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Quote by Miguel León-Portilla

“As is well known but quickly forgotten, the victors ordinarily write history. The losers are usually silenced or, if this is impossible, they are dismissed as liars, censored for being traitors, or left to circulate harmlessly in the confined spaces of the defeated.” (xi)”

Quote by Miguel León-Portilla

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Miguel León-Portilla

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“Indians abroad tend to stick together. They join Indian clubs, regularly visit mosques, temples and gurdwaras and eat Indian food at home or in Indian restaurants. Very rarely do they mix with the English on the same terms as they do with their own countrymen. This kind of island-ghetto existence feeds on stereotypes - the English are very reserved; they do not invite outsiders to their homes because they regard their homes as their castles; English women are frigid, etc. I discovered that none of this was true. In the years that followed, I made closer friends with English men and women than I did with Indians. I lived in dozens of English homes and shared their family problems. And I discovered to my delight that nothing was further from the truth that the canard that English women are frigid.”

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“But the artistic program of the Counter Reformation, the propagation of Catholicism through the medium of art among the braod masses of the population, is frist accomplished by the baroque. It is obvious that what was in the mind of the Council of Trent was not an art which, like mannerism, appealed merely to a thin stratum of intellectuals, but a people's art, such as the baroque in fact became. At the time time of the Council, mannerism was the most widespread and the most live form of art, but it in no way represented the particular direction which was best calculated to solve the artistic problems of the Counter Reformation. The fact that it had to yield to the baroque is to be explained, above all, by its inability to master the ecclesiastical tasks committed to art by the Counter Reformation.”

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“They were torn by force, on the one hand, and by freedom, on the other, and stood defenseless against the chaos that threatened to destroy the whole order of the intellectual world. In them we encounter for the first time the modern artist with his inward strife, his zest for life and his escapism, his traditionalism and his rebelliousness, his exhibitionistc subjectivism and the reserve with which he tries to hold back the ultimate secret of his personality. From now on the number of cranks, eccentrics, and psychopaths among the artists increases from day to day.”

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“Tradition is here nothing but a bulwark against the all too violently approaching storms of unfamiliar, an element which is felt to be a principle of life but also of destruction. It is impossible to understand mannerism if one does not grasp the fact that its imitation of classical models is an escape from the threatening chaos, and that the subjective over-straining of its forms is the expression of the fear that form might fail the struggle with life and art fade into soul-less beauty.”

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“But is is by no means those aspects of Dürer's style which it shares with Italian art that makes it so attractive especially for Pontormo and those who like him, but rather the spiritual depth and inwardness - in other words, the qualities which they miss most in classical Italian art. The antitheses of "Gothic" and "Renaissance", however, which are largely smoothed out in Dürer himself, are still irreconciled and irreconcilable in the outlook of mannerism.”

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