Abstract

In this paper we propose a line of research that joins historical and visual documents in order to explain the profusion and validity throughout centuries of several different iconographic programs in the archdiocese of Colonial Cusco. Some characteristics of mural painting associated to evangelizing contexts will be analyzed, as well as the link that existed between two specific types of indigenous confraternities in Colonial times, and the vigor of a recurring series of evangelization topics, such as heaven and hell, proper of the Andean baroque.