Maya Stanfield-Mazzi
Biographic Data
| ID | 1608105 |
|---|---|
| NAME | Maya Stanfield-Mazzi |
| GIVEN NAMES | Maya |
| FAMILY NAME | Stanfield-Mazzi |
| SIGNATURE | STANFIELD-MAZZI M |
| AFFILIATIONS | University of Florida |
| ORCID | 0000-0002-7440-6957 |
| VERIFIED | Yes |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 46 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 4 |
The Potential of Paper
A common expression in Spanish, el papel lo aguanta todo, points to the fictions sustained by the medium of paper and to the potential disconnect between its representations and lived reality. Tran...
Inka Bird Idiom: Amazonian Feathers in the Andes
Why were the feathers of birds such an essential artistic medium in the ancient Americas, more so than anywhere else in the world? Several publications of recent years have explored this question, especially in regard to Mesoamerica, where items such as the so-called Moctezuma’s Headdress, made with four hundred quetzal tail feathers, stand as testament to the aesthetic and ideological power of feathers. Fewer publications address the important r…
The Royal Inca Tunic: A Biography of an Andean Masterpiece
Representations of the Passion of Christ in Brazil: Devotional Sculpture as Open Artwork
Sculpted representations of the Passion of Christ became widely used for popular religious devotion in Portuguese America. They comprise a variety of forms, since the Passion had so many episodes, and thus necessitated various bodily positions for Christ. In investigating the manufacture and trade of Latin American Baroque sculpture, it is possible to identify a market of whole-body carvings, items of dress, and loose body parts, such as heads, h…
Festivals and Daily Life in the Arts of Colonial Latin America, 1492–1850: Papers from the 2012 Mayer Center Symposium at the Denver Art Museum
The eight papers in this volume are a welcome addition to the growing literature on festivals, domestic life, and material culture in colonial Latin America. Several of the papers are primarily descriptive, though thoroughly researched. The foreword does not provide much of an interpretive framework for the selection of papers, which are simply divided into two groups: the first dealing with festivals and the second with daily life. It is, howeve…
Weaving and Tailoring the Andean Church: Textile Ornaments and Their Makers in Colonial Peru
The first Christian churches were built in the Andes soon after Spaniards arrived. Initially simple structures, they were later remodeled into large stone monuments. Aside from their architectural construction, the furnishing and decoration of these churches was an ongoing project that involved many participants, often under the watchful eye of a parish priest. Art historians have uncovered fascinating cases in which native artists exercised agen…
Introduction to Part I: Time and its Transformations from the Old World to the New
The four articles in Part I, Time and its Transformations from the Old World to the New, suggest that as Christianity was transmitted to the New World, this transmission necessitated new ways of conceiving of time and history. The articles thus point to new ways of thinking about the legacy of Christianity in Latin America. They also lead to a re-envisioning of the wider history of the Christian faith, a vision similarly expressed by artist Rober…
Milagrosas imágenes marianas en el Nuevo Reino de Granada
In recent decades art historians specializing in Europe, such as Hans Belting and David Freedberg, have widened the scope of images that can be studied as ‘art,’ bringing a new emphasis on works tr
Cult, Countenance, and Community: Donor Portraits from the Colonial Andes
The article outlines the nature of the donor portrait, including its origins in Europe and its manifestations in Spanish colonial Peru. Then it considers three paintings featuring donor portraits and the miraculous statue known as Christ of the Earthquakes ( El Señor de los Temblores ). An introduction to the original statue, housed in the Cathedral of Cusco, and its cult is provided. Then the portraits are analyzed for the ways in which they exp…
El complemento artístico a las misas de difuntos en el Perú colonial
Este artículo trata de las obras de arte que se usaban en los templos andinos para fomentar el culto cristiano a los muertos durante la época colonial. Sostenemos que estas obras jugaron un papel importante en establecer el culto como reemplazo al culto andino a los muertos. También vemos cómo estas obras cambiaron en el transcurso de la época colonial de presentar imágenes simbólicas a representar escenas narrativas. Un tipo de obra importante f…
