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ol.research-hypotheses.research-hypotheses>li{grid-template-columns:1.65rem minmax(0,1fr)!important;gap:.65rem!important}#research-r22-release.iict-journal article .research-hypotheses h3{font-size:1.17rem!important}#research-r22-release.iict-journal article .research-hypotheses p{font-size:1rem!important}}\n#research-r22-release.iict-journal article .prose.opening{border:0!important;padding:0!important;background:none!important}\n\n\/* IICT VISUALES FINAL 20261106 *\/\n#research-r22-release.iict-journal article .iict-journal-table thead{display:table-header-group!important;position:static!important;inset:auto!important;width:auto!important;height:auto!important;overflow:visible!important;clip:auto!important;clip-path:none!important;visibility:visible!important;opacity:1!important}\n#research-r22-release.iict-journal article .iict-journal-table table caption{position:sticky!important;left:0!important;width:min(42rem,calc(100vw - 5rem))!important;max-width:100%!important;white-space:normal!important;overflow-wrap:break-word!important;hyphens:auto!important}\n@media(max-width:700px){#research-r22-release.iict-journal article .iict-journal-table tbody th{width:clamp(8rem,42vw,14rem)!important;max-width:14rem!important;white-space:normal!important}}\n\/* \/IICT VISUALES FINAL *\/\n<\/style>\n<nav class=\"langnav\" aria-label=\"Idiomas \/ Languages \/ Langues\"><a href=\"#r22-es\">Espa\u00f1ol<\/a> \u00b7 <a href=\"#r22-en\">English<\/a> \u00b7 <a href=\"#r22-fr\">Fran\u00e7ais<\/a><\/nav><article id=\"r22-es\" lang=\"es\"><header class=\"hero\"><div class=\"kicker\">R22 \u00b7 CUADERNOS DE INVESTIGACI\u00d3N<\/div><h1>Los siete Tajines: permiso, territorio y responsabilidad en El Taj\u00edn<\/h1><p class=\"deck\">Conservar una pintura exige conocer su materia y escuchar a quienes dan sentido al lugar.<\/p><div class=\"date\">Revisi\u00f3n documental \u00b7 5 de noviembre de 2026<\/div><\/header><section class=\"abstract\"><span class=\"eyebrow\">En pocas palabras<\/span><p>Un hurac\u00e1n en 2021; despu\u00e9s, un incendio en 2022. Ambos da\u00f1aron la pintura mural que conserva el Edificio I de Taj\u00edn Chico. Los trabajos posteriores re\u00fanen diagn\u00f3stico material, restauraci\u00f3n y relaciones con las comunidades vecinas. Este art\u00edculo sigue fuentes del INAH de 2018, 2024 y 2025 para distinguir tres responsabilidades: conservar el edificio, comprender sus relaciones sociales y respetar el acceso al conocimiento ritual. La menci\u00f3n a los siete Tajines abre una investigaci\u00f3n; no demuestra que la ceremonia autorizara las obras ni permite reconstruirla paso a paso.<\/p><\/section><details class=\"iict-journal-toc\"><summary>En este art\u00edculo<\/summary><nav class=\"toc\" aria-label=\"En esta lectura\"><span class=\"eyebrow\">En esta lectura<\/span><a href=\"#r22-es-section-0\">El Edificio I: un lugar concreto dentro de una ciudad<\/a><a href=\"#r22-es-section-1\">Antes del da\u00f1o: aprender a leer una superficie<\/a><a href=\"#r22-es-section-2\">2021 y 2022: da\u00f1os diferentes, una historia acumulada<\/a><a href=\"#r22-es-section-3\">Una fecha y un denominador para cada porcentaje<\/a><a href=\"#r22-es-section-4\">Qu\u00e9 dice realmente la referencia a los siete Tajines<\/a><a href=\"#r22-es-section-5\">Tres responsabilidades que pueden encontrarse<\/a><a href=\"#r22-es-sources\">Fuentes y contraste<\/a><\/nav><\/details><figure class=\"photo landscape\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r22-edificio-i-horacio-2010.jpg\" width=\"1400\" height=\"1050\" alt=\"Cubierta de palma y acceso al Edificio I de Taj\u00edn Chico, con un letrero que identifica la estructura, en una fotograf\u00eda de 2010.\"><figcaption><span class=\"eyebrow\">Documento visual<\/span>Edificio I, Taj\u00edn Chico \u00b724 de noviembre de 2010. Horacio_Fernandez \u00b7 CC BY 3.0. Fotograf\u00eda completa, reducida para la edici\u00f3n. Estado anterior a Grace 2021 y al incendio 2022; no documenta el avance actual de restauraci\u00f3n.<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:El_Tajin,_edificio_1_-_panoramio.jpg\">Horacio_Fernandez \u00b7 Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by\/3.0\">CC BY 3.0<\/a><\/figcaption><\/figure><div class=\"prose opening\"><p>Restaurar un edificio arqueol\u00f3gico es una responsabilidad t\u00e9cnica; trabajar en un lugar con significado para sus habitantes tambi\u00e9n requiere saber d\u00f3nde est\u00e1n los l\u00edmites de quien interviene. En un reportaje sobre la conservaci\u00f3n del Edificio I, el INAH menciona una ceremonia de petici\u00f3n de permiso a los siete Tajines, vinculada al entorno del sitio. Esa referencia abre una pregunta sobre la continuidad cultural, pero no basta para describir paso a paso la ceremonia.<\/p><\/div><section class=\"prose\" id=\"r22-es-section-0\"><h2>El Edificio I: un lugar concreto dentro de una ciudad<\/h2><p>Taj\u00edn Chico se encuentra al norte de la Pir\u00e1mide de los Nichos. All\u00ed se sit\u00faa el Edificio I, objeto de este art\u00edculo. La ficha patrimonial de UNESCO sirve para orientarse en el conjunto; el bolet\u00edn del 11 de septiembre de 2024 permite seguir las intervenciones en el edificio. No deben confundirse una panor\u00e1mica de la ciudad, otro basamento y la superficie de un mural afectado.<sup class=\"cite\"><a href=\"#r22-es-s2\">S2<\/a>, <a href=\"#r22-es-s6\">S6<\/a><\/sup><\/p><p>El bolet\u00edn de 2024 recuerda investigaciones de las d\u00e9cadas de 1930 y 1990 y corrige expresamente la noticia de un supuesto descubrimiento reciente. Esa cronolog\u00eda cambia la pregunta: no se trata solo de mostrar algo reci\u00e9n encontrado, sino de seguir c\u00f3mo se mantiene una obra conocida y qu\u00e9 ocurre cuando sus protecciones fallan. La foto de 2010 reproducida aqu\u00ed conserva precisamente un estado anterior a los dos siniestros.<sup class=\"cite\"><a href=\"#r22-es-s2\">S2<\/a>, <a href=\"#r22-es-s8\">S8<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r22-es-section-1\"><figure class=\"iict-plate\" id=\"iict-plate-r22-a-es\" lang=\"es\" aria-labelledby=\"iict-plate-r22-a-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 I<\/p><h3 id=\"iict-plate-r22-a-es-title\">La superficie guarda capas de decisiones<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r22-a-es-art-title iict-plate-r22-a-es-art-desc\"><title id=\"iict-plate-r22-a-es-art-title\">La superficie guarda capas de decisiones<\/title><desc id=\"iict-plate-r22-a-es-art-desc\">1. El soporte pertenece a un edificio y una zona estudiada. 2. El estudio identifica materiales y modos de aplicaci\u00f3n. 3. Mezclar pigmentos y superponer capas modifica el tono. Corte ilustrado, sin espesores a escala, a partir del estudio del Edificio I. No copia un mural ni transfiere al I los datos del Edificio 11.<\/desc><defs><pattern id=\"iict-plate-r22-a-es-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r22-a-es-grain)\"\/><path d=\"M105 261 L422 190 L659 261 L335 340Z\" fill=\"#ccb58c\" stroke=\"#a88d5f\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 240 L422 169 L659 240 L335 319Z\" fill=\"#e3d6b8\" stroke=\"#b59e71\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 214 L422 143 L659 214 L335 293Z\" fill=\"#c3c797\" stroke=\"#8f9c6c\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 190 L422 119 L659 190 L335 269Z\" fill=\"#879b76\" stroke=\"#718764\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 169 L422 98 L659 169 L335 248Z\" fill=\"#a8b58b\" stroke=\"#7f956e\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M112 172 L336 246 L652 170\" fill=\"none\" stroke=\"#d6c075\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M76 269 L48 269 V315 M675 228 H709 V273 M439 82 V54\" fill=\"none\" stroke=\"#b69d68\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"48\" cy=\"344\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"48\" y=\"352\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"709\" cy=\"303\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"709\" y=\"311\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"439\" cy=\"42\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"439\" y=\"50\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>El soporte pertenece a un edificio y una zona estudiada.<\/li><li>El estudio identifica materiales y modos de aplicaci\u00f3n.<\/li><li>Mezclar pigmentos y superponer capas modifica el tono.<\/li><\/ol><figcaption class=\"plate-caption\">Corte ilustrado, sin espesores a escala, a partir del estudio del Edificio I. No copia un mural ni transfiere al I los datos del Edificio 11. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r22-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Antes del da\u00f1o: aprender a leer una superficie<\/h2><p>\u00bfC\u00f3mo se aplic\u00f3 aquella pintura? En T\u00e9cnica pict\u00f3rica en El Taj\u00edn, publicado en el n\u00famero de 2017\u20132018 de CR, Grimaldi, Carrillo, T\u00e9llez y Osorio combinaron observaci\u00f3n, colorimetr\u00eda \u2014medici\u00f3n del color\u2014 y an\u00e1lisis de muestras. Identificaron dos modos de aplicaci\u00f3n: al fresco y en seco. El estudio es anterior a Grace y al incendio: documenta t\u00e9cnicas y materiales, no la magnitud de esos da\u00f1os. Su segundo caso es el Edificio 11, que no debe confundirse con el romano I.<sup class=\"cite\"><a href=\"#r22-es-s4\">S4<\/a><\/sup><\/p><p>Que dos zonas parezcan del mismo color no basta para tratarlas igual. La apariencia, las capas y el soporte responden a preguntas distintas. Nuestra lectura del trabajo t\u00e9cnico es que conservar exige saber de qu\u00e9 est\u00e1 hecha cada superficie y qu\u00e9 relaci\u00f3n mantiene con su entorno. Una fotograf\u00eda editorial puede acercar al p\u00fablico a esa pregunta; no sustituye el examen material ni debe presentarse como prueba de estabilidad.<\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 760\" role=\"img\" aria-labelledby=\"r22-tim-es\"><title id=\"r22-tim-es\">Antes y despu\u00e9s de los da\u00f1os<\/title><rect width=\"640\" height=\"760\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Antes y despu\u00e9s de los da\u00f1os<\/text><path d=\"M54 127V675\" stroke=\"#a58a47\" stroke-width=\"2\"\/><circle cx=\"54\" cy=\"146\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"153\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2010<\/text><text x=\"85\" y=\"189\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Fotograf\u00eda del Edificio I<\/text><circle cx=\"54\" cy=\"241\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"248\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2017\u20132018<\/text><text x=\"85\" y=\"284\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Investigaci\u00f3n de t\u00e9cnica pict\u00f3rica<\/text><circle cx=\"54\" cy=\"336\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"343\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2021<\/text><text x=\"85\" y=\"379\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Hurac\u00e1n Grace<\/text><circle cx=\"54\" cy=\"431\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"438\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">21\u00b712\u00b72022<\/text><text x=\"85\" y=\"474\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Incendio<\/text><circle cx=\"54\" cy=\"526\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"533\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">11\u00b709\u00b72024<\/text><text x=\"85\" y=\"569\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Nueva temporada de restauraci\u00f3n<\/text><circle cx=\"54\" cy=\"621\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"628\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2025<\/text><text x=\"85\" y=\"664\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Balances publicados del INAH<\/text><path d=\"M32 720H608\" stroke=\"#a58a47\"\/><text x=\"32\" y=\"747\" fill=\"#264b61\" font-size=\"19\" font-family=\"Georgia,serif\" font-weight=\"normal\">R22 \u00b7 S1\u2013S4 \/ S8<\/text><\/svg><figcaption>Cronolog\u00eda documental de S1\u2013S4 y S8. Las fechas identifican documentos y acontecimientos distintos; no miden el estado actual.<\/figcaption><\/figure><section class=\"prose\" id=\"r22-es-section-2\"><aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r22-es\" lang=\"es\" aria-labelledby=\"iict-reading-r22-es-title\"><span class=\"reading-kicker\">Una historia concreta<\/span><h3 id=\"iict-reading-r22-es-title\">Un verde no era un solo verde<\/h3><p>En las muestras del Edificio I, Grimaldi, Carrillo, T\u00e9llez y Osorio identificaron paligorskita, una arcilla, en dos tonalidades verdes. En la p\u00e1gina 257 explican una diferencia de factura: para oscurecer una de ellas, el pigmento se mezcl\u00f3 con amarillo y se aplic\u00f3 en dos o tres capas. Un cambio visible de tono conserva as\u00ed decisiones de mezcla y superposici\u00f3n. <a class=\"reading-ref\" href=\"#iict-reading-r22-es-source\" aria-label=\"Ver fuentes y contraste\">\u2197<\/a><\/p><p>La superficie re\u00fane m\u00e1s trabajo del que revela una primera mirada. Saber c\u00f3mo se produjo un color ayuda a distinguir la t\u00e9cnica antigua de las alteraciones posteriores. Esa lectura material se vuelve especialmente valiosa cuando el muro atraviesa un hurac\u00e1n, un incendio y nuevas intervenciones.<\/p><p class=\"reading-links\"><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12560\/13686\/25075\">Grimaldi, Carrillo, T\u00e9llez y Osorio \u00b7 T\u00e9cnica pict\u00f3rica en El Taj\u00edn, 2017\u20132018, pp. 257\u2013258<\/a> \u00b7 <a href=\"#r22-es-sources\">Fuentes y contraste<\/a><\/p><\/aside>\n<h2>2021 y 2022: da\u00f1os diferentes, una historia acumulada<\/h2><p>El reportaje de Patricia Mungu\u00eda, fechado el 12 de marzo de 2025, describe el colapso de una cubierta durante Grace en 2021 y el incendio del 21 de diciembre de 2022. A esos episodios se suman humedad y sales. La restauraci\u00f3n debe tratar una acumulaci\u00f3n de procesos, no una sola marca visible. Reconstruir la secuencia ayuda a entender por qu\u00e9 reparar una cubierta y recuperar pintura no significan completar el mismo trabajo.<sup class=\"cite\"><a href=\"#r22-es-s1\">S1<\/a><\/sup><\/p><p>El bolet\u00edn del 10 de enero de 2025 explica una decisi\u00f3n especialmente dif\u00edcil: al retirar ciertos pl\u00e1sticos adheridos por el incendio pod\u00eda desprenderse pintura original, por lo que se evaluaba conservarlos como huella del suceso. La alternativa cuestiona la idea de que restaurar siempre consista en dejar una superficie limpia y nueva. Aqu\u00ed la prioridad interpretada es conservar informaci\u00f3n y materia, incluso cuando el resultado obliga a explicar una p\u00e9rdida.<sup class=\"cite\"><a href=\"#r22-es-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r22-es-section-3\"><h2>Una fecha y un denominador para cada porcentaje<\/h2><p>El bolet\u00edn de enero de 2025 comunica 60% de pintura recuperada y 40% perdida. Son cifras atribuidas a ese balance. El reportaje de marzo a\u00f1ade 75% de avance para afectaciones de Grace y 40% para las del incendio. Esos avances se refieren a conjuntos de trabajo diferentes: no se promedian, no se suman al porcentaje de pintura y no forman una medici\u00f3n general del edificio.<sup class=\"cite\"><a href=\"#r22-es-s1\">S1<\/a>, <a href=\"#r22-es-s3\">S3<\/a><\/sup><\/p><p>La fecha es parte de cada porcentaje. Estos documentos cuentan lo comunicado en 2025, no acreditan por s\u00ed solos el estado del edificio en noviembre de 2026. Para actualizarlo habr\u00eda que explicar qu\u00e9 se midi\u00f3, qu\u00e9 superficie o tareas abarca el dato y en qu\u00e9 registro consta. El gr\u00e1fico mantiene separadas esas bases de c\u00e1lculo; reunirlas en una sola barra de progreso cambiar\u00eda su significado.<\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 650\" role=\"img\" aria-labelledby=\"r22-pct-es\"><title id=\"r22-pct-es\">Tres cifras, tres preguntas<\/title><rect width=\"640\" height=\"650\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Tres cifras, tres preguntas<\/text><rect x=\"32\" y=\"132\" width=\"576\" height=\"133\" fill=\"#f8f3e9\"\/><text x=\"50\" y=\"180\" fill=\"#264b61\" font-size=\"43\" font-family=\"Georgia,serif\" font-weight=\"normal\">60%<\/text><text x=\"175\" y=\"173\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">Pintura recuperada<\/text><text x=\"175\" y=\"211\" fill=\"#53634f\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">Balance \u00b7 10 enero 2025<\/text><rect x=\"50\" y=\"238\" width=\"540\" height=\"7\" fill=\"#d8ddd5\"\/><rect x=\"50\" y=\"238\" width=\"324\" height=\"7\" fill=\"#a58a47\"\/><rect x=\"32\" y=\"288\" width=\"576\" height=\"133\" fill=\"#f8f3e9\"\/><text x=\"50\" y=\"336\" fill=\"#264b61\" font-size=\"43\" font-family=\"Georgia,serif\" font-weight=\"normal\">75%<\/text><text x=\"175\" y=\"329\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">Avance frente a Grace<\/text><text x=\"175\" y=\"367\" fill=\"#53634f\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">Reportaje \u00b7 12 marzo 2025<\/text><rect x=\"50\" y=\"394\" width=\"540\" height=\"7\" fill=\"#d8ddd5\"\/><rect x=\"50\" y=\"394\" width=\"405\" height=\"7\" fill=\"#264b61\"\/><rect x=\"32\" y=\"444\" width=\"576\" height=\"133\" fill=\"#f8f3e9\"\/><text x=\"50\" y=\"492\" fill=\"#264b61\" font-size=\"43\" font-family=\"Georgia,serif\" font-weight=\"normal\">40%<\/text><text x=\"175\" y=\"485\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">Avance frente al incendio<\/text><text x=\"175\" y=\"523\" fill=\"#53634f\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">Reportaje \u00b7 12 marzo 2025<\/text><rect x=\"50\" y=\"550\" width=\"540\" height=\"7\" fill=\"#d8ddd5\"\/><rect x=\"50\" y=\"550\" width=\"216\" height=\"7\" fill=\"#264b61\"\/><\/svg><figcaption>No sumar ni promediar: son objetos diferentes. El 40% de pintura perdida del balance de enero es otro dato, distinto del 40% de avance tras el incendio. S1 y S3.<\/figcaption><\/figure><section class=\"prose\" id=\"r22-es-section-4\"><h2>Qu\u00e9 dice realmente la referencia a los siete Tajines<\/h2><p>La menci\u00f3n aparece en la parte del reportaje dedicada a fortalecer v\u00ednculos ciudadanos. All\u00ed se recoge la voz de Geraldine Pedroza Barra, del \u00e1mbito municipal de turismo y cultura de Papantla, y se sit\u00faa la petici\u00f3n de permiso a los siete Tajines en el 29 de septiembre, vinculada a San Miguel Arc\u00e1ngel y al \u00abD\u00eda del Trueno\u00bb en los t\u00e9rminos del reportaje. El texto no identifica oficiantes ni ofrece un acta de una ceremonia realizada para autorizar la restauraci\u00f3n.<sup class=\"cite\"><a href=\"#r22-es-s1\">S1<\/a><\/sup><\/p><p>Por tanto, la hip\u00f3tesis de que esa ceremonia fuera una condici\u00f3n institucional de las obras no queda demostrada por el pasaje. S\u00ed queda abierta una cuesti\u00f3n distinta: c\u00f3mo se relacionan el lugar arqueol\u00f3gico, las celebraciones y las personas que los cuidan. Tampoco se deduce que las figuras de los murales representen los siete Tajines mencionados. Relacionar testimonios de \u00e9pocas distintas exige evidencia adicional, no una semejanza sugerente.<\/p><\/section><section class=\"prose\" id=\"r22-es-section-5\"><style id=\"iict-visual-essays-20261106\">\n#main figure.iict-viz{box-sizing:border-box;width:100%;max-width:100%;margin:2.3rem auto!important;padding:clamp(20px,3vw,34px)!important;border:1px solid #cfc3a9!important;border-top:3px solid #a68b46!important;border-radius:2px!important;background:linear-gradient(135deg,#fffcf4,#f5efdf)!important;color:#254761!important;box-shadow:0 18px 30px -32px #17314480;overflow:visible!important;float:none!important;clear:both;isolation:isolate;break-inside:avoid;}\n#main figure.iict-viz *,#main figure.iict-viz *::before,#main figure.iict-viz *::after{box-sizing:border-box}#main figure.iict-viz>header{display:block!important;width:100%!important;margin:0 0 1.35rem!important;padding:0!important;border:0!important;background:none!important}#main figure.iict-viz 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h4{font-size:16px!important}#main figure.iict-viz.viz-vanilla .viz-cell p{font-size:15px!important}}<\/style>\n<figure class=\"iict-viz viz-lenses\" id=\"iict-viz-r22-es\" lang=\"es\" aria-labelledby=\"iict-viz-r22-es-title\"><header><div class=\"viz-kicker\"><span>Cuadernos visuales<\/span><span>R22 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r22-es-title\">Una evidencia, un objeto preciso<\/h3><p>Situar la prueba evita confundir edificios, m\u00e9todos y relaciones.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Edificio I<\/h4><p>Pintura mural: capas, t\u00e9cnica y da\u00f1os estudiados en una superficie concreta.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M40 93l61-63 40 36 35-48 64 75H40zM85 48l16-18 18 17M159 42l17-24 20 26M40 101h200\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Pir\u00e1mide de los Nichos<\/h4><p>El registro arquitect\u00f3nico aporta una comparaci\u00f3n de m\u00e9todos sobre otro edificio.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><circle cx=\"140\" cy=\"31\" r=\"13\"\/><path d=\"M115 84V65q0-17 25-17t25 17v19M95 42a10 10 0 1 1 0-20M185 42a10 10 0 1 0 0-20M77 87V65q0-17 25-17M203 87V65q0-17-25-17M111 95h58\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>Un lugar habitado<\/h4><p>Las voces y relaciones comunitarias necesitan contexto y atribuci\u00f3n propios.<\/p><\/div><\/div><figcaption>El an\u00e1lisis material y la documentaci\u00f3n arquitect\u00f3nica no resuelven por s\u00ed solos el sentido ritual.<span class=\"viz-source\">S\u00edntesis visual original del Instituto \u00b7 <a href=\"#r22-es-sources\">Fuentes y contraste<\/a><\/span><\/figcaption><\/figure>\n<figure class=\"iict-plate\" id=\"iict-plate-r22-b-es\" lang=\"es\" aria-labelledby=\"iict-plate-r22-b-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 II<\/p><h3 id=\"iict-plate-r22-b-es-title\">Conservar exige atender a procesos diferentes<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r22-b-es-art-title iict-plate-r22-b-es-art-desc\"><title id=\"iict-plate-r22-b-es-art-title\">Conservar exige atender a procesos diferentes<\/title><desc id=\"iict-plate-r22-b-es-art-desc\">1. 2021: Grace afecta la cubierta seg\u00fan el relato de conservaci\u00f3n. 2. 2022: el incendio a\u00f1ade otro episodio de da\u00f1o. 3. Humedad, sales e intervenci\u00f3n material exigen diagn\u00f3stico y seguimiento. Causas y trabajos diferenciados seg\u00fan el INAH; la ilustraci\u00f3n no estima superficies perdidas ni reproduce el estado actual del edificio.<\/desc><defs><pattern id=\"iict-plate-r22-b-es-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r22-b-es-grain)\"\/><g transform=\"translate(145 113) scale(0.55)\"><path d=\"M-91 22 C-125 -5 -96 -49 -60 -38 C-51 -96 26 -98 45 -50 C91 -77 128 -27 96 13 C70 40 -64 38 -91 22Z\" fill=\"#e1e6df\" stroke=\"#91a7a1\" stroke-width=\"1.4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><line x1=\"110\" y1=\"145\" x2=\"98\" y2=\"180\" stroke=\"#8eacad\" stroke-width=\"2\" \/><line x1=\"140\" y1=\"145\" x2=\"128\" y2=\"180\" stroke=\"#8eacad\" stroke-width=\"2\" \/><line x1=\"170\" y1=\"145\" x2=\"158\" y2=\"180\" stroke=\"#8eacad\" stroke-width=\"2\" \/><path d=\"M68 277 L143 225 L216 277 M83 272 V330 H200 V272\" fill=\"none\" stroke=\"#aa9470\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M326 304 C280 260 336 217 331 176 C367 211 352 232 369 240 C389 207 405 233 408 197 C459 268 408 320 367 320Z\" fill=\"#cfad72\" stroke=\"#ac8052\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M353 302 Q339 270 368 249 Q397 279 375 310Z\" fill=\"#e9d09b\" stroke=\"#c39f60\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M550 106 L574 119 L552 238 L529 233Z\" fill=\"#ceb581\" stroke=\"#9d8351\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M529 233 L552 238 L547 277 Q530 299 515 274Z\" fill=\"#b8ae8b\" stroke=\"#8f8c6d\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"602\" y=\"196\" width=\"77\" height=\"116\" rx=\"4\" fill=\"#f4ecda\" stroke=\"#b09d75\" stroke-width=\"2\"\/><line x1=\"617\" y1=\"220\" x2=\"662\" y2=\"220\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><line x1=\"617\" y1=\"241\" x2=\"662\" y2=\"241\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><line x1=\"617\" y1=\"262\" x2=\"662\" y2=\"262\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><line x1=\"617\" y1=\"283\" x2=\"662\" y2=\"283\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><text x=\"143\" y=\"373\" fill=\"#9b7d45\" font-family=\"Georgia,serif\" font-size=\"28\" text-anchor=\"middle\">2021<\/text><text x=\"367\" y=\"373\" fill=\"#9b7d45\" font-family=\"Georgia,serif\" font-size=\"28\" text-anchor=\"middle\">2022<\/text><circle cx=\"143\" cy=\"51\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"143\" y=\"59\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"367\" cy=\"104\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"367\" y=\"112\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"620\" cy=\"126\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"620\" y=\"134\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>2021: Grace afecta la cubierta seg\u00fan el relato de conservaci\u00f3n.<\/li><li>2022: el incendio a\u00f1ade otro episodio de da\u00f1o.<\/li><li>Humedad, sales e intervenci\u00f3n material exigen diagn\u00f3stico y seguimiento.<\/li><\/ol><figcaption class=\"plate-caption\">Causas y trabajos diferenciados seg\u00fan el INAH; la ilustraci\u00f3n no estima superficies perdidas ni reproduce el estado actual del edificio. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r22-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Tres responsabilidades que pueden encontrarse<\/h2><p>Para leer las fuentes distinguimos tres tareas: conocer el estado material, comprender la relaci\u00f3n con la comunidad y decidir qu\u00e9 conocimiento puede compartirse. Es un esquema propuesto por este art\u00edculo, no un protocolo local que hayamos observado. La descripci\u00f3n de conservaci\u00f3n y participaci\u00f3n de UNESCO y los principios \u00e9ticos del patrimonio vivo ayudan a plantear esas preguntas. No demuestran que exista un acuerdo entre el Instituto y las comunidades o el INAH.