Album of textiles, paintings and pottery from

Album of textiles, paintings and pottery from

• 1.
  Album of textiles,paintings and pottery from Mexico Activity 3, for unit 1. Kimberly Quevedo
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  Introduction  This papertalks about the ceramics, paintings and textiles from Mexico. About colors, shapes, what year, who used it, who performed. I hope that this information help you.
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  Textiles of Mexico  Themanufacture of fibers, fabrics and other textile goods has existed in the country since at least 1400 BC. The fibers used during pre-Hispanic times including cassava, palm and maguey plants, and the use of cotton in the hot southern lowlands. After the Spanish conquest of the Aztec Empire, the Spanish introduced new fibers like silk and wool, as well as European foot pedal loom. Fabric is exclusively produced in workshops or at home until the time of Porfirio Díaz (1880-1910). Today, fabric, clothing and other textile products are made by artisans and in factories. Clothing, carpets and more are made with natural fibers and naturally dyed. Most crafts are produced by indigenous peoples. The textile industry remains important to the economy even though Mexico has suffered setbacks due to competition from cheaper goods produced in countries like China, India and Vietnam.
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  Crafts and indigenous textiles today
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  Indian tradition  Inaddition, many of the textile factories use machines based on old foot pedal looms from the colonial period. There are basically four types of fibers used for fabric production:  Plant products such as cotton.  Animal products such as wool and silk.  Minerals such as gold and silver thread.  Synthetics.  Raw materials for textiles fall into two groups: smooth fibers such as silk, cotton, and wool; and hard fibers native to Mexico such as ixtle , lechuguilla , reeds, palm, twigs, and willow .
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  Indian clothing  Theseinclude “enredos”, or wrap dresses, fajas, or cloth belts, huipils, a type of tunic, quechquemitl, which is a kind of rectangular or square short poncho.  The last was originally worn directly on the upper body of a woman but today it is worn over a blouse.  Loose-fitting sack dresses, called huipils in Oaxaca and guanengos in Michoacán , are often heavily embroidered with straight stitching , cross stitching and tucks with floral and geometric motifs.
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  Embroidery  Indigenous motifsfound on garments range from geometric patterns, zig-zag , spirals, moons, crosses and stepped frets .  Thin cloth belts that wrap around the waist (fajillas) are common in a number of indigenous groups and are richly embroidered.  The borders are often adorned with zig-zag edging, such as those of the Huichols .  The Otomis use a moon pattern on these belts along with their morrals or carrying bags, and the Tarahumara tend to decorate theirs with triangular designs.
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  Looms  Traditionally, weaving, especiallyon the backstrap loom, was considered to be women's work.  Women still produce items such as kitchen cloths, tablecloths, carrying bags and ornamental items with traditional designs.  It allows for the combining of different fibers such as cotton with wool or silk. [ 7 ] Designs are woven into the cloth on this loom by changing thread colors and/or by adding items such as shells or other matter into the finished product.
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  Paintings of Mexico
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  Votive paintings of Mexico Votive paintings in Mexico go by several names in Spanish such as “ ex voto ,” “ retablo ” or “lamina,” which refer to their purpose, place often found, or material from which they are traditionally made respectively.  The painting of religious images to give thanks for a miracle or favored received in this country is part of a long tradition of such in the world.  The offering of such items has more immediate precedence in both the Mesoamerican and European lines of Mexican culture, but the form that most votive paintings take from the colonial period to the present was brought to Mexico by the Spanish.
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  Mexican Painting from theXVI and XVII  The mural was a major bloom during the sixteenth century; the same in religious buildings and houses lineage; such is the case of the convents of Acolman, Huejotzingo, Tecamachalco and Zinacantepec. It is said that indigenous painters were mainly led by the friars made​​. These are also expressed in illuminated manuscripts like the Codex Mendoza.  For a time it was believed that the first European artist based in New Spain, was Rodrigo de Cifuentes (apocryphal artist) whom he even attributed work as "Baptism of the chiefs of Tlaxcala" altarpiece painting of Ex Convent San Francisco in Tlaxcala.
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  Nineteenth-century Mexican painting  Inthis century also has examples of wall paintings such as folkloric style created between 1855 and 1867, in La Barca, Jalisco.  Highlights at this time: Pelegrin Clave, Juan Cordero, Felipe Santiago Gutiérrez and José Agustín Arrieta.  In Mexico, in 1846 he was hired to direct Pelegrin Clave reopening the Academia de San Carlos, a body from which promoted the historical theme and landscaping with a pro- European vision.
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  Murals  The boomin Mexican mural began in 1922 under the protection of José Vasconcelos, secretary of public education. From this year to 1924 such important works as the frescoes in the church of San Pedro and San Pablo (Dr. Atl, Roberto Montenegro and Xavier Guerrero) are performed; the Mural Amphitheater Bolivar (De Diego Rivera, with the collaboration of Carlos Mérida, Guerrero and Jean Charlot); The bas-reliefs National Stadium (Draughtsman by Rivera and Siqueiros and Guerrero Colored); And fresh from high school (José Clemente Orozco, García Cahelo, Alva De La Canal, Fernando Leal, Siqueiros and Fermín Revueltas).
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  Pottery of Mexico
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  Oaxaca  Many ofthe women have begun to make pottery to supplement what their husbands send.  Much of the work is sold in the larger towns or cities either by the potters individually or together as a cooperative.  Most clay is from a local source and generally that source is kept secret. Despite their price, as low as thirty pesos for a pot, much of traditional indigenous cookware is being replaced by mass-produced pots and pans in the rural areas.
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  Jalisco  The twomain pottery producing municipalities are Tonalá and Tlaquepaque . These two municipalities produce several different types of pottery and ceramics, principally "bruñido", "bandera", "canelo", "petate", "betus" and high- fire/stoneware.  The best known of these styles is bruñido, which translates to burnished.  The name comes from the fact that these pieces are not glazed, but rather they are given a slip and then polished with a stone or pyrite.
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  Thank you