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Por Juan Luna (1857-1899) Emmanuelle Sinardet ¿Habrá habido Conquista en Filipinas? La representación de la Conquista en El Pacto de Sangre (1886) por Juan Luna (1857-1899) Emmanuelle Sinardet To cite this version: Emmanuelle Sinardet. ¿Habrá habido Conquista en Filipinas? La representación de la Conquista en El Pacto de Sangre (1886) por Juan Luna (1857-1899). Manuel Alcántara Sáez; Mercedes García Montero; Francisco Sánchez López. Memoria del 56º Congreso Internacional de Americanistas : Historia y patrimonio cultural, Ediciones Universidad de Salamanca, p.23-34, 2018, 978-84-9012-927-2. hal- 03178421 HAL Id: hal-03178421 https://hal.parisnanterre.fr//hal-03178421 Submitted on 23 Mar 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License !HABRÁ HABIDO CONQUISTA EN FILIPINAS? LA REPRESENTACIÓN DE LA CONQUISTA EN EL PACTO DE SANGRE "1886# POR JUAN LUNA "1857$1899# S!"#$%&', E((#")&**& Ediciones Universidad de Salamanca / CC BY NC ND –23– Historia y Patrimonio Cultural - ICA'18 ¿HABRÁ HABIDO CONQUISTA EN FILIPINAS? LA REPRESENTACIÓN DE LA CONQUISTA EN EL PACTO DE SANGRE (1886) POR JUAN LUNA (1857-1899) JUAN LUNA (1886): EL PACTO DE SANGRE [ÓLEO SOBRE LIENZO, 223,5 X 297 CM]. MANILA,MALACAÑAN PALACE. FOTOGRAFIA POR EL MALACAÑAN PALACE: EN THE OFFICIAL ILLUSTRATED HISTORY, HTTPS://C1.STATICFLICKR.COM/8/7365/10584364076_F091ED2569_B.JPG (PÁGINA VISITADA EL 11 DE DICIEMBRE DE 2017). El pintor hispano-filipino Juan Luna y Novicio (1857-1899) está celebrado en Filipinas como uno de los mayores pintores nacionales, no solo por la fama que adquirió en Europa en los años 1880 y 1890, sino también porque la historia oficial lo define como a uno de los padres de la nación, junto a José Rizal, el gran héroe filipino. Juan Luna ocupa hoy un espacio privilegiado en el panteón nacional y en el imaginario colectivo, que tiende a ocultar aspectos polémicos del hombre, entre los cuales los asesinatos de su esposa y de su suegra en París en septiembre de 1892, de los que la justicia francesa lo exculpó en 1893, por considerarlos como crimes passionnels. De hecho, antes de ese drama, Juan Luna fue con su amigo Rizal una figura emblemática del Movimiento de Propaganda, considerado hoy como una de las primeras manifestaciones de una conciencia genuinamente filipina. El roman nacional filipino, patente en los textos escolares, ve en numerosas obras de Juan Luna un discurso emancipador frente a la metrópoli española. Interpreta así el óleo sobre lienzo Spoliarium, calificado de tesoro nacional, como la denuncia de la opresión colonial en Filipinas, por lo que Spoliarium está exhibido en la primera sala de la Galería Nacional de Arte, en el Museo Nacional de Filipinas. Por su parte, el Museo Metropolitano de Manila afirma: “Luna was the country’s first Nationally Committed painter” (Metropolitan Museum of Manila: 9), “the first nationalistic Filipino painter” (Metropolitan Museum of Manila: 14). Cierto es que con Spoliarium, Luna ganó la prestigiosa medalla de oro de la Exposición Nacional de Bellas Artes en Madrid en 1884, cuando recién cumplía 27 años. Cierto es también que la obra fue celebrada por los integrantes del Movimiento de Propaganda radicados en Madrid, durante una fiesta memorable, como el reconocimiento por la metrópoli del genio filipino. Pero nos parece que el término “nacionalista” empleado hoy por la historia oficial y el roman national resulta inadecuado y hasta irrelevante para calificar las posiciones del artista. Lo ilustra el óleo sobre lienzo de 1886 El pacto de sangre, pues antes que los abusos del sistema Ediciones Universidad de Salamanca / CC BY NC ND –24– Historia y Patrimonio Cultural - ICA'18 colonial, subraya la grandeza de España. Lejos de pintar una versión negra de la Conquista -con la cual Luna mostraría la ilegitimidad de la presencia colonial española-, el artista describe el encuentro pacífico de dos pueblos, mediante el de Datu Sikatuna de Bohol y de Miguel López de Legazpi en 1565. Según esta versión, no habría habido Conquista en el caso filipino, sino la amistad de dos hombres en pie de igualdad, sellada por el rito autóctono del sandugo (también escrito sanduguan), el fraterno pacto de sangre que le da su título al cuadro. I. EL PACTO DE SANGRE: CONDICIONES DE ELABORACIÓN Y TEMÁTICA Un año después de su gran éxito en la exposición de Bellas Artes de Madrid, Juan Luna realizó otro lienzo histórico, ya no ambientado en la Antigüedad sino en la historia hispano- filipina, El pacto de sangre. Acabado en 1886 en París donde Luna se había instalado, el cuadro remite a un hecho emblemático de la Conquista de Filipinas, el encuentro entre Datu Sikatuna y