Pratis: Una mirada a la pintura facial en cuatro tribus indígenas.
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Date
2020-12-01
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Publisher
Corporación Universitaria Minuto de Dios
Type
Thesis
Rights
Atribución-NoComercial-SinDerivadas 2.5 Colombia
Abstract
Con el propósito de conocer a profundidad el significado y la simbología que se esconde con misticismo detrás de las pinturas faciales de cientos de tribus indígenas y culturas originarias alrededor del mundo, se emprende un camino en busca de algunas de las comunidades más curiosas y llamativas, ya sea por lo complejo de sus pinturas y símbolos o por las historias y tradiciones en que estas se hacen presentes. A menudo vemos en películas, series o redes sociales paisajes y rostros tan lejanos y diferentes, que podríamos jurar que salieron de la mente de algún guionista con mucha creatividad. Pero resulta que muchas de esas personas con cicatrices y marcas de arriba abajo, realmente existen y viven la vida con costumbres, tradiciones y festividades que dejarían anonadada a una persona del común.
De esta manera se escogen y recrean las pinturas faciales de cuatro tribus en particular, entendiendo el uso de los símbolos y colores, así mismo la ocasión en las que estas son aplicadas en sus habitantes. Estas se presentan al observador por medio de retratos fotográficos y reseñas que se ilustran en un fotolibro cuya ambientación se desarrolla en el municipio Gachancipá.
With the purpose of knowing in depth the meaning and the symbolism that hides with mysticism behind the facial paintings of hundreds of indigenous tribes and native cultures around the world, a journey is undertaken in search of some of the most curious and striking communities, either because of the complexity of their paintings and symbols or because of the stories and traditions in which they are present. Often we see in films, series or social networks landscapes and faces so distant and different, that we could swear they came from the mind of some scriptwriter with a lot of creativity. But it turns out that many of those people with scars and marks from top to bottom, really exist and live life with customs, traditions and festivities that would leave a common person speechless. In this way, the facial paintings of four particular tribes are chosen and recreated, understanding the use of symbols and colors, as well as the occasion in which these are applied to their inhabitants. These are presented to the observer by means of photographic portraits and reviews that are illustrated in a photo book whose atmosphere is developed in the municipality of Gachancipá.
With the purpose of knowing in depth the meaning and the symbolism that hides with mysticism behind the facial paintings of hundreds of indigenous tribes and native cultures around the world, a journey is undertaken in search of some of the most curious and striking communities, either because of the complexity of their paintings and symbols or because of the stories and traditions in which they are present. Often we see in films, series or social networks landscapes and faces so distant and different, that we could swear they came from the mind of some scriptwriter with a lot of creativity. But it turns out that many of those people with scars and marks from top to bottom, really exist and live life with customs, traditions and festivities that would leave a common person speechless. In this way, the facial paintings of four particular tribes are chosen and recreated, understanding the use of symbols and colors, as well as the occasion in which these are applied to their inhabitants. These are presented to the observer by means of photographic portraits and reviews that are illustrated in a photo book whose atmosphere is developed in the municipality of Gachancipá.
Description
Desarrollar una propuesta artística de la pintura facial como una simbología que da cuenta del sentir y pensar de algunas tribus y culturas originarias alrededor del mundo, por medio del diseño de un fotolibro que permita recrear sus costumbres y tradiciones
Keywords
Artes plásticas, Identidad cultural, Tribus, Plastic arts, Cultural identity, Tribes