En un marco global, diversos acontecimientos sociales, culturales y políticos repercutieron en la plástica peruana en la década de 1980; sin embargo, muchas regiones y pueblos alejados de la capital fueron relegados e ignorados, lo que evidenció un centralismo pictórico alineado a las artes contemporáneas limeñas. La pintura ayacuchana muestra una producción figurativa con algunas deficiencias en el dibujo y el color, en medio de un contexto social y político muy maniatado a causa del conflicto armado interno. Se vivieron momentos muy tensos en los pasillos y aulas de la Escuela de Bellas Artes “Felipe Guamán Poma de Ayala”. Estas condiciones connotan limitaciones a una creación visual en un primer periodo (1980-1985) de pintura tradicionalista y costumbrista; luego se expresan sensaciones y emociones a hechos conflictivos cuyas víctimas fueron los hombres andinos (1986-1...

In the Ayacucho region, in the mid-20th century, the "Felipe Guamán Poma de Ayala" School of Fine Arts was founded, with the aim of training pictorial artists who value and represent their culture, influenced and referenced by different trends and pictorial styles; On the other hand, currently the founding teachers and graduates are part of the Ayacucho pictorial expression. In this sense, landscape painting developed its own characteristics, taking on historical, social and cultural aspects of a local, national and international nature; In this way, it is proposed to generate a significant value to Ayacuchano landscape painting between the years 2000 and 2020, taking into account its background and development to call it "New Andean Figurative Art". Thus evidencing the various techniques used, the symbolism in the form, content and message around the socio-cultural context of the regio...

Ayacucho painting of the human figure genre has a significant development in compositional and stylistic aspects. The Felipe Guamán Poma de Ayala School of Fine Arts has played a very important role in this process of adaptation, learning and authenticity, having national and international art schools as academic models. In this way, a traditional and figurative painting is visualized, despite social, scientific and technological changes. The pictorial representation of the Andean man and woman is broad and dynamic, they are inserted within the compositions that express tradition and customs of a changing context; in this sense, the following question arises: What symbols does Ayacucho painting of the human figure genre use today? To answer this question, various works will be described and analyzed from an iconographic and iconological perspective, in this way determining the following...