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The Buenaventura Mural 450 years to the Cosmos (El Mural Buenaventura 450 años al Cosmos), engraved on the eastern side of the Municipal Administrative Center (CAM) of that port city has a colossal size, but too small to count. Save the proportions, the mural of Sarria and his classmates could resemble the work of another great teacher like him, but of the vallenato song, the master Rafael Escalona, ​​who in three stanzas of a song narrates rich stories and news of the Province of Padilla.

The design and its realization date back to the beginning of the 90s, after the Municipal Administration welcomed the proposal made by several painters who formed, in the 60s, the group known as The Watercolorists of San Cipriano, organized in a school no Conventional that was located in the natural reserve that bears that name.

The beautiful work includes the history of Buenaventura in images made under the technique of watercolor. It is a composition of four sections: the Origin of Life, the Spanish Conquest, the Republic and Contemporary Life in Buenaventura. To this complexity of subjects answers every stroke of the mural in whose base is the immense Pacific Sea that bathes this earth. It is the history of a region that nature lavished with rich fauna and flora.




Infinity of paradigmatic personages, events, cultural manifestations, facts and legends are fused in the admirable work on the history of Buenaventura, in a route of more than 450 years. That is why, from the Spanish conquistadors to bishops, mayors, deputies, indigenous and black miners, passing by President José Hilario López – who abolished slavery and the death penalty – Jorge Issacs – novelista valluno and surveyor who collaborated with the layout Of the Dagua road – and José Francisco Cisneros – who projected and executed the first kilometers of the Pacific Railroad – are part of the formidable pictorial composition of the culture of the Pacific, which also includes the eclipse that occurred when the painters did the work.

450 years to the Cosmos, is much more than a pictorial work. The watercolors of San Cipriano burst into the region dreaming of promoting a model of education for the illiterate, something they called eye-to-eye, and which sought to break the mouth-ear paradigm. That is why narration in images, as well as exquisite, is exhaustive. “That mural,” says Master Sarria, “began from the ignorance of people, in quotes, because we found many natural savants. People who have a lot of natural knowledge.”



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