Note to those who have the curiosity to understand said paint and draw inspiration for their highest good: The scenes and animals in this table are inspired by the art of Native American burial minority who disappeared there are now about 850-1000 years ... We have the memory of the survival of their time on earth to the extraordinary beauty of their painted pottery. They are cataloged “pottery Black on White,” but this term is misleading because cooking temperatures varied, have produced beautiful colors ranging from bright orange to reddish brown to black! The drawings were made with pulp iron ore in bold black, and then painted on a white kaolin clay slurry using brushes of yucca. The grounds were curvilinear and geometric in the first period, then mixed with humans and / or animals in the last period that I present you with this first painting inspired Mimbreños (Spanish name "People of the Willows "). No writing seems to be attributed to them, even though these paintings are on pottery? By cons, no other such singularity, the Mimbres buried their dead by covering before the skull of the deceased with one of these beautiful painted bowls, which represented an earlier stage of the experience of death, or an animal that has played a major role in its existence. It should be noted that the deceased was buried squatting, sometimes in a large jar of clay. The weirdest is coming, because the contact with the dead was taboo, each bowl placed over their heads, was drilled in the center of a hole! Several archaeologists have suggested that it would allow the deceased to continue to see what was going to happen after them on Earth? Especially when we know that they were buried in their own homes! Others suggest that it was to free the mind of their own and thus escape any contact with the dead. Like their ancestors, they can even "kill" close personal effects, to avoid clinging to their minds. Think of all the family feuds of the past, disputes that could be recovered by some living trying to capture the spirit of the deceased or any of his property! Once a person dies, the Mimbreños believed we should never speak of them even mention their name again, not to bring them back from the grave and deprive them eternal rest. Instead, they refer only to their "departure." There is clearly a singular act of worship and a priori unknown if rare in other cultures? In any case, there is a surprising act of vernacular transmission, which, thanks to hundreds of bowls found pierced, and all different, informs us with the support of their amazing pictographs on the lives of these missing, their rituals and myths. Most men or anthropomorphic characters were masked or tattooed with a mask , some with a muzzle , perhaps for reasons related shamanic ceremonial usually the male fertility , hunting , fishing, and death and disease , etc ... The tension of light and dark patterns of these paintings suggests a vigorous struggle of opposing forces. The animals most often represented are: rabbits, sheep, deer, bear, antelope, cats, snakes, fish, bats, lizards, frogs, turtles, turkeys, quails, cranes, macaws and parrots. I quoted the rabbit first because it represented the moon for Mimbres and for this it is clear majority among animals. Note also that according to literary sources, these bowls were specially manufactured and painted in a funeral goal tribute to the dead, while others argue that these bowls were used for domestic purposes, and after many discoveries trace residues food following analysis by mass spectrometry! For those who want to learn more know that they have lived in several small villages along the Mimbres River. Mimbreños is the Spanish word for willow; the river was named by the Spanish when they arrived in New Mexico in the 16th century, and because of the willows lining the river. The surrounding mountains were named Mogollon name of a governor of the New Spain. We do not know what language they spoke. The little we know about the Mimbres people comes through interpretation and analysis by archaeologists and cultural historians who have studied the ancient sites of excavation materials. You should know that the majority of the tombs had been looted by the natives, leaving no way to identify and analyze the scene. The Pueblo Indians, who are among their descendants, have provided a deeper understanding of the Mimbres. The Mimbres abandoned their villages in 1150 AD, probably because of overpopulation and drought. We do not know where they went. Their villages were quickly reoccupied by people whose styles of pottery and architecture were quite different from the Mimbres. The villages of the valley of the Mimbres River were finally abandoned in 1400. Much later it will be acculturated people known apache Mimbres. Today, a tiny minority Indian still exists although very diffuse in the current population.

Regarding the reading table rondo, it is a real skit in five acts...
Included with freedom Henri Michaux, who remember, was a writer, poet and painter, about this strange painting:
“Whether written or painted, this Philhelm’s* work must pass four operation of simultaneously: 1 Withdraw from reality ... 2 resist Him or deform, dissolve ... 3 Create a new world and observe Mimbreños* creating this world ... 4 Power finally explore the world of which he is the author, who of course, preserved its potential astonishment and surprise at him!”
* Added words = Philhelm + Mimbreños

