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\nDie Ankunft der Spanier in Mittelamerika im 16. Jahrhundert ersch\u00fctterte nicht nur lokale Traditionen, sondern ver\u00e4nderte auch den Lauf des Welthandels. Marion du Bron, Historikerin und Spezialistin f\u00fcr Geschichte und Zivilisationen, gibt Einblick in diese tiefgreifenden Transformationen.<\/p>\n<\/blockquote>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d max_width=\u201d900px\u201d custom_padding=\u201d0px||0px||true|false\u201d locked=\u201doff\u201d global_colors_info=\u201d{}\u201d][et_pb_column type=\u201d4_4\u2033 _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d global_colors_info=\u201d{}\u201d][et_pb_text _builder_version=\u201d4.27.6\u2033 _module_preset=\u201ddefault\u201d header_2_font=\u201d|300|||||||\u201d header_2_text_color=\u201d#334556\u2033 header_2_font_size=\u201d38px\u201d custom_padding=\u201d21px||37px||false|false\u201d global_colors_info=\u201d{}\u201d]<\/p>\n
Wie war die Situation in Mittelamerika, als die Spanier hier ankamen?<\/h3>\n
Der mesoamerikanische Raum erstreckte sich \u00fcber weite Teile des heutigen Mexiko, Guatemala, Belize und Honduras. Noch heute erkennt man ihn sofort an seinen alten St\u00e4dten mit ihren Pyramidentempeln. Seit mindestens der Mitte des zweiten Jahrtausends vor unserer Zeitrechnung teilten die Kulturen dieser Region eine gemeinsame Vorstellungswelt: dieselben Mythen, dieselbe Zeitrechnung, dieselbe Urbanistik, dieselben Ern\u00e4hrungsgewohnheiten, Materialien und Handwerkstraditionen. Eine jahrtausendealte, in sich geschlossene Zivilisation.<\/p>\n
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Was trieb die Entdecker an?<\/strong><\/h3>\n
Die katholische Monarchie suchte unabl\u00e4ssig nach einer Handelsroute nach Asien, die den Westen umging. Spanische und portugiesische Seefahrer wie Vasco de Gama, Christoph Kolumbus und Ferdinand Magellan vervollst\u00e4ndigten das Bild der Welt und \u00f6ffneten die Routen nach Asien, die Philippinen fest im Blick. Mit der Eroberung des Archipels ab 1521 verf\u00fcgte die Krone endlich \u00fcber eine Handelsbr\u00fccke nach Asien, \u00fcber die Verbindung Manila-Acapulco. Gew\u00fcrze, Seide, chinesisches Porzellan und edle H\u00f6lzer flossen aus Asien herein, im Tausch gegen das Silber aus den Minen Mittelamerikas.<\/p>\n
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Welche Auswirkungen hatte diese Begegnung zwischen der Alten und der Neuen Welt in der Kunst?<\/strong><\/h3>\n
Die sakrale und dekorative Kunst Neuspaniens wurzelt in der hispanischen Tradition, die ihrerseits von arabisch-maurischen Einfl\u00fcssen des Mittelalters sowie fl\u00e4mischen und italienischen Impulsen der Renaissance gepr\u00e4gt war. Die K\u00fcnstlerinnen und K\u00fcnstler Neuspaniens nahmen diese Einfl\u00fcsse auf und gaben ihnen eine neue Form: Sie mischten die hispanisch-maurischen und hispanisch-fl\u00e4mischen Vorlagen mit lokalen Traditionen, orientalischen Stilelementen und, in geringerem Ma\u00df, afrikanischen Einfl\u00fcssen. Was entstand, war eine Kunst, die all diese Einfl\u00fcsse vereinte.<\/p>\n
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Welche Techniken kennzeichnen diese Barocktradition?<\/strong><\/h3>\n
Besonders verbreitet war die Estofado-Technik: bemalte Holzskulpturen, die mit Gold- oder Silberfarbe veredelt wurden und die Altartafeln bev\u00f6lkerten. Ihre Ausdruckskraft war enorm, ob in der Darstellung des Heiligen Josef, des Christus, der Jungfrau oder der Maria Magdalena.<\/p>\n
Daneben gab es eine starke Nachfrage nach leicht transportierbaren Bildwerken f\u00fcr Hausalt\u00e4re und die zahllosen Feste, die den Kalender auch in abgelegenen Ortschaften pr\u00e4gten. Um sie so leicht wie m\u00f6glich zu halten, griffen die Handwerker auf einheimische Materialien zur\u00fcck, darunter eine Paste aus Maisrohr.<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d custom_padding=\u201d6px|||||\u201d global_colors_info=\u201d{}\u201d][et_pb_column type=\u201d4_4\u2033 _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d global_colors_info=\u201d{}\u201d][et_pb_image src=\u201dhttps:\/\/escales.ponant.com\/wp-content\/uploads\/2022\/03\/iStock-643754712-1.jpg\u201d alt=\u201dUne culture m\u00e9tiss\u00e9e en Am\u00e9rique centrale\u201d title_text=\u201damerique-centrale-culture\u201d align=\u201dcenter\u201d _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d global_colors_info=\u201d{}\u201d][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d max_width=\u201d900px\u201d custom_padding=\u201d7px||7px||true|false\u201d locked=\u201doff\u201d global_colors_info=\u201d{}\u201d][et_pb_column type=\u201d4_4\u2033 _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d global_colors_info=\u201d{}\u201d][et_pb_text _builder_version=\u201d4.27.6\u2033 _module_preset=\u201ddefault\u201d header_2_font=\u201d|300|||||||\u201d header_2_text_color=\u201d#334556\u2033 header_2_font_size=\u201d38px\u201d custom_padding=\u201d0px||9px||false|false\u201d global_colors_info=\u201d{}\u201d]<\/p>\n
