Saga do Guerreiro Morto (Saga of the Dead Warrior)
Saga do Guerreiro Morto
(Saga of the Dead Warrior)
Elaborating the first project for the Pequeno Mobiliário Brasileiro (Brazilian Small Furniture) that was never accomplished, I was inclined to make a tour among fallen figures, many of them with violent death. We must remember that we were in the early 1970s and that a military regime had been growing in Brazil for some years and that we were all alert. It had been a short time since my Imagens de Urgência (Emergency Images) and the subject still haunted me. What was once a ball just politically incorrect, I mean the first project for Pequeno Mobiliário... (... Small Furniture), became a macabre scene.
Sketches and annotations imagined what would have happened to this or that whose fate was only vague news; and what could happen ...
There were those who insisted on defending an ideal, others rebelled against the state of things. Warriors, therefore.
It is in this context that the figure of the dead warrior refers to legendary heroes, super-structural examples for our daily life ("living is dangerous", says Guimarães Rosa in Grande Sertão, Veredas, or "one must live life in cold blood" of the poem flag> cummings> dalí of Roberto Bicelli. But there is the broken sword! A failed Durindana? Tizona wielded by the dead?
From these I was very touched by Chanson de Roland, anonymous of the XII century, originally in Langue D'Oil that I do not know, whose last verse I transcribe the Canto CLXXV in the Italian version wich I have:
Il conte Orlando giace sotto un pino,
verso la Spagna tiene volto il viso.
Di molte cose gli ritorna alla mente,
di tante terre quante ne prese il prode,
la dolce Francia, quelli del suo lignaggio
Carlomagno che l’allevò, suo signore;
non può impedirsi di sospirare e pianger
In assisted translation:
Count Rolando lies under a pine tree
towards Spain, has his face is turned.
Many things come to mind:
so many lands that the valiant has conquered;
sweet France; those of his lineage;
Charlemagne, who created him, his master.
Can not help but sigh and cry.
At this point I decided that the Estofado para o Guerreiro Morto (Upholsterer for the Dead Warrior) would be a performance
That's why I've been wandering around this character, often imagining it as my alter ego.
To the series of these notes and drawings I gave the name Saga do Guerreiro Morto (Saga of the Dead Warrior), which it is.
One of these sketches, De Alonso Cano para o Guerreiro Morto (From Alonso Cano toward the Dead Warrior), inspired by a small drawing, 16X15 cm, by Alonso Cano, XVII century, in which the naked, sturdy female body resting languidly, served as a model so that, by making it masculine, it preserved the delicacy and sensuality that indicate the end of other emergencies, generated a finished drawing that is no longer with me. Of this I only have one poor quality photograph included as a mere document. It takes the simple title: Desenho (Drawing).
Gabriel Borba 2019