In this way it was begun to teach, to get the figure of what is known
Abel Rodriguez tells us how his painting is inscribed within the process of reactualization of the cosmic creation narrated in Nonuya oral history. Such a reactualization is carried out daily, beginning by the night-time teaching of the creator´s words and developing into the day through the labor a...
- Autores:
-
Rodríguez, Abel
- Tipo de recurso:
- Article of journal
- Fecha de publicación:
- 2014
- Institución:
- Universidad Nacional de Colombia
- Repositorio:
- Universidad Nacional de Colombia
- Idioma:
- spa
- OAI Identifier:
- oai:repositorio.unal.edu.co:unal/51145
- Acceso en línea:
- https://repositorio.unal.edu.co/handle/unal/51145
http://bdigital.unal.edu.co/45217/
- Palabra clave:
- nonuya
Amazonía Colombiana
arte indígena contemporáneo
mitología amazónica
pintura
horticultura de tumba y quema
Nonuya
Colombian Amazonia
indigenous contemporary art
Amazonian mythology
painting
slash and burn horticulture
- Rights
- openAccess
- License
- Atribución-NoComercial 4.0 Internacional
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Atribución-NoComercial 4.0 InternacionalDerechos reservados - Universidad Nacional de Colombiahttp://creativecommons.org/licenses/by-nc/4.0/info:eu-repo/semantics/openAccesshttp://purl.org/coar/access_right/c_abf2Rodríguez, Abel09b934e6-6635-4a02-bdf1-a4674b567bfe3002019-06-29T11:27:59Z2019-06-29T11:27:59Z2014-09-30https://repositorio.unal.edu.co/handle/unal/51145http://bdigital.unal.edu.co/45217/Abel Rodriguez tells us how his painting is inscribed within the process of reactualization of the cosmic creation narrated in Nonuya oral history. Such a reactualization is carried out daily, beginning by the night-time teaching of the creator´s words and developing into the day through the labor and sweat of the people who transform those words into figures, giving them material existence by making gardens, houses and bodies of kin gathering at feasts. The paintings of Abel show different moments of these processes.Abel Rodríguez cuenta como sus pinturas se inscriben en los procesos de reactualización de la creación cósmica narrada en la historia oral del pueblo nonuya. Esta reactualización se efectúa en la vida cotidiana, iniciándose con la enseñanza nocturna de las palabras del creador y desarrollándose durante el día, gracias al trabajo y el sudor de la gente que transforma las palabras en figuras y las materializa haciendo chagras, malocas y cuerpos de parientes reunidos en las fiestas. Las pinturas de Abel muestran diversos momentos de estos procesos.application/pdfspaUniversidad Nacional de Colombiahttp://revistas.unal.edu.co/index.php/imanimundo/article/view/45812Universidad Nacional de Colombia Revistas electrónicas UN Mundo AmazonicoMundo AmazonicoMundo Amazonico; Vol. 5 (2014); 285-295 Mundo Amazónico; Vol. 5 (2014); 285-295 Mundo Amazónico; Vol. 5 (2014); 285-295 2145-5082 2145-5074Rodríguez, Abel (2014) In this way it was begun to teach, to get the figure of what is known. Mundo Amazonico; Vol. 5 (2014); 285-295 Mundo Amazónico; Vol. 5 (2014); 285-295 Mundo Amazónico; Vol. 5 (2014); 285-295 2145-5082 2145-5074 .In this way it was begun to teach, to get the figure of what is knownArtículo de revistainfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1http://purl.org/coar/version/c_970fb48d4fbd8a85Texthttp://purl.org/redcol/resource_type/ARTnonuyaAmazonía Colombianaarte indígena contemporáneomitología amazónicapinturahorticultura de tumba y quemaNonuyaColombian Amazoniaindigenous contemporary artAmazonian mythologypaintingslash and burn horticultureORIGINAL45812-228500-2-PB.pdfapplication/pdf584964https://repositorio.unal.edu.co/bitstream/unal/51145/1/45812-228500-2-PB.pdfd4b2d1979c0601980cad99b4bf405871MD51THUMBNAIL45812-228500-2-PB.pdf.jpg45812-228500-2-PB.pdf.jpgGenerated Thumbnailimage/jpeg5503https://repositorio.unal.edu.co/bitstream/unal/51145/2/45812-228500-2-PB.pdf.jpgaad2c7060220e494c1381b07306aa8f7MD52unal/51145oai:repositorio.unal.edu.co:unal/511452023-12-18 23:05:45.709Repositorio Institucional Universidad Nacional de Colombiarepositorio_nal@unal.edu.co |
| dc.title.spa.fl_str_mv |
In this way it was begun to teach, to get the figure of what is known |
