Commerce in the New Spain

The pieces in this exposition are the result of intense economic trade between the Viceregals and their metropolis. Some pieces were transported for identity or devotion purposes. This trade by sea generated fashions and traditions.

Crucificado (1690/1750) by Talleres hispanos-filipinos Amparo Museum

Crucifix

In the field of Hispanic-Philippine ivory carving, among the most cultivated iconographies that underwent significant development are those that represented Christ at the time of his crucifixion, with countless examples preserved in both the Iberian peninsula and New Spain, and the mainland.   

Crucificado (1690/1750) by Talleres hispanos-filipinos Amparo Museum

Crucifix

Ángeles adoradores (1750/1800) by Anónimo Amparo Museum

Worshiping Angels

Bulging sculptures estofadas (gilded) with polished incarnation that show a pair of angels in veneration or worshiping God. Each angel is wearing a double sided gown (white and blue) with adornments and golden edges, and the sleeves rolled up to the elbow. It has two openings at the height of the thigh that reveal both legs and show a profuse golden decoration with phytomorphic elements, lines, points and rockeries.

Ángeles adoradores (1750/1800) by Anónimo Amparo Museum

Worshiping Angels

Escultura Crucificado (1680/1730) by Talleres Hispano-Filipinos Amparo Museum

Crucifix 

These types of medium-sized works came from trade with the Orient.  In the field of Hispanic-Philippine ivory carving, among the most cultivated iconographies that underwent significant development are those that represented Christ at the time of his crucifixion, with countless examples.   

Escultura Crucificado (1680/1730) by Talleres Hispano-Filipinos Amparo Museum

Crucifix  

Cómoda (1940) by Anónimo Amparo Museum

Cómoda

Esta extraña cómoda, por el uso de dos cajones superiores con decoración de tarjas fitomorfas informadas en el manierismo, y puertas entableradas en la parte baja del mueble, es una obra neocolonial, posiblemente hecha en los años cuarenta del siglo XX en México.

Cómoda (1940) by Anónimo Amparo Museum

Lamentación (1600/1700) by Anónimo Amparo Museum

Lamentation

This anonymous work represents the moment that Christ lay dead in his mother's lap, just before being buried, as she weeps inconsolably. Amparo Museum's version, Mary is accompanied by three angels, also visibly affected by the event, a theme that has been narrated by some mystical texts that refer to Mary as Queen of the Angels, who join her in the pain of the passion of her Son.  

Lamentación (1600/1700) by Anónimo Amparo Museum

Lamentation

Mancerina de porcelana (1600/1700) by Compañía de Indias Amparo Museum

Porcelain Mancerine

The mancerina consisted of a central or circular well in the center where the gourd bowl , small vessel, usually earthenware, that was used for drinking chocolate was placed and secured. This specific piece stands out for being made with Chinese porcelain.  

Mancerina de porcelana (1600/1700) by Compañía de Indias Amparo Museum

Porcelain Mancerine

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.

Interested in Visual arts?

Get updates with your personalized Culture Weekly

You are all set!

Your first Culture Weekly will arrive this week.

Translate with Google
Google apps
Design a Mobile Site
View Site in Mobile | Classic
Share by: