Mature Ladies Who Would Like Amate Again

Blazon of paper manufactured in Mexico

Amate (Spanish: amate [aˈmate] from Nahuatl languages: āmatl [ˈaːmat͡ɬ]) is a type of bark paper that has been manufactured in Mexico since the precontact times. It was used primarily to create codices.

Amate newspaper was extensively produced and used for both communication, records, and ritual during the Triple Alliance; however, later on the Castilian conquest, its production was generally banned^{[ citation needed ]} and replaced by European paper. Amate paper production never completely died, nor did the rituals associated with it. It remained strongest in the rugged, remote mountainous areas of northern Puebla and northern Veracruz states. Spiritual leaders in the small-scale village of San Pablito, Puebla were described equally producing paper with "magical" properties^{[ commendation needed ]}. Strange academics began studying this ritual apply of amate in the mid-20th century, and the Otomi people of the area began producing the newspaper commercially. Otomi craftspeople began selling it in cities such as Mexico City, where the newspaper was revived by Nahua painters in Guerrero to create "new" indigenous craft, which was so promoted past the Mexican regime.

Through this and other innovations, amate newspaper is one of the most widely bachelor Mexican ethnic handicrafts, sold both nationally and away. Nahua paintings of the paper, which is too chosen "amate," receive the most attention, simply Otomi paper makers have also received attending not merely for the paper itself but for crafts fabricated with it such equally elaborate cut-outs.

History [edit]

Amate newspaper has a long history. This history is not but because the raw materials for its manufacture have persisted merely also that the industry, distribution and uses have adapted to the needs and restrictions of various epochs. This history tin can be roughly divided into three periods: the pre-Hispanic menstruum, the Spanish colonial menses to the 20th century, and from the latter 20th century to the nowadays, marked by the paper's use equally a commodity.^[i]

Pre-Hispanic period [edit]

The evolution of paper in Mesoamerica parallels that of China and Arab republic of egypt, which used rice and papyrus respectively.^[2] Information technology is not known exactly where or when papermaking began in Mesoamerica.^{[3] [four]}

The oldest known amate paper dates back to 75 CE. It was discovered at the site of Huitzilapa, Jalisco. Huitzilapa is a shaft tomb culture site located northwest of Tequila Volcano about the boondocks of Magdalena. The crumpled piece of paper was found in the southern chamber of the site's shaft tomb, maybe associated with a male person scribe. Rather than beingness produced from Trema micrantha from which modern amate is made, the amate found at Huitzilapa is made from Ficus tecolutensis (now F. aurea).^[five] Iconography (in stone) dating from the flow contains depictions of items thought to exist paper. For example, Monument 52 from the Olmec site of San Lorenzo Tenochtitlán illustrates an individual adorned with ear pennants of folded newspaper.^[6] The oldest known surviving book made from amate paper may be the Grolier Codex, which Michael D. Coe and other researchers have asserted is authentic and dated to the twelfth-13th century CE.^[seven]

Arguments from the 1940s to the 1970s have centered on a time of 300 CE of the apply of bark clothing by the Maya people. Ethnolinguistic studies pb to the names of two villages in Maya territory that chronicle the utilise of bawl paper, Excachaché ("place where white bawl trusses are smoothed") and Yokzachuún ("over the white paper"). Anthropologist Marion mentions that in Lacandones, in Chiapas, the Maya were withal manufacturing and using bark clothing in the 1980s. For these reason, information technology was probably the Maya who kickoff propagated knowledge about bark-paper-making and spread it throughout southern Mexico, Guatemala, Belize, Honduras, and El salvador, when information technology was at its elevation in the pre-classic period.^{[8] [9]} However, according researcher Hans Lenz, this Maya paper was likely not the amate paper known in after Mesoamerica.^[4] The Mayan linguistic communication word for book is hun [hun].^[10]

Amate paper was used virtually extensively during the Triple Brotherhood Empire.^[11] This paper was manufactured in over xl villages in territory controlled past the Aztecs and and then handed over equally tribute by the conquered peoples. This amounted to about 480,000 sheets annually. Most of the product was concentrated in the modern state of Morelos, where Ficus trees are arable because of the climate.^{[4] [9] [12]} This newspaper was assigned to the royal sector, to be used every bit gifts on special occasions or as rewards for warriors. It was also sent to the religious elites for ritual purposes. The last share was allotted to purple scribes for the writing of codices and other records.^[thirteen]

Little is known about the newspaper'due south manufacture in the pre-Hispanic period. Stone beaters dating from the sixth century CE take been constitute, and these tools are most oft found where amate copse grow. Nearly are made of volcanic stone with some made of marble and granite. They are normally rectangular or circular with grooves on one or both sides to macerate the fibers. These beaters are still used past Otomi artisans, and nigh all are volcanic, with an additional groove added on the side to help hold the stone. According to some early Spanish accounts, the bark was left overnight in water to soak, afterwards which the finer inner fibers were separated from coarser outer fibers and pounded into flat sheets. But it is not known who did the work, or how the labor was divided.^[14]

