Handcrafts and folk art in Puebla
Puebla handcrafts and folk art is
History
Handcraft traditions of the state are a mixture of indigenous and European. These traditions can be viewed as two main types: those that retain most of their indigenous quality, and those heavily European in design or technique. Indigenous-style products include certain pottery traditions, textiles, and the making of amate (bark) paper. European styles include Talavera pottery and glass.[1]
Pottery
Glazed, double-fired pottery called mayolica was introduce to Mexico from Spain between 1550 and 1585, and was produced in various areas during the colonial period. However, only in Puebla has it been made continuously to the present.[1]
The best known pottery of this type is called Talavera, named after the white background ceramics of
A number of other communities have lesser-known pottery traditions. The best known of these is that of Izúcar de Matamoros, whose main product are a traditional sculpted work called a tree of life. These are distinctly decorated from the better-known trees of
Common pottery item include large pots and casseroles used for cooking traditional dishes such as rice and mole poblano. These pieces are glazed on the interior, with the outside decorated with black and or pastillaje (small bits of clay rolled into designs). Most of the pottery is made in the city of Puebla, especially in the Barrio de la Luz neighborhood.[1] This kind of pottery-making remains a viable occupation because of the creativity and organization of the artisans who work principally to make large size cooking utensils. Production can be highly specialized among artisans, with those dedicated to different aspects of the process such as molding and firing. The making of these utensils survives because traditional rural cooking techniques still survive in many parts of the state, where meals are prepared in clay pots over wood fires, especially for major festivities and celebrations.[4]
These are also made in the town of
Both the Barrio de la Luz and Amozoc communities also make ritual items such as incense burners, candle holders, and containers—which are generally covered in a black glaze and most often used for Day of the Dead decoration.[1][4]
Acatlán traditionally makes unglazed clay toys. However, the work of pottery Herón Martínez in the 20th century has promoted the creation of larger sculpted pieces.[1]
Textiles
Puebla has had a history of industrial textile making, but the hand-made ones remain important, especially culturally. Rebozos and quechquemitls are important items in traditional indigenous dress. One particular tradition is the making of black wool rebozos, richly decorated with multicolored animal and flower designs that predate the Conquest. These originally had religious significance but have mostly been lost.[1]
Acaxochitlan is a traditional
Santa Anita is known for weaving wrap skirts.[5]
Amate
Amate paper is made in the small village of San Pablito,
The chemicals used in making the paper is causing environmental problems, such as pollution in the nearby Cazones River. It has caused a depletion of the trees needed to provide the bark.[6]
Glass
Glass work in Mexico began in Puebla with the first glass kiln documented at 1542, before spreading to other areas such as Mexico City and Guadalajara. Initially, the production was utilitarian containers.[1] Production in Puebla mostly consisted of pressed glass, of which little remains. A wide array of drinking glasses and commercial containers were made, especially those for pulque. However, this has all but disappeared because of competition from industrial glass as well as the decrease in the consumption of pulque.[1]
Most handcrafted glass production today is blown glass, with some pressed glass is used to make miniatures.
The town has about 450 family workshops and six small factories,[7][8] which make the community the number one producer of Christmas ornaments in the country.[7] The town holds an annual fair dedicated to the craft at the end of October to the beginning of November.[8] The fair attracts visitors from Mexico and abroad, mostly from the United States and Spain, and business people interested in export. Some artisans make different designs for display year-round, for other seasons, for social events, and as personalized trinkets. One of the newer designs are clear spheres filled with feathers, or notes with words such as “love” and “peace.”[7]
Other traditions
Other handcrafts are related to construction, such as stone quarrying and artistic wrought iron—both important to colonial and colonial-style buildings. Onyx is a commonly worked stone, not only for construction, but also for the making of decorative objects such as boxes, lamps, book holders, and tables. Other objects made with this material include drinking glasses and jewelry.[1]
Zacatlán is home to a monumental clock works, where each piece is made to order in a small factory. Centenario clocks began when Alberto Olvera Hernández began building them in his father’s woodshop, located outside the town, even making his own tools. After making several as a hobby, he opened a workshop in town, which became the first of its kind in Latin America. Today Centenario is known for making monumental clocks for towers, churches, public buildings—and “flower” clocks, where vegetation provides the face. These clocks can be found in most parts of Mexico and some abroad as well. The business remains family owned, with about fifty employees.[9]
Amozoc is noted for silver-inlaid iron work, which is almost entirely dedicated to the production of gear for charros such as spurs, stirrups, buttons for charro suits, and pistol butts. While charro as a working profession has waned, charro associations and competitions continue as a cultural activity.[1][4]
Notable artisans
- Uriarte Talavera
- Esther Medina Hernández
- Maximo Gómez Ponce
- Cesar Torres Ramírez
- Ignacio Peralta Soledad
- Alfonso Castillo Orta
- Rodolfo Villena Hernández
- Pineda Palacios family
References
- ^ a b c d e f g h i j k l m n o p Porfirio Martinez Peñaloza (1982). Artesanía Mexicana. Biblioteca de México/Galeria de Arte Misrachi. pp. 84–86.
- ^ Antonio Bertran (December 25, 1996). "EL ARBOL, legendario de la raiz a la punta". Reforma. Mexico City. p. 1.
- ^ a b Antonio Bertran (December 10, 1996). "Alfonso Castillo Orta: Corona de una tradicion familiar". Reforma. Mexico City. p. 1.
- ^ a b c d e f g Moctezuma Yano, Patricia (September–December 2013). "Ser alfarero en Amozoc, Puebla.La construcción de una identidad laboral artesanal". Cuicuilco. 20 (58). Escuela Nacional de Antropología e Historia Distrito Federal, México: 109–138.
- ^ a b c d e Ricardo Diazmunoz y Maryell Ortiz de Zarate (May 7, 2000). "Encuentros con Mexico/ Riqueza textil, nahua y otomi (IV)". Reforma. Mexico City. p. 2.
- ^ a b c Patricia Cordero (October 24, 2003). "Producen amate y contaminacion". Reforma. Mexico City. p. 3.
- ^ a b c d e f g "Chignahuapan, mercado de esferas para toda época del año". NOTIMEX. Mexico City. December 6, 2014.
- ^ a b c d Nayeli Cecena (October 2, 2005). "Fin de Semana: Chignahuapan, esferas y aguas termales". Reforma. Mexico City. p. 10.
- ^ Harry Miller (January 9, 2005). "Mexico Channel / Artesania que mide el tiempo: [1]". Reforma. Mexico City. p. 13.
- ^ Flechsig, Katrin Sarah (1999). Anthropology of the miniature: Palm crafts in a Puebla Mixtec town (Thesis). The University of Texas at Austin. Docket 9947227.
- ^ Mary Carmen M. Avila (December 15, 2013). "Huejotzingo...las mejores sidras de Puebla". El Sol de Puebla. Retrieved September 8, 2015.
- ^ "Museo de la Sidra Copa de Oro". Sistema de Información Cultural. CONACULTA. Retrieved September 8, 2015.