186950

Copyright 1976,1993byAkademische Druck- u.Verlagsanstalt, Graz.

Allrights reservedunderPanAmericanand InternationalCopyright Conventions.
PublishedinCanadabyGeneralPublishingCompany,Ltd.,30LesmillRoad, DonMills,
Toronto.Ontario.
Published in the United KingdombyConstable and Company, Ltd., 3The Lanchesters,
162-164FulharnPalace Road, LondonW69ER.
ThisDover edit ion, originally published in1993,is anewselection of illustrations fromthe
two-volumeDesign MOl(fson Mexican Indian Textiles , originallypublishedbyAkademische
Druck- u. Verlagsanstalt, Graz, Austria, in1976. The present volume retains the general
sequence of material of the original volumes, and the captionsare based on the original text.
AnewPublisher'sNote. derived fromthe original frontmatter, has beenadded.
DOVER 'Pidonal-lrcbne SERIES
This book belongs to the Dover Pictorial ArchiveSeries . You may use the designs and
illustrations for graphics and crafts applications, free and without special permission,
provided thatyouinclude nomorethanten inthesamepublicationorproject. (Forpermis-
sionforadditionaluse, pleasewritetoDoverPublications,Inc.,31East2ndStreet, Mineola,
N.Y. 11501.)
However,republicationor reproductionofany illustrationbyany othergraphic service,
whetheritbe ina book or inany otherdesign resource,isstrictly prohibited.
Manufacturedinthe United States ofAmerica
DoverPublications,Inc.,31East 2ndStreet, Mineola, N.Y.11501
Library of Congress Cataloging-in-Publication Data
Weitlaner-Johnson,Irmgard.
[Design motifson Mexican Indian textiles.Selections]
Mexican Indian folkdesigns: 252motifsfromtextiles /IrmgardWeitlaner-Johnson.
p. cm.- (Dover pictorial archiveseries)
Aselection ofillustrations from the author's two volume Design motifs on Mexican
Indian textiles, publishedin1976.
ISBN0-486-27524-8 (pbk.)
1. Indians of Mexico-Textile industry and fabrics. 2. Textile design-Mexico-
Classification. I. Title. II. Series.
FI219.3.T4W4425 1993
74SA'089'97072-dc20 7 ;) - -10
CIP
186950
Publisher's Nate
T
HE PRESENTVOLUME is a new selection of illustrations
from the scholarly, carefully researched two-volume
work Design Motifs on Mexican Indian Textiles by
lrmgard Weitlaner-lohnson. The aim of the original and
of this new version is to stimulate interest in the artistic
creativity of Mexican Indian textiles by acquainting the
reader with a large number of different design elements
(and significant variants) associated with Mexican In-
dian textiles.
Two hundred fifty-two designs, taken from motifs on
textiles from twenty ethnic groups, are included. They
have been arranged by ethnic group, in a geographical
sequence from the northwest to the southeast of Mexico.
A map showing the location of thirty-five Mexican ethnic
groups, including those represented in this volume, will
be found on page iv.
The designs were transferred to paper by three
methods : The majority were derived by reconstructing
the designs on squared paper; some were traced directly
onto paper from the source material; a few were drawn
freehand . The captions accompanying the designs in-
clude the names of the ethnic groups that are the sources
of the designs, and a description of the structural ele-
ments of each design and the type of textile from which
each was taken. English-language descriptions of the
textiles are given in the captions, in place of the tradi-
.onal Mesoamerican names . A brief description of the
more common textile types, with their Mexican Indian
esignations, follows. No attempt has been made to con-
y the extent of color usage in the production of Mexican
'an textiles, although the ethnic populations had de-
loped the art of creating and using animal, vegetable
mineral dyes with great sophistication by the time of
Spanish Conquest.
Garment and textile types are common to all Mexican
:ndian peoples. Among the most common-and most
- corated-i-are the huipil, a woman's sleeveless tunic-
- garment; the jaia, a sash or belt worn by men and
en; the enredo, a wraparound skirt; the quech-
tnitl, a woman's shoulder cape; the servilleta, a
