Una cartografía pictórica de 1730

El presente artículo expone los resultados preliminares de un análisis de imagen que pretende contribuir a despejar algunas incógnitas persistentes sobre la villa de las Aguas Calientes (Nueva España), haciendo uso de fuentes primarias escritas y gráficas, especialmente una cartografía pictórica de 1730. Los resultados muestran una imagen idealizada que confirma la idea de la invención del territorio como estrategia subjetiva.Este artigo apresenta os resultados preliminares da análise de imagem, que visa ajudar a dissipar algumas incertezas persistentes sobre a cidade de Aguas Calientes (Nova Espanha), utilizando fontes primárias pictórica e por escrito, especialmente no mapeamento pictórico da 1730. Os resultados mostram uma imagem idealizada que confirma a ideia da invenção do território como uma estratégia subjetiva.This paper presents the preliminary results of image analysis that aims to help clarify certain questions lingering on historiography of Villa of Aguas Calientes (New Spain), using primary written and graphic sources, especially a 1730 pictorial mapping. The text confirms the idea that the process of drawing territory, invents it as subjective strategy

De Alemania a México: Samuel Chávez y la gimnasia rítmica del Instituto Dalcroze, 1912-1922

The main objective of this article is to make known to the community of historians, especially architecture historians, a little explored facet of the architect Samuel Chávez (a native of the city of Aguascalientes but whose professional development was centered in Mexico City), consisting of the interest he maintained in the relationship between architecture, dance and music. To this end, the text offers historical evidence and arguments based both on the interpretation of a corpus of documents from his personal archive (which as far as is known has not been worked on by the specialized historiography), as on the hemerography of the time and the current bibliography. Beyond what Raquel Tibol (1984) affirmed, in the sense of considering Samuel Chávez as one of the forerunners of modern dance in Mexico, our contribution consists of documenting, in a contextualized way, the meeting point of the architect with the key pedagogical center of the movements for the reform of life: the Jaques Dalcroze Institute of Rhythmics, located in the German garden city of Hellerau, which was a turning point in the professional career of Chávez as he freed himself from the bonds of his former Beaux-arts training, and thus linked him to the European avant-garde of the moment. Our article only focuses on the period 1912-1922.The main objective of this article is to make known to the community of historians, especially architecture historians, a little explored facet of the architect Samuel Chávez (a native of the city of Aguascalientes but whose professional development was centered in Mexico City), consisting of the interest he maintained in the relationship between architecture, dance and music. To this end, the text offers historical evidence and arguments based both on the interpretation of a corpus of documents from his personal archive (which as far as is known has not been worked on by the specialized historiography), as on the hemerography of the time and the current bibliography. Beyond what Raquel Tibol (1984) affirmed, in the sense of considering Samuel Chávez as one of the forerunners of modern dance in Mexico, our contribution consists of documenting, in a contextualized way, the meeting point of the architect with the key pedagogical center of the movements for the reform of life: the Jaques Dalcroze Institute of Rhythmics, located in the German garden city of Hellerau, which was a turning point in the professional career of Chávez as he freed himself from the bonds of his former Beaux-arts training, and thus linked him to the European avant-garde of the moment. Our article only focuses on the period 1912-1922.El objetivo central de esta entrega es dar a conocer a la comunidad de historiadores, en especial a los historiadores de la arquitectura, una faceta poco explorada del arquitecto Samuel Chávez (oriundo de la ciudad de Aguascalientes pero cuyo desarrollo profesional tuvo como centro la Ciudad de México), consistente en el interés que mantuvo por la relación entre arquitectura, danza y música; a tal efecto, el texto ofrece evidencia histórica y argumentos fundados tanto en la interpretación de un corpus de documentos de su archivo personal, que hasta donde se sabe no ha sido trabajado por la historiografía especializada, como en hemerografía de la época y fuentes secundarias actuales. Más allá de lo afirmado por Raquel Tibol (1984), en el sentido de considerar a Samuel Chávez como uno de los precursores de la danza moderna en México, nuestra aportación consiste en documentar, de manera contextualizada, el punto de encuentro de nuestro arquitecto con el centro pedagógico clave de los movimientos para la reforma de la vida: el Instituto de Rítmica de Jaques Dalcroze, sito en la ciudad-jardín alemana de Hellerau, lo que supuso una inflexión en la trayectoria profesional de Chávez al liberarse de las ataduras de su formación Beaux-arts y vincularse a la vanguardia europea del momento. Nuestra entrega sólo se centra en el período 1912-1922

