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18051_T | The Intercepted Love Letter | In The Intercepted Love Letter, how is the Description discussed? | The painting depicts a student, recognizable by his cap, the Cerevis, who uses a thread to lower a sealed love letter to the open window of the apartment under his room. In the lower window, viewers can see a young woman so busy with her handwork that she does not notice the letter. Another woman, probably her aunt or governess, notices the letter and opens her mouth in astonishment. The scene is filled with the sense of humour and irony typical of Spitzweg.
The sand-colored facade is richly structured, oblique shadows show that the scene takes place in a town with narrow streets. Spitzweg also added small details to the picture: a bird cage, the Phoenix Insurance Shield and a couple of pigeons, in an ironic metaphor for the two youngsters. | [] |
|
18051_NT | The Intercepted Love Letter | In this artwork, how is the Description discussed? | The painting depicts a student, recognizable by his cap, the Cerevis, who uses a thread to lower a sealed love letter to the open window of the apartment under his room. In the lower window, viewers can see a young woman so busy with her handwork that she does not notice the letter. Another woman, probably her aunt or governess, notices the letter and opens her mouth in astonishment. The scene is filled with the sense of humour and irony typical of Spitzweg.
The sand-colored facade is richly structured, oblique shadows show that the scene takes place in a town with narrow streets. Spitzweg also added small details to the picture: a bird cage, the Phoenix Insurance Shield and a couple of pigeons, in an ironic metaphor for the two youngsters. | [] |
|
18052_T | Temptations of Christ (Botticelli) | Focus on Temptations of Christ (Botticelli) and explore the abstract. | The Temptations of Christ is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 and located in the Sistine Chapel, Rome. | [
"Sistine Chapel",
"Sandro Botticelli",
"Rome",
"fresco"
] |
|
18052_NT | Temptations of Christ (Botticelli) | Focus on this artwork and explore the abstract. | The Temptations of Christ is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 and located in the Sistine Chapel, Rome. | [
"Sistine Chapel",
"Sandro Botticelli",
"Rome",
"fresco"
] |
|
18053_T | Temptations of Christ (Botticelli) | Focus on Temptations of Christ (Botticelli) and explain the History. | On 27 October 1480 Botticelli, together with other Florentine painters, Domenico Ghirlandaio and Cosimo Rosselli, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament. A continuity also between the divine law of the Tables and the message of Jesus, who, in turn, chose Peter (the first bishop of Rome) as his successor: this would finally result in a legitimation of the latter's successors, the popes of Rome.
Botticelli, helped by numerous assistants, painted three scenes. On 17 February 1482 his contract was renovated, including the other scenes to complete the chapel's decoration. However, on 20 February, his father died: he returned to Florence, where he remained. | [
"Sistine Chapel",
"Florence",
"Old",
"Jesus",
"Moses",
"Rome",
"Domenico Ghirlandaio",
"Pope Sixtus IV",
"left",
"Pietro Perugino",
"New Testament",
"Peter",
"Lorenzo de' Medici",
"Cosimo Rosselli"
] |
|
18053_NT | Temptations of Christ (Botticelli) | Focus on this artwork and explain the History. | On 27 October 1480 Botticelli, together with other Florentine painters, Domenico Ghirlandaio and Cosimo Rosselli, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament. A continuity also between the divine law of the Tables and the message of Jesus, who, in turn, chose Peter (the first bishop of Rome) as his successor: this would finally result in a legitimation of the latter's successors, the popes of Rome.
Botticelli, helped by numerous assistants, painted three scenes. On 17 February 1482 his contract was renovated, including the other scenes to complete the chapel's decoration. However, on 20 February, his father died: he returned to Florence, where he remained. | [
"Sistine Chapel",
"Florence",
"Old",
"Jesus",
"Moses",
"Rome",
"Domenico Ghirlandaio",
"Pope Sixtus IV",
"left",
"Pietro Perugino",
"New Testament",
"Peter",
"Lorenzo de' Medici",
"Cosimo Rosselli"
] |
|
18054_T | Temptations of Christ (Botticelli) | Explore the Description of this artwork, Temptations of Christ (Botticelli). | The Temptations of Christ depicts three episodes from the gospels, in parallel with the painting on the opposite wall, also by Botticelli, showing the Trials of Moses. A frieze, similar to that beneath the other frescos, has the inscription TEMPTATIO IESU CHRISTI LATORIS EVANGELICAE LEGIS ("The Temptations of Christ, Bringer of the Evangelic Law").
The subject of the title takes place in three scenes in the upper section of the fresco. On the left, Jesus, who has been fasting, is tempted by the Devil, in the guise of a hermit, to turn stones into bread. In the second scene of temptation, at the upper centre of the picture, the Devil has carried Jesus to the top of the temple of Jerusalem, represented by the facade of the Chapel of Santa Maria in Traspontina of the Church of Santo Spirito in Sassia in Rome. The Devil tempts Jesus to challenge God's promise that he will be protected by angels, by throwing himself down. In the third temptation, to the upper right, the Devil has taken Jesus to a high mountain where he shows him the beauties of the Earth. The Devil promises Jesus power over this domain, if he will deny God and bow down to the Devil. Jesus sends the Devil away from him, while angels come to minister to him.
In the foreground, a man whom Jesus has healed of leprosy presents himself to the High Priest at the temple, so that he may be pronounced clean. The young man carries a basin of water, in which is a bough of hyssop. A woman brings two fowls for sacrifice and another woman brings cedar wood. These three ingredients were part of the ritual of cleansing of a leper. The high priest may symbolize Moses, who transmitted the Law, and the young man may symbolically represent Christ, who, according to the Gospels, was wounded and slain for the benefit of mankind, and healed through the Resurrection so that mankind might also be made spiritually clean, and receive salvation. In Christian symbolism, many stories, such as the healing of the leper, are perceived to prefigure the crucifixion and resurrection of Jesus, or other events in his life. | [
"tempted by the Devil",
"Jesus",
"a man whom Jesus has healed of leprosy",
"Santo Spirito in Sassia",
"Resurrection",
"Moses",
"Rome",
"left",
"Trials of Moses",
"fasting",
"fresco"
] |
|
18054_NT | Temptations of Christ (Botticelli) | Explore the Description of this artwork. | The Temptations of Christ depicts three episodes from the gospels, in parallel with the painting on the opposite wall, also by Botticelli, showing the Trials of Moses. A frieze, similar to that beneath the other frescos, has the inscription TEMPTATIO IESU CHRISTI LATORIS EVANGELICAE LEGIS ("The Temptations of Christ, Bringer of the Evangelic Law").
The subject of the title takes place in three scenes in the upper section of the fresco. On the left, Jesus, who has been fasting, is tempted by the Devil, in the guise of a hermit, to turn stones into bread. In the second scene of temptation, at the upper centre of the picture, the Devil has carried Jesus to the top of the temple of Jerusalem, represented by the facade of the Chapel of Santa Maria in Traspontina of the Church of Santo Spirito in Sassia in Rome. The Devil tempts Jesus to challenge God's promise that he will be protected by angels, by throwing himself down. In the third temptation, to the upper right, the Devil has taken Jesus to a high mountain where he shows him the beauties of the Earth. The Devil promises Jesus power over this domain, if he will deny God and bow down to the Devil. Jesus sends the Devil away from him, while angels come to minister to him.
In the foreground, a man whom Jesus has healed of leprosy presents himself to the High Priest at the temple, so that he may be pronounced clean. The young man carries a basin of water, in which is a bough of hyssop. A woman brings two fowls for sacrifice and another woman brings cedar wood. These three ingredients were part of the ritual of cleansing of a leper. The high priest may symbolize Moses, who transmitted the Law, and the young man may symbolically represent Christ, who, according to the Gospels, was wounded and slain for the benefit of mankind, and healed through the Resurrection so that mankind might also be made spiritually clean, and receive salvation. In Christian symbolism, many stories, such as the healing of the leper, are perceived to prefigure the crucifixion and resurrection of Jesus, or other events in his life. | [
"tempted by the Devil",
"Jesus",
"a man whom Jesus has healed of leprosy",
"Santo Spirito in Sassia",
"Resurrection",
"Moses",
"Rome",
"left",
"Trials of Moses",
"fasting",
"fresco"
] |
|
18055_T | The Origin of the Milky Way | Focus on The Origin of the Milky Way and discuss the abstract. | The Origin of the Milky Way is a painting by the Italian late Renaissance master Jacopo Tintoretto, in the National Gallery, London, formerly in the Orleans Collection. It is an oil painting on canvas, and dates from ca.1575–1580.
According to myth, the infant Heracles was brought to Hera by his half-sister Athena, who later played an important role as a goddess of protection. Hera nursed Heracles out of pity, but he suckled so strongly that he caused Hera pain, and she pushed him away. Her milk sprayed across the heavens and there formed the Milky Way. With divine milk, Heracles acquired supernatural powers. | [
"Heracles",
"Jacopo Tintoretto",
"Hera",
"National Gallery, London",
"Athena",
"Milky Way",
"Tintoretto",
"Renaissance",
"pity",
"Orleans Collection",
"Italian",
"National Gallery",
"London"
] |
|
18055_NT | The Origin of the Milky Way | Focus on this artwork and discuss the abstract. | The Origin of the Milky Way is a painting by the Italian late Renaissance master Jacopo Tintoretto, in the National Gallery, London, formerly in the Orleans Collection. It is an oil painting on canvas, and dates from ca.1575–1580.
According to myth, the infant Heracles was brought to Hera by his half-sister Athena, who later played an important role as a goddess of protection. Hera nursed Heracles out of pity, but he suckled so strongly that he caused Hera pain, and she pushed him away. Her milk sprayed across the heavens and there formed the Milky Way. With divine milk, Heracles acquired supernatural powers. | [
"Heracles",
"Jacopo Tintoretto",
"Hera",
"National Gallery, London",
"Athena",
"Milky Way",
"Tintoretto",
"Renaissance",
"pity",
"Orleans Collection",
"Italian",
"National Gallery",
"London"
] |
|
18056_T | Head of Bhairava | How does Head of Bhairava elucidate its abstract? | The Head of Bhairava is a 16th-century mask from the Malla dynasty of Nepal that depicts the deity Bhairava. It was originally found in the Kathmandu Valley of Nepal and is currently held as part of the Zimmerman Family Collection at the Metropolitan Museum of Art in New York City.
This mask is made of gilt copper with rock crystal, is painted, and is ornamented with a diadem and earrings. The mask was missing its right ear when it was acquired by the Metropolitan Museum of Art in 2012, so they created a new ear from a different material.
Bhairava appears in several South Asian religions, including Hindu mythology, and is associated with destruction and rage. | [
"New York City",
"Malla dynasty",
"New York",
"Kathmandu Valley",
"Nepal",
"Bhairava",
"diadem",
"mask",
"Metropolitan Museum of Art",
"Hindu mythology",
"copper"
] |
|
18056_NT | Head of Bhairava | How does this artwork elucidate its abstract? | The Head of Bhairava is a 16th-century mask from the Malla dynasty of Nepal that depicts the deity Bhairava. It was originally found in the Kathmandu Valley of Nepal and is currently held as part of the Zimmerman Family Collection at the Metropolitan Museum of Art in New York City.
This mask is made of gilt copper with rock crystal, is painted, and is ornamented with a diadem and earrings. The mask was missing its right ear when it was acquired by the Metropolitan Museum of Art in 2012, so they created a new ear from a different material.
Bhairava appears in several South Asian religions, including Hindu mythology, and is associated with destruction and rage. | [
"New York City",
"Malla dynasty",
"New York",
"Kathmandu Valley",
"Nepal",
"Bhairava",
"diadem",
"mask",
"Metropolitan Museum of Art",
"Hindu mythology",
"copper"
] |
|
18057_T | Head of Bhairava | Focus on Head of Bhairava and analyze the Background. | Bhairava is considered to be a manifestation of the god Shiva. He is often depicted as a terrifying god in Hinduism, and can also be seen in some Buddhist schools and in Jainism. He is believed to have nine faces and 34 hands, and appearing as a black naked figure. Literally, Bhairava means ferociousness or terror.
The Newar people in Nepal have worshipped Bhairava as an important deity. This can be seen in the surviving Bhairava temples in Nepal. | [
"Shiva",
"Buddhist",
"Newar people",
"Jainism",
"Nepal",
"Bhairava"
] |
|
18057_NT | Head of Bhairava | Focus on this artwork and analyze the Background. | Bhairava is considered to be a manifestation of the god Shiva. He is often depicted as a terrifying god in Hinduism, and can also be seen in some Buddhist schools and in Jainism. He is believed to have nine faces and 34 hands, and appearing as a black naked figure. Literally, Bhairava means ferociousness or terror.
