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FONDO ESTATAL PARA LA CULTURA Y LAS ARTES DE MICHOACAN

GRAFICA PREHISPANICA DE MICHOACAN 2

Alejandro Delgado

INSTITUTO MICHOACANO DE CULTURA CONSEJO NACIONAL PARA LA CULTURA Y LAS ARTES

UNIVERSIDAD MICHOACANA DE SAN NICOLAS DE HIDALGO


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Título Original: Alejandro Delgado << GRAFICA PREHISPANICA DE MICHOACAN >> Primera Edición: © 1999 Instituto Michoacano de Cultura. © 1999 Universidad Michoacana de San Nicolás de Hidalgo. D.R. Por el autor.

© 1999. Diseño e ilustraciones por el autor. Fotografías: Sandra McIntire. Asistente de Internet: Lucía Cervantes Castro.


C O N T E N I D O

1 PROLOGO Jos茅 Antonio Alvarado

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PAG. 5

2 PREFACIO Alejandro Delgado

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3 INTRODUCCION Marco Antonio L贸pez L贸pez

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4 GRAFICA PREHISPANICA DE MICHOACAN 5 BIBLIOGRAFIA

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12

ODFRQGLFLyQIXQGDPHQWDOTXHIDYRUHFLyHOGHVDUUROOR SRUFLHUWRGHVLJXDO GHODV UHVWDQWHVFDSDFLGDGHVKXPDQDV/DVFRVDV\ODVDFFLRQHVGHORVHQWHVGHOXQLYHUVR FLUFXQGDEDQODPLUDGD(OGHVFXEULPLHQWRODUHSHWLFLyQODIDPLOLDULGDGGHORVHQWHV \VXVDFFLRQHV RODVDFFLRQHVHQWUHVt FRQVWLWX\HURQORVtQGLFHVTXHJXLDURQODH[LV WHQFLDGHORVSULPHURVKXPDQRVSDUDDOFDQ]DUVXSUHVHUYDFLyQ)DPLOLDUL]DUVHFRQ ORVIHQyPHQRV\ORVDFFLGHQWHVGHOPHGLRDPELHQWHFRQODDFFLRQHV\FDUDFWHUtVWLFDV GHORVRWURVVHUHVGHYLQRHQPHPRULDTXHSURQWRGHVDUUROOyIRUPDVGHUHFRUGDWRULR ODVVHxDOHV)XHDSDUWLUGHOXVRGHODVVHxDOHVTXHHOKXPDQRDSUHQGLyDGHPDUFDU HOHVSDFLRODVDFFLRQHVFRQWHQLGDVHQpO\KDVWDORVDUFRUHร€HMRVIXHURQGHOLPLWDGRV Petroglifos de la Cultura DHVSDFLRVVHxDODGRVJUiยฟFD\YLVXDOPHQWH$OSDVRGHOWLHPSRHOLQGLYLGXR\HO 7DtQDGH3XHUWR5LFR JUXSRKDEtDQVHxDOL]DGRVXPHGLRDPELHQWHFRQVWLWX\HQGRHVWHVXSULPHUFyGLJR GHFRPXQLFDFLyQ/DXELFXLGDGODSRVLFLyQODGLPHQVLyQ\ODIRUPDGHODVFRVDV \ORVHYHQWRVVHFRQRFLHURQHQHOHPHQWRVGHUHSUHVHQWDFLyQYLVXDOTXHFRQVXXVR FRPELQDFLyQ\UHODFLyQGHULYDURQHQFRQFHSWRVDEVWUDFWRVHQOHQJXDMHVFRPSOHMRV 123.- Caimรกn. $VtHOSOHQRGHVDUUROORGHODYLVXDOLGDGGHWHUPLQyHOSRVWHULRUGHVDUUROORGHODV 'HFRUDFLyQHQFDMHWH GHPiVIDFXOWDGHVGHOLQGLYLGXR\HOJUXSRKXPDQR'LFKRGHRWUDIRUPDSDUDIUD (VWLOL]DFLyQ VLQWpWLFD OLQHDO GHFDLPiQ VHDQGRORVSRVWXODGRVGHSRVLWDGRVWDQWRHQHO*pQHVLVFRPRHQRWUDVWHRUtDVVREUH (VWDFLyQ4XHUpQGDUR0LFK ODHYROXFLyQSULPHURIXHODOX] ODYLVXDOLGDG OXHJRODYLVXDOLGDGVHKL]RYHUER GHRWUDPDQHUDYHROXHJRH[LVWR /DVDQWHULRUHVUHร€H[LRQHVKDQJXLDGRHOHVStULWXGHHODERUDFLyQGHOSUHVHQWH WUDEDMRTXHHVVLQPiVXQDDSUR[LPDFLyQLQLFLDODODGLยฟFLO\QHFHVDULDODERUGH UHFXSHUDFLyQ\UHFUHDFLyQGHQXHVWUDKLVWRULDVLHVTXHSUHWHQGHPRVYLYLUDSOHQLWXG HOGHYHQLU Al eja nd ro Del g a d o Ra mรญ rez . Morelia, Mich. Mรฉxico. Enero 1999.

