In these anonymous paintings, one can observe the participation of the inhabitants in Catholic practices. The depictions of the faithful at- tending the sacraments and facing temptations indicate a community that, although not fully catechized, strives to live the faith. In addition, the inclusion of local iconography-such as puma heads and the curaca with two masks-suggests an attempt to fuse Indigenous knowledge with Christian tradition. This allows for a richer and more complex reading of the images, where Andean elements are reinterpreted in a Christian context, reflecting the tensions and syncretisms experienced in the past and the present. The Parinacota mural paintings not only document the religious life of the community but also reveal a process of cultural negotiation in a period of significant change. The coexistence of pre-Christian beliefs and the devotion brought by the Spaniards underscores the complexity of religious experience in the context of colonization and resistance. Contrasting knowledge merging it into a new religiosity. !
INTERNATIONAL INTERVIEW
Carlos Moreno
"We can no longer be worshippers of the vertical form of construction."
Dedicated to sustainable urbanization, he is widely known for the concept of the 15-minute city. From it, he proposes a paradigm shift on how to give cities a nuance oriented towards polycentrism and multi-use of places. By: Mónica Alvarez de Oro, Yves Besançon, Fernando Marín & Soledad Miranda. Born in Colombia, Carlos Moreno is known worldwide as an urban plan- ner and creator of the concept of the 15-minute city. This idea aims to produce urban centers in which inhabitants have proximity to essential health, education, and commercial services, which they can reach on foot or by bicycle, thus reducing long trips that increase global warming. This proposal is also called “Happy Polycentric Proximity” because it improves the quality of life and the sense of belonging and community while contributing to planetary sustainability.
Parinacota & its Pious Walls
Angels, a radiant flower, virgins, puma heads, and even a peeling San Miguel. The mural paintings thrill the church interior of this town that ascends towards the top of the mountain.
By: Ana María Dávila & Lucía Ríos O’R.
On our trip through the Route of the Missions we also arrive at the town of Parinacota and, of course, at its church, an icon of Andean postcards. A sunny day accompanies us illuminating a long journey through the foothills. Slowly, in the flat and desert landscape, in the distance, we begin to see the volcanoes that guide us until we reach Lake Chungará. We contemplate this magical place and, on our way back to the city of Arica, we enter Parinacota. Upon arriving at the village, more than its urban organization or the very few inhabitants - only two people were waiting for us - what is most striking is the church and the stories it conceals. The church dates back to 1627 but was rebuilt in 1912 surrounded by a low wall that marks the site and positions it in the center of town, without being there. That wall is made of adobe and has three entrances with arches and stone crowns. The massive bell tower, located in a corner of the perimeter, has a two-body structure and a square floor plan, which gives it a robust and distinctive design. In the atrium, four niches house the religious images that are “taken for a walk” during the processions, highlighting the impor- tance of tradition and devotion to this space. In addition, the use of lime to whitewash all the structures provides an aesthetic and distinctive finish that also contributes to protecting the adobe from inclement weather. Entering the church is like being transported back in time, entering the depths of Andean culture, and, at the same time, feeling very close to it. Visitors are perplexed when they observe the amount of information expressed in its beautiful murals. Fruit of history, these walls transmit beliefs, fears, and customs. They are an invaluable and inexhaustible source to understand the life and devotion of the community throughout different periods. These works not only embellish and accompany the tour in the sacred space but also function as a kind of religion in situ, which reflects the need to educate the population on the Catholic faith.
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AOA / n°51
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