As a tribute item, amate was assigned to the regal sector because it was non considered to be a commodity. This newspaper was related to power and organized religion, the way through which the Aztecs imposed and justified their authorisation in Mesoamerica. Equally tribute, it represented a transaction between the dominant groups and the dominated villages. In the second phase, the paper used by the royal authorities and priests for sacred and political purposes was a manner to empower and ofttimes register all the other sumptuary exclusive things.^[15]

Amate paper was created as part of a line of technologies to satisfy the human need to express and communicate. It was preceded by stone, clay and leather to transmit knowledge starting time in the grade of pictures, and later with the Olmecs and Maya through a grade of hieroglyphic writing.^[8] Bark newspaper had important advantages as information technology is easier to obtain than animal skins and was easier to work than other fibers. It could exist bent, shirred, glued and melded for specific finishing touches and for decoration. Two more than advantages stimulated the extensive use of bawl paper: its light weight and its ease of transport, which translated into great savings in time, space and labor when compared with other raw materials.^[16] In the Aztec era, newspaper retained its importance as a writing surface, particularly in the production of chronicles and the keeping of records such equally inventories and bookkeeping. Codices were converted into "books" past folding into an accordion design. Of the approximately 500 surviving codices, about sixteen date to earlier the conquest and 4 are made of bark paper. These include the Dresden Codex from the Yucatán, the Fejérváry-Mayer Codex from the Mixteca region and the Borgia Codex from Oaxaca.^[17]

However, paper also had a sacred attribute and was used in rituals along with other items such as incense, copal, maguey thorns and safety.^[17] For formalism and religious events, bark newspaper was used in diverse ways: as decorations used in fertility rituals, yiataztli, a kind of bag, and equally an amatetéuitl, a bluecoat used to symbolize a prisoner's soul later sacrifice. It was also used to apparel idols, priests and cede victims in forms of crowns, stoles, plumes, wigs, trusses and bracelets. Paper items such equally flags, skeletons and very long papers, upward to the length of a man, were used every bit offerings, frequently by called-for them.^[18] Another important paper detail for rituals was newspaper cutting in the course of long flags or trapezoids and painted with black rubber spots to depict the characteristic of the god being honored. At a sure fourth dimension of year, these were too used to ask for pelting. At this time, the papers were colored blue with plumage at the spearhead.^[xix]

Colonial period to 20th century [edit]

When the Castilian arrived, they noted the production of codices and paper, which was also made from maguey and palm fibers as well as bark. It was specifically noted past Pedro Mártir de Anglería.^[20] After the Conquest, indigenous newspaper, especially bawl paper lost its value as a tribute detail not but because the Castilian preferred European paper but also because bark paper's connectedness to indigenous religion acquired it to be banned.^[12] The justification for the banning of amate was that it was used for magic and witchcraft.^[four] This was part of the Spaniard's efforts to mass catechumen the ethnic to Catholicism, which included the mass burning of codices, which contained most of the native history every bit well as cultural and natural knowledge.^[11]

Only 16 of 500 surviving codices were written before the Conquest. The other, post-conquest books were written on bark paper although a few were written on European paper, cotton, or animal hides. They were largely the work of missionaries, such equally Bernardino de Sahagún, who were interested in recording the history and knowledge of the indigenous people. Some of the important codices of this blazon include Codex Sierra, Codex La Cruz Badiano and Codex Florentino. The Codex Mendocino was commissioned past viceroy Antonio de Mendoza in 1525 to acquire about the tribute organization and other indigenous practices to be adjusted to Spanish dominion. Even so, it is on European paper.^[21]

Although bark newspaper was banned, it did non completely disappear. In the early colonial period, there was a shortage of European paper, which fabricated it necessary to apply the indigenous version on occasion.^[21] During the evangelization process, amate, along with a paste fabricated from corn canes was appropriated by missionaries to create Christian images, mostly in the 16th and 17th century.^{[9] [22]} In improver, among the ethnic, newspaper continued to be fabricated clandestinely for ritual purposes. In 1569, friar Diego de Mendoza observed several ethnic carrying offerings of paper, copal and woven mats to the lakes within the Nevado de Toluca volcano every bit offerings.^[22] The most successful at keeping paper making traditions alive were certain indigenous groups living in the La Huasteca, Ixhuatlán and Chicontepec in the north of Veracruz and some villages in Hidalgo. The only records of bark paper making afterwards the early on 1800s refer to these areas.^{[11] [23]} Near of these areas are dominated by the Otomi and the area'due south ruggedness and isolation from central Spanish authorisation allowed pocket-sized villages to keep small-scale quantities of paper in production. In fact, this clandestine nature helped information technology to survive equally a way to defy Spanish culture and reaffirm identity.^[fifteen]

Later 20th century to the nowadays [edit]

Painting on amate by Citlalli Arreguín in an exhibit at Garros Galería, Mexico City

