This article analyzes four colonial paintings from the Viceroyalty of Peru that depict the union of Beatriz Ñusta and Martín de Loyola, as well as the marriage of their daughter. From a feminist perspective, it explores the pictorial and historical representations of Beatriz Ñusta and the possible connections between them. The iconographic analysis presented in this article highlights the agency of the Indigenous or mestizo artists who created these paintings. Furthermore, the study of the iconographic differences found in these paintings, as well as a metal plaque that represents part of the scene, reveals variations related to the audiences for which these artworks were intended.

This article analyzes four colonial paintings from the Viceroyalty of Peru that depict the union of Beatriz Ñusta and Martín de Loyola, as well as the marriage of their daughter. From a feminist perspective, it explores the pictorial and historical representations of Beatriz Ñusta and the possible connections between them. The iconographic analysis presented in this article highlights the agency of the Indigenous or mestizo artists who created these paintings. Furthermore, the study of the iconographic differences found in these paintings, as well as a metal plaque that represents part of the scene, reveals variations related to the audiences for which these artworks were intended.

Páginas [227]- 258

Bat-ami Artzi, en La arqueología andina y las teorías de género y queer. Una propuesta de cómo entrelazarlas, recuerda que los Andes representan la única área al mundo donde esté documentada una secuencia de más de tres mil años de producción textil, de la cual se puede desprender información fundamental para el estudio de las categorías y las estructuras de género. La investigadora, interesada no solo en la condición y los roles femeninos y en las relación mujeres-hombres, sino también en los diversos géneros «adicionales», culturalmente determinados, que pudieron existir en las sociedades prehispánicas, considera que avances significativos en este primario ámbito, hasta la fecha muy poco explorado, del mundo andino antiguo podrán darse solo integrando la evidencia arqueológica y bioarqueológica con el análisis iconográfico y la información histórica y etnogr...

This article analyzes four colonial paintings from the Viceroyalty of Peru that depict the union of Beatriz Ñusta and Martín de Loyola, as well as the marriage of their daughter. From a feminist perspective, it explores the pictorial and historical representations of Beatriz Ñusta and the possible connections between them. The iconographic analysis presented in this article highlights the agency of the Indigenous or mestizo artists who created these paintings. Furthermore, the study of the iconographic differences found in these paintings, as well as a metal plaque that represents part of the scene, reveals variations related to the audiences for which these artworks were intended.