Anillo de la Eternidad. Atribuido a Alberto Durero, 

126.- Vasija de Serpiente. Decoraciรณn en vasija de EDUUR (VWLOL]DFLyQ VLQWpWLFD de serpiente en estructura FLUFXODUSHULPHWUDO &RUR+XLQJR0LFK


INTRODUCCION

13

/RVVLJQRVVtPERORVยฟJXUDV\GLEXMRVTXHIRUPDQHOFRUSXVGHOSUHVHQWH OLEURIXHURQWRPDGRVIXQGDPHQWDOPHQWHGHYDVLMDVGHEDUURGHRULJHQSUHKLVSi QLFR\FRUUHVSRQGLHQWHVHQVXPD\RUtDVLQRHVTXHHQVXWRWDOLGDGD0LFKRDFiQ SRUORWDQWRDODFXOWXUDTXHGHQRPLQDPRVWDUDVFDRSXUpSHFKDSXHVGLFKDFXOWXUD WXYRHQORTXHHVHVWHHVWDGRODFDSLWDOGHVXVHxRUtR\HODVHQWDPLHQWRGHVX SREODFLyQGHPDQHUDPiVGHQVD

)UDJPHQWRGHO&yGLFH1XWWDOO referente a la mitologรญa croQROyJLFD1iKXDWOVHPHMDQWH al fragmento del Cรณdice VinGRERQHQVLV TXH UHยฟHUH D OD 3DUDKWDFXFXDWDUDVFD 5LWXDO GHHQFHQGLPLHQWRGHO)XHJR 1XHYR 

3HURHVWRVVtPERORVRยฟJXUDVVHHQFRQWUDEDQHQHVWHWLSRGHSLH]DVGH PDQHUDDLVODGDHVGHFLUIXHUDGHFRQWH[WRVLQHPEDUJRHOORVHQWHQGtDQPX\ ELHQSXHVORVUHPLWtDQDXQDLPDJHQTXHHOSURSLRLQGtJHQDVHKDEtDIRUPDGR SUHYLDPHQWH SRU DVRFLDFLyQ GH LGHDV PLVPDV TXH SURYRFDEDQ VXJHUHQFLDV LPDJLQDWLYDVSXHVODVKDEtDQYLVWRHQVXVOLEURVDORVTXHOODPDEDQFyGLFHVOR TXHTXLHUHGHFLUHVTXHHVWRVSXHEORVHODERUDEDQGRFXPHQWRVSDUDFRQVHUYDUHO WHVWLPRQLRGHVXSDVDGRGHVXVGRFWULQDVGHVXVWUDGLFLRQHVORTXHKDEODGH TXHSRVHtDQXQDFODUDFRQFLHQFLDKLVWyULFD ([LVWHQYDULRVWHVWLPRQLRVGHUHOLJLRVRVPLVLRQHURVTXHOOHJDURQDHVWDV WLHUUDVHQORVDxRVLQPHGLDWRVDODFRQTXLVWDGH0p[LFR\TXHDOFDQ]DURQDYHU

Sacerdote manejando la 3DUDKWDFXFXD &yGLFH 9LQGRERQHQVLV -RVp &RURQD 1~xH]0LWRORJtD7DUDVFD 


