Aplicación de la serigrafía en la reproducción de iconos precolombinos sobre papel artesanal, para revalorizar la cultura Puruhá en la ciudad de Riobamba

Abstract

The Prehispanic art in America is not known in its real dimension, it had been devalued in the eyes of the contemporary societies; in Ecuador the Puruhá Art an ancestral part of the heritage legacy of our ancestors, like other cultures had had no knowledge or appreciation and therefore an adequated dissemination, therefore it lacks an autonomous artistic configuration within the Ecuadorian Art history. The little sense of belonging of the people caused by the alienated imported from the West had induced the near extermination of ownership of our people’s practices. In the design and graphics of Pre-Columbian cultures specifically from the Puruhá, appearing in the ceramic objects preserved in museums, in private collections and various texts, they have an iconographic language waiting to be studied. Investigations gave evidence of the existence of an iconic technological wealth and the presence of cultural symbols and its various artistic performances. From the observation of geometric and figurative motifs analyzed, some questions arose: What could represent these forms schematized? And, besides, the schematic forms would they have any meaning? And if so, would there be some keys to interpret the Pre-Columbian geometric designs? This research aims to contribute to the society, with the spread of the Andean designs, valuing its graphic, its color, and understanding the concepts of Pre-Columbian art- and the Andean Puruhá iconography; where screen-printing is a way of expression of graphic reproduction of these icons after five hundred years of being almost forgotten.