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Oaxaca en la historia y en el mito

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This is an old revision of this page, as edited by ArbyBB (talk | contribs) at 13:13, 22 November 2021 (they learned liberal ideas. Fixed the link to Wikipedia for this text.). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

  • Comment: Fails WP:GNG, requires significant coverage (about the artwork - not the history of Oaxaca) in multiple independent secondary sources. Blog sites are not acceptable or reliable sources. Dan arndt (talk) 01:28, 14 October 2021 (UTC)

Oaxaca en la historia y en el mito (English: Oaxaca in myth and history) is a huge 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."[1] He painted the mural between 1978 and 1980 in the Museo de Gobierno in Oaxaca de Juárez, México, known in English as Oaxaca City.

The images selected in a visual history are key to the final interpretation. [2] García Bustos has focused on images of the liberal traditions and reform in his interpretation of the history of Oaxaca. [3] largely leaving out those who opposed liberal ideas and are nevertheless an important part of Oaxacan and Mexican history. [4]

General description of the mural

The mural covers 220 square meters of wall space with some 100 images of objects, people and events, making a semi-circle around a large stairwell. [5] The artist used the encaustic technique. The mural tells the stories of Huaxyacac-Antequera-Oaxaca-Oaxaca de Jußrez in three horizontal layers.

The bottom layer of each panel pictures everyday life. The middle layer the viewer about 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. [6] 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 Independence/reform (1821 to 1900s and beyond).

File:Entiremural2.jpg
Prehispanic panel (up to 1521) Independence/Reform panel (1810-1900s) Colonial panel (1521-1821)
Cultivating corn and other activities in the prehispanic era

The prehispanic panel

The central focus of the Prehispanic panel is to illustrate the lives of indigenous people before the arrival of the Spaniards. Images represent the creation story of the Zapotecs and Mixtecs, the crafting and use of codices, the cultivation of maize (corn) and other crops. [7] One of the city states is represented, either Mitla or Monte Alban[8] as well as the Mesoamerican "game" of ulama, sometimes called pelota, or the ball game. Also, typical artisans are shown at work making pottery, cloth, and smelting gold.

Gold

An artisan working with gold

The image of an artisan working with gold mural strongly resembles a gold disk[9] that archeologists discovered in Tomb 3 at Zaachila in the state of Oaxaca. Thus exemplifying the realism [10] that characterizes García Bustos' art.[10]

The gold rush to Oaxaca started after Montezuma told the Spanish conquistador Hernán Cortés that he obtained his gold from Oaxaca. [11] Cortés wasted no time in sending troops to conquer Huaxyacac as the Aztecs, or more correctly the Mexicas called the area we call today, Oaxaca. And 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 1931 in Tomb 7 , [12] at the Zapotec-Mixtec site called Monte Albán by the Spanish.

The colonial panel

File:Cochineal2.jpg
Collecting insects to produce cochineal

The colonial panel covers 300 years, starting with the arrival of Spanish soldiers, or Conquistadors, in November, 1521 shortly after the fall of Tenochitlan, The panel highlights the construction of a baroque church, using free indigenous labor through the encomienda system. We see a friar, probably the famous Baroque composer, Manuel de Sumaya, leading a choir. The colonial panel devotes considerable space to the manufacture of cochineal, a red dye and also to Sor Juana Inés de la Cruz, better known as Sor Juana and Miguel Mateo Maldonado y Cabrera, better known as Miguel Cabrera.

Cochineal

The panel illustrates a peasant women with a child on her back, [13] picking insects from nopal cactus to be used in producing bright red cochineal dye. As well, another young woman holds cloth that has been coloured by dye made from Cochineal. This insect made some Oaxacans rich, [14] including the philanthropist, Manuel Fernández Fiallo de Boralla (1631-1708). [15] Don Fiallo is portrayed wearing clothes evoking the color of nopal leaves. The nopal-green organ depicted in the mural is a stylized version of the baroque organ in San Jerónimo Tlacochahuaya, a town near Oaxaca. [16]

Manuel Fernández Fiallo, Sor Juana, Miguel Cabrera and an angel

Manuel Fiallo, Sor Juana and Miguel Cabrera

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. [13] [17] 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. [18] [19] A small dog, like an Xoxo or Xoloitzcuintle, near the left elbow of Don Fiallo evokes symbolism [20] of the Dominican order, the first to send friars to Oaxaca.

