Crown made for the queen of the 25th National Fair Piteado (2016) in ColotlánDetail of a hand made piteado beltPunteador at work in talabarteríaVariety of piteado belts
Piteado is an artisan technique where pita or ixtle (thread made from the fiber of the century plant) is embroidered onto leather in decorative patterns. The technique is used to make belts, sandals, hair bands, saddles, and other leather accessories. The technique is popular in Mexico and Central America, and typical designs include flowers, animals, charreada, and Pre-Hispanic symbols.
Jalisco, a Mexican State was famous for this type of handicraft, especially the town of Colotlan. This region has become a big producer of two kinds of non-traditional piteado industry. One which uses automated manufacturing embroidery machines to make imitation piteado products and one where non-precious silvery and golden wires are inserted in leather works which are then fraudulently traded as genuine gold and silver.
Colotlán a town of Jalisco call itself piteado global capital, because there are many saddlers shops, and piteado dedicated craftsmen as a main source of income for its inhabitants. Each one of those piteado-workshop employs three types of workers, each dedicated to a specialized task: drawers, embroiderers, and punteadores. There is an annual fair in promotion of local piteado artisan's art.
Hand embroidering a belt requires about 48 hours of labor. The kind of agave thread used to embroidery is produced in Veracruz, Chiapas, and Oaxaca. Artisans from those regions make well-finished and more elaborate piteado works, but because of the lack of advertising and promotion, it is often not possible for them to sell to their intended market.
There is a foundation which promotes piteado in Veracruz, with branches in Florida and Shanghai, which embraces, supports, and makes contributions of machinery and equipment to communities of artisans. This organization also encourages scientific research to improve the plant from which the cactus fiber is obtained, bringing together the communities involved. They connect farmers from northern Oaxaca with biochemical and agricultural researchers in the Guatemalan region of Mesaltenango, supporting the experimental designs of some new products, giving resources and support to those potential artisans with great innovative creations, and continuing to preserve these natural non-renewable resources. The group encourages the improvement of the process of manufacturing some traditional products already on the market, the continued propagation of the art form, and the preservation of the history behind it.
The emergence of metallurgy in pre-Columbian Mesoamerica occurred relatively late in the region's history, with distinctive works of metal apparent in West Mexico by roughly AD 800, and perhaps as early as AD 600. Metallurgical techniques likely diffused northward from regions in Central or South America via maritime trade routes; recipients of these metallurgical technologies apparently exploited a wide range of material, including alloys of copper-silver, copper-arsenic, copper-tin and copper-arsenic-tin.
A rebozo is a long flat garment, very similar to a shawl, worn mostly by women in Mexico. It can be worn in various ways, usually folded or wrapped around the head and/or upper body to shade from the sun, provide warmth and as an accessory to an outfit. It is also used to carry babies and large bundles, especially among indigenous women. The origin of the garment is unclear, but most likely derived in the early colonial period, as traditional versions of the garment show indigenous, European and Asian influences. Traditional rebozos are handwoven from cotton, wool, silk and rayon in various lengths but all have some kind of pattern and have fringe, which can be finger weaved into complicated designs. The garment is considered to be part of Mexican identity and nearly all Mexican women own at least one. It has been prominently worn by women such as Frida Kahlo, actress María Félix and former Mexican first lady Margarita Zavala and still popular in rural areas of the country. However, its use has diminished in urban areas.
The quechquemitl is a garment which has been worn by certain indigenous ethnicities in Mexico since the pre-Hispanic period. It usually consists of two pieces of rectangular cloth, often woven by hand, which is sewn together to form a poncho or shawl like garment, which is usually worn hanging off the shoulders. It can be constructed of various different fabrics, often with intricate weaves, and is typically highly decorated, most often with embroidery.
Huipil[ˈwipil] is the most common traditional garment worn by indigenous women from central Mexico to Central America.
Paraguayan Indigenous art is the visual art created by the indigenous peoples of Paraguay. While indigenous artists embrace contemporary Western art media, their arts also include pre-Columbian art forms. Indigenous art includes ceramics, baskets, weaving and threading, feather art and leather work. It is a hybrid nature includes the embroideries, lace, woodcarving and different metal products. Paraguay is particularly known for its indigenous featherwork and basket weaving.