PXFKRVGHHVWRVGRFXPHQWRVORVTXHGHVSXpVVHGHVWUX\HURQRVHSHUGLHURQ\VRQ ELHQSRFRVORVTXHVHFRQVHUYDQHQWUHORVWHVWLPRQLRVVHFXHQWDQORVGH)UD\'LHJR 'XUiQ)UD\%HUQDUGLQRGH6DKDJ~Q)UD\7RULELRGH%HQDYHQWH0RWROLQLDHQWUH RWURVSRUHMHPSORQRVGLFHGHHOOR)UD\'LHJRGH/DQGDORVLJXLHQWH " Que escribĂ­an sus libros en unas hoias largas dobladas con pliegues que se venĂ­a a cerrar toda entre dos tablas que hacĂ­an muy galanas, y que escribĂ­an de una parte y de otra a columnas, segĂşn eran los pliegues; y que este papel lo hacĂ­an de las raĂ­ces de un ĂĄrbol y que te daban un lustre blanco en que se podĂ­a escribir bien". (1) <)UD\%HUQDUGLQRGH6DKDJ~QGLFHSRUVXSDUWHORVLJXLHQWH

*

14

" Esta gente no tenĂ­a letras ni caracteres algunos, nĂ­ sabĂ­an leer ni escribir, comunicĂĄbanse por imĂĄgenes y pinturas y todas las antigua\DVVX\DV\OLEURVTXHWHQtDQGHHOODVHVWDEDQSLQWDGRVFRQÂżJXUDVH imĂĄgenes, de tal manera que sabĂ­an y tenĂ­an memoria de las cosas que sus antepasados habĂ­an hecho y habĂ­an dejado en sus anales por mĂĄs de mil aĂąos atrĂĄs, antes que vinieran los espaĂąoles ". (2)

)LJXUDGHOFyGLFH9LQGRER QHQVLV(ODERUDFLyQGHO0D ODFDWH GHFRUDGR FRQ GLVHĂąos incisivos que originaron ORV VHOORV GH EDUUR 0XVHR Nacional de AntropologĂ­a e +LVWRULD  1 /DQGD )UD\ 'LHJR GH RelaciĂłn de las Cosas de YucatĂĄn(GLW3RUU~D0p[LFR S

<VLKDEtDOLEURVFRPRTXHGyGLFKRTXLHUHGHFLUTXHKDEtDSHUVRQDVTXHVH GHGLFDEDQDHODERUDUORVpVWDVHUDQORVDUWLVWDVORVTXHPDQHMDEDQORVFRORUHVGH 26DKDJ~Q)UD\%HUQDUGLQR GH Historia General de las ORVFyGLFHVODWLQWDQHJUD\ODWLQWDURMDFRPRVHSXHGHOHHUHQXQSRHPDTXHQRV Cosas de la Nueva EspaĂąa. GHVFULEHFODUDPHQWHHVWHRÂżFLR\TXHGLFH 7,,, "El pintor: la tinta negra y roja, artista, creador de cosas con el agua negra. DiseĂąa las cosas con el carbĂłn, las dibuja, prepara el color negro, lo muele, lo aplica". (3) (OSLQWRUHUDXQDUWLVWD\HODUWHHQWUHORVSXHEORVLQGtJHQDVVHIXHFRQ IRUPDQGRDWUDYpVGHOWLHPSRFRQLQQXPHUDEOHVLQĂ&#x20AC;XHQFLDVGHXQRVSXHEORV

   %LEOLRWHFD 3RUU~D 1R  S 3 %DXGRW *HRUJH Letras

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Precolombinas Siglo XXI (GLW &RO 1XHVWUD$PpULFD 1R0p[LFR3


FRQORVRWURVSRUHOFRQWDFWRTXHWHQtDQDWUDYpVGHOLQWHUFDPELRGHPHUFDQFtDV FRPHUFLRTXHVHFRQYHUWtDHQLQWHUFDPELRFXOWXUDO\TXHFRQHOWLHPSRSURGXMR WRGR HVH SURFHVR GH DFXOWXUDFLyQ SRU HMHPSOR ORV LQIRUPDQWHV GH 6DKDJ~Q SUHVHQWDQXQDYHUVLyQGHORTXHHUDSDUDORVD]WHFDVHODUWHSDUDHOORVHGHEHGH HQWHQGHUTXHORVD]WHFDVVHFRQVLGHUDEDQHOORVPLVPRVXQSXHEORKHUHGHURGHOD FXOWXUDWROWHFDTXHFRQFLEHGLFKRRULJHQHQWLHPSRVSDVDGRVHQGRQGHWRGRIXH EXHQR\KHUPRVRHQHVHWLHPSRQDFLyHO7ROWHFi\RWOHOFRQMXQWRGHODVDUWHV\ GHODยฟORVRItDHLGHDOHVGHHVWHSXHEORRULJLQDULRGH7XOD  SRUHOORORVD]WHFDV FXDQGRVHTXHUtDQUHIHULUDDOJXLHQVHxDODQGRTXHHUDXQDUWLVWDXWLOL]DEDQHO WpUPLQRGHWROWHFDFRPRXQVLQyQLPRFRPRVHSXHGHDSUHFLDUHQHOVLJXLHQWH WH[WRTXHHVXQFRQVHMRTXHGDXQSDGUHDVXKLMDHQGRQGHOHUHFRPLHQGD " Abre bien los ojos para ver cรณmo es el arte tolteca, cuรกl el arte de las plumas, cรณmo bordan con colores, cรณmo entreveran los hilos, cรณmo los tiรฑen, las mujeres, las que son como tรบ, las seรฑoras nuestras, las mujeres nobles". (5)

