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| DOI | 10.1080/10609164.2017.1350471 | ||||
| Año | 2017 | ||||
| Tipo | artículo de investigación |
Citas Totales
Autores Afiliación Chile
Instituciones Chile
% Participación
Internacional
Autores
Afiliación Extranjera
Instituciones
Extranjeras
This art historical study analyzes images of colonial-era medicinal botanicals in South America within a little known seventeenth-century map, the Tabula geographica regni Chile, and proposes that these renderings were central to a visual program by which their author Alonso de Ovalle attempted to construct a positive image of his homeland before the Spanish Crown. These renderings of specific Chilean plants and their expressed medicinal applications are examined in relation to the rise of materia medica for commerce in southern Europe and the Spanish interest to locate botanical medicines for profit. This approach allows us to consider pre-Linnaean botanical renderings as persuasive documents, as purveyors of indigenous knowledge, and as instruments of negotiation (prospecting for new commercial goods) for the advancement of criollo agendas. Finally, looking at Ovalle's images of Chilean medicinal botanicals in comparison with later documents demonstrates that while early pictured conveyances across the Atlantic formulated conceptions of American nature, the transference of actual specimens to Europe involved their adaptation for new functions and uses.
| Ord. | Autor | Género | Institución - País |
|---|---|---|---|
| 1 | BURDICK-MORTON, CATHERINE ELIZABETH | Mujer |
Pontificia Universidad Católica de Chile - Chile
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| Fuente |
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| Pontificia Universidad Católica de Chile |
| Pontificia Universidad Católica de Chile |
| Vicerrectoria de Investigacion, Pontificia Universidad Catolica de Chile |
| Vicerrectoría de Investigación |
| Centro del Patrimonio Cultural, Pontificia Universidad Catolica de Chile |
| Centro del Patrimonio Cultural, UC |
| Agradecimiento |
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| An earlier version of this essay was presented at the 104th annual conference of the College Art Association in Washington DC, 3-6 February 2016. I am grateful to Helen Ellis, Ellen T. Baird, Natsumi Nonaka, Edward Sterrett, and two anonymous readers for their insightful comments, and to the Centro del Patrimonio Cultural, Pontificia Universidad Catolica de Chile, for its support. This work was supported by the Vicerrectoria de Investigacion, Pontificia Universidad Catolica de Chile, under a Grant for Centros Interdisciplinarios 2015, awarded to the Centro del Patrimonio Cultural, UC. |
| An earlier version of this essay was presented at the 104th annual conference of the College Art Association in Washington DC, 3–6 February 2016. I am grateful to Helen Ellis, Ellen T. Baird, Natsumi Nonaka, Edward Sterrett, and two anonymous readers for their insightful comments, and to the Centro del Patrimonio Cultural, Pontificia Universidad Católica de Chile, for its support. This work was supported by the Vicerrectoría de Investigación, Pontificia Universidad Católica de Chile, under a Grant for Centros Interdisciplinarios 2015, awarded to the Centro del Patrimonio Cultural, UC. |