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Item type:Publication, Escorpiones que vigilan el horrible subsuelo de la eternidad(Universidade Federal do Tocantins, 2020-04-28)La aproximación al arte prehispánico de César Moro es una que evoluciona en tres momentos: 1937, 1948 y unos años antes de morir. Para establecerlo, en este artículo ha sido primordial tejer redes intertextuales entre el conocimiento arqueológico, histórico y estético del arte prehispánico y las propias consideraciones del poeta. Su aproximación al mismo va de la ambivalencia hasta otra de orden irracional. En ese recorrido, Moro ha viajado del Perú a México, ha recordado la imagen del Museo Nacional en su niñez y su exploración del mundo andino en 1937, y, finalmente, se ha enriquecido con las lecturas de historiadores forjando un vínculo milenario en México con sus antiguas civilizaciones. Con ello ha unido surrealismo y arte prehispánico, oponiendo el arte adormidera en busca de un nuevo imaginario nacional en su trazo hacia el futuro. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, La estética de lo paranatural y el futuro americano: aproximación al arte del Perú antiguo en la obra de Juan Larrea(Universidad Femenina del Sagrado Corazón, 2020-07-05)In this article, we would like to highlight the reflections of the Basque poet Juan Larrea (1895-1980) on the pre- Hispanic objects in his collection, based on his proposal that “history can only be properly understood through the poetic spirit” or “with the divinatory exercise of the imagination”. In his works on the art of ancient Peru, he presents as one of his main axes the visual syntax of a language. With this, the most important thing is not to unravel or interpret the message of that language, but to discover a procedure similar to that of poetry in it. By differentiating between the function of pre-Hispanic objects and the discovery of their symbolic value, he reveals an idea of synthesis of the verbal, visual, material and spatial. Finally, by highlighting the creativity and poetic spontaneity of the Andean builder, his use of the sacred material of stone as part of the whole in Inca architecture, he will emphasize the building and inhabiting of a utopian space, which he believes to be America and the very center of it, his chaupi, Machu Picchu. This can be traced in “Atienza” (1927), “Surrealism and the New World” (1944), in the works collected in Corona Incaica (1960), as well as Machu Picchu, touching stone (1967).2