<sup class=\"cite\"><a href=\"#r22-es-s6\">S6<\/a>, <a href=\"#r22-es-s7\">S7<\/a><\/sup><\/p><p>La siguiente ampliaci\u00f3n requiere conversar con personas reconocidas por la propia comunidad y con responsables de conservaci\u00f3n, separando qu\u00e9 puede publicarse de lo reservado. No se ha realizado ese encuentro. Mientras tanto, el estudio documental conserva un resultado preciso: cuidar El Taj\u00edn incluye atender la materia y las relaciones, pero una fuente que menciona una ceremonia no autoriza a convertirla en receta, tr\u00e1mite ni representaci\u00f3n de todo el Totonacapan.<\/p><\/section><aside class=\"method\"><h2>C\u00f3mo se investig\u00f3<\/h2><p>Revisi\u00f3n documental cerrada el 5 de noviembre de 2026. Se contrastaron investigaci\u00f3n t\u00e9cnica de 2017\u20132018, boletines de 2024\u20132025, reportaje de 2025 y ficha patrimonial. Las cifras se conservan con su fecha y objeto; no son una inspecci\u00f3n actual. No se realizaron entrevistas ni se document\u00f3 una ceremonia. La fotograf\u00eda hist\u00f3rica se separa de las evidencias de da\u00f1o y restauraci\u00f3n.<\/p><\/aside><details class=\"sources\" id=\"r22-es-sources\"><summary>Fuentes y contraste<small>Desplegar hip\u00f3tesis, diferencias, alcance y referencias<\/small><\/summary><div class=\"sourcebody\"><section class=\"contrast-item\"><h3>1. Hip\u00f3tesis sometida a contraste<\/h3><p>\u00bfEl reportaje demuestra que una ceremonia a los siete Tajines autoriz\u00f3 la restauraci\u00f3n? No. El pasaje se refiere a actividades comunitarias y no documenta esa conexi\u00f3n causal. La hip\u00f3tesis queda sin acreditar; no se sustituye por una negaci\u00f3n de la importancia local de la ceremonia.<sup class=\"cite\"><a href=\"#r22-es-s1\">S1<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>2. Reportaje y boletines: voces relacionadas<\/h3><p>Los textos de enero y marzo de 2025 comparten instituci\u00f3n, proyecto y testimonios t\u00e9cnicos. Su coincidencia ayuda a seguir la comunicaci\u00f3n del proyecto, pero no constituye dos peritajes independientes. El bolet\u00edn de 2024 agrega una cronolog\u00eda; el art\u00edculo t\u00e9cnico de 2018 aporta otro m\u00e9todo y otro momento.<sup class=\"cite\"><a href=\"#r22-es-s1\">S1<\/a>, <a href=\"#r22-es-s2\">S2<\/a>, <a href=\"#r22-es-s3\">S3<\/a>, <a href=\"#r22-es-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>3. Porcentajes que responden a preguntas distintas<\/h3><p>La relaci\u00f3n 60\/40 corresponde a pintura recuperada y perdida en el balance de enero. Los valores 75 y 40 indican avances de atenci\u00f3n a dos siniestros en el reportaje de marzo. Aqu\u00ed no conocemos las bases cuantitativas completas sobre las que se calcularon. Por eso cada dato conserva fecha y objeto y no se promedia. Una actualizaci\u00f3n necesitar\u00eda registros comparables.<sup class=\"cite\"><a href=\"#r22-es-s1\">S1<\/a>, <a href=\"#r22-es-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>4. Una comparaci\u00f3n t\u00e9cnica, otro edificio<\/h3><p>Nicho a nicho estudia la Pir\u00e1mide de los Nichos y combina fichas, fotograf\u00eda, levantamiento y otras t\u00e9cnicas. Se usa para pensar la relaci\u00f3n entre registro y seguimiento, no para trasladar cifras de nichos ni resultados de una pir\u00e1mide al Edificio I.<sup class=\"cite\"><a href=\"#r22-es-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>5. T\u00e9cnica e interpretaci\u00f3n iconogr\u00e1fica<\/h3><p>El an\u00e1lisis material permite estudiar capas y modos de aplicaci\u00f3n. La identificaci\u00f3n de un personaje, una deidad o una continuidad ritual requiere otra cadena argumental. Ni el color de una figura ni su proximidad al lugar prueban que sea uno de los siete Tajines citados en 2025.<sup class=\"cite\"><a href=\"#r22-es-s1\">S1<\/a>, <a href=\"#r22-es-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>6. Qu\u00e9 prueba la fotograf\u00eda de 2010<\/h3><p>La ficha y el letrero visible identifican el Edificio I. La fecha permite mostrar una cubierta anterior a Grace. La foto no documenta la superficie da\u00f1ada en 2022 ni la estabilidad actual. Las im\u00e1genes oficiales de conservaci\u00f3n se enlazan en su fuente; no se reproducen sin una licencia comprobada.<sup class=\"cite\"><a href=\"#r22-es-s8\">S8<\/a>, <a href=\"#r22-es-s2\">S2<\/a>, <a href=\"#r22-es-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>7. Testimonio local y acceso<\/h3><p>Queda pendiente una conversaci\u00f3n autorizada sobre la menci\u00f3n del 29 de septiembre: qui\u00e9n puede explicar su contexto, qu\u00e9 significados se comparten y qu\u00e9 se reserva. No se identifican oficiantes ni se ampl\u00eda una descripci\u00f3n ritual a partir de conjeturas. Los principios \u00e9ticos orientan esa futura relaci\u00f3n.<sup class=\"cite\"><a href=\"#r22-es-s1\">S1<\/a>, <a href=\"#r22-es-s7\">S7<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>8. Qu\u00e9 har\u00eda cambiar la conclusi\u00f3n<\/h3><p>Un registro fechado de las obras, un testimonio local autorizado o nueva documentaci\u00f3n podr\u00edan establecer v\u00ednculos hoy no demostrados. La ampliaci\u00f3n mantendr\u00eda la diferencia entre dato, interpretaci\u00f3n y atribuci\u00f3n. Hasta entonces, el resultado documentado se limita a lo que dicen las fuentes, con sus fechas y objetos.<\/p><\/section><div class=\"bibliography\"><h3>Referencias documentales<\/h3><ol><li id=\"r22-es-s1\"><b>S1<\/b> \u00b7 Patricia Mungu\u00eda \/ INAH<br><a href=\"https:\/\/www.inah.gob.mx\/especiales-inah\/reportajes\/conservacion-y-restauracion-de-un-patrimonio-vivo-el-edificio-i-de-el-tajin\"><cite lang=\"es\">Conservaci\u00f3n y restauraci\u00f3n de un patrimonio vivo: el Edificio I de El Taj\u00edn<\/cite><\/a><br>Reportaje \u00b712 marzo 2025<\/li><li id=\"r22-es-s2\"><b>S2<\/b> \u00b7 INAH<br><a href=\"https:\/\/www.inah.gob.mx\/boletines\/comienza-temporada-de-restauracion-en-el-edificio-i-de-la-zona-arqueologica-el-tajin\"><cite lang=\"es\">Comienza temporada de restauraci\u00f3n en el Edificio I de la Zona Arqueol\u00f3gica El Taj\u00edn<\/cite><\/a><br>Bolet\u00edn 565 \u00b711 septiembre 2024<\/li><li id=\"r22-es-s3\"><b>S3<\/b> \u00b7 INAH \/ Dulce Mar\u00eda Grimaldi Sierra<br><a href=\"https:\/\/www.inah.gob.mx\/boletines\/avanza-recuperacion-de-la-pintura-mural-del-edificio-i-de-el-tajin-en-veracruz\"><cite lang=\"es\">Avanza recuperaci\u00f3n de la pintura mural del Edificio I de El Taj\u00edn, en Veracruz<\/cite><\/a><br>Bolet\u00edn 16 \u00b710 enero 2025<\/li><li id=\"r22-es-s4\"><b>S4<\/b> \u00b7 Dulce Mar\u00eda Grimaldi, Mariela Carrillo, Perla T\u00e9llez y Alfonso Osorio<br><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12560\/13686\/25075\"><cite lang=\"es\">T\u00e9cnica pict\u00f3rica en El Taj\u00edn<\/cite><\/a><br>CR. Conservaci\u00f3n y Restauraci\u00f3n 13\/14 \u00b7 diciembre 2017\u2013abril 2018 \u00b7 pp. 252\u2013264<\/li><li id=\"r22-es-s5\"><b>S5<\/b> \u00b7 Dulce Mar\u00eda Grimaldi, Silvia Ib\u00e1\u00f1ez, Fernando Uri\u00f3stegui y Alfonso Osorio<br><a href=\"https:\/\/www.revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12175\/12960\/\"><cite lang=\"es\">Nicho a nicho, registrando la pir\u00e1mide de El Taj\u00edn<\/cite><\/a><br>CR. Conservaci\u00f3n y Restauraci\u00f3n 13\/14 \u00b7 diciembre 2017\u2013abril 2018 \u00b7 pp. 38\u201351<\/li><li id=\"r22-es-s6\"><b>S6<\/b> \u00b7 UNESCO World Heritage Centre<br><a href=\"https:\/\/whc.unesco.org\/en\/list\/631\/\"><cite lang=\"es\">El Tajin, Pre-Hispanic City<\/cite><\/a><br>Lista del Patrimonio Mundial 631 \u00b7 inscripci\u00f3n 1992<\/li><li id=\"r22-es-s7\"><b>S7<\/b> \u00b7 UNESCO<br><a href=\"https:\/\/ich.unesco.org\/en\/ethics-and-ich-00866\"><cite lang=\"es\">Ethical Principles for Safeguarding Intangible Cultural Heritage<\/cite><\/a><br>2015 \u00b7 principios 1, 4, 5, 7\u201310<\/li><li id=\"r22-es-s8\"><b>S8<\/b> \u00b7 Horacio_Fernandez<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:El_Tajin,_edificio_1_-_panoramio.jpg\"><cite lang=\"es\">El Tajin, edificio 1 &#8211; panoramio.jpg<\/cite><\/a><br>Fotograf\u00eda 24 noviembre 2010 \u00b7 CC BY 3.0<\/li><\/ol><\/div><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r22-es-source\" lang=\"es\"><h4>Un verde no era un solo verde<\/h4><p>Son muestras del Edificio I anteriores a los siniestros. El nombre t\u00e9cnico verde maya no atribuye identidad \u00e9tnica a sus pintores; no se transfiere al Edificio 11 ni a otros edificios.<\/p><p><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12560\/13686\/25075\">Grimaldi, Carrillo, T\u00e9llez y Osorio \u00b7 T\u00e9cnica pict\u00f3rica en El Taj\u00edn, 2017\u20132018, pp. 257\u2013258<\/a> \u00b7 <a href=\"#iict-reading-r22-es\">Volver al pasaje<\/a><\/p><\/section>\n<\/details><nav class=\"backlinks\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#indice-articulos-es\">\u2190 Volver al \u00edndice de investigaciones<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=41\">Continuar la lectura \u2192<\/a><\/nav><!-- IICT-CITE R22 es --><aside class=\"iict-citation\" id=\"citar-r22-es\" aria-labelledby=\"citar-r22-es-title\"><h2 id=\"citar-r22-es-title\">C\u00f3mo citar este art\u00edculo<\/h2><p class=\"iict-citation-label\">Referencia bibliogr\u00e1fica sugerida<\/p><blockquote class=\"iict-citation-reference\">Instituto Internacional de Cultura del Totonacapan. \u00abLos siete Tajines: permiso, territorio y responsabilidad en El Taj\u00edn\u00bb. <cite>Cuadernos de investigaci\u00f3n<\/cite>, <strong>R22<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-es\">https:\/\/totonacapan.com\/?page_id=1407#r22-es<\/a>.<\/blockquote><p><strong>Referencia interna:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-es\">R22<\/a>. Para citar un pasaje concreto, a\u00f1ade el t\u00edtulo de su secci\u00f3n.<\/p><p><a href=\"https:\/\/totonacapan.com\/?page_id=1225#normas-citacion-es\">Criterios de citaci\u00f3n del Instituto \u2192<\/a><\/p><\/aside><!-- \/IICT-CITE R22 es --><\/article><details class=\"research-lang-version\" id=\"r22-en-version\"><summary>English \u00b7 Full article<\/summary><article id=\"r22-en\" lang=\"en\"><header class=\"hero\"><div class=\"kicker\">R22 \u00b7 RESEARCH NOTEBOOKS<\/div><h1>The seven Tajines: permission, territory and responsibility at El Taj\u00edn<\/h1><p class=\"deck\">Preserving a painting requires understanding its materials and listening to those who give the place meaning.<\/p><div class=\"date\">Documentary review \u00b7 5 November 2026<\/div><\/header><section class=\"abstract\"><span class=\"eyebrow\">In a few words<\/span><p>Building I preserves murals in Taj\u00edn Chico. A 2021 hurricane and a 2022 fire damaged that heritage; subsequent work brings together assessment of the materials\u2019 condition, conservation and relations with neighbouring communities. This article follows INAH sources from 2018, 2024 and 2025 and distinguishes three responsibilities: caring for the building, understanding social relationships and respecting access to ritual knowledge. It examines the reference to the seven Tajines closely. A community reference opens an investigation, but does not prove that a ceremony authorised the work or allow it to be reconstructed step by step.<\/p><\/section><details class=\"iict-journal-toc\"><summary>In this article<\/summary><nav class=\"toc\" aria-label=\"In this reading\"><span class=\"eyebrow\">In this reading<\/span><a href=\"#r22-en-section-0\">Building I: a particular place within a city<\/a><a href=\"#r22-en-section-1\">Before the damage: learning to read a surface<\/a><a href=\"#r22-en-section-2\">2021 and 2022: different damage, an accumulated history<\/a><a href=\"#r22-en-section-3\">A date and a denominator for each percentage<\/a><a href=\"#r22-en-section-4\">What the seven Tajines reference actually says<\/a><a href=\"#r22-en-section-5\">Three responsibilities that can meet<\/a><a href=\"#r22-en-sources\">Sources and comparison<\/a><\/nav><\/details><figure class=\"photo landscape\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r22-edificio-i-horacio-2010.jpg\" width=\"1400\" height=\"1050\" alt=\"Palm roof and access to Building I in Taj\u00edn Chico, with an identifying sign, photographed in 2010.\"><figcaption><span class=\"eyebrow\">Visual document<\/span>Building I, Taj\u00edn Chico \u00b724 November 2010. Horacio_Fernandez \u00b7 CC BY 3.0. Full photograph, resized for this edition. Before Grace 2021 and the 2022 fire; it does not document current restoration progress.<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:El_Tajin,_edificio_1_-_panoramio.jpg\">Horacio_Fernandez \u00b7 Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by\/3.0\">CC BY 3.0<\/a><\/figcaption><\/figure><div class=\"prose opening\"><p>Restoring an archaeological building is a technical responsibility; working in a place meaningful to its inhabitants also requires understanding the limits of intervention. In a report about conservation of Building I, INAH mentions a ceremony requesting permission from the seven Tajines, connected with the site\u2019s surroundings. The reference raises a question about cultural continuity, but cannot support a step-by-step description of the ceremony.