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Hello and Welcome!

This site is about Mexican folk art but is also about my family and our business and the town that has seen me grown. How can that be? Stay along and find out...

Copal, Mexican Folk Art at its Best Online has three main sections:
The online store, a comprehensive guide about our nation's folk art and a San Jose del Cabo insightful guide.

Below you will find brief explanations about these sections and links to see them. Please browse our Top Nav Bar where you can access any page in our site or click on the pictures on the right side menu to see highlighted pages.

For over 20 years, we've proudly promoted and sold the best of Mexican folk art; first at our brick and mortar store located in San Jose del Cabo, Mexico and now at this website.

We've had the opportunity to journey across The Deep Mexico encountering authentic folk artists that introduced us in their artwork and its creation process sharing with us the history and the stories behind their craft and honoring us with their friendship.

At Copal Online Store, we guarantee our customers' complete satisfaction featuring high-end authentic items at reasonable prices in a relaxed and pleasant online shopping atmosphere.

Papier Mache Decorative Butterflies

There are few countries in the world with such deep and diverse culture as Mexico. Our nation's folk art is a perfect example of this cultural abundance.

The Mexican Folk Art Guide section of our site was created to share with our visitors the information we have been blessed and fortunate to learn firsthand over the years.

Mexican folk art styles are described including history, cultural background, making process and celebrated artists.

Special themes, like Day of the Dead, portray the culture and traditions that are behind the artistic expressions that are called Mexican Folk Art.

We know there is no end to this job, and that's one of the reasons we love it dearly.

San Jose del Cabo Insights
For 25, years, San Jose del Cabo in Baja Sur Mexico has been the place we call home, our family grew bigger in here, adding grandchildren to the bunch.

We first visited before all the tourist boom began; we are fortunate to have known the small villages before they became the world-class tourist destination called Los Cabos. We settled in San Jose because its charm and natural beauty captivated us at first sight.

San Jose del Cabo is part of our family and business background and by adding this section to our site we want to lead our valued visitors through a path that will help them understand and appreciate in a more insightful way our beloved town.

San Jose del Cabo Insights features engaging, relevant and accurate information about San Jose, its history, amenities and natural beauties.

San Jose del Cabo Estuary

As you can see there is a lot more to be done, please visit us often or...

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Paper Cempasuchil

Paper Cempasuchil are a good replacement when the natural flowers are not available. The Cempasuchil known as Flower of the Dead is one of the most traditional flowers during the Day of the Dead Celebrations...

Paper Dahlias

These artisanal paper dahlias are handmade by Eduardo Dieguez Jasso in La Paz, Baja California Sur. Available in 12 different colors a bunch of paper dahlias will decorate and bright up any space...

Paper Roses

These artisanal paper roses are handcrafted with crepe paper by Eduardo Dieguez Jasso in La Paz, Baja California Sur. The paper roses come in 12 different colors..

Paper Sunflowers

These artisanal paper sunflowers made in La Paz, Baja California Sur by Eduardo Dieguez Jasso are perfect to bright up any room of the house, an office or even a summer wedding...

Assorted Paper Flowers

The assorted paper flowers bunch can be made mixing artisanal sunflowers, dahlias and roses handcrafted in crepe paper by Eduardo Dieguez Flores from La Paz, Baja California Sur.

The Adelita and Son Skeletons

The Adelita and son skeletons sculpture is a handmade and hand painted sculpture by Mario Moreno with a wire structure covered with papier mache.

The Emiliano Zapata Skeleton

The Emiliano Zapata skeleton sculpture is a handmade and hand painted sculpture by Mario Moreno with a wire structure covered with papier mache.

The Tree of Knowledge Skull

The Tree of Knowledge Skull is a wired structured and papier mache, also known as alambroide, handmade and hand painted by Mario Moreno.

The Deer Hunting Story

In this drawing Cristino Flores Medina represents the Deer Hunting Story.

The Delgadina Story

In this drawing Cristino Flores Medina represents the Delgadina Story.

The Good and Evil Story

In this drawing Cristino Flores Medina represents the Good and Evil Story.

The Jaripeo Story

In this drawing Cristino Flores Medina represents the Jaripeo Story.

The Jesus Ascencion Story

In this drawing Cristino Flores Medina represents the Jesus Ascencion Story.

The Last Supper Story

In this drawing Cristino represents The Last Supper Story.

The Mezcala Livestock Story

In this drawing Cristino Flores Medina represents the Mezcala Livestock Story.

The Nativity Scene Story

In this drawing Cristino Flores Medina represents the Nativity Scene Story.

An Old Lady Story

In this drawing Cristino Flores Medina represents an Old Lady Story.

The Snake Fright Story

In this drawing Cristino Flores Medina represents the Snake Fright Story.

The Emiliano Zapata Story

In this drawing Cristino Flores Medina represents the Emiliano Zapata Story.

The Samson Story

In this drawing Cristino Flores Medina represents the Samson Story.

Decorative Butterflies

These papier mache decorative butterflies are handmade and hand painted by a Mayan family in Izamal, Yucatan...

Mayan Hand Woven Hammocks

Mayan Hand Woven Hammocks available for sale in three different sizes and many colors

The Sermel cow was handmade and hand painted in Tonala, Jalisco by Sermel papier mache. Cute, peaceful and as beautiful as a real cow.

Sermel Dolls

Sermel Dolls are made of papier mache. Colorful and beautifully decorated with birds and flowers they were handmade and hand painted in Tonala, Jalisco. The triangular skirt dolls are among the most popular pieces made by Sermel workshop.

Sermel Duck

The Sermel duck is beautiful and straightforward just as a real duck; when you look at him you are waiting for him to quack. Handmade and hand painted in Tonala, Jalisco by Sermel Papier Mache.

Sermel Eggs

One of the most traditional and best know items from the workshop, the Sermel eggs came with their hand forged iron stands. The Sermel eggs were made of papier mache, hand molded and hand painted, featuring scenes of deer, birds and rabbit on the woods.

Sermel Elephants

Sermel elephants belong to a series of animal figures that are more natural and in which the workshop demonstrates its domain of the papier mache and painting techniques. These Sermel representations are fierce and magnificent as the real pachyderms.

Sermel Frogs

Sermel frogs are green, with big eyes and about to jump, just as any one would expect them to be. Handmade and hand painted by Sermel workshop.

Sermel Hippo and Rhino

They are scary, big and aggressive yet captivating and attractive. The Sermel Hippo and Rhino set seems just natural. A more realistic approach by Sermel the animals in this set are wonderfully sculpted and painted.

Sermel Horses

Delicate, perfectly sculpted and beautifully painted, papier mache Sermel horses represent everything the workshop is recognized for. Handmade and hand painted in Tonala

Sermel Leopards

Sermel leopards are wonderfully sculpted and carefully painted just as any other piece made by the workshop. Sermel successfully captures the soul of this playful, curios and yet dangerous felines.

Sermel Lions

The majesty and fierceness of these Sermel Lions certainly remind us of the king of the animals...

Sermel Mushrooms

Original and whimsical the papier mache Sermel mushrooms feature traditional Tonala's painting style with deer, birds and rabbits on the woods. They are handmade and hand painted like every piece made by Sermel.

Sermel Nativity Scene

Sermel Nativity Scene is handmade of papier mache and delicately painted in Tonala Jalisco. The Crèche features Virgin Mary, Saint Joseph and Baby Jesus with His crib...

Sermel Owls

These birds symbolize wisdom in many cultures and the papier mache Sermel owls sure look clever. They were handmade and hand painted in Tonala Jalisco.

Sermel Peacock

The Sermel peacock is resting on a branch, magnificent and colorful. The beautiful and delicate painting details the beauty of the real bird.

Sermel Tigers

Sermel tigers are wonderfully sculpted in different positions and in different sizes. The ferocity and beauty of these felines makes them just as charming as the real ones.

Nahuatl Painting

The Nahuatl painting from the Balsas River basin in Guerrero State is one of the most appreciated and well-known folk painting styles in Mexico...

Black Clay from Oaxaca

Black Clay from Oaxaca famous for its color, sheen and unique shapes and decorative designs is made in small village called San Bartolo Coyotepec

Multicolored Clay from Izucar de Matamoros

Multicolored clay made in Izucar de Matamoros, Puebla is best known for its tree of life candelabra and incense burners decorated with fine lines that almost look like filigree. Other pieces made in the area with the same decorative style include skulls ornate with flowers and animals, whimsical skeletons performing different actions and assorted candlesticks.

Painted Clay

Painted Clay from Guerrero. Animals, boxes and plates painted in bold colors by Nahuatl speaking artists from the Rio Balsas Basin with colorful birds, flowers and landscapes.

Pantaleon Panduro and his Pottery Legacy

Pantaleon Panduro was born in Tlaquepaque Jalisco on July 26th 1847. Gifted with an amazing talent to sculpt clay; he created human figurines and busts with extreme realism. Pantaleon never received any formal instruction but his natural talent granted him with international recognition.

Mexican Tree of Life

Mexican tree of life is the name given to a hand coiled pottery sculpture depicting the biblical tree of life; traditionally the tree sculpture would include Adam and Eve with the tempting Serpent but the themes have evolved and today is common to find trees about various subjects such as Day of the Dead and Folk Art.

