Collection place: Central America / Culture or time period: Maya / Accession number: Acc.4518 - Hearst Museum Portal Search Results

Start Over Collection place Central America Culture or time period Maya Accession number Acc.4518

Hearst Museum object titled Belt, accession number 3-29991, described as Backstrap-loomed, warp-faced plain weave; single-faced supp. weft brocading; one piece; warps cut and crocheted into tassels with pompoms added. 159.5 cm x 25.5 cm. Native name and meaning: Faja, Hombre/ Man's belt. Materials, techniques: Cotton: 3 and 4 singles in red; mercerized cotton (sedalina?): 2 two-ply in yellow, maroon, orange, gold; 4 two-ply in orange, purple, aqua; 6 two-ply in light and dark green, light and dark blue and white. Context of use: Collected by Miguel Hun, who donated it to the museum in 1991. This faja has 2 areas of supp. weft multicolored yarns: one area is 15 inches in length and the other is 9.5 inches. Warps are crocheted into 10 tabs onto which pompoms of different colors are attached. Posts are worked into crochet work on one end before the tabs and are done in multicolors; total length of fringe is 4". "Observe intricacy of tassels." (Hun) Iconography consists of diamonds, zigzags, and triangles.

Hearst Museum object titled Headband, accession number 3-29971, described as Handband-loomed, weft-faced plain and tapestry weaves; one piece; warps cut; one 23" tassel at each end. 99 cm x 3 cm. Native name/meaning: Cinta/headband. Materials, techniques: Cotton: singles in white; Artisela (artificial silk): singles in black, yellow, purple, white, blue, pink, gold, grey, maroon, peach. Context of use: Alternating bands of geometric designs including rabbits, birds, "senoritas," zigzags, stylized florals, chevrons and horizontal stripes are repeated. Eccentric weft technique creates the rounded figures (Schevill:127). Warps have been cut and brought through a hollow corn cobb that is covered with cut tufts of artisela. Sisal warps of fringe are wrapped with artisela in a series of "figure 8s" with a cluster of silk at center; these are attached to braids of silk at the fringe ends.

Hearst Museum object titled Huipil, accession number 3-30002, described as Backstrap loomed warp-faced plain weave; two-faced support weft brocading; 2 pieces joined front, back and sides with randa; two end-selvages loom-finished while other two warps are cut. Hand-hemmed, head hole slit; tassels off shoulder line. Cotton 2 singles in red; 1 two-ply in red, green, yellow, pink light blue, orange and purple. Acrylic: singles in blue; 2 ply lavender, purple, blue, green and pink. Shoulder line has series of support weft horizontal bands, whose weft ends are twisted and braided into 3 inch fringes front and back. Yoke has acrylic support weft of predominately purple color with blue, green, and pink zigzags. Two pieces are matched symmetrically at the top but bottom ends are uneven. Some basket weave in central warp stripes are joined together. Bought in Zacualpa.

Hearst Museum object titled Huipil, accession number 3-29999, described as Backstrap-loomed, warp-faced plain weave; single-faced supp. weft brocading; one piece ;end selvages loom finished; head hole not cut out. 127 cm x 75 cm. Cotton 2 two-ply blue; 4 two-ply green, purple; 6 two-ply blue. Supp. weft brocading in zigzag design dominates this piece with the exception of blue borders on both ends. Colors are non-traditional cording to donor Miguel Hun.Old style ceremonial huipils from this town are usually of three lienzos; this single lienzo example was probably made for sale as a table cloth per M. Schevill.

Hearst Museum object titled Huipil, accession number 3-29990, described as Treadle-loomed, balanced plain weave; two faced support weft brocading; three pieces joined by machine stitching; warps cut; machine hemmed; hand stitching smocking; head hold cut out and finished with embroidery; arm holes finished with commercial velveteen; embroidery at neckline and front and back seams. 63.5 cm x 80 cm. Native name and meaning: Huipil/Woman's blouse. Materials, techniques: Cotton: singles in white; 2 singles in white; 1 two-ply in black/white jaspe. Acrylic: 1 two-ply in multicolored embroidering in cotton (lustrina): two-ply multicolored. Context of use: Collected by Miguel Hun and donated to the Museum in 1991. This colorful, busy huipil has horizontal bands of multicolored wefts with support weft brocading; other bands are jaspe; Embroidery drops off vertically from shoulder-line in multicolored floral designs. Bottom half has a band of black/red wefts stripes just under the support weft embroidered upper half, then plain white cotton to the bottom edge. Blue velveteen commercial cloth-trims the armholes; Neckline has a squared area within which animal designs and floral motifs are embroidered. Smocking created with multicolored acrylic yarns on both sides, front and back, halfway between armhole and neckline. One front side has been partially loosened. This style of huipil is very popular. (Schevill).