<\/p><\/div><section class=\"prose\" id=\"r22-en-section-0\"><h2>Building I: a particular place within a city<\/h2><p>Taj\u00edn Chico lies north of the Pyramid of the Niches. Building I, the subject of this article, stands there. UNESCO\u2019s heritage record helps locate the complex; the 11 September 2024 bulletin traces interventions in the building. A city panorama, a different platform and a damaged mural surface should not be confused.<sup class=\"cite\"><a href=\"#r22-en-s2\">S2<\/a>, <a href=\"#r22-en-s6\">S6<\/a><\/sup><\/p><p>The 2024 bulletin recalls investigations in the 1930 s and 1990 s and explicitly corrects a report of a supposed recent discovery. That chronology changes the question: this is not simply something newly found, but a known work whose maintenance and protection can be followed through time. The 2010 photograph reproduced here preserves a state preceding both damaging events.<sup class=\"cite\"><a href=\"#r22-en-s2\">S2<\/a>, <a href=\"#r22-en-s8\">S8<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r22-en-section-1\"><figure class=\"iict-plate\" id=\"iict-plate-r22-a-en\" lang=\"en\" aria-labelledby=\"iict-plate-r22-a-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 I<\/p><h3 id=\"iict-plate-r22-a-en-title\">The surface preserves layers of decisions<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r22-a-en-art-title iict-plate-r22-a-en-art-desc\"><title id=\"iict-plate-r22-a-en-art-title\">The surface preserves layers of decisions<\/title><desc id=\"iict-plate-r22-a-en-art-desc\">1. The support belongs to a building and studied area. 2. The study identifies materials and application methods. 3. Mixing pigments and layering changes the shade. Illustrated section without scaled thicknesses, based on the Building I study. No mural is copied or Building 11 data transferred to I.<\/desc><defs><pattern id=\"iict-plate-r22-a-en-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r22-a-en-grain)\"\/><path d=\"M105 261 L422 190 L659 261 L335 340Z\" fill=\"#ccb58c\" stroke=\"#a88d5f\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 240 L422 169 L659 240 L335 319Z\" fill=\"#e3d6b8\" stroke=\"#b59e71\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 214 L422 143 L659 214 L335 293Z\" fill=\"#c3c797\" stroke=\"#8f9c6c\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 190 L422 119 L659 190 L335 269Z\" fill=\"#879b76\" stroke=\"#718764\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 169 L422 98 L659 169 L335 248Z\" fill=\"#a8b58b\" stroke=\"#7f956e\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M112 172 L336 246 L652 170\" fill=\"none\" stroke=\"#d6c075\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M76 269 L48 269 V315 M675 228 H709 V273 M439 82 V54\" fill=\"none\" stroke=\"#b69d68\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"48\" cy=\"344\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"48\" y=\"352\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"709\" cy=\"303\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"709\" y=\"311\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"439\" cy=\"42\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"439\" y=\"50\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>The support belongs to a building and studied area.<\/li><li>The study identifies materials and application methods.<\/li><li>Mixing pigments and layering changes the shade.<\/li><\/ol><figcaption class=\"plate-caption\">Illustrated section without scaled thicknesses, based on the Building I study. No mural is copied or Building 11 data transferred to I. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r22-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>Before the damage: learning to read a surface<\/h2><p>In T\u00e9cnica pict\u00f3rica en El Taj\u00edn, published in CR\u2019s 2017\u20132018 issue, Grimaldi, Carrillo, T\u00e9llez and Osorio combined observation, colour measurement and sample analysis, identifying fresco and dry applications. The study precedes Grace and the fire: it documents techniques and materials, not the extent of those losses. Its second case is Building 11, a number not to be confused with Roman I.<sup class=\"cite\"><a href=\"#r22-en-s4\">S4<\/a><\/sup><\/p><p>Two areas looking the same colour need not require the same treatment. Appearance, layers and support answer different questions. Our reading of the technical work is that conservation requires understanding what each surface consists of and its relationship to the environment. An editorial photograph can introduce that question; it cannot replace material examination or be presented as proof of stability.<\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 760\" role=\"img\" aria-labelledby=\"r22-tim-en\"><title id=\"r22-tim-en\">Before and after the damage<\/title><rect width=\"640\" height=\"760\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Before and after the damage<\/text><path d=\"M54 127V675\" stroke=\"#a58a47\" stroke-width=\"2\"\/><circle cx=\"54\" cy=\"146\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"153\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2010<\/text><text x=\"85\" y=\"189\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Photograph of Building I<\/text><circle cx=\"54\" cy=\"241\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"248\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2017\u20132018<\/text><text x=\"85\" y=\"284\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Research on painting technique<\/text><circle cx=\"54\" cy=\"336\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"343\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2021<\/text><text x=\"85\" y=\"379\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Hurricane Grace<\/text><circle cx=\"54\" cy=\"431\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"438\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">21\u00b712\u00b72022<\/text><text x=\"85\" y=\"474\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Fire<\/text><circle cx=\"54\" cy=\"526\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"533\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">11\u00b709\u00b72024<\/text><text x=\"85\" y=\"569\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">New conservation season<\/text><circle cx=\"54\" cy=\"621\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"628\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2025<\/text><text x=\"85\" y=\"664\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Published INAH assessments<\/text><path d=\"M32 720H608\" stroke=\"#a58a47\"\/><text x=\"32\" y=\"747\" fill=\"#264b61\" font-size=\"19\" font-family=\"Georgia,serif\" font-weight=\"normal\">R22 \u00b7 S1\u2013S4 \/ S8<\/text><\/svg><figcaption>Documentary chronology from S1\u2013S4 and S8. Dates identify different records and events; they do not measure current conditions.<\/figcaption><\/figure><section class=\"prose\" id=\"r22-en-section-2\"><aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r22-en\" lang=\"en\" aria-labelledby=\"iict-reading-r22-en-title\"><span class=\"reading-kicker\">A closer story<\/span><h3 id=\"iict-reading-r22-en-title\">One green was not just one green<\/h3><p>In samples from Building I, Grimaldi, Carrillo, T\u00e9llez and Osorio identified the clay palygorskite in two green shades. On page 257 they explain a difference in making: to darken one shade, the pigment was mixed with yellow and applied in two or three layers. A visible change in tone thus preserves decisions about mixing and layering. <a class=\"reading-ref\" href=\"#iict-reading-r22-en-source\" aria-label=\"See sources and comparison\">\u2197<\/a><\/p><p>The surface contains more work than a first glance reveals. Knowing how a colour was made helps distinguish ancient technique from later alteration. That material reading becomes especially valuable when a wall undergoes a hurricane, a fire and new interventions.<\/p><p class=\"reading-links\"><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12560\/13686\/25075\">Grimaldi, Carrillo, T\u00e9llez y Osorio \u00b7 T\u00e9cnica pict\u00f3rica en El Taj\u00edn, 2017\u20132018, pp. 257\u2013258<\/a> \u00b7 <a href=\"#r22-en-sources\">Sources and comparison<\/a><\/p><\/aside>\n<h2>2021 and 2022: different damage, an accumulated history<\/h2><p>Patricia Mungu\u00eda\u2019s report, dated 12 March 2025, describes a protective roof collapsing during Grace in 2021 and the fire of 21 December 2022. Moisture and salts add to these events. Conservation must address accumulated processes rather than one visible mark. Reconstructing their sequence helps explain why repairing a roof and recovering paint are not completion of the same task.<sup class=\"cite\"><a href=\"#r22-en-s1\">S1<\/a><\/sup><\/p><p>The 10 January 2025 bulletin explains a particularly difficult decision: removing some plastics stuck by the fire could detach original paint, so retaining them as evidence of the event was being considered. That alternative challenges the idea that restoration always leaves a surface clean and new. Our interpretation is that material and information take priority, even when the outcome requires explaining a loss.<sup class=\"cite\"><a href=\"#r22-en-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r22-en-section-3\"><h2>A date and a denominator for each percentage<\/h2><p>The January 2025 bulletin reports 60% of painting recovered and 40% lost, figures attributed to that assessment. The March report adds 75% progress on damage from Grace and 40% on fire damage. These progress figures concern different sets of work: they cannot be averaged, added to the painting percentage or made into an overall measurement of the building.<sup class=\"cite\"><a href=\"#r22-en-s1\">S1<\/a>, <a href=\"#r22-en-s3\">S3<\/a><\/sup><\/p><p>For the reader, the date is part of the information. These documents allow us to examine what was reported in 2025; by themselves they do not establish conditions in November 2026. An update would need to specify what was measured, the surface or tasks concerned and the record used. Our graphic keeps the bases of each calculation separate rather than manufacturing one progress bar.<\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 650\" role=\"img\" aria-labelledby=\"r22-pct-en\"><title id=\"r22-pct-en\">Three figures, three questions<\/title><rect width=\"640\" height=\"650\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Three figures, three questions<\/text><rect x=\"32\" y=\"132\" width=\"576\" height=\"133\" fill=\"#f8f3e9\"\/><text x=\"50\" y=\"180\" fill=\"#264b61\" font-size=\"43\" font-family=\"Georgia,serif\" font-weight=\"normal\">60%<\/text><text x=\"175\" y=\"173\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">Painting recovered<\/text><text x=\"175\" y=\"211\" fill=\"#53634f\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">Assessment \u00b7 10 January 2025<\/text><rect x=\"50\" y=\"238\" width=\"540\" height=\"7\" fill=\"#d8ddd5\"\/><rect x=\"50\" y=\"238\" width=\"324\" height=\"7\" fill=\"#a58a47\"\/><rect x=\"32\" y=\"288\" width=\"576\" height=\"133\" fill=\"#f8f3e9\"\/><text x=\"50\" y=\"336\" fill=\"#264b61\" font-size=\"43\" font-family=\"Georgia,serif\" font-weight=\"normal\">75%<\/text><text x=\"175\" y=\"329\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">Progress on Grace damage<\/text><text x=\"175\" y=\"367\" fill=\"#53634f\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">Report \u00b7 12 March 2025<\/text><rect x=\"50\" y=\"394\" width=\"540\" height=\"7\" fill=\"#d8ddd5\"\/><rect x=\"50\" y=\"394\" width=\"405\" height=\"7\" fill=\"#264b61\"\/><rect x=\"32\" y=\"444\" width=\"576\" height=\"133\" fill=\"#f8f3e9\"\/><text x=\"50\" y=\"492\" fill=\"#264b61\" font-size=\"43\" font-family=\"Georgia,serif\" font-weight=\"normal\">40%<\/text><text x=\"175\" y=\"485\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">Progress on fire damage<\/text><text x=\"175\" y=\"523\" fill=\"#53634f\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">Report \u00b7 12 March 2025<\/text><rect x=\"50\" y=\"550\" width=\"540\" height=\"7\" fill=\"#d8ddd5\"\/><rect x=\"50\" y=\"550\" width=\"216\" height=\"7\" fill=\"#264b61\"\/><\/svg><figcaption>Do not add or average: these have different objects. January\u2019s 40% painting loss is a different datum from 40% progress after the fire. S1 and S3.<\/figcaption><\/figure><section class=\"prose\" id=\"r22-en-section-4\"><h2>What the seven Tajines reference actually says<\/h2><p>The passage appears in the report\u2019s discussion of strengthening civic links. It includes the voice of Geraldine Pedroza Barra, from Papantla\u2019s municipal tourism and culture administration, and places the request for permission to the seven Tajines on 29 September, in connection with Saint Michael the Archangel and what the report calls the Day of Thunder. It names no officiants and provides no record of a ceremony performed to authorise restoration.