Seldom Seen| Latin America

Collections Seldom Seen
Latin American Section
Dr. Barbara Mauldin, Curator

This section of Collections Seldom Seen is divided into four sections: ceramic vessels, lacquerware, jewelry and literatura de cordel with woodblock prints. The fabulous forms of the Mexican ceramics were created to hold pulque and mescal, pre-Hispanic alcoholic beverages that are made from agave or maguey. The monkey jugs from Oaxaca have holes in their heads to pour from. Two of the pieces of green glazed ware from Michoacán are called Piña, referring to the pineapple shape which inspire their forms. Each of the spikes are made and applied by hand and the green glaze is technically very difficult to work with. The influence of animal and floral forms are in evidence and often convey a sense of humor and whimsy.

LEFT: Mescal Bottle, Mexico mid 20th century

Lacquerware refers to decorated objects made out of wood or often dried gourds. This folk art form incorporates elements of pre-Hispanic, European and Chinese traditions which came together in colonial Mexico and continue to develop today. First the wood or gourd surface is coated with a mixture of chía seed oil, made from the seeds of the Salvia plant, and aje, a waxy fat from an insect. Then a layer of earth is placed on top to absorb the oil. This “earth varnish” or lacquer is smoothed out and polished with a stone and the heel of the hand. This process may be repeated a number of times. Pigments can be added to create the background color. Recently, artists have begun to mix the background color in with the oil and have applied it with a brush. After it is dried, which may take several days, the decoration is applied. There are three types of decoration, painted, incised and inlaid. Painted lacquerware employs pigments mixed with chía oil and applied with a brush to create pictorial scenes and patterns. Incised lacquerware utilizes negative space and multiple layers of colored lacquer. Decorative motifs are carved away to reveal another color of lacquer. Inlaid lacquerware is also carved. Deeper levels of the wood or gourd are revealed and then meticulously painted. All three techniques have the same final step, another layer of chía oil and/or aje are applied to the surface which is rubbed with a cloth to create a luster and protect the decorations.

mexican lacquerware tray

Lacquerware objects are often utilitarian. In Guerrero, Mexico people sometimes wear their lacquerware bowls inverted in top of their heads like caps, an effective way to protect their heads while carrying their bowl to the next place to drink. Some lacquerware trunks were made as dowry chests for women and include the name of the woman in the painted design.

ABOVE: Tray, Mexico early 20th century

tupus, Bolivia

ABOVE: Tupus, Bolivia, late 19th century

The Mapuche make large silver earrings in simple geometric shapes. In the past the earrings were so heavy that special attachments were made to prevent tearing the earlobe.

Ethnic jewelry from Latin America also predates the Spanish. In the Andean regions of Peru and Bolivia, women wear tupus, pairs of silver pins with a decorative flat shape at the top which tapers down into a long thin stem that pierces the layers of their shawls and holds them in place. Originally a cactus spine served that purpose. Tupus can be large and ornamented, indicating class and position within the culture. A wedding tupu has three that are attached to each other with chains for members of the bridal family to wear. The practice of connecting people during weddings via their jewelry can also be seen in the wedding necklace from Guatemala, which was draped around the bride and groom.

Other styles of ethnic jewelry can be seen in the necklaces which incorporate glass beads with silver beads, decorated coins and sometimes coral. The necklaces with crosses were inspired by rosaries.
The Mapuche women of Chile wear pins as well as other striking silver jewelry. Head ornaments decorated with silver beads, coins and/or dome shapes are complemented by heavy pectorals worn on the chest

Brazilian woodblock prints by artists such as José Borges evolved from a folk art form called literatura de cordel, literally books on a string. Small folios of poetic stories were published by artisans and displayed on a type of clothesline in the markets of northeastern Brazil. The poetry was read aloud, often sung, and competitions were held for the best story. Traditional folkloric stories and parables as well as local events, lives and loves that are won and lost are conveyed in the small folios. José Borges began to decorate his literatura de cordel with a small woodblock image, which described some element of the story. Later he began to producing larger images on their own. Borges’ graphic work contributes greatly to his income while describing aspects of life in Pernambuco, Brazil. A number of other artists from the same state are producing woodblock prints and literatura de cordel, articulating distinct styles and perspectives on their region.

ABOVE: José Borges
carving woodblock, 2001

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