Ceramic portraits in pre-Columbian America and their moulds (like negative film) reflect the agricultural revolution from millennia before Christ, as in the 19th century’s industrial revolution in Europe, when the bon bourgeois managed to reproduce his image in a mechanical way (the photography), with the ability “to seem to himself”, in a way that had only been possible for the Kings and members of nobility with the painters’ canvases.
In pre-Columbian America women and men had portrayed themselves and their animals, with clay they made portraits, decorated figures of animals and people, as well as whistles and vessels, necklace beads and wheel’s spindles to spin cotton. They also made stone cylinders and stamps for printing their clothes and to paint their bodies; they sculptured the diseases they suffered and their surgical interventions (such as trepanation), including the way that they lulled their babies to sleep. It is what Pablo Neruda, Chilean literature’s Nobel prize winner, wanted to say when he wrote his CANTO GENERAL (1968):
…The man soil was, vessel, eyelid’s
Tremulous mud, form of the clay…
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