Retablo

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In the world of folklore, a retablo (or lamina) is a small oil painting on any variety of surface, typically a wood carving. The Latin etymology of this Spanish word means "board behind"^[1]. Used to honor different saints of the Catholic Church, the retablo grew in popularity as the indigenous people of South America were converted by Catholic missionaries. Retablos are designated as “portable, flat, two-dimensional, painted wood or relief panel” designs (Lange 55).

Contents 1 Historical usage 1.1 Lithography and Retablos 2 Modern usage 3 Source Information

[edit] Historical usage

Aside from being found behind the altar, “similar ornamental structures are built and carved over facades and doorways” (Fernandez 23). The oil painted retablos generated the need for “small retablo factories” to be established in order to “reproduce the same images” which were then “sold to devout believers who displayed them in home altars to honor their patron Saints” Retablo history. Not only were the retablos purchased by those wanting to worship their patron Saints, they were also given when the saints were there for their worshipers in hard times. When one wanted to express gratitude they could give retablos that described “the miraculous deed of a saint to whom the petitioner turned to in a time of need” (Correa 113). All of the numerous saints depicted on the retablos were thought to each remedy an array of problems faced on a daily basis. People often called upon these saints to bless them for events such as harvests or feasts.

[edit] Lithography and Retablos

As time marched on, the process of lithography became very important to the preservation of these religious artifacts. At the dawn of the 16th Century, moveable-type printing had just been introduced shortly before Christopher Columbus had set out for his journey to the new world. Catholic missionaries who accompanied the explorers on these journeys often carried with them religious mementos to provide them with safety and protection. Through the use of lithography, retablos were easily reproduced. Soon, even the indigenous people were utilizing lithography to preserve and archive the retablos. Through the use of lithography, the people of Latin America were able to replicate many religious figures and incorporate these figures into use in their everyday lives.

[edit] Modern usage

In Latin America, the retablos are used as devotional images and most are multi-paneled creations. Likewise, many churches now use the retablo as an aesthetic and nod to the rich Catholic tradition in Latin America.

The presence of the retablos not only in the church, but in individual homes represents the continued importance of worshiping religious figures within Latin America. The peoples of Latin America depend upon religious figures such as their Patron Saints to maintain balance within their lives. It was important for them to pay homage to their Saints to show their appreciation for the blessings in their lives. The retablos allowed the religious artifacts to have a presence not only in a house of worship, but in the houses of all.

[edit] Source Information

1. Lange, Yvonne. “Lithography, an Agent of Technological Change in Religious Folk Art: A Thesis.” Western Folklore 33 (1974): 51-64.
2. Correa, Phyllis M. “Otomi Rituals and Celebrations: Crosses, Ancestors, and Resurrection.” The Journal of American Folklore 113 (2000): 436-450.
3. Fernandez, Justino. “An Aesthetic of Mexican Art: Ancient and Modern.” The Journal of Aesthetics and Art Criticism 23 (1964): 21-28.
4. Retablo history