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The circulation of engraved images across the Isthmus of Panama functioned as the sediment upon which the viceregal imaginary was articulated. Through a long-term process, the European print—specifically Flemish examples—emerged as the conceptual matrix for regional workshops, fostering an iconographic re-semantization that transcended mechanical transposition. This dynamic of appropriation materializes in works such as the Christomorphic Trinity (1758) by Joseph Samaniego in Natá, or the unique devotion to Jesús de las Maravillas in Dolega (ca. 1795), where local visual arts reveal Dorasque-Changuina ethnic agency. Through a methodology of iconographic analysis and documentary review, the study examines these processes to demonstrate how the periphery transforms into a creative center. The results highlight an artistic genealogy that divests Panama of its traditional status as a passive periphery, positioning it instead as an active and fundamental axis of articulation within the cartography of the Hispanic American Baroque.