<sup class=\"cite\"><a href=\"#r22-en-s1\">S1<\/a><\/sup><\/p><p>The hypothesis that this ceremony was an institutional condition for the works is therefore not established by the passage. A different question remains open: how the archaeological place, celebrations and its caretakers relate. Nor can we infer that mural figures represent the seven Tajines mentioned there. Connecting evidence from different periods requires further support, not suggestive resemblance.<\/p><\/section><section class=\"prose\" id=\"r22-en-section-5\"><figure class=\"iict-viz viz-lenses\" id=\"iict-viz-r22-en\" lang=\"en\" aria-labelledby=\"iict-viz-r22-en-title\"><header><div class=\"viz-kicker\"><span>Visual notebooks<\/span><span>R22 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r22-en-title\">Evidence needs a precise object<\/h3><p>Locating evidence avoids confusing buildings, methods and relationships.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Building I<\/h4><p>Wall painting: layers, technique and damage studied on a specific surface.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M40 93l61-63 40 36 35-48 64 75H40zM85 48l16-18 18 17M159 42l17-24 20 26M40 101h200\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Pyramid of the Niches<\/h4><p>Architectural recording provides a comparison of methods on another building.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><circle cx=\"140\" cy=\"31\" r=\"13\"\/><path d=\"M115 84V65q0-17 25-17t25 17v19M95 42a10 10 0 1 1 0-20M185 42a10 10 0 1 0 0-20M77 87V65q0-17 25-17M203 87V65q0-17-25-17M111 95h58\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>An inhabited place<\/h4><p>Community voices and relationships need their own context and attribution.<\/p><\/div><\/div><figcaption>Material analysis and architectural records alone do not settle ritual meaning.<span class=\"viz-source\">Original visual synthesis by the Institute \u00b7 <a href=\"#r22-en-sources\">Sources and comparison<\/a><\/span><\/figcaption><\/figure>\n<figure class=\"iict-plate\" id=\"iict-plate-r22-b-en\" lang=\"en\" aria-labelledby=\"iict-plate-r22-b-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 II<\/p><h3 id=\"iict-plate-r22-b-en-title\">Conservation requires attending to different processes<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r22-b-en-art-title iict-plate-r22-b-en-art-desc\"><title id=\"iict-plate-r22-b-en-art-title\">Conservation requires attending to different processes<\/title><desc id=\"iict-plate-r22-b-en-art-desc\">1. 2021: Grace affects the roof in the conservation account. 2. 2022: fire adds another damage episode. 3. Moisture, salts and material intervention require diagnosis and monitoring. Distinct causes and tasks following INAH; the illustration estimates no lost surface and does not reproduce the building\u2019s current state.<\/desc><defs><pattern id=\"iict-plate-r22-b-en-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r22-b-en-grain)\"\/><g transform=\"translate(145 113) scale(0.55)\"><path d=\"M-91 22 C-125 -5 -96 -49 -60 -38 C-51 -96 26 -98 45 -50 C91 -77 128 -27 96 13 C70 40 -64 38 -91 22Z\" fill=\"#e1e6df\" stroke=\"#91a7a1\" stroke-width=\"1.4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><line x1=\"110\" y1=\"145\" x2=\"98\" y2=\"180\" stroke=\"#8eacad\" stroke-width=\"2\" \/><line x1=\"140\" y1=\"145\" x2=\"128\" y2=\"180\" stroke=\"#8eacad\" stroke-width=\"2\" \/><line x1=\"170\" y1=\"145\" x2=\"158\" y2=\"180\" stroke=\"#8eacad\" stroke-width=\"2\" \/><path d=\"M68 277 L143 225 L216 277 M83 272 V330 H200 V272\" fill=\"none\" stroke=\"#aa9470\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M326 304 C280 260 336 217 331 176 C367 211 352 232 369 240 C389 207 405 233 408 197 C459 268 408 320 367 320Z\" fill=\"#cfad72\" stroke=\"#ac8052\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M353 302 Q339 270 368 249 Q397 279 375 310Z\" fill=\"#e9d09b\" stroke=\"#c39f60\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M550 106 L574 119 L552 238 L529 233Z\" fill=\"#ceb581\" stroke=\"#9d8351\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M529 233 L552 238 L547 277 Q530 299 515 274Z\" fill=\"#b8ae8b\" stroke=\"#8f8c6d\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"602\" y=\"196\" width=\"77\" height=\"116\" rx=\"4\" fill=\"#f4ecda\" stroke=\"#b09d75\" stroke-width=\"2\"\/><line x1=\"617\" y1=\"220\" x2=\"662\" y2=\"220\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><line x1=\"617\" y1=\"241\" x2=\"662\" y2=\"241\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><line x1=\"617\" y1=\"262\" x2=\"662\" y2=\"262\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><line x1=\"617\" y1=\"283\" x2=\"662\" y2=\"283\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><text x=\"143\" y=\"373\" fill=\"#9b7d45\" font-family=\"Georgia,serif\" font-size=\"28\" text-anchor=\"middle\">2021<\/text><text x=\"367\" y=\"373\" fill=\"#9b7d45\" font-family=\"Georgia,serif\" font-size=\"28\" text-anchor=\"middle\">2022<\/text><circle cx=\"143\" cy=\"51\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"143\" y=\"59\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"367\" cy=\"104\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"367\" y=\"112\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"620\" cy=\"126\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"620\" y=\"134\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>2021: Grace affects the roof in the conservation account.<\/li><li>2022: fire adds another damage episode.<\/li><li>Moisture, salts and material intervention require diagnosis and monitoring.<\/li><\/ol><figcaption class=\"plate-caption\">Distinct causes and tasks following INAH; the illustration estimates no lost surface and does not reproduce the building\u2019s current state. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r22-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>Three responsibilities that can meet<\/h2><p>We distinguish assessment of the materials\u2019 condition, community relationships and decisions about circulating knowledge. This is a way of reading proposed by this article, not a local protocol we observed. UNESCO\u2019s account of conservation and participation and its principles for living heritage help formulate these questions. Neither framework proves an agreement between the Institute and communities or INAH.<sup class=\"cite\"><a href=\"#r22-en-s6\">S6<\/a>, <a href=\"#r22-en-s7\">S7<\/a><\/sup><\/p><p>Further work requires conversations with people recognised by their community and conservation staff, separating what may be published from what is reserved. That encounter has not happened. Meanwhile, documentary study supports a precise result: caring for El Taj\u00edn includes materials and relationships, but a source mentioning a ceremony does not authorise turning it into a recipe, an administrative step or a representation of all Totonacapan.<\/p><\/section><aside class=\"method\"><h2>How this was researched<\/h2><p>Documentary review closed on 5 November 2026. Technical research from 2017\u20132018, 2024\u20132025 bulletins, a 2025 report and the heritage record were compared. Figures retain their dates and subjects; this is not a current inspection. No interviews were conducted and no ceremony was documented. The historical photograph is separated from evidence of damage and restoration.<\/p><\/aside><details class=\"sources\" id=\"r22-en-sources\"><summary>Sources and comparison<small>Open hypotheses, differences, scope and references<\/small><\/summary><div class=\"sourcebody\"><section class=\"contrast-item\"><h3>1. Hypothesis tested<\/h3><p>Does the report establish that a ceremony to the seven Tajines authorised restoration? No. The passage concerns community activities and does not document that causal connection. The hypothesis remains unsubstantiated; this does not negate the ceremony\u2019s local importance.<sup class=\"cite\"><a href=\"#r22-en-s1\">S1<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>2. Report and bulletins: related voices<\/h3><p>January and March 2025 texts share an institution, project and technical testimony. Their agreement helps trace project communication; it is not two independent expert examinations. The 2024 bulletin adds chronology, while the 2018 technical paper provides another method and moment.<sup class=\"cite\"><a href=\"#r22-en-s1\">S1<\/a>, <a href=\"#r22-en-s2\">S2<\/a>, <a href=\"#r22-en-s3\">S3<\/a>, <a href=\"#r22-en-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>3. Percentages answering different questions<\/h3><p>60\/40 concerns painting recovery\/loss in January\u2019s assessment. 75 and 40 concern progress addressing two damaging events in March\u2019s report. The complete quantities on which these figures were calculated are unavailable here; dates and objects are retained and averaging avoided. An update requires comparable records.<sup class=\"cite\"><a href=\"#r22-en-s1\">S1<\/a>, <a href=\"#r22-en-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>4. Technical comparison, different building<\/h3><p>Nicho a nicho studies the Pyramid of the Niches through records, photography, survey and other techniques. It helps examine documentation and monitoring; no niche counts or results from that pyramid are transferred to Building I.<sup class=\"cite\"><a href=\"#r22-en-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>5. Technique and iconographic interpretation<\/h3><p>Material analysis studies layers and application. Identifying a figure, deity or ritual continuity requires a different chain of argument. Neither colour nor proximity proves a figure is one of the seven Tajines mentioned in 2025.<sup class=\"cite\"><a href=\"#r22-en-s1\">S1<\/a>, <a href=\"#r22-en-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>6. What the 2010 photograph establishes<\/h3><p>The description and visible sign identify Building I. The date shows a roof before Grace. The image does not document the 2022 damaged surface or present stability. Official conservation images are linked at their source and are not reproduced without a verified licence.<sup class=\"cite\"><a href=\"#r22-en-s8\">S8<\/a>, <a href=\"#r22-en-s2\">S2<\/a>, <a href=\"#r22-en-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>7. Local testimony and access<\/h3><p>An authorised conversation about 29 September remains pending: who may explain its context, which meanings can be shared and what remains reserved. No officiants are identified and ritual description is not expanded by conjecture. Ethical principles guide that future relationship.<sup class=\"cite\"><a href=\"#r22-en-s1\">S1<\/a>, <a href=\"#r22-en-s7\">S7<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>8. What could change the conclusion<\/h3><p>A dated record of works, authorised local testimony or new documentation could establish connections not demonstrated today. Further work would retain the difference between evidence, interpretation and attribution. Until then the finding remains limited to what sources say, with their dates and objects.<\/p><\/section><div class=\"bibliography\"><h3>Documentary references<\/h3><ol><li id=\"r22-en-s1\"><b>S1<\/b> \u00b7 Patricia Mungu\u00eda \/ INAH<br><a href=\"https:\/\/www.inah.gob.mx\/especiales-inah\/reportajes\/conservacion-y-restauracion-de-un-patrimonio-vivo-el-edificio-i-de-el-tajin\"><cite lang=\"es\">Conservaci\u00f3n y restauraci\u00f3n de un patrimonio vivo: el Edificio I de El Taj\u00edn<\/cite><\/a><br>Reportaje \u00b712 marzo 2025<\/li><li id=\"r22-en-s2\"><b>S2<\/b> \u00b7 INAH<br><a href=\"https:\/\/www.inah.gob.mx\/boletines\/comienza-temporada-de-restauracion-en-el-edificio-i-de-la-zona-arqueologica-el-tajin\"><cite lang=\"es\">Comienza temporada de restauraci\u00f3n en el Edificio I de la Zona Arqueol\u00f3gica El Taj\u00edn<\/cite><\/a><br>Bolet\u00edn 565 \u00b711 septiembre 2024<\/li><li id=\"r22-en-s3\"><b>S3<\/b> \u00b7 INAH \/ Dulce Mar\u00eda Grimaldi Sierra<br><a href=\"https:\/\/www.inah.gob.mx\/boletines\/avanza-recuperacion-de-la-pintura-mural-del-edificio-i-de-el-tajin-en-veracruz\"><cite lang=\"es\">Avanza recuperaci\u00f3n de la pintura mural del Edificio I de El Taj\u00edn, en Veracruz<\/cite><\/a><br>Bolet\u00edn 16 \u00b710 enero 2025<\/li><li id=\"r22-en-s4\"><b>S4<\/b> \u00b7 Dulce Mar\u00eda Grimaldi, Mariela Carrillo, Perla T\u00e9llez y Alfonso Osorio<br><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12560\/13686\/25075\"><cite lang=\"es\">T\u00e9cnica pict\u00f3rica en El Taj\u00edn<\/cite><\/a><br>CR. Conservaci\u00f3n y Restauraci\u00f3n 13\/14 \u00b7 diciembre 2017\u2013abril 2018 \u00b7 pp. 252\u2013264<\/li><li id=\"r22-en-s5\"><b>S5<\/b> \u00b7 Dulce Mar\u00eda Grimaldi, Silvia Ib\u00e1\u00f1ez, Fernando Uri\u00f3stegui y Alfonso Osorio<br><a href=\"https:\/\/www.revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12175\/12960\/\"><cite lang=\"es\">Nicho a nicho, registrando la pir\u00e1mide de El Taj\u00edn<\/cite><\/a><br>CR. Conservaci\u00f3n y Restauraci\u00f3n 13\/14 \u00b7 diciembre 2017\u2013abril 2018 \u00b7 pp. 38\u201351<\/li><li id=\"r22-en-s6\"><b>S6<\/b> \u00b7 UNESCO World Heritage Centre<br><a href=\"https:\/\/whc.unesco.org\/en\/list\/631\/\"><cite lang=\"es\">El Tajin, Pre-Hispanic City<\/cite><\/a><br>Lista del Patrimonio Mundial 631 \u00b7 inscripci\u00f3n 1992<\/li><li id=\"r22-en-s7\"><b>S7<\/b> \u00b7 UNESCO<br><a href=\"https:\/\/ich.unesco.org\/en\/ethics-and-ich-00866\"><cite lang=\"es\">Ethical Principles for Safeguarding Intangible Cultural Heritage<\/cite><\/a><br>2015 \u00b7 principios 1, 4, 5, 7\u201310<\/li><li id=\"r22-en-s8\"><b>S8<\/b> \u00b7 Horacio_Fernandez<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:El_Tajin,_edificio_1_-_panoramio.jpg\"><cite lang=\"es\">El Tajin, edificio 1 &#8211; panoramio.jpg<\/cite><\/a><br>Fotograf\u00eda 24 noviembre 2010 \u00b7 CC BY 3.0<\/li><\/ol><\/div><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r22-en-source\" lang=\"en\"><h4>One green was not just one green<\/h4><p>These are Building I samples predating the disasters. The technical name Maya green assigns no ethnicity to the painters; results are not transferred to Building 11 or other buildings.