Motivated by curiosity of knowing about destiny of nonhistoriated cultural characters, this research uses the historiographical perspectives of cultural history and microhistory to track how Carlos Hernando Reyes Carvajal‟s creative work has contributed to generate cultural significations that have favored the construction of current tourist identity piece on cundinamarquian municipality of Tibirita, at the same time cultural significations have turned him into a cultural subject. To achieve it, this research uses two strategies: First, it adheres the idea that dichotomy between popular culture and high culture must be overcome, since all subjects, regardless of their social stratum, can be appropriate, interrogate, use, modify or reinvent any cultural resource. Second, this research proposes a notion of cultural signification that serves to identify the way in which four of the author's mural works interact with municipal community. During the research development, it is found that cultural management of Reyes is not only limited to mural representations but reappropriation of “Festival de Promeseros” cultural practice. Together, representations and cultural practices, suggest cultural, religious, tourist or peasant imaginaries on municipal community