or rectangular cloth used for covering food or for
ceremontal purposes; and the talega, a woven pouch or
_ Almost all the designs of these traditional forms are
s-Celumbian inorigin.
_- various elements found in the designs are all
. used and reflect the natural environment, the
enduring place in the culture of pre-Columbian imagery
and in many instances the encroachment of Western in-
fluence. Geometric figures such as triangles, diamonds,
zigzag lines, squares, rectangles and to a lesser extent
chevrons and parallelograms are often found singly or
combined in repeating patterns as borders or as back-
ground fill-in for allover patterns. Bird forms appear in
almost every type of Indian textile. They range from
small simple designs to large elaborately ornamented
representations of multiheaded eagles. Animal forms
(dog, monkey, horse. bull. lion) are all widely used. Plant
motifs are also used extensively, including the Tree-of-
Lifemotif, often seen as a free-standing design in combi-
nation with animal motifs, typically butterflies and hum-
mingbirds , and other plant motifs. In many cases, the
motifs themselves have become so conventionalized or
stylized that they seem unrecognizable. A traditional
device, the ilhuitl motif, comprising an S-motif, is ubiqui-
tous and gives rise to many variations, including Z- and
X-motifs, angular scrolls and pirals.
The breadth of expression and artistry found in these
designs is a tribute to the Mexican Indian weaver's craft.
The designs , passed on from mother to daughter, repre-
sent a visual tradition that dates back to the pre-
Columbian period . Although there are virtually no extant
examples of textiles dated prior to the mid-nineteenth
century, a strong link to the designs of pre-Columbian
Mexican Indians can be observed in the representations
of clothing in stone sculptures, figurines and ceramics.
Many pre-Columbian designs are clearly discernible in
the work of the twentieth-century weavers. The present-
day designs of certain Mixteco weavers, for example,
bear a striking similarity to the stone mosaic designs of
the Mitla ruins in Oaxaca.
In the latter part of the twentieth century, this long and
rich tradition of textile design is prey to the dictates of
contemporary economics. In many villages it is no longer
possible to support a family creating textiles on the tradi -
tional backstrap looms, and the traditions of weaving are
already beginning to die out with the older women. The
present volume is an attempt to help preserve the ancient
heritage of weaving and embroidering, as practiced by
Mexican Indians, whose magnificent cultural and aes-
thetic achlevcrucure !Huville cUuVlc cVl11cuu; vi UICU C;A-
cellence in the textile arts.
MapofMexico ShowingLocationsofEthnicGroups
A /;tll1licGrOll/J,1) Represented in This Volwne
I AIIIII:/,gO: Guerrero * 8 Chantal:Tabasco 15 Mazahua: Mexico,Michoacan
.! 1 :0 111 : Nayarit 9 Chuj:Chiapas *16 Mazatec:Oaxaca
.I 1:1111'11 11'1': ()axaca *10 Huasteco: SanLuisPotosi *17 Mestizo:Mexico
" 1:11 11111 11 '1': (:lIl'lTero 11 Huave:Oaxaca *18 Mixe:Oaxaca
(:111111110: Oaxaca "12 Huichol:Naya rit,Ialisco *19 Mixteco:Oaxaca,Guerrero
II 1:111 11 11 11 11 '1': ()axara 13 Maya:Yucatan *20 Nahua:Veracruz,Puebla,Hidalgo,San Luis
-- --7..........
- ( i (:1111111 111 :()axaca 14 Mayo:Sonora Potosi, Ialisco,Guerrero
.........
21 Ocuilteco:Mexico
:, "" ", '--,
*22 Otomf:Queretaro,Hidalgo,Puebla, Mexico
',----,-1 '\
23 Popoluca:Veracruz
\ -,
*24 Tarahumara:Chihuahua
'\ ,, 25 Tarasco:Michoacan
\ I *26 Tepecano:Ialisco
SONORA
\ ' ), *27 Tepehua:Veracruz, Hidalgo
' --, \
I , 28 Tepehuan: Durango
' '\
: " "29 Tlapancco:Guerrero CH '""A""A ..
30 Totonac:Veracruz,Puebla
\" \ .''."\
, A 1111 II " ' I A 31 Trique:Oaxaca
-. '. ' , / , I
(", 24 I " " , '\.. 32 Tzeltal :Chiapas
*33 Tzotzil :Chiapas
' / I: 1' , " "I \.. ,"\, "" ",..
-' t. I -> , " "', :
fI' "
' '' '' '''' : , *34 Zapotec:Oaxaca
' , ..1 " I "
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35 Zoque:Chiapas
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' GUERAEM 20: (IA X A c: A

