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| by Mildred Boyd
 When
the first Bishop arrived in Michoacan he found his new diocese in chaos—the
people demoralized, their rulers dead, their fields and shops destroyed
and their trade disrupted. Nuno de Guzman, self styled King of the Tarascans,
had indulged in a rampage of torturing and killing before fleeing to spread
his particular brand of devastation further in Jalisco.
Don Vasco de Quiroga faced the formidable
task of trying to pacify, to say nothing of convert, a sullen populace
utterly disenchanted with anything Spanish. He began by feeding the hungry,
founding schools and hospitals and, more important, shoring up the shattered
economy. It is said that he defied his king and risked a death penalty
by importing young olive trees from Spain to provide a new industry. He
also supported reestablishment of old crafts and brought European artisans
to teach new and improved ones. To avoid competition for the same limited
markets, he encouraged each village to specialize in one particular craft
or product. Weavers and stone carvers, potters and metal workers—all
the skilled craftsmen answered his call.
The love and reverence in which the
people hold Don Vasco’ memory and the stunning variety of crafts
they still produce are ample evidence of his success.
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This village with the singing name that means “where the butterflies
are” was once the capital of the great Purepecha empire and the
site of the first cathedral, though that was later moved to Patzcuaro.
It specializes in pottery with a creamy white glaze decorated with simple
line drawings in black. The drawings, often crudely done but always charming,
reflect the major local industry and show fish, boats or fishermen wielding
the graceful butterfly nets that have become the trademark of Lake Patzcuaro.
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Capula’s artisans are also ceramicists but their products bear little
resemblance to the simple wares of Tzintzuntzan. Again, the subject is
often fish but the execution is far more sophisticated. Against a warm
brown background, usually with a scrolled border of bright blue or green,
very lifelike fish swim vigourously. The whole central motif is then stippled
with thousands of tiny dots in a creamy beige much like a pointillist
painting.
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The craftsmen of the Purepecha were already noted for metallurgical skills
far in advance of their neighbors. There is even speculation that their
remote ancestors brought the knowledge with them from far-away Peru. Naturally,
a village called Saint Clara of the Copper (now a National Historical
Monument) chose working with that metal as its specialty. Today, the sound
of metal being hammered into shape reverberates through streets lined
with shops selling a profusion of gleaming ornamental and utilitarian
articles that will, with age, acquire the lovely mellow patina shown here.
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In the mountainous areas of Michoacan there are unexpected villages of
wooden houses with steep roofs and sweeping eaves that would look more
at home in Switzerland than in Mexico. Paracho is just such a village
and its craft specialty is equally surprising. If you have ever wondered
where all those fancy guitars come from, this is the place. The lovingly
crafted instruments produced here have earned an international reputation
for both quality of workmanship and musical tone.
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Craftsmen here are skilled in the exacting art of lacquer ware. This
requires the application of many coats of brilliant lacquer ending with
the background color. The design is then developed by carefully
cutting away overlying layers to reveal the desired color. Though the
final product is well worth the effort, the process is so delicate and
time consuming that it is in danger of dying out. Much of the work found
in Uruapan today is simply painted. Only a few craftsmen cling to the
old ways to produce masterpieces of color and texture such as this hexagonal
tray.
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This is where skilled potters specialize in pineapple pots, so called
because in shape and texture they vaguely resemble that fruit. A few of
these very elaborate pots even wear a golden brown glaze. Traditionally,
however, they are a vivid green. The texture is achieved by appliqueing
thin bits of clay to the basic form and lids are often in the shape of
spiked foliage. Designed to serve pulque, they were originally quite large
and were often equipped with matching cups hung on hooks. The collection
shown here is only a sample of the many sizes and shapes produced today.
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Tarascan women are noted for their fine needlework. Their ancient costume
of falda and huipile, still widely worn, is lavishly
embroidered in a brilliant array of colors. Since each village has its
own special patterns and motifs, the expert can not only tell at a glance
where a garment came from, but, quite often, name the family of the woman
who produced it. Many earn extra money by producing items like this handsome
rebozo which, though traditional in execution, are specifically
designed for the tourist trade.
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Masks have always played an important part in Mexican life and the artisans
of Tocuaro have long been noted for their skill in carving and painting
the wooden likenesses of saints and demons, heroes and villains used in
the historical dramas, morality plays and comic shenanigans which enliven
every fiesta. Especially popular in Michoacan is the Los
Viejitos dance in which boys don wrinkled, toothless masks and act
the part of little old men whose shuffling antics always include a great
deal of hilarious horseplay.
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Many village craftsmen work with wood, producing beautifully carved
furniture, doors and screens as well as hand turned wooden bowls and
statues of everything from horses to saints. Erongaricuaro, once known
for its textiles, now boasts a small factory and does a thriving business
making fine furniture for export to the States. The elaborate mirror
frame shown here, though actually from Patzcuaro is typical of the lovely
pieces produced in obscure back yard workshops all over Michoacan.
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Though the villagers of Ocumicho practice a ancient craft, their subject
matter is definitely post conquest. Local legend has it that one of the
local potters wryly remarked that, since, according to the priests, they
were all going to hell anyway, they might as well choose devils as their
specialty. And devils it is; devils alone brandishing pitchforks, devils
in groups engaged in various extremely unlikely activities, even diabolic
nativities with everyone, including the decidedly “unholy” family,
sporting horns instead of halos. These delightfully demonic motor-cyclists,
cruising along with expressions of fiendish glee, are typical of the whimsical
humor displayed in their work. |