Mexican handcrafts and folk art is a complex collection of items made with various materials and intended for utilitarian, decorative or other purposes. Some of the items produced by hand in this country include ceramics, wall hangings, vases, furniture, textiles and much more. In Mexico, both crafts created for utilitarian purposes and folk art are collectively known as “artesanía” as both have a similar history and both are a valued part of Mexico's national identity. Mexico's artesanía tradition is a blend of indigenous and European techniques and designs. This blending, called “mestizo” was particularly emphasized by Mexico's political, intellectual and artistic elite in the early 20th century after the Mexican Revolution toppled Porfirio Díaz’s French-style and modernization-focused presidency. Today, Mexican artesanía is exported and is one of the reasons why tourists are attracted to the country. However, competition from manufactured products and imitations from countries like China have caused problems for Mexico’s artisans.
The textiles of Mexico have a long history. The making of fibers, cloth and other textile goods has existed in the country since at least 1400 BCE. Fibers used during the pre-Hispanic period included those from the yucca, palm and maguey plants as well as the use of cotton in the hot lowlands of the south. After the Spanish conquest of the Aztec Empire, the Spanish introduced new fibers such as silk and wool as well as the European foot treadle loom. Clothing styles also changed radically. Fabric was produced exclusively in workshops or in the home until the era of Porfirio Díaz, when the mechanization of weaving was introduced, mostly by the French. Today, fabric, clothes and other textiles are both made by craftsmen and in factories. Handcrafted goods include pre-Hispanic clothing such as huipils and sarapes, which are often embroidered. Clothing, rugs and more are made with natural and naturally dyed fibers. Most handcrafts are produced by indigenous people, whose communities are concentrated in the center and south of the country in states such as Mexico State, Oaxaca and Chiapas. The textile industry remains important to the economy of Mexico although it has suffered setback due to competition by cheaper goods produced in countries such as China, India and Vietnam.
Museo Universitario de Artes Populares María Teresa Pomar is a museum dedicated to Mexico's handcrafts and folk art tradition, called “artesanía.” It is part of the University of Colima in the city of Colima, founded by artesanía collector and promoter María Terea Pomar. It contains one of the most important collections of its type in Mexico, covering traditions from around the country as well as the artesanía and traditions of the state of Colima.
Amuzgo textiles are those created by the Amuzgo indigenous people who live in the Mexican states of Guerrero and Oaxaca. The history of this craft extends to the pre-Columbian period, which much preserved, as many Amuzgos, especially in Xochistlahuaca, still wear traditional clothing. However, the introduction of cheap commercial cloth has put the craft in danger as hand woven cloth with elaborate designs cannot compete as material for regular clothing. Since the 20th century, the Amuzgo weavers have mostly made cloth for family use, but they have also been developing specialty markets, such as to collectors and tourists for their product.
The handcrafts of Guerrero include a number of products which are mostly made by the indigenous communities of the Mexican state of Guerrero. Some, like pottery and basketry, have existed relatively intact since the pre Hispanic period, while others have gone through significant changes in technique and design since the colonial period. Today, much of the production is for sale in the state's major tourism centers, Acapulco, Zihuatanejo and Taxco, which has influence the crafts’ modern evolution. The most important craft traditions include amate bark painting, the lacquerware of Olinalá and nearby communities and the silverwork of Taxdo.
Traditional metal working in Mexico dates from the Mesoamerican period with metals such as gold, silver and copper. Other metals were mined and worked starting in the colonial period. The working of gold and silver, especially for jewelry, initially declined after the Spanish conquest of the Aztec Empire. However, during the colonial period, the working of metals rose again and took on much of the character traditional goods still have. Today, important metal products include those from silver, gold, copper, iron, tin and more made into jewelry, household objects, furniture, pots, decorative objects, toys and more. Important metal working centers include Taxco for silver, Santa Clara del Cobre for copper, Celaya for tin and Zacatecas for wrought iron.
Oaxaca handcrafts and folk art is one of Mexico's important regional traditions of its kind, distinguished by both its overall quality and variety. Producing goods for trade has been an important economic activity in the state, especially in the Central Valleys region since the pre-Hispanic era which the area laid on the trade route between central Mexico and Central America. In the colonial period, the Spanish introduced new raw materials, new techniques and products but the rise of industrially produced products lowered the demand for most handcrafts by the early 20th century. The introduction of highways in the middle part of the century brought tourism to the region and with it a new market for traditional handcrafts. Today, the state boasts the largest number of working artisans in Mexico, producing a wide range of products that continue to grow and evolve to meet changing tastes in the market.
