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religiousarchitectureincolonialMichoacán,mexico
25
Theneedforspacesforevangelisationandthe
abundanceofwoodandskilledcraftsmengaverise
tothewoodenroofsthatcametocharactersethe
religiousarchitectureofMichoacánlArthistorian
NellySigautexplains:“Theseroofssometimestake
theformofpanelings,barrelvaultsandsometimes
offlatroofslHowever,overtimeandindifferent
ways,sharesomethingincommonlEachpresents
initsown,awayofseeingtheskyandtogether
formaregionalartistictraditionl”14Anoutstanding
exampleistheroofofthepresbyteryofSantiago
Angahuan,whichwasdescribedbySigaut,noting
thattheflatpartoralmizatecanbeclearlydiffer-
ill.7.roofofthepresbyteryofthetemplesantiago
Angahuan,michoacán,mexico,(2013,photo.torres
salomaophotographicarchive
entiatedwithinalargecentralrectangledesignwith
fourstarsjoinedbylinesorribbons,crownedbythe
papaltiaralCompletingthedesign,fourcherubim
areplacedateachcornerlTheobliquesidesofthe
trougharesquaredandinsideeachform,onecan
differentiatemonogramswiththenamesofJesusin
LatinandGreek,anotherforMaryandmotifsof
thepassionofChrist(illl7)l
Conclusion
Theso-called“Michoacánstyle”originatedinthe
sixteenthcenturyandischaracterisedbyare-
currentpatternthatispresentincountlessroofs
inthechurchesandchapelsinvariousregionsof
MichoacánlThesameistrueforthewoodenroofs
withpolychromepaintingsthatarethehallmarkof
theartistictraditionofreligiousarchitectureinthe
Tarascanvillagesl
Inthislocalartistictradition,theuseofMu-
déjarartelementsishighlightedlAsRafaelLopez
Guzmansaid,elMudéjarwastheartisticformthat
servedtounifyChristianandMuslimSpaindur-
ingmedievaltimeslWhenitreachedAmericait
becamethemostwidespreadart,andinMichoacán,
thissyncreticartisreceivedandadaptedbylocal
artisansgivingrisetoasingularartisticexpression
andformingaspecialmeaningl15
14Sigaut(1998:270)l
15Sigaut(1998:273)
