97 products were found matching your search for Huichol in 2 shops:

The Huichol Indians of Mexico believe themselves to be "mirrors of the gods" and try to reflect a sacred vision of the world in their vibrantly colored weavings, called yarn paintings. The book features an introduction to Huichol culture, explanations of symbolic images and fifty color images. Valadez considers his art as a tool for preserving Huichol tradition and communicating its ancient knowledge to the modern world.

Known today for colorful, decorative yarn paintings renowned in the global art market, the indigenous Huichols of western Mexico have retained their unique culture and arts, creating traditional art and practicing ancient rituals that predate Spanish contact. The origins of modern Huichol art are found in the early religious arts that form the outstanding collection of Robert M. Zingg, the first American anthropologist to conduct extended fieldwork among the Huichol (1934–1935). Drawing from the Zingg collection housed at the Museum of Indian Arts and Culture in Santa Fe, New Mexico, this extensive volume features a vast array of Huichol art including textiles, prayer arrows, richly decorated votive gourd bowls, feather work, and beaded jewelry. Accompanying essays by noted Huichol scholars including C. Jill Grady, Peter T. Furst, and Hope MacLean explore the anthropological history of the Huichol and the themes of their unique cultural arts. Also included are rare field photographs taken by Zingg, documenting the annual ceremonial and agricultural cycles and many of the collected objects in use.

The Huichol Indians of Mexico believe themselves to be "mirrors of the gods" and try to reflect a sacred vision of the world in their vibrantly colored weavings, called yarn paintings. The book features an introduction to Huichol culture, explanations of symbolic images and fifty color images. Valadez considers his art as a tool for preserving Huichol tradition and communicating its ancient knowledge to the modern world.

Best known for their ritual use of peyote, the Huichol people of west-central Mexico carried much of their original belief system into the twentieth century unadulterated by the influence of Christian missionaries. Among the Huichol, reciting myths and performing rituals pleases the ancestors and helps maintain a world in which abundant subsistence and good health are assured. This volume is a collection of myths recorded by Robert Zingg in 1934 in the village of Tuxpan and is the most comprehensive record of Huichol mythology ever published. Zingg was the first professional anthropologist to study the Huichol, and his generosity toward them and political advocacy on their behalf allowed him to overcome tribal sanctions against divulging secrets to outsiders. He is fondly remembered today by some Huichols who were children when he lived among them. Zingg recognized that the alternation between dry and wet seasons pervades Huichol myth and ritual as it does their subsistence activities, and his arrangement of the texts sheds much light on Huichol tradition. The volume contains both aboriginal myths that attest to the abiding Huichol obligation to serve ancestors who control nature and its processes, and Christian-inspired myths that document the traumatic effect that silver mining and Franciscan missions had on Huichol society. First published in 1998 in a Spanish-language edition, Huichol Mythology is presented here for the first time in English, with more than 40 original photographs by Zingg accompanying the text. For this volume, the editors provide a meticulous historical account of Huichol society from about 200 A.D. through the colonial era, enabling readers to fully grasp the significance of the myths free of the sensationalized interpretations found in popular accounts of the Huichol. Zingg’s compilation is a landmark work, indispensable to the study of mythology, Mexican Indians, and comparative religion.

Best known for their ritual use of peyote, the Huichol people of west-central Mexico carried much of their original belief system into the twentieth century unadulterated by the influence of Christian missionaries. Among the Huichol, reciting myths and performing rituals pleases the ancestors and helps maintain a world in which abundant subsistence and good health are assured. This volume is a collection of myths recorded by Robert Zingg in 1934 in the village of Tuxpan and is the most comprehensive record of Huichol mythology ever published. Zingg was the first professional anthropologist to study the Huichol, and his generosity toward them and political advocacy on their behalf allowed him to overcome tribal sanctions against divulging secrets to outsiders. He is fondly remembered today by some Huichols who were children when he lived among them. Zingg recognized that the alternation between dry and wet seasons pervades Huichol myth and ritual as it does their subsistence activities, and his arrangement of the texts sheds much light on Huichol tradition. The volume contains both aboriginal myths that attest to the abiding Huichol obligation to serve ancestors who control nature and its processes, and Christian-inspired myths that document the traumatic effect that silver mining and Franciscan missions had on Huichol society. First published in 1998 in a Spanish-language edition, Huichol Mythology is presented here for the first time in English, with more than 40 original photographs by Zingg accompanying the text. For this volume, the editors provide a meticulous historical account of Huichol society from about 200 A.D. through the colonial era, enabling readers to fully grasp the significance of the myths free of the sensationalized interpretations found in popular accounts of the Huichol. Zingg’s compilation is a landmark work, indispensable to the study of mythology, Mexican Indians, and comparative religion.

