In this fascinating book, richly illustrated and talisman against ourtendency to take very seriously the Grim Reaper, Mercurio Lopez Casillas examines the tradition of representing death in the graphic arts. Through these pages we will move through the different faces with death has been presented in the course of the ages, from pre-Columbian to the comic pages of contemporaryMexican press.
Also go into two interesting perspectives have sometimes lived, one that invites the hearty laugh of popular taste and the press, another tragic, dark, attached to the European fashion, whichduring the Porfiriato preferred artists, writers and aristocrats. Of course, pay special attention to the playful skeletons of JoseGuadalupe Posada, Mexican art emblematic images. Julio Ruelas, Manilla, the engravers who worked for Arroyo Venegas and nineteenth-century cartoonists and their successors the Taller de Grafica Popular, are discussed in detail.
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Text by Mercurio Lopez Casillas.
A prime example is the Mexicas, who were the dominant group upon the arrival of the Spanish. Their mythology included the bony skeletal figures of Mictlantecuhtli and Mictecarihuatl, god and goddess of the dead, who governed Mictlan, the realm of the dead, a place having little in common, however, with the underworlds of Western religions. The sixth day of the Mexica calendar was Miquiztli, represented by a fleshless skull. The ninth month was Miccailhiltontli, the festival of those who had died in infancy, followed by Hueymiccailhuitlo, the great festival of the dead. Both of these months were associated with skull figures. The Mexicas placed the heads of their sacrificial victims on a tzompantli, or altar of skulls. For the Mexicas, the process of dying was a constant rebirth: human sacrifice and war were indispensable to the equilibrium of the universe. Their taste for skeleton figures can be seen in codices, sculptures, paintings, and pottery.
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