Examines the "Royal Commentaries" of the Inca Garcilaso de la Vega and sets forth a new and alternative reading of this foundational text, paying close attention to the indigenous sources and Andean resonance of the work.

A groundbreaking work on how the topic of scale provides an entirely new understanding of Inca material culture Although questions of form and style are fundamental to art history, the issue of scale has been surprisingly neglected. Yet, scale and scaled relationships are essential to the visual cultures of many societies from around the world, especially in the Andes. In Scale and the Incas, Andrew Hamilton presents a groundbreaking theoretical framework for analyzing scale, and then applies this approach to Inca art, architecture, and belief systems. The Incas were one of humanity's great civilizations, but their lack of a written language has prevented widespread appreciation of their sophisticated intellectual tradition. Expansive in scope, this book examines many famous works of Inca art including Machu Picchu and the Dumbarton Oaks tunic, more enigmatic artifacts like the Sayhuite Stone and Capacocha offerings, and a range of relatively unknown objects in diverse media including fiber, wood, feathers, stone, and metalwork. Ultimately, Hamilton demonstrates how the Incas used scale as an effective mode of expression in their vast multilingual and multiethnic empire. Lavishly illustrated with stunning color plates created by the author, the book's pages depict artifacts alongside scale markers and silhouettes of hands and bodies, allowing readers to gauge scale in multiple ways. The pioneering visual and theoretical arguments of Scale and the Incas not only rewrite understandings of Inca art, but also provide a benchmark for future studies of scale in art from other cultures.

Details the status of contemporary research on Incan civilization, and addresses mysteries of the founding and abandonment of Machu Picchu, charting its archaeological history from 1911 to the present.

Available in English for the first time, An Inca Account of the Conquest of Peru is a firsthand account of the Spanish invasion, narrated in 1570 by Diego de Castro Titu Cusi Yupanqui - the penultimate ruler of the Inca dynasty - to a Spanish missionary and transcribed by a mestizo assistant. The resulting hybrid document offers an Inca perspective on the Spanish conquest of Peru, filtered through the monk and his scribe. Titu Cusi tells of his father's maltreatment at the hands of the conquerors; his father's ensuing military campaigns, withdrawal, and murder; and his own succession as ruler. Although he continued to resist Spanish attempts at "pacification," Titu Cusi entertained Spanish missionaries, converted to Christianity, and then, most importantly, narrated his story of the conquest to enlighten Emperor Phillip II about the behavior of the emperor's subjects in Peru. This vivid narrative illuminates the Incan view of the Spanish invaders and offers an important account of indigenous resistance, accommodation, change, and survival in the face of the European conquest. Informed by literary, historical, and anthropological scholarship, Bauer's introduction points out the hybrid elements of Titu Cusi's account, revealing how it merges native Andean and Spanish rhetorical and cultural practices. Supported in part by the Colorado Endowment for the Humanities.

The author of Comentarios reales and La Florida del Inca, now recognized as key foundational works of Latin American literature and historiography, Inca Garcilaso de la Vega was born in 1539 in Cuzco, the son of a Spanish conquistador and an Incan princess, and later moved to Spain. Recalling the family stories and myths he had heard from his Quechua-speaking relatives during his youth and gathering information from friends who had remained in Peru, he created works that have come to indelibly shape our understanding of Incan history and administration. He also articulated a new American identity, which he called mestizo. This volume provides guidance on the translations of Garcilaso's writings and on the scholarly reception of his ideas. Instructors will discover ideas for teaching Garcilaso's works in relation to indigenous thought, European historiography, natural history, indigenous religion and Christianity, and Incan material culture. In essays informed by postcolonial and decolonial perspectives, scholars draw connections between Garcilaso's writings and contemporary issues like migration, multiculturalism, and indigenous rights.

Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen-Aponte also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness. This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas’ preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.

This pioneering work brings the pre-Columbian and colonial history of Latin America home: rather than starting out in Spain and following Columbus and the conquistadores as they “discover” New World peoples, The Formation of Latin American Nations begins with the Mesoamerican and South American nations as they were before the advent of European colonialism—and only then moves on to the sixteenth-century Spanish arrival and its impact. To form a clearer picture of precolonial Latin America, Thomas Ward reads between the lines in the “Chronicles of the Indies,” filling in the blanks with information derived from archaeology, anthropology, genetics, and common-sense logic. Although he finds fascinating points of comparison among the K’iche’ Maya in Central America, the polities (señoríos) of Colombia, and the Chimú of the northern Peruvian coast, Ward focuses on two of the best-known peoples: the Nahua (Aztec) of Central Mexico and the Inka of the Andes. His study privileges indigenous-identified authors such as Diego Muñoz Camargo, Fernando de Alva Ixtlilxóchitl, Inca Garcilaso de la Vega, and Felipe Guaman Poma de Ayala while it also consults Spanish chroniclers like Hernán Cortés, Bernal Diaz del Castillo, Pedro Cieza de León, and Bartolomé de las Casas. The nation-forming processes that Ward theorizes feature two forms of cultural appropriation: the horizontal, in which nations appropriate people and customs from adjacent cultures, and the vertical, in which nations dig into their own past to fortify their concept of exceptionality. In defining these processes, Ward eschews the most common measure, race, instead opting for the Nahua altepetl, the Inka panaka, and the K’iche’ amaq’. His work thus approaches the nation both as the indigenous people conceptualized it and with terminology that would have been familiar to them before and after contact with the Spanish. The result is a truly decolonial account of the formation and organization of Latin American nations, one that puts the indigenous perspective at its center.