The Holy Trinity

The primary tools of evangelization in the Americas were words and images, integral to the dissemination of religious beliefs and cultural values. The substantial demand for religious imagery prompted the establishment of indigenous art workshops, guided by evangelists proficient in both pedagogy and artistic production. Despite concerted efforts to preserve the orthodoxy of these religious representations, distinct regional styles began to flourish, reflecting the diverse cultural landscapes of the Americas.

In Peru, the Cuzco school of painting emerged as a prominent and autonomous artistic tradition, responding to the devout nature of colonial society. By the 1680s, a significant rift between Spanish and indigenous artists in Cuzco led to the latter’s break from the rigid European guild system. This newfound independence afforded indigenous artists greater creative latitude, fostering a unique visual language. One of the most iconic examples of this artistic freedom is the "Triple Coronation," a portrayal of the Holy Trinity crowning the Virgin Mary. This composition gained widespread popularity across the Americas, contrasting with its limited and eventually prohibited use in Europe. Various theories attempt to explain the appeal of this iconography which is still being under study.

The artwork in question showcases the Virgin Mary being crowned by the Holy Trinity. The crown, along with the garments of the Trinity and Mary's mantle, is intricately embellished with painted precious stones and gilded patterns, demonstrating the exquisite craftsmanship characteristic of the period. The scene is solemnly witnessed by Saint John the Baptist and Saint Barbara, who stand on either side, depicted with their traditional iconographic attributes. This arrangement not only testifies to the event's divine nature but also situates the celestial within a recognizable earthly context.