The Possessor's Agency: Private Art Collecting in the Colonial Andes
In 1797 a woman named Maria Angela Cachicatari commissioned an accounting of her estate from a scribe in the city of Puno, Peru. Located on the western shores of Lake Titicaca, Puno was the colonia
Shifting Ground: Elite Sponsorship of the Cult of Christ of the Earthquakes in Eighteenth-Century Cusco
The cult of Christ of the Earthquakes, a statue enshrined in the cathedral of Cusco, Peru, began after a massive earthquake in 1650 and remains vibrant today. Recent scholarship has suggested that the cult developed among indigenous Andeans and that the Christ has always embodied aspects of traditional, non-Christian Andean deities. Based on substantial archival documentation and visual sources, this article counters that interpretation. It shows…
On the Definition of Shamanism
"On Sharpness and Scholarship in the Debate on "Shamanism
The Role of Shamanism in Mesoamerican Art: A Reassessment
Increasing numbers of scholars are relying on the concept of shamanism to interpret preColumbian artworks without examining its origins and questioning its viability. This essay explores the historical roots of this fields romance with the shaman and offers an explanation of its appeal. We argue that by avoiding such terms as priest, doctor, and political leader, the words shaman and shamanism have helped scholars to other preColumbian peoples by…
The Role of Shamanism in Mesoamerican Art: A Reassessment
Increasing numbers of scholars are relying on the concept of shamanism to interpret preColumbian artworks without examining its origins and questioning its viability. This essay explores the historical roots of this fields romance with the shaman and offers an explanation of its appeal. We argue that by avoiding such terms as priest, doctor, and political leader, the words shaman and shamanism have helped scholars to other preColumbian peoples by…
The Possessor's Agency: Private Art Collecting in the Colonial Andes
In 1797 a woman named Maria Angela Cachicatari commissioned an accounting of her estate from a scribe in the city of Puno, Peru. Located on the western shores of Lake Titicaca, Puno was the colonia
On the Definition of Shamanism
"On Sharpness and Scholarship in the Debate on "Shamanism
Cult, Countenance, and Community: Donor Portraits from the Colonial Andes
The article outlines the nature of the donor portrait, including its origins in Europe and its manifestations in Spanish colonial Peru. Then it considers three paintings featuring donor portraits and the miraculous statue known as Christ of the Earthquakes ( El Señor de los Temblores ). An introduction to the original statue, housed in the Cathedral of Cusco, and its cult is provided. Then the portraits are analyzed for the ways in which they exp…
Weaving and Tailoring the Andean Church: Textile Ornaments and Their Makers in Colonial Peru
The first Christian churches were built in the Andes soon after Spaniards arrived. Initially simple structures, they were later remodeled into large stone monuments. Aside from their architectural construction, the furnishing and decoration of these churches was an ongoing project that involved many participants, often under the watchful eye of a parish priest. Art historians have uncovered fascinating cases in which native artists exercised agen…
The Role of Shamanism in Mesoamerican Art: A Reassessment
Increasing numbers of scholars are relying on the concept of shamanism to interpret preColumbian artworks without examining its origins and questioning its viability. This essay explores the historical roots of this fields romance with the shaman and offers an explanation of its appeal. We argue that by avoiding such terms as priest, doctor, and political leader, the words shaman and shamanism have helped scholars to other preColumbian peoples by…
"On Sharpness and Scholarship in the Debate on "Shamanism
On the Definition of Shamanism
Shifting Ground: Elite Sponsorship of the Cult of Christ of the Earthquakes in Eighteenth-Century Cusco
The cult of Christ of the Earthquakes, a statue enshrined in the cathedral of Cusco, Peru, began after a massive earthquake in 1650 and remains vibrant today. Recent scholarship has suggested that the cult developed among indigenous Andeans and that the Christ has always embodied aspects of traditional, non-Christian Andean deities. Based on substantial archival documentation and visual sources, this article counters that interpretation. It shows…
The Possessor's Agency: Private Art Collecting in the Colonial Andes