Hearst Museum object titled Huipil, accession number 3-30001, described as Backstrap-loomed, plain weave; two faced supp. weft brocading; one piece; end-selvages loom-finished. 46 cm x 68.5 cm Cotton: 2 singles in white; 2 two-ply in white, red, blue, orange, light and dark green, yellow and pink; 6 two-ply in white, yellow, green, dark and light blue, orange, maroon, lavender. Huipil is not sewn together to create a garment. Typical San Pedro Necta style with warps turned sideways for width of garment and the end selvages (wefts) on the top and bottom; this is the only town that has this sideways layout. Iconography consists of geometric motifs and warp strips.

Hearst Museum object titled Huipil, accession number 3-29997, described as Backstrap-loomed huipil, warp faced plain weave; two pieces joined with randa; end selvages loom-finished; head hole cut out and finished with commercial tape; embroidery around neckline. Bands of multicolored warp stripes on a red background; Neckline has an embroidered color of four radiating circles done in triangular or feather motif, which is typical of the older styles of this town. Cotton: 2 singles in yellow, brown (ixcaco) 5 singles in red; 1 two-ply red; Sedalina: 1 2 ply in green, purple, gold, pink. Embroider: silk floss in magenta, pink, blue, yellow, white, purple, and orange. 7 inch fringe at each end; 136 cm x 61 cm.

Hearst Museum object titled Huipil, cofradía, accession number 3-30003, described as Backstrap-loomed, warp-faced plain weave; 3-faced support weft brocading; two pieces joined front, back and sides with randa; two-end selvages loom finished while other end warps cut and hand hemmed; head hole cut out and finished with satin weave cloth and embroider. 85 cm X 115.5 cm. Cotton: 2 singles red, brown (ixcaco), blue, green, whit/blue jaspe; 3 singles in brown (ixcaco); silk floss; various colors. Neck has a star-shaped satin cloth stitched down with silk floss and rings of embroidery radiating out towards a circle of satin cloth in the center. This in turn, radiates out in rings of silk embroidery floss. Garment is predominately in brown cotton with jaspe warp stripes. Supp. weft is not continuous but consists of single separate motifs. Texture is heavy. Commissioned; whole piece started fad; bought in 1986, copy of a 1920 huipil. Iconography consists of sun, moon, stars, little animals and warp stripes.

Hearst Museum object titled Shawl, accession number 3-30004, described as Backstrap-loomed, warp-faced plain weave; single-faced supp. weft brocading; one piece; warp ends cut and uncut, then plied together to create fringe on each end. 233.5 cm x 87 cm. Cotton: 2 singles in white, red; 4 singles in white; 3 two-ply in yellow, red. Cotton sedalina: 4 two-ply in green, purple; 5 two-ply in blue; 6 two-ply in red; 8 two-ply in yellow. Red warp stripes on white ground; occasional yellow and red yarns in otherwise white wefts. Supp. weft brocading in bands of geometric designs thourout entire piece. Warp ends twisted to create fringe. Made perraje from huipil design; wanted long huipil per M. Schevill. Iconography consts of stars birds, rain, and mountains.

Hearst Museum object titled Table runner, accession number 3-29996, described as Backstrap-loomed, warp-faced plain weave; support weft brocading; one piece; warps cut and twisted into fringe. 132 cm x 42 cm. Native name and meaning: Tela/Cloth Runner. Materials, techniques: Cotton: singles in red; cotton (sedalina) in 2-ply red, orange, green, and black; Sedalina: 4 two-ply in purple, white, green, red and blue. Context of use: Collected by Miguel Hun and donated to the museum in 1991. This piece is typical of the style and design of the Zacualpa, but it is made for sale as a runner for a table. Fringes are created by loose warp yarns which are twisted into approximately .25 inch thick, 5-inch long fringes that are knotted at the end. Support weft ends also create fringes on the side of the piece, another typical feature for this town. The design areas have twining on both sides, an unusual feature in Guatemalan textiles.