ABSTRACT

The famous Maya blue, a nanostructured hybrid organic–inorganic material, has been the subject of numerous studies since its discovery in 1931. These mainly focused on mural paintings, manuscripts, cultural artifacts from ancient Mesoamerica, and notable examples of syncretic art produced in early colonial times in New Spain as a result of the convergence of Mesoamerican and European traditions. This article reports on the identification of Maya blue in the wall painting programs of four mendicant monasteries founded in Southern and Central Mexico during the sixteenth century. It discusses the pictorial effects, painting mixtures, and artistic inventiveness of indigenous artists who expressed themselves through the quality of color and the meanings of materials by using Maya blue in Christian images. This article proposes that Maya blue reappeared in the palette of local artists in the second half of the sixteenth century, as a traditional technology that integrated the complex worldview of Mesoamerican cultures and their knowledge of its extraction, production, and use in the art of painting.

摘要

著名的玛雅蓝是一种纳米结构的有机-无机混合材料，自 1931 年被发现以来一直是众多研究的主题。这些研究主要集中在古代中美洲的壁画、手稿、文化文物，以及早期产生的融合艺术的显着例子。由于中美洲和欧洲传统的融合，新西班牙的殖民时代。本文报道了 16 世纪在墨西哥南部和中部建立的四个僧侣修道院的壁画项目中对玛雅蓝的鉴定。它讨论了土著艺术家的绘画效果、绘画混合和艺术创造力，他们通过在基督教图像中使用玛雅蓝，通过色彩的质量和材料的意义来表达自己。