Description
En México, desde tiempos prehispánicos hasta la fecha, se han decorado y utilizado bules, guajes o jícaras. Destacan los que se producen en Pátzcuaro y Uruapan, en Michoacán; los de Chiapa de Corzo, en Chiapas, y los de Olinalá y Temalacatzingo en Guerrero. También
Estas piezas se decoran con técnicas ancestrales y son trabajos que requieren de la participación de varios especialistas, que a veces son los miembros de una misma familia. Salvo diferencias menores, el proceso implica convertir la tierra en polvo y agregarle aceites extraídos de las semillas de chía o linaza, o del insecto cocus axin.These oils, in addition to waterproofing and hardening the piece, give it its smooth and shiny finish. The colors to decorate them are extracted from plants such as the marigold flower or indigo, from insects such as the grana cochineal or even the smut of the comales. To make a mold it is necessary to apply the paste with the palm of your hand, until it becomes sufficiently thick, and let it dry.
In Michoacán this paste is also applied to images made from corn cane and made with an ancient Purépecha technique, very complex, that few artisans know. With corn cane they made Christs, virgins and saints so light that they could easily be transported.
For their part, lacquers require a procedure similar to that used in maques but the paste is applied with a brush.
Various techniques are used for decoration: scratching, which consists of outlining the figures and lifting a layer of the applied paste; the lacquer outlined in gold, which they make especially in Pátzcuaro, and the sausage.
Among the recognized artisans is Agustín Gaspar from Michoacan, National Prize for Sciences and Arts 2020, and Francisco Chico Coronel from Guerrero, National Prize for Sciences and Arts 2007.
Quality lacquers can be seen in the production centers and in the Huatapera Indigenous Museum, in Uruapan.
english
Lacquers and maquesIn Mexico, from pre-Hispanic times to the present day, “bules, guajes or jícaras” vessels have been decorated and used, notably those produced in Pátzcuaro and Uruapan, in Michoacán; those of Chiapa de Corzo, in Chiapas, and those of Olinalá and Temalacatzingo in Guerrero. These pieces are also decorated with ancestral techniques and require the participation of several specialists, sometimes members of the same family. Except for minor differences, the process involves turning the earth into powder and adding oils extracted from chia or linseed, or from the cocus axin insect. These oils not only waterproof and harden the piece, but also give it its smooth, shiny finish. The colors to decorate them are extracted from plants such as the “cempasúchil” flower or indigo, from insects such as the “cochinilla grana” or even from the stain of the “comales”. To make a lacquer, it is necessary to apply the paste with the palm of the hand, until it is thick enough, and let it dry.
In Michoacán, this paste is also applied to images made from maize cane, which are made using an ancient Purépecha technique that is very complex and known to few artisans. With corn cane, he made Christs, virgins and saints so light that they could be easily transported. For their part, the lacquers require a procedure similar to that used for the models, but the paste is applied with a brush.
Various techniques are used for decoration: scratching, which consists of outlining the figures and lifting a layer of the applied paste; lacquer outlined in gold; and inlaying, which is done especially in Patzcuaro.
Among the recognized artisans are Agustín Gaspar from Michoacán, winner of the National Prize for Sciences and Arts 2020, and Francisco Chico Coronel from Guerrero, winner of the National Prize for Sciences and Arts 2007. Quality lacquerware can be seen in the production centers and in the Museo Indígena de la Huatapera in Uruapan, Museo de Arte Popular and MAP in Mexico City.
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