{"title":"安第斯山脉的禁忌之爱:穆鲁阿和瓜曼·波玛重述丘奎兰托和阿科伊塔普拉的神话","authors":"Alicia Maria Houtrouw","doi":"10.1086/702752","DOIUrl":null,"url":null,"abstract":"161 The following coauthored indigenous tale about two lovers—an Inca ñusta (princess), Chuquillanto, and a humble shepherd, Acoytapra—was recorded around the turn of the seventeenth century in colonial Peru. The story’s meaning is layered, having been written and illustrated by two people of vastly different backgrounds: the drawings by a native Andean man and the writing by a Spanish friar. Although the images complement the text by illuminating events in the written tale, the artist applies his knowledge of the native Andean belief system and Inca visual culture by inserting additional meanings into the illustrations and communicating visually what the Spanish author cannot. Even though both authors eventually arrive at the same conclusion—that Acoytapra and Chuquillanto’s relationship is impossible—each values this outcome for distinct reasons. Their diverging interpretations of the legend help us to see how each author engaged with the story to further his own ideology and mission. Furthermore, the illustrator’s role in the retelling of this myth shows how an indigenous artist and author negotiated his relationship with Spanish authorities and asserted his indigenous knowledge in a colonial context. Below is a summary of the tale Ficción y suçesso de un famosso pastor llamado el gran Acoytapra con la hermossa y discreta Chuquillanto, ñusta, hija del sol (Legend and account of a famous shepherd named the great Acoytapra with the beautiful and discreet Chuquillanto, princess, daughter of the sun).1 ——— One day, as the shepherd Acoytapra was tending his herd, he was unexpectedly approached by two daughters of the sun. The eldest, Chuquillanto, was drawn to the shepherd, who wore on his forehead a canipu (silver pendant) with an image of two aradores (plowers)2 eating a heart. He told Chuquillanto it was called an utusi, which the narrator explains may be slang for the genital member, an old word invented by lovers. She was intrigued by his strange ornament and talked to her sister about the shepherd until arriving back at the palace. That night, Chuquillanto had no appetite and thought incessantly about the shepherd. When she finally fell asleep she dreamt that a nightingale flew to her lap and spoke to her. Chuquillanto explained to the bird that she could only be cured of what ailed her if she pursued her love for the shepherd, but that her father would kill her if she did. Forbidden Love in the Andes: Murúa and Guaman Poma Retell the Myth of Chuquillanto and Acoytapra","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"11 1","pages":"161 - 184"},"PeriodicalIF":0.1000,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/702752","citationCount":"0","resultStr":"{\"title\":\"Forbidden Love in the Andes: Murúa and Guaman Poma Retell the Myth of Chuquillanto and Acoytapra\",\"authors\":\"Alicia Maria Houtrouw\",\"doi\":\"10.1086/702752\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"161 The following coauthored indigenous tale about two lovers—an Inca ñusta (princess), Chuquillanto, and a humble shepherd, Acoytapra—was recorded around the turn of the seventeenth century in colonial Peru. The story’s meaning is layered, having been written and illustrated by two people of vastly different backgrounds: the drawings by a native Andean man and the writing by a Spanish friar. Although the images complement the text by illuminating events in the written tale, the artist applies his knowledge of the native Andean belief system and Inca visual culture by inserting additional meanings into the illustrations and communicating visually what the Spanish author cannot. Even though both authors eventually arrive at the same conclusion—that Acoytapra and Chuquillanto’s relationship is impossible—each values this outcome for distinct reasons. Their diverging interpretations of the legend help us to see how each author engaged with the story to further his own ideology and mission. Furthermore, the illustrator’s role in the retelling of this myth shows how an indigenous artist and author negotiated his relationship with Spanish authorities and asserted his indigenous knowledge in a colonial context. Below is a summary of the tale Ficción y suçesso de un famosso pastor llamado el gran Acoytapra con la hermossa y discreta Chuquillanto, ñusta, hija del sol (Legend and account of a famous shepherd named the great Acoytapra with the beautiful and discreet Chuquillanto, princess, daughter of the sun).1 ——— One day, as the shepherd Acoytapra was tending his herd, he was unexpectedly approached by two daughters of the sun. The eldest, Chuquillanto, was drawn to the shepherd, who wore on his forehead a canipu (silver pendant) with an image of two aradores (plowers)2 eating a heart. He told Chuquillanto it was called an utusi, which the narrator explains may be slang for the genital member, an old word invented by lovers. She was intrigued by his strange ornament and talked to her sister about the shepherd until arriving back at the palace. That night, Chuquillanto had no appetite and thought incessantly about the shepherd. When she finally fell asleep she dreamt that a nightingale flew to her lap and spoke to her. Chuquillanto explained to the bird that she could only be cured of what ailed her if she pursued her love for the shepherd, but that her father would kill her if she did. 