The image of Sor Juana Inés de la Cruz (1648–1695) fills the centre of the colonial panel, along with artist Miguel Mateo Maldonado y Cabrera (1695–1768), who painted a renowned portrait of Sor Juana. The presence of an angel just barely visible above Miguel Carrera and gesturing to him, reveals the sense of humour of the artist, [21] since, Miguel Carrera was born the year that Sor Juana died and most definitely Sor Juana never sat for a portrait by Miguel Carrera as the mural depicts. Nevertheless the rendering of Carrera painting Sor Juana demonstrates the muralist's commitment to realism[10] in the sense that the image being painted of Sor Juana is almost a carbon copy of the original portrait by Cabrera. [13] [22]

Independence/Reform panel

The independence/reform panel

The third and largest panel deals principally with the impact in Oaxaca of [23] New Spain breaking away from Spain to create Mexico, as well as the development of liberal, Reform Laws. For some commentators, this central panel is best summed up as "representing Mexican patriotism." [24] The panel depicts the chaos of five civil wars that in a period of 111 years (1810 to 1921) 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 four large heads at the top of the panel, from right to left are José María Morelos Pérez y Pavón, a major insurgent leader, Margarita Maza Juárez, appearing beside her husband, Benito Pablo Juárez García, President of Mexico from 1858 to 1872, and Ricardo Flores Magnón, a Communist thought leader of the Mexican Revolution who was born in the State of Oaxaca but died in an American prison.[25]

Benito Juárez

Benito Juárez with 11 men who helped him succeed, along with symbols of conservatism

Benito Juárez shares a prominent place on this panel with people who contributed to his success. Of the seven men on the right hand of Benito Juárez, the first one is General Ignacio Zaragoza Seguin.  He famously led the Mexican army of 600 men, at the Battle of Puebla on May 5, 1862. This is the origin of the Cinco de Mayo celebrations. The soldier with the hat and sword is General Mariano Escobedo.  The sword was given to him by Maximilian before his execution, and the crown that the sword touches, in the center of the panel, is the Habsburg crown of Maximilian who was executed after waging a six-year war against the administration of Benito Juárez. And the prosthetic leg [26] belonged to Antonio López de Santa Anna the conservative enemy of Benito Juárez. Ignacio Ramírez is next. He is famous for his atheism and contributions to anti-clericalism in Mexico that limited the Catholic Church.

Of the 4 men pictured on the left of Juárez, the first man is Melchor Ocampo, with his hand on his heart.  In France he learned about the liberal and anticlerical ideas of the Enlightenment and the French Revolution.  His radical anti-clerical ideas were incorporated in the Reform Laws and the Mexican Constitution of 1857.  The soldier depicted to the left of Benito Juárez is Porfirio Díaz Mori. He supported Juárez in the Reform Wars and during the French invasion.  Later he broke with Juárez and became the dictator-president of Mexico for 34 years.  Both Juárez and Díaz were from Oaxaca and attended El Instituto de Ciencias y Artes de Oaxaca where they learned liberal ideas.

Insurgents

Insurgents of the Mexican War of Independence

In the bottom left corner of the middle panel, García Bustos placed, among other elements, insurgents associated with the War of Independence in Oaxaca and other other Mexican towns where streets bear their names and commemorate their roles in Mexico gaining independence [27]

Armenta y López

Two of these insurgents, apparently the two at the back wearing hats typical of mule drivers, are celebrated in Oaxaca in the street Armenta y López, located near the Palacio de Gobierno. José María Armenta was a mulero, (a mule skinner or mule driver) when Miguel Hidalgo gave him the rank of colonel and sent him to Antequera to foment rebellion.  López took Miguel Armenta de Lima as his lieutenant. [28] Their story illustrates some of the complexities and tragedy of one of the five civil wars fought in Oaxaca.

When they arrived in Oaxaca, locals were suspicious of the two men, but they were able to convince Antequera authorities that they were selling firewood. One story is that they had learned that the mayor was a Creole and they assumed that he, like many other Creoles, was a supporter of the rebellion. When the insurgents told the mayor their intentions to start a revolution in Oaxaca, he threw them in jail.

Vincent Guerrero, President of Mexico (1829 for 8 months)

After a trial they were hung in the quarries of Jalatlaco. Their bodies were dismembered and strewn on the road to Etla as a warning to other potential insurgents that the colonial authorities who were in control of Antequera (Oaxaca) in 1811, meant business. [29] After José Morelos captured Oaxaca in 1813, he ordered that the remains of insurgents who had been martyred, Miguel López de Lima, José María Armenta, Felipe Tinoco y José María Palacios, be exhumed. Subsequently, they were celebrated in the cathedral as heros.

