Colonial iconography

from the Historic Center of the City of Oaxaca

Author: Sergio Vicente García Aguilar

Among the most representative elements of religious architecture in Oaxaca are the altarpieces and stone reliefs on the facades of Catholic churches erected from the 16th century onward. Much has been theorized about the reasons for the profuse ornamentation of these buildings. It is presumed that the striking character of the stone facades and the carved and assembled wooden altarpieces stemmed from the need to provide a distinguished setting befitting the splendor and grandeur of the religious ceremonies practiced after the conquest; this was a way to attract the indigenous population, who, accustomed to the representations and rituals of their former religion, were not to underestimate the importance of the imposed cult.

...the magnificence of the temples is evident in their dimensions and ornamentation.

Another argument posits that the sheer size and number of temples were irrefutable proof that the evangelizing orders were privileged and their preachers divinely envoyed to carry out this task. The mere sight of the buildings would demonstrate their success in this laudable endeavor. Furthermore, it is suggested that each order sought to glorify itself by being, by divine mandate, the privileged or best prepared for the apostolate among the others; therefore, each building constructed aimed to surpass those previously erected by other religious orders.

Whatever the origin of this practice, the magnificence of the temples is evident in their size and ornamentation. The reliefs and decorative elements on the facades and interiors of Mexican temples demonstrate an integration of formal and symbolic iconographic motifs from European art and the stone carving techniques characteristic of Mesoamerican cultures.

...representations that have remained as a testament to a glorious past.

En Oaxaca se diferencian dos tipos de portadas: las de los templos del siglo XVI de la región mixteca en los que por lo general se aprecian composiciones clásico renacentistas y las de los templos que proceden de los siglos XVII y XVIII, en los que se distingue el barroco en algunas de sus variantes. otra forma de distinguir los tipos de portadas la constituye su labrado, las hay de manufactura académica, fina y bien proporcionada, mientras que en un segundo grupo muestra una labra adaptada en su contexto donde se otorgó mayor libertad en el diseño y trazo al ejecutor. en ambos casos, la atención se dirigió hacia los relieves centrales, los cuales constituyen notables piezas escultóricas, narraciones simbólicas en donde santos personajes emergen reclamando protagonismo.

Iniciamos una galería que reúne algunas obras de mayor importancia por su calidad de ejecución, relevancia cultural o singularidad. La mayoría de estas, son altorrelieves centrales en los que las figuras labradas en piedra llegan a resaltar mas de la mitad de su bulto o incluso presentan partes exentas del plano; representaciones que han permanecido como muestra de un pasado esplendor.

Todos los elementos analizados, se encuentran en dentro del perímetro de monumentos históricos del Municipio de Oaxaca de Juárez, Oaxaca, México. En esta primera publicación del tema comenzamos por La Catedral de Oaxaca.

Oaxaca Cathedral

Cathedral of the Virgin of the Assumption

Municipality: Oaxaca de Juárez

Representation: Assumption of Mary

Location: Second section of the main cover.

Year of construction of the building: 17th - 18th century

Front of the Cathedral of the Virgin of the Assumption.

A characteristic shared by all cathedrals is their dedication to the Virgin of the Assumption. As the emblematic temple of the capital of the state of Oaxaca, the cathedral's facade features a central relief remarkable for its craftsmanship and composition; a classic example of Oaxacan Baroque, where the carving of reliefs is among the most refined. This high relief depicts the Virgin Mary ascending to heaven, carried aloft on a cloud by a throne of angels, while two child angels unfurl the ends of her mantle. The scene is divided into two sections. The upper section is a celestial landscape depicting Mary's entry into the Kingdom of Heaven, where she is crowned by God the Father and God the Son, while in the center, the Holy Spirit appears as a dove with outstretched wings. The lower section is the earthly space where the twelve apostles witness the Assumption of Mary, arranged around the newly opened tomb, on which rests a mantle and a bouquet of flowers. The apostles, dressed in tunics and canopies, are represented in different postures that communicate wonder and piety through rich gestural handling. They maintain a balanced composition from the central axis occupied by a figure of Saint John, a beardless youth.

Photographs: Maiko Morales

About the author

Sergio Vicente García Aguilar

Originally from the town of Zaachila, Sergio Vicente García Aguilar is a tireless cultural promoter and builder whose passion for his roots has made him a leading figure in Oaxacan tradition and art. A graduate of the Faculty of Architecture at the Autonomous University "Benito Juárez" of Oaxaca (UABJO), and currently a master's student in restoration at the "5 de Mayo" Faculty of Architecture at UABJO, Sergio combines his technical training with a deep sensitivity towards the cultural heritage of his homeland.

With over 35 years dedicated to promoting and disseminating the Danza de la Pluma (Feather Dance), she has participated in various editions of the Guelaguetza festival on the Lunes del Cerro (Mondays on the Hill), carrying with her the legacy and richness of Oaxacan traditions. Her commitment extends beyond the borders of her community, as she has also ventured into the creation of sand tapestries abroad and other expressions of regional folklore, demonstrating a versatility that enriches each of her performances.

At Oaxacología we celebrate the work of collaborators like Sergio, whose work not only preserves and disseminates the traditions of Oaxaca, but also inspires new generations to value and continue the cultural legacy of our region.