<i>Object and Apparition: Envisioning the Christian Divine in the Colonial Andes</i>, by Maya Stanfield-Mazzi

Object and Apparition: Envisioning the Christian Divine in the Colonial Andes, by Maya Stanfield-Mazzi. Tucson, The University of Arizona Press, 2013. xv, 241 pp. $50.00 US (cloth). Maya Stanfield-Mazzi examines how new religion was forged through images in the early modem Andes (p. 1). The author divides her book into two parts. Part I focusses on three-dimensional statues in churches, which helped Andeans envision the Christian divine, and Part II on two-dimensional paintings, mostly in private homes for personal devotion. Stanfield-Mazzi uses simple yet elegant prose in the book's seven chapters, introduction, and epilogue. Analyses of fifty black and white illustrations and nine coloured plates add the attractiveness of this well-conceived work. Ample information on pre-Hispanic religious beliefs and customs allows the reader understand the incorporation, acceptance, and modification of Christian symbols, representations, and doctrine. The author contends that if indigenous Andeans were still discouraged from acceding the priesthood [in the late seventeenth-century], as artists they were able participate in the visualization of Christianity (p. 146). The author weaves political, religious, and cultural history into the Andean religious fabric and presents fair and balanced depictions of priests who protected their flock and those who exploited them. Missionaries adopted several strategies inculcate Catholicism. The language barrier hindered the teaching of complex religious principles and no official translation of the catechism appeared in Quechua or Aymara until 1582-83. Political struggles between Dominicans and diocesan priests and between Dominicans and Franciscans further complicated evangelization efforts, though nearly all parties agreed on the importance of destroying pre-Hispanic religious objects, tricks of the devil (p. 10). Missionaries knew that active visualization of the new faith was crucial its success and they adopted several strategies to inspire devotion (p. 12). Successful efforts instruct neophytes began around 1550 when large bultos from Spain arrived in Andean cities populate new Christian churches with naturalistic, polychrome images of Christian deities (p. 59). Visual representations of Catholicism by the hands of Andean artists sparked the creation of a new and independent artistic tradition. Pre-Hispanic Andean traditions contributed the ultimate preeminence of Mary and Christ in artwork and daily devotion. God the Father, the Holy Spirit, and the saints received much less attention by Andean faithful and artists. Christ Crucified, prominently displayed in Cusco's Cathedral, became known as Lord of the Earthquakes after being credited with stopping the tremors on the heels of the devastating earthquake of 1650. A Virgin of the Rosary and a Virgin of the Purification became foci of devotion in Pomata and Copacabana. The Virgin's statue in Pomata was imported from Spain. The Virgin Mary in Copacabana was created by the famed Andean artist Francisco Tito Yupanqui. Both statues were accredited with performing miracles. While Amerindian artists clearly influenced this new artistic tradition, it was not because Spaniards had respect for Amerindians. …

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