San Pedro Ap?stol de Andahuaylillas발음듣기
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San Pedro Apóstol de Andahuaylillas
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San Pedro Ap?stol de Andahuaylillas
(upbeat jazz music) We're in the offices of the World Monuments Fund, in New York City, in the Empire State Building.
And we're talking about a really important project the WMF oversaw in Peru, that has to do with these extraordinary, early Baroque churches.
The geography of Peru is incredibly varied.
There are stark deserts and jungles, but it also incorporates one of the highest mountain ranges on earth: The Andes.
We're going to be talking about the Church of San Pedro de Andahuaylillas, located in the Andes.
Before the Spanish arrived, this area had been controlled by the Inca Empire.
This was an extremely sophisticated empire that had conquered a series of empires even before it.
Primarily, what the Spanish were interested in was increasing their wealth though the labor that could be gotten from the indigenous populations, but also from raw materials that could be brought back to Spain, especially, and most famously, gold.
And the Spanish would claim an enormous amount of land that stretches from what is now Northern California, all the way to the southern tip of South America.
And when the Spanish came, most of this region, especially in South America, was connected by a network of roads, known as the "Inka Road" or the "Qhapaq Ñan."
So these churches were built, stretching all the way from Cuzco to the jungle of Peru.
They were known as missionary churches, designed to convert.
So, there was a religious aspect to conversion, but there was also a political aspect, which is, you could, in that way, control the population.
And the Jesuits, in this particular case, were considered as the more educated of the religious orders.
But it's important also to think about the Jesuits as soldiers of the Pope, that were to go out into the world to combat heresy, and to convert as many souls around the world as possible.
When you go into the church of the Jesuits in Rome, you see very explicit references to going to the four great continents, to bring those souls to the church.
And one of the most important products of this whole counter-reformation movement was the Baroque, but when it came to America, it became infused with some original techniques and aesthetic preferences.
What we call the Andean Baroque became a new, independent style.
As you can see, the facade has got renaissance elements, but then once you go through the portal, it's an explosion of Baroque.
So, when we look closely at the facade, we see this brilliantly-colored entrance, with a porch above that would've been used to preach from.
Even from the outside, we can see this wonderfully-complex mix of cultures that is informing the architecture.
You had mentioned the Classical, and you can see that especially in the pediment.
You can see that in the triumphal arch of the entranceway, and of course the classicizing plasters.
All of this is coming from the Greco-Roman tradition.
And then, right above you see an element that is what we could consider Mudejar architecture, from Spain.
So, what we're talking about is the architectural style that was developed by the Muslims, when they occupied Spain.
Now, what happens is that the Spanish Christians will reconquer the Spanish peninsula.
Now, this is a visual vocabulary that refers to conquest: the conquest and the triumphalism of Christianity. So, let's go inside.
And now you see the stark contrast between the more classical facade into this explosion of Baroque, where every square inch of wall is covered with some kind of decoration.
It must have been so impressive when this was first painted.
The ceiling is a kaleidoscope.
We see this emphasis on pattern that really does remind me of the Islamic traditions, and we see that especially in the very fine coffering.
The local techniques of construction were used.
For example, instead of wood, the Artesonado ceiling is actually built of this technique called "Kur-Kur," and Kur-Kur consists of a combination of cane and mud that was then shaped to look like wood, and then painted over with decorative motifs.
So, this wonderful example of this local building technology, which actually goes back in Andean history for thousands of years, being incorporated into this modern, Christian environment.
And made to look like the celings that we would expect to see in Europe.
And it's important to remember that the artisans responsible for the building itself would have been local, indigenous peoples.
The entire space feels so sculptural and so colorful.
And that's probably the reason why this church has been known in Peru as the Sistine Chapel of the Americas.
There is so much that we could look at.
The altar is magnificent, but let's look at one particular painting of the last judgment, because that subject became quite common at this moment in colonial South America, in colonial Peru.
We're looking at a mural: fresco, that is known as "secco fresco," that is, it's painting that's been done directly on a dry wall.
The purpose of all these paintings was propaganda.
The people that lived here, they didn't know how to read, so this is how the indoctrination happened, through visual means.
And this painting byLuis de Riaño, done in the early 17th century, depicts how people that were good would go to heaven.
We have this fabulous feast laid out before us, but the soul that is especially good has ignored that bounty.
