Grafica prehispanica michoacan pdf

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FONDO ESTATAL PARA LA CULTURA Y LAS ARTES DE MICHOACAN

GRAFICA PREHISPANICA DE MICHOACAN 2

Alejandro Delgado

INSTITUTO MICHOACANO DE CULTURA CONSEJO NACIONAL PARA LA CULTURA Y LAS ARTES

UNIVERSIDAD MICHOACANA DE SAN NICOLAS DE HIDALGO


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Título Original: Alejandro Delgado << GRAFICA PREHISPANICA DE MICHOACAN >> Primera Edición: © 1999 Instituto Michoacano de Cultura. © 1999 Universidad Michoacana de San Nicolás de Hidalgo. D.R. Por el autor.

© 1999. Diseño e ilustraciones por el autor. Fotografías: Sandra McIntire. Asistente de Internet: Lucía Cervantes Castro.


C O N T E N I D O

1 PROLOGO Jos茅 Antonio Alvarado

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PAG. 5

2 PREFACIO Alejandro Delgado

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3 INTRODUCCION Marco Antonio L贸pez L贸pez

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4 GRAFICA PREHISPANICA DE MICHOACAN 5 BIBLIOGRAFIA

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Anillo de la Eternidad. Atribuido a Alberto Durero,

126.- Vasija de Serpiente. Decoraciรณn en vasija de EDUUR (VWLOL]DFLyQ VLQWpWLFD de serpiente en estructura FLUFXODU SHULPHWUDO &RUR +XLQJR 0LFK


INTRODUCCION

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PXFKRV GH HVWRV GRFXPHQWRV ORV TXH GHVSXpV VH GHVWUX\HURQ R VH SHUGLHURQ \ VRQ ELHQ SRFRV ORV TXH VH FRQVHUYDQ HQWUH ORV WHVWLPRQLRV VH FXHQWDQ ORV GH )UD\ 'LHJR 'XUiQ )UD\ %HUQDUGLQR GH 6DKDJ~Q )UD\ 7RULELR GH %HQDYHQWH 0RWROLQLD HQWUH RWURV SRU HMHPSOR QRV GLFH GH HOOR )UD\ 'LHJR GH /DQGD OR VLJXLHQWH " Que escribĂ­an sus libros en unas hoias largas dobladas con pliegues que se venĂ­a a cerrar toda entre dos tablas que hacĂ­an muy galanas, y que escribĂ­an de una parte y de otra a columnas, segĂşn eran los pliegues; y que este papel lo hacĂ­an de las raĂ­ces de un ĂĄrbol y que te daban un lustre blanco en que se podĂ­a escribir bien". (1) < )UD\ %HUQDUGLQR GH 6DKDJ~Q GLFH SRU VX SDUWH OR VLJXLHQWH

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14

" Esta gente no tenĂ­a letras ni caracteres algunos, nĂ­ sabĂ­an leer ni escribir, comunicĂĄbanse por imĂĄgenes y pinturas y todas las antigua\DV VX\DV \ OLEURV TXH WHQtDQ GH HOODV HVWDEDQ SLQWDGRV FRQ ÂżJXUDV H imĂĄgenes, de tal manera que sabĂ­an y tenĂ­an memoria de las cosas que sus antepasados habĂ­an hecho y habĂ­an dejado en sus anales por mĂĄs de mil aĂąos atrĂĄs, antes que vinieran los espaĂąoles ". (2)

)LJXUD GHO FyGLFH 9LQGRER QHQVLV (ODERUDFLyQ GHO 0D ODFDWH GHFRUDGR FRQ GLVHĂąos incisivos que originaron ORV VHOORV GH EDUUR 0XVHR Nacional de AntropologĂ­a e +LVWRULD 1 /DQGD )UD\ 'LHJR GH RelaciĂłn de las Cosas de YucatĂĄn (GLW 3RUU~D 0p[LFR S

< VL KDEtD OLEURV FRPR TXHGy GLFKR TXLHUH GHFLU TXH KDEtD SHUVRQDV TXH VH GHGLFDEDQ D HODERUDUORV pVWDV HUDQ ORV DUWLVWDV ORV TXH PDQHMDEDQ ORV FRORUHV GH 2 6DKDJ~Q )UD\ %HUQDUGLQR GH Historia General de las ORV FyGLFHV OD WLQWD QHJUD \ OD WLQWD URMD FRPR VH SXHGH OHHU HQ XQ SRHPD TXH QRV Cosas de la Nueva EspaĂąa. GHVFULEH FODUDPHQWH HVWH RÂżFLR \ TXH GLFH 7 ,,, "El pintor: la tinta negra y roja, artista, creador de cosas con el agua negra. DiseĂąa las cosas con el carbĂłn, las dibuja, prepara el color negro, lo muele, lo aplica". (3) (O SLQWRU HUD XQ DUWLVWD \ HO DUWH HQWUH ORV SXHEORV LQGtJHQDV VH IXH FRQ IRUPDQGR D WUDYpV GHO WLHPSR FRQ LQQXPHUDEOHV LQĂ€XHQFLDV GH XQRV SXHEORV

