Un azafrán de la tierra (Colombia, s. XVIII)

Kate y José conversan con Juan Ricardo Rey Márquez, coordinador académico del Centro Materia (IIAC-UNTREF) y becario posdoctoral Conicet, sobre un azafrán de la tierra en Colombia durante el siglo XVIII. 

Transcript

SPEAKER_00 0:06

We were in Italy, I have to provide the Asafran and the world. But I reckon the first day, this was in 2003, I went to Italy with my others, and it was a year in memorable. And we did a safrance. But also the question was what we got the azafrance, and we went and the final time. There are bottles that are the raises, there are others that are mold, and we have the color. My mother was anything about those forms, but in the United States we don't consider a franc much, it was very complicated. So I came through and a friend. And the first thing that we did when we went to us was invited to all the people to have a more scientific, because they provide one, one, one, though, and a lot for the people.

SPEAKER_01 1:16

I don't know if it's rich, but I was the same one because my mom was in the condiment in a cristal, not a cristal, but transparent that they were, but we used to have these articles of the look, super car that momentum special I don't know if you go or not. But this is what we want to talk about, because we're going to talk about the safra of the world, in this case in Colombia, in the episode of the reinforcement of North Granada, the finals of the 18th. The things can be a podcast in which we have an object with an investigation who studied. He is doctor in history and the art in the University of Buenos Aires, and actually coordinate academic of the center of Materia. He is postdoctoral of Context in Argentina. So we have a more personal to enter what this azafrán of the world.

SPEAKER_02 3:09

Prime for the number, because it is afrán of the tier. What difference do you have with the azafrán of the azafront of the world, which was what I listened to the attention, it's the object that I think is a race. Today in other cities of America they vendor jabon de tierra. In Colombia they say jabon de tierra, the people say the tier, jabón, no, no. This is the tier or the tier is for distinguished in the peninsula. In this case, it's a plant, a plant parásita that sells where there are cultives of gramas, arroz, trigo, caña of azúcar. Sall this flor, a flor belly, a plant black, a floral that the kétalus are like if it was a tela. It's really bad. We use a safran in the month, a terra, a safrand of rain, there will be the number scientific is Bugnera Grande Flora. And what we use is the rain. This race is lavated and water or sick and mold, is very rich in carotenoids, which is a company that is the color naranja to the zanahoria, and a color naranja, or in the gamay, naranja. So we can describe it as an object engañoso. It's an object very humility because it's an object parásito, appareil alone of the cultivar principal, which are, for example, the trigo, the caña de azúcar, and they have a presence that is, for the particularly in the gastronomy colombian, imprescindible in the colombian. If you go to, for example, on the internet for reference to Bogotá, the plaza of the 7th, the plaza of Paloquemao, that's not Palo Kemat and D, but Paloquemao, you can see imagines of plants completely or fractionated. In the case of this plant, they extract the plant complete for the rays, less it is a plant that is in amenance of conservation, but at the same time it has the attention for the capacity that has, as a plant parasita, what the plant is that what they do, the carotenoids, they take other plants. There are discussions about the importance of this plant that would use for the synthesis of the vitamin A. This went to another question that was like a podcast of alimentation and salute. But the interesting of this is that traditionally in America we described that this race produced a tint of color amarillo-naranca, and second that had certainly for the sales. And this plant during time, the decoction of the race or the race second. So it's extra complete. The way that the cosechas are complicated, because cosechas, you can reserve a part of the plants and other part of the plane.

SPEAKER_01 8:07

And in this way, how to do a race to a tin, because they are in a supermercation and compra a pinture, you know? Ah, I create a pinture rough or anaran, and you think it's synthetic, acrylic, etc. But actually we're talking about in other conditions, where there exists this technique, right? We'll talk about 18 or 17.