Miguel López de Legazpi en 1565 en Bohol. El pintor lo destinaba al Municipio de Manila como contrapartida de la que la institución le otorgara para estudiar Bellas Artes en Roma (Ocampo en Storer: 116). El pacto de sangre fue expuesto en París, en Barcelona y en la Exposición Universal de St. Louis en 1904, entonces la feria más grande nunca organizada, en la que Estados Unidos exhibió las realizaciones oriundas de los nuevos territorios conquistados a raíz de la guerra hispano-estadounidense, Guam, Puerto Rico y Filipinas. El pacto de sangre ganó en París y en St Louis varios premios que contribuyeron a consolidar la fama de Juan Luna como pintor y su prestigio en Filipinas. Poco después de la Exposición Universal, el cuadro fue trasladado al Palacio de Malacañán en Manila, hoy el palacio presidencial, donde, considerado como otro tesoro artístico nacional, se encuentra todavía. Lo vemos, desde sus orígenes el lienzo viene vinculado con etapas determinantes de la formación de Filipinas como nación, por el tema desde luego, que remite a uno de los acontecimientos fundadores, pero también por los usos -cuando no la recuperación- que se hicieron de él, y que nos informan sobre las relaciones de la colonia con la metrópoli española a finales de siglo 19, sobre la política de la nueva metrópoli estadounidense en las primeras décadas del siglo 20, y sobre la búsqueda de referentes identidarios como parte del proceso de construcción nacional a partir de 1946, cuando Estados Unidos concedió la independencia a Filipinas. Por falta de tiempo, no nos es posible estudiar aquí los diferentes discursos desarrollados a partir de la obra desde el siglo 201; nos centraremos en el significado del cuadro en los años de su realización, como diálogo con el Movimiento de Propaganda del que nos parecer ser una expresión representativa. El pacto de sangre evoca uno de los episodios más conocidos de la conquista de Filipinas, el sandugo del 16 de marzo de 1565. “Descubiertas” en el primer viaje alrededor del mundo por Magallanes y Elcano, las Filipinas caían dentro de la demarcación portuguesa según el Tratado de Tordesillas de 1494. Felipe II quiso consolidar la influencia española en el Pacífico mediante una ruta fiable de vuelta que le permitiera instalar bases permanentes en la región, por lo que en Nueva España, se organizó una expedición que partió de Jalisco en noviembre de 1564, con cinco naves y unos 350 hombres, rumbo a las entonces llamadas Islas de Poniente, las Filipinas. La obra de Luna retrata a los principales protagonistas de la expedición. El comandante Miguel López de Legazpi ocupa un espacio notable en la composición. Es el único español sentado y capta parte la luz de un cuadro por lo demás bastante oscuro -sobre todo si lo comparamos con 1 Por ejemplo, el cuadro puede ser interpretado como la sumisión filipina a una tutela imperialista. En 2014, una periodista establece un paralelo entre la pareja Sikatuna/Legazpi y la pareja Obama/Aquino III, entonces presidentes de Estados Unidos y de Filipinas respectivamente, viendo la repetición de una forma de servilismo en la firma de un acuerdo bajo el cuadro de Luna, en el palacio presidencial: “Note that the backdrop in the picture, a kind of chilling mirror of this modern event, is Juan Luna’s painting “Pacto de Sangre” (or Blood Compact: in that case between Sikatuna and Legazpi, in this case between Barack Obama and Benigno Aquino III)” (Apostol). Ediciones Universidad de Salamanca / CC BY NC ND –25– Historia y Patrimonio Cultural - ICA'18 otras obras de Luna-. Está muy sobriamente vestido, sin lujo ninguno. Su casco encontrándose en la mesa, la cabeza desnuda revela rasgos finos, un pelo canoso y una elegante barba blanca. Tanto por la nobleza de su semblante como por la edad, Legazpi personifica aquí un hidalgo que infunde respeto. De hecho, fue después de haber cumplido más de 60 años (se piensa que nació en 1503 en Zumárraga, en el País Vasco) cuando en 1564 Legazpi fue puesto al mando de la expedición y nombrado por el Rey “Almirante, General y Gobernador de todas las tierras que conquistase”, a propuesta de Urdaneta, a pesar de no ser marinero. Pero la influencia del Greco es muy visible en la elaboración pictórica del retrato de Legazpi, y sirve el propósito demostrativo del pintor. La representación de la Conquista por Juan Luna se basa en las versiones dominantes, desde el poder, que prevalecían entonces en España y Filipinas. Coinciden en que Legazpi procuró evitar todo enfrentamiento inútil y optó cuando posible por la vía diplomática, ganando fama de hombre pacífico aunque la expedición conociera episodios violentos.
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