The Newar people in Nepal have worshipped Bhairava as an important deity. This can be seen in the surviving Bhairava temples in Nepal. | [
"Shiva",
"Buddhist",
"Newar people",
"Jainism",
"Nepal",
"Bhairava"
] |
|
18058_T | Head of Bhairava | In Head of Bhairava, how is the Description discussed? | The mask is dated to the Malla period of the 16th century, based on its similarity to an inscribed example that is dated to 1560. It was found in the Kathmandu valley of Nepal. Its distinct craftsmanship suggests that it was made by the Newar people.The mask is made of gilt and polychrome copper. It depicts Bhairava as having flames in place of hair, including for the eyebrows, around the mouth, and atop the head. The hair atop the head is colored red. It has earrings that are shaped like entwined serpents. It also has a diadem decorated with snakes, as well as skulls and inset crystals. The mask has a small hole in the mouth, which was used to dispense beer to devotees during the annual Indrayatra festival. | [
"Newar people",
"Indrayatra festival",
"Nepal",
"Kathmandu valley",
"Bhairava",
"diadem",
"mask",
"Malla period",
"copper"
] |
|
18058_NT | Head of Bhairava | In this artwork, how is the Description discussed? | The mask is dated to the Malla period of the 16th century, based on its similarity to an inscribed example that is dated to 1560. It was found in the Kathmandu valley of Nepal. Its distinct craftsmanship suggests that it was made by the Newar people.The mask is made of gilt and polychrome copper. It depicts Bhairava as having flames in place of hair, including for the eyebrows, around the mouth, and atop the head. The hair atop the head is colored red. It has earrings that are shaped like entwined serpents. It also has a diadem decorated with snakes, as well as skulls and inset crystals. The mask has a small hole in the mouth, which was used to dispense beer to devotees during the annual Indrayatra festival. | [
"Newar people",
"Indrayatra festival",
"Nepal",
"Kathmandu valley",
"Bhairava",
"diadem",
"mask",
"Malla period",
"copper"
] |
|
18059_T | Head of Bhairava | In the context of Head of Bhairava, explore the Acquisition and restoration by the Met of the Description. | It was given to the Metropolitan Museum of Art (colloquially "the Met") in New York City from the private collection of Jack and Muriel Zimmerman in 2012. Before the Met conducted conservation work, the mask was missing its right ear. The left earring had been placed where the right ear was as a substitute. John Guy, curator of the South and Southeast Asian art at the Met, was among those who decided to restore the mask.They made a prototype of the ear with modeling clay, then made a silicone-rubber mold, using materials normally used in creating dental impressions. They then carefully tested and selected a new material that they believed would have a minimal chemical- and weight-impact on the rest of the mask. The material was made in a putty-like substance and put into the mold. After it dried, it was decorated and painted to aesthetically blend in with the rest of the mask. | [
"dental impression",
"New York City",
"New York",
"conservation work",
"mask",
"Metropolitan Museum of Art"
] |
|
18059_NT | Head of Bhairava | In the context of this artwork, explore the Acquisition and restoration by the Met of the Description. | It was given to the Metropolitan Museum of Art (colloquially "the Met") in New York City from the private collection of Jack and Muriel Zimmerman in 2012. Before the Met conducted conservation work, the mask was missing its right ear. The left earring had been placed where the right ear was as a substitute. John Guy, curator of the South and Southeast Asian art at the Met, was among those who decided to restore the mask.They made a prototype of the ear with modeling clay, then made a silicone-rubber mold, using materials normally used in creating dental impressions. They then carefully tested and selected a new material that they believed would have a minimal chemical- and weight-impact on the rest of the mask. The material was made in a putty-like substance and put into the mold. After it dried, it was decorated and painted to aesthetically blend in with the rest of the mask. | [
"dental impression",
"New York City",
"New York",
"conservation work",
"mask",
"Metropolitan Museum of Art"
] |
|
18060_T | Red Square (painting) | Focus on Red Square (painting) and explain the abstract. | Painterly Realism of a Peasant Woman in Two Dimensions, more commonly known as Red Square, is a 1915 painting by Kazimir Malevich.The painting is of a red quadrilateral on a white field. According to New York Times art critic Grace Gluek, the "Peasant Woman" of the title of the work is represented in the color red of traditional Russian religious icon paintings.Red Square is currently in the collection of the Russian Museum. | [
"Grace Gluek",
"Russian religious icon paintings",
"Kazimir Malevich",
"Russian Museum",
"quadrilateral"
] |
|
18060_NT | Red Square (painting) | Focus on this artwork and explain the abstract. | Painterly Realism of a Peasant Woman in Two Dimensions, more commonly known as Red Square, is a 1915 painting by Kazimir Malevich.The painting is of a red quadrilateral on a white field. According to New York Times art critic Grace Gluek, the "Peasant Woman" of the title of the work is represented in the color red of traditional Russian religious icon paintings.Red Square is currently in the collection of the Russian Museum. | [
"Grace Gluek",
"Russian religious icon paintings",
"Kazimir Malevich",
"Russian Museum",
"quadrilateral"
] |
|
18061_T | Oaxaca en la historia y en el mito | Explore the abstract of this artwork, Oaxaca en la historia y en el mito. | Oaxaca en la historia y en el mito (English: Oaxaca in history and myth) is a mural created by Arturo García Bustos (1926-2017). García Bustos was "an artist dedicated to the humanistic struggles and liberal ideals that he expressed profoundly in his art." He painted the mural in a huge stairwell in the Palacio de Gobierno in Oaxaca. Today the location is officially known as the Museo del Palacio Universum, but it is commonly referred to as the Palacio de Gobierno. It is located in Oaxaca de Juárez, México, known in English as Oaxaca City.
A pamphlet distributed to attendees at the inauguration described the mural as a "mapamundi oaxaqueño" or a Oaxacan worldmap. The mural is a visual history of Oaxaca from prehistoric times to modern times. The images selected and not selected in a visual history are key to the final message. Bustos focused on images of the liberal traditions and reform in his interpretation of the history of Oaxaca, largely leaving out those who opposed liberal ideas and also played important roles in Oaxacan and Mexican history. This article cites academic research and government publications, with the later being prone to perpetuating what has been called "mithified" history.In the artist's words: “Cuando pinté la escalera monumental del Palacio de Gobierno de Oaxaca sentí que lo que había que revelar era la historia que contenían esos corredores por los que habían transitado muchos de los creadores de nuestra historia patria.” (“When I painted the monumental staircase of the Government Palace of Oaxaca, I felt that what had to be revealed was the history that those corridors contained through which many of the creators of our national history had passed.") Many of the individuals portrayed on the mural did not literally climb the steps and pass through the corridors where the mural now depicts their history, as the artist suggests, The Government Palace was often not usable due to earthquakes in 1787, 1801 and 1931. But the individuals in the mural did shape the history of Oaxaca and even Mexico. And if the events did not occur in the building, many occurred in the nearby Zocalo and Cathedral.
The artist also explains: “Somos un pueblo con una historia antigua que ha demostrado su genio labrando piedras para edificar ciudades que quisieron alcanzar las estrellas, espacios reales en armonía con los paisajes, el cosmos y el hombre.” (“We are a people with an ancient history that has demonstrated its genius by carving stones to build cities that wanted to reach the stars, real spaces in harmony with the landscapes, the cosmos and man”)A glossy government-sponsored book about the history of Oaxaca published in 2019, includes this summary about the mural: "Si para un visitante es interesante apreciar estos murales, para un oaxaqueño debe ser obligatorio conocer cada una de sus imágenes y sentirse orgulloso de esta tierra mexicana." ("If it is interesting for a visitor to appreciate these murals, for an Oaxacan it must be mandatory to know each of their images and feel proud of this Mexican land.")The distinguished historian, Francie Chassen-López wrote in 1989, "la historia de Oaxaca es muy poco conocida (the history of Oaxaca is very little known). Understanding what Arturo García Bustos tells us about the history of this region in Oaxaca en la historia y en el mito is a good place to start, to understand some, but not all, aspects of the history of Oaxaca. | [
"Oaxaca City",
"Arturo García Bustos",
"Oaxaca",
"English",
"Palacio de Gobierno",
"Mexica",
"liberal ideas",
"opposed",
"Oaxaca de Juárez",
"mural"
] |
|
18061_NT | Oaxaca en la historia y en el mito | Explore the abstract of this artwork. | Oaxaca en la historia y en el mito (English: Oaxaca in history and myth) is a mural created by Arturo García Bustos (1926-2017). García Bustos was "an artist dedicated to the humanistic struggles and liberal ideals that he expressed profoundly in his art." He painted the mural in a huge stairwell in the Palacio de Gobierno in Oaxaca. Today the location is officially known as the Museo del Palacio Universum, but it is commonly referred to as the Palacio de Gobierno. It is located in Oaxaca de Juárez, México, known in English as Oaxaca City.
A pamphlet distributed to attendees at the inauguration described the mural as a "mapamundi oaxaqueño" or a Oaxacan worldmap. The mural is a visual history of Oaxaca from prehistoric times to modern times. The images selected and not selected in a visual history are key to the final message. Bustos focused on images of the liberal traditions and reform in his interpretation of the history of Oaxaca, largely leaving out those who opposed liberal ideas and also played important roles in Oaxacan and Mexican history. This article cites academic research and government publications, with the later being prone to perpetuating what has been called "mithified" history.In the artist's words: “Cuando pinté la escalera monumental del Palacio de Gobierno de Oaxaca sentí que lo que había que revelar era la historia que contenían esos corredores por los que habían transitado muchos de los creadores de nuestra historia patria.” (“When I painted the monumental staircase of the Government Palace of Oaxaca, I felt that what had to be revealed was the history that those corridors contained through which many of the creators of our national history had passed.") Many of the individuals portrayed on the mural did not literally climb the steps and pass through the corridors where the mural now depicts their history, as the artist suggests, The Government Palace was often not usable due to earthquakes in 1787, 1801 and 1931. But the individuals in the mural did shape the history of Oaxaca and even Mexico. And if the events did not occur in the building, many occurred in the nearby Zocalo and Cathedral.
The artist also explains: “Somos un pueblo con una historia antigua que ha demostrado su genio labrando piedras para edificar ciudades que quisieron alcanzar las estrellas, espacios reales en armonía con los paisajes, el cosmos y el hombre.” (“We are a people with an ancient history that has demonstrated its genius by carving stones to build cities that wanted to reach the stars, real spaces in harmony with the landscapes, the cosmos and man”)A glossy government-sponsored book about the history of Oaxaca published in 2019, includes this summary about the mural: "Si para un visitante es interesante apreciar estos murales, para un oaxaqueño debe ser obligatorio conocer cada una de sus imágenes y sentirse orgulloso de esta tierra mexicana." ("If it is interesting for a visitor to appreciate these murals, for an Oaxacan it must be mandatory to know each of their images and feel proud of this Mexican land.")The distinguished historian, Francie Chassen-López wrote in 1989, "la historia de Oaxaca es muy poco conocida (the history of Oaxaca is very little known). Understanding what Arturo García Bustos tells us about the history of this region in Oaxaca en la historia y en el mito is a good place to start, to understand some, but not all, aspects of the history of Oaxaca. | [
"Oaxaca City",
"Arturo García Bustos",
"Oaxaca",
"English",
"Palacio de Gobierno",
"Mexica",
"liberal ideas",
"opposed",
"Oaxaca de Juárez",
"mural"
] |
|
18062_T | Oaxaca en la historia y en el mito | Focus on Oaxaca en la historia y en el mito and discuss the Opposition to Arturo García Bustos painting the mural. | The contract to paint the mural was granted without competition, by the governor Eliseo Jiménez Ruiz after an initial conservation with the brother of García Bustos. In the 1950s Arturo García Bustos had taught art in Oaxaca and travelled extensively in the state, until he was released for his Marxist views. In the 1960s he painted a mural about Oaxaca in the National Museum of Antropologia but he was not from Oaxaca. Whereas famous Mexican artists Rufino Tamayo, Francisco Toledo and Rodolfo Morelos were from Oaxaca City or the State of Oaxaca.
On May 27, 1978, The Oaxacan artist Rufino Tamayo published a letter to the editor stating that the artistic experience of García Bustos, known better for his engravings, "nada tiene que ver con la pintura y mucho menos con la pintura mural." ("his engravings have nothing to do with painting, much less with mural painting.") On June 5, 1978, 18 Oaxacans, from different professional and artistic domains wrote a letter to the editor supporting Garcia Bustos.Garcia Bustos started the mural in mid-1979 and it was officially inaugurated on November 29, 1980. | [
"Oaxaca City",
"Arturo García Bustos",
"Oaxaca",
"Mexica",
"Morelos",
"mural"
] |
|
18062_NT | Oaxaca en la historia y en el mito | Focus on this artwork and discuss the Opposition to Arturo García Bustos painting the mural. | The contract to paint the mural was granted without competition, by the governor Eliseo Jiménez Ruiz after an initial conservation with the brother of García Bustos. In the 1950s Arturo García Bustos had taught art in Oaxaca and travelled extensively in the state, until he was released for his Marxist views. In the 1960s he painted a mural about Oaxaca in the National Museum of Antropologia but he was not from Oaxaca. Whereas famous Mexican artists Rufino Tamayo, Francisco Toledo and Rodolfo Morelos were from Oaxaca City or the State of Oaxaca.