Michoacán handcrafts and folk art is a Mexican regional tradition centered in the state of Michoacán, in central/western Mexico. Its origins traced back to the Purépecha Empire, and later to the efforts to organize and promote trades and crafts by Vasco de Quiroga in what is now the north and northeast of the state. The state has a wide variety of over thirty crafts, with the most important being the working of wood, ceramics, and textiles. A number are more particular to the state, such as the creation of religious images from corn stalk paste, and a type of mosaic made from dyed wheat straw on a waxed board. Though there is support for artisans in the way of contests, fairs, and collective trademarks for certain wares, Michoacán handcrafts lack access to markets, especially those catering to tourists.
Mexican lacquerware is one of the country's oldest crafts, having independent origins from Asian lacquerware. In the pre-Hispanic period, a greasy substance from the aje larvae and/or oil from the chia seed were mixed with powdered minerals to create protective coatings and decorative designs. During this period, the process was almost always applied to dried gourds, especially to make the cups that Mesoamerican nobility drank chocolate from. After the Conquest, the Spanish had indigenous craftsmen apply the technique to European style furniture and other items, changing the decorative motifs and color schemes, but the process and materials remained mostly the same. In the 19th and 20th centuries, the craft waned during armed conflicts and returned, both times with changes to the decorative styles and especially in the 20th century, to production techniques. Today, workshops creating these works are limited to Olinalá, Temalacatzingo and Acapetlahuaya in the state of Guerrero, Uruapan and Pátzcuaro in Michoacán and Chiapa de Corzo in Chiapas.
Basketry of Mexico has its origins far into the pre Hispanic period, pre-dating ceramics and the domestication of crops. By the time the Spanish arrived, there were a number of indigenous forms, a number of which are still made today. These and products that the Spanish introduced form the combined tradition that remains today. Like other Mexican handcrafts, sales to tourists and collectors is important, but basketry is not as popular as other handcrafts. Basketry techniques and materials vary from region to region depending on the vegetation available, with important traditions in Sonora, State of Mexico, Michoacán, Veracruz, Oaxaca and the Yucatán Peninsula.
Guanajuato handcrafts and folk art are mostly of European origin, although some indigenous work still survives in some communities. The most notable craft is the making of glazed mayolica pottery, followed by handmade traditional toys of various materials, especially a hard paper mache called cartonería. While handcrafts are not a large an industry here as in some other states, it does have several major handcraft markets which sell to tourists and foreign residents. Other handcraft traditions include wrought iron work, tin and glass, wood carving and leather working.
The Mexican State of Mexico produces various kinds of handcrafted items. While not as well documented as the work of other states, it does produce a number of notable items from the pottery of Metepec, the silverwork of the Mazahua people and various textiles including handwoven serapes and rebozos and knotted rugs. There are seventeen recognized handcraft traditions in the state, and include both those with pre Hispanic origins to those brought over by the Spanish after the Conquest. As the state industrializes and competition from cheaper goods increases, handcraft production has diminished. However, there are a number of efforts by state agencies to promote these traditions both inside and outside of Mexico.
Chiapas handcrafts and folk art is most represented with the making of pottery, textiles and amber products, though other crafts such as those working with wood, leather and stone are also important. The state is one of Mexico's main handcraft producers, with most artisans being indigenous women, who dominate the production of pottery and textiles. The making of handcrafts has become economically and socially important in the state, especially since the 1980s, with the rise of the tourist market and artisans’ cooperatives and other organizations. These items generally cannot compete with commercially made goods, but rather are sold for their cultural value, primarily in San Cristóbal de las Casas.
Hidalgo (state) handcrafts and folk art are mostly made for local consumption rather than for collectors, although there have been efforts to promote this work to a wider market. Most are utilitarian and generally simply decorated, if decorated at all. The most important handcraft traditions are pottery, especially in the municipality of Huejutla and textiles, which can be found in diverse parts of the state. Most artisans are indigenous, with the Otomi populations of the Mezquital Valley being the most dominant. Other important handcrafts include basketry, metal and wood working.
Jalisco handcrafts and folk art are noted among Mexican handcraft traditions. The state is one of the main producers of handcrafts, which are noted for quality. The main handcraft tradition is ceramics, which has produced a number of known ceramicists, including Jorge Wilmot, who introduced high fire work into the state. In addition to ceramics, the state also makes blown glass, textiles, wood furniture including the equipal chair, baskets, metal items, piteado and Huichol art.
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