Interpretacion de valores esteticos para la iconografia greometrica esacalonada pre- Inca a traves del aprendizaje en tejido anudado
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Date
2025-06-10
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Universidad Nacional de Arte Diego Quispe Tito del Cusco
Abstract
El objetivo general de esta investigación fue interpretar los valores estéticos de la iconografía geométrica escalonada estética pre-inca con la finalidad de recuperar su significado cultural a través del aprendizaje, con el tejido anudado en los estudiantes del segundo año de secundaria sección A, de la I.E. Glorioso Colegio Nacional de Ciencias del Cusco. Se abordó el problema con el método cualitativo, con un nivel descriptivo interpretativo analizando datos primarios (de campo). La muestra seleccionada de manera no probabilística por muestra final; cuento con doce estudiantes se realizaron los estudios de valoración semiótica, icono simbólico y estética empleando instrumentos estandarizados y validados. Los datos se analizaron de manera descriptiva e interpretativa considerando los indicadores y categorías de objeto estético, el cual se dio con la interpretación de los valores estéticos de la iconografía escalonada pre-inca lograda mediante la elaboración de pulseras con la técnica tejido anudado. Así mismo se logró identificar las características estéticas diferenciadas de cada uno de las sociedades pre-inca estudiadas. Todo lo cual permite recuperar del escalonado su significado cultural en los estudiantes de esas expresiones artísticas ancestrales mediante las artes plásticas del antiguo Perú, de este modo también conocer su pasado, en la realización de cualquier tipo de arte en especial del patrimonio cultural, ya que su ejecución es de un significado cultural los estudiantes manipularon las lanas de los camélidos sudamericanos que en el idioma Qheswa es “q’aitu”, captando mediante la interpretación de datos analizados de acuerdo con la fundamentación de cada estudiante asignada con él instrumentó de análisis estético. En este trabajo de investigación de interpretar los valores estéticos de la iconografía geométrica escalonada pre-inca en los tejidos de los estudiantes con la motivación del método de la textilería pre-inca para la simplicidad de las formas, se concluyó con el análisis de sus trabajos, la belleza del significado cultural, teniendo en cuenta la trascendencia del arte ancestral a través de la historia, podemos encontrar las diferentes iconografías escalonados en textil que cada período le da. Con la elaboración de los estudiantes se cumple el objetivo general en la I. E. Ciencias Cusco
Kay hatun chaninchaq k´uskimanta yachaynin “chaninchay qhespiriq t’iqsu” pallay k’uchurisqa pata patamanta ñaupaq hatun runakunaq kausaininmanta yachayninmanta ima ruway sutichakuynin “away khipu” llank’anankupaq yachaqkuna iskai ñeq’e secundaria nisqa p’itita “A” Hatun Yachay wasi Glorioso Colegió Nacional de Ciencias sutiyasqa Qosqo llaqtapi. Huchan atipachikun “método cualitativo” nisqawan, hatunchayninwan ch’eqerisqa phaskirikuynin qhawarichikunanpaq. Qhawarichikuynin aqllasqa ruwayninpi tukusqata qhawanapaq; iskay chunka iskayniyuq yachaqkuna ruway atisqankuta chaninchay pallaymamta seq’ekuna k’uchurisqata chaymanta qhespiriq t’iqsu churasqata hatun llank’arikuywan cheqaq rikuyninpaq. Kaykuna qhawarichikun ch’eqerisqa phaskirikuyninta llank´ayninta q’emispa aqllakunanpaq ruwana t’iqsumanta, chayna nisqapi nikun chaninchay qhespiriq ti’qsu