On May 27, 1978, The Oaxacan artist Rufino Tamayo published a letter to the editor stating that the artistic experience of García Bustos, known better for his engravings, "nada tiene que ver con la pintura y mucho menos con la pintura mural." ("his engravings have nothing to do with painting, much less with mural painting.") On June 5, 1978, 18 Oaxacans, from different professional and artistic domains wrote a letter to the editor supporting Garcia Bustos.Garcia Bustos started the mural in mid-1979 and it was officially inaugurated on November 29, 1980. | [
"Oaxaca City",
"Arturo García Bustos",
"Oaxaca",
"Mexica",
"Morelos",
"mural"
] |
|
18063_T | Oaxaca en la historia y en el mito | How does Oaxaca en la historia y en el mito elucidate its The roots of Mexican Muralism? | A discussion of modern Mexican muralism begins with José Vasconcelos Calderón (1882–1959). He is one of the many readily identifiable history makers portrayed on the mural. Vasconcelos was a colorful and influential leader from Oaxaca. After the Mexican Revolution ended in 1921, as the Secretary of Education, he obtained a large budget and generated projects to foster nationalism. His Secretariat of Education sponsored large patriotic murals in public spaces.
Arturo García Bustos, as a child, living in El Centro of Mexico City, observed these patriotic murals being painted. Later he studied mural painting from the original muralists such as Diego Rivera who were being funded as part of this nationalist art and Frida Kahlo (with Los Fridos). He collaborated with Kahlo on murals on a daily basis in the mid-1940s. The mural Oaxaca en la historia y el mito springs from the roots of muralism and nationalism that José Vasconcelos planted some 50 years before García Bustos painted this mural.
Vasconcelos, a man with deep connections to the past, lived in Coyoacán, a colonial neighbourhood of Mexico City in the home that Hernán Cortés is said to have built for his interpteter-mistress Marina, sometimes referred to as, La Malinche, 500 years ago. García Bustos, always the champion of Mexican history and antiquity, purchased the home in the early 1960s and lived there for half a century, painting with his wife, the artist, Rina Lazo. | [
"nationalist art",
"Arturo García Bustos",
"Oaxaca",
"Hernán Cortés",
"Rina Lazo",
"José Vasconcelos",
"Mexican Muralism",
"Mexican muralism",
"José Vasconcelos Calderón",
"Mexica",
"La Malinche",
"Diego Rivera",
"colonial",
"Mural",
"Mexican Revolution",
"Frida Kahlo",
"mural"
] |
|
18063_NT | Oaxaca en la historia y en el mito | How does this artwork elucidate its The roots of Mexican Muralism? | A discussion of modern Mexican muralism begins with José Vasconcelos Calderón (1882–1959). He is one of the many readily identifiable history makers portrayed on the mural. Vasconcelos was a colorful and influential leader from Oaxaca. After the Mexican Revolution ended in 1921, as the Secretary of Education, he obtained a large budget and generated projects to foster nationalism. His Secretariat of Education sponsored large patriotic murals in public spaces.
Arturo García Bustos, as a child, living in El Centro of Mexico City, observed these patriotic murals being painted. Later he studied mural painting from the original muralists such as Diego Rivera who were being funded as part of this nationalist art and Frida Kahlo (with Los Fridos). He collaborated with Kahlo on murals on a daily basis in the mid-1940s. The mural Oaxaca en la historia y el mito springs from the roots of muralism and nationalism that José Vasconcelos planted some 50 years before García Bustos painted this mural.
Vasconcelos, a man with deep connections to the past, lived in Coyoacán, a colonial neighbourhood of Mexico City in the home that Hernán Cortés is said to have built for his interpteter-mistress Marina, sometimes referred to as, La Malinche, 500 years ago. García Bustos, always the champion of Mexican history and antiquity, purchased the home in the early 1960s and lived there for half a century, painting with his wife, the artist, Rina Lazo. | [
"nationalist art",
"Arturo García Bustos",
"Oaxaca",
"Hernán Cortés",
"Rina Lazo",
"José Vasconcelos",
"Mexican Muralism",
"Mexican muralism",
"José Vasconcelos Calderón",
"Mexica",
"La Malinche",
"Diego Rivera",
"colonial",
"Mural",
"Mexican Revolution",
"Frida Kahlo",
"mural"
] |
|
18064_T | Oaxaca en la historia y en el mito | Focus on Oaxaca en la historia y en el mito and analyze the General Description. | The mural covers 220 m2 (2,400 sq ft) of wall space with some 100 images of objects, people and events, making a semi-circle around a large internal stairwell.The artist used the elaborate, time-consuming encaustic technique, using heated wax. The mural tells the stories of Huaxyacac-Antequera-Oaxaca-Oaxaca de Juárez (0axaca City) in three horizontal layers.
It is said that the bottom layer of each panel pictures everyday life. The middle layer illustrates forces and events shaping the history of Oaxaca. The third, or top layer of the mural, represents the ideals and leaders of Oaxaca through the three eras portrayed. The artist divided the history of the area now known as Oaxaca into three panels, representing different timeframes, in chronological order; Prehispanic, sometimes called the pre-Columbian era, of some 10,000 or maybe 20,000 years ago to 1521, the second era is colonial times (1521 to 1821) and the third panel represents the Mexican War of Independence , the Reform War, the Second French Intervention and The Mexican Revolution (1810 to 1921 and beyond). | [
"Prehispanic",
"Oaxaca",
"Second French Intervention",
"Mexica",
"Reform War",
"War of Independence",
"Independence",
"Mexican War of Independence",
"colonial",
"Antequera",
"The Mexican Revolution",
"Oaxaca de Juárez",
"Mexican Revolution",
"encaustic technique",
"mural"
] |
|
18064_NT | Oaxaca en la historia y en el mito | Focus on this artwork and analyze the General Description. | The mural covers 220 m2 (2,400 sq ft) of wall space with some 100 images of objects, people and events, making a semi-circle around a large internal stairwell.The artist used the elaborate, time-consuming encaustic technique, using heated wax. The mural tells the stories of Huaxyacac-Antequera-Oaxaca-Oaxaca de Juárez (0axaca City) in three horizontal layers.
It is said that the bottom layer of each panel pictures everyday life. The middle layer illustrates forces and events shaping the history of Oaxaca. The third, or top layer of the mural, represents the ideals and leaders of Oaxaca through the three eras portrayed. The artist divided the history of the area now known as Oaxaca into three panels, representing different timeframes, in chronological order; Prehispanic, sometimes called the pre-Columbian era, of some 10,000 or maybe 20,000 years ago to 1521, the second era is colonial times (1521 to 1821) and the third panel represents the Mexican War of Independence , the Reform War, the Second French Intervention and The Mexican Revolution (1810 to 1921 and beyond). | [
"Prehispanic",
"Oaxaca",
"Second French Intervention",
"Mexica",
"Reform War",
"War of Independence",
"Independence",
"Mexican War of Independence",
"colonial",
"Antequera",
"The Mexican Revolution",
"Oaxaca de Juárez",
"Mexican Revolution",
"encaustic technique",
"mural"
] |
|
18065_T | Oaxaca en la historia y en el mito | In Oaxaca en la historia y en el mito, how is the Prehispanic Panel discussed? | The Prehispanic panel celebrates the lives, values and achievements of indigenous people before the arrival of the Spaniards. This is a common subject of Mexican Muralism. The panel highlights mountains and two types of prehispanic structures are depicted, several domestic and artistic skills, the development of agriculture is examined. As well the panel reveals how codices are made and used as well as García Bustos demonstrates a gold disc being prepared and we see tribute being collected. | [
"Prehispanic",
"Mexican Muralism",
"Mexica",
"Prehispanic panel",
"Mural"
] |
|
18065_NT | Oaxaca en la historia y en el mito | In this artwork, how is the Prehispanic Panel discussed? | The Prehispanic panel celebrates the lives, values and achievements of indigenous people before the arrival of the Spaniards. This is a common subject of Mexican Muralism. The panel highlights mountains and two types of prehispanic structures are depicted, several domestic and artistic skills, the development of agriculture is examined. As well the panel reveals how codices are made and used as well as García Bustos demonstrates a gold disc being prepared and we see tribute being collected. | [
"Prehispanic",
"Mexican Muralism",
"Mexica",
"Prehispanic panel",
"Mural"
] |
|
18066_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, explore the Mountains and Lightning of the Prehispanic Panel. | The top left corner of the prehispanic panel depicts a mountain and the other two panels of the mural also contain mountains, a reminder that 90% of the State of Oaxaca is mountainous. This terrain has strongly impacted the history and myths of Oaxaca as reflected in several elements of the prehispanic panel. The isolation created by the mountains, called Sierra Madre de Oaxaca and the Sierra Norte de Oaxaca have helped to generate and sustain 16 formally registered indigenous peoples of Oaxaca. An immense map in the National Museum of Antropología in Mexico City, (see below) captures the predominance of mountains surrounding in the state of Oaxaca. The prehispanic city state called . Monte Albán, appears in green in the map below. Some 20 other prehispanic settlements also appear on the map. An immense lake, supposedly in the Oaxaca Valley would have been a source of food.
The top left corner of the panel also depicts Lightning bolts emanating from the sky. This gives us a hint of the power that Zapotecs and Mixtecs saw in lightning and the sky as the source of life. And García Bustos also depicts Lightning bolts sending energy to the maize (corn) in the milpa. | [
"Oaxaca",
"Mixtec",
"Sierra Norte de Oaxaca",
"Mountains and Lightning",
"maize",
"Zapotec",
"Zapotecs",
"milpa",
"Sierra Madre de Oaxaca",
"indigenous peoples of Oaxaca",
"Monte Albán",
"mural",
"left"
] |
|
18066_NT | Oaxaca en la historia y en el mito | In the context of this artwork, explore the Mountains and Lightning of the Prehispanic Panel. | The top left corner of the prehispanic panel depicts a mountain and the other two panels of the mural also contain mountains, a reminder that 90% of the State of Oaxaca is mountainous. This terrain has strongly impacted the history and myths of Oaxaca as reflected in several elements of the prehispanic panel. The isolation created by the mountains, called Sierra Madre de Oaxaca and the Sierra Norte de Oaxaca have helped to generate and sustain 16 formally registered indigenous peoples of Oaxaca. An immense map in the National Museum of Antropología in Mexico City, (see below) captures the predominance of mountains surrounding in the state of Oaxaca. The prehispanic city state called . Monte Albán, appears in green in the map below. Some 20 other prehispanic settlements also appear on the map. An immense lake, supposedly in the Oaxaca Valley would have been a source of food.
The top left corner of the panel also depicts Lightning bolts emanating from the sky. This gives us a hint of the power that Zapotecs and Mixtecs saw in lightning and the sky as the source of life. And García Bustos also depicts Lightning bolts sending energy to the maize (corn) in the milpa. | [
"Oaxaca",
"Mixtec",
"Sierra Norte de Oaxaca",
"Mountains and Lightning",
"maize",
"Zapotec",
"Zapotecs",
"milpa",
"Sierra Madre de Oaxaca",
"indigenous peoples of Oaxaca",
"Monte Albán",
"mural",
"left"
] |
|
18067_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, explain the Prehispanic Structures of the Prehispanic Panel. | There are two main prehispanic structures in the panel. A palace in the top left of the panel, introduced above, and a thatched open air gathering place in the middle of the panel, pictured below. The thatched or palapa roof building is what has been used throughout the history of Oaxaca and is still occasionally used today. Note the red pods against the thatch. They are produced by guaje trees and contain edible seeds that some Oaxacans consider to be a delicacy. And the name Oaxaca is derived from the word guaje.
The palace-building evokes the design of the Palace of Mitla. Mitla was inhabited by Zapotec and Mixtec people when the Spaniards arrived in the State of Oaxaca in 1521. It was known as Mitclán and as the entry to the underworld and the Mixtecs and Zapotecs buried their dead here.Comparing the two images above, the palace as painted by García Bustos strongly resembles the palace at Mitla,. However, floating in the sky in the mural, it also evokes the feeling of Monte Albán which is located 400 meters above the valley floor where Oaxaca City sits. Monte Albán was not inhabited when the Spaniards conquered what is now the state of Oaxaca. Monte Albán was built over centuries by first leveling a mountain. In approximately 600 BC, Zapotecs from surrounding towns like San José de Mogote, gathered and created the first stage of their new city state. 900 years later it had some 40,000 inhabitants and enjoyed commerce with Tenochitlan and the Mayan world. Monte Albán was an advanced community with a calendar, similar to the Aztec calendar, written language, and among other features, a building dedicated to observing the heavens. | [
"Aztec calendar",
"Prehispanic",
"Oaxaca City",
"Oaxaca",
"Mitla",
"Mixtec",
"Tenochitlan",
"Zapotec",
"Mayan",
"thatched",
"Zapotecs",
"observing the heavens",
"palapa",
"written language",
"Monte Albán",
"mural",
"left"
] |
|
18067_NT | Oaxaca en la historia y en el mito | In the context of this artwork, explain the Prehispanic Structures of the Prehispanic Panel. | There are two main prehispanic structures in the panel. A palace in the top left of the panel, introduced above, and a thatched open air gathering place in the middle of the panel, pictured below. The thatched or palapa roof building is what has been used throughout the history of Oaxaca and is still occasionally used today. Note the red pods against the thatch. They are produced by guaje trees and contain edible seeds that some Oaxacans consider to be a delicacy. And the name Oaxaca is derived from the word guaje.