15

7DPELpQFRPRVHVHxDODHQHOSRHPDGHOSLQWRUTXHGLFH "Traza las sombras, logra un perfecto acabado. Como sรญ fuera un tolteca, SLQWDORVFRORUHVGHWRGDVODVร€RUHV 

$UWLVWD GHO WH[WLO $UFKLYR *XVWDYR&DVDVROD 4 /HyQ 3RUWLOOD 0LJXHO Filosofรญa Nรกhuatl. UNAM / Instituto de Investigaciones +LVWyULFDV 0p[LFRS 5$QyQLPRConsejos de un

padre a su hija. Traducciรณn GH0LJXHO/HyQ3RUWLOOD,QVtituto Nacional de Protecciรณn DOD,QIDQFLD0p[LFR 3 6 /HyQ3RUWLOOD0LJXHOFilosoffa Nรกhuatl. 2S&LW3

3HURQRWRGRVORVSLQWRUHVHUDQEXHQRVKDEtDXQRVEXHQRV\RWURVPDORV ORVPDORVHUDQORVยฉTXHPHWtDQODVFRVDVHQODQRFKHยชSRUHOFRQWUDULRORVEXHQRV ORHUDQSRUTXHSRVHtDQD'LRVORWHQtDQHQVXSURSLRFRUD]yQFRPRVHVHxDOD HQHOVLJXLHQWHSRHPD "El buen pintor: tolteca dueรฑo de la tinta negra y roja, creador de las cosas con el agua negra... el buen pintor: entendido Dios en su corazรณn, diviniza con su corazรณn a las cosas, dialoga con su propio corazรณn. Conoce los colores, los aplica, sombrea;

3RVLEOH 7ROWHFi\RWO 6HOOR GH EDUUR 0XVHR 1DFLRQDO de Antropologรญa e Historia) VHJ~Q-RUJH(QFLVR


logra un perfecto acabado. Todos los colores aplica a las cosas, como si fuera un tolteca, SLQWDORVFRORUHVGHWRGDVODVร€RUHV 

7 %DXGRW, *HRUJH 2S &LW 3

(UDHVWDIRUPDFRPRVHFRQFHEtDVHKDFtDDUWHHQWUHORVDQWLJXRVPH[LFD QRVHUDHODUWHSRUORWDQWRODGLYLQL]DFLyQGHODVFRVDV  (VDVFXDOLGDGHVVH FRQVLGHUDEDQFRPRXQGRQGH'LRVSHURHODUWLVWDWHQtDTXHDSURYHFKDUORSXHV VLQRORKDFtDFRUUtDHOULHVJRGHSHUGHUOR "Pero el que no se percataba de esto, si lo tenรญa en nada, despreciaba su destino, como dicen, aรบn cuando fuera cantor o artista; forjador de cosas, por esto acaba con su felicidad, la pierde". (8)