It is willing to do the hard work of salvation, and he walks along a path that is hard, that people fall off of, but his eyes are fixed on those that inhabit heaven, and we see a representation of the city of the heavenly Jerusalem just beyond.
And then, we could see the mural on the opposite side, then.
So, here we have a pathway that looks easier.
It's strewn with flowers, but, of course it leads to doom. It leads to hell.
We see the mouth of hell.
We see The Devil, who seems to be pulling at people, even on the other side.
What's interesting is that this is a variant on a traditional last judgment scene.
But there, you generally see souls that are being awoken from the dead, who have already made their choices.
But here, it's much more immediate.
It's as if the indigenous peoples were being brought into this church, or being faced with this immediate choice: What path are you going to take?
And this was especially important for the Jesuits, who were doing their best to stamp out what they saw as the idols of the indigenous peoples.
Even as these paintings were being made, there would still have been plenty of references, not only to the religion of the Incas, but the religion of the cultures that had come before the Incas.
In fact, the foundation is built of stone, including stone that's been re-purposed from older Inca structures.
But, above that, we actually have what is primarily an adobe building: mud mixed with some straw to help bind it.
In the last four or five years, World Monuments Fund has been carrying a conservation campaign in the church of Andahuayillas.
It started with the conservation of the artesonados ceiling, but then we realized that was not enough.
We had to address the structure of the whole church, and then, we started thinking that if we protect the church, we have to also secure the whole town.
We generally think of a work of art in isolation, but your project exposes the way in which a painting is a part of a building, and a building is a part of a community.
And that's why part of our conservation and restoration work included a training program for fifteen young people, who were given the tools that they needed to actually become stewards of their own cultural heritage, and their own patrimony.
And this is especially critical, because development is forcing change on these communities.
Even though Andahuaylillas is a relatively well-preserved town, you see these new constructions that are built: concrete block and blue glass and bathroom tile on the facade, and those are not part of the tradition and the aesthetic integrity of the town, but they're also very bad, environmentally.
Adobe is a thermal material.
It actually collects heat during the day, and so the interiors are cool.
And at night, they release heat.
And if the local community is really a part of the conversation about maintaining its heritage, really thoughtful and considered decisions can be made about development, going forward.
So, having a community that is on your side, in terms of preservation, is much better than just setting up laws and regulations.
We're not proposing to freeze this town.
Obviously, this town is going to develop and grow, but without losing the important aspects of what is part of their cultural heritage. (upbeat jazz music)
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(upbeat jazz music) We're in the offices of the World Monuments Fund, in New York City, in the Empire State Building.발음듣기
대기중
And we're talking about a really important project the WMF oversaw in Peru, that has to do with these extraordinary, early Baroque churches.발음듣기
대기중
There are stark deserts and jungles, but it also incorporates one of the highest mountain ranges on earth: The Andes.발음듣기
대기중
We're going to be talking about the Church of San Pedro de Andahuaylillas, located in the Andes.발음듣기
대기중
This was an extremely sophisticated empire that had conquered a series of empires even before it.발음듣기
대기중
Primarily, what the Spanish were interested in was increasing their wealth though the labor that could be gotten from the indigenous populations, but also from raw materials that could be brought back to Spain, especially, and most famously, gold.발음듣기
대기중
And the Spanish would claim an enormous amount of land that stretches from what is now Northern California, all the way to the southern tip of South America.발음듣기
대기중
And when the Spanish came, most of this region, especially in South America, was connected by a network of roads, known as the "Inka Road" or the "Qhapaq Ñan."발음듣기
대기중
So, there was a religious aspect to conversion, but there was also a political aspect, which is, you could, in that way, control the population.발음듣기
대기중
And the Jesuits, in this particular case, were considered as the more educated of the religious orders.발음듣기
대기중
But it's important also to think about the Jesuits as soldiers of the Pope, that were to go out into the world to combat heresy, and to convert as many souls around the world as possible.발음듣기
대기중
When you go into the church of the Jesuits in Rome, you see very explicit references to going to the four great continents, to bring those souls to the church.발음듣기
대기중
And one of the most important products of this whole counter-reformation movement was the Baroque, but when it came to America, it became infused with some original techniques and aesthetic preferences.발음듣기