Coconut masks

Coconut masks known in Spanish as Mascaras de Coco are whimsical and colorful faces, animals, suns and mermaids made of a coconut shell half by Nahuatl artists who live in the Mezcala region along the Balsas River Basin in Guerrero State.

Mexican Ironwood Carvings

Mexican ironwood carvings are made in the states of Sonora and Baja California from the tree desert ironwood (Olneya Tesota) known in the area as palo fierro. The craft was originally developed by the Seris, an indigenous group of the Sonora State.

Mexican Masks

Modern Mexican masks can be grouped in two categories: traditional masks used in celebration and ceremonial dances and decorative masks made for aesthetic purposes and usually bought by collectors or foreign tourists.

Oaxacan Wood Carvings

Oaxacan wood carvings, known in Spanish as monos de madera or alebrijes de Oaxaca have been around for a little more than 60 years. Manuel Jimenez a peasant from San Antonio Arrazola is the creator of this tradition.

Jesus Sosa Calvo

Description: Jesus Sosa Calvo is a wood carver from San Martin Tilcajete, Oaxaca known for his fine carving and delicate painting. His motifs include cats, dogs, angels, skeletons and devils.

Amate Paper Paintings

The Amate paper paintings are a folk art style that combines the paper crafting from San Pablito in Puebla and the painting from The Mezcala region on the Rio Balsas Basin in Guerrero.

Mexican Paper Flowers

Mexican Paper flowers are a very popular craft , made to decorate churches, day of the dead altars, tombs and celebrations such as weddings and quinceañeras, usually made with tissue and crepe paper.

Cristino Flores Medina

Cristino Flores Medina (1937-2007) Cristino Flores was a pioneer in amate paper painting, he began painting on brown amate colorful scenes and landscapes but soon developed a personal style.

Papel Picado

: Papel Picado is a string of tissue paper flags chiseled with different patterns and used to decorate buildings, Day of the Dead altars and streets during secular and religious celebrations in Mexico.

Paper Filigree

Paper filigree or quilling is a paper craft that consists in rolling thin strips of paper with the help of a needle point tool to form basic shapes that are glued together creating all different kinds of figurines simulating the metal filigree.

Nicolas de Jesus

Nicolas de Jesus is an internationally acclaimed engraver and painter from Ameyaltepec, a small village located in La Mezcala, a Nahuatl region on the Rio Balsas Basin in the Mexican State of Guerrero.

Saulo Moreno, Wire and Papier Mache Sculptures

Saulo Moreno Hernandez internationally known artist, created a style of his own with wire structured papier mache sculptures that he called alambroides. Vibrantly colored skeletons and animals that look alive thanks to the technique he wonderfully mastered are collectible pieces ...

Mario Moreno Contreras

Mario Moreno Contreras, son of internationally known artist Saulo Moreno was born in Tlalpujahua, Michoacan on September 15, 1989.

Papier Mache Butterflies

Papier mache butterflies are a unique folk art style created by a Mayan family from Izamal, Yucatan.

Sermel Papier Mache

Sermel is a papier mache workshop located in Tonala, Jalisco Mexico. Their style is bright and colorful and their pieces, especially animals, are painted with the traditional designs that have characterized Tonala's crafts.

Judas Burning in Mexico

La quema de Judas or The Judas burning in Mexico is a celebration held in Sabado de Gloria, Holy Saturday. Papier mache devils symbolizing Judas Iscariot stuffed with fireworks are exploded in Local Plazas in front of cheerful spectators.

Alebrijes are imaginary creatures that have elements from different animals such as dragon bodies, bat wings, wolf teeth and dog eyes.

Mayan Hammocks

The authentic Mayan hammocks are hand woven in Yucatan, Mexico using cotton or nylon thread.

Zapotec Rugs

Zapotec rugs are made of wool in Teotitlan del Valle in Oaxaca State. The town has pre-Hispanic weaving tradition and its world famous for his fine tapestries woven with Zapotec patterns.

Tzotzil Wool Animals

Wool animals are made in San Juan Chamula, Chiapas by Tzotzil women. Colorful and joyful the hand crafted animals that express the soul of their makers have quickly become a favorite among Mexican folk art lovers.

Patzcuaro gold outlined lacquerware

Patzcuaro gold outlined lacquerware is the name given to a piece of wood or a gourd lacquered either with traditional varnishes or industrial lacquers and decorated with painted flowers, birds and butterflies outlined in 23.5 k gold...

Miguel Pineda

Miguel Pineda is a Mexican enamellist internationally known for his artistic high quality enamel pieces. Especially appreciated are his reproductions of Mayan and Aztec gods and his Catholic images.

Day of the Dead History

Day of the Dead history in Mexico is traced back to pre-Hispanic days although the celebration as we know it today has little to do with the festivals held by native cultures.

Day of the Dead Flowers

Day of the Dead flowers is the name given to flowers used during the Day of the Dead Celebrations. Among these flowers are the Cempasuchil, the Terciopelo, the Gladiolus and the Alhelis.

Day of the Dead Bread

Day of the dead bread is prepared all around Mexico in the last days of October and the first days of November and is used in the altars or ofrendas (offerings) set in Day of the dead.

Day of the Dead art

Day of the Dead art are all the folk art items made for this celebration or as a consequence of it.

Day of the Dead Altars

Day of the dead altars known as altares de muertos or ofrendas (offerings) are set during the Day of the Dead celebrations on November 1 and 2 to honor the dead children and adults.

Day of the Dead in Janitzio

Janitzio is a small island in Patzcuaro Lake in the southern state of Michoacan. The small town is world famous for its traditional Day of the Dead celebration.

Day of the Dead in Mixquic

For the people in Mixquic the preparation for day of the dead begins in the middle of October, cleaning their houses, painting the houses facades and sweeping the streets and the cemetery...

Sugar Skulls

Sugar skulls candies are used during the Day of the Dead celebrations as funny treats and in some areas as ornaments and sweet offerings on the altars prepared to honor and welcome the souls of the dead.

Jose Guadalupe Posada

Jose Guadalupe Posada was a lithographer and print maker in Mexico's pre-Revolution times; he is best known for the creation of La Catrina, the skeleton lady that became the image of death in Mexican culture and is considered by scholars the father of Mexican modern art.

La Catrina was originally created by Jose Guadalupe Posada and later named and painted dressed up by Diego Rivera in one of his murals. It became an iconic figure in Mexican culture representing death and the way Mexicans face it.

Calaveras or Day of the Dead Rhymes

The Calaveras or Day of the Dead rhymes are satirical verses published in the Day of the Dead by news papers and magazines.

The Pericues

The area known today as San Jose del Cabo was aboriginally inhabited by the Pericues. Their skull morphology and recent genetic studies led by Dr. Silvia Gonzalez sugest...

Hernan Cortes Expeditions

Hernan Cortes intended to explore for the Baja California peninsula as early as 1524 as it reads in his fourth Carta de Relacion to King Charles I of Spain, datelined Tenuxtitlan, New Spain, 15 October 1524. Hernan Cortes expeditions...

Origin of the name California

It is widely accepted that the origin of the name California is Garci Rodriguez's chivalric romance, Sergas de Esplandian a story about an island called California and its inhabitants the Calafias, black amazons that lived with no men and made their weapons with gold because there was no other metal on the island.

Pirates in San Jose Del Cabo

The so called Pirates in San Jose del Cabo were English and Dutch privateers that spent their time between Cabo San Lucas bay and San Jose's Estuary seeking for Spanish galleons to loot them.

San Jose del Cabo Church

San Jose del Cabo Church is located in the town´s Historic District. San Jose´s Church has been in that location since 1840. In 1918 its roof was destroyed by a hurricane and so it was remodeled to its actual look...

San Jose del Cabo Mijares Square

San Jose del Cabo Mijares Square located in the heart of the town´s Historic District is a gathering point for locals and tourists and hostess to cultural activities all year around...

San Jose del Cabo Casa de la Cultura.

San Jose del Cabo Casa de la Cultura or Arts Center is located in the back of Mijares square at Obregon St. The building used to be the priest's house and was the commander center of the American Army troops during the Mexican-Us war in 1846...

Jardin Cabenos Ilustres

The Jardin Cabenos Ilustres is located next to the fountains at Mijares Square. It was built to honor the illustrious people that dedicated or gave their life to make Los Cabos a better place...

San Jose del Cabo City Hall.

San Jose del Cabo City Hall is located at the end of Blvd. Mijares and Doblado St. The constriction of the building began in 1888 and it was finally inaugurated in october 1927. The Watch tower was finished in 1930...

San Jose del Cabo weather

San Jose del Cabo weather forecasts, climate conditions and tips about when to visit.

San Jose del Cabo Information

San Jose del Cabo Information includes basic facts about town such as population, time zone, typical food, traditional beverages, folk art and special holidays.

Contact us

About Copal Store and the Agur Family

This page tells about Copal Store principles, foundation and history; featuring pictures of the last 21 years of the Agur's family business.

Mexican Folk Art Blog

Mexican Folk Art Blog keeps you up-to-date with all additions and changes to this site.

Copal Website Search

Copal Website Search is the place to look for that given page, particular word or specific folk art style you are looking for but can't find.

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Hello and Welcome! This site is about Mexican folk art but is also about my family and our business and the town that has seen me grown. How can that be? Stay along and find out...