Guadalupe Victoria

Keeping with his realism approach, the artist pictures Guadalupe Victoria, the first President of the United States of Mexico, throwing his sword to lead his men forward, as his legend accounts, [30] in the taking of Oaxaca in 1812.  There are no images on the mural of the Royalists who defended the city against the insurgents and held the city longer than the 15 months during which the insurgents held it. [31] [32]

Vincent Guerrero

President Vicente Ramón Guerrero Saldaña (1782-1831) stands, in the mural, beside the proclamation of the abolition of slavery in Mexico of 1829. [33] [34] Guerrero, with black and indigenous roots, was President of Mexico in an unstable period. Mexico was conservatives and liberals were still vying for power. Guerrero was accused if treason, tried in Oaxaca City and executed in what is now called Cuilápam de Guerrero, on February 14, 1831, some 13 kilometers from the Palacio de Gobierno in Oaxaca.

Summary: Oaxaca en la historia y en el mito

Dina Comisarenco summed up the art of García Bustos as "a revolutionary art, oriented to the defense of popular and peasant causes, human rights, freedom and peace.” We seen evidence of the vlues of Garcia Bustos in his selection of images representing the success of Oaxacan liberals. [35]


References

  1. ^ "The Passing of Two Master Artists and Friends of Mexic-Arte Museum: Arturo Garcia Bustos & Ishmael Soto". mexic-artemuseum. May 2017. Retrieved 2021-11-12.
  2. ^ McElroy, Jenny. "LibGuides: Photographs: Research & Ordering: Images as Primary Sources". libguides.mnhs.org. Retrieved 2021-11-19.
  3. ^ "Riqueza histórica de periódicos murales revolucionarios". Noticias por el Mundo (in Spanish). 2021-10-20. Retrieved 2021-11-14.
  4. ^ Hilvanando Traces de Historia (in Spanish). Oaxaca: Gobierno del Estado de Oaxaca. 2012. p. 75.
  5. ^ Hilvandando. p. 32.
  6. ^ Hilvanando Trozos de Historia (in Spanish). Oaxaca: Gobierno del Estado de Oaxaca. 2021. p. 3.
  7. ^ Centre, UNESCO World Heritage. "Prehistoric Caves of Yagul and Mitla in the Central Valley of Oaxaca". UNESCO World Heritage Centre. Retrieved 2021-11-09.
  8. ^ "Muralista y grabador: dos formas de comunicación", Speech by Arturo García Bustos at the Tercer encuentro Internacional de Pintura Mural, Novembre 22, 2011, Teatro Cervantes de Guanajuato. p.221
  9. ^ "Mexicolore". www.mexicolore.co.uk. Retrieved 2021-11-11.
  10. ^ a b c Morales García, Leonor (1992). Arturo García Bustos y el realismo de la escuela mexicana (in Spanish). Ciudad de Mexico: Universidad Iberoamericana,. p. 77. ISBN 968-859-080-0.{{cite book}}: CS1 maint: extra punctuation (link)
  11. ^ Cervera, César (2017-06-15). "El tesoro maldito de Moctezuma: las toneladas de oro que perdió Hernán Cortés en su noche más triste". ABC Historia.
  12. ^ "Tomb 7, Monte Alban | Dr. Geoffrey McCafferty". antharky.ucalgary.ca. Retrieved 2021-11-07.
  13. ^ a b c Rojas, Mónica (2021-07-08). "Muralista García Bustos legó obra con contenido social en México y Centroamérica". Notigram. Retrieved November 9, 2021.
  14. ^ Marichal Salinas, Carlos (2018). Mexican Cochineal, Local Technologies and the Rise of Global Trade from the Sixteenth to the Nineteenth Centuries. pp. 255–273. ISBN 978-981-10-4052-8.
  15. ^ http://mediateca.inah.gob.mx/islandora_74/islandora/object/pintura%3A3335
  16. ^ "Instituto de Órganos Históricos de Oaxaca México". www.iohio.org.mx. Retrieved 2021-11-15.{{cite web}}: CS1 maint: url-status (link)
  17. ^ van Doesburg, Sebastian. Ayuntamiento de la Ciudad de Oaxaca, 475 Años de la fundación de Oaxaca (in Spanish). p. 154.
