by Hope MacLean
Tatei Matinieri (Home of Our Mothers), 28
Tatei Niwetsika (Our Mother Maize), 26, 28, 28;
color of, 180
Tatei Nüariwama (Our Mother of Storms), 28;
imagery in yarn paintings, 69–71, 70, 184;
sacred site of, 75–76, 184
Tatei Rapawiyeme (Our Mother Lake Chapala), 25, 28;
offerings to, 41;
sacred site of, 254n4(chap. 2)
Tatei Utuanaka (Our Mother the Earth), 28
Tatei Werika Uimari (Our Mother Young Eagle Girl), 27
Tatei Yurianaka (Earth Mother, Fish Mother), 27, 120–121, 127
Tatewari (Our Grandfather Fire), 26–27, 37, 247–248;
colors of, in vision, 175–178;
imagery in yarn paintings, 95;
sacred site of, 71
Tayau, Tau (Our Father the Sun), 26–27, 44;
imagery in yarn paintings, 70, 71, 89, 96, 163–164, 164, 174, 174, 184;
visions of, 188–189
Teekata, 71
Tepecano people, 79–81;
offerings used by, 83
Tepehuane people, 79–81;
offerings used by, 83;
yarn paintings made by, 227–230, 228. See also Bautista Cervantes family
temples:
at Basilica of Zapopan, 92;
districts, 21–22, 37;
in sacred caves, 60
Tepic, Mexico, 2, 7, 21–22, 36;
art production in, 233;
as market for Huichol art, 221–222
threads. See yarns
time-share:
as market for Huichol art, 224–225
tobacco (Nicotiana spp.):
and Huichol migrant labor, 123–124
Toltec culture, 80
tourist industry:
commodification of culture by, 8;
and Huichol identity, construction of, 8;
marketing of the sacred, 9, 158, 191, 243, 252;
Mexican policy on crafts of indigenous cultures, 85–87, 89, 100–102;
sale of Huichol arts in, 221–227;
and tourist facilities, development of, 109
Tree of the Wind, 32. See also kieri
Tüki (deer-spirit), 9
Tuxpan (Tutsipa), 21, 75, 88
U.C.L.A. Museum of Ethnic Arts, 93
University of Pennsylvania Museum of Archaeology and Anthropology, 119
Urra Temai, 96
Uto-Aztecan people:
chromatic imagery used by, 185–188;
flower symbolism of, 63–64;
imagery used by, 79–81, 83;
location of, 19;
languages of, 19;
offerings used by, 37, 81, 83;
origins of, 19–20;
population movements of, 79–81;
visionary experience among, 15
uxa (Berberis trifoliolata or Mahonia trifoliolata), 50;
as colored light, 49–52;
and face paintings, used for, 43, 50;
imagery in yarn paintings, 81, 82;
as plant, 50, 52;
sacred site of, 52, 53;
term for sacred colors, 175
Valadez, Susana Eger. See Eger Valadez, Susana
Valadez, Mariano:
on buyers, 245–246;
on imagery in yarn paintings, 139–140;
life history of, 104, 111, 113, 122–128;
market influence on designs of, 242–243;
publication on, 4;
on vision as source of images, 196, 198;
on yarns, 160
Varadara, 66
Vasconcelas, José, 85
visions, visionary experience:
and anthropologists, shared by, 11;
by artists, 6;
author’s vision of deer, 9;
colors and, 146–147, 165–190;
cross-cultural comparisons of, 15;
definition of, 196;
indigenous views on, 12, 93;
nierika as representation of, 42–49, 56;
of shamans, 33–35;
as source of yarn painting imagery, 57–58, 74–78, 94–97, 115, 130–131, 161–164, 212–213;
verification, issues of, 13, 34–35
volcanoes, 25, 29, 96, 200
water:
sacred water, 25, 28–29;
and yarn painting, empowerment of, 60;
from sacred site, 76, 184
wax (beeswax, cera de Campeche):
in candles, 36;
in yarn paintings, 38, 135–137
weaving, 66,
color use in, 146–149, 171;
imagery in, 116, 129, 133;
and loom, symbolism of, 158;
vision as source of designs, 191–193, 206
Willier, Russell, 3
Winnebago people:
visionary experience among, 15
Wirikuta, 43, 158;
author’s trip to, 2, 3;
birth of sun in, 96
Wirikuta, pilgrimage to, 3, 28–29, 31, 32;
as climbing a staircase, 157–158;
face painting during, 50–51;
and Ramón Medina Silva, 92–93
Wixárika, Wirrarika. See Huichol people
wolves:
imagery in yarn paintings, 127
women:
as artists, 65–66, 146, 171–172, 180, 192–193, 206, 233, 257n1(chap. 9);
designs of, 100;
face paintings of, 180;
imagery in yarn paintings, 98;
as shamans, 31. See also birth
wood, plywood, 38, 41, 88, 103, 135–137, 140–141
wool. See yarns
World Bank, 109
Yaqui people:
and Carlos Castaneda, 94;
visionary experience among, 15, 186–187
Yañez, Augustĺn, role in commercialization of yarn paintings, 87–89, 100
yarn paintings, sacred yarn paintings:
authorship and copyright in, 144;
backgrounds of, 138;
borders of, 137–138;
Christian themes in, 130;
color use in, 149, 159–164;
commercialization of, 7–8, 85–90;
copies of, 256n7;
distinction between sacred and commercial, 67, 73, 132–133, 194–195, 215–216, 250–252;
evolution in imagery, 90, 94–101, 241;
history of, 4, 8;
and Huichol, unique to, 83;
imagery and symbolism in, 4, 39–40, 59–62, 66–84, 87, 95–100, 113, 116–117, 120–122, 125–134;
interpretation of meaning important, 119, 124;
manufacture of, 62–67, 88, 98, 135–145;
market segmentation of, 226–227;
marketing and promotion of, 108–112, 238–239;
marketing by Tepehuanes, 228–230;
as offering, 38–39, 41, 57–62;
origins of, 4, 38–42, 113;
origins in rocks, 74–83;
prices of, 226–227, 234–236, 238–239, 258n1(chap. 15);
and Ramón Medina, visionary experience of, 93, 95–97, 192;
sacred power in, 60–62, 61, 214–220;
sales and profitability of, 3, 98, 140, 144–145, 161–162, 221–227;
secrecy and explanation of meaning, 247–249;
subject matter of, 128–133, 241;
as teaching tool, 2, 3;
teaching and learning of, 102–107, 124–125, 192;
terms for, 41–42, 56, 253n1;
visionary experience in, 9, 35, 45–47, 74–78, 130–131, 161–164, 170–178, 184–185, 191–200, 200;
written texts and signatures on, 143–145, 243–245. See also boards; itari/itali; wax; wood; yarns
yarns, acrylic yarns, wool yarns, 37;
changes in, 241;
colors of, 147, 159–161;
and offerings, used in, 37–38, 42;
and yarn painting, used for, 62–64, 105, 137–140
&nb
sp; Young, David E., 3, 12, 13
Zingg, Robert M.:
and Alfonso Soto Soria, used by, 87;
collections, 89, 111;
on nierika concept, 43–44, 56, 84;
on term for itali, 41;
yarn painting, collection of, 68
Zitacua, Mexico (Huichol colony), 22, 119, 233;
spelling of, 254n2(chap. 2)