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Zapotec woolen rugs are one of the popular handicrafts to purchase in Mexico. You'll find them for sale at shops throughout Mexico and also outside of the country, but the best place to buy them is in Oaxaca, where you can visit the home studios of weaving families and see all the hard work that goes into creating these works of art. Most of the Oaxacan rugs and tapestries are made in Teotitlan del Valle, a village located some 30 km east of Oaxaca City. This village of about 5000 inhabitants has rightly gained worldwide fame for its production of woolen rugs and tapestries.

There are a few other weaving villages in Oaxaca, such as Santa Ana del Valle. Visitors to Oaxaca who are interested in visiting weavers and purchasing rugs should visit these villages to see the rug making process first hand. Most of the inhabitants of these Zapotec communities speak the Zapotec language as well as Spanish, and they have maintained many of their traditions and festivities.

History of Zapotec Weaving

The village of Teotitlan del Valle has a long weaving tradition that dates back to Prehispanic times. It is known that the Zapotec people of Teotitlan paid tribute to the Aztecs in woven goods, although the weaving of that time was quite different from today. In ancient America there were no sheep, so no wool; most of the weavings were made of cotton. The tools of the trade were also very different, as there were no spinning wheels or treadle looms in ancient Mesoamerica. Most weavings were done on a backstrap loom, which is still used today in some locations.

With the arrival of the Spaniards, the weaving process was revolutionized. The Spaniards brought sheep, so weavings could be made from wool, the spinning wheel allowed the yarn to be made much more quickly and the treadle loom allowed for the creation of larger pieces than it was possible to make on the backstrap loom.

The Process

Most of the Zapotec rugs are made of wool, with a cotton warp, although some other fibers are also used on occasion. There are some very special pieces that are woven in silk. Some weavers have been experimenting with the addition of feathers to their woolen rugs, incorporating some ancient techniques.

The weavers of Teotitlan del Valle purchase wool in the market. The sheep are bred higher up in the mountains, in the Mixteca Alta area, where temperatures are colder and the wool grows thicker. They wash the wool with a root called amole (soap plant or soaproot), a natural soap which is very bitter and, according to the local weavers, serves as a natural insecticide, keeping pests away.

When the wool is clean and dry, it is carded by hand, and then spun with a spinning wheel. Then it is dyed.

Natural Dyes

In the 1970s there was a return to using natural colors for dying the wool. Some of the plant sources they use include marigolds for yellow and orange, lichen for greens, pecan shells for brown, and mesquite for black. These are locally sourced. Colors that are purchased include cochineal for reds and purples and indigo for blue.

Cochineal is considered the most important coloring. It gives a variety of tones of reds, purples, and oranges. this dye was highly valued in colonial times when it was considered "red gold" and was exported to Europe where previously there were no good permanent red dyes, so it was greatly prized. Used to color the uniforms of the British army the "Redcoats." Later used for cosmetics and food coloring. In the colonial times, it was used mostly for dying cloth. Funded the extravagantly decorated churches of Oaxaca such as Santo Domingo.

The traditional designs are based on Pre-Hispanic patterns, such as the "grecas" geometric patterns from Mitla archaeological site, and the Zapotec diamond. A wide variety of modern designs can also be found, including reproductions of works of art by famous artists such as Diego Rivera, Frida Kahlo, and more.

Determining Quality

If you're looking to purchase Zapotec woolen rugs, you should keep in mind that the quality of rugs varies widely. The price is based not just on the size, but also the complexity of the design and the overall quality of the piece. It is difficult to tell if a rug has been colored with natural or synthetic dyes. Generally, synthetic dyes produce more garish tones. The rug should have at least 20 threads per inch, but high-quality tapestries will have more. The tightness of the weave ensures that the rug will keep its shape over time. A good quality rug should lie flat and have straight edges.

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Oaxacan Weaving: Woolen Rugs Dyed With Bugs and Other Natural Colors

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Zapotec woolen rugs are one of the popular handicrafts to purchase in Mexico. You'll find them for sale at shops throughout Mexico and also outside of the country, but the best place to buy them is in Oaxaca, where you can visit the home studios of weaving families and see all the hard work that goes into creating these works of art.

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The huipil – which is most readily equated to a tunic – is commonly made from cotton, but occasionally (in places like Ocotepec and Cuquila, Oaxaca) other materials such as wool are used. Stitching three identical pieces of cloth together forms the garment, although in many communities this stitching is done using ribbons to add a level of decoration. While short blouse-like versions of this loose fitting piece of clothing are arguably most common, a huipil can technically refer to anything from a blouse to a dress and everything that falls in between. Taking the title as the most commonly worn female indigenous garment, the huipil is most often considered an everyday wear garment with more intricate, decorative versions reserved for ceremonial events.

https://theculturetrip.com/north-america/mexico/articles/a-brief-history-of-the-huipil-in-one-minute/

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https://www.etsy.com/listing/779665030

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https://www.solmexiconews.com/ojo-de-dios-tribute-to-nayarit-spiritualism/

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Sol Mexico News - Mexico News Highlights

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Ojo de Dios, Tribute to Nayarit Spiritualism
Tara A. Spears

The beautiful, handmade God's Eye yarn weaving is a religious symbol of the Huichol Indians that still live in the Sierra Madre mountain range that includes the state of Nayarit. The bright colors on the geometric shapes are more than folk art. The traditional Ojo de Dios was proudly displayed by various age groups in the recent holiday parade. Although the Huichol Indians invented this art form, other groups throughout the world have popularized this craft as a symbol for a higher power.It was a stunning display to see a mass of bold colored Ojo de Dios moving down the avenidia with yarn streamers blowing in the breeze! The high school students from Conalep had a beautiful routine twirling the God's eye to music; the reverse side had the Nayarit coat of arms.
In the Huichol spiritual practice, Ojo de Dios expresses a prayer that the "Eye of God" will watch over the individual or the person that it is made for. It is a physical representation of praying for health, fortune, and a long life. Some Christians interpret the symbol to be a prayer for "May God be with you and protect you."
Significant components: The Ojo de Dios or God's eye is a ritual tool, magical object, and cultural symbol evoking the weaving motif and its spiritual associations for the both the Huichol and Tepehuan Indians of western Mexico. The Indians believe that the God's Eye is symbolic of the power of seeing and understanding that which is unknown and unknowable. The four points of the central weaving represents earth, fire, air and water- important natural elements. In the Huichol languge, they call their God's eyes Sikuli.
The center of the eye stands for the power of seeing and understanding things we normally cannot see.
Some say it represents the cross of Jesus Christ, but originally this was not so. The Huichol people focused their worship on nature and the earth rather than a specific divine being. Other Indian tribes since have adopted the practice of making and using Ojos de Dios, and it has become a more Christian-centered item. Displaying a God's eye is to invoke wishes of health, long life, and protection.

The Ojo de Dios features four, eight or 12 sides, which are symmetrical. The sides of the object are made of wood, typically thin and flexible reeds. Yarn is then wrapped around the edges and sides to create an eye-catching pattern. In the exact middle of the Ojo de Dios is a rectangular piece covered in a contrasting color. These are typically 12 inches long, though some modern day examples are much smaller or larger, some measuring two feet or longer.

Purchasing an Ojo de Dios is bringing a touch of ancient spiritualism into your home. Its simple beauty is a charming addition to your art collection or it makes a unique gift.

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Ojo de Dios, Tribute to Nayarit Spiritualism - Sol Mexico News

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Ojo de Dios, Tribute to Nayarit Spiritualism Tara A. Spears The beautiful, handmade God's Eye yarn weaving is a religious symbol of the Huichol Indians that still live in the Sierra Madre mountain range that includes the state of Nayarit. The bright colors on the geometric shapes are more than folk art.

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If you were educated in the United States, especially in the American Southwest, you probably made Gods Eyes in school. You crossed two dowels the size of chopsticks and wove colored yarn around them to form concentric diamonds of color. You may have been told that it is a Mexican symbol of good luck or that it wards off evil spirits. Such items are sold to tourists in Mexican markets. Perhaps you have asked yourself, "Why is this the image of god's eye?" I'm excited to share with you the rich symbolic and ceremonial history of this iconic image. It isn't what you think it is.

The Huichol people of the mountains of Mexico are particularly interesting to me because they evaded colonization over and over again throughout their long history. First they evaded Chichimec marauders, then Aztec colonialists, then Spanish conquistadors. They fled their native homeland in the desert and avoided being subsumed by the Spanish by living in a mountainous region that had no natural resources the Spanish were interested in. They were able to preserve their ancient cultural heritage into modern times. The Huichol still speak the native Huichol language, practice their traditional religion, and about 1/3 to 1/2 of all Huichols are so intimately steeped in their sacred rituals that lay people (not just shamans) can perform sacred ceremonies and heal using the old ways. As such, their culture is a credible place to turn to for information about symbols that evolved in the Americas. Because of migration and diffusionism, Huichol symbology can be referenced when interpreting rock art (petroglyphs and pictographs) in the North American Southwest.

What is a God's Eye? First there was a shield. Warriors wear front shields and back shields. The front shield is something most people are familiar with. It is a round disk, held on the forearm, and is used to protect the front of the body in battle.

A back shield is also to protect the torso, but is worn like an item of clothing. Modern police people wear bullet proof vests much the same way that people used to wear protective vests made of hard leather or reeds. In Huichol spirituality, the gods also carry shields. But, first, it is important to know what I mean by a "god".

