| Retablo - The Concept | | | | wood exterior, but materials, such as gypsum, |
| Retablo or Lamina, literally meaning 'behind the | | | | clay, or a mix of both were used for the figure, |
| altar,' is a type of Latin American devotional | | | | due to the ease of handling and durability of these |
| painting or Folk Art, with its images derived from | | | | materials. In Mexico, Retablo, called Lamino here, is |
| those of conventional Catholic Church Art. It is | | | | small oil painting, done on zinc, wood, tin, or |
| parallel form of English Reredos (decoration behind | | | | copper. It is used as home altars to honor patron |
| the church altar) and French Retable (altar-edge | | | | saints. |
| or shelf). In Spanish, Retablo means a painting or | | | | The Details |
| sculpture rising from behind the altar of a church. | | | | Retablo entered the new world in the form of |
| The History | | | | portable altars, nativity scenes, and other topics, |
| Retablo originated in the Europe and proliferated | | | | which early priests used to evangelize the |
| up to Peru. Initially, before coming to Peru, | | | | indigenous. Later, Retablo began to include daily |
| Christian soldiers used it. As they were away | | | | scenes, such as processions, harvests, feasts, and |
| from their home churches, they would carry small | | | | tableaux, depicting shops and homes. Retablos are |
| portable box-altars for worship for their | | | | important to the Mexican folk origin, as it would |
| protection from enemies. Then, in the sixteenth | | | | reproduce the holy images of Christ, Virgin Mary, |
| century, Retablo came to Peru. Spanish | | | | or one of the many saints. Its counterpart, the |
| evangelists used it to teach the Catholic faith to | | | | ex-votos are devotional paintings done on |
| the native people. Spanish Retablos during the | | | | rectangular canvas or sheet of tin, offering thanks |
| Late Middle Ages (1300-1499) and Renaissance | | | | to a particular saint or sacred figure for being a |
| (1500-1700) graduated to huge and intricate level. | | | | savior. Ex-votos carry a short narration. Retablo is |
| Usually made of wood, these artworks stood as | | | | the evidentiary proof of communication between |
| high as 40 feet or more. This creative genre soon | | | | the human and the divine. Most significant part of |
| reached the new Spanish Empire in America. By | | | | a Retablo is the reproduction of some miraculous |
| the late eighteenth century, Retablos gathered | | | | event. Therefore, bright, vibrant colors were used |
| themselves in the form of small religious paintings. | | | | to portray the supremacy of the event. |
| Soon Retablos proliferated as a token of | | | | Conclusion |
| devotional thanksgiving to almighty and saints | | | | After entering Peru and America 500 years ago, |
| among every Roman Catholic, through the globe. | | | | Retablo is much alive even today. Though it is not |
| By the nineteenth century, lithography replaced | | | | used as a ritualistic part of a branding ceremony, |
| printmaking for Retablos. | | | | it is an outlet into the modern life and the |
| In 1940s, many artists started using Retablo for | | | | collective social thinking of the Andean people. We |
| insisting and recording the distinct identity of the | | | | can describe this genre of art as colorful, spiritual, |
| natives in the Andean region. Retablos would have | | | | historical, allegoric, symbolic, and charming. |