| title |
In this way it was begun to teach, to get the figure of what is known |
| spellingShingle |
In this way it was begun to teach, to get the figure of what is known nonuya Amazonía Colombiana arte indígena contemporáneo mitología amazónica pintura horticultura de tumba y quema Nonuya Colombian Amazonia indigenous contemporary art Amazonian mythology painting slash and burn horticulture |
| title_short |
In this way it was begun to teach, to get the figure of what is known |
| title_full |
In this way it was begun to teach, to get the figure of what is known |
| title_fullStr |
In this way it was begun to teach, to get the figure of what is known |
| title_full_unstemmed |
In this way it was begun to teach, to get the figure of what is known |
| title_sort |
In this way it was begun to teach, to get the figure of what is known |
| dc.creator.fl_str_mv |
Rodríguez, Abel |
| dc.contributor.author.spa.fl_str_mv |
Rodríguez, Abel |
| dc.subject.proposal.spa.fl_str_mv |
nonuya Amazonía Colombiana arte indígena contemporáneo mitología amazónica pintura horticultura de tumba y quema Nonuya Colombian Amazonia indigenous contemporary art Amazonian mythology painting slash and burn horticulture |
| topic |
nonuya Amazonía Colombiana arte indígena contemporáneo mitología amazónica pintura horticultura de tumba y quema Nonuya Colombian Amazonia indigenous contemporary art Amazonian mythology painting slash and burn horticulture |
| description |
Abel Rodriguez tells us how his painting is inscribed within the process of reactualization of the cosmic creation narrated in Nonuya oral history. Such a reactualization is carried out daily, beginning by the night-time teaching of the creator´s words and developing into the day through the labor and sweat of the people who transform those words into figures, giving them material existence by making gardens, houses and bodies of kin gathering at feasts. The paintings of Abel show different moments of these processes. |
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2014 |
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2014-09-30 |
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2019-06-29T11:27:59Z |
| dc.date.available.spa.fl_str_mv |
2019-06-29T11:27:59Z |
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Artículo de revista |
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http://purl.org/coar/resource_type/c_2df8fbb1 |
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info:eu-repo/semantics/article |
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Text |
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http://purl.org/redcol/resource_type/ART |
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publishedVersion |
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https://repositorio.unal.edu.co/handle/unal/51145 |
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http://bdigital.unal.edu.co/45217/ |
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https://repositorio.unal.edu.co/handle/unal/51145 http://bdigital.unal.edu.co/45217/ |
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spa |
| language |
spa |
| dc.relation.spa.fl_str_mv |
http://revistas.unal.edu.co/index.php/imanimundo/article/view/45812 |
| dc.relation.ispartof.spa.fl_str_mv |
Universidad Nacional de Colombia Revistas electrónicas UN Mundo Amazonico Mundo Amazonico |
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Mundo Amazonico; Vol. 5 (2014); 285-295 Mundo Amazónico; Vol. 5 (2014); 285-295 Mundo Amazónico; Vol. 5 (2014); 285-295 2145-5082 2145-5074 |
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Rodríguez, Abel (2014) In this way it was begun to teach, to get the figure of what is known. Mundo Amazonico; Vol. 5 (2014); 285-295 Mundo Amazónico; Vol. 5 (2014); 285-295 Mundo Amazónico; Vol. 5 (2014); 285-295 2145-5082 2145-5074 . |
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Derechos reservados - Universidad Nacional de Colombia |
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Atribución-NoComercial 4.0 Internacional |
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info:eu-repo/semantics/openAccess |
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