Interpretación de los valores estéticos de la iconografía de la cerámica colonial con los estudiantes del V ciclo de la UNDQT-C Sede Checacupe
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Date
2025-11-14
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Universidad Nacional de Arte Diego Quispe Tito del Cusco
Abstract
El caudal cultural de nuestro Perú Hispánico es uno de los más abundantes del mundo en relación al arte en sus diferentes expresiones, tales como, la pintura, arquitectura, escultura, música, etc.; en donde la cerámica tuvo una estampa y una función muy importante dentro del contexto social en la época colonial. Cuando llegan los españoles a este nuevo mundo, traen consigo enormes avances tecnológicos, los mismos que se ponen rápidamente en práctica, por ejemplo, el uso de la rueda, la pintura, la pólvora, la escritura, el arado (utilizando animales como el toro, el mismo que les sirvió también como diversión, trabajo y comida), entre otros, los cuales han sido magnificentes para nuestros antepasados que al observar estas novedades, en especial el toro, animal al que le rindieron respeto y admiración por la majestuosidad que ofrecía y por su esplendor. En el caso del Puma, este animal se utiliza para representar a una deidad cual era el KAY PACHA (mundo de aquí) dentro la Cosmovisión Andina. Es sobre la idea de las representaciones mencionadas que el escritor peruano José María Arguedas en su obra ¨Yawar Fiesta¨ hace referencia a un toro llamado Mishitu (gatito) nombre representativo al animal sagrado que es el Puma. El Perú Prehispánico y contemporáneo acoge tradiciones y oficios transmitidos de generación en generación, un claro ejemplo es el caso de la cerámica en la época inca, la cual tuvo un papel muy importante porque tenemos muchos Centros de Construcción de Alfarería llamados Manka Ruwaq (los que realizan ollas) que hoye en día se presentan en exhibición en los museos así como los famosos aribalos (p’uyñu), t’ikachuranas, keros y otros productos dentro la expresión pre-inca e inca. Luego de la época incaica llegaron los españoles, los cuales usando convenciones comerciales para realizar revestimiento con diseño europeo en cerámicas famosas, las cuales fueron esmaltarlas con plomo y cadmio. Utilizando patrones de retratos de animales y plantas, uso de escudos heráldicos de las órdenes religiosas y utilizando materiales importados con cantidades excesivas de plomo. Las obras que encontramos en galerías, casas particulares, hoteles y otros lugares hacen que debamos investigar y expresar el significado de esta expresión en un contexto artístico.
The cultural heritage of our Hispanic Peru is one of the richest in the world in relation to art in its different manifestations, Painting, Architecture, Sculpture, Music etc.; where ceramics had a very important presence and function within the social context in colonial times. Whenthe Spaniards arrive in this new world they bring with them many technological advances, which very quickly are put into practice, for example, the use of the wheel, paint, gunpowder, writing, the plow using animals such as the bull which served them as fun, work and food; which has been magnificent for our ancestors who when observing this animal paid respect and admiration for the majestic it offered in all its splendor. Where a deity isreplaced which was the Puma that represents the KAY PACHA (world from here) within the Andean Cosmovision. As the Peruvian writer José María Arguedas mentions in his work "Yawar Fiesta" to a bull called Mishitu (kitten) representative name of the sacred animal the Puma. Pre-Hispanic and contemporary Peru houses traditions and trades inherited from generation to generation.This is the case of Ceramics in the Inca Era, it played a very important role because we had many ceramic construction centers called pottery areas with the name of the manka ruwaq that make pots). Today we have the famous aríbalos (p'uyñu), t'ikachuranas, keros and other products represented in the museums within the Pre-Inca and Inca expressions. This is how the Spaniards arrive, they take advantage of the trade practiced to give it another finish with the famous pottery and glazed with lead and cadmium, where there is another patina with European designs, iconography of flora and fauna, use of heraldic shields of religious orders, using materials imported use excess lead. Pieces that we find in galleries, private houses, hotels and others, which makes us have to investigate and express the meaning of this expression within the artistic context.
The cultural heritage of our Hispanic Peru is one of the richest in the world in relation to art in its different manifestations, Painting, Architecture, Sculpture, Music etc.; where ceramics had a very important presence and function within the social context in colonial times. Whenthe Spaniards arrive in this new world they bring with them many technological advances, which very quickly are put into practice, for example, the use of the wheel, paint, gunpowder, writing, the plow using animals such as the bull which served them as fun, work and food; which has been magnificent for our ancestors who when observing this animal paid respect and admiration for the majestic it offered in all its splendor. Where a deity isreplaced which was the Puma that represents the KAY PACHA (world from here) within the Andean Cosmovision. As the Peruvian writer José María Arguedas mentions in his work "Yawar Fiesta" to a bull called Mishitu (kitten) representative name of the sacred animal the Puma. Pre-Hispanic and contemporary Peru houses traditions and trades inherited from generation to generation.This is the case of Ceramics in the Inca Era, it played a very important role because we had many ceramic construction centers called pottery areas with the name of the manka ruwaq that make pots). Today we have the famous aríbalos (p'uyñu), t'ikachuranas, keros and other products represented in the museums within the Pre-Inca and Inca expressions. This is how the Spaniards arrive, they take advantage of the trade practiced to give it another finish with the famous pottery and glazed with lead and cadmium, where there is another patina with European designs, iconography of flora and fauna, use of heraldic shields of religious orders, using materials imported use excess lead. Pieces that we find in galleries, private houses, hotels and others, which makes us have to investigate and express the meaning of this expression within the artistic context.
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