Abstract
In this article, I discuss the relationship between Andean spiritual beliefs relating to agrarian practices and the mural paintings in the rural church of San Pedro de Andahuaylillas (Cuzco, Peru), built in the early seventeenth century and decorated probably between 1618 and 1626. Using a Western iconographic language, both the ideologue (the priest Juan Perez Bocanegra) and the painter of the decorative program (Luis de Riano) sought to unite the Andean cults and rituals that surround the agrarian reciprocity system with others more in line with the dogmas of the Catholic Church. The Indigenous parishioners of the Quispicanchis agrarian valley ascribed meaning to these European iconographic representations in line with their social reality and religious beliefs. The creator of the iconographic scheme, Juan Perez Bocanegra, and the painter Luis de Riano put into play a complex multisensory system of painting, liturgy, and music to create a space for parishioners to contemplate the abundance of divine Providence.
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