The palace-building evokes the design of the Palace of Mitla. Mitla was inhabited by Zapotec and Mixtec people when the Spaniards arrived in the State of Oaxaca in 1521. It was known as Mitclán and as the entry to the underworld and the Mixtecs and Zapotecs buried their dead here.Comparing the two images above, the palace as painted by García Bustos strongly resembles the palace at Mitla,. However, floating in the sky in the mural, it also evokes the feeling of Monte Albán which is located 400 meters above the valley floor where Oaxaca City sits. Monte Albán was not inhabited when the Spaniards conquered what is now the state of Oaxaca. Monte Albán was built over centuries by first leveling a mountain. In approximately 600 BC, Zapotecs from surrounding towns like San José de Mogote, gathered and created the first stage of their new city state. 900 years later it had some 40,000 inhabitants and enjoyed commerce with Tenochitlan and the Mayan world. Monte Albán was an advanced community with a calendar, similar to the Aztec calendar, written language, and among other features, a building dedicated to observing the heavens. | [
"Aztec calendar",
"Prehispanic",
"Oaxaca City",
"Oaxaca",
"Mitla",
"Mixtec",
"Tenochitlan",
"Zapotec",
"Mayan",
"thatched",
"Zapotecs",
"observing the heavens",
"palapa",
"written language",
"Monte Albán",
"mural",
"left"
] |
|
18068_T | Oaxaca en la historia y en el mito | Explore the Domestic and Artistic Skills about the Prehispanic Panel of this artwork, Oaxaca en la historia y en el mito. | The figure above portrays five domestic and artistic skills from the Oaxaca area and other elements of prehispanic life. Starting with the background image in the top left corner, a woman prepares food with a metate which is used to grind grain and seeds. Metates were first used in México some 5,000 years ago. In the second image in the background, we see an adult tending a child. Children in Mesoamérica faced many challenges. In front of the adult and child a woman sits in her bright gown. To their left, two women appear to be weaving. Below the guaje pods, described above, and to the right are wild turkeys or guajolotes as they are known in México. The gray animals blending into their surroundings and to the left of the turkeys are Mexican hairless dogs known as Xoloitzcuintle, or Xolos. They served as pets, spiritual icons and food in prehispanic times. The two women in front of the dog are shaping pottery. One man in front appears to be carving a mask.
Placing all of these crafts surrounding one house makes it look as if people lived in self-sufficient units, making their own pottery, textiles and more. Archeological records from prehispanic times indicate that Oaxacan handicrafts have been normally made in highly specialized, specific communities. So each of the handicrafts pictured here would have been made in a distinct village, in prehispanic times as is often the case today. | [
"metate",
"Oaxaca",
"Xoloitzcuintle",
"weaving",
"Mexica",
"turkeys",
"guajolotes",
"case today",
"Metate",
"carving a mask",
"left"
] |
|
18068_NT | Oaxaca en la historia y en el mito | Explore the Domestic and Artistic Skills about the Prehispanic Panel of this artwork. | The figure above portrays five domestic and artistic skills from the Oaxaca area and other elements of prehispanic life. Starting with the background image in the top left corner, a woman prepares food with a metate which is used to grind grain and seeds. Metates were first used in México some 5,000 years ago. In the second image in the background, we see an adult tending a child. Children in Mesoamérica faced many challenges. In front of the adult and child a woman sits in her bright gown. To their left, two women appear to be weaving. Below the guaje pods, described above, and to the right are wild turkeys or guajolotes as they are known in México. The gray animals blending into their surroundings and to the left of the turkeys are Mexican hairless dogs known as Xoloitzcuintle, or Xolos. They served as pets, spiritual icons and food in prehispanic times. The two women in front of the dog are shaping pottery. One man in front appears to be carving a mask.
Placing all of these crafts surrounding one house makes it look as if people lived in self-sufficient units, making their own pottery, textiles and more. Archeological records from prehispanic times indicate that Oaxacan handicrafts have been normally made in highly specialized, specific communities. So each of the handicrafts pictured here would have been made in a distinct village, in prehispanic times as is often the case today. | [
"metate",
"Oaxaca",
"Xoloitzcuintle",
"weaving",
"Mexica",
"turkeys",
"guajolotes",
"case today",
"Metate",
"carving a mask",
"left"
] |
|
18069_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, discuss the Agriculture of the Prehispanic Panel. | The artist illustrates the birth of agriculture in Mesoamerica with four images. Thus, illustrating some of the earliest instances of agriculture in the World, some 10,000 years ago. The wild grass-like image pictured below represents teosintle. This is the grandfather of maize, often called corn. As one can gather from the example of teosintle below, it was small with a few minuscule, hard grains and creating soft, sweet corn, in large cobs, from the original wild grass was a major exercise of observation and patience.Some of the earliest evidence of the domestication of teosinte and other plants has been discovered in caves in the state of Oaxaca.
The image below illustrates a family cultivating the soil, one of the first steps in organizing agriculture. Farming is a group effort and required the move from a hunter-gatherer phase and into small farming communities such as San José Mogote which is located in the Oaxaca area,
The digging stick being used to cultivate the soil is a uictli in Náhuatl. After the Conquest, with the Spanish language dominating, it was called a coa.
The next image illustrates a man and a woman working the ground with a uictli. The man and woman are working in a milpa.The woman's skirt appears to be woven, a step up from the loosely draped garment of the previous figure. Perhaps it was woven at Monte Alban more than 2,000 years ago. In addition to the corn growing behind them, there is squash growing at their feet, as seen in the image below, an element of the three sisters method of cultivation.The man has a gourd around his waist. Gourds were used as a container for seeds 8,000 years ago, or longer. | [
"Oaxaca",
"birth of agriculture in Mesoamerica",
"World",
"San José Mogote",
"maize",
"three sisters",
"milpa",
"teosintle"
] |
|
18069_NT | Oaxaca en la historia y en el mito | In the context of this artwork, discuss the Agriculture of the Prehispanic Panel. | The artist illustrates the birth of agriculture in Mesoamerica with four images. Thus, illustrating some of the earliest instances of agriculture in the World, some 10,000 years ago. The wild grass-like image pictured below represents teosintle. This is the grandfather of maize, often called corn. As one can gather from the example of teosintle below, it was small with a few minuscule, hard grains and creating soft, sweet corn, in large cobs, from the original wild grass was a major exercise of observation and patience.Some of the earliest evidence of the domestication of teosinte and other plants has been discovered in caves in the state of Oaxaca.
The image below illustrates a family cultivating the soil, one of the first steps in organizing agriculture. Farming is a group effort and required the move from a hunter-gatherer phase and into small farming communities such as San José Mogote which is located in the Oaxaca area,
The digging stick being used to cultivate the soil is a uictli in Náhuatl. After the Conquest, with the Spanish language dominating, it was called a coa.
The next image illustrates a man and a woman working the ground with a uictli. The man and woman are working in a milpa.The woman's skirt appears to be woven, a step up from the loosely draped garment of the previous figure. Perhaps it was woven at Monte Alban more than 2,000 years ago. In addition to the corn growing behind them, there is squash growing at their feet, as seen in the image below, an element of the three sisters method of cultivation.The man has a gourd around his waist. Gourds were used as a container for seeds 8,000 years ago, or longer. | [
"Oaxaca",
"birth of agriculture in Mesoamerica",
"World",
"San José Mogote",
"maize",
"three sisters",
"milpa",
"teosintle"
] |
|
18070_T | Oaxaca en la historia y en el mito | In Oaxaca en la historia y en el mito, how is the Codices of the Prehispanic Panel elucidated? | García Bustos incorporates accurate depictions of prehispanic codices in his mural, using them to depict mythology and history. The Mixtec codices are rich sources of information and they have been examined in many books and articles. High definition versions of the codices can be studied online. | [
"Mixtec",
"mural"
] |
|
18070_NT | Oaxaca en la historia y en el mito | In this artwork, how is the Codices of the Prehispanic Panel elucidated? | García Bustos incorporates accurate depictions of prehispanic codices in his mural, using them to depict mythology and history. The Mixtec codices are rich sources of information and they have been examined in many books and articles. High definition versions of the codices can be studied online. | [
"Mixtec",
"mural"
] |
|
18071_T | Oaxaca en la historia y en el mito | Focusing on the Prehispanic Panel of Oaxaca en la historia y en el mito, analyze the Mixtec codices about the Codices. | Mixtec codices The existing Mixtec prehispanic codices, either six or eight in number, and their Mayan counterparts are the only historical and genealogical documents that survived the Spanish conquest. Other codices created after the conquest were made with Spanish influence as was the case with the so-called Aztec codices. Codices helped hereditary rulers establish their right to govern from one generation to another. The codices also demonstrated that the gods played a role in the birth of rulers, thereby establishing their connection to the gods and the divine right to rule.García Bustos, true to his pursuit of realism in his creations, used several images from the Mixtec codices. The stories portrayed in the codices are largely mythical. Myths, although they are not literal truths, reflect the way that people think and in Mesoamérica are used in many places, including art, architecture, poetry, and religion.
The image below, from the mural, is an example of García Bustos placing content from a codex in his mural. This image is almost an exact reproduction of a panel from page 13 of the Vienna Codex. An article by Jansen and Pérez Jiménez interprets this image as one of several related to the foundation and ritual carried out in the east palace of heaven.
At the bottom left of the figure above there is a capital letter A, joined with a stylized circle around the middle. Normally this A-O symbol is attached to one of four symbols, thus forming a year sign used in the 52 year-cycle Mixtec calendar. Since this symbol does not include one of the four additional symbols, the explanation from a reputable research site is that the capital letter A symbol with an O in the middle is a symbol for the beginning of time. Similar images with large "As" appear on the three panels of the mural. | [
"Mixtec",
"Aztec codices",
"Mayan",
"mural",
"left"
] |
|
18071_NT | Oaxaca en la historia y en el mito | Focusing on the Prehispanic Panel of this artwork, analyze the Mixtec codices about the Codices. | Mixtec codices The existing Mixtec prehispanic codices, either six or eight in number, and their Mayan counterparts are the only historical and genealogical documents that survived the Spanish conquest. Other codices created after the conquest were made with Spanish influence as was the case with the so-called Aztec codices. Codices helped hereditary rulers establish their right to govern from one generation to another. The codices also demonstrated that the gods played a role in the birth of rulers, thereby establishing their connection to the gods and the divine right to rule.García Bustos, true to his pursuit of realism in his creations, used several images from the Mixtec codices. The stories portrayed in the codices are largely mythical. Myths, although they are not literal truths, reflect the way that people think and in Mesoamérica are used in many places, including art, architecture, poetry, and religion.
The image below, from the mural, is an example of García Bustos placing content from a codex in his mural. This image is almost an exact reproduction of a panel from page 13 of the Vienna Codex. An article by Jansen and Pérez Jiménez interprets this image as one of several related to the foundation and ritual carried out in the east palace of heaven.
