Pintura colonial andina: Estructura simbólica y sincretismo
Cargando...
Archivos
Fecha
2015
Autores
Profesor/a Guía
Facultad/escuela
Idioma
es
Título de la revista
ISSN de la revista
Título del volumen
Editor
Universidad de Concepción
Nombre de Curso
Licencia CC
Licencia CC
Resumen
La pintura andina, como forma característica del arte colonial en los Andes centrales, constituyó un caso de arte primariamente simbólico. En los contornos de la forma de símbolos hierofánticos operaba un medio en el cual la exploración de la estructura fundamental del sentido por medio de la operación de ornamentación se ponía al servicio de la observación de la dimensión trascendente de la realidad. A modo de una estructura de comunicación intercultural, esta forma de organización de la comunicación por medio de imágenes hizo posible que se dieran sincretismos iconográficos y estilísticos, los cuales han sido el principal objeto de interés de la historia social de la pintura andina.
Andean painting, as a characteristic form of colonial art in the central Andes, constituted an art that was primarily symbolic. Surrounding hierophantic symbols, a medium for the reproduction of the operation of ornamentation was made available in which the exploration of the fundamental structure of the medium of meaning was put at the service of the observation of the transcendental dimension of reality. As a structure of intercultural communication, this mode of organization of communication through images made possible the occurrence of processes of iconographic and stylistic syncretism, which have been the main object of interest in the social history of colonial Andean painting.
Andean painting, as a characteristic form of colonial art in the central Andes, constituted an art that was primarily symbolic. Surrounding hierophantic symbols, a medium for the reproduction of the operation of ornamentation was made available in which the exploration of the fundamental structure of the medium of meaning was put at the service of the observation of the transcendental dimension of reality. As a structure of intercultural communication, this mode of organization of communication through images made possible the occurrence of processes of iconographic and stylistic syncretism, which have been the main object of interest in the social history of colonial Andean painting.
Notas
Indexación: Web of Science; Scielo.
Palabras clave
Arte y sociedad, Arte andino, Arte colonial, Sistemas sociales, Teoría de sistemas sociales
Citación
Atenea (Concepc.) no.512 Concepción Dec. 2015