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The Nasca were interested in issues of design and abstraction centuries before the rise of abstract art in the twentieth century.
Luis de Riaño and indigenous collaborators, The Paths to Heaven and Hell, Church of San Pedro de Andahuaylillas
“For wide is the gate and broad is the road that leads to destruction, and many enter through it / But small is the gate and narrow the road that leads to life, and only a few find it.”
Sinners depicted along the lower register receive an array of bodily tortures; the souls in heaven, by contrast, surround the ascended Christ in an orderly formation.
Bernardo Bitti's painting at the Church of San Pedro in Lima shows that the Renaissance was a global event.
Stereotypical folkloric scenes were widely circulated, shaping perceptions of Latin America at home and abroad.
These images carved into the desert floor cannot be truly appreciated from the ground—so who were they made for?
Corpus Christi processions celebrate Christ as victor and allude to the triumph of Christianity over paganism.
The Inka emperor hosted feasts, performed religious ceremonies, and ruled his empire from this remote citadel.
It has been argued that Cusco was laid out in the shape of a puma, symbolizing Inka might.