1

FONDO ESTATAL PARA LA CULTURA Y LAS ARTES DE MICHOACAN

GRAFICA
PREHISPANICA DE MICHOACAN
2

Alejandro Delgado

INSTITUTO MICHOACANO DE CULTURA UNIVERSIDAD MICHOACANA

CONSEJO NACIONAL DE SAN NICOLAS
PARA LA CULTURA Y LAS ARTES DE HIDALGO
 Título Original: Alejandro Delgado
3 << 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 PAG.
José Antonio Alvarado 5

2 PREFACIO
Alejandro Delgado 8
4
3 INTRODUCCION
Marco Antonio López López 13

4 GRAFICA
PREHISPANICA DE MICHOACAN 20

5 BIBLIOGRAFIA 109
 PROLOGO

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Anillo de la Eternidad.
Al eja nd ro Del g a d o Ra mí rez . Atribuido a Alberto Durero,
Morelia, Mich. México. Enero 1999. 

126.- Vasija de Serpiente.

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" Que escribían sus libros en unas hoias largas dobladas con plie- )LJXUDGHOFyGLFH9LQGRER
gues que se venía a cerrar toda entre dos tablas que hacían muy QHQVLV(ODERUDFLyQGHO0D
galanas, y que escribían de una parte y de otra a columnas, según ODFDWH GHFRUDGR FRQ GLVH-
eran los pliegues; y que este papel lo hacían de las raíces de un árbol ños incisivos que originaron
ORV VHOORV GH EDUUR 0XVHR
y que te daban un lustre blanco en que se podía escribir bien". (1) Nacional de Antropología e
+LVWRULD
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<)UD\%HUQDUGLQRGH6DKDJ~QGLFHSRUVXSDUWHORVLJXLHQWH Relación de las Cosas de Yu-
catán(GLW3RUU~D0p[LFR
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" Esta gente no tenía letras ni caracteres algunos, ní sabían leer ni
escribir, comunicábanse por imágenes y pinturas y todas las antigua-
\DVVX\DV\OLEURVTXHWHQtDQGHHOODVHVWDEDQSLQWDGRVFRQ¿JXUDVH
imágenes, de tal manera que sabían y tenían memoria de las cosas
14 que sus antepasados habían hecho y habían dejado en sus anales
por más de mil años atrás, antes que vinieran los españoles ". (2)
*
<VLKDEtDOLEURVFRPRTXHGyGLFKRTXLHUHGHFLUTXHKDEtDSHUVRQDVTXHVH
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GH Historia General de las
ORVFyGLFHVODWLQWDQHJUD\ODWLQWDURMDFRPRVHSXHGHOHHUHQXQSRHPDTXHQRV Cosas de la Nueva España.
GHVFULEHFODUDPHQWHHVWHR¿FLR\TXHGLFH 7,,,
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"El pintor: la tinta negra y roja,
3 %DXGRW *HRUJH Letras
artista, creador de cosas con el agua negra.
Diseña las cosas con el carbón, las dibuja, *  3RVLEOH DUWLVWD DOIDUHUR
'HO &yGLFH 1XWWDOO +DUYDUG
prepara el color negro, lo muele, lo aplica". (3) 3HDERG\0XVHXP

(OSLQWRUHUDXQDUWLVWD\HODUWHHQWUHORVSXHEORVLQGtJHQDVVHIXHFRQ
IRUPDQGRDWUDYpVGHOWLHPSRFRQLQQXPHUDEOHVLQÀXHQFLDVGHXQRVSXHEORV Precolombinas Siglo XXI
(GLW &RO 1XHVWUD$PpULFD
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HQWHQGHUTXHORVD]WHFDVVHFRQVLGHUDEDQHOORVPLVPRVXQSXHEORKHUHGHURGHOD
FXOWXUDWROWHFDTXHFRQFLEHGLFKRRULJHQHQWLHPSRVSDVDGRVHQGRQGHWRGRIXH $UWLVWD GHO WH[WLO $UFKLYR
EXHQR\KHUPRVRHQHVHWLHPSRQDFLyHO7ROWHFi\RWOHOFRQMXQWRGHODVDUWHV\ *XVWDYR&DVDVROD
GHOD¿ORVRItDHLGHDOHVGHHVWHSXHEORRULJLQDULRGH7XODSRUHOORORVD]WHFDV
FXDQGRVHTXHUtDQUHIHULUDDOJXLHQVHxDODQGRTXHHUDXQDUWLVWDXWLOL]DEDQHO 4 /HyQ 3RUWLOOD 0LJXHO Fi-
WpUPLQRGHWROWHFDFRPRXQVLQyQLPRFRPRVHSXHGHDSUHFLDUHQHOVLJXLHQWH losofía Náhuatl. UNAM /
Instituto de Investigaciones
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0p[LFRS
" Abre bien los ojos para ver cómo es el arte tolteca, cuál el arte 5$QyQLPRConsejos de un
de las plumas, cómo bordan con colores, cómo entreveran los
hilos, cómo los tiñen, las mujeres, las que son como tú, las señoras
nuestras, las mujeres nobles". (5)
padre a su hija. Traducción
GH0LJXHO/HyQ3RUWLOOD,QV-
7DPELpQFRPRVHVHxDODHQHOSRHPDGHOSLQWRUTXHGLFH tituto Nacional de Protección
15 DOD,QIDQFLD0p[LFR
"Traza las sombras, logra un perfecto acabado. 3
Como sí fuera un tolteca, 6 /HyQ3RUWLOOD0LJXHOFilo-
soffa Náhuatl. 2S&LW3
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ORHUDQSRUTXHSRVHtDQD'LRVORWHQtDQHQVXSURSLRFRUD]yQFRPRVHVHxDOD
HQHOVLJXLHQWHSRHPD

