Browsing by Autor "Teresa Gisbert"

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    Diego Ortiz, Yanacachi y la entrada a Vilcabamba
    (1992) Teresa Gisbert
    1. Antecedentes históricos El año de 1572, el Virrey Francisco de Toledo ordena, sin posibilidad de apelación, la muerte de Tupac Amaru Inca. Era el último representante de la dinastía de Vilcabamba, la cual se inicia con Manco II, hijo de Huaina Capac. Había asumido la borla imperial cuando aún las tropas cuzqueñas luchaban con los partidarios de Atahuallpa. Pizarro hizo reconocer a Manco como legítimo heredero el 16 de noviembre de 1534 a cambio de la ayuda que éste le ofreció. Mientras Alm...
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    EL CERRO DE POTOSÍ Y EL DIOS PACHACÁMAC
    (University of Tarapacá, 2010) Teresa Gisbert
    En este trabajo se plantea que el Cerro de Potos se ocult a los espaoles por ser el santuario ms importante de la regin, el cual estaba dedicado al dios Pachacmac. Los testimonios que indican que el cerro de Potos era "Apu" (Cerro o Seor) adorado son abundantes, pero es el cronista Arzans de Orsa y Vela (ao 1736) quien dice que este "Apu" perteneca a Pachacmac, dios del mundo subterrneo. Una tradicin recogida cerca del salar de Uyuni dice lo mismo; finalmente un sacrificio realizado en el siglo XVI a orillas del lago Titicaca en honor a Pachacmac, muestra la presencia de este dios en el Collasuyo. Cuando los incas llegaron a Potos introdujeron el culto al Sol y cuando llegaron los espaoles identificaron el cerro con la Virgen Mara la cual, a su vez, se identific con la Pachamama o Madre Tierra.
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    La pintura mural andina
    (Routledge, 1992) Teresa Gisbert
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    The Painter, Mateo Mexía, and his Works in the Convent of San Francisco de Quito
    (Cambridge University Press, 1960) José de Mesa; Teresa Gisbert
    The religious painting of Ecuador started very early. In fact, the first Franciscan friars who accompanied the conquistadores brought the visual arts to this new territory. Fr. Jodoco Ricke de Marselaer, with another priest, Fr. Pedro Goseal, or Gosseal, founded a school of art in 1534. In 1553 this school was raised by Fr. Francisco de Morales to the category of a college with the title of Colegio de San Andrés. In this school, until its extinction in 1675, a great part of the painters of the región were educated, not only Indians but also Creoles. The three main influences which molded this Quito school of painting were the following: It was born under the Flemish style at the Franciscan school of San Andrés; then it was influenced by the Spanish painting of the second half of the sixteenth century, and lastly it absorbed the teachings of two Italian masters. The influence of these three currents was felt in various ways: the Flemish appeared through the first Franciscans and through the engravings they constantly used in the composition of paintings; the Spanish appeared more directly in the style of the paintings themselves, and the Italian current, the last and most powerful, was the one which triumphed in all of America at the beginning of the seventeenth century.