Peru · Fine-Art-Adjacent Workshop Craft

Sarhua Genealogical Painted Board

Tabla de Sarhua; the gifting ceremony is called tabla apaykuy

A narrative painted-wood-plank tradition from Sarhua, Víctor Fajardo province, Ayacucho, in which relatives and godparents gift a family newly finishing a house with a two-to-three-meter wooden board painted with the household's genealogy, occupations, and good wishes, hung on the home's main roof beam as a symbol of protection during the tabla apaykuy ceremony. Read narratively from bottom to top, the boards likely descend from colonial-era Andean church roof-beam painting and possibly earlier ayllu family-history record-keeping; since the 1960s, Sarhuino artists working in Lima (organized as the Asociación de Artistas Populares de Sarhua, ADAPS) have extended the form beyond its original house-blessing function into documentary art addressing migration and the political violence of the 1980s–1990s, and the tradition was declared Peruvian national Cultural Patrimony in 2018.

Risk level: Vulnerable · Not UNESCO-inscribed; declared Peruvian national Cultural Patrimony (Pintura tradicional de Sarhua) by the Ministry of Culture on 29 October 2018

Geographic Center
Sarhua, Víctor Fajardo province, Ayacucho department; also actively produced by the Sarhuino diaspora artist community in Lima since the 1960s
Community / Ethnic Group
Sarhuino Quechua-Andean community
Estimated Origin
Possible colonial-era origin, based on stylistic parallels with painted roof beams and interior murals of Andean churches from the late viceregal period, including specific parallels noted with Sarhua's own parish church; some of the oldest surviving traditional tablas are dated to the 19th century; possibly connected to pre-Hispanic ayllu (kinship-group) practices of recording family history
Cultural Function
Originally a house-blessing gift: when a couple finished building a new home, relatives and godparents (padrinos) commissioned or gifted painted boards depicting the family's genealogy and each household member's occupation, hung on the main roof beam as a protective symbol during the tabla apaykuy ceremony, in which family and godparents processed together; since the mid-20th century, the form has also become a vehicle for documenting migration, political violence, and collective memory
Primary Materials
Wood, traditionally from wild local tree species including pati, aliso (alder), and eucalyptus; natural earth pigments (tierras de colores)
Primary Tools
A bird feather, used specifically to outline each painted figure and the fine details of clothing — documented as a shared tool convention preserved identically across both the Sarhua-based and Lima-based technique traditions; sandpaper or a plane, used to smooth the wood surface before base-coating
Process Overview
Select and fully dry a wooden plank (traditionally pati, alder, or eucalyptus); sand or plane the surface smooth; apply a base coat (white earth in Sarhua, or gypsum/white paint/synthetic glue in Lima); outline figures and clothing detail using a bird feather; paint the board's fixed narrative sequence — dedication, patron saint, family genealogical and occupational scenes — using natural earth-and-collagen paint (Sarhua) or acrylic paint (Lima), read from bottom to top.
Traditional Applications
A house-blessing gift, hung on the main roof beam of a newly completed home as a protective symbol, depicting the household's genealogy, occupations, and good wishes
Contemporary Applications
Continued traditional house-blessing production in Sarhua; documentary and memory-focused art produced by the Lima-based diaspora community addressing migration and the political violence of the 1980s–1990s; sold as tourist art, fine art pieces, and museum/collection works; used in guided educational workshops (Sarhua tourism circuit) where visitors can paint their own mini-tabla
Notable Practitioners
Primitivo Evanán, described directly by his nephew as "el principal promotor de este antiguo arte" (the principal promoter of this ancient art), a foundational figure in the Lima-based Sarhuino artist community and co-founder of the Asociación de Artistas Populares de Sarhua (ADAPS); Pompeyo Berrocal Evanán, born in Sarhua on 14 December 1961, who learned the craft in Lima from his uncle Primitivo Evanán; Carmelón Berrocal Evanán, co-author with historian Pablo Macera and Rosaura Andazábal of the published academic-artistic work "Flora y fauna de Sarhua: pintura y palabra" (1999); Valicha Evanán, a contemporary practitioner documented alongside Primitivo Evanán; Venuca, a contemporary Lima-based Sarhuino artist directly interviewed on the specific technical distinctions between the Sarhua and Lima paint-preparation methods
Key References
El Comercio Perú ("Tablas de Sarhua: La herencia viva de un pueblo que pinta su historia"); Arte y Antropología blog ("La tablas pintadas de Sarhua: Pompeyo Berrocal Evanán," first-person practitioner account); RPP ("Tablas de Sarhua: arte ancestral que resiste al tiempo como legado familiar," direct technical interview with Venuca and Primitivo); Wikipedia ("Tablas de Sarhua," citing the 2018 Cultural Patrimony decree and academic sources); Eduforics/OES ("Valoremos nuestra historia personal... en una tabla de Sarhua"); Academia.edu (doctoral dissertation abstract, "Tablas de Sarhua: estéticas indígenas en el contexto del arte peruano contemporáneo"); Marvelous Peru ("Sarhua y sus Tablas de Sarhua: Historia, Guía, Precios y Consejos")
Verification Status
Desk-Researched

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