Arte Indocristiano, Azul Maya, Christian Iconography
Scientific career
Institutions
Instituto Nacional de Antropologia e Historia INAH
Constantino Reyes-Valerio (10 January 1922 - 13 December 2006) was a prominent Mexican scholar of pre-ColumbianMesoamerican cultures, particularly the Aztec and the Maya as well as the Colonial Art.
Reyes-Valerio identified the artistic contribution of Native Mexican Indians in the Colonial painting and sculpture; he coined the term Indochristian art. Another major contribution was his seminal work on the chemical composition and process of the Maya Blue Pigment where he re-discovered the technique used by the Maya to create the famous turquoise blue pigment. He was granted a Guggenheim Fellowship in 1972 for Fine Arts Research. He corresponded extensively with major scholars in Mexico and abroad such as George Kubler, Santiago Sebastian and Enrique Marco Dorta among others. In 2000 he was named Emeritus Researcher by the Instituto Nacional de Antropología e Historia.
In April 2009, a special edition of the INAH bulletin (Boletin de Monumentos Historicos Num 12 enero-abril 2008) was published as an in memoriam edition dedicated to Constantino Reyes-Valerio. Several important researchers, Miguel Leon-Portilla, Alfredo López Austin, Eduardo Matos Moctezuma, Giacomo Chiari, Carlos Navarrete Cáceres, Beatriz Barba Ahuatzin, Dora Sierra, Guillermo Tovar y de Teresa, Manuel Sanchez del Rio, Rosa Camelo among others contributed with articles to this bulletin.
Event at which the Photographic Archive of INAH's Coordinacion de Monumentos Historicos was named after Constantino Reyes-Valerio. On the Photograph: Natalia Fiorentini, Carlos Navarrete and Rosa Camelo and a picture of Reyes-Valerio on the far left.
He was a very active photographer and took the photographs for several books and to the general archive of the INAH. In 2009, his contribution was recognised by naming the Photographic Archive of the "Coordinacion Nacional de Monumentos Culturales" of INAH with his name.
He received several awards, including the Guggenheim Fellowship, the Rafael Ramirez Prize granted by the S.E.P., Premio Francisco Javier Clavijero granted by INAH and the Emeritus Researcher degree by INAH as well.
Photograph of Carlos Chanfon, Constantino Reyes-Valerio, Carlos Martinez Marin and Jorge Gurria
Xochicalco is a pre-Columbian archaeological site in Miacatlán Municipality in the western part of the Mexican state of Morelos. The name Xochicalco may be translated from Nahuatl as "in the house of Flowers". The site is located 38 km southwest of Cuernavaca, about 76 miles by road from Mexico City. The site is open to visitors all week, from 10 am to 5 pm, although access to the observatory is only allowed after noon. The apogee of Xochicalco came after the fall of Teotihuacan and it has been speculated that Xochicalco may have played a part in the fall of the Teotihuacan empire.
Miguel León-Portilla was a Mexican anthropologist and historian, specializing in Aztec culture and literature of the pre-Columbian and colonial eras. Many of his works were translated to English and he was a well-recognized scholar internationally. In 2013, the Library of Congress of the United States bestowed on him the Living Legend Award.
The Instituto Nacional de Antropología e Historia is a Mexican federal government bureau established in 1939 to guarantee the research, preservation, protection, and promotion of the prehistoric, archaeological, anthropological, historical, and paleontological heritage of Mexico. Its creation has played a key role in preserving the Mexican cultural heritage. Its current national headquarters are housed in the Palace of the Marqués del Apartado.
Maya codices are folding books written by the pre-Columbian Maya civilization in Maya hieroglyphic script on Mesoamerican bark paper. The folding books are the products of professional scribes working under the patronage of deities such as the Tonsured Maize God and the Howler Monkey Gods. Most of the codices were destroyed by conquistadors and Catholic priests in the 16th century. The codices have been named for the cities where they eventually settled. The Dresden codex is generally considered the most important of the few that survive.
Latin American art is the combined artistic expression of South America, Central America, the Caribbean, and Mexico, as well as Latin Americans living in other regions.
Maya blue is a unique bright azure blue pigment manufactured by cultures of pre-Columbian Mesoamerica, such as the Mayans and Aztecs.
George Alexander Kubler was an American art historian and among the foremost scholars on the art of Pre-Columbian America and Ibero-American Art.
Eloise Quiñones Keber is Professor Emeritus of Art History at Baruch College and The Graduate Center, CUNY, where she specializes in Pre-Columbian and early colonial Latin American art. She earned her Ph.D from Columbia University in 1984.
