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Fund og Forskning i Det Kongelige Biblioteks Samlinger
The Nueva corónica of Guaman Poma 1615–2015. Three Studies on Critical Issues Related to GKS 2232 4º. Introduction2015 •
In: Fund og Forskning i Det Kongelige Biblioteks Samlinger, vol. 54, pp. 89-166
2015 - The Chaves Drawing, the Galvin Murúa, and the Miccinelli Claims Regarding Guaman Poma's "Nueva corónica"2015 •
Among the many extraordinary claims of the Miccinelli manuscripts kept in a private collection in Naples and published in 1989 and later, one of those most urgently in need of being closely investigated has concerned the authorship of one of the treasures of the Royal Library of Denmark: the autograph manuscript of the Nueva corónica (Ms. GKS 2232 4º). Authorship of this manuscript has traditionally been assigned, in accordance with its title page and other evidence, to the Andean Indian Felipe Guaman Poma de Ayala (1560?–1616?). Yet, in spite of the flat rejection of the Miccinelli material by the vast majority of leading specialists of the history and literature of early colonial Peru (see Adorno 1998; Zuidema 2001), the Miccinelli claims continue to find adepts at large and sometimes arouse new, fruitless debates. In 2012, however, it was revealed that a drawing included in one of the key manuscripts of the Miccinelli collection, a Contract which states that the mestizo chronicler and Jesuit Father Blas Valera was the real author of the Nueva corónica, is basically a tracing of a drawing of the Nueva corónica as reproduced from a retouched photograph in the facsimile edition of the Nueva corónica that was published in Paris in 1936 (see Boserup and Krabbe Meyer 2012; 2015). Following up on this material proof of the presence of recent forgeries within the Miccinelli collection, the present paper discusses the authenticity of a closely related drawing (the Chaves drawing) discovered c.1998 in the State Archives of Naples. This latter item turns out to be, in all probability, another recent tracing of a drawing of the Nueva corónica, based on the 1936 facsimile edition. The reason for discussing the Chaves drawing so many years later is a suggestion made in 2015 by the art historian Thomas B. F. Cummins (Harvard University). According to Cummins, the Chaves drawing is an authentic creation of Guaman Poma (see Cummins 2015). It is argued, however, that Professor Cummins’s superficial examination of the drawing and his advocacy of its authenticity are closely related to a theory developed by him in 2013 together with the renowned Peruvian anthropologist Juan Ossio (Pontificia Universidad Católica del Perú, Lima) and supported by Conservator at the Getty Museum Nancy K. Turner (2015). Their view, which is inspired by an outdated suggestion of the historian Manuel Ballesteros (1911–2002), is that the Chaves drawing may originate from the manuscript of the long lost illustrated chronicle (1596) of Martín de Murúa (the Galvin Murúa) supposedly consisting to a large extent of illustrated folios originating from other sources. The evidence of the Galvin Murúa itself does not, however, corroborate this view (see Adorno and Boserup 2005; 2008). Hence, as in the case of the demonstrably fake Contract, it is argued that the Chaves drawing was produced in the late 1990s and “dropped” in the State Archives of Naples so as to be innocently “discovered” by a scholar working there, and later promoted as “external” evidence of the authenticity and historical reliability of the two main Miccinelli manuscripts. By stepping right into this trap nearly twenty years after others have been lured into it (Cantù 2001; Laurencich Minelli 2001; 2007), Cummins has taken the risk of being counted among the supporters of the Miccinelli manuscripts and of stirring up once more an international debate on the status of forged or corrupted material, which one can hope, however, will be thwarted at an early stage by the present analysis.
Latin American Research Review
The Poetics of Khipu Historiography: Felipe Guaman Poma de Ayala's "Nueva corónica" and the "Relación de los quipucamayos"2003 •
In: Unlocking the Doors to the Worlds of Guaman Poma and His 'Nueva corónica', ed. by Rolena Adorno and Ivan Boserup, pp. 19-64
2015 - Ivan Boserup and Mette Kia Krabbe Meyer: The Illustrated "Contract" between Guaman Poma and the Friends of Blas Valera: A Key Miccinelli Manuscript Discovered in 19982015 •
Summary: The paper argues that the "Contract" is a modern fake (late 1990s) : its central piece, a drawing representing Pizarro a.o. conquistadors sailing to the Indies, allegedly by Guaman Poma, is merely a tracing based on the - retouched - 1936 facsimile of the Nueva corónica. Annotations supposedly in the hands of Blas Valera himself and his Jesuit colleague Gonzalo Ruíz, which match hands in other Miccinelli documents, indirectly prove their modern, forged origin, too. --- Contents: [I:] The Miccinelli Manuscripts: The biography of Blas Valera - The Miccinelli Conundrum 1995-2003 - Provenance issues - Selection of a Project - [II:] The Contract Sheet and its Symbolic Drawing: A Well-Hidden Manuscript - "The Drawing is Not a Tracing" - A Tracing After All - Identifying an Original and a Copy - The Missing Link - Select Evidence. [III:] Remaining Textual Elements on the Contract Sheet. [IV:] Conclusion. Notes. Works Cited.
Pluriversal Literacies: Tools for Perseverance and Livable Futures.
(Book chapter) "Winking at his Readers from the Gaps: Guamán Poma de Ayala's Silent Texts”2023 •
In this essay, I address the perception of confusion, entanglement, incomprehension, opacity, and enigmatic nature of Guamán Poma’s book that made scholars like Peruvian Historian Porras Barrenechea uncomfortable enough to push it to the margins of historical studies due to its perceived lack of value and merit. To this end, I briefly discuss examples of 'Nueva corónica'’s apparent gaps and mistakes and contend that, rather than looking at them as errors, these occurrences provide glimpses into the interstices of Andean enunciation under the Spanish colonial regime. They constitute marks or hints by the Indian author, who still winks at his readers with clues of alternate ways of thinking while recording past and present history. Guamán Poma took hold of all possible tools and devices at his reach to achieve these hidden—but “visible” to all who were/are willing to see—messages. As a Ladino Indian, he combined his Quechua knowledge with elements from other cultural horizons that he learned, experienced, experimented with, appropriated, resisted in one way or another, and transformed in his writings. After commenting on 'Nueva corónica'’s textual gaps, I return to Porras’s critical discourse about Indigenous writings and deconstruct it in terms of tenets of colonial thought.
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The Americas
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