<\/p><p><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12560\/13686\/25075\">Grimaldi, Carrillo, T\u00e9llez y Osorio \u00b7 T\u00e9cnica pict\u00f3rica en El Taj\u00edn, 2017\u20132018, pp. 257\u2013258<\/a> \u00b7 <a href=\"#iict-reading-r22-en\">Return to the passage<\/a><\/p><\/section>\n<\/details><nav class=\"backlinks\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#indice-articulos-en\">\u2190 Return to the research index<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=41\">Continue reading \u2192<\/a><\/nav><!-- IICT-CITE R22 en --><aside class=\"iict-citation\" id=\"citar-r22-en\" aria-labelledby=\"citar-r22-en-title\"><h2 id=\"citar-r22-en-title\">How to cite this article<\/h2><p class=\"iict-citation-label\">Suggested bibliographic reference<\/p><blockquote class=\"iict-citation-reference\">Instituto Internacional de Cultura del Totonacapan. \u00abThe seven Tajines: permission, territory and responsibility at El Taj\u00edn\u00bb. <cite>Research notebooks<\/cite>, <strong>R22<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-en\">https:\/\/totonacapan.com\/?page_id=1407#r22-en<\/a>.<\/blockquote><p><strong>Internal reference:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-en\">R22<\/a>. For a specific passage, add its section title.<\/p><p><a href=\"https:\/\/totonacapan.com\/?page_id=1225#normas-citacion-en\">The Institute\u2019s citation guidance \u2192<\/a><\/p><\/aside><!-- \/IICT-CITE R22 en --><\/article><\/details><details class=\"research-lang-version\" id=\"r22-fr-version\"><summary>Fran\u00e7ais \u00b7 Article int\u00e9gral<\/summary><article id=\"r22-fr\" lang=\"fr\"><header class=\"hero\"><div class=\"kicker\">R22 \u00b7 CAHIERS DE RECHERCHE<\/div><h1>Les sept Tajines : permission, territoire et responsabilit\u00e9 \u00e0 El Taj\u00edn<\/h1><p class=\"deck\">Conserver une peinture demande d\u2019en conna\u00eetre la mati\u00e8re et d\u2019\u00e9couter ceux qui donnent sens au lieu.<\/p><div class=\"date\">R\u00e9vision documentaire \u00b7 5 novembre 2026<\/div><\/header><section class=\"abstract\"><span class=\"eyebrow\">En quelques mots<\/span><p>L\u2019\u00c9difice I conserve des peintures murales \u00e0 Taj\u00edn Chico. Un ouragan en 2021 et un incendie en 2022 ont endommag\u00e9 ce patrimoine ; les travaux associent examen de l\u2019\u00e9tat des mat\u00e9riaux, conservation et relations avec les communaut\u00e9s voisines. Cet article suit des sources de l\u2019INAH de 2018, 2024 et 2025, distinguant conservation du b\u00e2timent, relations sociales et acc\u00e8s au savoir rituel. Il examine pr\u00e9cis\u00e9ment la mention des sept Tajines. Une r\u00e9f\u00e9rence communautaire ouvre une enqu\u00eate, mais ne prouve pas qu\u2019une c\u00e9r\u00e9monie ait autoris\u00e9 les travaux ni ne permet de la reconstituer pas \u00e0 pas.<\/p><\/section><details class=\"iict-journal-toc\"><summary>Dans cet article<\/summary><nav class=\"toc\" aria-label=\"Dans cette lecture\"><span class=\"eyebrow\">Dans cette lecture<\/span><a href=\"#r22-fr-section-0\">L\u2019\u00c9difice I : un lieu pr\u00e9cis dans une ville<\/a><a href=\"#r22-fr-section-1\">Avant le dommage : apprendre \u00e0 lire une surface<\/a><a href=\"#r22-fr-section-2\">2021 et 2022 : dommages distincts, histoire accumul\u00e9e<\/a><a href=\"#r22-fr-section-3\">Une date et un d\u00e9nominateur pour chaque pourcentage<\/a><a href=\"#r22-fr-section-4\">Ce que dit r\u00e9ellement la mention des sept Tajines<\/a><a href=\"#r22-fr-section-5\">Trois responsabilit\u00e9s qui peuvent se rencontrer<\/a><a href=\"#r22-fr-sources\">Sources et confrontation<\/a><\/nav><\/details><figure class=\"photo landscape\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r22-edificio-i-horacio-2010.jpg\" width=\"1400\" height=\"1050\" alt=\"Couverture de palme et acc\u00e8s \u00e0 l\u2019\u00c9difice I de Taj\u00edn Chico, identifi\u00e9 par un panneau, sur une photographie de 2010.\"><figcaption><span class=\"eyebrow\">Document visuel<\/span>\u00c9difice I, Taj\u00edn Chico \u00b724 novembre 2010. Horacio_Fernandez \u00b7 CC BY 3.0. Photographie enti\u00e8re, redimensionn\u00e9e pour l\u2019\u00e9dition. Avant Grace 2021 et l\u2019incendie 2022 ; elle ne documente pas l\u2019avancement actuel.<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:El_Tajin,_edificio_1_-_panoramio.jpg\">Horacio_Fernandez \u00b7 Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by\/3.0\">CC BY 3.0<\/a><\/figcaption><\/figure><div class=\"prose opening\"><p>Restaurer un \u00e9difice arch\u00e9ologique est une responsabilit\u00e9 technique ; travailler dans un lieu qui a un sens pour ses habitants demande aussi de conna\u00eetre les limites de l\u2019intervention. Dans un reportage sur la conservation de l\u2019\u00c9difice I, l\u2019INAH mentionne une c\u00e9r\u00e9monie de demande de permission aux sept Tajines, li\u00e9e \u00e0 l\u2019environnement du site. Cette r\u00e9f\u00e9rence ouvre une question sur la continuit\u00e9 culturelle, mais ne suffit pas \u00e0 d\u00e9crire la c\u00e9r\u00e9monie pas \u00e0 pas.<\/p><\/div><section class=\"prose\" id=\"r22-fr-section-0\"><h2>L\u2019\u00c9difice I : un lieu pr\u00e9cis dans une ville<\/h2><p>Taj\u00edn Chico se trouve au nord de la Pyramide des Niches. C\u2019est l\u00e0 que se situe l\u2019\u00c9difice I, sujet de cet article. La notice patrimoniale de l\u2019UNESCO oriente dans l\u2019ensemble ; le bulletin du 11 septembre 2024 permet de suivre les interventions sur le b\u00e2timent. Une vue de la ville, une autre plateforme et la surface d\u2019une peinture endommag\u00e9e ne doivent pas \u00eatre confondues.<sup class=\"cite\"><a href=\"#r22-fr-s2\">S2<\/a>, <a href=\"#r22-fr-s6\">S6<\/a><\/sup><\/p><p>Le bulletin de 2024 rappelle les recherches des ann\u00e9es 1930 et 1990 et corrige explicitement l\u2019annonce d\u2019une pr\u00e9tendue d\u00e9couverte r\u00e9cente. Cette chronologie d\u00e9place la question : il ne s\u2019agit pas seulement de montrer une trouvaille, mais de suivre l\u2019entretien d\u2019une \u0153uvre connue et ce qui se produit lorsque ses protections c\u00e8dent. La photographie de 2010 reproduite ici conserve un \u00e9tat ant\u00e9rieur aux deux sinistres.<sup class=\"cite\"><a href=\"#r22-fr-s2\">S2<\/a>, <a href=\"#r22-fr-s8\">S8<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r22-fr-section-1\"><figure class=\"iict-plate\" id=\"iict-plate-r22-a-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r22-a-fr-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Carnet illustr\u00e9 \u00b7 I<\/p><h3 id=\"iict-plate-r22-a-fr-title\">La surface garde des couches de d\u00e9cisions<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r22-a-fr-art-title iict-plate-r22-a-fr-art-desc\"><title id=\"iict-plate-r22-a-fr-art-title\">La surface garde des couches de d\u00e9cisions<\/title><desc id=\"iict-plate-r22-a-fr-art-desc\">1. Le support appartient \u00e0 un \u00e9difice et \u00e0 une zone \u00e9tudi\u00e9e. 2. L\u2019\u00e9tude identifie mati\u00e8res et modes d\u2019application. 3. M\u00e9langer les pigments et superposer les couches modifie la teinte. Coupe illustr\u00e9e sans \u00e9paisseurs \u00e0 l\u2019\u00e9chelle, d\u2019apr\u00e8s l\u2019\u00e9tude de l\u2019\u00c9difice I. Aucun mural n\u2019est copi\u00e9 et les donn\u00e9es de l\u2019\u00c9difice 11 ne sont pas transf\u00e9r\u00e9es au I.<\/desc><defs><pattern id=\"iict-plate-r22-a-fr-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r22-a-fr-grain)\"\/><path d=\"M105 261 L422 190 L659 261 L335 340Z\" fill=\"#ccb58c\" stroke=\"#a88d5f\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 240 L422 169 L659 240 L335 319Z\" fill=\"#e3d6b8\" stroke=\"#b59e71\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 214 L422 143 L659 214 L335 293Z\" fill=\"#c3c797\" stroke=\"#8f9c6c\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 190 L422 119 L659 190 L335 269Z\" fill=\"#879b76\" stroke=\"#718764\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M105 169 L422 98 L659 169 L335 248Z\" fill=\"#a8b58b\" stroke=\"#7f956e\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M112 172 L336 246 L652 170\" fill=\"none\" stroke=\"#d6c075\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M76 269 L48 269 V315 M675 228 H709 V273 M439 82 V54\" fill=\"none\" stroke=\"#b69d68\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"48\" cy=\"344\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"48\" y=\"352\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"709\" cy=\"303\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"709\" y=\"311\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"439\" cy=\"42\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"439\" y=\"50\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Le support appartient \u00e0 un \u00e9difice et \u00e0 une zone \u00e9tudi\u00e9e.<\/li><li>L\u2019\u00e9tude identifie mati\u00e8res et modes d\u2019application.<\/li><li>M\u00e9langer les pigments et superposer les couches modifie la teinte.<\/li><\/ol><figcaption class=\"plate-caption\">Coupe illustr\u00e9e sans \u00e9paisseurs \u00e0 l\u2019\u00e9chelle, d\u2019apr\u00e8s l\u2019\u00e9tude de l\u2019\u00c9difice I. Aucun mural n\u2019est copi\u00e9 et les donn\u00e9es de l\u2019\u00c9difice 11 ne sont pas transf\u00e9r\u00e9es au I. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r22-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>Avant le dommage : apprendre \u00e0 lire une surface<\/h2><p>Dans T\u00e9cnica pict\u00f3rica en El Taj\u00edn, publi\u00e9 dans le num\u00e9ro 2017\u20132018 de CR, Grimaldi, Carrillo, T\u00e9llez et Osorio ont associ\u00e9 observation, colorim\u00e9trie, la mesure des couleurs, et analyse d\u2019\u00e9chantillons, identifiant des applications \u00e0 fresque et \u00e0 sec. L\u2019\u00e9tude pr\u00e9c\u00e8de Grace et l\u2019incendie : elle documente techniques et mat\u00e9riaux, pas l\u2019ampleur de ces pertes. Son second cas est l\u2019\u00c9difice 11 ; ce nombre ne doit pas \u00eatre confondu avec le chiffre romain I.<sup class=\"cite\"><a href=\"#r22-fr-s4\">S4<\/a><\/sup><\/p><p>Deux zones de m\u00eame couleur apparente n\u2019appellent pas n\u00e9cessairement le m\u00eame traitement. Aspect, couches et support r\u00e9pondent \u00e0 des questions distinctes. Notre lecture du travail technique est que conserver exige de conna\u00eetre la constitution de chaque surface et sa relation au milieu. Une photographie \u00e9ditoriale peut introduire cette question ; elle ne remplace pas l\u2019examen mat\u00e9riel et ne prouve pas la stabilit\u00e9.<\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 760\" role=\"img\" aria-labelledby=\"r22-tim-fr\"><title id=\"r22-tim-fr\">Avant et apr\u00e8s les dommages<\/title><rect width=\"640\" height=\"760\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Avant et apr\u00e8s les dommages<\/text><path d=\"M54 127V675\" stroke=\"#a58a47\" stroke-width=\"2\"\/><circle cx=\"54\" cy=\"146\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"153\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2010<\/text><text x=\"85\" y=\"189\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Photographie de l\u2019\u00c9difice I<\/text><circle cx=\"54\" cy=\"241\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"248\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2017\u20132018<\/text><text x=\"85\" y=\"284\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Recherche sur la technique picturale<\/text><circle cx=\"54\" cy=\"336\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"343\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2021<\/text><text x=\"85\" y=\"379\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Ouragan Grace<\/text><circle cx=\"54\" cy=\"431\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"438\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">21\u00b712\u00b72022<\/text><text x=\"85\" y=\"474\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Incendie<\/text><circle cx=\"54\" cy=\"526\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"533\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">11\u00b709\u00b72024<\/text><text x=\"85\" y=\"569\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Nouvelle campagne de conservation<\/text><circle cx=\"54\" cy=\"621\" r=\"7\" fill=\"#264b61\"\/><text x=\"85\" y=\"628\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">2025<\/text><text x=\"85\" y=\"664\" fill=\"#53634f\" font-size=\"24\" font-family=\"Georgia,serif\" font-weight=\"normal\">Bilans publi\u00e9s par l\u2019INAH<\/text><path d=\"M32 720H608\" stroke=\"#a58a47\"\/><text x=\"32\" y=\"747\" fill=\"#264b61\" font-size=\"19\" font-family=\"Georgia,serif\" font-weight=\"normal\">R22 \u00b7 S1\u2013S4 \/ S8<\/text><\/svg><figcaption>Chronologie documentaire de S1\u2013S4 et S8. Les dates identifient des documents et \u00e9v\u00e9nements distincts ; elles ne mesurent pas l\u2019\u00e9tat actuel.