In 1797 a woman named Maria Angela Cachicatari commissioned an accounting of her estate from a scribe in the city of Puno, Peru. Located on the western shores of Lake Titicaca, Puno was the colonia
Cult, Countenance, and Community: Donor Portraits from the Colonial Andes
The article outlines the nature of the donor portrait, including its origins in Europe and its manifestations in Spanish colonial Peru. Then it considers three paintings featuring donor portraits and the miraculous statue known as Christ of the Earthquakes ( El Señor de los Temblores ). An introduction to the original statue, housed in the Cathedral of Cusco, and its cult is provided. Then the portraits are analyzed for the ways in which they exp…
El complemento artístico a las misas de difuntos en el Perú colonial
Este artículo trata de las obras de arte que se usaban en los templos andinos para fomentar el culto cristiano a los muertos durante la época colonial. Sostenemos que estas obras jugaron un papel importante en establecer el culto como reemplazo al culto andino a los muertos. También vemos cómo estas obras cambiaron en el transcurso de la época colonial de presentar imágenes simbólicas a representar escenas narrativas. Un tipo de obra importante f…
Milagrosas imágenes marianas en el Nuevo Reino de Granada
In recent decades art historians specializing in Europe, such as Hans Belting and David Freedberg, have widened the scope of images that can be studied as ‘art,’ bringing a new emphasis on works tr
Introduction to Part I: Time and its Transformations from the Old World to the New
The four articles in Part I, Time and its Transformations from the Old World to the New, suggest that as Christianity was transmitted to the New World, this transmission necessitated new ways of conceiving of time and history. The articles thus point to new ways of thinking about the legacy of Christianity in Latin America. They also lead to a re-envisioning of the wider history of the Christian faith, a vision similarly expressed by artist Rober…
Weaving and Tailoring the Andean Church: Textile Ornaments and Their Makers in Colonial Peru
The first Christian churches were built in the Andes soon after Spaniards arrived. Initially simple structures, they were later remodeled into large stone monuments. Aside from their architectural construction, the furnishing and decoration of these churches was an ongoing project that involved many participants, often under the watchful eye of a parish priest. Art historians have uncovered fascinating cases in which native artists exercised agen…
Festivals and Daily Life in the Arts of Colonial Latin America, 1492–1850: Papers from the 2012 Mayer Center Symposium at the Denver Art Museum
The eight papers in this volume are a welcome addition to the growing literature on festivals, domestic life, and material culture in colonial Latin America. Several of the papers are primarily descriptive, though thoroughly researched. The foreword does not provide much of an interpretive framework for the selection of papers, which are simply divided into two groups: the first dealing with festivals and the second with daily life. It is, howeve…
Representations of the Passion of Christ in Brazil: Devotional Sculpture as Open Artwork
Sculpted representations of the Passion of Christ became widely used for popular religious devotion in Portuguese America. They comprise a variety of forms, since the Passion had so many episodes, and thus necessitated various bodily positions for Christ. In investigating the manufacture and trade of Latin American Baroque sculpture, it is possible to identify a market of whole-body carvings, items of dress, and loose body parts, such as heads, h…
Inka Bird Idiom: Amazonian Feathers in the Andes
Why were the feathers of birds such an essential artistic medium in the ancient Americas, more so than anywhere else in the world? Several publications of recent years have explored this question, especially in regard to Mesoamerica, where items such as the so-called Moctezuma’s Headdress, made with four hundred quetzal tail feathers, stand as testament to the aesthetic and ideological power of feathers. Fewer publications address the important r…
The Royal Inca Tunic: A Biography of an Andean Masterpiece
The Potential of Paper
A common expression in Spanish, el papel lo aguanta todo, points to the fictions sustained by the medium of paper and to the potential disconnect between its representations and lived reality. Tran...
Art (10 works) · History (9 works) · Archaeology (8 works) · Latin American history and culture (8 works) · History (7 works) · Art history (6 works) · Law (5 works) · Literature (5 works) · Philosophy (5 works) · Sociology (5 works)