Known today for colorful, decorative yarn paintings renowned in the global art market, the indigenous Huichols of western Mexico have retained their unique culture and arts, creating traditional art and practicing ancient rituals that predate Spanish contact. The origins of modern Huichol art are found in the early religious arts that form the outstanding collection of Robert M. Zingg, the first American anthropologist to conduct extended fieldwork among the Huichol (1934–1935). Drawing from the Zingg collection housed at the Museum of Indian Arts and Culture in Santa Fe, New Mexico, this extensive volume features a vast array of Huichol art including textiles, prayer arrows, richly decorated votive gourd bowls, feather work, and beaded jewelry. Accompanying essays by noted Huichol scholars including C. Jill Grady, Peter T. Furst, and Hope MacLean explore the anthropological history of the Huichol and the themes of their unique cultural arts. Also included are rare field photographs taken by Zingg, documenting the annual ceremonial and agricultural cycles and many of the collected objects in use.

The Huichol Indians of Mexico believe themselves to be "mirrors of the gods" and try to reflect a sacred vision of the world in their vibrantly colored weavings, called yarn paintings. The book features an introduction to Huichol culture, explanations of symbolic images and fifty color images. Valadez considers his art as a tool for preserving Huichol tradition and communicating its ancient knowledge to the modern world.

Los huicholes o wixarika han capturado la atencion de los apasionados del arte por sus tallas cubiertas con chaquira y sus jicaras decoradas con disenos geometricos. Sin embargo, existen otras creaciones huicholes que implican un compromiso vital, pues el artista que se inclina por ellas debe someterse a una busqueda interior que implica un compromiso religioso. Que misterios encierran estas creaciones?The Huichol or wixarika have captured the attention of art lovers for its carvings covered with beads and gourds decorated with geometric designs. However, there are other creations that involve a commitment Huichol life, as the artist prefers them to undergo an inner quest that involves a religious commitment. What mysteries posed by these creations?

The brilliant visionary yarn paintings of the shaman-artist Jose Benitez Sanchez emerge transformed into two-dimensional form from fleeting, sublime visionary experiences triggered by the complex chemistry of the divine peyote cactus. Benitez's visions are of the Huichol universe in Mexico's rugged Sierra Madre Occidental, as that world came into being in the First Times of creation and transformation and in the ongoing magic of a natural environment that is alive and without firm boundaries between the here and now and the ancestral past.Modern yarn paintings—more than 30 in the University of Pennsylvania Museum's collection are illustrated here—have their roots in the sacred art of communication with numberless male and female ancestors and native deities, related in the two remarkable Huichol origin myths also presented here to shed some light on Native American culture and provide some understanding of the religious experience that informs it.

Los huicholes o wixarika han capturado la atencion de los apasionados del arte por sus tallas cubiertas con chaquira y sus jicaras decoradas con disenos geometricos. Sin embargo, existen otras creaciones huicholes que implican un compromiso vital, pues el artista que se inclina por ellas debe someterse a una busqueda interior que implica un compromiso religioso. Que misterios encierran estas creaciones?The Huichol or wixarika have captured the attention of art lovers for its carvings covered with beads and gourds decorated with geometric designs. However, there are other creations that involve a commitment Huichol life, as the artist prefers them to undergo an inner quest that involves a religious commitment. What mysteries posed by these creations?

People of the Peyote explores the Huichol Indians of Mexico, who are best known for their worship of the peyote cactus. Ritually harvested each year, the peyote flower plays a central role in most Huichol observances of the annual ceremonial round. The Huichols have been the most culturally persistent indigenous group in Mexico and have maintained their pre-Christian religion with only minimal accommodation to Catholicism. Eighteen essays explore Huichol ethnography, ethnohistory, shamanism, religion, mythology, art, ethnobotany, society, and other topics. The authors, including Huichol contributors, are an international array of scholars on the Huichols and indigenous peoples of Mexico.