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FRQ ORV RWURV SRU HO FRQWDFWR TXH WHQtDQ D WUDYpV GHO LQWHUFDPELR GH PHUFDQFtDV FRPHUFLR TXH VH FRQYHUWtD HQ LQWHUFDPELR FXOWXUDO \ TXH FRQ HO WLHPSR SURGXMR WRGR HVH SURFHVR GH DFXOWXUDFLyQ SRU HMHPSOR ORV LQIRUPDQWHV GH 6DKDJ~Q SUHVHQWDQ XQD YHUVLyQ GH OR TXH HUD SDUD ORV D]WHFDV HO DUWH SDUD HOOR VH GHEH GH HQWHQGHU TXH ORV D]WHFDV VH FRQVLGHUDEDQ HOORV PLVPRV XQ SXHEOR KHUHGHUR GH OD FXOWXUD WROWHFD TXH FRQFLEH GLFKR RULJHQ HQ WLHPSRV SDVDGRV HQ GRQGH WRGR IXH EXHQR \ KHUPRVR HQ HVH WLHPSR QDFLy HO 7ROWHFi\RWO HO FRQMXQWR GH ODV DUWHV \ GH OD ยฟORVRItD H LGHDOHV GH HVWH SXHEOR RULJLQDULR GH 7XOD SRU HOOR ORV D]WHFDV FXDQGR VH TXHUtDQ UHIHULU D DOJXLHQ VHxDODQGR TXH HUD XQ DUWLVWD XWLOL]DEDQ HO WpUPLQR GH WROWHFD FRPR XQ VLQyQLPR FRPR VH SXHGH DSUHFLDU HQ HO VLJXLHQWH WH[WR TXH HV XQ FRQVHMR TXH GD XQ SDGUH D VX KLMD HQ GRQGH OH UHFRPLHQGD " Abre bien los ojos para ver cรณmo es el arte tolteca, cuรกl el arte de las plumas, cรณmo bordan con colores, cรณmo entreveran los hilos, cรณmo los tiรฑen, las mujeres, las que son como tรบ, las seรฑoras nuestras, las mujeres nobles". (5)

15

7DPELpQ FRPR VH VHxDOD HQ HO SRHPD GHO SLQWRU TXH GLFH "Traza las sombras, logra un perfecto acabado. Como sรญ fuera un tolteca, SLQWD ORV FRORUHV GH WRGDV ODV ร RUHV

$UWLVWD GHO WH[WLO $UFKLYR *XVWDYR &DVDVROD 4 /HyQ 3RUWLOOD 0LJXHO Filosofรญa Nรกhuatl. UNAM / Instituto de Investigaciones +LVWyULFDV 0p[LFR S 5 $QyQLPR Consejos de un

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3HUR QR WRGRV ORV SLQWRUHV HUDQ EXHQRV KDEtD XQRV EXHQRV \ RWURV PDORV ORV PDORV HUDQ ORV ยฉTXH PHWtDQ ODV FRVDV HQ OD QRFKHยช SRU HO FRQWUDULR ORV EXHQRV OR HUDQ SRUTXH SRVHtDQ D 'LRV OR WHQtDQ HQ VX SURSLR FRUD]yQ FRPR VH VHxDOD HQ HO VLJXLHQWH SRHPD "El buen pintor: tolteca dueรฑo de la tinta negra y roja, creador de las cosas con el agua negra... el buen pintor: entendido Dios en su corazรณn, diviniza con su corazรณn a las cosas, dialoga con su propio corazรณn. Conoce los colores, los aplica, sombrea;

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logra un perfecto acabado. Todos los colores aplica a las cosas, como si fuera un tolteca, SLQWD ORV FRORUHV GH WRGDV ODV ร RUHV

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(UD HVWD IRUPD FRPR VH FRQFHEtD VH KDFtD DUWH HQWUH ORV DQWLJXRV PH[LFD QRV HUD HO DUWH SRU OR WDQWR OD GLYLQL]DFLyQ GH ODV FRVDV (VDV FXDOLGDGHV VH FRQVLGHUDEDQ FRPR XQ GRQ GH 'LRV SHUR HO DUWLVWD WHQtD TXH DSURYHFKDUOR SXHV VL QR OR KDFtD FRUUtD HO ULHVJR GH SHUGHUOR "Pero el que no se percataba de esto, si lo tenรญa en nada, despreciaba su destino, como dicen, aรบn cuando fuera cantor o artista; forjador de cosas, por esto acaba con su felicidad, la pierde". (8)

