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The approach to the pre-Hispanic art of César Moro is one that evolves in three moments: 1937, 1948 and before die. To establish it, in this article it has been essential to weave networks between the archaeological, historical and aesthetic knowledge of preHispanic art and the considerations of the poet. Its approach to it goes from ambivalence to another irrational order. On that tour, Moro has traveled from Perú to México, remembered the image of the National Museum in his childhood, his exploration of the Andean world in 1937, and has enriched himself with the readings of historians forging an ancient link in Mexico with its ancient civilizations. In other words, he has joined surrealism and preHispanic art, opposing false art in search of a new national imaginary in its line towards the future.

ESCORPIONES QUE VIGILAN EL HORRIBLE SUBSUELO DE LA ETERNIDAD: CÉSAR MORO, LA HISTORIA Y EL ARTE DEL PERÚ ANTIGUO