,
34 1-
1),9
1- 19 5
1 2
TARAHUMARA. 1: Reversible pattern of diamnnd-within-diarnond units. Man's or wo-
man's sash. 2: Geometric motifs changing within zigzag areas. Man's or woman's sash.
1
3
4
TEPECANO. 3: Double-headed feathered serpent. Rare old woman's shoulder cape.
4:Interlockingstepped-fretmotifwithserratededges. Rareoldshouldercape.
2
5
TEPECANO. 5:Twined serpe ntmotif with serratededges. Rareold shoulder cap e. 3
6
7
CORA. 6:Twisted cord motif. Bag. 7: Doubl e-headed eagle with fancycrests in the
formofspirals;geometricforms fill inthebackground. Bag. 4
8 9
10
11
HUICHOL. 8: Pair ofcountered S-motifs.Woman's shoulder cape. 9: Rowofcrossed
X-motifs. Woman's blouse. 10: Pattern of diamonds with cross in center. Bag.
5 11:RepeatedpatternofS-motifs.Man'scape.
12
13
HUICHOL. 12: Double-headed feathered serpent, paired and countered. Sash. 13: Two
pairs of S-motifs creating a four-sided unit contai ning a diamond and stylized floral
pattern. Sash. 6
I
III
II I1
III
14
15
H UICHOL. 14: Row of diamonds with ser rated unit s and angular spira ls. Man's cape.
15: Allover pattern of diamond and cross-within-cross motifs; bilat eral arra ngement.
Small pouch. 7
17
16
18
HUICHOL. 16: Interlocking S-units with serr ated edges. Woman's shoulder cape.
17:VariantofinterlockingSorcord motifwith serratededges. Woman'sshouldercape.
18:VariantofinterlockingS-motifwith diagonal serratededgingunit s. Woman'ssash. 8
19
20
21
HUICHOL. 19:Interlocking arrowmotifs with serratededges andhook ends. Woman's
shoulder cape. 20: Series of diamond-within-diamond units with serrated edges.
Woman's shouldercape. 21:Variationofstepped-fretmotif;alloverinterlockingdesign.
Small pouch. 9
23
HUICHOL. 22: Large 8-pointed star (flowers) with interlocking scepter-like motifs.
Woman's shoulder cape. 23: Rowof diamonds, alternating with row of diamond-with-
hooks. Neckpiece from a woman's shirt. 10
24
HUICHOL. 24: Allover pattern of hexagons with interlocking arrow units, vertically
connected. Square cloth used for covering food or for ceremonial purposes. 11
25
26
27
28
HUICHOL . 25: Stylized scorpions. Narrow band. 26: Allover stepped-fret motif pattern.
Small pouch. 27: Decorative stripe ofstepped triangles. Woman's shouldercape.
28:Variant ofinterlocking stepped-fretmotif. Man'strousers. 12
29 30
HUICHOL. 29: Interlocking spiral motif with serrated units at sides. Woman's shoulder
cape . 30: Allover pattern of interlocking and serrated spiral units. Man's cape . 13
31
32
HUICHOL. 31: Allover pattern of interlocking hooks with serrated edges. Bag.
32:Series of8-point ed stars (flowersi)with each section showing a pairofdog motifs.
Woman'sshouldercape. 14
33
34
OTOMi. 33: Allover diamond-within-diamond patt ern. Bag. 34: Allover pattern of
zigzags with serrated edges, which alterna te with rows of stylized flowers having small
crosses in each petal. Bag. 15
35
36
37
OTOMi. 35: Allovercliamond pattern enclosingsmaller diamonds with serrated borders.
Bag. 36:Allover cliamondpattern;variantof35. Bag. 37:Alternatinglight anddark
16 flowersforming border.Woman's shouldercape .
38
39
OTOMI. 38: Bilateral arra ngement of birds and plant motif. Sash. 39: Allover diamond
pattern composed of serrated zigzag lines, with paired crosses and geometric units inside
diamond -shaped areas. Bag. 17
40
41
OTOM\. 40:Alternatingmotifsofstylized flowersand X-shapedunits. Bag. 41:Upper
borderexhibits Z-twistpatternwith cross stripes; main patternisan allover design of
zigzags withserratedtrianglesat upperand lowerapices.Bag. 42:Dollfigureswithin
horizontalrows oftrianglesand stripes.Bag.
42
18
43
44
OTOM!. 43: Border ofsteppedzigzags. Bag. 44:Border ofstripes, steppedlines and
zigzags.Bag.
19
45
OrOMI. 45:Largestylized eagle.Woman's shouldercape. 20
46 47
49
48
50
51
OTOM!. 46-51: Various animal forms; birds, roosters, horse. Woman's shoulder cape. 21
52
53
56
55
57
OTOMi. 52-58: Various animal forms (dogs, monkey, horses, mule) and a doll figure.
Woman's shoulder cape. 22
59 60
61
23 OTOMI. 59-61:Variousbirds, somedouble-headed.Woman'sshoulder cape.
62
63
65
64
O TOM!. 62: Square sha pe with star and cro ss unit s. Woman's shoulde r ca pe .
63: Border of stylized flowers. Woman's shoulder cape. 64, 65: Variants of squa re
motifs, borderedby angular scrolls and having centersof checkered orlatti ce-like design.
Rareoldshoulder cape. 24
66
OTOMi. 66: Ornate border pattern of hexagon-within-hexagon motifs, some with
serrated edges and with criss-cross units in center. Rare woman's shoulder cape. 25
68
69
67 71
70
OTOMI. 67-71: Stylizedbird, animaland plantmotifs.Fromfinebandsforbraidsand
man'ssashes. 26
72
73 74
OTOMi. 72-74:Stylized doll figures .Sashes. 27
75
76
DrOM!. 75, 76:Variantsofstylizedanimals(donkeys").Woman'ssash. 28
78
77
79
29 OTOMJ. 77-79:Various animal forms. Woman'ssash.
f .'
t ',
80
82
83
81
86
84 85
30 OTOMI. 80-86:Various animalforms. Fromfinebandsforbraidsand woman'ssash.
t869,50
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31
88
89
OTOMi. 88: Repeating geometric form of diamonds with serrated edges. Band for braids.
89: Narrow border of repeating geometric forms. Woman's sash.
32
90
91
TEPEHUA. 90:Plain and serratedtriangles and an alloverpatternofinterlocking frets.
Woman's shouldercape. 91:Highlystylized leaf-and-flowermotif. Rare oldwoman's
shouldercape. 33
92
.. -
c
93
HUASTECO. 92, 93: Prancing animals with long bushy tails, decorated with flowers.
Woman's shouldercape. 34
94
HUASTECO. 94: Large conventional floral pattern, bilateral arrangement. Woman's
shoulder cape. 35
95
96
HUASTECO. 95: Conventionalized floral pattern with birds and butterflies. Bag.
96:Stylizedfloralpattern. Woman'sshoulder cape. 36
37

