By Museo Pedro de Osma

Museo Pedro de Osma

Archangel Gabriel (1700/1750) by AnonymousMuseo Pedro de Osma

These European art forms were assimilated by sectors of the population as objects of worship... 

Archangel Michael (1600/1700) by AnonymousMuseo Pedro de Osma

... after associating them with Prehispanic winged images or warrior birds.

Colonial painters imagined them eternally young, asexual, dressed in long robes or in military uniform.

The archangel Michael, the head of the celestial cohorts and the fighter of the devil, was quite popular and was adopted as patron of the indigenous brotherhood in Lima.

Archangel Michael (1680/1720) by AnonymousMuseo Pedro de Osma

In the one shown here over a landscape background, he is not portrayed killing the demon or with the scales.

He uses to weigh souls, but dressed in knight's armor and with a military staff, instead of his customary sword.

Archangel Michael (1730/1760) by AnonymousMuseo Pedro de Osma

The Museum has another painting with a similar theme of the harquebusier archangel containing the same atributes, but it curiously has a different inscription, "Timor dei", that means “Fear of God”

Archangel Raphael (1700/1730) by AnonymousMuseo Pedro de Osma

Raphael is considered the head of the guardian archangels and therefore of humanity.

He is identified by the fish he carries in his hands and whose bile he usted to cure the blindness of Tobias's father. Until the early eighteenth century, the young Tobias was often represented with Raphael.

Archangel Ariel (1700/1730) by AnonymousMuseo Pedro de Osma

In the late seventeenth century, the combination of European art forms and Prehispanic traditions gave rise to the harquebusier archangel, considered an original invention of the Southern Peruvian Andes.

In this image, the archangel carries the Spanish harquebus, whose sound evoked the thunder (one of the attributes of the god Illapa)

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