At the bottom left of the figure above there is a capital letter A, joined with a stylized circle around the middle. Normally this A-O symbol is attached to one of four symbols, thus forming a year sign used in the 52 year-cycle Mixtec calendar. Since this symbol does not include one of the four additional symbols, the explanation from a reputable research site is that the capital letter A symbol with an O in the middle is a symbol for the beginning of time. Similar images with large "As" appear on the three panels of the mural. | [
"Mixtec",
"Aztec codices",
"Mayan",
"mural",
"left"
] |
|
18072_T | Oaxaca en la historia y en el mito | When looking at the Prehispanic Panel of Oaxaca en la historia y en el mito, how do you discuss its Codices's Painting a Codex? | Painting a Codex Below, a Mixtec artist is painting a codex. The folded pages are strips of tanned deer hide covered with a white gesso. The colors used were gold ochre, burned sienna, carmine red, turquoise blue, olive green, grey and black. But García Bustos chose to use other colors and less crimson than the original codices, more inline with the overall colors of the mural. | [
"Mixtec",
"mural"
] |
|
18072_NT | Oaxaca en la historia y en el mito | When looking at the Prehispanic Panel of this artwork, how do you discuss its Codices's Painting a Codex? | Painting a Codex Below, a Mixtec artist is painting a codex. The folded pages are strips of tanned deer hide covered with a white gesso. The colors used were gold ochre, burned sienna, carmine red, turquoise blue, olive green, grey and black. But García Bustos chose to use other colors and less crimson than the original codices, more inline with the overall colors of the mural. | [
"Mixtec",
"mural"
] |
|
18073_T | Oaxaca en la historia y en el mito | Focusing on the Prehispanic Panel of Oaxaca en la historia y en el mito, explore the Mixtec Tree of Life about the Codices. | Mixtec Tree of Life The image below reflects elements of the Yuta Tnoho Tree Glyph; found on page 37 of the Yuta Tnoho Codex. The crossed limbs of a pochote tree, a newborn child, the whirlwinds representing Quetzalcoatl (the source of rain and life) are all elements of this mixteca Tree of Life. Humankind, in this creation myth is said to have developed from the flowers of a tree. The male and female branches of the tree are crossed in order to produce human life.The two main figures above, one male, one female have inspired different interpretations. Some see in the two figures the story of a town being formed by an indigenous couple. Other see a wedding. This is the way that Garcia Bustos identifies the scene in his biography. The clues to the identities of the people represented lie in the glyphs below their figures, indicating their dates of birth, which are also used as their names. The male figure on the left, identified by a bare chest, with an alligator icon below him and four dots, is Lord Four Alligators. The woman on the right, identified by her long hair, with the skull and one dot is Lady One Death. The newborn baby, born from the tree, is a key element for the Mixtec rulers because the child establishes the ruling line on the Mixtecs of Apoala. They extended their domain and power through marriages among leading families.
Mixtec Tree of Life Codices helped hereditary rulers establish their right to govern from one generation to another. The codices also demonstrated that the gods played a role in the birth of rulers, thereby establishing their connection to the gods. And the stories depicted of subsequent generations of family members illustrated their divine right to rule. | [
"Mixtec",
"creation myth",
"pochote tree",
"left"
] |
|
18073_NT | Oaxaca en la historia y en el mito | Focusing on the Prehispanic Panel of this artwork, explore the Mixtec Tree of Life about the Codices. | Mixtec Tree of Life The image below reflects elements of the Yuta Tnoho Tree Glyph; found on page 37 of the Yuta Tnoho Codex. The crossed limbs of a pochote tree, a newborn child, the whirlwinds representing Quetzalcoatl (the source of rain and life) are all elements of this mixteca Tree of Life. Humankind, in this creation myth is said to have developed from the flowers of a tree. The male and female branches of the tree are crossed in order to produce human life.The two main figures above, one male, one female have inspired different interpretations. Some see in the two figures the story of a town being formed by an indigenous couple. Other see a wedding. This is the way that Garcia Bustos identifies the scene in his biography. The clues to the identities of the people represented lie in the glyphs below their figures, indicating their dates of birth, which are also used as their names. The male figure on the left, identified by a bare chest, with an alligator icon below him and four dots, is Lord Four Alligators. The woman on the right, identified by her long hair, with the skull and one dot is Lady One Death. The newborn baby, born from the tree, is a key element for the Mixtec rulers because the child establishes the ruling line on the Mixtecs of Apoala. They extended their domain and power through marriages among leading families.
Mixtec Tree of Life Codices helped hereditary rulers establish their right to govern from one generation to another. The codices also demonstrated that the gods played a role in the birth of rulers, thereby establishing their connection to the gods. And the stories depicted of subsequent generations of family members illustrated their divine right to rule. | [
"Mixtec",
"creation myth",
"pochote tree",
"left"
] |
|
18074_T | Oaxaca en la historia y en el mito | Focusing on the Prehispanic Panel of Oaxaca en la historia y en el mito, explain the Dates and Names on codices about the Codices. | Dates and Names on codices The Mixtec calendar is similar to the Aztec calendar. In the Mixtec culture, names were taken from birthdates on the ritual calendar. We observed above that the name of Lady One Death is indicated on the mural by a skull for death and one dote for the year one. There are 20 glyphs, mostly selected from nature, like the skull, for days on codices, and used throughout Mesoamérica. And there are 13 periods of 20 days. This makes for a ritual year of 260 days. There was also a calendar of 365 days and a cycle of 52 years. | [
"Aztec calendar",
"Mixtec",
"mural"
] |
|
18074_NT | Oaxaca en la historia y en el mito | Focusing on the Prehispanic Panel of this artwork, explain the Dates and Names on codices about the Codices. | Dates and Names on codices The Mixtec calendar is similar to the Aztec calendar. In the Mixtec culture, names were taken from birthdates on the ritual calendar. We observed above that the name of Lady One Death is indicated on the mural by a skull for death and one dote for the year one. There are 20 glyphs, mostly selected from nature, like the skull, for days on codices, and used throughout Mesoamérica. And there are 13 periods of 20 days. This makes for a ritual year of 260 days. There was also a calendar of 365 days and a cycle of 52 years. | [
"Aztec calendar",
"Mixtec",
"mural"
] |
|
18075_T | Oaxaca en la historia y en el mito | Explore the Codex Names about the Codices of the Prehispanic Panel in this artwork, Oaxaca en la historia y en el mito. | Codex Names The Vienna Codex mentioned above is also known as Codex Vindobonensis (Mexicanus 1) and of late also known as Codex Yuta Tnoho, named after its area of origin, not after Vienna where it ended up in Europe. Currently the area of Yuta Tnoho is called Santiago Apoala and it is located in the state of Oaxaca. In Mixtec mythology Yuta Tnoho is the birthplace of the Mixtec people. The birth of the Mixtec people is captured in the original codex by a Yuta Tnoho Tree of life. The tree of life is a key element in many of the world's mythologies and the artist has made it the largest image of the prehispanic panel. Although García Bustos has not duplicated the original codex as he has in other instances. | [
"Oaxaca",
"Mixtec",
"Mexica",
"Tree of life"
] |
|
18075_NT | Oaxaca en la historia y en el mito | Explore the Codex Names about the Codices of the Prehispanic Panel in this artwork. | Codex Names The Vienna Codex mentioned above is also known as Codex Vindobonensis (Mexicanus 1) and of late also known as Codex Yuta Tnoho, named after its area of origin, not after Vienna where it ended up in Europe. Currently the area of Yuta Tnoho is called Santiago Apoala and it is located in the state of Oaxaca. In Mixtec mythology Yuta Tnoho is the birthplace of the Mixtec people. The birth of the Mixtec people is captured in the original codex by a Yuta Tnoho Tree of life. The tree of life is a key element in many of the world's mythologies and the artist has made it the largest image of the prehispanic panel. Although García Bustos has not duplicated the original codex as he has in other instances. | [
"Oaxaca",
"Mixtec",
"Mexica",
"Tree of life"
] |
|
18076_T | Oaxaca en la historia y en el mito | Focusing on the Prehispanic Panel of Oaxaca en la historia y en el mito, discuss the Using a Codex about the Codices. | Using a Codex Many admire the Mixtec codices as works of art. García Bustos also shows us how they were used. In the image below, a leader is pointing out the meaning of three scenes from a Codex. Viewing the three images being pointed to from bottom to top, the first image is inspired by the Yuta Tnoho Codex as are the second, discussed earlier as well as the top image of corn.
John Pohl, an American academic, speculates that codices were portable scripts, or storyboards, for celebrating historical events. The codices could be displayed " while a poet recited the text to musical accompaniment, and actors in costume performed parts of the saga. | [
"Mixtec",
"celebrating"
] |
|
18076_NT | Oaxaca en la historia y en el mito | Focusing on the Prehispanic Panel of this artwork, discuss the Using a Codex about the Codices. | Using a Codex Many admire the Mixtec codices as works of art. García Bustos also shows us how they were used. In the image below, a leader is pointing out the meaning of three scenes from a Codex. Viewing the three images being pointed to from bottom to top, the first image is inspired by the Yuta Tnoho Codex as are the second, discussed earlier as well as the top image of corn.
John Pohl, an American academic, speculates that codices were portable scripts, or storyboards, for celebrating historical events. The codices could be displayed " while a poet recited the text to musical accompaniment, and actors in costume performed parts of the saga. | [
"Mixtec",
"celebrating"
] |
|
18077_T | Oaxaca en la historia y en el mito | Regarding Oaxaca en la historia y en el mito, how does the Prehispanic Panel's Codices incorporate the Arturo García Bustos as a pre-hispanic character? | Arturo García Bustos as a pre-hispanic character The image of Arturo García Bustos below bears a striking resemblance to the pre-Hispanic character that we observed above in the scene interpreting a codex. This is one of several examples of how Arturo García Bustos added a personal touch mixed with a hint of irony to the mural he named Oaxaca en la historia y en el mito located in the Palacio de Gobierno of Oaxaca de Juárez. | [
"Arturo García Bustos",
"Oaxaca",
"Palacio de Gobierno",
"Oaxaca de Juárez",
"mural"
] |
|
18077_NT | Oaxaca en la historia y en el mito | Regarding this artwork, how does the Prehispanic Panel's Codices incorporate the Arturo García Bustos as a pre-hispanic character? | Arturo García Bustos as a pre-hispanic character The image of Arturo García Bustos below bears a striking resemblance to the pre-Hispanic character that we observed above in the scene interpreting a codex. This is one of several examples of how Arturo García Bustos added a personal touch mixed with a hint of irony to the mural he named Oaxaca en la historia y en el mito located in the Palacio de Gobierno of Oaxaca de Juárez. | [
"Arturo García Bustos",
"Oaxaca",
"Palacio de Gobierno",
"Oaxaca de Juárez",
"mural"
] |
|
18078_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, analyze the Gold of the Prehispanic Panel. | The image of an artisan working with gold strongly resembles a gold disc that archeologists discovered in Tomb 3 at Zaachila in the state of Oaxaca. This exemplifies the realism that characterizes García Bustos' art. The Aztecs demanded gold as tribute after they conquered what is now Oaxaca. Similar gold disks are depicted in the Mendoza Codex, indicating gold as tribute to the victors after a military victory.The gold rush to Oaxaca started after Montezuma told the Spanish conquistador Hernán Cortés that he obtained his gold from Oaxaca. Cortés wasted no time in sending troops to conquer Huaxyacac as the Aztecs, or more correctly the Mexicas, called the area of present-day Oaxaca. Cortez, also known as the Marquessate of the Valley of Oaxaca claimed large tracts of land around Oaxaca for himself and his ancestors. The presence of gold in the mural also highlights the motherload of gold objects discovered in 1932 in Tomb 7 at the Zapotec-Mixtec site, called Monte Albán by the Spanish. | [
"Oaxaca",
"Hernán Cortés",
"Mixtec",
"Mexica",
"Zapotec",
"Zaachila",
"Marquessate of the Valley of Oaxaca",
"Aztecs",
"Monte Albán",
"mural",
"Montezuma",
"Mendoza Codex",
"Tomb 7"
] |
|
18078_NT | Oaxaca en la historia y en el mito | In the context of this artwork, analyze the Gold of the Prehispanic Panel. | The image of an artisan working with gold strongly resembles a gold disc that archeologists discovered in Tomb 3 at Zaachila in the state of Oaxaca. This exemplifies the realism that characterizes García Bustos' art. The Aztecs demanded gold as tribute after they conquered what is now Oaxaca. Similar gold disks are depicted in the Mendoza Codex, indicating gold as tribute to the victors after a military victory.The gold rush to Oaxaca started after Montezuma told the Spanish conquistador Hernán Cortés that he obtained his gold from Oaxaca. Cortés wasted no time in sending troops to conquer Huaxyacac as the Aztecs, or more correctly the Mexicas, called the area of present-day Oaxaca. Cortez, also known as the Marquessate of the Valley of Oaxaca claimed large tracts of land around Oaxaca for himself and his ancestors. The presence of gold in the mural also highlights the motherload of gold objects discovered in 1932 in Tomb 7 at the Zapotec-Mixtec site, called Monte Albán by the Spanish. | [
"Oaxaca",
"Hernán Cortés",
"Mixtec",
"Mexica",
"Zapotec",
"Zaachila",
"Marquessate of the Valley of Oaxaca",
"Aztecs",
"Monte Albán",
"mural",
"Montezuma",
"Mendoza Codex",
"Tomb 7"
] |
|
18079_T | Oaxaca en la historia y en el mito | Describe the characteristics of the Tribute in Oaxaca en la historia y en el mito's Prehispanic Panel. | In the image below, young conquered people are paying tribute. A close observation of the bowl reveals gemstones, perhaps jade. This type of clothing was thought to grant the virtues of the animal from which the clothing was derived. Some warriors worn jaguar costumes but they were not from real jaguars. The girdle around the collector of tribute collector resembles part of the gear of a player in the Mesoamerican ball game, that was played throughout Mesoamerica and in Oaxaca from ancient times, sometimes called ulama and pelota. | [
"Oaxaca",
"ulama",
"Mesoamerican ball game"
] |
|
18079_NT | Oaxaca en la historia y en el mito | Describe the characteristics of the Tribute in this artwork's Prehispanic Panel. | In the image below, young conquered people are paying tribute. A close observation of the bowl reveals gemstones, perhaps jade. This type of clothing was thought to grant the virtues of the animal from which the clothing was derived. Some warriors worn jaguar costumes but they were not from real jaguars. The girdle around the collector of tribute collector resembles part of the gear of a player in the Mesoamerican ball game, that was played throughout Mesoamerica and in Oaxaca from ancient times, sometimes called ulama and pelota. | [
"Oaxaca",
"ulama",
"Mesoamerican ball game"
] |
|
18080_T | Oaxaca en la historia y en el mito | Focusing on the Prehispanic Panel of Oaxaca en la historia y en el mito, explore the Fearful young women about the Tribute. | Fearful young women The Aztecs or more properly the Mexicas conquerors of Oaxaca n the 1480s about 40 years before the Spanish conquest. They exacted tribute and sacrificed enemy soldiers. The victorious Mexicas demanded gold as we saw in the early discussion of gold. Slaves were also taken in war. Some were sacrificed and that might account for the look of fear in the eyes of the young women in the image below. Although one resource suggests the young women are participating in an unspecified religious ceremony. All three panels include a character in the bottom right corner that generate questions in the mind of the viewer. | [
"Oaxaca",
"Mexica",
"exacted tribute and sacrificed enemy soldiers",
"Aztecs"
] |
|
18080_NT | Oaxaca en la historia y en el mito | Focusing on the Prehispanic Panel of this artwork, explore the Fearful young women about the Tribute. | Fearful young women The Aztecs or more properly the Mexicas conquerors of Oaxaca n the 1480s about 40 years before the Spanish conquest. They exacted tribute and sacrificed enemy soldiers. The victorious Mexicas demanded gold as we saw in the early discussion of gold. Slaves were also taken in war. Some were sacrificed and that might account for the look of fear in the eyes of the young women in the image below. Although one resource suggests the young women are participating in an unspecified religious ceremony. All three panels include a character in the bottom right corner that generate questions in the mind of the viewer. | [
"Oaxaca",
"Mexica",
"exacted tribute and sacrificed enemy soldiers",
"Aztecs"
] |
|
18081_T | Oaxaca en la historia y en el mito | Focus on Oaxaca en la historia y en el mito and explain the Colonial Panel. | The colonial panel covers 300 years, starting with the arrival of Spanish soldiers or Conquistadors, in November,1531 in what was then called Huaxyacac, some three months after the fall of Tenochitlan. The panel highlights the Conquest, Princess Donají, construction, mistreatment of indigenous people, Sor Juana de la Cruz, Miguel Cabrera, Manuel Fernández Fiallo, cochineal, church music and organs, craftsmen and Spanish colonizers. | [
"Tenochitlan",
"fall",
"colonial",
"Conquistador",
"cochineal"
] |
|
18081_NT | Oaxaca en la historia y en el mito | Focus on this artwork and explain the Colonial Panel. | The colonial panel covers 300 years, starting with the arrival of Spanish soldiers or Conquistadors, in November,1531 in what was then called Huaxyacac, some three months after the fall of Tenochitlan. The panel highlights the Conquest, Princess Donají, construction, mistreatment of indigenous people, Sor Juana de la Cruz, Miguel Cabrera, Manuel Fernández Fiallo, cochineal, church music and organs, craftsmen and Spanish colonizers. | [
"Tenochitlan",
"fall",
"colonial",
"Conquistador",
"cochineal"
] |
|
18082_T | Oaxaca en la historia y en el mito | Explore the The Conquest in Oaxaca (Huaxyacac) about the Colonial Panel of this artwork, Oaxaca en la historia y en el mito. | In the image above, the Spanish leader stands below a gallows type structure, possibly used for public hangings. The Spanish invaders have swords and long poles. An indigenous person is held in the stock while the Spaniard appears to be poking him.