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引用次数: 0
摘要
161 .下面的故事是关于两个恋人的故事,一个是印加人ñusta(公主)丘基兰托,另一个是卑微的牧羊人阿科伊特帕拉。故事发生在17世纪初的秘鲁殖民地。这个故事的意义是有层次的,它是由两个背景截然不同的人写的和画的:一个是安第斯当地人的图画,一个是西班牙修士的文字。虽然这些图像通过阐明书面故事中的事件来补充文本,但艺术家运用他对安第斯土著信仰体系和印加视觉文化的了解,在插图中插入了额外的含义,并在视觉上传达了西班牙作者无法做到的事情。尽管两位作者最终都得出了相同的结论——Acoytapra和Chuquillanto的关系是不可能的——但他们各自看重这个结果的原因各不相同。他们对这个传说的不同解读有助于我们了解每个作者是如何利用这个故事来推进自己的意识形态和使命的。此外,插画家在复述这个神话中的角色表明了一个土著艺术家和作家如何与西班牙当局谈判他的关系,并在殖民背景下坚持他的土著知识。下面是这个故事的摘要Ficción y suesso de un famosso pastor llamado el gran Acoytapra con la hermossa y discreta Chuquillanto, ñusta, hija del sol(一个著名的牧羊人的传说和故事,名叫伟大的Acoytapra和美丽而谨慎的公主Chuquillanto,太阳的女儿)。一天,牧羊人阿科塔帕拉正在放羊,太阳的两个女儿意外地走近他。老大丘基兰托(Chuquillanto)被牧羊人吸引住了,牧羊人额头上戴着一个canipu(银垂饰),上面画着两个犁头在吃一颗心。他告诉丘基兰托,它被称为utusi,叙述者解释说,这可能是一个俚语,指生殖器的一部分,一个由恋人发明的古老词汇。她对他奇怪的装饰很感兴趣,并和她的妹妹谈论牧羊人,直到回到宫殿。那天晚上,丘基兰托没有胃口,不停地想着牧羊人。当她终于睡着时,她梦见一只夜莺飞到她的腿上,对她说话。丘基兰托向鸟儿解释说,只有当她追求对牧羊人的爱时,她的病痛才能被治愈,但如果她这样做,她的父亲会杀了她。安第斯山脉的禁忌之爱:Murúa和瓜曼波马重新讲述丘基兰托和阿科塔帕拉的神话
Forbidden Love in the Andes: Murúa and Guaman Poma Retell the Myth of Chuquillanto and Acoytapra
161 The following coauthored indigenous tale about two lovers—an Inca ñusta (princess), Chuquillanto, and a humble shepherd, Acoytapra—was recorded around the turn of the seventeenth century in colonial Peru. The story’s meaning is layered, having been written and illustrated by two people of vastly different backgrounds: the drawings by a native Andean man and the writing by a Spanish friar. Although the images complement the text by illuminating events in the written tale, the artist applies his knowledge of the native Andean belief system and Inca visual culture by inserting additional meanings into the illustrations and communicating visually what the Spanish author cannot. Even though both authors eventually arrive at the same conclusion—that Acoytapra and Chuquillanto’s relationship is impossible—each values this outcome for distinct reasons. Their diverging interpretations of the legend help us to see how each author engaged with the story to further his own ideology and mission. Furthermore, the illustrator’s role in the retelling of this myth shows how an indigenous artist and author negotiated his relationship with Spanish authorities and asserted his indigenous knowledge in a colonial context. Below is a summary of the tale Ficción y suçesso de un famosso pastor llamado el gran Acoytapra con la hermossa y discreta Chuquillanto, ñusta, hija del sol (Legend and account of a famous shepherd named the great Acoytapra with the beautiful and discreet Chuquillanto, princess, daughter of the sun).1 ——— One day, as the shepherd Acoytapra was tending his herd, he was unexpectedly approached by two daughters of the sun. The eldest, Chuquillanto, was drawn to the shepherd, who wore on his forehead a canipu (silver pendant) with an image of two aradores (plowers)2 eating a heart. He told Chuquillanto it was called an utusi, which the narrator explains may be slang for the genital member, an old word invented by lovers. She was intrigued by his strange ornament and talked to her sister about the shepherd until arriving back at the palace. That night, Chuquillanto had no appetite and thought incessantly about the shepherd. When she finally fell asleep she dreamt that a nightingale flew to her lap and spoke to her. Chuquillanto explained to the bird that she could only be cured of what ailed her if she pursued her love for the shepherd, but that her father would kill her if she did. Forbidden Love in the Andes: Murúa and Guaman Poma Retell the Myth of Chuquillanto and Acoytapra
期刊介绍:
The Getty Research Journal features the work of art historians, museum curators, and conservators around the world as part of the Getty’s mission to promote the presentation, conservation, and interpretation of the world''s artistic legacy. Articles present original scholarship related to the Getty’s collections, initiatives, and research. The journal is now available in a variety of digital formats: electronic issues are available on the JSTOR platform, and the e-Book Edition for iPad, iPhone, Kindle, Android, or computer is available for download.