Art as Cultural Preservation

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     How poor would be our library of knowl­edge with­out Mayan murals or Hui­chol bead and yarn paint­ings, or native designs incor­po­rat­ed in hand­i­crafts?  Art is a major source for what we know about ancient and indige­nous cul­tures.

      Art has pre­served his­to­ry, rit­u­als, beliefs, and the fab­ric of dai­ly life. Art has record­ed land­scapes, flo­ra and fau­na.  But­ter­flies and birds, tex­tiles and pot­tery, with a swish of an artis­tic hand, have been meld­ed into objects of util­i­ty and a cul­tur­al record. The illus­tri­ous and the incon­se­quen­tial are part of our knowl­edge due to art.

     Artists have used vibrant col­ors, sym­bols and masks to express mys­ti­cal expe­ri­ences in record­ing a people’s spir­it, cul­ture and beliefs.Traditional art is real­is­tic and is often the only record that pre­serves an event, a per­son or a com­mu­ni­ty. The cave paint­ings of Baja Cal­i­for­nia are the sin­gle source of our knowl­edge of a now van­ished peo­ple. Draw­ings give evi­dence of the cul­tur­al dis­rup­tion of a peo­ple once con­sid­ered “a nation of giants.”

      Through­out Mex­i­co murals dec­o­rate munic­i­pal build­ings and com­ment on the cul­tur­al his­to­ry of Mex­i­co.  Diego Rivera’s “A Dream of a Sun­day After­noon in Alame­da Park,” a fres­co pre­serves a cul­tur­al com­men­tary that lives in the Alame­da Hotel.  José Guadalupe Posa­da, “the peo­ples’ artist,” keeps alive in car­i­ca­ture and satire the polit­i­cal cul­ture of the era.

      Art, some­times wild and incom­pre­hen­si­ble, dis­plays the mind of man, the irra­tional and the ratio­nal, the sophis­ti­cat­ed and the prim­i­tive, the grotesque and the sub­lime.  Since the 1900s art has become less tra­di­tion­al, record­ing dreams and using new abstract styles such as sur­re­al­ism and cubism.  It has become inven­tion, cre­at­ed new forms such as drip paint­ings and col­ored rec­tan­gles, and artists have com­bined mate­ri­als in total­ly unex­pect­ed ways that record and pre­serve the vital­i­ty of a cul­ture.

      When art is exam­ined one sees a pre­served his­to­ry some­times a win­dow to the past, some­times a vision of the present that one day, will be the past.  Art reveals and pre­serves a vision of our her­itage, our cul­ture, our spir­i­tu­al beliefs, our envi­ron­ment and our atti­tudes.  Whether pre His­pan­ic or Chris­t­ian, in tex­tiles, amate bark, pot­tery, murals or masks, art is a cul­tur­al pre­serv­er.

      Miguel Díaz Guer­rero is a painter who lives in the Sier­ra Norte. He is an indige­nous artist who lives with nature and his com­mu­ni­ty. He par­tic­i­pates in dai­ly life and cul­ture. His real­is­tic paint­ings pre­serve and record life in the Sier­ra.  He incor­po­rates land­scapes, flo­ra, fau­na, indi­vid­ual activ­i­ties, and the com­mu­ni­ty. He has recent­ly cre­at­ed twelve paint­ings themed around sheep: the herd­ing, gath­er­ing, shear­ing, wash­ing wool, card­ing, spin­ning, weav­ing and gar­ment wearing.For pos­ter­i­ty Miguel has record­ed and pre­served life in the Sier­ra Norte.