Back Shields

Huichol "gods" are not so much deities as energetic essences projected from various kinds of spiritual concepts in our known universe: sun, water, corn, birth, death. (There are about 120 Huichol gods of varying degrees of importance and power.)Each "god" embodies its own kind of subtle influence over how humans think, feel, and behave. Gods are also the faces given to the energies embodied by things in the natural world: water, sun, corn, etc. This is easy to understand. You feel totally different sitting by an ice cold stream than you do sitting under the desert sun. The essence of those two different energetic experiences are embodied in the "gods" of the Huichol world.

To call upon a specific"god" is to call upon its energetic essence of something in your known universe and ask to learn something from it or for it to lend you some of its energetic essence. You could call upon a god to lend you empathy for healing, or courage for war, or intuition for a successful hunt...

A god's eye is the portal through which a god looks at the humans or through which humans can ascend, through trance, into the dimension of that god. "Gods" don't exist in the human dimension. They exist in their own dimension. They are not concerned with human life, they are having their own experience, but they can be called upon if needed. It is difficult to catch the attention of a being from another dimension, because they are busy and very far away, on a different plane of existence. Even if they are looking directly at you, they see you as if through the wrong end of a telescope, tiny and distant. If you are human seeking the attention of a god, it is important to communicate clearly which god you are trying to call upon. You must use bright colors and images that a particular god will recognize as representing him or her. The god will look at you through the center of his/her shield, and if you make proper ceremony and leave an appropriate offering of corn or a little bit of blood, the god may come to you and bless you with his/her energy.

Enter the God's Eye made of yarn or beads or paint or carving on a rock.

How do you contact an energy that exists in another dimension? Really. If you sit down in your favorite chair and think hard about it, how would you do it? If you want to contact a god that would bring you courage (for example), who exists on another dimension, how would you attract it's attention? The Huichol understand that gods, like humans, hold shields before them, to protect them from unwanted advances. They also have holes at the center of their shields where they can see the person advancing upon them. It is through this hole or portal that the human can make contact with the god itself. The center of the God's Eye represents that portal.

The God's Eye that people make in school is the most simplistic example of a Nierika/Nieli'ka - a representation of a god. More authentic examples actually depict the image of the god being sought painted or woven or beaded onto onto a circular ritual item that contains a god's eye at its center.

Ruitual Nierikas can be placed over ceremonial cupules (see below) that have been pecked into rocks to enhance the representation of a "portal" through which the god can be reflected (as if through a mirror), as well as hold a small ceremonial offerings.

As you can now see, the "god's eye" is merely the hole at the center of a god's shield through which the the god and the human can see each other. The elementary school project with yarn and sticks is a simplistic representation of the eye, authentic eyes will contain more complex imagery that doesn't just shout "hey god!", but says something more specific like, "hey god of rain!" The Nierika below is a Nierika from the 1800's (documented by Carl Lumholtz) that requests the attention of the god of rain. Lightening, clouds and sun are all represented in this Nierika, and, importantly, there is a central, circular"hole" through which the gods and the supplicants can view one another.

Nierikas can also be square, and if they are they do not represent the round front shield, they represent the square "back shield".

Round Nierikas are often made from gourds or round pottery bowls. I've been making some of this ceremonial art of my own using traditional Huichol methods of pressing beads into beeswax in a circular bowl with a representational "god's eye" circle/hole at the center. The god's eye at the center of a votive bowl can also be a mirror that reflects the god back to the supplicant (like a crystal ball) so the supplicant can absorb the energy of that god for use in this earthly life.
Art By Angeline
Now is the time for me to completely blow your mind. This God's Eye ritual item isn't only found in Mexico, it is found, exactly the same, across the world - at least the part of the world in the vicinity of the Pacific Ocean, the biggest ocean on earth. Identical God's Eyes have been found in India (Naga people), Mexico (Huichol people) and Peru.

It is also seen on petroglyph carvings in the California desert.

If your mind is not completely and totally blown by how far and wide human symbols appear identically across the Pacific, wait until you see this faces.

Above is a Huichol woman and a Chinesco statue found in a shaft tomb in Huichol land dated between the years 300 B.C.E. to 400 C.E. "Chinesco" refers to the Chinese features of the humans depicted in the funerary statues. But one doesn't need a statue to notice the "chinesco" similarity. Just look at that woman's face! She is clearly a descendant of the Denisovan race of humans who hail from the Siberian region of the world - but the Denisovans are a conversation for another day. For now just think: seafaring boats, diffusionism, global civilization and symbols that were shared throughout the world into deep antiquity.

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The Ancient Southwest | Angeline Duran

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If you were educated in the United States, especially in the American Southwest, you probably made Gods Eyes in school. Perhaps you asked yourself, "Why is this the image of god's eye?" I'm excited to share with you the rich symbolic and ceremonial history of this iconic image.

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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 (1880s to 1910), 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.

The oldest known fabric fragments in Mexico have been found in the arid north of the country in states such as Coahuila, Chihuahua and Durango and date to approximately between 1800 and 1400 BCE. In pre-Hispanic times, the most common woven fibers in dry areas were from the yucca and palm trees, with cotton grown in the hot humid areas near the coast. It was unknown to the Aztecs until they conquered cotton growing areas and began demanding it as tribute. Then, only the upper classes were permitted to wear it. Given the important status cotton cloth had, it is often used as money. For some ceremonial garments, amate or bark paper was used.

Each of the sedentary Mesoamerican cultures had a god of weaving. Women were often buried with woven items they had made. Cortés mentions the Aztecs' skill in weaving in one of this letters to the king of Spain, in very favorable terms.

After the Spanish conquest of the Aztec Empire, the production of cloth and the wearing of clothes in Mesoamerica changed drastically. Most pre-Hispanic forms of dress and body adornment were banned by the Spanish as "uncivilized." Indigenous, European and Asian fabrics influenced Mexican cloth production by the mid colonial period. The Spanish did not favor the native cotton, nor did they find the material produced on traditional backstrap looms wide enough. New techniques and materials were introduced. Spanish modes of dress, itself a mixture of European, Asia Minor and Egyptian influences, were introduced as well. At first wool and silk fabric was imported, then sheep and silkworms as well as European foot pedal looms all by the late 1530s. By 1580, Mexico had become one of the most productive areas for wool and silk cloth. Most of the production was concentrated in the present day states of Oaxaca, Tlaxcala and Puebla. At first Spanish weavers dominated production, but they were soon replaced by native weavers who were making material cheaper. Instead of prohibiting Indian made fabric, European weavers decided instead to hire them, creating workshops. While the indigenous weavers were not paid much, the Spanish owners did make money. These workshops eventually produced enough fabric for both internal consumption and for export to Spain, the Philippines, Central America and Peru. Silk cloth production was particularly dominant from 1540 to 1580; However, the end of this period, the yearly Manila Galleon was regularly bringing cheaper silk from Asia.

While cotton cloth was not favored by the Europeans, it was still made and offered as tribute to Spanish overlords. Commercializing the fiber was difficult as the plant grows in the lowlands near the oceans and not near the manufacturing areas in the highlands, and transportation costs were high. Large cotton weaving workshops were not founded until the second half of the 17th century. Eventually, the production of this fabric as well as wool fabric filled the gap left by the disappearance of Mexican silk fabric production. Wool fabric remained important because it was favored by the upper tiers of colonial society, and because sheep could be raised near major weaving areas, such as Puebla, Querétaro, Valladolid, Acámbaro, and San Miguel de Allende.

In times past, fabric and clothing were made to last for decades, but today fabric is much cheaper and much of what clothing is bought is soon thrown away. This is mostly due to the mechanization of weaving, which has made fabric inexpensive. In Mexico, as in other parts of the world, the introduction of modern transportation and communications brought about major changes in the production and distribution of goods and in firms' management and structure. In the 19th century, industrialization affected textile production with the introduction of steam-powered machines and the efforts of French immigrants from Barcelonnette, who began to arrive in Mexico in the early 19th century. The mass production of textiles, especially cotton textiles, developed earlier than in other countries outside of Western Europe and the United States, nearing the same level as in England in the mid-18th century despite social unrest at that time. Mechanization of cloth production began in the 1830s; however, high internal taxes among states kept production facilities small and unconsolidated. While Mexican production lagged behind that of Europe, certain regions of the country such as La Laguna, in the modern states of Durango and Coahuila, became important producers of cotton fabric. The most widely produced fabric was called "manta," a natural cotton favored by many indigenous groups.

The development of steamship lines and railroad networks allowed Mexico-produced fabrics to be exported. The consolidation of power by Porfirio Díaz in the 1880s opened up business opportunities and made foreign investment possible. By the end of the 19th century, textile production and distribution was the country's largest manufacturing sector, mostly controlled by French immigrants. The immigrants worked together, forming the "Barcelonnette network." They started off with small textile mills and dry goods stores, which eventually grew into large factories and department stores, including Palacio de Hierro, which still exists. These French immigrants consolidated textile operations by the end of the 19th century, and by the start of the Mexican Revolution changed their power source from steam to electricity. They also changed textile mills from mostly family-owned organizations to more modern enterprises with professional managers and stock sold on exchanges.