La sermonaria novohispana y su influencia en la arquitectura religiosa de Aguascalientes: prácticas de lectura y simbolismo mariano en el Camarín de la Virgen (1792-1797)

This article attempts to show how sermonic baroque production exerted a decisive influence on the choice of architectural and iconographic programs of the venues of worship for the period of New Spain. The article considers the narratologicalargumentative analysis of a corpus of eleven existing Marian sermons found in the Old Fund Autonomous University of Aguascalientes (Mexico) which belonged to the acquis of the former Convent of the Immaculate Conception, where a barefoot Diegans religious house existed since the seventeenth century in the town of Aguascalientes (until the law of confiscation of church property in 1856). Here is where the chapel of the Virgin is located near the temple. The analysis shows the close connection between the geometrical structure that organizes the space of the dressing room, and astral symbolism in which Mary Immaculate appears in the sermons.Este texto visa mostrar como a produção sermonária barroca exerceu uma decisiva influência na eleição dos programas iconográficos e arquitetônicos dos locais de culto do período novo-hispano, a partir da análise narratológica-argumentativa de um corpus de onze sermões marianos existentes no Fundo Antigo da Universidade Autônoma de Aguascalientes (México) e que pertenceram ao acervo do antigo convento da Puríssima Conceição, casa de religiosos descalços dieguinos existente a partir do século XVII na vila de Aguascalientes (até a lei de desamortização dos bens eclesiais de 1856), em cujo templo está localizado o camarim da virgem. A análise demonstra a estreita conexão entre a estrutura geométrica que organiza o espaço de dito camarim e o simbolismo astral com que María Inmaculada aparece naqueles sermões.Este artículo persigue mostrar cómo la producción sermonaria barroca ejerció una decisiva influencia en la elección de los programas iconográficos y arquitectónicos de los recintos de culto del período novohispano, a partir del análisis narratológicoargumentativo de un corpus de once sermones marianos existentes en el Fondo Antiguo de la Universidad Autónoma de Aguascalientes (México) y que pertenecieron al acervo del antiguo convento de la Purísima Concepción, casa de religiosos descalzos dieguinos existente desde el siglo XVII en la villa de Aguascalientes (hasta la ley de desamortización de los bienes eclesiales de 1856), en cuyo templo se localiza el camarín de la virgen. El análisis demuestra la estrecha conexión entre la estructura geométrica que organiza el espacio de dicho camarín y el simbolismo astral con que María Inmaculada aparece en aquellos sermones

Santiago Medina, “Maestro de Arquitectura” del siglo XVIII. Novedades sobre su oficio en las villas de Lagos y Aguascalientes.

This paper provides documental evidence located in the AGN, which confirms the participation of Santiago Medina as the builder of Lagos de Moreno’s Parish (in the estate of Jalisco, Mexico), that was under his responsibility toward 1779, inserting as much the discovery as the builder himself, in the geographical environment of the villages of Lagos and Aguascalientes, and in the context of the historiography dedicated to investigate the work of the different agents that carried out the constructive programs of the New Spain’s architecture.Este texto proporciona evidencia documental localizada en el Archivo General de la Nación (AGN), en el que se confirma confirma la participación del “Maestro de Arquitectura” Santiago Medina en la edificación de la Parroquia de Lagos de Moreno (Jal.), la cual, estaba a su dirección y cuidado hacia 1779, insertando tanto el hallazgo como el oficio del personaje en el ámbito geográfico de las villas de Lagos y Aguascalientes, y en el contexto de la historiografía dedicada a investigar el trabajo de los distintos agentes que llevaron a cabo los programas constructivos de la arquitectura novohispana