Mayan Art part 3

Here we have the final version of the mural.

I also got a brief description of their meaning which, in words of the author, is:

“A representation of the transition between the Mayan world and the tech world”, including references to Felipe Carrillo Puerto, and the "Santuario de la Cruz Parlante" (talking cross sanctuary) in the left side of the mural, as central parts of the Mayan history in the state of Quintana Roo, and references to Instituto Tecnologico Superior de Felipe Carrillo Puerto (technology institute) and information technology in general, in the right side of the painting.

In my opinion it is a beautiful piece of Mayan art. ¿What do you think?

Mayan Art Part 2

Here we can see how the mural is taking form.

Today it was revealed for the painter but, unfortunately, I still don’t have a picture of the final version. I’m planning to take a shot of it in one or two days and immediately post it.

The painter gave us his point of view of the picture and, interestingly, suggested that it was only “one” of the multiple interpretations of the picture as any one of us is capable to generate a personal interpretation that, and the end of the day, is equally valid.

Mayan Art Part 1

The last days I have watched very closely the process of development of an artistic painting made for authentic Mayan hands.

This painting represents the importance of education and the role that public educative institutions play in the process of helping poor societies to overcome social injustices particularly in the context of the Mayan society. The painting is been made for Jose Armando Jimenez who is a professor and well known artistic painter in Felipe Carrillo Puerto, Quintana Roo. Armando is a genuine Mayan descendant born in here in Quintana Roo who has dedicated his life to retreat the Mayan life through his work.

This piece is a mural which is a kind of painting that arose in Mexico in the middle of the past century and had some of their most important exponents in Mexican painters among we can mention Diego Rivera, Jose Clemente Orozco and David Alfaro Siqueiros for example. This technique consists of big paintings made in public building’s walls offering mostly political or social points of view from the painter. This kind of art expression was thought to be used as an educative mean and to be accessible for all people independently of their economical or educative background.

In these two pictures we can appreciate the wall previously cleaned and the first outlines of the mural; in some days I will post the partial advances of the work and final version of the painting.