16

$UWLVWD SLQWRU$UFKLYR *XVWDYR&DVDVROD

8/HyQ3RUWLOOD0LJXHOFilosofรญa Nรกhuatl. 2S&LWS

(VLQGXGDEOHTXHODYLVLyQHVWpWLFDGHOLQGtJHQDGHOD$PpULFD3UHKLVSi QLFDWHQtDVXSURSLRVHQWLGRTXHREHGHFtDDWRGDXQDIRUPDGHFRQFHELUODYLGD \HOPXQGR\TXHHUDFRPSOHWDPHQWHGLVWLQWDDODYLVLyQTXHWHQtDHOHXURSHR GHODUWHHVGHFLUVHJXLDEDQFDGDXQRGHHOORVSRUGLIHUHQWHVSDWURQHVRFiQRQHV 1RVRWURVORVPH[LFDQRVGHOVLJOR;;\GHORVDOERUHVGHO;;,QRVVH JXLPRV ULJLHQGR SRU PRGHORV SURYHQLHQWHV GH (XURSD D ORV TXH VH OHV OODPD RFFLGHQWDOHVORTXHQRVYLHQHGHVGHODSURSLDFRQTXLVWDSRUPHGLRGHODFXDO QRVyORVHLPSXVRHOPRGHORSROtWLFRGHJRELHUQR\HOQRPEUHGH1XHYD(VSDxD DHVWDVWLHUUDVVLQRTXHMXQWRDOHVWDWXWRMXUtGLFRGHFRORQLDVHQRVLPSXVRSRU SDUWHGHOGRPLQDGRUWRGRVORVGHPiVHOHPHQWRVTXHFRQVWLWX\HURQHVWDQXHYD LGLRVLQFUDVLDTXHFRQIRUPDQORVPRGHORVFXOWXUDOHVFRPRHVHOLGLRPDODUHOLJLyQ ODRUJDQL]DFLyQGHODVFLXGDGHVHQPXQLFLSLRVHWF\HQWUHHOORVORVPRGHORV FXOWXUDOHVSRUHOORQXHVWUDYLVLyQREHGHFHDGLFKRVPROGHVRFFLGHQWDOHV\QRD ORVGHORVSXHEORVLQGtJHQDVORVFXDOHVKDEtDQDOFDQ]DGRXQHQRUPHGHVDUUROOR HQYDULRVFDPSRVGHODFXOWXUD\ODVFLHQFLDV 0LJXHO/HyQ3RUWLOODDOKDEODUGHODFRQFHSFLyQGHOPXQGRLQGtJHQDTXH

Ilustraciรณn sobre la guerra GHFRQTXLVWD&yGLFH'XUiQ


FRQVWLWXtDVXÂżORVRItDVHxDODTXHFRQVXVGLEXMRVFRQVXHVFULWXUDEDViQGRVHHQ VtPERORVHQFRQWUDEDQWRGDXQDLQWHUSUHWDFLyQGHHVWDYLGDTXHFRQHOVHQWLPLHQWR UHOLJLRVROHGDEDVHQWLGR\UD]yQDODYLGDDOGHFLU "...crea entonces enjambres de sĂ­mbolos, incorpora al mundo de ORTXHQRWLHQHDOPDODPHWiIRUDGHODĂ&#x20AC;RU\HOFDQWR\SHUPLWH que la gente del pueblo, los macehuales, viendo y 'leyendo' en las piedras en los murales y en todas sus obras de arte enjambres de sĂ­mbolos, encuentren la inspiraciĂłn y el sentido de sus vidas aquĂ­ en Tlalticpan, sobre la tierra". (9)

/D WUDQVIRUPDFLyQ GH ORV elementos propios de la forma tales como contorno, relaciĂłn positivo-negativo, posibilitan nuevas y diversas YLVXDOL]DFLRQHV 9,ELG

(VWRVVtPERORVHVWRVGLEXMRVORVUHDOL]DEDHODUWLVWDHQVXVFyGLFHVFRPR TXHGyGLFKRSHURWDPELpQHQVXDOIDUHUtD\HQVXFHUiPLFDORVTXHVHHQFXHQ WUDQHQHOFRUSXVGHHVWHOLEURIXHURQWRPDGRVIXQGDPHQWDOPHQWHGHYDVLMDVGH EDUURHQWRQFHVQRVHQFRQWUDPRVFRQTXHFRQHVWHPDWHULDOUHDOL]DEDQWDPELpQ REUDVGHDUWHPROGHDEDQHOEDUUR\OHGDEDQYLGD\FRQHOORFRPRHOORVGHFtDQ ŠORKDFtDQPHQWLUªFRPRORVHxDODQHQHOSRHPDVLJXLHQWH