)
98
- '
99
AMUZGO. 98: Flower moti fs arranged within crossed ba nds. Woma n's tunic.
99: Double-headed eagles, smallbirds and geometricunits, arranged within crossed
bands.Woman'stunic. 38
100
101
AMUZGO. 100, 101: Abstract design motifs arranged within crossed bands. Woman's
tunic. 39
102
40 MESTiZO. 102: Tree-of-Life design. Embroidery sampler.
186.95iO
104
103
105
MESTIZO. 103-105: Double-headed eagle, crown and pair of crowned lions. Embroidery
sampler.
41
106 107 108
109
NAHUA. 106-108: Simple cross -bands motifs. Traditional neck-opening decoration on
old-style woman's shoulder cape. 109: Conventionalized diamond-and-hooks motifs.
Old-style woman's shoulder cape. 42
110
112
113
NAHUA. 110-112: Free-standing traditional design motif utilizing cross bands. Old-style
woman's shoulder cape. 113: Conventionalized S-motif with serrated edge . Woman's
shoulder cape. 43
114
115
NAHUA. 114, 115: Free-standing motifs utilizing cross-band desi gns in diamond
arrangements. Old-stylewoman's shouldercape.
44
U6
U7
liS
NAHUA. 116: Free-standing design with diamond motif. Old-style woman's shoulder
cape. 117: Bilateral arrangements of diamonds, chevrons and S-units, paired and
countered. Old-styleskirtband. 118: Zigzaglineenclosingchevronswithhooks along
edge. Old-style skirt band. 45
..,.
0\
119
N AHUA. 119: Large free-standing bird with elaborate plumage, holding a flower in its
beak. Old-style woman's shoulder cape.
120
121
122
123
NAHUA. 120,121:Free-standinganimalmotifs, the lionheavilydecoratedwith afloral
motif. Old-style skirt band. 122: Geometric borderofserratedzigzags, trianglesand
narrowcross stripes. Old-style woman's shouldercape. 123: Vinemotifcomposedof
steppedsquaresand highlystylizedfloralelements. Woman'sshouldercape. 47
124
125
NAHUA. 124: Flower and plant motif, emerging from a vase. Woman's shoulder cape.
125: Border pattern of octagonal frames containing a large turkey, a smaller bird and
various geometric and floral motifs. Skirt band. 48
127 128
NAHUA. 126: Large 8-pointed star with paired and countered 5, Z and cross forms
within each quadrant. Old-st yle woman's shoulder cape . 127: Free-standing highly
st ylized floral pattern. Old-style woman's shoulder cape. 128: Corner motif exhibiting
highly stylized flower-and-Ieai patt ern. Old-st yle woman's shoulder cape. 49
: 1.-;
: / C
129
..
..
NAHUA. 129: Free-standing comer motif with stylized floral pattern. Old-style woman's
shoulder cape. 130: Diagonal comer pattern of 8-pointed star having paired and coun-
tered Sand Z-forms within sections; stylized floral motifs and geometric bands accentu-
ate the diagonal arrangement. Woman's shoulder cape. 50
186950
132
131
133
134
N AHUA. 131: Elaboratel y compos ed corner motif of floral pattern, bilaterally arranged.
Old-style woman's shoulder cape. 132: Border pattern showing st ylized vine and flower
motif; above, a stylized Tree-of-Life motif. Skirt. 133: Lower border exhibits series of
slanting S and Z-units; above, a Tree-of-Life motif. Skirt. 134: Corner motif exhibiting
bilateral arrangement of stylized floral pattern. Old-style woman's shoulder cape. 51
135
NAHUA. 135: Free-standing bilateral floral pattern with two borders, the upper showing
countered step motifs, the lower composed of small cross elements arranged to form
larger crosses in a repeating pattern. Old-style woman's shoulder cape . 52
---
- ..