  18. ^ "TEMPLO DE SANTA MARÍA DEL MARQUESADO". aquioaxaca.com. Retrieved 2021-11-15.
  19. ^ "AGEO: Manuel Fiallo, de Portugal a Oaxaca". NVI Noticias (in Spanish). Retrieved 2021-11-08.
  20. ^ Editor, ChurchPOP (2017-08-07). ""Hounds of the Lord": The Little-Known Meaning of the Dominican Dog -". Retrieved 2021-11-22. {{cite web}}: |last= has generic name (help)
  21. ^ López Orozco, Leticia (2017-01-01). El muralismo mexicano del siglo XX: protagonistas, voces y lecturas lecturas (in Spanish). Mexico City: Instituto de Investigaciones Estéticas, UNAM. pp. 87–89.{{cite book}}: CS1 maint: year (link)
  22. ^ "Cabrera, Portrait of Sor Juana Inés de la Cruz (article)". Khan Academy. Retrieved 2021-11-15.
  23. ^ Schaefer, Timo (2013). "Soldiers and Civilians: The War of Independence in Oaxaca, 1814–1815". Mexican Studies/Estudios Mexicanos. 29 (1): 149–174. doi:10.1525/msem.2013.29.1.149. ISSN 0742-9797.
  24. ^ Hilvanando Traces de Historia (in Spanish). Oaxaca: Gobierno del Estado de Oaxaca. 2021.
  25. ^ Albro, Ward S. (1992). Always a rebel : Ricardo Flores Magón and the Mexican Revolution. Fort Worth: Texas Christian University Press. ISBN 0-585-38033-3. OCLC 48138594.
  26. ^ Ph. D., Spanish; M. A., Spanish; B. A., Spanish. "Biography of Antonio López de Santa Anna, 11-Time President of Mexico". ThoughtCo. Retrieved 2021-11-21.
  27. ^ Thelmadatter, Leigh (2021-06-02). "Want to know Mexico's history? Read its street signs". Mexico News Daily. Retrieved 2021-11-11.
  28. ^ XI Simposio Internacional de Estudios Oaxaqueños (October 2016). "Aportes de Oaxaca a la Independencia de México | El Imparcial de Oaxaca". imparcialoaxaca.mx. Retrieved 2021-11-11.{{cite web}}: CS1 maint: url-status (link)
  29. ^ Lescas, Raúl Jiménez. "Armenta y López, primeros mártires insurgentes en la Antequera de Oaxaca". {{cite journal}}: Cite journal requires |journal= (help)
  30. ^ Razo, Antonio Aguilar. "General de División, Guadalupe Victoria, (1786-1843)" (PDF). La Secretaría de la Defensa Nacional (SEDENA). p. 3. Retrieved 2021-11-11.{{cite web}}: CS1 maint: url-status (link)
  31. ^ Knight, A (2006). "Patterns and Prescriptions in Mexican Historiography". Bulletin of Latin American Research. 25 (3): 340–66. ISSN 0261-3050.
  32. ^ Hamill, Hugh M. (1973). "Royalist Counterinsurgency in the Mexican War for Independence: The Lessons of 1811". The Hispanic American Historical Review. 53 (3): 470–489. doi:10.2307/2512974. ISSN 0018-2168.
  33. ^ "Decree abolishing slavery in Mexico in 1829". digital.library.shsu.edu. Retrieved 2021-11-16.{{cite web}}: CS1 maint: url-status (link)
  34. ^ Anna, Timothy E. (2002). "The Legacy of Vicente Guerrero, Mexico's First Black Indian President (review)". Journal of Colonialism and Colonial History. 3 (2). doi:10.1353/cch.2002.0031. ISSN 1532-5768.
  35. ^ "El muralista Arturo García Bustos legó obra con contenido social en México y Centroamérica". INBAL - Instituto Nacional de Bellas Artes y Literatura (in Mexican Spanish). Retrieved 2021-11-21.
  • [García Bustos, Arturo (October 13, 2021). "Experiencias vitales y compromisos plásticos". Revistas UNAM. Muralista y grabador: dos formas de comunicación. ‎November ‎2011: 3. 221.]
  • History of Oaxaca Part 2 – Colonial Era
  • The Mexican War of Independence
  • [Hamnett, Brian (2010), Vázquez, Josefina Zoraida (ed.), "JUÁREZ: LA VERDADERA SIGNIFICACIÓN DE UNA PRESIDENCIA CONTROVERTIDA", Juárez, historia y mito (1 ed.), El Colegio de Mexico, pp. 17–32, doi:10.2307/j.ctvhn0d9b.4, ISBN:978-607-462-076-4, retrieved 2021-10-19.]
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