By the mid-20th century, the knowledge of making amate paper was kept alive only in a few small-scale towns in the rugged mountains of Puebla and Veracruz states, such every bit San Pablito, an Otomi village and Chicontepec, a Nahua village.^{[4] [24]} It was particularly potent in San Pablito in Puebla as many of the villages around it believed this paper has special power when used in rituals.^[25] The making of paper here until the 1960s was strictly the purview of the shamans, who kept the process secret, making paper primarily to be used for cutting gods and other figures for ritual. All the same, these shamans came into contact with anthropologists, learning of the interest that people on the exterior had for their paper and their culture.^[26] Simply although the ritual cut of newspaper remained important for the Otomi people of northern Puebla, the apply of amate newspaper was declining, with industrial newspaper or tissue paper replacing amate paper in rituals.^[27] 1 stimulus for amate'southward commercialization was the shamans' growing realization of the commercial value of the newspaper; they began to sell cutouts of bawl paper figures on a small-scale calibration in Mexico City along with other Otomi handcrafts.^[26]

What the auction of these figures did was to make the bark paper a commodity. The paper was non sacred until and unless a shaman cut it as office of a ritual. The making of the newspaper and non-ritualistic cut did not interfere with the ritual aspects of paper in general. This allowed a product formerly reserved only for ritual to become something with marketplace value likewise. It too immune the making of paper to become open to the population of San Pablito and not only to shamans.^[28]

Notwithstanding, most amate paper is sold as the backing for paintings made by Nahua artists from Guerrero country. There are various stories as to how painting on bark paper came almost but they are divided between whether it was a Nahua or an Otomi idea. However, it is known that both Nahua and Otomi sold crafts at the Bazar del Sábado in San Ángel in Mexico City in the 1960s. The Otomi were selling paper and other crafts and the Nahua were selling their traditionally painted pottery.^{[29] [30]} The Nahua transferred many of their pottery painting designs onto amate newspaper, which is easier to transport and sell.^[31] The Nahua called the paintings by their discussion for bawl paper, which is "amatl." Today, the word is applied to all crafts which apply the paper. The new painting course plant great demand from the start, and at first, the Nahua would purchase about all of the Otomi's newspaper production. Painting on bawl paper quickly spread to various villages in Guerrero and past the finish of the 1960s, became the about important economic action in viii Nahua villages Ameyaltepec, Oapan, Ahuahuapan, Ahuelican, Analco, San Juan Tetelcingo, Xalitla and Maxela. (folio 106) Each Nahua hamlet has its own painting styles developed from the tradition of painting ceramics, and this allowed works to be classified.^[31]

The rising of amate newspaper occurred during a time when government policies towards rural indigenous people and their crafts were changing, with the latter existence encourage especially to assistance develop the tourism industry.^[29] FONART became part of the consolidation of distribution efforts for amate paper. Much of this involved buying all of the Otomi product of bark paper to ensure that the Nahua would have sufficient supplies. Although this intervention lasted for only about ii years, it was crucial for developing sales of amate crafts in national and international markets.^[32]

Since then, while the Nahua are notwithstanding the principle buyers of Otomi amate paper, the Otomi have since branched out into dissimilar types of paper and accept adult some of their own products to sell. Today, amate paper is 1 of the most widely distributed Mexican handcrafts nationally and internationally.^[31] It has received artistic and academic attending at both levels as well. In 2006, an annual consequence called the Encuentro de Arte in Papel Amate was begun in the hamlet, which includes events such as processions, Dance of the Voladors, Huapango music and more than. The main event is the exhibition of works by various artists such as Francisco Toledo, Sergio Hernández, Gabriel Macotela, Gustavo MOnrroy, Cecilio Sánchez, Nicolás de Jesús, David Correa, Héctor Montiel, José Montiel, Laura Montiel, Santiago Regalado Juan Manuel de la Rosa, Ester González, Alejandra Palma Padilla, Nicéforo Hurbieta Moreles, Jorge Lozano and Alfonso García Tellez.^[33] The Museo de Arte Popular and the Egyptian embassy in Mexico held an exhibition in 2008 on amate and papyrus with over sixty objects on display comparison the two ancient traditions.^[nine] One of the most noted artists in the medium is shaman Alfonso Margarito García Téllez, who has exhibited his piece of work in museums such as the San Pedro Museo de Arte in Puebla.^[34]

San Pablito [edit]

While amate is made in a few small-scale villages in northern Puebla, northern Veracruz and southern Hidalgo country, only San Pablito in Puebla articles the paper commercially.^[three] San Pablito is a village in the municipality of Pahuatlán located in the Sierra Norte de Puebla. Tulancingo, Hidalgo is the closest urban middle. The area is very mountainous and the hamlet itself is on the side of a mount called the Cerro del Brujo.^{[22] [xxx]} The making of the paper is the primary economic activity of the community and has alleviated poverty in the village. Before the villagers merely had very minor houses made of wood, but now they have much larger houses made of block.^[xxx] The paper makers hither guard the process greatly and volition sever contact with anyone seeking to replicate their work.^[35] In addition to providing income to the paper makers themselves the craft has been employing an increasing number of people to harvest bawl, over an area which now extends over 1,500km2 in the Sierra Norte de Puebla region.^[3] The hamlet manufactures large quantities of paper, yet using mostly pre-Hispanic applied science and various tree species for raw material. About one-half of this paper product is notwithstanding sold to Nahua painters in Guerrero.^{[iii] [36]}

