Date of Degree

2009

Document Type

Dissertation

Degree Name

Ph.D.

Program

Art History

Advisor(s)

Eloise Quiñones Keber

Committee Members

James Saslow

Raquel Chang-Rodríguez

Ronald Spores

Subject Categories

History of Art, Architecture, and Archaeology

Abstract

The mission-building campaign undertaken in the Americas in the years following the Spanish conquest (1521-1546) is the largest and most ambitious evangelical and artistic enterprise in the history of the Catholic Church. In the span of just a few decades, Spanish mendicant friars, at the head of the missionary efforts, established hundreds of conventos (missions) in both colonial cities and provinces. These institutions did not merely accommodate friars. Planned to carry out doctrinal, educational, and liturgical activities, they soon became booming economic and cultural centers.

This dissertation focuses on the convento in the Mixtec town of Yanhuitlan in Oaxaca, southwestern Mexico, and is the first to provide a comprehensive study of a mission and its historical development. Previous art historical scholarship has usually granted separate attention to the architecture, painting, and sculpture of the Mexican missions, overrating formal qualities and neglecting the fact that all aspects of the convento were part of the same larger artistic and religious program.

The sixteenth-century missionary complex consists of the main church, adjoining cloister, and residential and working areas; it houses several colonial altarpieces and a collection of wooden polychrome sculptures. It was the most important artistic enterprise undertaken in Yanhuitlan in the early decades after the conquest and has remained since then the main focus of artistic and religious activities. First, the alliance of Mixtec leaders with Dominican friars and Spanish authorities made possible the erection of the mission, which became a powerful statement of the new hegemonic status of Yanhuitlan in the region. In the following centuries, activities of the confraternities became the most important impulse of art patronage. Spanish in origin, these institutions became gradually independent from the local parish and colonial authorities, filling the vacuum left by a waning traditional leadership.

My dissertation integrates on-site investigation and archival and ethnographic research to address the various strategies of appropriation, manipulation, and display of Spanish, Mixtec, and hybrid art forms in the context of political colonization and religious evangelization.

Comments

Digital reproduction from the UMI microform.

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