_.-
136 137 138
NAHUA. 136-138: Variants of repeating geometric patterns incorporating 5, Z and
X-motifs. Old-styleheadband. 53
139
140
NAHUA. 139: Designshowing deer, bird, human figure and floral elements. Woman's
54 blouse. 140:Zigzagpattern with hooksandtriangles. Bag.
141
142
143
NAHUA. 141: Geometric vine motif with spirals and stylized flowers . Sash .
142: Diamond-and-hook motif. Sash. 143: Rowof diamond-and-hook motifs. Woman's
shoulder cape. 55
144
145
NAHUA. 144:Zigzagpatternwithstepped-fretmotif.Old-styleheadband. 145:Pairof
stylizedvine motifscontainingspiralelements. Woman's shouldercape. 56
146
NAHUA. 146: Highly conventionalized floral and plant motif with hummingbird at top
left. Old-style long shawl. 57
147
148
NAHUA. 147: Conventionalized plant, flower and fruit elements, growing from vase.
Old-style long shawl. 148: Border design of vine with floral motifs interspersed with
hummingbirds. Old-style long shawl. 58
149
150
NAHUA. 149: Animal figure (dogi ) with head turned backwards. Old -styl e sash.
150:Pairofhumanfigures. Old- st ylesash. 59
-----