War der westliche Einfluss der einzige, der das mesoamerikanische Kunstschaffen pr\u00e4gte?<\/h3>\n
Mit der \u00d6ffnung nach Asien kamen neue Objekte ins Land, darunter der Biombo, ein japanischer Paravent, der bei den Adligen des Vizek\u00f6nigreichs gro\u00dfen Anklang fand. Blumenmotive und vergoldete Wolken verrieten chinesische oder japanische Herkunft und traten neben Themen, die durch und durch kreolisch waren. Nirgendwo sonst erprobten die K\u00fcnstler Neuspaniens so viele Techniken auf einmal: westliches \u00d6lgem\u00e4lde, orientalische Perlmutteinlagen oder Dekorationsmalereien aus dem sp\u00e4ten 17. Jahrhundert, wie sie im Jahr 2003 bei Renovierungsarbeiten in einem Haus in Guatemala gefunden wurden.<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d custom_padding=\u201d6px|||||\u201d global_colors_info=\u201d{}\u201d][et_pb_column type=\u201d4_4\u2033 _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d global_colors_info=\u201d{}\u201d][et_pb_image src=\u201dhttps:\/\/escales.ponant.com\/wp-content\/uploads\/2022\/03\/iStock-471728669-1.jpg\u201d alt=\u201dUne culture m\u00e9tiss\u00e9e en Am\u00e9rique centrale\u201d title_text=\u201damerique-centrale-culture\u201d align=\u201dcenter\u201d _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d global_colors_info=\u201d{}\u201d][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u201d2_5,3_5\u2033 admin_label=\u201dMEA \u2013 decalage\u201d _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d max_width=\u201d1000px\u201d custom_padding=\u201d28px||28px||true|false\u201d global_colors_info=\u201d{}\u201d][et_pb_column type=\u201d2_5\u2033 _builder_version=\u201d4.16\u2033 _module_preset=\u201ddefault\u201d background_enable_color=\u201doff\u201d global_colors_info=\u201d{}\u201d][et_pb_text _builder_version=\u201d4.27.6\u2033 _module_preset=\u201ddefault\u201d header_2_font=\u201d|300|on||||||\u201d header_2_text_align=\u201dleft\u201d header_2_text_color=\u201d#ffffff\u201d header_2_line_height=\u201d1.4em\u201d background_color=\u201d#307f90\u2033 custom_margin=\u201d|-30%|||false|false\u201d custom_margin_tablet=\u201d|0%|||false|false\u201d custom_margin_phone=\u201d\u201d custom_margin_last_edited=\u201don|tablet\u201d custom_padding=\u201d30px|75%|30px|20px|true|false\u201d custom_padding_tablet=\u201d|20px|||true|false\u201d custom_padding_phone=\u201d\u201d custom_padding_last_edited=\u201don|tablet\u201d global_colors_info=\u201d{}\u201d]<\/p>\n
Mehr erfahren<\/em><\/strong><\/h2>\n
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Angeregt durch ihre Erfahrungen mit Paravents, weiteten die K\u00fcnstler Neuspaniens die M\u00f6glichkeiten der Perlmutteinlage aus. Die daraus entstandene Technik des Enconchado verbindet Gravur, \u00d6lmalerei und orientalische Perlmutteinlagen zu einer ganz eigenen Bildsprache.<\/p>\n
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Bildnachweis: \u00a9 Istock<\/p>\n
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Mit PONANT nach Mittelamerika<\/strong><\/p>\n
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Reisen Sie mit PONANT in eine Region, in der jede K\u00fcste eine Geschichte erz\u00e4hlt.<\/p>\n
\u200b<\/p>\n
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Marion du Bron, Historikerin, erkl\u00e4rt, wie die spanische Conquista Mittelamerika k\u00fcnstlerisch und kulturell f\u00fcr immer verwandelte.<\/p>\n","protected":false},"author":35,"featured_media":18238556,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_sitemap_exclude":false,"_sitemap_priority":"","_sitemap_frequency":"","footnotes":""},"categories":[3044],"tags":[],"thematique":[3070,3053,3048],"class_list":["post-18238551","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-begegnungen","thematique-geschichte-und-kulturerbe","thematique-handwerkskunst-und-traditionen","thematique-mittelamerika"],"acf":[],"yoast_head":"\n
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