17

"EI que da un ser al barro: de mirada aguda, moldea, amasa el barro. El buen alfarero en las cosas, enseĂąa al barro a mentir, dialoga con su propio corazĂłn, hace vivir a las cosas, las crea, todo lo conoce como si fuera un tolteca, hace hĂĄbiles sus manos". (10) (OVHQWLGRGHHQVHxDUDOEDUURDPHQWLUHVHOGHTXHDOGDUIRUPDDpVWHKDFH TXHSDUH]FDFRPRYHUGDGHURDTXHOORTXHHVÂżFWLFLR\HQFRQWUDPRVQXHYDPHQWH HOWpUPLQRWROWHFDFRPRVLQyQLPRGHDUWLVWD (VWRVWODKXLFROHV SLQWRUHV KDEtDQOOHJDGRDUHSUHVHQWDUHQVXVSLQWXUDV \GLEXMRVXQDUWHDEVWUDFWRHQWHQGLGRFRPR 2EUDVHQWHUDPHQWHFDUHQWHVGHÂżJXUDFLyQ HVSDFLRUHDOREMHWRV SDLVDMHVÂżJXUDVGHVHUHVDQLPDGRVHLQFOXVRGHIRUPDV

AlfarerĂ­a actual michoacana en la que se aprecian motivos decorativos taras cos prehisSiQLFRV (O4XHKDFHUGHXQ 3XHEOR (GLFLRQHV &DVD GH ODV$UWHVDQtDVGH0LFKRDFiQ  

10,ELG

/DREVHUYDFLyQGHODVHWDSDV de evoluciĂłn de los fenĂłmenos posibilita la representaFLyQJUiÂżFDJUDGXDORODJUDdaciĂłn progresiva de la forma TXH HV XQR GH ORV PpWRGRV GHDEVWUDFFLyQJUiÂżFRYLVXDO


geométricas si se presentan como objetos reales con iluminación y perspectiva). Se trata de un arte que rechaza la copia o imitación de todo modelo exterior a la consciencia del pintor. Partiendo de este concepto, en un cuadro abstracto no puede haber referencia DDOJRLQGHSHQGLHQWHGHOFXDGURPLVPR¿JXUDKXPDQDSDLVDMH PHVDIUXWDHWFTXHVRQREMHWRVGH¿QLEOHVFRQSDODEUDV 

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La investigaciĂłn para la realizaciĂłn de la presente publicaciĂłn, fue posible gracias al apoyo brindado por el Fondo Estatal para la Cultura y las Artes de MichoacĂĄn en convenio con el Fondo Nacional para la Cultura y las Artes, en su emisiĂłn correspondiente al aĂąo 1997.

111

(ODXWRUDJUDGHFHODFRODERUDFLyQGH6DQGUD0F,QWLUHTXLHQUHDOL]yHOUHJLVWURIRWRJUiÂżFRGH la informaciĂłn y con quien se compartiĂł la investigaciĂłn; a los historiadores Marco Antonio LĂłpez LĂłpez, MarĂ­a Teresa CortĂŠs, Alfredo Uribe Salas por su asesorĂ­a y aliento desinteresado; a JosĂŠ Antonio Alvarado, por su genuino interĂŠs y el prĂłlogo a esta ediciĂłn; a los artistas JosĂŠ Santos SĂĄnchez, Rafael Flores, Francisco Prieto miembros de la ComisiĂłn de (YDOXDFLyQGHO)2(6&$0SRUVXFRQÂżDQ]DHQHOSUR\HFWRDOSLQWRU(QULTXH2UWHJDFRQVciente tutor del proyecto; a Gerardo Ascencio, Coordinador del FOESCAM, por su amable y HÂżFLHQWHGHVHPSHxR\D0LJXHO$QJHO&DOGHUyQ6ROtV\-HV~V*DUFtD+HUUHUDSRUVXDSR\R tĂŠcnico computacional. A mis hijas Blanca Alejandra, Estrella Maya, AmĂŠrica Minerva y Tzitzi Sharhi por su inmesurable cariĂąo e inspiraciĂłn. En los dĂ­as de ediciĂłn preprensa del presente trabajo falleciĂł Don Octavio LĂłpez Corona de quien se recibiĂł aportaciĂłn documental e informaciĂłn sobre locaciones y fuentes y de quien se guardarĂĄ fraterna memoria. Este libro se terminĂł de imprimir el de Diciembre de 1999, en los talleres Gospa, S.A. Re ediciĂłn especial para Internet: Alejandro Delgado. 2011.


ALEJANDRO DELGADO

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GRAFICA PREHISPANICA DE MIGRAFICA PREHISPANICA DE MICHOACAN CHOACAN $SUR[LPDFLyQDO'LVHxR*Ui多FR$QFHVWUDO $SUR[LPDFLyQDO'LVHxS*Ui多FR$QFHVWUDO


Grafica prehispanica michoacan pdf  

por Alejandro Delgado Investigación y reconstrucción de diseños gráficos prehispánicos de Michoacán, México.

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