Textiles is one of Mexico's more important crafts as it represents the continuation of tradition as well as its fusion with modern designs and techniques. Both pre-Hispanic and colonial era style textiles are still made in Mexico. In addition, 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:

Vegetable 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 and wool, introduced to the American continent by the conquistadors; and hard fibers native to Mexico such as ixtle, lechuguilla, reeds, palm, twigs, cotton, and willow. In indigenous regions of Mexico, women are responsible for clothing the community, a process which often begins with harvesting natural fibers and then spinning, dyeing, and weaving textiles. In various parts of Mexico, both native backstrap looms and pedal-driven looms of European origin are used to weave principally cotton and wool.

Most handcrafted textiles are produced by the sixty or so indigenous ethnic groups in Mexico, who mostly live in rural areas in the center and south of the country. In these textiles, traditional indigenous designs, and in some cases techniques still survive. One common technique in craft fabric is brocade, which allows for raised designs to be woven into the cloth. Most indigenous textiles are made at home by women and used for clothing, home use, decorative use and ceremonial use. Items include those that are hand woven, hand embroidered, knitted and more. Clothing is one of the ways that these groups distinguish themselves from each other and the world at large. Some of these garments include the huipil, the quechquemitl, tilmas, sandals and rebozos. A number of ethnic groups, such as the Nahua in central Mexico commercialize their original and traditional creations as well as produce them for domestic consumption. People in coastal areas continue to plant cotton, spin it, dye it with natural elements such as indigo.

Most of the pre-Hispanic clothing that survives is for women. These include "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.

A widely used garment in both indigenous and mixed race communities is the rebozo. This is a long rectangular shawl used both as a wrap and as a means to carry children or heavy objects tied onto the body. The rebozo came about during the colonial period, not in the pre-Hispanic era. The rebozo is a synthesis of three historical influences, the pre-Hispanic "mámatl," the Spanish mantilla and the "repacejo," an Oriental garment. This is a long rectangular piece of cloth with long fringes at both ends. Most rebozos are made with multicolored designs woven into the pieces using threads of different colors. Those of a single color are usually made of yarn or thread that has been tie-dyed to produce color variations in the final piece. This latter style is called "jaspe" or jasper and are usually woven on backstrap looms.

The rebozo has been produced mostly in central Mexico since the colonial period, with some of the best known producers in Mexico State and Michoacan. Tenancingo is one of the best known producers of craft rebozos, usually made of cotton but wool is also used. Traditional rebozos in the Lake Pátzcuaro area are often of white and blue over a black background and may be embroidered in tiny cross stitch.

Few pre-Hispanic male clothing pieces survive since many Mesoamerican males went about nude or semi nude, causing Spanish authorities to force them to adopt European shirts and pants early. This early colonial style shirts and pants have changed little in indigenous communities and are now identified with indigenous groups, especially the Tarahumara in Chihuahua, the Tacuates in Oaxaca and the Tzeltals in Chiapas. Many male garments are heavily embroidered in multiple colors. Since indigenous pants lack pockets, many men carry decorated bags called morals. The only pre-Hispanic male garment to survive is the sarape, which is used only in certain areas of Mexico.

In addition to clothing, other items are woven such as bedspreads, blankets, hats, cinches and knapsacks. The designs for these are most often woven into the fabric itself, but embroidered stars, border designs, deer, and other can be seen as well. These items may be made with various fibers include those derived from the maguey plant.

One of the most distinctive aspects of indigenous handcrafted textiles is the use of embroidery. Indigenous motifs found 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. Many of the embroidery patterns of the huipils in Oaxaca, also show pre-Hispanic influence. Flower designs are popular for embroidering women's clothing among the Otomis, Nahuas, Huastecs, Huichols and others. Spirals and curved designs appear with frequency especially in the center and south of the country.

In addition to flowers, other themes from nature in woven and embroidered designs include plants, animals such as squirrels, rabbits, deer, armadillos, doves, hummingbirds, pelicans, seagulls and fish. Mazahua embroidered belts are known for their zoomorphic designs and those of Santo Tomás Jalieza tend to have images of large plumed birds. The cloth napkins of San Mateo del Mar have images of aquatic birds such as pelicans and seagulls, with those of the Tacuates of Santiago Zacatepec have borders with many diminutive animals such as centipedes, scorpions, birds, iguanas, cats, foxes and more.

Human figures appear with relative frequency as well. They feature prominently on the embroidered napkins of San Juan Colorado and as Danza de la Pluma dancers on the cloth belts of Santo Tomás Jalieza. Patriotic symbols such as two-headed eagles, the three colors of the Mexican flag and the eagle with serpent crest. These are most prevalent in the central region of the country among the Otomis, Nahuas, Huastecos, Huicholes and others. Christian symbols such as the cross, virgins, saints, angels and other elements were introduced by evangelists in the early colonial period. These appear on small and large pieces such as men's shirts among the Tzotzil in Chiapas, in the fabrics of San Miguel Ameyalco, which feature churches, and the appearance of the Virgin of Guadalupe in many textiles in the Sierra Norte of Puebla.

Popular sayings or phrases also appear especially in the textiles of the Purépecha around Lake Pátzcuaro and in the state of Puebla.

Two types of looms are employed in the making are handcrafted fabrics, the pre-Hispanic backstrap loom and the introduced European foot pedal loom. Traditionally, weaving, especially on 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. Although considered primitive, the backstrap loom is versatile and allows for different techniques and combinations of techniques, some of which can be very complicated. It allows for the combining of different fibers such as cotton with wool or silk. 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. The backstrap loom is most prevalent in the south of the country.

The foot pedal loom was brought to Mexico after the Conquest. Unlike pieces done on backstrap looms, pieces done on these machines have traditionally been done by men with wool being the favored fiber. This type of loom is most extensively used in the center and north of the country. The principal advantage of this loom is that it allows for pieces of greater width than backstrap looms and has been used to create sarapes, rugs, blankets and more.

Two states that continue to have significant handcrafted textile production are Oaxaca and Mexico State. Oaxaca is known for its variety of handcrafted textiles including rugs, rebozos, tablecloths and traditional clothing such as huipils. These are made backstrap looms or foot pedal looms. In Mexico State craft pieces are mostly produced in Jiquipilco, Tejupilco de Hidalgo, Temascaltepec de González, Temoaya, Valle de Bravo, Zacazonapan, Toluca and Tenancingo producing napkins, tablecloths, sheets, kitchen items, clothing, bathroom items, rebozos and rugs.

Both states also are significant producers of rugs. The making of knotted rugs by the Otomi in Mexico State is relatively recent. It began in 1969 when Ernesto Fernández Hurtado of the Bank of Mexico decided to promote a pilot center in Temoaya for the study and manufacture of this type of rug using traditional Otomi designs. Today, these rugs are a distinctive feature in Mexico State crafts. The rugs are made with 100% virgin wool and have an average knot density of 140,000 m2. There are about 21 different designs offered with 250 variations in colors and size. Most are sold in upper-class neighborhoods of Mexico City, but due to the problem of cheap imitations, some vendors only sell from their workshops.

Teotitlán del Valle in Oaxaca is known for its woven rugs. Most producers make their rugs on foot pedal looms using wool dyed with natural materials such as indigo and the cochineal bug. Rugs are also produced in Mitla, Santa Ana del Valle and Tlacolula de Matamoros along with blankets and a type of sarape. One distinguishing feature of Oaxaca rug production is the use of the cochineal insect. This insect has been used since pre-Hispanic times to dye fiber, producing colors ranging from purple to yellow, varying depending on what the ingredients, such as certain flowers or lime juice, are added. For a time, the use of natural dyes was threatened by cheaper synthetics but the use of natural dyes has made a comeback.

After the Mexican Revolution, references to native Mexican cultures became fashionable, including arts crafts food and regional clothing. This was expressed in the arts by those such as Diego Rivera and Dr. Atl. Since that time, there have been a number of efforts to maintain and expand the textile producing traditions, especially of the south of Mexico. The Textile Museum has a collection of 4,000 pieces and is located in the former monastery of San Pablo in the city of Oaxaca. The museum was opened in 2008 and sponsored by the Alfredo Harp Helú Foundation. The pieces include modern, colonial and pre-Hispanic textiles. Clothing items include huipils, enredos, quechquemilts, skirts, rugs and wall hangings. The collection is in three divisions Textiles of Oaxaca, Textiles of Mexico and Textiles of the World.

Sna' Jolobil, or House of the Textiles in the Tzotzil language, is a cooperative of more than 600 Tzotzil and Tzeltal women in 12 municipalities in Chiapas based in San Cristóbal de las Casas. It was founded to promote and elevate the textile crafts, especially those produced on backstrap looms, with the aim of preserving traditional techniques and designs as well as promoting the economic fortunes of women weavers. The organization has a collection of antique huipils available for study and reproduction as well as workshops in weaving and producing vegetable dyes. The organization has been successful in attracting more young people into the craft. In 1986, it received the Premio Nacional de Ciencias y Artes (National Prize of Sciences and the Artes) and numerous members have earned individual awards for their work.