"El buen pintor: tolteca dueño de la tinta negra y roja,

creador de las cosas con el agua negra...
el buen pintor: entendido Dios en su corazón,
diviniza con su corazón a las cosas,
dialoga con su propio corazón. 3RVLEOH 7ROWHFi\RWO 6HOOR
GH EDUUR 0XVHR 1DFLRQDO
Conoce los colores, los aplica, sombrea; de Antropología e Historia)
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 logra un perfecto acabado.
Todos los colores aplica a las cosas,
como si fuera un tolteca,
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3
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FRQVLGHUDEDQFRPRXQGRQGH'LRVSHURHODUWLVWDWHQtDTXHDSURYHFKDUORSXHV
VLQRORKDFtDFRUUtDHOULHVJRGHSHUGHUOR

"Pero el que no se percataba de esto,

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si lo tenía en nada, WDYR&DVDVROD
despreciaba su destino, como dicen,
aún cuando fuera cantor o artista; forjador de cosas,
por esto acaba con su felicidad, la pierde". (8) 8/HyQ3RUWLOOD0LJXHOFilo-
sofía Náhuatl. 2S&LWS
(VLQGXGDEOHTXHODYLVLyQHVWpWLFDGHOLQGtJHQDGHOD$PpULFD3UHKLVSi
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LGLRVLQFUDVLDTXHFRQIRUPDQORVPRGHORVFXOWXUDOHVFRPRHVHOLGLRPDODUHOLJLyQ
ODRUJDQL]DFLyQGHODVFLXGDGHVHQPXQLFLSLRVHWF\HQWUHHOORVORVPRGHORV Ilustración sobre la guerra
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 FRQVWLWXtDVX¿ORVRItDVHxDODTXHFRQVXVGLEXMRVFRQVXHVFULWXUDEDViQGRVHHQ
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"...crea entonces enjambres de símbolos, incorpora al mundo de

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que la gente del pueblo, los macehuales, viendo y 'leyendo' en las elementos propios de la for-
ma tales como contorno,
piedras en los murales y en todas sus obras de arte enjambres de relación positivo-negativo,
símbolos, encuentren la inspiración y el sentido de sus vidas aquí posibilitan nuevas y diversas
YLVXDOL]DFLRQHV
en Tlalticpan, sobre la tierra". (9) 9,ELG

(VWRVVtPERORVHVWRVGLEXMRVORVUHDOL]DEDHODUWLVWDHQVXVFyGLFHVFRPR
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17
"EI que da un ser al barro: Alfarería actual michoacana
de mirada aguda, moldea, en la que se aprecian motivos
decorativos taras cos prehis-
amasa el barro.
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El buen alfarero en las cosas, 3XHEOR (GLFLRQHV &DVD GH
enseña al barro a mentir, ODV$UWHVDQtDVGH0LFKRDFiQ
dialoga con su propio corazón, 
hace vivir a las cosas, las crea,
todo lo conoce como si fuera un tolteca,
hace hábiles sus manos". (10) 10,ELG
(OVHQWLGRGHHQVHxDUDOEDUURDPHQWLUHVHOGHTXHDOGDUIRUPDDpVWHKDFH
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de todo modelo exterior a la consciencia del pintor. Partiendo de
este concepto, en un cuadro abstracto no puede haber referencia
DDOJRLQGHSHQGLHQWHGHOFXDGURPLVPR¿JXUDKXPDQDSDLVDMH
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 La investigación para la realización de la presente publicación, fue posible gracias al apoyo
brindado por el Fondo Estatal para la Cultura y las Artes de Michoacán en convenio con
el Fondo Nacional para la Cultura y las Artes, en su emisión correspondiente al año 1997.

(ODXWRUDJUDGHFHODFRODERUDFLyQGH6DQGUD0F,QWLUHTXLHQUHDOL]yHOUHJLVWURIRWRJUi¿FRGH
111 la información y con quien se compartió la investigación; a los historiadores Marco Antonio
López López, María Teresa Cortés, Alfredo Uribe Salas por su asesoría y aliento desinte-
resado; a José Antonio Alvarado, por su genuino interés y el prólogo a esta edición; a los
artistas José Santos Sánchez, Rafael Flores, Francisco Prieto miembros de la Comisión de
(YDOXDFLyQGHO)2(6&$0SRUVXFRQ¿DQ]DHQHOSUR\HFWRDOSLQWRU(QULTXH2UWHJDFRQV-
ciente tutor del proyecto; a Gerardo Ascencio, Coordinador del FOESCAM, por su amable y
H¿FLHQWHGHVHPSHxR\D0LJXHO$QJHO&DOGHUyQ6ROtV\-HV~V*DUFtD+HUUHUDSRUVXDSR\R
técnico computacional. A mis hijas Blanca Alejandra, Estrella Maya, América Minerva y Tzitzi
Sharhi por su inmesurable cariño e inspiración.

En los días de edición preprensa del presente trabajo falleció Don Octavio López Corona
de quien se recibió aportación documental e información sobre locaciones y fuentes y de
quien se guardará fraterna memoria.

Este libro se terminó de imprimir el de Diciembre de 1999, en los talleres Gospa, S.A.
Re edición especial para Internet: Alejandro Delgado. 2011.
 ALEJANDRO DELGADO

112

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