People of the Peyote explores the Huichol Indians of Mexico, who are best known for their worship of the peyote cactus. Ritually harvested each year, the peyote flower plays a central role in most Huichol observances of the annual ceremonial round. The Huichols have been the most culturally persistent indigenous group in Mexico and have maintained their pre-Christian religion with only minimal accommodation to Catholicism. Eighteen essays explore Huichol ethnography, ethnohistory, shamanism, religion, mythology, art, ethnobotany, society, and other topics. The authors, including Huichol contributors, are an international array of scholars on the Huichols and indigenous peoples of Mexico.

The Huichol or Wixáritari are Native Mexicans. They are best known to the larger world as the Huichol, however, they refer to themselves as Wixáritari ("the people") in their native Huichol language. In the past thirty years, about four thousand Huichols have migrated to cities. It is these urbanized Huichols who have drawn attention to their rich culture through their art. To preserve their ancient beliefs they began making detailed and elaborate yarn paintings. The symbols in these paintings are sprung out of Huichol culture and its shamanistic traditions. From the small beaded eggs and jaguar heads to the modern detailed yarn paintings in psychedelic colors, each is related to a part of Huichol tradition and belief. The modern yarn that Huichols use is woven much tighter and is thinner allowing for great detail and the colors are commercial allowing for much more variety. Before access to these materials in cities, Huichols used vegetable dyes. The first large yarn paintings were exhibited in Guadalajara in 1962 which were simple and traditional. At present with the availability of a larger spectrum of commercial dyed and synthetic yarn, more finely spun yarn paintings have evolved into high quality works of art. This publication and the exhibition that accompanied it borrowed from old and documented collections around the country to provide a comprehensive view of Huichol art from the late 19th century to the time of its exhibit in 1978-79. It was exhibited in San Francisco, Chicago, and New York. There are sections on Huichol sacred art, peyote and the mystic vision, the neurochemistry of religious insight and ecstasy, acculturation and economics, and shamanism.

The brilliant visionary yarn paintings of the shaman-artist Jose Benitez Sanchez emerge transformed into two-dimensional form from fleeting, sublime visionary experiences triggered by the complex chemistry of the divine peyote cactus. Benitez's visions are of the Huichol universe in Mexico's rugged Sierra Madre Occidental, as that world came into being in the First Times of creation and transformation and in the ongoing magic of a natural environment that is alive and without firm boundaries between the here and now and the ancestral past.Modern yarn paintings—more than 30 in the University of Pennsylvania Museum's collection are illustrated here—have their roots in the sacred art of communication with numberless male and female ancestors and native deities, related in the two remarkable Huichol origin myths also presented here to shed some light on Native American culture and provide some understanding of the religious experience that informs it.

The brilliant visionary yarn paintings of the shaman-artist Jose Benitez Sanchez emerge transformed into two-dimensional form from fleeting, sublime visionary experiences triggered by the complex chemistry of the divine peyote cactus. Benitez's visions are of the Huichol universe in Mexico's rugged Sierra Madre Occidental, as that world came into being in the First Times of creation and transformation and in the ongoing magic of a natural environment that is alive and without firm boundaries between the here and now and the ancestral past.Modern yarn paintings—more than 30 in the University of Pennsylvania Museum's collection are illustrated here—have their roots in the sacred art of communication with numberless male and female ancestors and native deities, related in the two remarkable Huichol origin myths also presented here to shed some light on Native American culture and provide some understanding of the religious experience that informs it.

"Ramón Medina Silva, a Huichol Indian shaman priest or mara'akame, instructed me in many of his culture's myths, rituals, and symbols, particularly those pertaining to the sacred untiy of deer, maize, and peyote. The significance of this constellation of symbols was revealed to me most vividly when I accompanied Ramón on the Huichol's annual ritual return to hunt the peyote in the sacred land of Wirikuta, in myth and probably in history the place from which the Ancient Ones (ancestors and deities of the present-day Indians) came before settling in their present home in the mountains of the Sierra Madre Occidental in north-central Mexico. My work with Ramón preceded and followed our journey, but it was this peyote hunt that held the key to, and constituted the climax of, his teachings."―from the Preface