Federal agencies such as FONART and various state agencies have their own promotional efforts including annual crafts contests and the recognition of masters in various fields, including textiles. Florentina López de Jesús is an Amusgo from Xochistlahuaca, Guerrero. She learned to weave from her mother at six years of age as well as to prepare raw cotton and spin it into yarn. She continued to weave as well as to do other jobs to help out her family. As an adult she began to make pieces specifically for sale such as tablecloths, placemats, rebozos and huipils, traveling to Ometepec to market. Her work caught the attention of FONART in between 1969 and 1971, which led to her becoming a member of the La Flor de Xochistlahuaca artisans' cooperative. Since then, she has given workshops to people in her region as well as the Curso de Tintes Naturales sobre Algodon (Natural Dyes for Cotton Course) in 1994 and has promoted the use of brown cotton called "coyochi." Her work has won a number of awards including 2nd place Gran Premio de Arte Popular, FONART in 1987, 1st place Gran Premio de Arte Popular, FONART in 1991 and Premio Nacional de Artesanias de SECOFI in 1993.

Handcrafted textiles have also been promoted as a tourist attraction in its own right. This is especially true in the state of Chiapas. Mexican handcrafted textiles have experienced a resurgence of interest due to the reassessment of them as a luxury item and the rising interest in some consumer sectors in locally crafted wares. Many of these textiles are being incorporated into items sold by globally recognized brands. Louis Vuitton, who has manufacturing facilities in Mexico, sponsored an exhibition called "Historias de Tradición artesanal" (Stories of Artisan Tradition) at the Museo de Arte Popular in Mexico City.

However, handcrafted textiles not only compete with other types of imported textiles, but also countries like China and Guatemala are producing imitations of traditional Mexican indigenous designs. These can be found both inside and outside of Mexico. The Asociacion de Mujeres Empresarias in Chiapas considers the imitations to be a form of trademark infringement and puts native weavers livelihoods at risk. Organizations such as this work to have indigenous designs marked as intangible world heritage to protect it with markers for authenticity-much as is done for tequila or Talavera pottery.

Modern textile production in Mexico dates back to the era of Porfirio Díaz from the 1880s to 1910. Today, textile production plays an important role in the gross domestic product of Mexico, since it is exported and generates employment. Textile production includes the making of thread, cloth and decoration, in both natural and synthetic fibers. It accounts for about 1.2% of the total GDP and 7.1% of the manufacturing sector. It is the fourth largest manufacturing activity in the country. From the end of the Mexican Revolution to the mid-2000s, the sector saw steady growth. Much of the growth in the last four decades was spearheaded by "maquiladoras" or manufacturing plants along the northern border, which can import raw materials duty-free to make exportable products.

Another important textile area is the state of Guanajuato, which is Mexico's third largest producer. Some of these products include clothing, thread and sewing fabric, sheets, tablecloths, decorative pillows, rugs, carpets and tarps. Clothing items include jeans, other pants, blouses, tshirts, sweaters, vests, jackets, skirts and others, for national and international brands such as Liverpool, Chipieco, Carhartt, Echojeans, Polo Ralph Lauren, JCPenney, Old Navy, Timberland and more.

However, in the mid-2000s, the sector began to decline, mostly due to foreign competition. A significant number of jobs have been lost since 2003 as well as a number of factories. Many of these operations and jobs are shifting to Asia.

The U.S. is the largest textile importer and almost all textile producing countries compete for a share of this market. Mexico ranks fourth in textile exports to the U.S. according to OTEXA. Mexico's advantages in this market are its proximity and favorable tariffs, especially since the passage of NAFTA. In 2004, all restrictions and quotas on Mexican textiles were lifted in the United States.

However, textile exports to the U.S. fell from more than 11 billion dollars in 2004 to just over 10 billion in 2005, as the U.S. imports more from other countries, who produce more cheaply.

From January through September 2004, U.S. imports of Mexican-made apparel reached $5.069 billion, 4.3% below the total registered for the same period in 2003, according to the CNIV, Mexico's textile industry association. Meanwhile, U.S. imports of Chinese garments grew 21.7% during that period to reach $6.69 billion Yet Mexican-made products began to lose their competitiveness in the U.S. because taxes and tariffs on imports from other countries were also dropping.

While the U.S. is by far the major market for Mexican textiles, Mexico has free-trade pacts with 43 countries, one of the largest such networks in the world. Until very recently, this did not include China, which has been seen as an "enemy" rather than as a potential trading partner. There has been changes in this as Mexico seeks to expand business ties with China, especially in attracting capital. In the Americas, Mexico is part of the Central America Free Trade Agreement, and recently Mexico and Peru struck a deal for the import and export of clothing and other textiles. Mexico's textile exports to Canada increased fivefold by the mid-2000s, raising its market share in that country to five percent. Export growth to Canada has slowed since then but remains fairly strong.

Nine major chain stores control 40% of the brick-and-mortar sales, but approximately 58% of the domestic clothing market obtains its goods through illegal channels, either through smuggling, robbery or the evasion of taxes. Much of the illegal Chinese textiles sold in Mexico enter through the United States, where labels are changed to avoid Mexico's 533% tariff on Chinese goods.

Mexico's international competitors

In addition to those from China, Mexican textile exports face competition from India, Bangladesh, Pakistan, Indonesia, Vietnam, Hong Kong and Central America. In 2000, Mexican textiles held around 12% of the U.S. market while Indian textiles 3.84%. Other Asian countries with presence include Hong Kong (5.7%), Indonesia (5.3), Vietnam and Bangladesh (5% each) .

Much of the reason for this is that labor costs are significantly higher in Mexico than in Asia. Mexico also has regulations that inhibit investment, as well as stricter environmental laws. Mexican fabrics cost 3.45 dollars per square meter while Chinese textiles cost 2.69 dollars. While the cost of Mexican fabric has increased 2%, those from a number of other countries in Asia and Central America have gone down. One major factor behind this is Mexico's relatively expensive labor costs. Another reason Asian products are cheaper is that utilities, such as electricity, gas and transport, are cheaper.

China is Mexico's most important competitor. Not only are products from this country cheaper, the supply chain in China is more organized than in Mexico. For example, most threads used to sew clothing are produced in China; Mexico produces little, creating the need to import such. This can cause production delays. Mexico is also mostly limited to the making of basic items with little added value instead of more fashionable products that sell for more. In addition, Mexico also has protectionist policies designed to inhibit foreign investment and ownership of textile production facilities in the country.

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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.

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Copal, Mexican Folk Art at its best Online.

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Mexican textiles great variety shows the country's cultural diversity. The different materials, looms, weaving techniques, embroidery styles and colors used in Mexican textiles come from the combination of the Mesoamerican and Spanish cultures with some oriental influences.

History
As in every culture in the world, Mexican clothes and textiles have been influenced by the available elements, its history and the local customs.

Textiles in Pre-Columbian Times
The earliest vestiges of Mesoamerican textiles were found in the northern part of the country and date from 1800 BC. These remains were woven withchichicaste fiber, a hard fiber similar to the European linen.

The only fibers available in the area were vegetable, so the Mesoamericans used cotton, maguey, lechuguilla and chichicastle to weave their fabrics.

In most of Mesoamerican cultures cotton (the only soft fiber available) was used solely by the nobles and priests while the common people dressed with cloths woven with hard fibers.

The textiles were woven in a back strap loom and due to the great variety of mineral, vegetable and animal dyes available they were very colorful.

Embroidery was used to decorate clothes with gold and silver threads, shells and feathers. A fabric woven with hare fur and cotton was used for warmer garments.

Feathers from exotic birds such as the quetzal were glued to vegetable papers creating big wall hangings used in temples and palaces. Feather decorated fabrics were worn only by nobles, warriors and priests, and the craftsmen that made them were much appreciated.

Weaving was considered a sacred gift from the gods to women, when a baby girl was born she was given her weaving tools and when women died they were buried with their tools.

Pre-Hispanic huipil or tunic

The Colonial Times
The Spanish arrival brought to the area many changes that were reflected in the textile production and dressing styles.

Spaniards brought along wool, silk and the foot loom. The new materials and techniques soon spread around the native people. Men began to weave using the foot loom to make cotton and wool fabrics, and women adapted the wool threads to their back strap loom.

Cotton was more expensive to produce so it was used only by the Spaniards, while the rest of the people used wool to weave their clothing.

With the new social rules and the new religion clothing styles changed, most men, especially the ones living in the cities and having a commercial contact with the Spaniards, had to wear long trousers and they adapted the European shirt to a button-less shirt called coton.

Women's clothing did not change as much and as fast as men´s, they continued to use the huipil with a few adjustments, the enredo and the quechquemitl, but most of them were made of wool instead of maguey fibers.

Quechquemitl from the Otomi ethnic group

Some women used Spanish blouses or skirts combined with native garments. The rebozo was created in those days and was used both by Spanish and native women.

The sombrero was adopted by the natives but instead of making it out of cloth like the Spaniards did, they wove it from palm tree leaves called petate.

The sarape, a wool blanket used in the north to cover from the cold and the jorongo were created in during the colonial times.

Mexican Textiles from the Independence to the Revolution

After the independence war the social adjustments created different clothing styles, the most significant ones were:

The China Poblana gown, wore by women that worked in the cities as maids or vendors created this new clothing style that combines Indian, Spanish and oriental elements.

The Charro gown; once the Spanish left the new upper classes enjoyed horse riding and developed a suitable gown called traje de charro. A charro soon became a man that was a skilled horse rider.