Paper making has not but brought money into the Otomi population of the customs merely political clout as well. It is now the most important customs economically in the municipality of Pahuatlán, and the last 3 municipal governments have been headed by an Otomi, which had not happened earlier.^{[xxx] [37]} However, most of the paper making is washed by women. One reason for this is that many men still migrate out of the community to work, mostly to the United states of america. These two sources of income are combined in many households in San Pablito.^{[31] [38]} The economic problems of the late 2000s cut sales by about half forcing more to migrate out for piece of work. Before the crisis, the inhabitants of the hamlet were making two one thousand sheets per day.^[xxx]

Ritual use [edit]

While the newspaper has been commercialized in San Pablito, it has non lost its ritual character here or in other areas such every bit Texcatepec and Chicontepec, where information technology is all the same fabricated for ritual purposes.^[iv] In these communities, the making and ritual use of paper is similar. Figures are cut from light or dark paper, which each figure and each color having significance. At that place are two types of paper. Light or white paper is used for images of gods or humans. Night paper is connected with evil characters or sorcery.^[39] In Chicontepec, the low-cal paper is made from mulberry trees, and the night paper is made from classic amate or fig trees. The older the tree the darker the paper.^[four]

Ritual paper acquires a sacred value only when shamans cut it ritually.^[40] The cutting technique is most important, not necessarily artistic although many take aesthetic qualities.^[4] In San Pablito, the cut outs are of gods or supernatural beings related to the indigenous worldview, just never of Catholic figures. About of the time, the cutting out ceremonies relate to petitions such as good crops and health, although as agriculture declines in importance economically, petitions for health and protection have become more important. I peculiarly popular anniversary is related to young men who have returned from working abroad.^{[39] [twoscore]} In Chicontepec, in that location are cutting outs related to gods or spirits linked to natural phenomena such as lightning, rain, mountains, mangos seeds and more, with those cutting from nighttime newspaper called "devils" or correspond evil spirits. However, figures can besides represent people living or dead. Those fabricated of low-cal paper represent good spirits and people who make promises. Female person figures are distinguished by locks of hair. Some figures have 4 arms and two heads in profile, and other have the head and tail of an creature. Those with shoes represent mestizos or bad people who have died in fights, accidents or past drowning, also women who accept died in childbirth or children who disrespect their parents. Those without shoes represent indigenous people or expert people who take died in sickness or old age. Bad spirits represented in dark paper are burned ceremoniously in order to end their bad influence. Those in light newspaper are kept every bit amulets.^[4]

The origin of the use of these cut outs is not known. It may extend back to the pre-Hispanic period, but there are now 16th century chronicles documenting the practice. Information technology may have been a post Conquest invention, after the Spanish destroyed all other forms of representing the gods. It was easy to bear, mold, brand and hibernate. Many of the religious concepts related to the cutting outs do take pre-Hispanic roots. Yet, during the colonial flow, the Otomi, especially of San Pablito were defendant numerous times of witchcraft involving the use of cut outs.^[41] Today, some cut out figures are being reinterpreted and sold equally handcraft products or folk art, and the utilise of industrial paper for ritual is common as well. Cut outs made for sale oft relate to gods of agriculture, which are less called upon in ritual. These cut outs are besides non exactly the same as those made for ritual, with changes made in order to keep the ritual aspect split.^[40]

In San Pablito, the making and cutting of paper is non restricted to shamans, as the rest of the villagers may engage in this. Notwithstanding, simply shamans may do paper cut rituals and the exact techniques of paper making is guarded by the residents of the hamlet from outsiders.^[31] The best known shaman related to cut out ritual is Alfonso García Téllez of San Pablito.^{[2] [42]} He strongly states that the cutting rituals are not witchcraft, just rather a way to award the spirits of the natural earth and a style to help those who have died, along with their families.^[34] García Téllez also creates cut out books about the various Otomi deities, which he has not but sold but also exhibited at museums such as the San Pedro Museo de Arte in Puebla.^{[34] [42]}

Amate products [edit]

Otomi amate newspaper cut out on display at the Museo de Arte Popular, Mexico Urban center

Amate paper is ane of a number of paper crafts of United mexican states, forth with papel picado and papier-mâché (such as Judas figures, alebrijes or decorative items such equally strands of chili peppers chosen ristras). However, amate paper has been made as a article but since the 1960s. Prior to that time, it was made for mostly ritual purposes.^{[1] [43]} The success of amate newspaper has been equally the base for the creation of other products based both in traditional Mexican handcraft designs and more modernistic uses. Because of the production's versatility, both Otomi artisans and others have developed a number of variations to satisfy the tastes a various handcraft consumers.^[44] The paper is sold patently, dyed in a variety of colors and decorated with items such as dried leaves and flowers. Although the Nahua people of Guerrero remain the main buyers of Otomi paper,^[45] other wholesale buyers have used it to create products such every bit lampshades, notebooks, article of furniture covers, wallpaper, fancy stationery and more.^[46] The Otomi themselves have innovated by creating paper products such equally envelopes, book separators, invitation cards equally well as cut out figures mostly based on traditional ritual designs. The Otomi take also established two categories of newspaper, standard quality and that produced for the loftier-end market, geared to well known Nahua artists and other artists that prize the newspaper'south qualities. This is leading to a number of newspaper makers to be individually recognized like master craftsmen in other fields.^[47]

