Caste System And The Spanish Empire

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Caste system and the Spanish empire

Introduction.

Over three centuries, it is important to mention that a division of social classes in the Indies of America was maintained in the Spanish empire. This division is called caste system.

And was practiced by territories of Peru and the Spanish crown, as well as the viceroyalty.

The main social groups were:

  • Blacks: They came from Africa, they were slaves.
  • Indians: came from America.
  • White: Spaniards who were born in America or Peninsular.

 

When these groups were combined, castes emerged. Depending on its lineage, its classification was due.

Caste product of the union between a man … and a woman ..

  • European White White Creole
  • Indian White Mestizo
  • Spanish mestizo castizo
  • Spanish black mulatto
  • Morisco Spanish mulatto
  • Spanish Morisco Chino
  • Saltapatrás China India
  • Lobo Saltapatrás Mulata
  • Chinese wolf jíbaro
  • Jíbaro mulatto albarazado
  • Black albarazado changed
  • Zambaigo Cambujo Indio
  • Zambaiga Loba Calpamulat
  • Tente in the air Change

 

Architecture, painting and sculpture were the initial arts with which the Royal Academy of San Carlos began in 1781. During the stimulus of culture and art in the metropolis this academic was created and based on the logic of illustrated despotism its colonies. And they wanted to have control in the novohispana artistic production.

Initially, the Academy had been appointed Academy of the three noble arts of San Carlos honoring King Carlos III for his birthday. This academy was founded at the beginning of November 1781. After three years, the King himself categorized her as the "Royal Academy", which made the Academy receive funds from the Royal Treasury.

Art was developed differently in New Spain from the 16th century, the religious sphere was first associated. Pedro de Gante founded the first school that only taught arts. Being together with the chapel of San José de los Natural. It was underway from 1529 and was known as the School of Crafts and Arts. Masons, sculptures, cane, indigenous quarries and painters learned their trades thanks to her.

Heading to the 18th century, because of architecture and art, Mexico City at that time was admired. At the end of the century, Alexander von Humboldt estimated that there were about eight thousand people dedicated to the arts.

San Alejandro Foundation (Cuba)

In 1818, the Free School of Drawing and Painting was officially founded, under the command of the French artist Jean Vermay. This character, who had prepared in the workshop of Jacques David, went to Havana in 1816 to carry out decorative paintings in the cathedral. He retained his position as the first director of the Habanera Academy until he died in 1833.

Since 1832 the Habanera Academy was appointed San Alejandro honoring Alejandro Ramírez, who had its capital for the progress of this project. The following year, by Real Order, San Alejandro is declared as a section of the Royal Academy of Noble Arts of San Fernando, in Madrid.

In 1936, the painter Francisco Guillermo Colson, who was unexpected by Vernmay and student of David. The address was taken mainly by other foreign painters. When winning a contest, Miguel Rodríguez occupied the address in 1878.

In 1883, the school was officially unified to the University Council and the award -winning students attended, in order to receive the corresponding diploma, to the Aula Magna of the University in the convent of San Juan de Letrán.

From the last years of 1899, in the first participation of the United States in Cuba, it was made public in the Gazette of Havana, in bilingual edition, a new curriculum for the San Alejandro Academy, which was signed by AdnaR. Chaffee, Chief of the General Staff of the Interventionist Army.

In February 1926, scholarships for low -income students were awarded, which would be for oppositions between applicants from each province in the municipalities. Another important transformation was the regulation approved on February 5, 1927, in which the school is granted, the power to grant teachers’ titles in the two special fields of their teachings: modeling, drawing and painting.

conclusion.

By going back to the Colombian colonial era, we can find the first reference to the workshop organization of the classical era, which begins a new concept in the artistic and art work, different from its predecessors Antonio Acero, Angelino Medoro and Francisco and Francisco and Franciscofrom the well. These characters worked in isolation, without apprentices that build continuity and seal printed by a defined workshop orientation.

In the middle of the seventeenth century, Gaspar de Figueroa begins the exercise of painter, who gave rise to a great prestige workshop in the colony. The orders received by the artist are particularly related to religious cadres. Baltasar, the son of Gaspar, inherits his father’s workshop. Similarly, Ensign’s title.

A workshop located in Santa Fe de Bogotá at that colonial era could not be compared to a workshop of the same time in Spain or France. In that aspect, Gabriel Giraldo Jaramillo mentions:  

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