pata pata allwita Inka runakuna ñaupaq kausayninmanta atipasqa ruwaykunapi huchuy winch’upi “away khipuwan”. Hinaspa atipakun reqsiyninta qhespireq t’iqsu tukuyninmanta, qasqan Inka ñaupaq kausayninmanta reqsichispa. Llipinkunamanta atipachinku rikhurichiyta “chakata imaymana yachayninta sut´ichakuyninta” waynakuna yachanankupaq kay hatun ruway illawita ruwanqo Perú suyo qhepa wiñay qhatirisqanmanta hinaspaqa llipin qhepa kausayninmanta yachanankupaq illawi ruwayninkuta, qhepa yachayninkunata qhespirichispa ima suti'chakuyninta yachaqkuna atipachinku llank’ayninkuta uywakunaq wilmanwan q’aytuwan puskasqata llumphisqata ima aqllarparinku illawa ruwanankupaq sutichasqa llapan qawarichikuyninmanta, hinaspa churanku yachay ninkuta yuyarispa. Kay yachay k’uskiwan qhawarichikuynin chanin qhespiriq t’iqsu pallaymanta seq’e k’uchurisqa pata patamanta aswan allinta yachaqkuna qawarinku yachayninpaq, hatun yachaymanta hap’ispa away ruwasqankuta allin t’ikarinankupaq hatun awayta qawarinku aswan allinta ruwanankupaq atipachinku hinaspa reqsichinkun lliw llank’ayninkunamanta, qespiriq t’iqsu hutun runakunaq yachayninmanta, qhawa qhawarispa imaymana willakuyninmanta, qhepa wiñay qatirisqata, askha sapanka llaqtakunaq awayninmanta. Ruwayta tukuspa yachaqkuna ayllukunaman qawachinku Hatun Yachay Wasi Ciencias sutiyasqataQosqo llaqta.
The general objective of this research was to interpret the aesthetic values of the pre-inca aesthetic iconography with the aim of recovering its cultural meaning through learning with the technique of the knotted fabric in the students of the second year of secondary school, section a, of the educational institution glorious school sciences of Cusco. The problem was approached with the qualitative method, with an interpretive descriptive level analyzing primary (field) data. The sample selected in a non-probabilistic manner by final sample with twelve students was carried out the studies of semiotic valuation, symbolic and aesthetic icon using standardized and validated instruments. The data was analyzed in a descriptive and interpretative way considering the indicators and categories of aesthetic object. It was concluded with the interpretation of the aesthetic values of the pre-inca stepped iconography achieved through the elaboration of textiles with the knotted technique. Likewise, it was possible to identify the differentiated aesthetic characteristics of each of the pre-inca societies studied. All of which allows the development of creativity in students by recovering the cultural meaning of those ancestral artistic expressions through the history of Peru, in this way also knowing their past, in the realization of any type of art, especially cultural heritage, since its execution is of a cultural significance the students will manipulate the wool of camelish or natural wool that in the Qheswa language is "q'ayto", capturing through the interpretation of data analyzed according to the foundation of each student assigned. In this work of interpretation research, the aesthetic values of pre-inca staggered geometric iconography in students' textiles with the motivation of the pre-Inca textile method for the simplicity of forms, concludes with the analysis of their works. , the beauty of the cultural meaning, taking into account the transcendence of ancestral art through history, we can find the different conceptualizations of each period. With the development of the students the general objective in the I.E. Glorious National College of Sciences.
