TWO INTERESTING SCULPTURES
CHAC MOOL BY SEBASTIAN [LOCATED AT TRINITY COLLEGE DUBLIN]
The Enduring Legacy of the Chac Mool: A Dialogue Between Henry Moore and Sebastián at Trinity College Dublin
Trinity College Dublin is home to two significant sculptures that, despite their differing styles and eras, are intrinsically linked by a shared artistic inspiration: Henry Moore's "Reclining Connected Form" (1969) and Sebastián's "Chac Mool" (2002). Their presence on campus creates a compelling dialogue about the enduring power of ancient forms and their reinterpretation across centuries and cultures.
The Ancient Inspiration: The Chac Mool Figure
The term "Chac Mool" refers to a distinctive style of pre-Columbian Mesoamerican sculpture, primarily found in temples and sacred sites across Central Mexico. These ancient figures traditionally depict a reclining human figure, typically resting on its elbows with its legs bent upwards and its face looking out over its shoulder. A notable feature is a bowl or disc supported upon its stomach. While their precise function and meaning have been debated by historians and anthropologists, one interpretation suggests they symbolised slain warriors carrying offerings to the gods, serving as intermediaries between the human and divine realms. This specific type of sculpture was named "Chac Mool" in the 19th century by an archaeologist, after a Mayan warrior.
Henry Moore's Profound Encounter
Henry Moore, one of the twentieth century's most important British sculptors, was profoundly influenced by the Chac Mool figure. A pivotal moment in his early career was his encounter with a Pre-Columbian Aztec Chac-mool sculpture in Paris. Moore himself described the Chac Mool as one of the most significant influences on his early work, captivated by its "stillness and alertness, a sense of readiness - and the whole presence of it, and the legs coming down like columns".
This ancient form directly inspired Moore's iconic "reclining figure" theme, a motif he continuously explored throughout his career to make discoveries about volume and space. In 1929, Moore carved his own "Chac Mool" in Hornton stone, a work he later considered one of the key pieces of his career, from which his renowned reclining figures, including "Reclining Connected Form" at Trinity College, developed. Thus, Moore's abstract, biomorphic bronze sculpture in Library Square carries the direct lineage of this ancient Mesoamerican inspiration, reinterpreted through his modernist lens to explore universal themes of the human form, nature, and protection.
Sebastián's Contemporary Reinterpretation
Enrique Carbajal González, known by his pseudonym Sebastián, is a Mexican sculptor celebrated for his monumental public works in steel or concrete. His "Chac Mool" sculpture at Trinity College, unveiled in 2015 to commemorate 40 years of Mexican-Irish diplomatic relations, is a direct and contemporary homage to the ancient Mesoamerican form.
Sebastián's interpretation maintains the reclining posture and the general essence of the traditional Chac Mool, but re-imagines it with a distinctly modern, geometric aesthetic, crafted from spray-painted mild steel. The artist's choice of the colour blue for the sculpture is also significant, as he explains that blue was traditionally used to signify members of the priesthood in ancient frescoes and manuscripts. This detail further connects his contemporary work to the historical and spiritual context of the original Chac Mool figures.
A Powerful Sculptural Lineage and Dialogue
The relationship between Moore's and Sebastián's sculptures at Trinity College is explicit and intentional. As the user's description notes, Sebastián's turquoise "Chac Mool" "reinforces a powerful sculptural lineage, associating itself most particularly with Henry Moore’s work entitled Reclining Connected Forms (1969)".
Both artists, separated by generations and distinct artistic approaches, found profound inspiration in the ancient Chac Mool. Moore absorbed its essence to develop his abstract "reclining figure" motif, which became central to his oeuvre. Sebastián, in turn, directly reinterprets the Chac Mool, acknowledging its historical significance and its influence on modern masters like Moore. This creates a continuous thread of artistic exploration: from the ancient Mesoamerican artisans, through Moore's modernist abstraction, to Sebastián's contemporary re-imagining.
The two sculptures, therefore, stand as testaments to a shared artistic heritage, demonstrating how fundamental human forms and symbolic meanings can transcend time and cultural boundaries, inspiring new generations of artists to engage with and reinterpret universal themes. Their presence at Trinity College Dublin enriches the campus, inviting viewers to appreciate this fascinating cross-cultural and historical artistic dialogue.