Matthew Restall is a historian of Colonial Latin America. He is an ethnohistorian, a Mayanist, a scholar of the conquest, colonization, and the African diaspora in the Americas, and an historian of popular music. Restall has areas of specialization in Yucatán and Mexico, Guatemala, and Belize. He is a member of the New Philology school of colonial Mexican history and the founder of a related school, the New Conquest History. He is currently Edwin Erle Sparks Professor of Latin American History and Anthropology, and Director of Latin American Studies, at the Pennsylvania State University. He is a former president of the American Society for Ethnohistory (2017–18), a former editor of Ethnohistory journal (2007–17), a former senior editor of the Hispanic American Historical Review (2017–22), editor of the book series Latin American Originals, and co-editor of the Cambridge Latin American Studies book series. He also writes books on the history of popular music.
John Michael Montias was a French-born American economist and art historian, known for his contributions to cultural economics, particularly related to Dutch Golden Age painting. Montias was part of the Annales School of historians. He was Professor of Economics Emeritus at Yale University.
Chichén Itzá was a large pre-Columbian city built by the Maya people of the Terminal Classic period. The archeological site is located in Tinúm Municipality, Yucatán State, Mexico.
Painting in the Americas before European colonization is the Precolumbian painting traditions of the Americas. Painting was a relatively widespread, popular and diverse means of communication and expression for both religious and utilitarian purpose throughout the regions of the Western Hemisphere. During the period before and after European exploration and settlement of the Americas; including North America, Central America, South America and the islands of the Caribbean, the Bahamas, the West Indies, the Antilles, the Lesser Antilles and other island groups, indigenous native cultures produced a wide variety of visual arts, including painting on textiles, hides, rock and cave surfaces, bodies especially faces, ceramics, architectural features including interior murals, wood panels, and other available surfaces. Many of the perishable surfaces, such as woven textiles, typically have not been preserved, but Precolumbian painting on ceramics, walls, and rocks have survived more frequently.
Louise M. Burkhart is an American academic ethnohistorian and anthropologist, noted as a scholar of early colonial Mesoamerican literature. In particular, her published research has a focus on aspects of the religious beliefs and practices of Nahuatl-speakers in central Mexico. Her work examines the historical documention from the time of the Spanish Conquest and the subsequent era of colonial Mexico, and studies the continuities and transformations of indigenous Nahua communities and culture. Burkhart has written extensively on colonial Nahuatl drama, folklore, poetry and catechistic texts, translating a number of these documents from the original Nahuatl with commentaries and historical interpretations and notes. She has also published research on the aesthetics and iconography of pre-Columbian and Indochristian art, Nahuatl linguistics, and the rise of the Virgin of Guadalupe cult within Mexican Roman Catholicism.
The Instituto Nacional de Bellas Artes y Literatura, located in the Palacio de Bellas Artes in Mexico City, is the Mexican institution in charge of coordinating artistic and cultural activities in the country.
Nancy Marguerite Farriss is an American historian who is professor emerita at the University of Pennsylvania.
The Maya Codex of Mexico (MCM) is a Maya screenfold codex manuscript of a pre-Columbian type. Long known as the Grolier Codex or Sáenz Codex, in 2018 it was officially renamed the Códice Maya de México (CMM) by the National Institute of Anthropology and History of Mexico. It is one of only four known extant Maya codices, and the only one that still resides in the Americas.
Leonardo Náuhmitl López Luján is an archaeologist and one of the leading researchers of pre-Hispanic Central Mexican societies and the history of archaeology in Mexico. He is director of the Templo Mayor Project in Mexico's National Institute of Anthropology and History (INAH) since 1991 and son of renowned historian Alfredo López Austin. He is fellow of El Colegio Nacional, the British Academy, the Society of Antiquaries of London, the Real Academia de la Historia in Madrid, the American Academy of Arts & Sciences, and the Académie des Inscriptions et Belles-Lettres in Paris.
Indochristian art, is a type of Latin American art that combines European colonial influences with Indigenous artistic styles and traditions.
Juan Gerson was a high status indigenous Nahua painter, named after the French theologian Jean Gerson, working in Tecamachalco, Puebla. Not until 1962 when a group of Mexican scholars found documentation to his high status indigenous heritage was Gerson identity revealed. It was previously thought he was Flemish, trained in Italy, working from entirely within the European tradition before coming to colonial Mexico. Art historians Carolyn Dean and Dana Leibsohn consider Gerson's case of misrecognition as "reveal[ing] once again our refusal to recognize the indigene unless his or her work is visibly pre-Hispanic. Further, the revisions of scholarship that follow the discovery of these artists' genetic make-up involve a literal re-seeing of their work." Mexican art historian Francisco Pérez Salazar considers his work "mediocre and defective."
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