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Start Over Accession number Acc.4518 Function 2.1 Daily Garb
Hearst Museum object titled Belt, accession number 3-29982, described as Backstrap-loomed, warp-faced plain weave; one piece; warps ends cut and uncut creating a 7" fringe on each end;cut warp fringe is knotted in places. 300 cm x 18 cm. Native name/meaning: faja hombre/man's sash. Materials, techniques: cotton: 3 singles, red; 2 two-ply in red and blue. Context of use: Collected by Miguel Hun in the 1980s (faja woven in 1985) and donated to the museum in 1991. Knots in red wefts appear on both sides of this piece. Parallel thin blue warp stripes evenly spaced on red background; cut fringe end is knotted. Present from Nimakachi family (Hun).
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 Faja, hombre, accession number 3-29977, described as Backstrap-loomed, warp-faced plain weave; one piece; loose warps create 4" fringe, which are uncut resulting in loose warps winding back on themselves. 107 cm x 10 cm. Native name/meaning: faja hombre/man's sash. Materials, techniques: cotton: 2 singles black; 1 two-ply in light black, grey, blue, dark and light green, brown, peach, aqua. Context of use: Even multicolored warps stripes are approximately .5" wide. Light black color predominates in this 4" wide faja; red cotton yarn is doubled and looped through middle of piece at one end. Fringe created at each end by slipping sash off the first piece I ever acquired. Its from circa 1973-74. I was attracted by it because of its unusual combination of colors on a white background. I bought it from a woman from San Antonio Aquas Calientes in front of the Cathedral in Antigua. This faja not meant for traditional use, but rather for tourists. The threads are cotton and the colors I believe are synthetic. Kachikel hands definitely made it! (Hun).
Hearst Museum object titled Faja, hombre, accession number 3-29972, described as Backstrap-loomed, warp-faced plain weave; one piece; warp ends cut; fringe at each end created by twisting cut warps (fringe is 7" long). 132 cm x 7.5 cm. Native name/meaning: faja, hombre/man's belt. Materials, techniques: Wool: 1 two-ply in brown and white (white very soiled and looks tan). Embroidery in cotton: 3 singles dark blue and 6 two-ply in green. Context of use: At either end of this piece, there is darning with dark blue over the tear and green cotton stitching in double rows across end before fringe. Alternating brown and white narrow warp stripes are turned into the fringe at each end due to the cut warps. Additional white wool is introduced into the white warps at fringe ends (this wool is 2 two-ply). The cut warp ends are twisted and knotted into monochrome fringes, alternating like the stripes in white and brown tassels.
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 3-29986, described as Backstrap-loomed, balanced plain weave; single-faced supp. weft brocading; three pieces, all end selvages loom-finished; pieces joined by hand-stitching; headhole not cut out. 53 cm x 109 cm. Native name and meaning: Huipil/Blouse. Materials, techniques: Cotton: 2 two-ply in white, red; 4 two-ply in dark blue, red, green, yellow, and purple. Context of use: Collected by Miguel Hun and donated to the museum in 1991. The outer lienzos are white with bands of multicolored supp. weft motifs that flank central red-on-red lienzo. Red-on-red lienzo has supp. weft brocading in blue and green vertical zigzags. White lienzos' motifs consist of birds on tobacco plants, stylized starts, pacaya palm leave. Unfinished headhold is square with supp. weft edging on two sides; end of supp. weft are cut and loose on inside. "Daily blouse, if worn as a veil, it becomes ceremonial." (Hun) Center lienzo is similar to a huipil from Tactic, 3-29598.
Hearst Museum object titled Huipil, accession number 3-29988, described as Backstrap-loomed, warp-faced plain weave; warp-faced plain weave; double-faced supp. weft brocading; four pieces joined with hand-stitching; one end loom-finished, other three warps are cut; neckline is gathered at back and collar attached with hand-stitching; slit opening for head hole; sleeves set in. 85 cm x 71 cm. Native name and meaning: Huipil/Blouse. Materials, techniques: Cotton: 2 singles in black, blue, yellow, and jaspe blue/white; 3 singles in blue; silk floss in white, yellow, magenta, blue, purple, light green. Context of use: Collected by Miguel Hun, who donated it the museum in 1991. Body of this huipil is predominately blue with multicolored warp stripes of varying widths. Sleeves are red background with multicolored stripes, including jaspe. Typical construction for this town. Stars are double-faced supp. weft brocading or could be embroidered, as are the bands along the shoulder seams.
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 3-29987, described as Backstrap-loomed, warp-faced plain weave; single-faced support weft brocading; three pieces joined together with hand-stitching; 2 end selvages loom-finished; other 4 are cut warps that create fringe; headhole cut out and finished with hand stitching. 77.5 cm x 74 cm. Native name and meaning: Huipil/Woman's Blouse. Materials, techniques: Cotton: 3 singles, red; 1 two-ply white, white, orange, green, pink, aqua, brown and maroon. Context of use: Collected by Miguel Hun, and donated to the Museum in 1991. Upper half of this textile is dominated by support weft brocading in dense, bright acrylic yarns; bottom half has red and white vertical stripes on sides lienzos, white central lienzo has thinner yellow/white/red stripes. Lienzos are joined by hand-stitching on the wrong side of the Huipil manufactured n 1983. Iconography consists of crosses, starts, geometrics, and vertical stripes.
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.

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