Charro and China Poblana garments

Mexican Textiles from the Revolution War to Present Days
After the Revolution War there was a national attempt to create a Mexican identity based on the country's cultural heritage, so in the early post revolution years certain elements like the rebozo and the charro gown were widely used.

With time people in the cities adopted a European dressing style and only few indigenous groups and people from the countryside continue to wear traditional garments.

The Folk Dance of every region in Mexico is performed with beautiful gowns called traje regional; each region has a particular style based in their history and cultural backgrounds. Folk Dance has helped preserve the traditional music and clothing.

Veracruz State regional dance

There are 64 different Indigenous groups in the country; most of them live in central and southern Mexico.

Their clothing styles represent their culture and the place where they are from. Although many of these groups wear the same traditional garments, ( huipiles, quechquemitles, enredos, cotones and hats) the colors, the embroidery patterns and the weaving techniques are different.

Most of the clothing production in these communities used to be for their own use but in the last years the selling of woven and embroidered items have become an important source of income.

Mexican Textiles and Folk Art
The following styles are woven for ornamental or domestic purposes and reflect the cultural background of the weavers who made them:

Zapotec rugs are made of wool in Teotitlan del Valle in Oaxaca. With a pre-Hispanic weaving tradition the fine tapestries and wall hangings woven with Zapotec patterns are world famous.

Mayan Hammocks are made in Yucatan State and are hand woven with cotton, nylon or the traditional sisal fiber, mostly by women.

Otomi Hand Embroidery
Otomi women from Tenango de Noria do colorful embroidery on cotton or linen cloths. Animals like birds and deer and plants as the maize are delicately embroidered by hand in multiple or single colors decorating table cloths, pillow cases, quilts and clothing. These beautiful Mexican textiles have been reproduced by fine couture companies as Hermes.

These innocent and whimsical wool animals are made in San Juan Chamula, Chiapas by Tzotzil women. As many Indigenous communities in the country the Tzotzil have traditional clothing made of wool by the women. As a way to use clothing remnants the women began making stuff animals for their children and soon began selling them as a craft.

Textiles from Chiapas Highlands
Hand woven and hand embroidered fabrics that represent the culture and history of the Mayan people that live in this area are used to make all kind of personal and decorative garments.

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Please mouseover to get additional information. Mexican textiles great variety shows the country's cultural diversity. The different materials, looms, weaving techniques, embroidery styles and colors used in Mexican textiles come from the combination of the Mesoamerican and Spanish cultures with some oriental influences.

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https://www.historicalresearchupdate.com/stories/the-resilience-of-mexican-weaving/

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https://mna.inah.gob.mx/colecciones_detalle_ws.php?inventario=594268&id=43043&sala=7

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https://mna.inah.gob.mx/colecciones_detalle_ws.php?inventario=162021&sala=3&id=44255

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https://mna.inah.gob.mx/colecciones_detalle_ws.php?inventario=394263&sala=3&id=44498

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https://mna.inah.gob.mx/colecciones_detalle_ws.php?inventario=35926&sala=5&id=42028

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https://mna.inah.gob.mx/colecciones_detalle_ws.php?inventario=29916&sala=10&id=5524

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https://mna.inah.gob.mx/colecciones_detalle_ws.php?inventario=68704&id=45352&sala=2

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https://mna.inah.gob.mx/colecciones_detalle_ws.php?inventario=163585&id=41782&sala=3

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Aztec clothing are the fiber of clothing that were worn by the Aztecs peoples during their time that varied based on aspects such as social standing and gender. The garments worn by Aztec peoples were also worn by other pre-Columbian peoples of central Mexico who shared similar cultural characteristics. The strict sumptuary laws present in Aztec society had dictated the type of fiber and ornamentation present in clothing, as well as how that clothing was worn based on class. Clothing and cloth were immensely significant in the culture.

Different types of fibers held different levels of prestige among the social groups of the Aztec people. Cloth and its many distinct implications give way to its notability within the Aztec society in relations to facets such as both gender and ethnic identity, as well as a ritualistic and social function. The significance of the weaving process of making clothing is also seen in the motifs and iconography made that is present in other art produced. One primary example is seen in the incorporation of the weaving tool in the custom of specific deities.

https://en.wikipedia.org/wiki/Aztec_clothing

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https://upload.wikimedia.org/wikipedia/commons/6/60/Codex_Mendoza_folio_60r.jpg

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https://americanindian.si.edu/collections-search/objects/NMAI_180583

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https://americanindian.si.edu/collections-search/objects/NMAI_197243

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https://americanindian.si.edu/collections-search/objects/NMAI_122140

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https://americanindian.si.edu/collections-search/objects/NMAI_31138

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https://americanindian.si.edu/collections-search/objects/NMAI_153154

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https://americanindian.si.edu/collections-search/objects/NMAI_164412

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https://americanindian.si.edu/collections-search/objects/NMAI_216307

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https://americanindian.si.edu/collections-search/objects/NMAI_109168

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https://americanindian.si.edu/collections-search/objects/NMAI_189905

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Bead weaving
https://americanindian.si.edu/collections-search/objects/NMAI_244158

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Said to have been part of a beaded mantle or cape made for Tah-yah-naw-hun-le Ratler (Cherokee) and carried on the Trail of Tears to Oklahoma in the 1830s

https://americanindian.si.edu/collections-search/objects/NMAI_412939

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https://www.morristhompsoncenter.org/

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https://www.sheldonmuseum.org/vignette/chilkat-blanket/

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The art of Chilkat Blanket weaving originated with the Tsimshian people (near Wrangell) but later spread to the Tlingits through trade and marriage. The Chilkat Tlingits (near Haines) who developed their own design style became the best and most copious weavers. These blankets, requiring a year of hard work to make, were highly sought by northwest coast Indian nobility long before the first explorers came to this region.

The patterns were a highly stylized form of art often representing clan symbols and natural forms in an abstract geometric pattern. Animals were portrayed as if sliced down the center and laid out flat. The small circles are ball and socket joints. Eyes were often used as space fillers. The men designed the pattern and painted the abstract figures on a wooden “pattern board.” As the blanket was bilateral, only half the pattern was painted in life-size dimensions. The blanket pattern could be interpreted in a variety of ways, however only the man who designed the blanket knew the true legend.

https://www.sheldonmuseum.org/vignette/chilkat-blanket/

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https://www.sheldonmuseum.org/vignette/chilkat-blanket/

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https://en.wikipedia.org/wiki/File:Chilkat_blanket_univ_alaska_museum.jpg

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https://en.wikipedia.org/wiki/File:Lombards_Museum_144.JPG

# data[].attributes.body
http://blog.mirrixlooms.com/an-introduction-to-navajo-weaving/

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https://statemuseum.arizona.edu/online-exhibit/19-century-navajo-weaving-asm/navajo-weaving-methods

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http://blog.mirrixlooms.com/an-introduction-to-navajo-weaving/

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https://www.navajorug.com/collections/historic?sort_by=price-ascending

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The gift of Spider Woman: Symbols and motifs in Navajo weavings
by Jerry Freund
For the traditional Navajo family, the Holy People who created the Navajo were very powerful deities.

They traveled on the "sun's rays" and descended into the world on "lightning bolts." It was Changing Woman who taught the Navajo how to live in "harmony," but it was Spider Woman who gave them secrets to find their way in this world.

To the traditional Navajo weaver, Spider Woman provided the framework to live and weave beautiful things - the essence of being Navajo.

Women are the weavers in traditional Navajo society. Although this cultural value is fading somewhat today with a few young men taking up the challenge, women still dominate the area of weaving.

The designs in Navajo weavings have always been a personal expression of the weaver. However, we can make some educated guesses based upon historical research and interviews with Navajo elders.

Representing the teachings of Spider Woman

Prior to 1900, old Navajo wearing blankets often carried symbols or motifs that were attached to the teachings of Spider Woman.

Perhaps the symbol or motif that dominated those early blankets was the cross.

Many a Navajo grandmother will tell you that crosses represent Spider Woman. The symbol of Spider Woman was given to the earliest weavers to remember her teachings and wisdom.

For some weavers, placing the symbol of Spider Woman (crosses) within a graphic form of a diamond, triangle or square was risky business. Spider Woman was not of this world and her spirit should not be entrapped within the form.

Therefore in some Navajo weavings, the cross will have an actual hole or sometimes a graphic hole in the cross.

Depicting the Navajo homeland

Perhaps two of the earliest design elements to be utilized by Navajo weavers are the diamond and the triangle. These elements were incorporated into old wearing blankets and continue in the modern day Navajo rugs.

Again, we cannot be too sure of some of the meanings, but many Navajo grandmothers will tell you that the diamond is a symbol of the Dinétah or Navajo homeland with its four sacred corners that are marked by the four sacred mountains.

Triangles are basic building blocks of Navajo design. Placed on top of each other, triangles can become a series of prayer feathers or songs or become the backbone of a mountain Yei figure.

About the "Spirit line"

After the year 1900, the "spirit line" became a popular element for many traditional Navajo weavers.

This occurred because traders requested weavers to place borders around their weavings. By this time, most weavers were selling their weavings through the trading post system.

The traditional weaver became very concerned about trapping their creative spirit within the weaving and not being able to weave in the future.

The "spirit line" is a small strand of yarn of contrasting color that flows from the inner design element of the weaving to the outer edge. The custom continues today in many contemporary Navajo rugs.

