Huamanga stone carving is one of the handicrafts that emerges as soon as
Ayacucho is mentioned, it is in this artistic field where the most varied and
interesting application of Huamanga stone is found.
This expression has an important historical and artistic trajectory for being
present in the cultural, social, and economic practices of the Ayacucho
society, as well as for the creativity and talent of the artists.
It is documented that from the beginning of the Colony, in Ayacucho,
alabaster was carved, a stone like marble, but softer and more translucent.
During the Viceroyalty, the carving figures stood out because it had been
complying the evangelizing role designed by the Catholic Church and the
Spanish Crown; so, they deal with themes like the Virgin Mary, Jesus, and
the saints, as well as passages from the Old Testament.
Later, in the 18th century, secular and costumbrist themes were introduced.
The artists used to representant figures of young musicians, reclining ladies,
among others. Later, in the 19th century, the artists would create
compositions in accordance with the tastes of the bourgeoisie, such as the
fight for emancipation from Spain or the expression of rivalries between
Huamanga and Cusco.
Likewise, the isolation that Ayacucho suffered due to the terrorist violence
at the end of the 20th century caused a certain decline in the stone carving
production of Huamanga to the point of almost disappearing.
However, thanks to the efforts of the Peruvian government and the
Ayacucho people, the art of stone carving in Huamanga has been recovered,
restoring its splendor.
Thus, to this day, the art of stone carving in Huamanga continues to be
produced and marketed, but has already been declared Cultural Heritage of
the Nation by the Ministry of Culture.
