Morelos. the Yautepec murals 1

Asunción Yautepec is one of the least known of the Dominican missions in Morelos, although it was the second to be founded after Oaxtepec.  Enclosed by a large atrium, Yautepec has a modest mission, but of massive construction. 
   The church is very plain inside and out. Although dated 1567 by a plaque, the facade is neoclassical in design—a post colonial reworking.  Aside from a colorful painted under choir of uncertain date, the majority of the murals are found in the adjacent convento. These are mostly monochrome and date from the 16th century.  
   This first post looks at the church murals, the second at the frescoes in the convento.

The Underchoir Murals
The only remaining mural of note inside the church is the painted, ribbed ceiling of the sotocoro or under choir.  This elaborate, mudéjar inspired pattern incorporates a series of complex ornamental roundels or “bosses,” many of heraldic design. Some feature the Christic monogram IHS, and others include Augustinian insignia, lions and eagles, and a Coronation of the Virgin—all linked by broad, multi striped bands in predominantly red and blue hues.

 

  

text © 2020 Richard D. Perry. color images by the author, Niccolo Brooker and others.

Please visit our earlier pages on the murals of Morelos: Tlayacapan; Cuernavaca, Tlaquiltenango; Oaxtepec;  Tlaltizapan;

Atlatlahuacan; Tepoztlan; 

Puebla. La Casa del Dean murals:The Friezes

The Friezes
As noted earlier, one of the most intriguing aspects of the  Casa del Dean murals is the extraordinary friezes that frame the processions above and below, in particular the various animals portrayed.

   Although overall, the friezes follow the traditional grotesque pattern seen in the monasteries: stylized forms of flowers, vines and cornucopia, angels and mythical beasts, etc, elements like native birds, monkeys, serpents and even wild men, add piquant touches to the conventional designs. 

 

However, it is the array of anthropomorphic animals displayed in the cartouches embedded in the friezes that especially capture the viewer’s attention. Most of those shown are native to the Americas. All are portrayed seated, some on traditional petate thrones, and engaged in a variety of indigenous ritual activities —writing, singing, playing musical instruments, and drinking chocolate or pulque.

The physical portrayal of these creatures with their pre hispanic emblematic significance, added a powerful layer of meaning for the indigenous viewer. 

text © 2020 Richard D. Perry.  

 images © Juan Carlos Varillas and Niccolo Brooker. 

principal source: La Casa del Dean...New World Imagery in a Sixteenth-Century Mexican Mural Cycle Penny C. Morrill. 2014. U. of Texas Press 

Puebla. La Casa del Dean murals:The Triumphs

16. Love  17. Chastity  18. Time

19. (Wild Man)  20. Death  21 Eternity.  

22. Salon Three mural! 

The Salon of the Triumphs
Like that of the Sybils, the tradition of the Triumph goes back to Roman times, when the ceremonial military adventus into the city was a common spectacle. But it was not until the publication of the Triumphs by the 14th century Italian poet Petrarch, that this tradition was visualized in detail and linked to the story of Man and Christ.
   Petrarch’s poetic metaphor of the personified stages of life, with its universal resonance, ensured it immediate popularity, especially with its suitability to public processional and colorful pageantry.
   As in the Salon of the Sybils, the mural segments are continuous, although the background landscapes change with each scene. Five of the conventional Triumphs are portrayed in the Salon in order: Love, Chastity, Time Death and Eternity. As described by Petrarch, each Triumph is shown mounted in a wheeled chariot drawn by a variety of appropriate beasts:

The Triumph of Love
Clad in white and drawn by two elegant white horses, Love leads the procession. A subtle personification of Venus, she holds aloft a heart. Eros with his bow and arrow stands atop the chariot, set in a springlike, pastoral landscape. 
   Along the rocky path, a king, a soldier, a friar and a young woman are trampled beneath the wheels—all conquered by love.

The Triumph of Chastity
Chastity triumphs over Love and holds the palm of victory. Drawn by a pair of unicorns and preceded by a group of Virtues, her chariot traverses a rough and stony path strewn again with recumbent figures. 
   The landscape is more varied here, showing boats and a ship along a waterway in front of a large town.

The Triumph of Time
The winged figure of an aging bearded Saturn personifies time in this mural. Leaning forward on his cane he is about to devour his son Jupiter. Only an hourglass rests on his stripped down cart which is drawn by two stags. 
   Among the trampled figures and broken columns is a fallen angel. Behind, elegantly dressed figures disport in front of an imposing manor house with towers.

The Triumph of Death
An ambiguous monkey/satyr playing a guitar over a doorway heralds this grim tableau. The chariot is crowded by the Three Fates, who prepare to cut the Thread of Life, almost overshadowing the gray, skeletal figure of Death himself with his scythe.
   Two oxen pull the cart, again trampling various unfortunates beneath its wheels. In the background a funeral procession approaches the cemetery of a church, possibly that of San Francisco Tlaxcala.

The Triumph of Eternity
Seated on her chariot above the clouds, the modestly attired but dignified figure of Eternity holds her scepter gesturing towards the hazy, star spangled celestial zone ahead. 
   Amid the clouds, two preening peacocks effortlessly draw the chariot forward. Spiral torchieres atop the chariot suggest the Heavenly Jerusalem. No other persons or earthly appear in this final panel.

text © 2020 Richard D. Perry.  

 images © Juan Carlos Varillas and Niccolo Brooker. 

principal source: La Casa del Dean...New World Imagery in a Sixteenth-Century Mexican Mural Cycle Penny C. Morrill. 2014. U. of Texas Press