Kay hatun chaninchaq k´uskimanta yachaynin “chaninchay qhespiriq t’iqsu” pallay k’uchurisqa pata patamanta ñaupaq hatun runakunaq kausaininmanta yachayninmanta ima ruway sutichakuynin “away khipu” llank’anankupaq yachaqkuna iskai ñeq’e secundaria nisqa p’itita “A” Hatun Yachay wasi Glorioso Colegió Nacional de Ciencias sutiyasqa Qosqo llaqtapi. Huchan atipachikun “método cualitativo” nisqawan, hatunchayninwan ch’eqerisqa phaskirikuynin qhawarichikunanpaq. Qhawarichikuynin aqllasqa ruwayninpi tukusqata qhawanapaq; iskay chunka iskayniyuq yachaqkuna ruway atisqankuta chaninchay pallaymamta seq’ekuna k’uchurisqata chaymanta qhespiriq t’iqsu churasqata hatun llank’arikuywan cheqaq rikuyninpaq. Kaykuna qhawarichikun ch’eqerisqa phaskirikuyninta llank´ayninta q’emispa aqllakunanpaq ruwana t’iqsumanta, chayna nisqapi nikun chaninchay qhespiriq ti’qsu pata pata allwita Inka runakuna ñaupaq kausayninmanta atipasqa ruwaykunapi huchuy winch’upi “away khipuwan”. Hinaspa atipakun reqsiyninta qhespireq t’iqsu tukuyninmanta, qasqan Inka ñaupaq kausayninmanta reqsichispa. Llipinkunamanta atipachinku rikhurichiyta “chakata imaymana yachayninta sut´ichakuyninta” waynakuna yachanankupaq kay hatun ruway illawita ruwanqo Perú suyo qhepa wiñay qhatirisqanmanta hinaspaqa llipin qhepa kausayninmanta yachanankupaq illawi ruwayninkuta, qhepa yachayninkunata qhespirichispa ima suti'chakuyninta yachaqkuna atipachinku llank’ayninkuta uywakunaq wilmanwan q’aytuwan puskasqata llumphisqata ima aqllarparinku illawa ruwanankupaq sutichasqa llapan qawarichikuyninmanta, hinaspa churanku yachay ninkuta yuyarispa. Kay yachay k’uskiwan qhawarichikuynin chanin qhespiriq t’iqsu pallaymanta seq’e k’uchurisqa pata patamanta aswan allinta yachaqkuna qawarinku yachayninpaq, hatun yachaymanta hap’ispa away ruwasqankuta allin t’ikarinankupaq hatun awayta qawarinku aswan allinta ruwanankupaq atipachinku hinaspa reqsichinkun lliw llank’ayninkunamanta, qespiriq t’iqsu hutun runakunaq yachayninmanta, qhawa qhawarispa imaymana willakuyninmanta, qhepa wiñay qatirisqata, askha sapanka llaqtakunaq awayninmanta. Ruwayta tukuspa yachaqkuna ayllukunaman qawachinku Hatun Yachay Wasi Ciencias sutiyasqataQosqo llaqta.
The general objective of this research was to interpret the aesthetic values of the pre-inca aesthetic iconography with the aim of recovering its cultural meaning through learning with the technique of the knotted fabric in the students of the second year of secondary school, section a, of the educational institution glorious school sciences of Cusco. The problem was approached with the qualitative method, with an interpretive descriptive level analyzing primary (field) data. The sample selected in a non-probabilistic manner by final sample with twelve students was carried out the studies of semiotic valuation, symbolic and aesthetic icon using standardized and validated instruments. The data was analyzed in a descriptive and interpretative way considering the indicators and categories of aesthetic object. It was concluded with the interpretation of the aesthetic values of the pre-inca stepped iconography achieved through the elaboration of textiles with the knotted technique. Likewise, it was possible to identify the differentiated aesthetic characteristics of each of the pre-inca societies studied. All of which allows the development of creativity in students by recovering the cultural meaning of those ancestral artistic expressions through the history of Peru, in this way also knowing their past, in the realization of any type of art, especially cultural heritage, since its execution is of a cultural significance the students will manipulate the wool of camelish or natural wool that in the Qheswa language is "q'ayto", capturing through the interpretation of data analyzed according to the foundation of each student assigned. In this work of interpretation research, the aesthetic values of pre-inca staggered geometric iconography in students' textiles with the motivation of the pre-Inca textile method for the simplicity of forms, concludes with the analysis of their works. , the beauty of the cultural meaning, taking into account the transcendence of ancestral art through history, we can find the different conceptualizations of each period. With the development of the students the general objective in the I.E. Glorious National College of Sciences.
Description
Keywords
Iconografía geométrica escalonada pre-inca, Interpretación, Significado cultural, Secundaria, Tejido anudado, Ch’uya willakuy pallay seq’e k’uchuchasqa pata pata Inka ñaupaq runakunaq kausayninmanta, Tukuy rikuchikun hatun yachaymanta pallay qhipu hallwawan, Pre-ina stepped geometric iconography, Interpretation, Cultural significance, Secondary, Knotted fabric