This is the story of an anthropologist's encounter with a Huichol Indian known as "Mad Jesus." Jesús was an artisan, a shaman, a self-styled prophet, a mad messiah, and a murderous mystic. Timothy J. Knab was a young anthropologist soliciting life histories from Huichols in Mexico City when they met. The life story of Jesús may have been the ravings of a madman, but it also embodied the Huichol anticipation of the return of Santo Cristo, the savior who will restore the Huichol to their place as masters of the world around them. Neither Knab's studies in anthropology nor his experiences in the world of counterculture prepared him to understand this strange Indian and his violent history and behavior.A narrative of frightening encounters with a charismatic deviant, the tale culminates in the quest to discover what really happened when Jesús was killed in a police shootout thirty years after Knab's last disturbing confrontation with him. The book provides an overview of the Huichol and the plight of Mesoamerican Indians. It also sheds light on traditional religion, indigenous Catholicism, messianic cults, urbanization, and indigenous conflicts with the modern Mexican state."The subject is fascinating and Knab's technique of phrasing it in the form of ethnographic fiction will, I think, be welcomed by specialists. . . . it tells an unknown or little-known story that illustrates the conflicts and strains of acculturation, and does it in very readable form."--Peter Furst, author of Flesh of the Gods: The Ritual Use of Hallucinogens and co-author of People of the Peyote: Huichol Indian History, Religion, and Survival (UNM Press).

Un tributo a la memoria del antropologo aleman y pionero de la etnologia en Mexico, Konrad Theodor Preuss, quien emprendio su aventura mexicana hace un siglo. Fruto de ella son sus registros de cantos, rezos, musica y danzas documentados en ceremoniales coras, huicholes y mexicaneros, ademas de la recopilacion de 2 300 piezas artesanales, en su mayoria objetos rituales, que se dan a conocer en Mexico por primera vez en esta edicion.A tribute to the memory of German anthropologist and a pioneer of anthropology in Mexico, Konrad Theodor Preuss, who began his Mexican adventure a century ago. The result of it are their records of songs, prayers, music and ceremonial dances documented in Cora, Huichol Mexicanero addition to the collection of 2 300 handmade pieces, mostly ritual objects, which are made available in Mexico for the first time this issue.

Huichol Indian yarn paintings are one of the world's great indigenous arts, sold around the world and advertised as authentic records of dreams and visions of the shamans. Using glowing colored yarns, the Huichol Indians of Mexico paint the mystical symbols of their culture—the hallucinogenic peyote cactus, the blue deer-spirit who appears to the shamans as they croon their songs around the fire in all-night ceremonies deep in the Sierra Madre mountains, and the pilgrimages to sacred sites, high in the central Mexican desert of Wirikuta.Hope MacLean provides the first comprehensive study of Huichol yarn paintings, from their origins as sacred offerings to their transformation into commercial art. Drawing on twenty years of ethnographic fieldwork, she interviews Huichol artists who have innovated important themes and styles. She compares the artists' views with those of art dealers and government officials to show how yarn painters respond to market influences while still keeping their religious beliefs.Most innovative is her exploration of what it means to say a tourist art is based on dreams and visions of the shamans. She explains what visionary experience means in Huichol culture and discusses the influence of the hallucinogenic peyote cactus on the Huichol's remarkable use of color. She uncovers a deep structure of visionary experience, rooted in Huichol concepts of soul-energy, and shows how this remarkable conception may be linked to visionary experiences as described by other Uto-Aztecan and Meso-American cultures.

The Huichols (or Wixárika) of western Mexico are among the most resilient and iconic indigenous groups in Mexico today. In the Lands of Fire and Sun examines the Huichol Indians as they have struggled to maintain their independence over two centuries. From the days of the Aztec Empire, the history of west-central Mesoamerica has been one of isolation and a fiercely independent spirit, and one group that maintained its autonomy into the days of Spanish colonization was the Huichol tribe. Rather than assimilating into the Hispanic fold, as did so many other indigenous peoples, the Huichols sustained their distinct identity even as the Spanish Crown sought to integrate them. In confronting first the Spanish colonial government, then the Mexican state, the Huichols displayed resilience and cunning as they selectively adapted their culture, land, and society to the challenges of multiple new eras. By incorporating elements of archaeology, anthropology, cultural geography, and history, Michele McArdle Stephens fills the gaps in the historical documentation, teasing out the indigenous voices from travel accounts, Spanish legal sources, and European ethnographic reports. The result is a thorough examination of one of the most vibrant, visible societies in Latin America.