The indigenous people, dressed in white, have only poles. Their white costumes reflect the restrictions that the Spanish rulers placed on clothing.These figures represent the initial conflict of the Spaniards with the indigenous peoples of Oaxaca: Amuzgos, Mixtecs, Nahuas, Triquis, Zapotecos and more. In November 1521, just three months after conquering Tenochtitlán, (Mexico City), Hernán Cortés sent Francisco de Orozco and 400 Aztec warriors to take Huaxyacac as it was known then and Oaxaca, as it is called today. They travelled over 400 kilometers from Tenochtitlán (Mexico City). Hernan Cortés never visited the area, although he was granted 23,000 vassals and properties of more than 11,500 km2. Spanish administrators and settlers took the land from established people and also demanded tribute. Cortés also claimed the land where Oaxaca stands today but the residents objected and in the end the King of Spain agreed with them.
A tightly packed group of people, such as García Bustos depicts is a common feature of Mexican muralists, like Diego Rivera. This reflects the Marxist view of history, that events are shaped by a struggle between a large group of the under-privileged class, against a small group of the privileged class that is holding power. The Spanish established the community called Antequera in 1529. After the War of Independence (1810–21) it was named Oaxaca. | [
"Oaxaca",
"Hernán Cortés",
"Mixtec",
"Mexica",
"Zapotec",
"Diego Rivera",
"conquering Tenochtitlán",
"War of Independence",
"Tenochtitlán",
"Independence",
"Aztec warriors",
"Antequera",
"Hernan Cortés",
"indigenous peoples of Oaxaca",
"mural"
] |
|
18082_NT | Oaxaca en la historia y en el mito | Explore the The Conquest in Oaxaca (Huaxyacac) about the Colonial Panel of this artwork. | In the image above, the Spanish leader stands below a gallows type structure, possibly used for public hangings. The Spanish invaders have swords and long poles. An indigenous person is held in the stock while the Spaniard appears to be poking him.
The indigenous people, dressed in white, have only poles. Their white costumes reflect the restrictions that the Spanish rulers placed on clothing.These figures represent the initial conflict of the Spaniards with the indigenous peoples of Oaxaca: Amuzgos, Mixtecs, Nahuas, Triquis, Zapotecos and more. In November 1521, just three months after conquering Tenochtitlán, (Mexico City), Hernán Cortés sent Francisco de Orozco and 400 Aztec warriors to take Huaxyacac as it was known then and Oaxaca, as it is called today. They travelled over 400 kilometers from Tenochtitlán (Mexico City). Hernan Cortés never visited the area, although he was granted 23,000 vassals and properties of more than 11,500 km2. Spanish administrators and settlers took the land from established people and also demanded tribute. Cortés also claimed the land where Oaxaca stands today but the residents objected and in the end the King of Spain agreed with them.
A tightly packed group of people, such as García Bustos depicts is a common feature of Mexican muralists, like Diego Rivera. This reflects the Marxist view of history, that events are shaped by a struggle between a large group of the under-privileged class, against a small group of the privileged class that is holding power. The Spanish established the community called Antequera in 1529. After the War of Independence (1810–21) it was named Oaxaca. | [
"Oaxaca",
"Hernán Cortés",
"Mixtec",
"Mexica",
"Zapotec",
"Diego Rivera",
"conquering Tenochtitlán",
"War of Independence",
"Tenochtitlán",
"Independence",
"Aztec warriors",
"Antequera",
"Hernan Cortés",
"indigenous peoples of Oaxaca",
"mural"
] |
|
18083_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, discuss the Donají of the Colonial Panel. | The legend of Donají is a tragic love story, combined with patriotism. The image above shows the floating head of Donají. She was a Zapotec princess but fell in love with Nucano, a Mixtec prince. The Zapotec and the Mixtecs were often at war. Donají committed a treasonous act that led to a Zapotec military victory over the Mixtecs. As a result, the Mixtecs murdered her and threw her body into the Atoyac river where her head was found by a shepherd boy, years later, in perfect condition, according to the legend.
Donají head is also used as a logo for the city of Oaxaca and the legend of Donají has had top billing in the annual Oaxacan dance festival called the Guelaguetza. | [
"Oaxaca",
"Mixtec",
"Zapotec",
"Guelaguetza"
] |
|
18083_NT | Oaxaca en la historia y en el mito | In the context of this artwork, discuss the Donají of the Colonial Panel. | The legend of Donají is a tragic love story, combined with patriotism. The image above shows the floating head of Donají. She was a Zapotec princess but fell in love with Nucano, a Mixtec prince. The Zapotec and the Mixtecs were often at war. Donají committed a treasonous act that led to a Zapotec military victory over the Mixtecs. As a result, the Mixtecs murdered her and threw her body into the Atoyac river where her head was found by a shepherd boy, years later, in perfect condition, according to the legend.
Donají head is also used as a logo for the city of Oaxaca and the legend of Donají has had top billing in the annual Oaxacan dance festival called the Guelaguetza. | [
"Oaxaca",
"Mixtec",
"Zapotec",
"Guelaguetza"
] |
|
18084_T | Oaxaca en la historia y en el mito | In Oaxaca en la historia y en el mito, how is the Construction of the Colonial Panel elucidated? | Workmen of various skin colors are pictured below constructing huge buildings in Oaxaca.During the colonial period, laborers like those you see above built over two dozen colonial churches and convents in el centro of Antequera.
An order of 1535 mandated, “the indigenous of the city of Antequera and towns of the bishopric of Oaxaca, will help to build the churches” so labor was free. It took 26 years to construct the stonework of the Cathedral of Oaxaca, starting in 1535. And structures had to be rebuilt after earthquakes. It was finally consecrated on 12 July 1733.
Based on the images above and below, the building being constructed in the mural is the cathedral viewed from a slightly different angle.Studies of the churches of the State of Oaxaca include the santos in the 16th-century Dominican churches of Oaxaca, Mexico. | [
"Oaxaca",
"Cathedral of Oaxaca",
"Dominican",
"colonial",
"Antequera",
"mural"
] |
|
18084_NT | Oaxaca en la historia y en el mito | In this artwork, how is the Construction of the Colonial Panel elucidated? | Workmen of various skin colors are pictured below constructing huge buildings in Oaxaca.During the colonial period, laborers like those you see above built over two dozen colonial churches and convents in el centro of Antequera.
An order of 1535 mandated, “the indigenous of the city of Antequera and towns of the bishopric of Oaxaca, will help to build the churches” so labor was free. It took 26 years to construct the stonework of the Cathedral of Oaxaca, starting in 1535. And structures had to be rebuilt after earthquakes. It was finally consecrated on 12 July 1733.
Based on the images above and below, the building being constructed in the mural is the cathedral viewed from a slightly different angle.Studies of the churches of the State of Oaxaca include the santos in the 16th-century Dominican churches of Oaxaca, Mexico. | [
"Oaxaca",
"Cathedral of Oaxaca",
"Dominican",
"colonial",
"Antequera",
"mural"
] |
|
18085_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, analyze the Mistreatment of Indigenous People in Antequera of the Colonial Panel. | In the image on the top left corner of the colonial panel we saw indications of the mistreatment of indigenous people and potential for more mistreatment. The image above shows an indigenous person being beaten, while a Spaniard on horseback watches. Stories abound of the cruelty of the Spanish colonizers to the original inhabitants of Antequera. The most egregious case starts with the first governor of Antequera, in 1529 with Juan Peláez de Barrio. In a year and a half in office he set a standard for corruption and immorality that would be hard to duplicate, even in a lifetime. He specialized in throwing natives to the dogs. He had a penchant for acquiring slaves, branding them on the face and selling them. By one estimate he branded 600 indigenous slaves. | [
"colonial",
"Antequera",
"left"
] |
|
18085_NT | Oaxaca en la historia y en el mito | In the context of this artwork, analyze the Mistreatment of Indigenous People in Antequera of the Colonial Panel. | In the image on the top left corner of the colonial panel we saw indications of the mistreatment of indigenous people and potential for more mistreatment. The image above shows an indigenous person being beaten, while a Spaniard on horseback watches. Stories abound of the cruelty of the Spanish colonizers to the original inhabitants of Antequera. The most egregious case starts with the first governor of Antequera, in 1529 with Juan Peláez de Barrio. In a year and a half in office he set a standard for corruption and immorality that would be hard to duplicate, even in a lifetime. He specialized in throwing natives to the dogs. He had a penchant for acquiring slaves, branding them on the face and selling them. By one estimate he branded 600 indigenous slaves. | [
"colonial",
"Antequera",
"left"
] |
|
18086_T | Oaxaca en la historia y en el mito | Describe the characteristics of the Sor Juana Inés de la Cruz and Miguel Cabrera in Oaxaca en la historia y en el mito's Colonial Panel. | The image of Sor Juana Inés de la Cruz (1648–1695) and Miguel Mateo Maldonado Cabrera (1695–1768) fills the center of the colonial panel. Note that Sor Juana died in 1695, the same year that Miguel Cabrera was born. Cabrera nevertheless painted a renowned portrait of Sor Juana. And if you look closely, you'll see that García Bustos imagined that he was able to do it with some angelic help.
