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Tablas de Sarhua tell the story of the people of Sarhua, a remote Andean community of ayacucho, Peru. They are long painted mahogany boards given by "El compadre", Godfather of the children, to a family who was building a new home. Because of political upheaval, most of the community from sarahua moved to Lima in the late 1970s and 1980s for their safety.
Tablas de Sarhua tell the story of the people of Sarhua, a remote Andean community of ayacucho, Peru. They are long painted mahogany boards given by "El compadre", Godfather of the children, to a family who was building a new home. Because of political upheaval, most of the community from sarahua moved to Lima in the late 1970s and 1980s for their safety.
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Tablas de Sarhua tell the story of the people of Sarhua, a remote Andean community of ayacucho, Peru. They are long painted mahogany boards given by "El compadre", Godfather of the children, to a family who was building a new home. Because of political upheaval, most of the community from sarahua moved to Lima in the late 1970s and 1980s for their safety.
Drepturi de autor:
Attribution Non-Commercial (BY-NC)
Formate disponibile
Descărcați ca PDF, TXT sau citiți online pe Scribd
These Andean folk paintings tell the story of the people
of Sarhua, a remote Andean community of Ayacucho, Peru. Scenes of daily life events as well as celebrations give us a glimpse of a world of magical simplicity, traditions and mystic beliefs.
Traditionally, long painted mahogany boards where
given by "El Compadre", Godfather of the children, to a family who was building a new home. Measuring from 6 to 8 inches wide to up to 10 feet long, they had several scenes depicting the story of the family. These boards were attached along a ceiling beam on the second floor for good luck and protection.
The first picture, starting at the bottom of the board will
usually represent the family Saint. The next one would show the man of the house in his occupation. Then the wife doing her work. The following scenes would show the children and extended family living in the house. The last two or three scenes would show in a similar fashion the compadre's family who are giving the board.
Because of political upheaval, most of the community from
Sarhua moved to Lima in the late 1970s and 1980's for their safety. They had to leave behind their fields, animals and simple way of life behind. Fortunately today, many have been able to return to their town in the Andes where the elders are teaching the younger generation their paint- ing traditions. Few artists stayed in the capital, organized as a cooperative, and have been keeping their traditions alive by telling us their stories through their beautiful naively painted boards.
TM
e sign. Craftsmanship. Smiles.
D Empowering Peruvian artists and creating cheer through design and fair trade.
Navajo weavers: Third Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1881-'82, Government Printing Office, Washington, 1884, pages 371-392