The Otomi paper makers generally sell their product to a limited number of wholesalers, because of limited Spanish skills and contact with the outside. This means well-nigh ten wholesalers decision-making the distribution of most half of all Otomi production.^[45] These wholesalers, likewise as artisans such equally the Nahua who use the paper as the basis of their own piece of work, have many more contacts and as a issue, retail sales of the product are wide-ranging and varied both within Mexico and abroad.^[36] Amate paper products are still sold on the streets and markets in Mexico, much equally commercialization of the produce began in the 20th century, ofttimes in venues that cater to tourists.^[3] Notwithstanding, through wholesalers, the paper too ends up in handicraft stores, open up bazaars, specialty shops and the Internet. Much of it is used to create paintings, and the finest of these have been exhibited in both national and international museums and galleries.^{[iii] [36]} The newspaper is sold retail in the town to tourists likewise as in shops in cities such as Oaxaca, Tijuana, Mexico Urban center, Guadalajara, Monterrey and Puebla. It is also exported to the U.s.a., especially to Miami.^[30]

Notwithstanding, about 50 percent of all Otomi paper production is still done in standard 40 cm by threescore cm size and sold to Nahua painters from Guerrero, the marketplace segment which fabricated the mass commercialization of the product possible.^[48] Seventy percent of all the craft product of these Otomi and Nahuas is sold on the national marketplace with about thirty percent reaching the international market.^[49] Every bit well-nigh amate paper is sold as the backing for these paintings, many consumers assume the Nahua produce the paper as well.^[l]

The amate paper paintings are a combination of Nahua and Otomi traditions. The Otomi produce the paper, and the Nahua have transferred and adapted painting traditions associated with ceramics to the paper. The Nahuatl word "amate" is applied to both the paper and the paintings done on the paper. Each Nahua village has its own painting style which was adult for ceramics, originally commercialized in Acapulco and other tourist areas every bit early as the 1940s. The adaption of this painting to amate paper came in the 1960s and chop-chop spread to diverse villages until it became the primary economic activity in 8 Nahua villages in Guerrero, Ameyaltepec, Oapan, Ahuahuapan, Ahuelican, Analco, San Juan Tetelcingo, Xalitla and Maxela.^[51] The newspaper is that it evokes Mexico's pre-Columbian by in addition to the customary designs painted on it.^[52]

The success of these paintings led to the Nahuas ownership simply about all of the Otomis' paper production in that decade. It also attracted the attention of the government, which was taking an interest in indigenous crafts and promoting them to tourists. The FONART bureau became involved for two years, ownership Otomi paper to brand sure that the Nahua had sufficient supplies for painting. This was crucial for the development of national and international markets for the paintings and the paper.^[51] It also worked to validate the "new" arts and crafts as legitimate, using symbols of past and present minority peoples as part of Mexican identity.^[52]

The paintings started with and nonetheless mostly based on traditional designs from pottery although there has been innovation since then. Painted designs began focusing on birds and flowers on the paper. Experimentation led to mural painting, especially scenes related to rural life such as farming, fishing, weddings, funerals and religious festivals. Information technology even has included the painting of flick frames.^[53] Some painters have become famous in their own right for their work. Painter Nicolás de Jesús, from Ameyaltepec has gained international recognition for his paintings, exhibiting abroad in countries such as French republic, Germany, England and Italian republic. His works more often than not impact themes such every bit death, oppression of ethnic peoples and various references to pop culture in his local community.^[54] Others have innovated ways to speed upwardly the work, such as using silk-screen techniques to make multiple copies.^[55]

While the Nahua paintings remain the near of import arts and crafts form related to amate newspaper, the Otomi have adopted their elaborate cut out figures to the commercial marketplace as well. This began with shamans creating booklets with miniature cut outs of gods with handwritten explanations. Eventually, these began to sell and this success led to their commercialization in markets in Mexico City, were the Otomi connected with the Nahua in the 1960s.^[31] The Otomi still sell cutting outs in traditional designs, merely take likewise experimented with newer designs, paper sizes, colors and types of paper.^[l] These cutting outs include depictions of various gods, especially those related to beans, coffee, corn, pineapples, tomatoes and rain. Notwithstanding, these cut outs are not 100% authentic, with exact replicas nonetheless reserved to shamans for ritual purposes. Innovation has included the evolution of books, and cutting outs of suns, flowers, birds, abstruse designs from traditional beadwork and even Valentine hearts with painted flowers. Well-nigh cut outs are fabricated of i type of paper, then glued onto a contrasting background. Their sizes range from miniatures in booklets to sizes large enough to frame and hang similar a painting.^[56] The production and auction of these paper products accept brought tourism to San Pablito, by and large from Hidalgo, Puebla and Mexico City, just some come up from the far north and south of Mexico and fifty-fifty from abroad.^[57]

Industry [edit]

Mitt lain filigree of wet bark fibers before flattening. San Pablito, Puebla, United mexican states