16

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FRQVWLWXtD VX ¿ORVRItD VHxDOD TXH FRQ VXV GLEXMRV FRQ VX HVFULWXUD EDViQGRVH HQ VtPERORV HQFRQWUDEDQ WRGD XQD LQWHUSUHWDFLyQ GH HVWD YLGD TXH FRQ HO VHQWLPLHQWR UHOLJLRVR OH GDED VHQWLGR \ UD]yQ D OD YLGD DO GHFLU "...crea entonces enjambres de símbolos, incorpora al mundo de OR TXH QR WLHQH DOPD OD PHWiIRUD GH OD ÀRU \ HO FDQWR \ SHUPLWH que la gente del pueblo, los macehuales, viendo y 'leyendo' en las piedras en los murales y en todas sus obras de arte enjambres de símbolos, encuentren la inspiración y el sentido de sus vidas aquí en Tlalticpan, sobre la tierra". (9)

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17

"EI que da un ser al barro: de mirada aguda, moldea, amasa el barro. El buen alfarero en las cosas, enseĂąa al barro a mentir, dialoga con su propio corazĂłn, hace vivir a las cosas, las crea, todo lo conoce como si fuera un tolteca, hace hĂĄbiles sus manos". (10) (O VHQWLGR GH HQVHxDU DO EDUUR D PHQWLU HV HO GH TXH DO GDU IRUPD D pVWH KDFH TXH SDUH]FD FRPR YHUGDGHUR DTXHOOR TXH HV ÂżFWLFLR \ HQFRQWUDPRV QXHYDPHQWH HO WpUPLQR WROWHFD FRPR VLQyQLPR GH DUWLVWD (VWRV WODKXLFROHV SLQWRUHV KDEtDQ OOHJDGR D UHSUHVHQWDU HQ VXV SLQWXUDV \ GLEXMRV XQ DUWH DEVWUDFWR HQWHQGLGR FRPR 2EUDV HQWHUDPHQWH FDUHQWHV GH ÂżJXUDFLyQ HVSDFLR UHDO REMHWRV SDLVDMHV ÂżJXUDV GH VHUHV DQLPDGRV H LQFOXVR GH IRUPDV

AlfarerĂ­a actual michoacana en la que se aprecian motivos decorativos taras cos prehisSiQLFRV (O 4XHKDFHU GH XQ 3XHEOR (GLFLRQHV &DVD GH ODV $UWHVDQtDV GH 0LFKRDFiQ

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La investigaciĂłn para la realizaciĂłn de la presente publicaciĂłn, fue posible gracias al apoyo brindado por el Fondo Estatal para la Cultura y las Artes de MichoacĂĄn en convenio con el Fondo Nacional para la Cultura y las Artes, en su emisiĂłn correspondiente al aĂąo 1997.

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(O DXWRU DJUDGHFH OD FRODERUDFLyQ GH 6DQGUD 0F,QWLUH TXLHQ UHDOL]y HO UHJLVWUR IRWRJUiÂżFR GH la informaciĂłn y con quien se compartiĂł la investigaciĂłn; a los historiadores Marco Antonio LĂłpez LĂłpez, MarĂ­a Teresa CortĂŠs, Alfredo Uribe Salas por su asesorĂ­a y aliento desinteresado; a JosĂŠ Antonio Alvarado, por su genuino interĂŠs y el prĂłlogo a esta ediciĂłn; a los artistas JosĂŠ Santos SĂĄnchez, Rafael Flores, Francisco Prieto miembros de la ComisiĂłn de (YDOXDFLyQ GHO )2(6&$0 SRU VX FRQÂżDQ]D HQ HO SUR\HFWR DO SLQWRU (QULTXH 2UWHJD FRQVciente tutor del proyecto; a Gerardo Ascencio, Coordinador del FOESCAM, por su amable y HÂżFLHQWH GHVHPSHxR \ D 0LJXHO $QJHO &DOGHUyQ 6ROtV \ -HV~V *DUFtD +HUUHUD SRU VX DSR\R tĂŠcnico computacional. A mis hijas Blanca Alejandra, Estrella Maya, AmĂŠrica Minerva y Tzitzi Sharhi por su inmesurable cariĂąo e inspiraciĂłn. En los dĂ­as de ediciĂłn preprensa del presente trabajo falleciĂł Don Octavio LĂłpez Corona de quien se recibiĂł aportaciĂłn documental e informaciĂłn sobre locaciones y fuentes y de quien se guardarĂĄ fraterna memoria. Este libro se terminĂł de imprimir el de Diciembre de 1999, en los talleres Gospa, S.A. Re ediciĂłn especial para Internet: Alejandro Delgado. 2011.


ALEJANDRO DELGADO

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GRAFICA PREHISPANICA DE MIGRAFICA PREHISPANICA DE MICHOACAN CHOACAN $SUR[LPDFLyQ DO 'LVHxR *Ui多FR $QFHVWUDO $SUR[LPDFLyQ DO 'LVHxS *Ui多FR $QFHVWUDO


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