Act I: The Original Sin / It start as the Garden of Eden, with a tree of life symbolized by a cactus in which wraps a snake. From both sides a couple that we will always masked and head wearing a headband. The man is carrying a banded waist ending with two strips of perforated tissue. On his arm hangs a cane or a stick, often present in the iconography of Mimbres. It could be a religious symbol shamanic connotation? Instead of an apple, it has received the Philhelm’s monogram that would have given him the woman at his side? She is only wearing a triple collar and a fish-shaped headgear. Two birds complete the introduction with a turkey.
Act II: (Right) The thunderbolt / partners seem much to like in a reconciliation that could be either a thunderbolt or a flirt? As for the cane, she seems ready to fall? Two coyotes desert, very attentive, attend the scene, waiting for more? A curious bird head mammal is on the back of one of them.
Act III: The free love / sometimes X-rated for children, it is by no means for the animals well represented and have never seen anything other than the laws of nature. All this in a half- moon, in the mythology of Mimbres, as you now know was still represented by an eagle devouring a rabbit whose anterior ended fishbone in as the moon waned, amazing right?
Act IV: The announcement father / the honeymoon is over, comes responsibility: the naive and ignorant parent sits quietly on his backside in the rest position of the warrior with a parrot perched on his head. However, because he knows he must keep. His sexual partner obviously pregnant, and accompanied by a deer, rather vindictive against him, knowing that we are witnessing an early declaration of paternity! Is it ready to throw his hat in the head?
Fifth and final Act: Long life / nothing new under the sun, except that life goes on and four children were born in the meantime. Our dad seems to take care of three older since the firm walks while playing their music with singular castanets**? As for mom, she has just given birth last and it seems that it gives him the edge needed to cut the umbilical cord? Nothing wrong with that because, let's not forget, we are in Mimbreños! A bird completes the last stage and eleven others who are more like insects, complete with overhead heart of the table.
Conclusion:
Is it necessary to recall that apart from the “Monogram Philhelm" which has not yet been discovered in these ancient tombs, only humans were slightly stylized and standardized in order to give more substance to this skit by against the animal world is faithfully representing the funerary art Mimbreños !
** The supposed castanets turn out to be "rabbit- stick" which sticks to start acting as a boomerang in contrast to those we know, does not return to their starting point. It is one of the first weapons created by man! Egyptian Ancient Egyptians already used them in their hunt for birds. (Mimbres Painted Pottery - Jerry.J.Brody 2004 University of New Mexico)

Jean-Paul Gavard-Perret, French art critic, kindly comment on this picture:

Eros et Thanatos :
Par le blanc et le noir les étincelles de vie dans la nuit de la mort. Un poignard continue les reflets de l’embuscade des corps. L’existence tourne sur son axe pour redisposer les rimes du temps. A l’impertinence de la nudité répond son éblouissement. Les corps roulent dans la fable à l’exemple des choses qui sont lorsqu’elles sont une raison de voir.
Félicité d’une soif où la bouche n’a qu’une part. Les corps occupent l’espace, leurs membres se mélangent pour s’inscrire dans la plénitude de la volupté partagée. Obscénité de la fête, du « mariage » et ses œufs. Voici les parties de la vie qu’on envie, voilà la poésie des profondeurs par la surface et les transformations qu’elle induit.
Contre la destruction il faut l’égarement des corps, la chute du soleil dans leur étuve. L’excès des nus offre à bout de souffle la propriété de la chair à se refaire. Avec le sexe elle retrouve le ciel du trou où la hauteur est certaine. Aux nus donc le poème du désir et ses nombreux enfantillages amoureux pour déplacer le plaisir.
Plus besoin de développer les scènes, d’en affiner les détails. Plus besoin d’explications ou de sous-titres. Les gens des Saules ouvrent la mort à son contraire par la tension narrative et symbolique de leurs vies sombres et claires. Du jardin d’Eden et son cactus phallique les lois libres de l’amour enchaîné à la demi-lune ouvrent à l’enfantement sans qu’il n’en soit encore question. Plus tard le vagin se détend pour laisser passer quatre enfants dont la mère - une fois sorti le dernier - coupe le serpent ombilical.
Bien vite il va à nouveau croître pour remplir la soute d’une gerbe blanche et sa floculation. Elancements, grands moments d’amour pour cette fin sans cesse reculée. Le brame se pose dans le blanc. Il y a va d’un projet, d’un déluge. D’un voyage éternel dans la poche du monde. Il faut laisser voir la fente et le membre. Mourir se limite à leur commerce emporté dans le cours des choses. Les corps ouverts l’absolu est à tous les vents pour l’assentiment de vies nouvelles. A la perspective d’un tel bouleversement tant d’yeux dévorent le désir dévorant qui est amas des sens.