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Devotees praying to Santa Muerte in Mexico. Santa Muerte can be translated into English as either "Saint Death" or "Holy Death", although R. Andrew Chesnut, Ph.D. in Latin American history and professor of Religious studies, believes that the former is a more accurate translation because it "better reveals" her identity as a folk saint.
La Calavera Catrina. La Calavera Catrina ("The Dapper [female] Skull") is an image and associated character originating as a zinc etching created by the Mexican printmaker and lithographer José Guadalupe Posada (1852–1913).
Santa Muerte seen holding a scale and globe. Skull art is found in various cultures of the world. Indigenous Mexican art celebrates the skeleton and uses it as a regular motif. The use of skulls and skeletons in art originated before the Conquest: The Aztecs excelled in stone sculptures and created striking carvings of their Gods. [1]
The rituals connected and powers ascribed to San La Muerte are very similar to those of Santa Muerte; the resemblance between their names, however, is coincidental. In Guatemala, San Pascualito is a skeletal folk saint venerated as "King of the Graveyard." He is depicted as a skeletal figure with a scythe, sometimes wearing a cape and crown.
The existence of Malverde is not historically verified. [8]Malverde is said to have been a carpenter, tailor, or railway worker. [1] It was not until his parents died of either hunger or a curable disease, depending on the version of the story, that Jesús Malverde began a life of banditry.
Mexican tradition holds the goddess or folk saint called Santa Muerte as the personification of death. [34] In modern-day European-based folklore, Death is known as the "Grim Reaper" or "The grim spectre of death". This form typically wields a scythe, and is sometimes portrayed riding a white horse.
Santa Muerte is a Mexican folk saint, depicted as a cloaked skeletal grim reaper, who has exploded in popularity among the marginalized and within narco culture even while condemned by the ...
He first studied drawing and engraving with his father, Johann Lorenz Rugendas II (1775–1826). From 1815-17, he studied with Albrecht Adam (1786–1862), and later in the Academy de Arts of Munich, with Lorenzo Quaglio II (1793–1869). When Rugendas was born, Augsburg was a Free Imperial City of the Holy Roman Empire.