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index
Page numbers in italics indicate illustrations.
Aariwama, Aariwameta. See Tatei Nüariwama
abstract art, 117, 130, 161
acrylic. See yarns
aesthetics, 8;
of Aztecs, 213, 258n3;
fuerte-bajito system of, 156–158;
of Huichol, 145–146, 213, 250–252, 258n3
Africa, African people:
visionary experiences among, 11, 253n 6
Aitsarie:
imagery in yarn paintings, 70, 71;
sacred site of, 71
altars, 33, 41
altered states of consciousness, 165, 169, 191
Amaringo, Pablo, 165
Amatlán de Jora, Mexico, 22
American Museum of Natural History (New York), 111
animals:
imagery in yarn paintings, 127
Anasazi culture, 80
Arapaho people:
myths of, 49
Artes de México:
publishing on Huichol art, 108
art dealers:
characteristics of, 223–224;
cooperation in research, 7;
influences on artists, 237–239;
Internet sales of, 234–236;
marketing Tepehuane art as Huichol, 229–230;
promotion of yarn paintings by, 191
art galleries:
description and locations of, 221–224;
and Huichols, run by, 222–223
artists:
on buyers, 243–249;
as businesspeople, 238–239;
cooperatives of, 227, 234;
documentation of, 122;
and e-commerce, 236;
market influences on, 237–240;
photos of, at work, 16, 136, 231;
recruitment of youth, 233;
secrecy and explanation of meaning by, 247–249;
as shamans, 199, 217–220;
souls of, and art production, 206–213;
on trends in yarn paintings, 240–243;
variation in abilities of, 190;
and vision as inspiration, 191–200. See also shamans; souls; women; yarn paintings
Atenco River. See Chapalagana River
Australia, Aboriginal people of, 243
authenticity, 251
ayahuasca (Banisteriopsis caapi):
visions due to, 165–166, 191
Aztec culture:
colors and directions, 181;
designs used by, 146;
offerings made by, 37, 49;
soul concepts of, 201–204;
visionary experience among, 15, 47
Basilica of Zapopan, 91–92, 100;
Huichol museum in, 222
Bautista Bautista, Iginio, 223
Bautista Cervantes family, 227–230, 228. See also Tepehuane people
Bautista Cervantes, Gabriel, 227, 258n1(chap. 14)
Bazar Sábado:
market for Huichol arts, 222
beads, beadwork, 37, 78;
color use in, 146–151;
and offerings, used in, 37–38;
sale of, 104, 124; 230, 231, 232–233;
and yarn paintings, used in, 141
beeswax. See wax
Benĺtez, Fernando:
criticism of yarn paintings, 194–195;
and Ramón Medina Silva, research with, 101
Benĺtez Flores, Eliseo, 119
Benĺtez Sánchez, José (Yucauye Kukame):
color use by, 161, 256n2;
life history of, 102, 113, 117–121;
publication on, 4, 110–111;
style of, 238, 256n4;
and texts on art, 244–245;
training of apprentices in Zitacua by, 233;
on uxa, 52;
yarn paintings of, 143–144
birds:
imagery in yarn paintings, 89, 127, 128
birth:
imagery in yarn paintings, 98, 99, 127, 128, 239
blood. See sacrifice
boards:
as offerings, 37–38, 87. See also itari/itali; wood
bowls. See gourd bowls
bulls:
imagery in yarn paintings, 125–126, 126;
sacrifice of, 28, 180
candles, 26;
as offerings, 36, 38, 71–72, 76
cardinal directions, 25–26, 37;
colors and
meaning associated with, 181–184;
imagery in yarn paintings, 38, 40, 121–122, 137
cargos, 104–105
Carnegie Corporation, 86
Carrillo Carrillo, Tiburcio (Tutukila), 110–111, 118, 123
Carrillo Jiménez, Santos Daniel:
and Internet, 236;
life history of, 103, 105–106;
market influence on designs of, 240;
paintings by, 99, 154, 177, 176–177, 237–238;
on yarns, 160
Carrillo Medina, Vicente:
on buyers, 245;
on colors, 150–153;
on market’s influence on art production, 242