SPEAKER_02 8:26

Why do you transform this race in tints, it means what is the salto? Because I studied, as I said, expeditions scientific, and the principal that I study is the expedition of Jose Celestino Mutis, the No Reino Granada. And Mutis went in '61 at Cartagena of India, it said that he was excited to escule all the stupidities that one person who passes in the country. 20 years ago said that the rustics of the world or the campesin of the world have a connection that a botanic of the rey. There are technologies of these cultivations and the domestic of those plants. This is a plant parasitic. It's a plant that graminia. But many of the graminia that I cited, trigo, arroz, were after the European people. Plants associated with other plants that don't survive with the other plants, and that one or another manner display a travel of the whole, for experience, for the case of the botanic, there are many botanics who intoxicated, including who were proving the virtues of the extract of a plant. This exercise that the pharmacoped in Europe had the Natives American during several years, and it transmitted by traditional oral. When you went to a person like Mutis in the 18th, what he does is put attention to what the people. And for what? In this case, there's a question that I resulted clear, and is that for one part, as a botanic, he could see what the virtues of the plants, for what they employed. And for another part, he didn't have colors for the representation of the plants. And the two things. For one part, how do we extract? For another part, what vehicle for, for example, application on paper, if the vehicle is acquasted, if the vehicle is, but also if we need some that the color maintain and that, for example, there are colors that can be much with the light. So at the end of the plant. But Palomino does specifically of the safron of the life, they saw the safran of Spanish, the safran of the flow, the stigma of the flow. But most tratadists advertise that there are colors that it's more to combinate with others so that it's more permanent. And this implication that there had an experience that the color desvane with the action of the lizard.

SPEAKER_01 13:58

We are in an episode where the illustration scientific is in the auge, in Latin America, there are expeditions, etc. Can you say that Mutis at the time also describes or an imagination?

SPEAKER_02 14:10

Mutis is an imagine, a lot of bad that there are the expedition, which is a form of group of what Mutis showed the officer of pintors, which was the pintor, Francisco Javier Cortesi Alcocer, who formed part of a family in the world of the arts in Quito. And these artists will be very recognition, very recognition for the capacity of work that they have. And in this case, the produced of it is firm. Not fetched, but it is firm. In this case, we have the support that it is firm and fetched. There's another part that says archives, enter here and apparently MUTIS. And they can see all the expedition botanic, they can apply to the people who interested the thing, or also for curiosity morbosa, as we have in class, they will diverge much seeing these.

SPEAKER_00 17:01

I encourage these races in the room, but they are courtesy of the plant, they don't connect to the rest of the plant. It's like the rain is one part and the plant is one, right?

SPEAKER_02 17:12

And the plant is one.

SPEAKER_00 17:13

And you can say why you study this afrán of the terror.

SPEAKER_02 17:51

And I learned of the botanic, and all the people said Linneo did the importance of the images. I learned Lineo, and Linneo said that the images are not so important. It's more important the text. Mutis, when they serve corresponding botanic to Linneo, they went to descriptions and descriptions in Latin that they say taxones. And Linneo had referenced to the books, and in the diet Mutis mortificated, said, But how is it possible that you have my? If you made the clear things, critical classification well, but if you went to the fact that the floral doesn't get it, as Mutis intensificate this problem of the visual, of the technology of the vision, but then a botanic in Europe should have and classificate the plants to have the plant viva, and substitute the plant vive for the representation, the maximum of the representation. So there are a series of questions in text, in the produce color, why produce color, and how describing the color. For those who don't know the cacao, the cacao produces a fruit oblong that is like a balloon of food american, a little bit more picking, or the semillas that are taking the chocolate. But there are many species of teoba, this is the number scientific. When they are go to the lives of Lineo to see what is the teobroma, and they went to it and said that I went. In other production semi-industrial. The case is that collection these notices of colors and appear to the indices, of the references that appear in the text, of why it used to, what it used. And for this, it's a little large the request, but this turned a year.

SPEAKER_01 22:26

If you pudieres cual a object, azafrán, and you contestaría what sería pensando in el libro of the azafrán de la tierra, ¿cómo te llamaban?

SPEAKER_02 22:49

Because there's a problem with nombrar. Because a lot of it performed this connection in the mitad. The many of the people who escuch, who is Colombia, quiz not, the point if you want to go to the game, see, it uses coccin or used for cocinating, but what they say is that it's fundamental in one of the plants that are in the escudo colombian, which is the sancocho, it's a soap. With what we do color to the sancocho? With the specifically, aunque a gentleman a lot of the plant to recognize because it's a plant and humility. For us in Colombia, it's a presence of the hog. And my text is a number large, but it can be a materiality that is Edion Des, Color Purpurio Triste, and Flores Marchita, which are the descriptions of the plants.

SPEAKER_01 25:53

But we have a radiograph of a moment specific where we can see how the culture popular that our families, our mother, our wife, etc. Not species because they are antique, but these are vegetables, and these possible utilities.

SPEAKER_00 27:07

And when Juan Ricardo of the market, of each other, you think this transmission oral from person to person is very important, and we can old that the products are of Amazon or in paquet, which are of the people who have these connectives and conceivers.