The fibers are flattened with a flat volcanic rock. The chalk lines on the lath serve as guides.San Pablito, Puebla, United mexican states

A partially flattened mass of fibers being smoothed with orangish peel for sit-in.San Pablito, Puebla, Mexico

While there take been some minor innovations, amate paper is withal made using the same basic procedure that was used in the pre-Hispanic period.^[58] The process begins with obtaining the bark for its cobweb. Traditionally, these are from trees of the fig (Ficus) family as this bark is the easiest to process. Some big Ficus trees are considered sacred and can be plant surrounded with candles and offering of cut amate paper.^{[37] [59]} Primary species used include F. cotinifolia, F. padifolia and F. petiolaris, the classic amate tree, along with several non-ficus species such as Morus celtidifolia, Citrus aurantifolia and Heliocarpos donnell-smithii.^{[6] [22]} Notwithstanding, the taxonomical identification of trees used for amate paper product is not exact, leading estimates of wild supplies to be inaccurate.^{[4] [60]} The softer inner bark is preferred but other parts are used as well.^[59] Outer bark and bawl from ficus trees tend to brand darker paper and inner bark and mulberry bawl tends to make lighter newspaper. Bark is best cut in the spring when it is new, which does less harm. It also is less dissentious to take bawl from older ficus copse as this bark tends to pare off more easily.^{[four] [54] [59]} The commercialization of the product has meant that a wider range of expanse needs to be searched for appropriate trees. This has specialized the harvesting of bark to more often than not people from outside San Pablito, with simply a few paper makers harvesting their own bark.^[61] These bawl collectors generally come to the village at the end of the week, but numbers of harvesters and amount of bark can vary greatly, depending on the time of year and other factors.^[62] The paper makers generally buy the bark fresh so dry out information technology for storage. Subsequently drying, the bark can be conserved for about a yr.^[55]

From the get-go of commercialization, the making of a paper brought in virtually of the village's population into the process in one way or another. All the same, in the 1980s, many men in the area began to leave every bit migrant workers, more often than not to the United states of america, sending remittances abode. This then became the main source of income to San Pablito, and fabricated paper making not just secondary, merely mostly done by women.^[63] The basic equipment used are stones to beat out the fibers, wooden boards, and pans to eddy the bark. All of these come up from sources outside San Pablito. The stones come up from Tlaxcala. The boards come from the two nearby villages of Zoyotla and Beloved and the boiling pans are obtained by local hardware stores from Tulancingo.^[64]

In the pre-Hispanic period, the bawl was beginning soaked for a day or more than to soften it earlier information technology was worked. An innovation documented from at to the lowest degree the 20th century is to eddy the bark instead, which is faster. To shorten the boiling time, ashes or lime were introduced into the h2o, later on replaced past industrial caustic soda. With the last ingredient, the actual boiling time is between three and vi hours, although with prepare the process takes anywhere from half to a full day. It can only exist done during certain weather atmospheric condition (dry days) and information technology requires abiding attention. The corporeality boiled at ane fourth dimension ranges from 60 to 90 kg with 3.5 kg of caustic soda. The bark needs to be stirred constantly. After boiling, the bawl is then rinsed in make clean water.^[65]

The softened fibers are kept in h2o until they are processed. This needs to be done equally apace equally possible so that they exercise not rot.^[66] At this phase, chlorine bleach may be added to either lighten the newspaper entirely or to create a mix of shades to create a marbled effect. This pace has get necessary due to the lack of naturally light bark fibers.^[67] If the newspaper is to be colored, strong industrial dyes are used. These can vary from purple, red, greenish or pink, whatever the demand is.^[68]

Wooden boards are sized to the newspaper beingness made. They are rubbed with soap so that the fibers exercise not stick. The fibers are bundled on wooden boards and beaten together into a thin flat mass. The best paper is made with long fibers arranged in a filigree pattern to fit the board. Bottom quality paper is fabricated from short masses bundled more than haphazardly, but still beaten to the same effect.^[69] This maceration procedure liberates soluble carbohydrates that are in the cavities of the cell fibers and human activity as a kind of glue. The Ficus tree bark contains a loftier quantity of this substance allowing to make for business firm only flexible paper.^[59] During the process, the stones are kept moist to continue the paper from sticking to it. The finished flat mass is and then usually smoothed over with rounded orange peels. If at that place are any gaps after the maceration process, these are usually filled in by gluing modest pieces of paper.^[70]

Remaining on their boards, the pounded sheets are taken outside to dry out. Drying times vary due to weather conditions. On dry and sunny days, this tin take an hour or two, only in boiling conditions it can take days.^[71] If the stale sheets are to be sold wholesale, they are and then simply arranged. If to exist sold retail, the edges are then trimmed with a bract.^[72]

The production process in San Pablito has mostly evolved to make paper every bit apace as possible, with labor existence divided and specialized and new tools and ingredients added towards this finish.^[73] Almost all production facilities are family unit based, but the level of organisation varies. Nearly newspaper making is done inside the home by those who are dedicated to information technology either full or part-time. If the paper is made only role-time, then the work is washed sporadically and usually but by women and children. A more than recent phenomenon is the evolution of big workshops which hire artisans to practice the work, supervised by the family which owns the enterprise. These are ofttimes established by families who accept invested money sent home by migrant worker into materials and equipment.^[74] Most of the production of all these facilities is evidently sail of twoscore cm by 60 cm, but the larger workshops make the greatest diversity of products including behemothic sheets of ane.2 by 2.4 meters in size.^[75]

