In 1778, Goya produced a group of etchings based on paintings by Velázquez. However, before simplifying it, Goya preserved the original design in a copperplate etching, the largest print he ever made. The tapestry weavers, frustrated by its complex composition, returned the cartoon to Goya. The Blind Guitarist ( 22.63.29) was originally designed for the antechamber at El Pardo and comes from this genre. The tapestries glorify leisure activities of the rich, poor, young, and old in a playful Rococo manner comparable to the style of Tiepolo. Goya painted sixty-three cartoons for two royal palaces, which included nine hunting scenes for the dining room at San Lorenzo del Escorial and ten cartoons for tapestries destined for the dining room at El Pardo. The German painter Anton Raphael Mengs asked Goya to work on tapestry cartoons, or preliminary paintings, for the Royal Tapestry Factory at Santa Bárbara. Goya’s introduction to the royal workshops, a relationship that lasted the rest of his life and spanned four ruling monarchies, began in 1774. He visited Italy in 1770, after two failed attempts in drawing competitions at the Real Academia des Bellas Artes in San Fernando. In Madrid, the painter brothers Francisco (1734–1795) and Ramón Bayeu y Subías (1744–1793) had set up shop in 1763, and Goya soon joined their studio, eventually marrying their sister Josefa. Goya came to artistic maturity during this age of enlightenment. 1759–88) ruled the country as an enlightened monarch sympathetic to change, employing ministers who supported radical economic, industrial, and agricultural reform. Subsequently, the Bourbon king Charles III (r. In 1746, the year of Goya’s birth, the Spanish crown was under the rule of Ferdinand VI. Born in Fuendetodos, he later moved with his parents to Zaragoza and, at age fourteen, began studying with the painter José Luzán Martínez (1710–1785). Over the course of his long career, Goya moved from jolly and lighthearted to deeply pessimistic and searching in his paintings, drawings, etchings, and frescoes. Although nawal is borrowed from the Nahua language, where it means 'to transform' (Campbell 1983, 84), the Quiché interpretation of the word is derived from the root na', meaning 'to feel' or 'to know.' Thus the creation took place by means of the power of the gods’ spirit essence or divine knowledge rather than by physical action.Francisco José de Goya y Lucientes (1746–1828) is regarded as the most important Spanish artist of the late eighteenth and early nineteenth centuries. If a man asks his wife for something to eat or drink when there is nothing in the house, the wife would reply, xa pe ri tin naualih? (Do you expect me to perform miracles?)” (Coto 1983, 328, 369). Thus they would say that the life of the tree, the life of the stone, of the hill, is its naual, because they believed there was life in these objects. Father Coto ascribes this power to the devil, defining the word naual as 'the magical means whereby the devil spoke to the Quichés through their idols. This spirit essence is believed to give them power to act or communicate on a supernatural plane, for example, to transform their usual form into that of a powerful animal or force of nature. In Quiché theology, all things, both living and inanimate, have a spirit essence which they call nawal. It is notable that Ximénez's Spanish translation preserves the indigenous Mesoamerican term for "life-spirit," nawal more accurately, at times he keeps it, at times he removes it, and at times he translates it, variously as "rey" (king), "señor" (lord), and "grandeza" (greatness), terms that he also uses to describe sovereign political power, tepew, a term that arrives in the Maya world through language contact with Nahuatl. We have identified these moments in the K'iche' and Spanish columns so that readers can compare Ximénez's choices.Ĭhristenson (2007: note 70, page 62), observes, "Nawal also has no English equivalent. Identificamos los momentos señalados en las columnas K'iche' y castellano para que el lector pueda comparar el vocabulario. Aquí señalamos dónde Ximénez incluye la voz mesoamericana "nawal" (espíritu de vida) en la versión castellana del Popol Wuj. Dada la fuerte motivación e influencia missionaria de la fe católica en la preparación del manuscrito colonial, es de notar que el padre dominico Francisco de Ximénez (1666-1729) preserva elementos del vocabulario maya y nahua en su traducción española.
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