in Peru. The Andean viceregal painters found in the landscape an effective way to visualize suprasensible spiritual experiences and an important device for the development in Peru of a painting with visionary characteris...

Dans le Coricancha, complexe sacré des Incas dédié au Soleil, et dans les palais royaux se trouvait un jardin composé de plantes et d’animaux fabriqués entièrement en or et en argent. La mémoire de ces oeuvres a uniquement survécu grâce à la littérature coloniale, qui s’est occupée de les décrire jusqu’aux marges du fantastique dans les Comentarios Reales de l’Inca Garcilaso de la Vega. C’est dans la construction textuelle que fait celui-ci des jardins incas que le lecteur est confronté à un véritable jeu intermédial où, de manière télescopique, s’imbriquent les différents niveaux de représentation du jardin. Dans cet article, nous décortiquerons les multiples dimensions par lesquelles Garcilaso de la Vega parvient à créer une image complexe et universaliste du jardin inca, à la fois jardin artistique, cosmique et impérial.