The Enduring Legacy of the Chac Mool: A Dialogue Between Henry Moore and Sebastián at Trinity College Dublin
Trinity College Dublin is home to two significant sculptures that, despite their differing styles and eras, are intrinsically linked by a shared artistic inspiration: Henry Moore's "Reclining Connected Form" (1969) and Sebastián's "Chac Mool" (2002). Their presence on campus creates a compelling dialogue about the enduring power of ancient forms and their reinterpretation across centuries and cultures.
The Ancient Inspiration: The Chac Mool Figure
The term "Chac Mool" refers to a distinctive style of pre-Columbian Mesoamerican sculpture, primarily found in temples and sacred sites across Central Mexico. These ancient figures traditionally depict a reclining human figure, typically resting on its elbows with its legs bent upwards and its face looking out over its shoulder. A notable feature is a bowl or disc supported upon its stomach. While their precise function and meaning have been debated by historians and anthropologists, one interpretation suggests they symbolised slain warriors carrying offerings to the gods, serving as intermediaries between the human and divine realms. This specific type of sculpture was named "Chac Mool" in the 19th century by an archaeologist, after a Mayan warrior.
Henry Moore's Profound Encounter
Henry Moore, one of the twentieth century's most important British sculptors, was profoundly influenced by the Chac Mool figure. A pivotal moment in his early career was his encounter with a Pre-Columbian Aztec Chac-mool sculpture in Paris. Moore himself described the Chac Mool as one of the most significant influences on his early work, captivated by its "stillness and alertness, a sense of readiness - and the whole presence of it, and the legs coming down like columns".
This ancient form directly inspired Moore's iconic "reclining figure" theme, a motif he continuously explored throughout his career to make discoveries about volume and space. In 1929, Moore carved his own "Chac Mool" in Hornton stone, a work he later considered one of the key pieces of his career, from which his renowned reclining figures, including "Reclining Connected Form" at Trinity College, developed. Thus, Moore's abstract, biomorphic bronze sculpture in Library Square carries the direct lineage of this ancient Mesoamerican inspiration, reinterpreted through his modernist lens to explore universal themes of the human form, nature, and protection.
Sebastián's Contemporary Reinterpretation
Enrique Carbajal González, known by his pseudonym Sebastián, is a Mexican sculptor celebrated for his monumental public works in steel or concrete. His "Chac Mool" sculpture at Trinity College, unveiled in 2015 to commemorate 40 years of Mexican-Irish diplomatic relations, is a direct and contemporary homage to the ancient Mesoamerican form.
Sebastián's interpretation maintains the reclining posture and the general essence of the traditional Chac Mool, but re-imagines it with a distinctly modern, geometric aesthetic, crafted from spray-painted mild steel. The artist's choice of the colour blue for the sculpture is also significant, as he explains that blue was traditionally used to signify members of the priesthood in ancient frescoes and manuscripts. This detail further connects his contemporary work to the historical and spiritual context of the original Chac Mool figures.
A Powerful Sculptural Lineage and Dialogue
The relationship between Moore's and Sebastián's sculptures at Trinity College is explicit and intentional. As the user's description notes, Sebastián's turquoise "Chac Mool" "reinforces a powerful sculptural lineage, associating itself most particularly with Henry Moore’s work entitled Reclining Connected Forms (1969)".
Both artists, separated by generations and distinct artistic approaches, found profound inspiration in the ancient Chac Mool. Moore absorbed its essence to develop his abstract "reclining figure" motif, which became central to his oeuvre. Sebastián, in turn, directly reinterprets the Chac Mool, acknowledging its historical significance and its influence on modern masters like Moore. This creates a continuous thread of artistic exploration: from the ancient Mesoamerican artisans, through Moore's modernist abstraction, to Sebastián's contemporary re-imagining.
The two sculptures, therefore, stand as testaments to a shared artistic heritage, demonstrating how fundamental human forms and symbolic meanings can transcend time and cultural boundaries, inspiring new generations of artists to engage with and reinterpret universal themes. Their presence at Trinity College Dublin enriches the campus, inviting viewers to appreciate this fascinating cross-cultural and historical artistic dialogue.