Carrillo Montoya, Miguel:
life history of, 103–104
Carrillo Rĺos, Guarencio, 115
Carrillo Rĺos, Presiliano, 15
Carrillo Vicente, Eligio (Ruturi), 16, 28, 41, 136;
as artisan, 135–138;
author’s initial encounters with, 15–18;
on colors, 152–153, 161–164;
on cosmology, 25–26, 29;
dream of author, 16–17;
and Internet, 236;
life history of, 17, 77, 102, 113–117;
market influence on designs of, 239–240;
paintings by, 10, 53, 61, 162, 164, 184;
on power in yarn paintings, 217–220;
publication on, 111;
on sacred colors, 165–185, 189–190;
on sacred yarn painting origins, designs, and uses, 57–78, 70, 74–78, 84, 216–220;
on santos, 254n2(chap. 3);
on secrecy and explanation of meaning, 247–248;
shamanic abilities of, 17;
on souls, 206–212;
on vision as source of images, 197;
on visionary experience, 9, 45–47, 162–164, 184–185
Castaneda, Carlos, 94
Castro family, 223
Center for Huichol Cultural Survival and Traditional Arts (Centro Cultural Huichol), 123–125, 245
cera de Campeche. See wax
ceremonies, 28, 28–29, 31, 34;
fuerte-bajito aesthetics of, 155–156;
imagery in yarn paintings, 73, 162–163, 162;
offerings for, 36–45;
sacrifice of bull, 180. See also pilgrims, pilgrimage
chairs:
and balance of woods, 156, 157
Chalchihuites culture, 79–80
Chapala, Lake. See Tatei Rapawiyeme
Chapalagana River, 22
children:
as artisans, 231;
visionary experiences of, 12
Ciudadela:
market for Huichol arts, 222
clothing, 100;
colors in, 146–148, 171, 188;
dress like gods, 16;
designs shared by Puebloans, 81, 257n1(chap. 8);
visionary meaning of, 188–189
Coatlicue, 37
Collings, Peter, 110, 123
Colorĺn, 114
colors:
in clothing, 146–147;
compared to Tepehuane, 228–229;
fuerte-bajito aesthetic system, 150, 154, 150–159, 160, 163, 178–180, 189–190;
peyote visions of, 146–147;
symbolism and meaning of, 158–164;
terms for, 151–153;
in yarn paintings, 62–65, 116–117, 120, 137–139, 145. See also sacred colors; uxa
cooperatives, 227, 234
copal (Bursera spp.) incense:
imagery in yarn paintings, 72–73, 162–163
Cora people:
offerings used by, 83
corn. See maize
corruption:
effect on cooperatives, 234
cosmology:
imagery in yarn paintings, 120–122, 127, 129, 203. See also Huichol religion
cosmological map, 25, 74, 121–122, 158
cotton (Gossypium spp.), 38, 43, 63, 147, 204
Covarrubias, Miguel, 85
creation stories. See myths
Cree people:
visionary experience among, 3, 15, 188–189
crystals, 187;
reincarnation as, 205
dams:
El Cajón, 109;
Presa de Aguamilpa, 109
dancing, 118, 125
datura (Datura spp.), 1, 165, 253n2. See also kieri
Davis, Wade, 165
death:
imagery in yarn paintings, 130–131, 131
deer:
author’s vision of, 12;
face painting of, 45;
imagery in yarn paintings, 33, 61, 67–68, 72–73, 87, 89, 162–163, 162, 177;
multi-colored, in vision, 10, 10, 175–178;
as shaman’s helper, 1, 26;
transformation into corn and peyote, 62
deer antlers, 82, 83
deer-hoof rattles, 9
deer snares, 36, 45, 48, 49
de Forest, Robert, 86
de Haro, Pedro, 88
d’Harnoncourt, René, 86:
and market categories, 225–227
de la Cruz, Pablo, 69
de la Cruz Benĺtez, Emilio, 119
de la Cruz Dĺaz, Martĺn, 111, 119
de la Cruz Rĺos, Guadalupe (Lupe) 9, 30, 31;
author’s initial encounters with, 1–2;
as artisan, 4, 65, 122;
ceremony by, 25;
on colors, 147–148;
on cosmology, 27;
family of, 3;
identification of kieri by, 253n2;
as innovator of yarn painting, 90–103;
life history of, 4, 74, 90–103, 114, 255n1, 2(chap. 6);
on peyote pilgrimage, 32, 157;
publication on, 111;
on shamanic powers, 214;