<\/figcaption><\/figure><section class=\"prose\" id=\"r22-fr-section-2\"><aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r22-fr\" lang=\"fr\" aria-labelledby=\"iict-reading-r22-fr-title\"><span class=\"reading-kicker\">Une histoire concr\u00e8te<\/span><h3 id=\"iict-reading-r22-fr-title\">Un vert n\u2019\u00e9tait pas un seul vert<\/h3><p>Dans des \u00e9chantillons du B\u00e2timent I, Grimaldi, Carrillo, T\u00e9llez et Osorio ont identifi\u00e9 de la palygorskite, une argile, dans deux nuances vertes. \u00c0 la page 257, ils expliquent une diff\u00e9rence de fabrication : pour assombrir une nuance, le pigment a \u00e9t\u00e9 m\u00e9lang\u00e9 \u00e0 du jaune et appliqu\u00e9 en deux ou trois couches. Une variation visible conserve ainsi des choix de m\u00e9lange et de superposition. <a class=\"reading-ref\" href=\"#iict-reading-r22-fr-source\" aria-label=\"Voir sources et comparaison\">\u2197<\/a><\/p><p>La surface r\u00e9unit plus de travail qu\u2019un premier regard ne r\u00e9v\u00e8le. Conna\u00eetre la fabrication d\u2019une couleur aide \u00e0 distinguer technique ancienne et alt\u00e9rations ult\u00e9rieures. Cette lecture mat\u00e9rielle devient particuli\u00e8rement pr\u00e9cieuse quand le mur traverse un ouragan, un incendie et de nouvelles interventions.<\/p><p class=\"reading-links\"><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12560\/13686\/25075\">Grimaldi, Carrillo, T\u00e9llez y Osorio \u00b7 T\u00e9cnica pict\u00f3rica en El Taj\u00edn, 2017\u20132018, pp. 257\u2013258<\/a> \u00b7 <a href=\"#r22-fr-sources\">Sources et confrontation<\/a><\/p><\/aside>\n<h2>2021 et 2022 : dommages distincts, histoire accumul\u00e9e<\/h2><p>Le reportage de Patricia Mungu\u00eda du 12 mars 2025 d\u00e9crit l\u2019effondrement d\u2019une couverture pendant Grace en 2021 et l\u2019incendie du 21 d\u00e9cembre 2022. Humidit\u00e9 et sels s\u2019ajoutent \u00e0 ces \u00e9pisodes. La conservation traite une accumulation de processus, pas une seule trace visible. Reconstruire leur s\u00e9quence explique pourquoi r\u00e9parer une couverture et r\u00e9cup\u00e9rer de la peinture ne signifient pas achever la m\u00eame t\u00e2che.<sup class=\"cite\"><a href=\"#r22-fr-s1\">S1<\/a><\/sup><\/p><p>Le bulletin du 10 janvier 2025 expose un choix difficile : retirer certains plastiques coll\u00e9s par l\u2019incendie pouvait d\u00e9tacher la peinture originale ; leur maintien comme trace du sinistre \u00e9tait donc \u00e9valu\u00e9. Cette alternative interroge l\u2019id\u00e9e d\u2019une restauration laissant toujours une surface propre et neuve. Nous y lisons une priorit\u00e9 \u00e0 la mati\u00e8re et \u00e0 l\u2019information, m\u00eame lorsque le r\u00e9sultat oblige \u00e0 expliquer une perte.<sup class=\"cite\"><a href=\"#r22-fr-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r22-fr-section-3\"><h2>Une date et un d\u00e9nominateur pour chaque pourcentage<\/h2><p>Le bulletin de janvier 2025 annonce 60% de peinture r\u00e9cup\u00e9r\u00e9e et 40% perdue, chiffres attribu\u00e9s \u00e0 ce bilan. Le reportage de mars ajoute 75% d\u2019avancement pour les d\u00e9g\u00e2ts de Grace et 40% pour ceux de l\u2019incendie. Ces avancements portent sur des ensembles de travaux diff\u00e9rents : ils ne s\u2019additionnent pas \u00e0 la peinture, ne se moyennent pas et ne mesurent pas globalement le b\u00e2timent.<sup class=\"cite\"><a href=\"#r22-fr-s1\">S1<\/a>, <a href=\"#r22-fr-s3\">S3<\/a><\/sup><\/p><p>Pour le lecteur, la date fait partie de la donn\u00e9e. Ces textes permettent d\u2019\u00e9tudier ce qui \u00e9tait communiqu\u00e9 en 2025 ; ils ne suffisent pas \u00e0 \u00e9tablir l\u2019\u00e9tat de novembre 2026. Une actualisation devrait pr\u00e9ciser l\u2019objet mesur\u00e9, les surfaces ou t\u00e2ches et le registre utilis\u00e9. Notre graphique conserve les bases de chaque calcul s\u00e9par\u00e9es plut\u00f4t que de fabriquer une barre unique de progr\u00e8s.<\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 650\" role=\"img\" aria-labelledby=\"r22-pct-fr\"><title id=\"r22-pct-fr\">Trois chiffres, trois questions<\/title><rect width=\"640\" height=\"650\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Trois chiffres, trois questions<\/text><rect x=\"32\" y=\"132\" width=\"576\" height=\"133\" fill=\"#f8f3e9\"\/><text x=\"50\" y=\"180\" fill=\"#264b61\" font-size=\"43\" font-family=\"Georgia,serif\" font-weight=\"normal\">60%<\/text><text x=\"175\" y=\"173\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">Peinture r\u00e9cup\u00e9r\u00e9e<\/text><text x=\"175\" y=\"211\" fill=\"#53634f\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">Bilan \u00b7 10 janvier 2025<\/text><rect x=\"50\" y=\"238\" width=\"540\" height=\"7\" fill=\"#d8ddd5\"\/><rect x=\"50\" y=\"238\" width=\"324\" height=\"7\" fill=\"#a58a47\"\/><rect x=\"32\" y=\"288\" width=\"576\" height=\"133\" fill=\"#f8f3e9\"\/><text x=\"50\" y=\"336\" fill=\"#264b61\" font-size=\"43\" font-family=\"Georgia,serif\" font-weight=\"normal\">75%<\/text><text x=\"175\" y=\"329\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">Avancement apr\u00e8s Grace<\/text><text x=\"175\" y=\"367\" fill=\"#53634f\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">Reportage \u00b7 12 mars 2025<\/text><rect x=\"50\" y=\"394\" width=\"540\" height=\"7\" fill=\"#d8ddd5\"\/><rect x=\"50\" y=\"394\" width=\"405\" height=\"7\" fill=\"#264b61\"\/><rect x=\"32\" y=\"444\" width=\"576\" height=\"133\" fill=\"#f8f3e9\"\/><text x=\"50\" y=\"492\" fill=\"#264b61\" font-size=\"43\" font-family=\"Georgia,serif\" font-weight=\"normal\">40%<\/text><text x=\"175\" y=\"485\" fill=\"#264b61\" font-size=\"26\" font-family=\"Georgia,serif\" font-weight=\"normal\">Avancement apr\u00e8s l\u2019incendie<\/text><text x=\"175\" y=\"523\" fill=\"#53634f\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">Reportage \u00b7 12 mars 2025<\/text><rect x=\"50\" y=\"550\" width=\"540\" height=\"7\" fill=\"#d8ddd5\"\/><rect x=\"50\" y=\"550\" width=\"216\" height=\"7\" fill=\"#264b61\"\/><\/svg><figcaption>Ni somme ni moyenne : les objets diff\u00e8rent. Les 40% de peinture perdue du bilan de janvier constituent une autre donn\u00e9e que les 40% d\u2019avancement apr\u00e8s l\u2019incendie. S1 et S3.<\/figcaption><\/figure><section class=\"prose\" id=\"r22-fr-section-4\"><h2>Ce que dit r\u00e9ellement la mention des sept Tajines<\/h2><p>Le passage se trouve dans la partie du reportage consacr\u00e9e aux liens citoyens. Il reprend la voix de Geraldine Pedroza Barra, de l\u2019administration municipale du tourisme et de la culture de Papantla, et situe la demande de permission aux sept Tajines le 29 septembre, en lien avec saint Michel Archange et ce que le reportage appelle le Jour du Tonnerre. Il ne nomme pas d\u2019officiants et ne produit pas le compte rendu d\u2019une c\u00e9r\u00e9monie autorisant la restauration.<sup class=\"cite\"><a href=\"#r22-fr-s1\">S1<\/a><\/sup><\/p><p>L\u2019hypoth\u00e8se d\u2019une condition institutionnelle aux travaux n\u2019est donc pas d\u00e9montr\u00e9e par ce passage. Une autre question reste ouverte : les relations entre lieu arch\u00e9ologique, c\u00e9l\u00e9brations et personnes qui en prennent soin. On ne peut pas davantage d\u00e9duire que des personnages peints repr\u00e9sentent les sept Tajines cit\u00e9s. Relier des t\u00e9moignages d\u2019\u00e9poques diff\u00e9rentes exige d\u2019autres preuves qu\u2019une ressemblance suggestive.<\/p><\/section><section class=\"prose\" id=\"r22-fr-section-5\"><figure class=\"iict-viz viz-lenses\" id=\"iict-viz-r22-fr\" lang=\"fr\" aria-labelledby=\"iict-viz-r22-fr-title\"><header><div class=\"viz-kicker\"><span>Carnets visuels<\/span><span>R22 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r22-fr-title\">Une preuve, un objet pr\u00e9cis<\/h3><p>Situer la preuve \u00e9vite de confondre b\u00e2timents, m\u00e9thodes et relations.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>\u00c9difice I<\/h4><p>Peinture murale : couches, technique et dommages \u00e9tudi\u00e9s sur une surface pr\u00e9cise.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M40 93l61-63 40 36 35-48 64 75H40zM85 48l16-18 18 17M159 42l17-24 20 26M40 101h200\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Pyramide des Niches<\/h4><p>Le relev\u00e9 architectural permet de comparer des m\u00e9thodes sur un autre b\u00e2timent.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><circle cx=\"140\" cy=\"31\" r=\"13\"\/><path d=\"M115 84V65q0-17 25-17t25 17v19M95 42a10 10 0 1 1 0-20M185 42a10 10 0 1 0 0-20M77 87V65q0-17 25-17M203 87V65q0-17-25-17M111 95h58\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>Un lieu habit\u00e9<\/h4><p>Les voix et relations communautaires exigent leur contexte et leur attribution.<\/p><\/div><\/div><figcaption>L\u2019analyse mat\u00e9rielle et les relev\u00e9s architecturaux ne suffisent pas \u00e0 \u00e9tablir le sens rituel.<span class=\"viz-source\">Synth\u00e8se visuelle originale de l\u2019Institut \u00b7 <a href=\"#r22-fr-sources\">Sources et confrontation<\/a><\/span><\/figcaption><\/figure>\n<figure class=\"iict-plate\" id=\"iict-plate-r22-b-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r22-b-fr-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Carnet illustr\u00e9 \u00b7 II<\/p><h3 id=\"iict-plate-r22-b-fr-title\">Conserver demande de suivre des processus diff\u00e9rents<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r22-b-fr-art-title iict-plate-r22-b-fr-art-desc\"><title id=\"iict-plate-r22-b-fr-art-title\">Conserver demande de suivre des processus diff\u00e9rents<\/title><desc id=\"iict-plate-r22-b-fr-art-desc\">1. 2021 : Grace affecte la couverture selon le r\u00e9cit de conservation. 2. 2022 : l\u2019incendie ajoute un autre \u00e9pisode de d\u00e9g\u00e2ts. 3. Humidit\u00e9, sels et intervention mat\u00e9rielle demandent diagnostic et suivi. Causes et travaux distingu\u00e9s d\u2019apr\u00e8s l\u2019INAH ; l\u2019illustration n\u2019estime aucune surface perdue et ne reproduit pas l\u2019\u00e9tat actuel de l\u2019\u00e9difice.<\/desc><defs><pattern id=\"iict-plate-r22-b-fr-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r22-b-fr-grain)\"\/><g transform=\"translate(145 113) scale(0.55)\"><path d=\"M-91 22 C-125 -5 -96 -49 -60 -38 C-51 -96 26 -98 45 -50 C91 -77 128 -27 96 13 C70 40 -64 38 -91 22Z\" fill=\"#e1e6df\" stroke=\"#91a7a1\" stroke-width=\"1.4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><line x1=\"110\" y1=\"145\" x2=\"98\" y2=\"180\" stroke=\"#8eacad\" stroke-width=\"2\" \/><line x1=\"140\" y1=\"145\" x2=\"128\" y2=\"180\" stroke=\"#8eacad\" stroke-width=\"2\" \/><line x1=\"170\" y1=\"145\" x2=\"158\" y2=\"180\" stroke=\"#8eacad\" stroke-width=\"2\" \/><path d=\"M68 277 L143 225 L216 277 M83 272 V330 H200 V272\" fill=\"none\" stroke=\"#aa9470\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M326 304 C280 260 336 217 331 176 C367 211 352 232 369 240 C389 207 405 233 408 197 C459 268 408 320 367 320Z\" fill=\"#cfad72\" stroke=\"#ac8052\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M353 302 Q339 270 368 249 Q397 279 375 310Z\" fill=\"#e9d09b\" stroke=\"#c39f60\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M550 106 L574 119 L552 238 L529 233Z\" fill=\"#ceb581\" stroke=\"#9d8351\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M529 233 L552 238 L547 277 Q530 299 515 274Z\" fill=\"#b8ae8b\" stroke=\"#8f8c6d\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"602\" y=\"196\" width=\"77\" height=\"116\" rx=\"4\" fill=\"#f4ecda\" stroke=\"#b09d75\" stroke-width=\"2\"\/><line x1=\"617\" y1=\"220\" x2=\"662\" y2=\"220\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><line x1=\"617\" y1=\"241\" x2=\"662\" y2=\"241\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><line x1=\"617\" y1=\"262\" x2=\"662\" y2=\"262\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><line x1=\"617\" y1=\"283\" x2=\"662\" y2=\"283\" stroke=\"#b9ae94\" stroke-width=\"2\" \/><text x=\"143\" y=\"373\" fill=\"#9b7d45\" font-family=\"Georgia,serif\" font-size=\"28\" text-anchor=\"middle\">2021<\/text><text x=\"367\" y=\"373\" fill=\"#9b7d45\" font-family=\"Georgia,serif\" font-size=\"28\" text-anchor=\"middle\">2022<\/text><circle cx=\"143\" cy=\"51\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"143\" y=\"59\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"367\" cy=\"104\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"367\" y=\"112\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"620\" cy=\"126\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"620\" y=\"134\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>2021 : Grace affecte la couverture selon le r\u00e9cit de conservation.