Both Sor Juana and Miguel Cabrera were famous in the colony of Nueva España and Spain. Miguel Cabrera was born in what is now called the state of Oaxaca and became famous for his rendering of Sor Juana, the Virgin of Guadalupe, pictured below and many other Baroque pieces.Sor Juana wrote a play that was performed in Antequera (Oaxaca) on November 25, 1691, the Feast of Santa Catarina, in the cathedral. The play is called a villancico (at the time a type of play often with audience participation and now the word means a Christmas carol). The play touched on beauty, wisdom and love. It celebrated Christianity and feminine wisdom and included Greek and Roman references as well as references to Cleopatra. The play, not necessarily the life of Saint Catherine, has many parallels with the life of Sor Juana. Saint Catherine is portrayed as precocious; and is devoted to God. She passes the challenge of wise men, as Sor Juana did in the vice regal court. St Catherine is considered the patron saint of academics so we can see why Sor Juana's, an intellectual, was drawn to her story. We can also see why Sor Juana, with her diverse knowledge and skills is appreciated by many Mexicans and is honored on currency and in other ways.
Once again, we see Arturo García Bustos' realistic approach to painting. This time in the sense that he chose to paint an image of Sor Juana that is almost a carbon copy of the original portrait by Cabrera.If you are wondering why the artist included an angel, an explanation is that Sor Juana died the same year that Miguel Cabrera was born. Without an angel, how would Cabrera know what Sor Juana looked like? | [
"Miguel Mateo Maldonado Cabrera (1695–1768)",
"Arturo García Bustos",
"Oaxaca",
"Sor Juana Inés de la Cruz",
"Mexica",
"villancico",
"Baroque",
"Juana Inés de la Cruz",
"colonial",
"Antequera",
"center",
"Nueva España"
] |
|
18086_NT | Oaxaca en la historia y en el mito | Describe the characteristics of the Sor Juana Inés de la Cruz and Miguel Cabrera in this artwork's Colonial Panel. | The image of Sor Juana Inés de la Cruz (1648–1695) and Miguel Mateo Maldonado Cabrera (1695–1768) fills the center of the colonial panel. Note that Sor Juana died in 1695, the same year that Miguel Cabrera was born. Cabrera nevertheless painted a renowned portrait of Sor Juana. And if you look closely, you'll see that García Bustos imagined that he was able to do it with some angelic help.
Both Sor Juana and Miguel Cabrera were famous in the colony of Nueva España and Spain. Miguel Cabrera was born in what is now called the state of Oaxaca and became famous for his rendering of Sor Juana, the Virgin of Guadalupe, pictured below and many other Baroque pieces.Sor Juana wrote a play that was performed in Antequera (Oaxaca) on November 25, 1691, the Feast of Santa Catarina, in the cathedral. The play is called a villancico (at the time a type of play often with audience participation and now the word means a Christmas carol). The play touched on beauty, wisdom and love. It celebrated Christianity and feminine wisdom and included Greek and Roman references as well as references to Cleopatra. The play, not necessarily the life of Saint Catherine, has many parallels with the life of Sor Juana. Saint Catherine is portrayed as precocious; and is devoted to God. She passes the challenge of wise men, as Sor Juana did in the vice regal court. St Catherine is considered the patron saint of academics so we can see why Sor Juana's, an intellectual, was drawn to her story. We can also see why Sor Juana, with her diverse knowledge and skills is appreciated by many Mexicans and is honored on currency and in other ways.
Once again, we see Arturo García Bustos' realistic approach to painting. This time in the sense that he chose to paint an image of Sor Juana that is almost a carbon copy of the original portrait by Cabrera.If you are wondering why the artist included an angel, an explanation is that Sor Juana died the same year that Miguel Cabrera was born. Without an angel, how would Cabrera know what Sor Juana looked like? | [
"Miguel Mateo Maldonado Cabrera (1695–1768)",
"Arturo García Bustos",
"Oaxaca",
"Sor Juana Inés de la Cruz",
"Mexica",
"villancico",
"Baroque",
"Juana Inés de la Cruz",
"colonial",
"Antequera",
"center",
"Nueva España"
] |
|
18087_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, explore the Antequera in the Baroque Period of the Colonial Panel. | The formative period in Mexican and Oaxacan history was the Era of the Baroque from 1600 to 1750. Philanthropy, cochineal, Church organs, music, Catholicism and imposing architecture were some of the outstanding elements of the Baroque Era in Oaxaca and they are represented in the mural. | [
"Oaxaca",
"Mexica",
"Baroque",
"Antequera",
"cochineal",
"mural"
] |
|
18087_NT | Oaxaca en la historia y en el mito | In the context of this artwork, explore the Antequera in the Baroque Period of the Colonial Panel. | The formative period in Mexican and Oaxacan history was the Era of the Baroque from 1600 to 1750. Philanthropy, cochineal, Church organs, music, Catholicism and imposing architecture were some of the outstanding elements of the Baroque Era in Oaxaca and they are represented in the mural. | [
"Oaxaca",
"Mexica",
"Baroque",
"Antequera",
"cochineal",
"mural"
] |
|
18088_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, explain the Manuel Fernández Fiallo, Philanthropy and Cochineal of the Colonial Panel. | In the top right corner of the image above, Manuel Fernández Fiallo de Boralla (1631-1708) is portrayed wearing clothes evoking the color of nopal leaves and some green nopal leaves are depicted below hom. García Bustos depicts the religious Fiallo drafting a church-like structure. Don Fiallo was a main benefactor for the construction of the following Oaxacan churches San Agustín, La Merced, San Francisco and Santa María del Marquesado. A small brown dog, perhaps an Xoxo or Xoloitzcuintle, near the left elbow of Don Fiallo evokes symbolism of the Dominican order, the first to send friars to Oaxaca.In the middle of the image, a peasant woman with a container on her back, is picking insects from nopal cactus to be used in producing bright red cochineal dye. As well, at the bottom of the image, a young woman holds cloth that has been colored by dye made from Cochineal.This red dye made some Oaxacans rich, including the philanthropist, Manuel Fernández Fiallo. The last testament of Manuel Fernández Fiallo lists 20 churches, convents, schools and orphanages as well as individuals such as his enslaved servant whom he freed and granted money. | [
"Oaxaca",
"Xoloitzcuintle",
"Cochineal",
"Dominican",
"cochineal",
"nopal",
"Dominican order",
"left"
] |
|
18088_NT | Oaxaca en la historia y en el mito | In the context of this artwork, explain the Manuel Fernández Fiallo, Philanthropy and Cochineal of the Colonial Panel. | In the top right corner of the image above, Manuel Fernández Fiallo de Boralla (1631-1708) is portrayed wearing clothes evoking the color of nopal leaves and some green nopal leaves are depicted below hom. García Bustos depicts the religious Fiallo drafting a church-like structure. Don Fiallo was a main benefactor for the construction of the following Oaxacan churches San Agustín, La Merced, San Francisco and Santa María del Marquesado. A small brown dog, perhaps an Xoxo or Xoloitzcuintle, near the left elbow of Don Fiallo evokes symbolism of the Dominican order, the first to send friars to Oaxaca.In the middle of the image, a peasant woman with a container on her back, is picking insects from nopal cactus to be used in producing bright red cochineal dye. As well, at the bottom of the image, a young woman holds cloth that has been colored by dye made from Cochineal.This red dye made some Oaxacans rich, including the philanthropist, Manuel Fernández Fiallo. The last testament of Manuel Fernández Fiallo lists 20 churches, convents, schools and orphanages as well as individuals such as his enslaved servant whom he freed and granted money. | [
"Oaxaca",
"Xoloitzcuintle",
"Cochineal",
"Dominican",
"cochineal",
"nopal",
"Dominican order",
"left"
] |
|
18089_T | Oaxaca en la historia y en el mito | Explore the Baroque organs about the Manuel Fernández Fiallo, Philanthropy and Cochineal of the Colonial Panel in this artwork, Oaxaca en la historia y en el mito. | Baroque organs The blue-green object behind Manuel Fernández Fiallo is a baroque organ. It is one of hundreds that were installed in the religious buildings of Antequera. Today many are being restored and played. | [
"baroque organ",
"Baroque",
"Antequera"
] |
|
18089_NT | Oaxaca en la historia y en el mito | Explore the Baroque organs about the Manuel Fernández Fiallo, Philanthropy and Cochineal of the Colonial Panel in this artwork. | Baroque organs The blue-green object behind Manuel Fernández Fiallo is a baroque organ. It is one of hundreds that were installed in the religious buildings of Antequera. Today many are being restored and played. | [
"baroque organ",
"Baroque",
"Antequera"
] |
|
18090_T | Oaxaca en la historia y en el mito | Focusing on the Colonial Panel of Oaxaca en la historia y en el mito, discuss the Music about the Manuel Fernández Fiallo, Philanthropy and Cochineal. | Music Music was used by religious orders to convert indigenous people to Christianity. We see a friar, possibly the famous Baroque composer, Manuel de Sumaya, leading a choir. Between 1745 and 1755, Manuel de Sumaya (1680-1755) wrote and conducted music in the Cathedral of Oaxaca, formally known as The Cathedral of Our Lady of the Assumption. Juan Matías (ca.1618–ca.1667) was a Zapotec Musician who became maestro de capilla of the Oaxaca cathedral in 1655. He was the only indigenous musician to attain this post during colonial rule. These two musicians and others made Oaxaca one of the most notable musical centers in New Spain and the tradition continues today. The state of Oaxaca has one of many Mexican regional styles of music. | [
"Oaxaca",
"Cathedral of Oaxaca",
"Mexica",
"Manuel de Sumaya",
"Baroque",
"Zapotec",
"regional styles of music",
"New Spain",
"colonial",
"center"
] |
|
18090_NT | Oaxaca en la historia y en el mito | Focusing on the Colonial Panel of this artwork, discuss the Music about the Manuel Fernández Fiallo, Philanthropy and Cochineal. | Music Music was used by religious orders to convert indigenous people to Christianity. We see a friar, possibly the famous Baroque composer, Manuel de Sumaya, leading a choir. Between 1745 and 1755, Manuel de Sumaya (1680-1755) wrote and conducted music in the Cathedral of Oaxaca, formally known as The Cathedral of Our Lady of the Assumption. Juan Matías (ca.1618–ca.1667) was a Zapotec Musician who became maestro de capilla of the Oaxaca cathedral in 1655. He was the only indigenous musician to attain this post during colonial rule. These two musicians and others made Oaxaca one of the most notable musical centers in New Spain and the tradition continues today. The state of Oaxaca has one of many Mexican regional styles of music. | [
"Oaxaca",
"Cathedral of Oaxaca",
"Mexica",
"Manuel de Sumaya",
"Baroque",
"Zapotec",
"regional styles of music",
"New Spain",
"colonial",
"center"
] |
|
18091_T | Oaxaca en la historia y en el mito | In Oaxaca en la historia y en el mito, how is the Friar, Catholicism and imposing architecture of the Colonial Panel elucidated? | At the bottom right of the panel, a compassionate looking preacher obscures a Dominican coat of arm. In a typical Dominican black robe, this friar holds a cross in one hand and what appears as a piece of wood in another.
When Hernán Cortés made his first landing in what is now Mexico, at San Juan de Ulúa on Maundy Thursday, April 21, 1519, it is said that he immediately ordered the erection of a cross. Thus, Mexico's long process of religious acculturation had begun eventually under the leadership of the Catholic Church in Mexico. And this was also the beginning of the Spanish conquest of the Aztec Empire.
Today Oaxaca has a dozen open Catholic churches and a few that are closed for repairs. And imposing former convents, called ex-convents, are spread throughout the city have served as various public and private buildings including hospitals, jails, museums, hotels and schools. | [
"Oaxaca",
"Hernán Cortés",
"religious acculturation had begun",
"Spanish conquest of the Aztec Empire",
"Catholic Church",
"Dominican",
"San Juan de Ulúa",
"Catholic Church in Mexico",
"Dominican coat of arm"
] |
|
18091_NT | Oaxaca en la historia y en el mito | In this artwork, how is the Friar, Catholicism and imposing architecture of the Colonial Panel elucidated? | At the bottom right of the panel, a compassionate looking preacher obscures a Dominican coat of arm. In a typical Dominican black robe, this friar holds a cross in one hand and what appears as a piece of wood in another.
When Hernán Cortés made his first landing in what is now Mexico, at San Juan de Ulúa on Maundy Thursday, April 21, 1519, it is said that he immediately ordered the erection of a cross. Thus, Mexico's long process of religious acculturation had begun eventually under the leadership of the Catholic Church in Mexico. And this was also the beginning of the Spanish conquest of the Aztec Empire.