-t.-+--+-+-
- - .- . .
-+-f-:+.-+-
151
152
153
154
ZAPOTEC. 151-154: Human figure with elaborate stylized headdress, and a variety of
geometric figures: Sash. 60
155
156
ZAPOTEC. 155: Row of dolls, geometric figures and a prancing animal with a monkey
balancing on its tail. Woman's tunic. 156: Cross bands containing 8-pointed stars with
X-units centered in them; they alternate with pairs of birds . Rare old woman's tunic. 61
157
158
159
ZAPOTEC. 157: Geometric motif of diamonds with serrated borders. Old woman's tunic.
158: Stylized plant form (corn?). Old woman's tunic. 159: Zigzag motif with serrated
borders. Old-style head covering. 62
161
160
162
163
165
164
ZAPOTEC. 160-1 65:Various animals (horses, dogs, goat, mule). Woman's tunic and
head covering. 63
168
166
167
170
169
..
173
172
174
ZAPOTEC. 166-174: Geometric motifs, and eagles, one of which is double-headed.
Woman's tunic.
171
64
175
176
ZAPOTEC. 175:Eagle flanked by geometric units. Old woman 's tunic. 176: Doubl e-
headed eagle flanked by sta rs.Woman's tunic. 65
-- -- ---
177
- --
- ----- ...
-
-... - -
.... . -
--
,
-.. .
.
178 179 180
MIXTECO. 177-180: Simple geometric shapes withincross bands; motifs are reminis-
66 cent ofstonemosaicsat Mitlaruins. Woman's tunic.
181

555 ::

182 183 184
185
MlXTECO. 181-185 :Elaborations of repeated geometric desi gns incorporatingstepped-
fret a nd diamondmotifs.Mitl a-likedesi gns. Woman'stunic. 67
187
186

188
190
189
MlXTECO. 186-190: Variety of stylized flora l motifs. Woman's tunic. 68




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191
MlXTECO . 191: Large pattern consist ing of zigzag lines, stylized floral motifs and
geometric unit s. Woman's tunic. 69
192
193
194
MlXTECO. 192: Row of 8-pointed stars. 193: Row of highly stylized birds in flight.
194:Rowofdiamondswith serratededges.All fromheadcoverings. 70
195
196
71 MlXTECO. 195,196:Variantsofmultiheadedbirds. Woman's tunic.
198
199
MIXTECO. 197-199:Prancing animals with longtails. Woman'stunic.
72
200 201
202
203
204 205
MrXTECO. 200-202: Various animals (rodent, iguana?) standing or prancing.
203: Plant with birds . 204, 205:Male and female figures. All from woman's tunic. 73
186950

206
M AZATEC. 206: Narrow cross bands containing repeated diamond shapes separating
wider bands; one exhibits alternating bird and leaf motifs, the other shows graceful
geometric motifs. Old-style woman' s shoulder cape. 74
208
MAZATEC. 207: Floral and leaf pattern. Woman's tunic. 208: Plant growing from the
ground, artfully concealing a crested bird. Woman's tunic. 75
209
210
211
MAZATEC. 209: Repeating pattern of five interlocking, serrated spirals, the fourth
contrasting in color with the others; example of "blond serpent" motif. Wraparound
skirt. 210,211: Variantsofdiagonalbandswithhookorspiralmotifs.Woman'stunic. 76
212 213
C UICATEC. 212: Wide cross bands containing repeating diamond-within-diamond
pattern with hook motifs at edges. Mortu ary sheet. 213: Geometric pattern of vine and
spirals. Woman's tuni c. 77
214
215
CUICATEC. 214: Wide zigzag line with serrated edges, symbolizing feathered serpent.
Woman's tunic. 215: Pattern of parallelograms set diagonally to form zigzag arrange-
ment ; inside are placed hook motifs; chevrons and serrated lines fill triangular areas.
Woman's tunic. 78
216
217
CHINANTEC. 216: Pattern of diamond-within-diamond, hook and spiral units, and
stepped diagonals. Woman's tunic. 217: Pairs of zigzag lines from which emerge angu -
lar spiral motifs. Woman's tunic.
79
218
219
220
221
222
80
CHINANTEC. 218: Bilateral stepped-fret
221: Example of Flower of Powder motif.
woman's tunic.
motif. 219, 220: Variants of
222: Example of serpent motif.
S-motif.
All from
223
224
MlXE. 243: Rows of stylized dogs and flowers. Woman's tunic. 224: Rows of stylized
animals (faxes?) and butterflies. Woman's tunic. 81
225
226
MlXE. 225: Anthropomorphic figures exhibiting animal characteristics (beak? crest?).
Woman's tunic. 226: Combination of flower-like motifs set over countered and paired
abstract designs (bats? butterfliesi). Woman's tunic. 82
---------
227
228
MlXE. 227: Bird-like anthropomorphic figures with count ered and paired triangles.
Woman's tunic. 228: Large pattern of serrated diamond-within-di amond mot if
surrounding bird-like anthropomorphic figures and a double-Hmotif. Woman 's tunic. 83
.1
229
MrXE. 229: Irregular arrangement of serrated diamond-within-diamond motif.
Woman's tunic. 84