Ecological concerns [edit]

The commercialization of amate paper has had negative environmental furnishings. In pre-Hispanic times, bark was taken only from the branches of developed trees, allowing for regeneration.^[nine] Ficus copse should be optimally no younger than 25 years old before cut. At that age the bark almost peels off by itself and does less damage to the tree. Other copse such as mulberry practice not accept to mature every bit much.^[54] The pressure to provide large quantities of bark ways that information technology is taken from younger trees besides.^[9] This is negatively affecting the ecosystem of northern Puebla and forcing harvesters to take bawl from other species as well as from a wider range, moving into areas such equally Tlaxco.^{[ix] [thirty] [76]}

Some other trouble is the introduction of caustic soda and other industrial chemicals into the process, which not merely gets into the surround and h2o supply, can as well straight poison artisans who do non handle it properly.^{[76] [77]}

Fondo Nacional para el Fomento de las Artesanías, the Universidad Autónoma Metropolitana-Iztapalapa, the Universidad Veracruzana and the Instituto de Artesanías e Industrias Populares de Puebla have been working on ways to make amate newspaper making more sustainable. I aspect is to manage the collection of bark. Another is to find a substitute for caustic soda to soften and set up the fibers without losing quality. Not only is the soda polluting, information technology has had negative effects on artisans' health. As of 2010, the group has reported advances in its investigations such every bit ways of including new types of bawl from other species.^{[76] [77] [78]}

In addition, the Centro de Investigaciones y Estudios Superiores en Antropología Social is urging a reforestation plan in guild to implement a more than sustainable supply of bark.^[30]

Run into also [edit]

• Codex Borbonicus

Notes [edit]