대기중
As you can see, the facade has got renaissance elements, but then once you go through the portal, it's an explosion of Baroque.발음듣기
대기중
So, when we look closely at the facade, we see this brilliantly-colored entrance, with a porch above that would've been used to preach from.발음듣기
대기중
Even from the outside, we can see this wonderfully-complex mix of cultures that is informing the architecture.발음듣기
대기중
You can see that in the triumphal arch of the entranceway, and of course the classicizing plasters.발음듣기
대기중
And then, right above you see an element that is what we could consider Mudejar architecture, from Spain.발음듣기
대기중
So, what we're talking about is the architectural style that was developed by the Muslims, when they occupied Spain.발음듣기
대기중
Now, this is a visual vocabulary that refers to conquest: the conquest and the triumphalism of Christianity. So, let's go inside.발음듣기
대기중
And now you see the stark contrast between the more classical facade into this explosion of Baroque, where every square inch of wall is covered with some kind of decoration.발음듣기
대기중
We see this emphasis on pattern that really does remind me of the Islamic traditions, and we see that especially in the very fine coffering.발음듣기
대기중
For example, instead of wood, the Artesonado ceiling is actually built of this technique called "Kur-Kur," and Kur-Kur consists of a combination of cane and mud that was then shaped to look like wood, and then painted over with decorative motifs.발음듣기
대기중
So, this wonderful example of this local building technology, which actually goes back in Andean history for thousands of years, being incorporated into this modern, Christian environment.발음듣기
대기중
And it's important to remember that the artisans responsible for the building itself would have been local, indigenous peoples.발음듣기
대기중
And that's probably the reason why this church has been known in Peru as the Sistine Chapel of the Americas.발음듣기
대기중
The altar is magnificent, but let's look at one particular painting of the last judgment, because that subject became quite common at this moment in colonial South America, in colonial Peru.발음듣기
대기중
We're looking at a mural: fresco, that is known as "secco fresco," that is, it's painting that's been done directly on a dry wall.발음듣기
대기중
The people that lived here, they didn't know how to read, so this is how the indoctrination happened, through visual means.발음듣기
대기중
And this painting byLuis de Riaño, done in the early 17th century, depicts how people that were good would go to heaven.발음듣기
대기중
We have this fabulous feast laid out before us, but the soul that is especially good has ignored that bounty.발음듣기
대기중
It is willing to do the hard work of salvation, and he walks along a path that is hard, that people fall off of, but his eyes are fixed on those that inhabit heaven, and we see a representation of the city of the heavenly Jerusalem just beyond.발음듣기
대기중
But there, you generally see souls that are being awoken from the dead, who have already made their choices.발음듣기
대기중
It's as if the indigenous peoples were being brought into this church, or being faced with this immediate choice: What path are you going to take?발음듣기
대기중
And this was especially important for the Jesuits, who were doing their best to stamp out what they saw as the idols of the indigenous peoples.발음듣기
대기중
Even as these paintings were being made, there would still have been plenty of references, not only to the religion of the Incas, but the religion of the cultures that had come before the Incas.발음듣기
대기중
In fact, the foundation is built of stone, including stone that's been re-purposed from older Inca structures.발음듣기
대기중
But, above that, we actually have what is primarily an adobe building: mud mixed with some straw to help bind it.발음듣기
대기중
In the last four or five years, World Monuments Fund has been carrying a conservation campaign in the church of Andahuayillas.발음듣기
대기중
It started with the conservation of the artesonados ceiling, but then we realized that was not enough.발음듣기
대기중
We had to address the structure of the whole church, and then, we started thinking that if we protect the church, we have to also secure the whole town.발음듣기
대기중
We generally think of a work of art in isolation, but your project exposes the way in which a painting is a part of a building, and a building is a part of a community.발음듣기
대기중
And that's why part of our conservation and restoration work included a training program for fifteen young people, who were given the tools that they needed to actually become stewards of their own cultural heritage, and their own patrimony.발음듣기
대기중
And this is especially critical, because development is forcing change on these communities.발음듣기
대기중
Even though Andahuaylillas is a relatively well-preserved town, you see these new constructions that are built: concrete block and blue glass and bathroom tile on the facade, and those are not part of the tradition and the aesthetic integrity of the town, but they're also very bad, environmentally.발음듣기
대기중
And if the local community is really a part of the conversation about maintaining its heritage, really thoughtful and considered decisions can be made about development, going forward.발음듣기
대기중
So, having a community that is on your side, in terms of preservation, is much better than just setting up laws and regulations.발음듣기
대기중
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