.
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230
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231

232
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CHATINO. 230: Conventionalizedvinemotif.Yokeforwoman'sblouse. 231,232:Free-
standing geometric shapes. Square cloth used for covering food, or for ceremonial
purposes. 85
233
234
CHONTAL. 233: Large diamond-within-diamond and hook-motif pattern. Ceremonial
cloth. 234:Crossband depictingzigzag, chevronandhook motifs. Ceremonial cloth. 86
235
236
237
238
CHONTAL. 235-238: Various patterned cross bands showing geometric and stylized
floral motifs. Ceremonialaltarcloth. 87
239
CHONTAL. 239:Alternatingbird and flowermotifs. Woman's blouse. 88
240
241
242
TZOTZIL. 240-242:Variouscrossbandscontaining diamonds, angularspirals, zigzag
linesand hookmotifs.Woman'stunic. 89
243
244
TZOTZIL. 243: Central diamond giving rise to paired spirals emerging from each corner.
Shawl. 244: Border of zigzag lines and angular spirals with serrated edges. Shawl. 90
245
246
247
TZOTZIL. 245-247: Threeexampl esof"monkey" motif. Old woman'stunic. 91
250
248
249
251
252
TZOTZIL. 248, 250: Small X-motifs with hooks curved inwards. Shawl. 249: Small
design of diamond motifs forming a cross . Shawl. 251, 252: Variants of st ylized monkey
motif. Woman'sshoulder cape. 92
Irmgard Weitlaner-Johnson
MEXICAN INDIAN
FOLK DESIGNS
252 Motifs from Textiles
This fascinating b ook is the product of int ensive scholarly research, its exacting
illustr ati ons based on choi ce examples of Mexican Indian textiles in many diff er ent
museums and privat e coll ections. Incorporating abstract and geome tric forms as
well as highl y stylized images of flowers, pl ants, anima ls, birds and humans, the
patterns represent more than twenty major Mexic an Indian cultures.
Among the designs are a two-headed feather ed serpent fr om the Hui chol culture,
an allover pattern dominated by horizontal zigzags wo ven by the Otorni, and a
flower and leaf design from the Tepehua. The Huast eco people ar e represented by
a bold motif featuring prancing animals with bushy tails; a Nahuatl design depicts a
lion with a flower in his mouth; while an elegant curvilin ear Mazatec motif features
flower s, vin es and birds. Other peoples whose art is represented include the
Tarahumara, Tepecano, Mestizo, Zapotec,. Mixt eco and Cuicatec. In the bold,
startling designs originated by these cultures are primal links to the imagery of other
cultures and traditi ons, centuries old and worldwide.
Artists, designers and cr aftspeople will value thi s modestl y priced collection as a
source of striking and unusual copyright-free desi gns for inspiration and practical
use; anyone int er est ed in Mexican Indian culture will find it an important refer ence
as well.
Original Dover (1993) sel ection of motifs from the 2-volume De sign M otifs on
Mexican Indian Textiles, published by Akademische Druck- u , VerlagsanstaIt,
Graz, Austria, 1976. Over 200 bl ack-and-white illustrations. Captions. 80pp. xII.
Paperbound.
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Pa. $5.95
DESIGNMOTIFSOF ANCIENT MEXICO, Jorge Enciso. 153pp. 6J8x 9Jt 20084-1 Pa. $5.95
AMERICAN INDIAN DESIGN AND DECORATION, Leroy Applet on. 279pp. xII. 22704-9
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PREHISTORIC HOPI POTTERY DESI GNS, Jesse Fewkes. 288pp. 6 x 9. 22959-9 Pa. $8.95
Free Dover Pictorial Archive Catalog avail able upon request.
.;,
A DOVER EDITION DESIGNED FOR YEARS OF USE!
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We have made every eff or t to make this the b est book possibl e. Our paper is
opa que, with minimal show-through; it will not discolor or become brittle with age.
Pages are bound in signatures, in the method traditionally used for the best books,
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