Today Oaxaca has a dozen open Catholic churches and a few that are closed for repairs. And imposing former convents, called ex-convents, are spread throughout the city have served as various public and private buildings including hospitals, jails, museums, hotels and schools. | [
"Oaxaca",
"Hernán Cortés",
"religious acculturation had begun",
"Spanish conquest of the Aztec Empire",
"Catholic Church",
"Dominican",
"San Juan de Ulúa",
"Catholic Church in Mexico",
"Dominican coat of arm"
] |
|
18092_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, analyze the Craftsmen of the Colonial Panel. | Craftsmen in the colonial era are pictured forging metal. They are in front of remnants of the creations of prehispanic craftsmen. A round column evokes stone-work from the prehispanic period that exist to this day at Mitla, (pictured below). These hieroglyphs referred to as Zapotec script reflect the writing on tablets on display at Monte Albán today, (also pictured below). This is one of the earliest Mesoamerican writing systems. The tablets were created some 2,000 years ago. Columns were built at Mitla some 1,000 years ago. | [
"Mesoamerican writing systems",
"Mitla",
"Zapotec",
"Zapotec script",
"colonial",
"Monte Albán"
] |
|
18092_NT | Oaxaca en la historia y en el mito | In the context of this artwork, analyze the Craftsmen of the Colonial Panel. | Craftsmen in the colonial era are pictured forging metal. They are in front of remnants of the creations of prehispanic craftsmen. A round column evokes stone-work from the prehispanic period that exist to this day at Mitla, (pictured below). These hieroglyphs referred to as Zapotec script reflect the writing on tablets on display at Monte Albán today, (also pictured below). This is one of the earliest Mesoamerican writing systems. The tablets were created some 2,000 years ago. Columns were built at Mitla some 1,000 years ago. | [
"Mesoamerican writing systems",
"Mitla",
"Zapotec",
"Zapotec script",
"colonial",
"Monte Albán"
] |
|
18093_T | Oaxaca en la historia y en el mito | Describe the characteristics of the Spanish Colonizers in Oaxaca en la historia y en el mito's Colonial Panel. | Five characters on the left side of the panel contrast in dress to the people at the top of the page, illustrating the change in the composition of the population of Antequera during the colonial period. Observing clothes and skin color, three wearing bright clothes are Criollo people. Of the two darker-skinned women, the one wearing the black dress could be mestizo and the one carrying the lamp could be indigenous. including the one holding the lamp appear to be Mestizo. We see in these images the influence of the Mexican melting pot, where unlike some other western hemisphere colonization efforts, the cultures were blended in Antequera and later Oaxaca. Life was nevertheless dominated by a system of institutional discrimination in the form of casts. | [
"mestizo",
"Oaxaca",
"Criollo people",
"Mexica",
"colonial",
"Antequera",
"Mestizo",
"left"
] |
|
18093_NT | Oaxaca en la historia y en el mito | Describe the characteristics of the Spanish Colonizers in this artwork's Colonial Panel. | Five characters on the left side of the panel contrast in dress to the people at the top of the page, illustrating the change in the composition of the population of Antequera during the colonial period. Observing clothes and skin color, three wearing bright clothes are Criollo people. Of the two darker-skinned women, the one wearing the black dress could be mestizo and the one carrying the lamp could be indigenous. including the one holding the lamp appear to be Mestizo. We see in these images the influence of the Mexican melting pot, where unlike some other western hemisphere colonization efforts, the cultures were blended in Antequera and later Oaxaca. Life was nevertheless dominated by a system of institutional discrimination in the form of casts. | [
"mestizo",
"Oaxaca",
"Criollo people",
"Mexica",
"colonial",
"Antequera",
"Mestizo",
"left"
] |
|
18094_T | Oaxaca en la historia y en el mito | Focusing on the Colonial Panel of Oaxaca en la historia y en el mito, explore the A Familiar Live Model about the Spanish Colonizers. | A Familiar Live Model The woman above in the dark dress resembles the woman below, Rina Lazo, the wife of the artist. | [
"Rina Lazo"
] |
|
18094_NT | Oaxaca en la historia y en el mito | Focusing on the Colonial Panel of this artwork, explore the A Familiar Live Model about the Spanish Colonizers. | A Familiar Live Model The woman above in the dark dress resembles the woman below, Rina Lazo, the wife of the artist. | [
"Rina Lazo"
] |
|
18095_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, explain the A Surprise Visitor of the Colonial Panel. | We have seen evidence of the playfulness of Arturo García Bustos in his portrayal of himself as a pre-Hispanic character, in the image of an angel helping Miguel Carrera paint the famous portrait of Sor Juana. Further evidence of García Bustos' sense of humor is seen in the image below. The story is that tricks were played on the artist as he went about his monumental project. The culprit was thought to be a ghost. The image below depicts the culprit, located between the nopal leaves and the spilled basket. | [
"Arturo García Bustos",
"nopal"
] |
|
18095_NT | Oaxaca en la historia y en el mito | In the context of this artwork, explain the A Surprise Visitor of the Colonial Panel. | We have seen evidence of the playfulness of Arturo García Bustos in his portrayal of himself as a pre-Hispanic character, in the image of an angel helping Miguel Carrera paint the famous portrait of Sor Juana. Further evidence of García Bustos' sense of humor is seen in the image below. The story is that tricks were played on the artist as he went about his monumental project. The culprit was thought to be a ghost. The image below depicts the culprit, located between the nopal leaves and the spilled basket. | [
"Arturo García Bustos",
"nopal"
] |
|
18096_T | Oaxaca en la historia y en el mito | Explore the Independence, Reform, Revolution Panel of this artwork, Oaxaca en la historia y en el mito. | The major topics of the middle panel are the War of Independence (1810–21), the Reform movement often led by Benito Juárez (1854-1876) and the Mexican Revolution (1910-1921). | [
"Benito Juárez",
"Mexica",
"War of Independence",
"Independence",
"Mexican Revolution"
] |
|
18096_NT | Oaxaca en la historia y en el mito | Explore the Independence, Reform, Revolution Panel of this artwork. | The major topics of the middle panel are the War of Independence (1810–21), the Reform movement often led by Benito Juárez (1854-1876) and the Mexican Revolution (1910-1921). | [
"Benito Juárez",
"Mexica",
"War of Independence",
"Independence",
"Mexican Revolution"
] |
|
18097_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, discuss the Five Civil Wars of the Independence, Reform, Revolution Panel. | In a period of 119 years (1810 to 1921) five civil wars involved the people of Oaxaca. These civil wars are the War of Independence (1810–21), War of Reform (1857-60), the Second French Invasion (1861–67), the Mexican Revolution, (1910–21) and to a minor extent, the Cristero War (1926–29). The image below combines elements from various Mexican wars. | [
"Oaxaca",
"civil war",
"Mexica",
"War of Reform",
"War of Independence",
"Independence",
"Second French Invasion",
"Cristero War",
"Mexican Revolution"
] |
|
18097_NT | Oaxaca en la historia y en el mito | In the context of this artwork, discuss the Five Civil Wars of the Independence, Reform, Revolution Panel. | In a period of 119 years (1810 to 1921) five civil wars involved the people of Oaxaca. These civil wars are the War of Independence (1810–21), War of Reform (1857-60), the Second French Invasion (1861–67), the Mexican Revolution, (1910–21) and to a minor extent, the Cristero War (1926–29). The image below combines elements from various Mexican wars. | [
"Oaxaca",
"civil war",
"Mexica",
"War of Reform",
"War of Independence",
"Independence",
"Second French Invasion",
"Cristero War",
"Mexican Revolution"
] |
|
18098_T | Oaxaca en la historia y en el mito | Regarding Oaxaca en la historia y en el mito, how does the Independence, Reform, Revolution Panel's Five Civil Wars incorporate the A Collage of War? | A Collage of War Clearly, the bottom half of the image above refers to the War of Independence. In the center of the image, fire engulfs men on horseback. Horseback suggests a later confrontation like the French Invasion or the Mexican Revolution. In front of the flames, a horseman wears a large hat. Such a sombrero was worn by Maximilian during the Second French Intervention and by the leaders of the Mexican Revolution such as Poncho Villa. The image of the Virgin of Guadalupe dominates as we will see below.
The top images reflect exploited campesinos working in the production of sugar. The Mexican Revolution started on the 100th anniversary (1910) of the beginning of the War of Independence (1810). And in that sense, the two blend together, as they do in the mural.
The consistent theme of all five civil wars is liberals versus conservatives and to some extent, one war led to another. One author has suggested that the 19th century in Mexico was one long civil war. | [
"civil war",
"Maximilian",
"Second French Intervention",
"Mexica",
"War of Independence",
"Independence",
"center",
"The Mexican Revolution",
"Mexican Revolution",
"mural"
] |
|
18098_NT | Oaxaca en la historia y en el mito | Regarding this artwork, how does the Independence, Reform, Revolution Panel's Five Civil Wars incorporate the A Collage of War? | A Collage of War Clearly, the bottom half of the image above refers to the War of Independence. In the center of the image, fire engulfs men on horseback. Horseback suggests a later confrontation like the French Invasion or the Mexican Revolution. In front of the flames, a horseman wears a large hat. Such a sombrero was worn by Maximilian during the Second French Intervention and by the leaders of the Mexican Revolution such as Poncho Villa. The image of the Virgin of Guadalupe dominates as we will see below.
The top images reflect exploited campesinos working in the production of sugar. The Mexican Revolution started on the 100th anniversary (1910) of the beginning of the War of Independence (1810). And in that sense, the two blend together, as they do in the mural.
The consistent theme of all five civil wars is liberals versus conservatives and to some extent, one war led to another. One author has suggested that the 19th century in Mexico was one long civil war. | [
"civil war",
"Maximilian",
"Second French Intervention",
"Mexica",
"War of Independence",
"Independence",
"center",
"The Mexican Revolution",
"Mexican Revolution",
"mural"
] |
|
18099_T | Oaxaca en la historia y en el mito | In the context of Oaxaca en la historia y en el mito, analyze the 1. The War of Independence (1810–21) of the Independence, Reform, Revolution Panel. | As we saw above, the right side of the center panel is devoted to the War of Independence. | [
"War of Independence",
"Independence",
"center"
] |
|
18099_NT | Oaxaca en la historia y en el mito | In the context of this artwork, analyze the 1. The War of Independence (1810–21) of the Independence, Reform, Revolution Panel. | As we saw above, the right side of the center panel is devoted to the War of Independence. | [
"War of Independence",
"Independence",
"center"
] |
|
18100_T | Oaxaca en la historia y en el mito | When looking at the Independence, Reform, Revolution Panel of Oaxaca en la historia y en el mito, how do you discuss its 1. The War of Independence (1810–21)'s Women in the War of Independence? | Women in the War of Independence Women play a support role in all wars and of course, that was the case in the War of Independence. At least one source has identified the woman in blue in the image above as Leona Vicario. She was affluent and a prominent figure in the War of Independence when she financially supported the insurgents. While in Oaxaca, she contributed to the Correo Americano del Sur. And she is pictured beside the press that appears to be printing that publication. Another source identifies the woman in blue as Francisca Reyes Flores. The story of her bringing a printing press to Oaxaca in the 18th century (1720) is an interesting one. But it does not appear to warrant a place in a panel about independence, reform, and revolution in the 19th century. However, in 1980, at the inauguración of the mural, guests were given a guide to the mural written by Alfredo Cardona Peña, claiming that the image of the woman is Francisca Reyes Flores.And neither interpretation explains why the woman in blue appears frustrated. As we know from his portrayal of other historical characters, Arturo García Bustos seems to enjoy adding a hidden meaning to the mural from time to time. Could the frustrated-looking woman in blue be another layered interpretation by the artist? | [
"Arturo García Bustos",
"Oaxaca",
"Leona Vicario",
"insurgents",
"independence",
"War of Independence",
"Independence",
"Correo Americano del Sur",
"Alfredo Cardona Peña",
"mural"
] |
|
18100_NT | Oaxaca en la historia y en el mito | When looking at the Independence, Reform, Revolution Panel of this artwork, how do you discuss its 1. The War of Independence (1810–21)'s Women in the War of Independence? | Women in the War of Independence Women play a support role in all wars and of course, that was the case in the War of Independence. At least one source has identified the woman in blue in the image above as Leona Vicario. She was affluent and a prominent figure in the War of Independence when she financially supported the insurgents. While in Oaxaca, she contributed to the Correo Americano del Sur. And she is pictured beside the press that appears to be printing that publication. Another source identifies the woman in blue as Francisca Reyes Flores. The story of her bringing a printing press to Oaxaca in the 18th century (1720) is an interesting one. But it does not appear to warrant a place in a panel about independence, reform, and revolution in the 19th century. However, in 1980, at the inauguración of the mural, guests were given a guide to the mural written by Alfredo Cardona Peña, claiming that the image of the woman is Francisca Reyes Flores.And neither interpretation explains why the woman in blue appears frustrated. As we know from his portrayal of other historical characters, Arturo García Bustos seems to enjoy adding a hidden meaning to the mural from time to time. Could the frustrated-looking woman in blue be another layered interpretation by the artist? | [
"Arturo García Bustos",
"Oaxaca",
"Leona Vicario",
"insurgents",
"independence",
"War of Independence",
"Independence",
"Correo Americano del Sur",
"Alfredo Cardona Peña",
"mural"
] |
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