on yarn painting, 145
de la Cruz Rĺos, Manuela, 91, 115
de la Rosa, Fidela, 111
de la Rosa, Reymundo, 111
Delgado, Celso, 22, 118
Dene (Athapaskan) people:
visionary experience of shamans, 9–10, 12, 15
Dĺaz Benĺtez, Ceferino, 119
Dĺaz Benĺtez, Evaristo, 115
disks. See god disks
dolls, 36
dream catchers, 49
dreams, 12, 34;
definition of term, 196;
as source of imagery, 57–58. See also visions
drums, 142, 215
dyes, dyeing, 64–65, 138–139, 147
eagles:
imagery in yarn paintings, 67–68, 87, 89, 127, 200
eBay:
effect on market for Huichol art, 235;
marketing of Tepehuane art as Huichol, 229. See also Internet
E. B. Crocker Gallery, 118
eclipse:
imagery of, 150;
plaques of, 258n2(chap. 14)
Education, Ministry of (Mexico):
and folk arts, 85–86
embroidery, 16, 66;
author learned, 154;
color use in, 147–149;
designs of, 116, 122, 129, 133;
offerings of, 37, 95;
ownership of designs, 100;
shared by Puebloans, 81;
vision as source of designs, 171, 191–193, 193;
visionary meaning of, 188–189
Eger Valadez, Susana, 4;
life history of, 110, 122–125;
name of, 253n3
Espinosa Velasco, Guillermo, 5
exhibitions:
of Huichol art, 85, 87–88, 89, 93–94, 110–111, 117–119, 124–125;
of Mexican folk arts, 85–86
face painting, 43, 45, 53;
visionary meaning of, 49–50, 55–56, 180, 187
fasting, 26–27, 32, 169
Faubert, Edmond, 2, 102
feathers, featherwork, 30, 43
fiestas. See ceremonies
Field Museum (Chicago), 111
fieldwork techniques:
consultants, payment of, 118;
embroidery, learning of, 154;
emotional experience, 154–156;
ethical considerations, 57;
field notes, 30, 70;
interviews of consultants, 17;
and meaning of shamanism, challenges in understanding, 180, 196, 195–196, 201;
names, use of, 253n5;
Pantone color swatches, 151–153, 172–174, 172;
peyote ceremony, participation in, 166;
photo-elicitation, 4–5;
photography and tape-recording, 6, 7, 17–18;
pictures, as explanation, 185;
privacy and use of pseudonyms, 6;
sample of artists, 5–6;
transcription of interviews, 17–18;
trustworthiness of consultants, 13–14
fish:
imagery in yarn paintings 69, 127
Flower World, 186–187
flowers, and colors, 181, 185–188;
imagery shared by Puebloans, 81;
as offerings, 36, 63–64, 114, 257n4
folk arts:
inventory of, 87;
revival and exhibitions of, 85–87
FONART (Fondo Nacional para el Fomento de las Artesanĺas):
and Huichol art, promotion of, 110, 224
fondo (background), 123
four directions. See cardinal directions
Franciscan missionaries, 91–92, 103–104, 106
Fremont Culture:
and Huichol, similarities to, 80–83, 82
front shields, 44, 42–43, 68, 95, 116. See also nierika
Furst, Peter T., 4, 118;
Hewi and Huichol, research on, 79;
Ramón Medina Silva, research with, 92–101, 108, 156
god disks, 39, 40, 39–42, 89;
designs of, 116, 121, 127;
myth of, 76;
as nierika, 56
god’s eyes, 37, 42, 56;
imagery in yarn paintings, 137;
sale of, 104–105;
shared by Puebloans, 81
god houses, 39, 39;
as storehouses, 60
González, Cristobal, 115
González de la Cruz, José Isabel (Chavelo):
on buyers, 246–247, 249;
on colors, 153, 161, 173–174;
on fuerte-bajito aesthetics, 155–156;
paintings by, 33, 174;
on research strategy, 5;
on sacred yarn painting origins, designs, and uses, 214–216;
on vision as source of images, 216;
on yarn paintings, 41, 145
González de la Cruz, Kuka, 93, 255–256n4(chap. 6)
González de la Cruz, Marĺa Feliz, 15, 30
González Rĺos, Fabian:
attendance at INI school, 101–102;
life history of, 102;
market influence on designs of, 239, 241–243;
paintings by, 131, 215;