<\/li><li>2022 : l\u2019incendie ajoute un autre \u00e9pisode de d\u00e9g\u00e2ts.<\/li><li>Humidit\u00e9, sels et intervention mat\u00e9rielle demandent diagnostic et suivi.<\/li><\/ol><figcaption class=\"plate-caption\">Causes et travaux distingu\u00e9s d\u2019apr\u00e8s l\u2019INAH ; l\u2019illustration n\u2019estime aucune surface perdue et ne reproduit pas l\u2019\u00e9tat actuel de l\u2019\u00e9difice. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r22-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>Trois responsabilit\u00e9s qui peuvent se rencontrer<\/h2><p>Nous distinguons examen de l\u2019\u00e9tat des mat\u00e9riaux, relation communautaire et d\u00e9cisions sur la circulation des connaissances. C\u2019est une fa\u00e7on de lire propos\u00e9e par cet article, pas un protocole local observ\u00e9. La description de conservation et de participation de l\u2019UNESCO et ses principes pour le patrimoine vivant aident \u00e0 formuler les questions. Aucun de ces cadres ne prouve un accord entre l\u2019Institut et les communaut\u00e9s ou l\u2019INAH.<sup class=\"cite\"><a href=\"#r22-fr-s6\">S6<\/a>, <a href=\"#r22-fr-s7\">S7<\/a><\/sup><\/p><p>L\u2019enrichissement demande des conversations avec des personnes reconnues par leur communaut\u00e9 et avec les responsables de conservation, en distinguant le publiable du r\u00e9serv\u00e9. Cette rencontre n\u2019a pas eu lieu. L\u2019\u00e9tude documentaire \u00e9tablit n\u00e9anmoins un r\u00e9sultat pr\u00e9cis : prendre soin d\u2019El Taj\u00edn concerne mati\u00e8re et relations, mais la mention d\u2019une c\u00e9r\u00e9monie n\u2019autorise \u00e0 en faire ni recette, ni proc\u00e9dure administrative, ni repr\u00e9sentation de tout le Totonacapan.<\/p><\/section><aside class=\"method\"><h2>Comment l\u2019\u00e9tude a \u00e9t\u00e9 men\u00e9e<\/h2><p>R\u00e9vision documentaire arr\u00eat\u00e9e au 5 novembre 2026. Recherche technique de 2017\u20132018, bulletins de 2024\u20132025, reportage de 2025 et notice patrimoniale ont \u00e9t\u00e9 confront\u00e9s. Les chiffres conservent dates et objets ; ce n\u2019est pas une inspection actuelle. Aucun entretien ni relev\u00e9 de c\u00e9r\u00e9monie n\u2019a \u00e9t\u00e9 r\u00e9alis\u00e9. La photographie historique est distingu\u00e9e des preuves de dommage et de restauration.<\/p><\/aside><details class=\"sources\" id=\"r22-fr-sources\"><summary>Sources et confrontation<small>D\u00e9ployer hypoth\u00e8ses, diff\u00e9rences, port\u00e9e et r\u00e9f\u00e9rences<\/small><\/summary><div class=\"sourcebody\"><section class=\"contrast-item\"><h3>1. Hypoth\u00e8se mise \u00e0 l\u2019\u00e9preuve<\/h3><p>Le reportage prouve-t-il qu\u2019une c\u00e9r\u00e9monie aux sept Tajines autorisait la restauration ? Non. Le passage concerne les activit\u00e9s communautaires sans documenter ce lien causal. L\u2019hypoth\u00e8se reste non \u00e9tablie ; cela ne nie pas l\u2019importance locale de la c\u00e9r\u00e9monie.<sup class=\"cite\"><a href=\"#r22-fr-s1\">S1<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>2. Reportage et bulletins : des voix li\u00e9es<\/h3><p>Les textes de janvier et mars 2025 partagent institution, projet et t\u00e9moignages techniques. Leur concordance \u00e9claire la communication du projet ; ce ne sont pas deux expertises ind\u00e9pendantes. Le bulletin de 2024 ajoute une chronologie ; l\u2019article technique de 2018, une autre m\u00e9thode et un autre moment.<sup class=\"cite\"><a href=\"#r22-fr-s1\">S1<\/a>, <a href=\"#r22-fr-s2\">S2<\/a>, <a href=\"#r22-fr-s3\">S3<\/a>, <a href=\"#r22-fr-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>3. Des pourcentages, des questions diff\u00e9rentes<\/h3><p>60\/40 concerne r\u00e9cup\u00e9ration et perte de peinture dans le bilan de janvier. 75 et 40 indiquent l\u2019avancement face \u00e0 deux sinistres dans le reportage de mars. Les quantit\u00e9s compl\u00e8tes servant de base \u00e0 ces calculs ne sont pas disponibles ici : dates et objets sont conserv\u00e9s, sans moyenne. Une actualisation exige des registres comparables.<sup class=\"cite\"><a href=\"#r22-fr-s1\">S1<\/a>, <a href=\"#r22-fr-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>4. Comparaison technique, autre b\u00e2timent<\/h3><p>Nicho a nicho \u00e9tudie la Pyramide des Niches par fiches, photographies, relev\u00e9s et autres techniques. Il sert \u00e0 r\u00e9fl\u00e9chir au registre et au suivi, pas \u00e0 transf\u00e9rer des nombres de niches ou des r\u00e9sultats vers l\u2019\u00c9difice I.<sup class=\"cite\"><a href=\"#r22-fr-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>5. Technique et interpr\u00e9tation iconographique<\/h3><p>L\u2019analyse mat\u00e9rielle \u00e9tudie couches et applications. Identifier un personnage, une divinit\u00e9 ou une continuit\u00e9 rituelle exige une autre cha\u00eene argumentative. Ni la couleur ni la proximit\u00e9 ne prouvent qu\u2019une figure soit l\u2019un des sept Tajines cit\u00e9s en 2025.<sup class=\"cite\"><a href=\"#r22-fr-s1\">S1<\/a>, <a href=\"#r22-fr-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>6. Ce que prouve la photographie de 2010<\/h3><p>La notice et le panneau visible identifient l\u2019\u00c9difice I. La date montre une couverture avant Grace. L\u2019image ne documente ni la surface endommag\u00e9e en 2022 ni sa stabilit\u00e9 actuelle. Les photos officielles sont reli\u00e9es \u00e0 leur source, sans reproduction faute de licence v\u00e9rifi\u00e9e.<sup class=\"cite\"><a href=\"#r22-fr-s8\">S8<\/a>, <a href=\"#r22-fr-s2\">S2<\/a>, <a href=\"#r22-fr-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>7. T\u00e9moignage local et acc\u00e8s<\/h3><p>Une conversation autoris\u00e9e sur le 29 septembre reste \u00e0 organiser : qui peut expliquer le contexte, quelles significations se partagent et lesquelles se r\u00e9servent ? Aucun officiant n\u2019est identifi\u00e9 ; la description rituelle n\u2019est pas augment\u00e9e par conjecture. Les principes \u00e9thiques guident cette relation future.<sup class=\"cite\"><a href=\"#r22-fr-s1\">S1<\/a>, <a href=\"#r22-fr-s7\">S7<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>8. Ce qui pourrait modifier la conclusion<\/h3><p>Un registre dat\u00e9 des travaux, un t\u00e9moignage local autoris\u00e9 ou de nouveaux documents pourraient \u00e9tablir des liens non d\u00e9montr\u00e9s aujourd\u2019hui. L\u2019enrichissement maintiendrait la distinction entre donn\u00e9e, interpr\u00e9tation et attribution. En attendant, le r\u00e9sultat se limite aux propos des sources, avec leurs dates et objets.<\/p><\/section><div class=\"bibliography\"><h3>R\u00e9f\u00e9rences documentaires<\/h3><ol><li id=\"r22-fr-s1\"><b>S1<\/b> \u00b7 Patricia Mungu\u00eda \/ INAH<br><a href=\"https:\/\/www.inah.gob.mx\/especiales-inah\/reportajes\/conservacion-y-restauracion-de-un-patrimonio-vivo-el-edificio-i-de-el-tajin\"><cite lang=\"es\">Conservaci\u00f3n y restauraci\u00f3n de un patrimonio vivo: el Edificio I de El Taj\u00edn<\/cite><\/a><br>Reportaje \u00b712 marzo 2025<\/li><li id=\"r22-fr-s2\"><b>S2<\/b> \u00b7 INAH<br><a href=\"https:\/\/www.inah.gob.mx\/boletines\/comienza-temporada-de-restauracion-en-el-edificio-i-de-la-zona-arqueologica-el-tajin\"><cite lang=\"es\">Comienza temporada de restauraci\u00f3n en el Edificio I de la Zona Arqueol\u00f3gica El Taj\u00edn<\/cite><\/a><br>Bolet\u00edn 565 \u00b711 septiembre 2024<\/li><li id=\"r22-fr-s3\"><b>S3<\/b> \u00b7 INAH \/ Dulce Mar\u00eda Grimaldi Sierra<br><a href=\"https:\/\/www.inah.gob.mx\/boletines\/avanza-recuperacion-de-la-pintura-mural-del-edificio-i-de-el-tajin-en-veracruz\"><cite lang=\"es\">Avanza recuperaci\u00f3n de la pintura mural del Edificio I de El Taj\u00edn, en Veracruz<\/cite><\/a><br>Bolet\u00edn 16 \u00b710 enero 2025<\/li><li id=\"r22-fr-s4\"><b>S4<\/b> \u00b7 Dulce Mar\u00eda Grimaldi, Mariela Carrillo, Perla T\u00e9llez y Alfonso Osorio<br><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12560\/13686\/25075\"><cite lang=\"es\">T\u00e9cnica pict\u00f3rica en El Taj\u00edn<\/cite><\/a><br>CR. Conservaci\u00f3n y Restauraci\u00f3n 13\/14 \u00b7 diciembre 2017\u2013abril 2018 \u00b7 pp. 252\u2013264<\/li><li id=\"r22-fr-s5\"><b>S5<\/b> \u00b7 Dulce Mar\u00eda Grimaldi, Silvia Ib\u00e1\u00f1ez, Fernando Uri\u00f3stegui y Alfonso Osorio<br><a href=\"https:\/\/www.revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12175\/12960\/\"><cite lang=\"es\">Nicho a nicho, registrando la pir\u00e1mide de El Taj\u00edn<\/cite><\/a><br>CR. Conservaci\u00f3n y Restauraci\u00f3n 13\/14 \u00b7 diciembre 2017\u2013abril 2018 \u00b7 pp. 38\u201351<\/li><li id=\"r22-fr-s6\"><b>S6<\/b> \u00b7 UNESCO World Heritage Centre<br><a href=\"https:\/\/whc.unesco.org\/en\/list\/631\/\"><cite lang=\"es\">El Tajin, Pre-Hispanic City<\/cite><\/a><br>Lista del Patrimonio Mundial 631 \u00b7 inscripci\u00f3n 1992<\/li><li id=\"r22-fr-s7\"><b>S7<\/b> \u00b7 UNESCO<br><a href=\"https:\/\/ich.unesco.org\/en\/ethics-and-ich-00866\"><cite lang=\"es\">Ethical Principles for Safeguarding Intangible Cultural Heritage<\/cite><\/a><br>2015 \u00b7 principios 1, 4, 5, 7\u201310<\/li><li id=\"r22-fr-s8\"><b>S8<\/b> \u00b7 Horacio_Fernandez<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:El_Tajin,_edificio_1_-_panoramio.jpg\"><cite lang=\"es\">El Tajin, edificio 1 &#8211; panoramio.jpg<\/cite><\/a><br>Fotograf\u00eda 24 noviembre 2010 \u00b7 CC BY 3.0<\/li><\/ol><\/div><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r22-fr-source\" lang=\"fr\"><h4>Un vert n\u2019\u00e9tait pas un seul vert<\/h4><p>Ces \u00e9chantillons du B\u00e2timent I pr\u00e9c\u00e8dent les sinistres. Le nom technique vert maya n\u2019attribue pas d\u2019ethnicit\u00e9 aux peintres ; les r\u00e9sultats ne sont pas transpos\u00e9s au B\u00e2timent 11 ou \u00e0 d\u2019autres \u00e9difices.<\/p><p><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cr\/article\/download\/12560\/13686\/25075\">Grimaldi, Carrillo, T\u00e9llez y Osorio \u00b7 T\u00e9cnica pict\u00f3rica en El Taj\u00edn, 2017\u20132018, pp. 257\u2013258<\/a> \u00b7 <a href=\"#iict-reading-r22-fr\">Revenir au passage<\/a><\/p><\/section>\n<\/details><nav class=\"backlinks\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#indice-articulos-fr\">\u2190 Retour \u00e0 l\u2019index des recherches<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=41\">Poursuivre la lecture \u2192<\/a><\/nav><!-- IICT-CITE R22 fr --><aside class=\"iict-citation\" id=\"citar-r22-fr\" aria-labelledby=\"citar-r22-fr-title\"><h2 id=\"citar-r22-fr-title\">Comment citer cet article<\/h2><p class=\"iict-citation-label\">R\u00e9f\u00e9rence bibliographique propos\u00e9e<\/p><blockquote class=\"iict-citation-reference\">Instituto Internacional de Cultura del Totonacapan. \u00abLes sept Tajines : permission, territoire et responsabilit\u00e9 \u00e0 El Taj\u00edn\u00bb. <cite>Cahiers de recherche<\/cite>, <strong>R22<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-fr\">https:\/\/totonacapan.com\/?page_id=1407#r22-fr<\/a>.<\/blockquote><p><strong>R\u00e9f\u00e9rence interne:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-fr\">R22<\/a>. Pour un passage pr\u00e9cis, ajoutez le titre de sa section.<\/p><p><a href=\"https:\/\/totonacapan.com\/?page_id=1225#normas-citacion-fr\">R\u00e8gles de citation de l\u2019Institut \u2192<\/a><\/p><\/aside><!-- \/IICT-CITE R22 fr --><\/article><\/details><\/div><script>(function(){function openArticle(){var root=document.querySelector(\"#research-r22-release\"),t=document.getElementById(decodeURIComponent(location.hash.slice(1)));if(!root||!t||!root.contains(t))return;var p=t;while(p&&p!==root){if(p.tagName===\"DETAILS\")p.open=true;p=p.parentElement;}requestAnimationFrame(function(){requestAnimationFrame(function(){var q=t;while(q&&q!==root){if(q.tagName===\"DETAILS\")q.open=true;q=q.parentElement;}t.scrollIntoView({block:\"start\",behavior:\"instant\"});});});}addEventListener(\"hashchange\",openArticle);openArticle();})();<\/script>\n","protected":false},"excerpt":{"rendered":"<p>\u2190 \u00cdndice de investigaciones\u2190 Research index\u2190 Index des recherches Espa\u00f1ol \u00b7 English \u00b7 Fran\u00e7ais R22 \u00b7 CUADERNOS DE INVESTIGACI\u00d3N Los siete Tajines: permiso, territorio y responsabilidad en El Taj\u00edn Conservar una pintura exige conocer su materia y escuchar a quienes dan sentido al lugar. Revisi\u00f3n documental \u00b7 5 de noviembre de 2026 En pocas palabras [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":1225,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1407","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1407","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1407"}],"version-history":[{"count":11,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1407\/revisions"}],"predecessor-version":[{"id":1666,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1407\/revisions\/1666"}],"up":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1225"}],"wp:attachment":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1407"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}