Controversy: The "whirling logs"

A design element that appeared in Navajo weaving from the late 19th century and continued until the late 1930s is the Navajo "whirling logs."

This design is recognized by Anglos as a swastika and caused great controversy in the late 1930s. The Navajo people chose not to include it in future weavings after this period.

This symbol comes from the Navajo origin myth and was incorporated into weavings as a good luck symbol for gifts or for sale at trading posts.

Lighting motifs reflect mythology

Lightning was the most powerful symbol in the world of the Navajo.

Not only was lightning powerful in the real world, it also carried great strength in Navajo weavings. In Navajo mythology, lightning was used to make weaving tools but it could also help to define the power of an individual blanket or rug.

Small "zigzags" in the four corners of a weaving could lend energy to the overall design. There exists no more powerful symbol in the Eyedazzler or Germantown period of Navajo weaving than the lightning bolts that streak across the face of the weaving and grab the eyes of the beholder.

Other inspirations from Navajo life

Petroglyphs, pictographs and pottery shards inspired traditional Navajo weavers.

The many canyons where Navajos lived contain ancient Anasazi ruins and historic Navajo pictographs. Beautiful pottery shards could always be found at the feet of most Navajo weavers.

Such motifs would appear in the borders or central design element of Navajo weavings.

The use of color

Colors were also important to Navajo weavers.

The variety of colors was limited in the early days to browns, blacks, whites, grays and a little indigo blue. Occasionally, red was used but was obtained with great difficulty.

These colors gave enormous energy to the early Navajo Chiefs Blankets. Later years saw the introduction of synthetic and vegetable dyes, and Germantown yarns that gave the Navjao weaver a whole new palette of creative colors.

Cultural influences

One cannot separate Navajo weavings from the culture in which they were created.

As outside influences began to penetrate the world of the traditional Navajo weaver, patterns, symbols and colors have constantly evolved and changed.

Over the three-hundred-year history of weaving, Spider Woman remains a constant reminder of traditional Navjao wisdom and her many gifts to the Navajo people.

To learn more

Medicine Man Gallery offers one of the best places to see the great weavings of traditional weavers.

The gallery has available the finest Navajo weavings from 1860 to 1960. We encourage you to visit the gallery and experience the gift of Spider Woman.

References

On the Trail of Spider Woman: Petroglyphs, Pictographs and Myths of the Southwest, Carol Patterson-Rudolph, 1997, Ancient City Press, Santa Fe, New Mexico

Cultural Code Words of the Navajo People, Lafayette de Mente Boyé, 2005, Phoenix Books/Publishers

Sacred Land, Sacred View: Navajo Perceptions of the Four Corners, Robert McPherson, 1992, Charles Redd Center, Brigham Young University

Weaving is Life: Navajo Weavings from the Edwin L. and Ruth E. Kennedy Southwest Native American Collection, edited by Jennifer McLerran, 2006, Kennedy Museum of Art, Ohio University, Athens, OH

This article was excerpted from Canyon Road Arts: The Complete Visitors Guide to Arts, Dining and Santa Fe Lifestyle, Vol 4, 2008-2009, pages 102-107. Canyon Road Arts is published by Medicine Man Gallery. All rights reserved.

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by Jerry Freund For the traditional Navajo family, the Holy People who created the Navajo were very powerful deities. They traveled on the "sun's rays" and descended into the world on "lightning bolts." It was Changing Woman who taught the Navajo how to live in "harmony," but it was Spider Woman who gave them secrets to find their way in this world.

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A beautifully woven Navajo wool rug-along with silver and turquoise jewelry, pottery, and dried red chile ristras-is one of the more enduring and unique symbols of the American Southwest. But the Navajo rug's ubiquitous-ness on the shelves of trading posts and highway gift shops across the region can sometimes obscure its rich (and sometimes complicated) story of nearly 800 years of cultural adaptation and survival.

Nobody is really certain when the Navajo first took up the art of weaving. Some anthropologists believe that it may have started when the Navajo first arrived in what is today the Southwest in approximately A.D. 1300. The Navajo (or Diné - "The People") are an Athabaskan people who trace their language and history back thousands of years to northwestern Canada and eastern Alaska.

They were originally a nomadic hunter-gatherer people. But according to some anthropologists, after arriving in what is today the Four Corners region, the Navajo encountered the Ancestral Pueblo people from whom they learned to cultivate crops like corn, beans, and squash-and who may have taught them how to weave cotton into clothing and blankets.

Other experts, though, believe that what you might be able to clearly identify as Navajo weaving didn't begin until the arrival of the Spanish conquistadors (and their sheep) in the 16th Century. The general lack of surviving pre-Hispanic Pueblo textiles may make the question as to when the Navajo started weaving nearly impossible to answer with any certainty.

In any case, the history of modern Navajo weaving is generally accepted to have begun with the arrival of Spanish sheep in the late 1600's. The Spanish conquistadors brought flocks of Iberian Churra sheep with them as they made their way across the region-a particular breed of sheep that was well-suited to the arid region, and produced wool that could be easily spun into long, useful yarns.

Prior to the middle of the 19th century, the primary colors for Navajo weaving were mostly natural brown, white, and indigo. By the middle of the 1800's the palette expanded to include red, black, green, yellow, and gray-all obtained either from natural sources on Navajo lands or via a circuitous trade route that stretched all the way back to Europe.

Weaving plays an important role in the Navajo creation myth, in which a spirit known as "Spider Woman" taught the Navajo how to build and use the first loom from sky, earth, sun, crystals, and lightning. But Navajo rugs aren't part of Diné religious ceremonies (so beware of items labeled as "Navajo Prayer Rugs"). In fact, there remains a long-lingering controversy among some over the use of traditional religious symbols and motifs in rugs made for commercial sale-especially to non-Navajo people.

The first examples of existing Navajo blankets and rugs often featured straight lines, or occasionally diamond or terrace designs. With the greater arrival of white settlers-first after the opening of the Santa Fe Trail in 1822 and then the arrival of the railroad (which brought in cheaper synthetic dyes) in the 1880's, the designs became decidedly more colorful.

In terms of design, while many Navajo weavers have taken their inspiration from traditional Navajo cultural motifs, they have also pulled inspiration from many outside sources. In fact, a popular design found on many Navajo rugs found around the turn of the 20th century actually originated (via trading post operators) in the Caucasus region of far southeastern Europe, where traditional weavers worked with many of the same resources as their Navajo counterparts on the other side of the globe.

Today, there are several different "schools" of Navajo weaving-each with their own unique designs and colors based on where they are made in Navajo country. These schools include Ganado Red, Two Grey Hills, Red Mesa, Tec Nos Pos, Klagetoh, Chinle, Crystal, Burntwater, and Dilcon.

The Crow Canyon Archaeological Center's Navajo Weaving Workshop -part of our Cultural Explorations Travel Seminars-will take participants to meet world-renown 5th generation master weavers Barbara Jean Teller Ornelas and Lynda Teller Pete, who specialize in the Two Grey Hills school of weaving. This particular style is identified by a intricate double-diamond geometric design, which the Teller sisters learned while growing up at the Two Grey Hills Trading Post, where their father Sam Teller worked and their mother, Ruth, demonstrated traditional Navajo weaving.

Participants on this once-in-a-lifetime travel opportunity (which is also available for college credit) will not only get to meet the Teller sisters, but can create their own weaving masterpieces to take home.

There's still time to sign up for this incredible opportunity to learn from the Teller sisters-but spots are filling fast! For more information on Crow Canyon's Navajo Weaving Workshop, click here or call 800-422-8975, ext. 457.

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Explore the History and Culture of Navajo Weaving

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A beautifully woven Navajo wool rug-along with silver and turquoise jewelry, pottery, and dried red chile ristras-is one of the more enduring and unique symbols of the American Southwest. But the Navajo rug's ubiquitous-ness on the shelves of trading posts and highway gift shops

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Nobody is really certain when the Navajo first took up the art of weaving. Some anthropologists believe that it may have started when the Navajo first arrived in what is today the Southwest in approximately A.D. 1300. Other experts, though, believe that what you might be able to clearly identify as Navajo weaving didn’t begin until the arrival of the Spanish conquistadors (and their sheep) in the 16th Century. The general lack of surviving pre-Hispanic Pueblo textiles may make the question as to when the Navajo started weaving nearly impossible to answer with any certainty.

Weaving plays an important role in the Navajo creation myth, in which a spirit known as "Spider Woman" taught the Navajo how to build and use the first loom from sky, earth, sun, crystals, and lightning. The first examples of existing Navajo blankets and rugs often featured straight lines, or occasionally diamond or terrace designs. With the greater arrival of white settlers—first after the opening of the Santa Fe Trail in 1822 and then the arrival of the railroad (which brought in cheaper synthetic dyes) in the 1880's, the designs became decidedly more colorful.

In terms of design, while many Navajo weavers have taken their inspiration from traditional Navajo cultural motifs, they have also pulled inspiration from many outside sources. In fact, a popular design found on many Navajo rugs found around the turn of the 20th century actually originated (via trading post operators) in the Caucasus region of far southeastern Europe, where traditional weavers worked with many of the same resources as their Navajo counterparts on the other side of the globe.

https://www.crowcanyon.org/index.php/a-look-at-the-history-and-culture-of-navajo-weaving