This is the story of the Trujillo weaving family of Chimayo, New Mexico, and the long history of a weaving tradition that begins with Spanish settlement in the region. Richly illustrated with examples of dynamic contemporary blankets, as well as some of the textiles and weavers who came before, the book chronicles how the craft evolved from a winter necessity into the celebrated art form that it is today.
A how-to book on Chimayo weaving consisting of information gathered from decades of weaving, research, and experience running a Chimayo weaving business.
The name "Chimayó" is derived from the Tewa Indian term Tsi Mayoh and was given to a sacred place of the Pueblo Indians located in the foothills of the Sangre de Cristo Mountains between Santa Fe and Taos. Many of the Spanish colonists who settled in Chimayó after peaceful reentry to New Mexico in 1692 were descendants of those who left Castile and Extremadura. Nurtured by their faith and strengthened by the traditions and skills they brought from Spain, settlers converted a harsh environment into a fertile, green valley that provided them a livelihood for several generations. In 1810, Don Bernardo Abeyta, a prominent citizen of Chimayó, discovered a crucifix buried near a sacred well of healing earth, where he built a church. This is the site of present-day Santuario de Chimayó, also known as the "Lourdes of America." Over the centuries, the descendants of Chimayó colonists developed a unique weaving tradition that is also known throughout the world. Present-day Chimayó offers a unique glimpse into a culture that has endured for centuries.
Exquisite blankets, sarapes and ponchos handwoven by southwestern peoples are admired throughout the world. Despite many popularized accounts, serious gaps have existed in our understanding of these textiles—gaps that one man devoted years of scholarly attention to address. During much of his career, anthropologist Joe Ben Wheat (1916-1997) earned a reputation as a preeminent authority on southwestern and plains prehistory. Beginning in 1972, he turned his scientific methods and considerable talents to historical questions as well. He visited dozens of museums to study thousands of nineteenth-century textiles, oversaw chemical tests of dyes from hundreds of yarns, and sought out obscure archives to research the material and documentary basis for textile development. His goal was to establish a key for southwestern textile identification based on the traits that distinguish the Pueblo, Navajo, and Spanish American blanket weaving traditions—and thereby provide a better way of identifying and dating pieces of unknown origin. Wheat's years of research resulted in a masterful classification scheme for southwestern textiles—and a book that establishes an essential baseline for understanding craft production. Nearly completed before Wheat's death, Blanket Weaving in the Southwest describes the evolution of southwestern textiles from the early historic period to the late nineteenth century, establishes a revised chronology for its development, and traces significant changes in materials, techniques, and designs. Wheat first relates what Spanish observers learned about the state of native weaving in the region—a historical review that reveals the impact of new technologies and economies on a traditional craft. Subsequent chapters deal with fibers, yarns, dyes, and fabric structures—including an unprecedented examination of the nature, variety, and origins of bayeta yarns—and with tools, weaves, and finishing techniques. A final chapter, constructed by editor Ann Hedlund from Wheat's notes, provides clues to his evolving ideas about the development of textile design. Hedlund—herself a respected textile scholar and a protégée of Wheat's—is uniquely qualified to interpret the many notes he left behind and brings her own understanding of weaving to every facet of the text. She has ensured that Wheat's research is applicable to the needs of scholars, collectors, and general readers alike. Throughout the text, Wheat discusses and evaluates the distinct traits of the three textile traditions. More than 200 photos demonstrate these features, including 191 color plates depicting a vast array of chief blankets, shoulder blankets, ponchos, sarapes, diyugi, mantas, and dresses from museum collections nationwide. In addition, dozens of line drawings demonstrate the fine points of technique concerning weaves, edge finishes, and corner tassels. Through his groundbreaking and painstaking research, Wheat created a new view of southwestern textile history that goes beyond any other book on the subject. Blanket Weaving in the Southwest addresses a host of unresolved issues in textile research and provides critical tools for resolving them. It is an essential resource for anyone who appreciates the intricacy of these outstanding creations.
Folk art is as varied as it is indicative of person and place, informed by innovation and grounded in cultural context. The variety and versatility of 300 American folk artists is captured in this collection of informative and thoroughly engaging essays. American Folk Art: A Regional Reference offers a collection of fascinating essays on the life and work of 300 individual artists. Some of the men and women profiled in these two volumes are well known, while others are important practitioners who have yet to receive the notice they merit. Because many of the artists in both categories have a clear identity with their land and culture, the work is organized by geographical region and includes an essay on each region to help make connections visible. There is also an introductory essay on U.S. folk art as a whole. Those writing about folk art to date tend to view each artist as either traditional or innovative. One of the major contributions of this work is that it demonstrates that folk artists more often exhibit both traits; they are grounded in their cultural context and creative in the way they make work their own. Such insights expand the study of folk art even as they readjust readers' understanding of who folk artists are.
Situated just 30 miles north of Santa Fe off the High Road to Taos, the highly acclaimed Rancho de Chimayo Restaurant has been serving traditional New Mexican cuisine in a beautiful setting for half a century. The atmosphere at this traditional Spanish hacienda, surrounded by mountains, is rivaled only by the fine, native cooking served in the grand early tradition by generations of the Jaramillo family. In 1991 the restaurant published a modest paperback cookbook for their silver anniversary. Twenty-five years and 50,000 copies later comes this beautiful new edition, just in time for the 50th anniversary celebrations. All recipes are completely revised and updated, with more than twenty delectable new dishes added. As an extra bonus, the book also features charming archival images as well as stunning full-color food and location photography, making this a beautiful keepsake of a special place as well as a mealtime companion to turn to again and again.
As striking as its beautiful landscapes, New Mexico's culture is also endlessly complex. The fourteen essays collected here examine many sides of Nuevomexicano culture: its treatment of the sacred, its discourses on identity and difference, its historical and literary legacy from colonial times to the present. Among the diverse topics considered are the role of Charles Fletcher Lummis in romanticizing New Mexico; the importance of Spanish-language newspapers at the turn of the century and their commitment to the social, educational, and cultural progress of the Spanish-speaking population of the Southwest; the role of mutual aid societies as agents of collective action and cultural adaptation and survival; the cultural and religious importance of captivity narratives; popular depictions of the Virgin of Guadalupe; and the history of textile making in north central New Mexico. A photo essay by renowned documentary photographer Miguel Gandert explores the blurring of lines between Spanish and Indian cultures in the Rio Grande Valley. Working within and across disciplines, charting relationships between geography and culture that have informed the state's history, and placing empirical, philosophical and scholarly materials in dialogue with regional, historical, and cultural studies, the contributors to this volume add immeasurably to knowledge of New Mexico's cultural history.
Ten-year-old Maria Cristina goes to visit her grandfather so that he can teach her to weave, as her family in northern New Mexico has done for seven generations.