1. ^ ^{a b} López Binnqüist, pages 8, fourscore
2. ^ ^{a b} Lizeth Gómez De Anda (September thirty, 2010). "Papel amate, arte curativo" [Amate newspaper, curative fine art]. La Razón (in Spanish). United mexican states Metropolis. Archived from the original on December 27, 2011. Retrieved April 15, 2011.
3. ^ ^{a b c d e f} López Binnqüist, pages 2-seven
4. ^ ^{a b c d e f yard h i j k} "El Papel Amate Entre los Nahuas de Chicontepec" [Amate paper amid the Nahuas of Chicontepec] (in Spanish). Veracruz, United mexican states: Universidad Veracruzana. Archived from the original on March 9, 2012. Retrieved April 15, 2011.
5. ^ Benz et al. 2006
6. ^ ^{a b} Miller and Taube (1993, p. 131)
7. ^ Annalee Newitz (12 September 2016). "Confirmed: Mysterious ancient Maya book, Grolier Codex, is 18-carat: 900 year-old astronomy guide is oldest known volume written in the Americas." Ars Technica. Accessed 12 September 2016.
8. ^ ^{a b} López Binnqüist, folio 81
9. ^ ^{a b c d e f g} "Amate y Papiro… un diálogo histórico" [Amate and Papyrus… a historic dialogue]. National Geographic en español (in Spanish). May 2008. Archived from the original on February 7, 2011. Retrieved April 15, 2011.
10. ^ Boot, E. (2002). A Preliminary Archetype Maya-English / English-Archetype Maya Vocabulary of Hieroglyphic Readings. Leiden Academy, the netherlands. Retrieved September 13, 2012.
11. ^ ^{a b c} López Binnqüist, p. 80
12. ^ ^{a b} López Binnqüist, page ninety
13. ^ López Binnqüist, folio 89
14. ^ López Binnqüist, pages 121–122
15. ^ ^{a b} López Binnqüist, page 115
16. ^ López Binnqüist, page 83
17. ^ ^{a b} López Binnqüist, page 84
18. ^ López Binnqüist, page 86
19. ^ López Binnqüist, page 87
20. ^ López Binnqüist, page 82
21. ^ ^{a b} López Binnqüist, pages 91-92
22. ^ ^{a b c d} Beatriz M. Oliver Vega (19 August 2010). "El papel de la tierra en el tiempo" ["Earth" newspaper over time] (in Castilian). Mexico City: Mexico Desconocido magazine. Retrieved April 15, 2011.
23. ^ López Binnqüist, pages 93-94
24. ^ López Binnqüist, folio 94
25. ^ López Binnqüist, pages 94-97
26. ^ ^{a b} López Binnqüist, page 104
27. ^ López Binnqüist, pages 103, 115, 105
28. ^ López Binnqüist, pages 103, 115, 80
29. ^ ^{a b} López Binnqüist, page 106
30. ^ ^{a b c d east f g h} Tania Damián Jiménez (October 13, 2010). "A punto de extinguirse, el árbol del amate en San Pablito Pahuatlán: Libertad Mora" [A the point of extinction:the amate árbol in San Pablio Pahuatlán:Libertad Mora]. La Jornada del Orienta (in Castilian). Puebla. Retrieved April fifteen, 2011. ^{[ permanent dead link ]}
31. ^ ^{a b c d eastward f} López Binnqüist, folio 105
32. ^ López Binnqüist, page 107
33. ^ Ernesto Romero (April xiii, 2007). "Pahuatlán: Una historia en papel amate" [Pahuatlán:history in amate paper]. Periodico Digital (in Spanish). Puebla. Retrieved April 15, 2011.
34. ^ ^{a b c} Paula Carrizosa (December 6, 2010). "Exhiben el uso curativo del papel amate en el pueblo de San Pablito Pahuatlán". El Sur de Acapulco (in Castilian). Acapulco. Retrieved April 15, 2011.
35. ^ López Binnqüist, page 148
36. ^ ^{a b c} López Binnqüist, page x
37. ^ ^{a b} López Binnqüist, page ix
38. ^ López Binnqüist, page 146
39. ^ ^{a b} López Binnqüist, pages 99–101
40. ^ ^{a b c} López Binnqüist, page 116
41. ^ López Binnqüist, pages 101–102
42. ^ ^{a b} Martínez Álvarez, Luis Alberto (April 24, 2009). "Tributo a las deidades" [Tribute to the gods] (in Spanish). Mexico: State of Puebla. Archived from the original on 21 May 2011. Retrieved Apr 15, 2011.
43. ^ Helen Bercovitch (June 2001). "The Mexican art forms of ristras, papel amate and papel picado". Mexconnect newsletter. Retrieved Apr 15, 2011.
44. ^ López Binnqüist, pages 80, two-7, 111
45. ^ ^{a b} López Binnqüist, page 135
46. ^ López Binnqüist, pages ii-seven,10,111, 114
47. ^ López Binnqüist, pages 111, 142
48. ^ López Binnqüist, pages 111, 135, 142 105
49. ^ López Binnqüist, folio 142
50. ^ ^{a b} López Binnqüist, page 112
51. ^ ^{a b} López Binnqüist, pages 105–106
52. ^ ^{a b} López Binnqüist, page 109
53. ^ López Binnqüist, page 110
54. ^ ^{a b c} Xavier Rosado (December three, 2002). "El arte en amate, tradición olmeca que continúan indígenas de Guerrero y Puebla" [Art in amate, Olmec tradition that the indigenous of Guerrero and Puebla continue]. El Sur de Acapulco (in Spanish). Acapulco. Archived from the original on July 20, 2011. Retrieved April fifteen, 2011.
55. ^ ^{a b} López Binnqüist, page 125
56. ^ López Binnqüist, page 113
57. ^ López Binnqüist, folio 138
58. ^ López Binnqüist, pages 123-124
59. ^ ^{a b c d} Alejandro Quintanar-Isáis; Citlalli López Binnqüist; Marie Vander Meeren (2008). El uso del floema secundario en la elaboración de papel amate (PDF) (Report). 1Depto. de Biolog´ıa, UAM-I, Centro de Investigaciones Tropicales, Universidad Veracruzana, Instituto Nacional de Antropolog´ıa e Historia. Archived from the original (PDF) on 2011-05-22. Retrieved April xv, 2011.
60. ^ López Binnqüist, folio 17
61. ^ López Binnqüist, folio 123
62. ^ López Binnqüist, page 8
63. ^ López Binnqüist, pages 123,125
64. ^ López Binnqüist, page 130
65. ^ López Binnqüist, pages 124-125
66. ^ López Binnqüist, pages 124, 127
67. ^ López Binnqüist, page 126
68. ^ López Binnqüist, page 127
69. ^ López Binnqüist, pages 8, 124, 127
70. ^ López Binnqüist, pages 12, 129
71. ^ López Binnqüist, pages 124, 128
72. ^ López Binnqüist, folio 129
73. ^ López Binnqüist, page 117
74. ^ López Binnqüist, pages 131-132
75. ^ López Binnqüist, pages 129,132
76. ^ ^{a b c} "Nueva tecnología, garantiza producción sustentable de Papel Amate en la Sierra Norte de Puebla" [New technology guarantees sustainable production of Amate newspaper in the Sierra Norte de Puebla] (Press release) (in Spanish). FONART. April half-dozen, 2011. Retrieved Apr fifteen, 2011.
77. ^ ^{a b} "Investigación interinstitucional garantiza producción sustentable de papel amate" [Inter-institutional research guarantees sustainable product of amate paper] (in Spanish). Mexico: FONART. 2010. Retrieved April xv, 2011.
78. ^ Ángel A. Herrera (September 30, 2010). "Avanza producción sustentable de papel amate en San Pablito" [Sustainable amate newspaper production advances in San Pablito]. Heraldo de Puebla (in Castilian). Puebla. Retrieved Apr 15, 2011.

References [edit]

• Rosaura Citlalli López Binnqüist (2003). The endurance of Mexican amate paper: Exploring boosted dimensions to the sustainable evolution concept (PDF) (PhD thesis). University of Twente, Enschede, Netherlands. Docket 9036519004. Retrieved April 15, 2011.
• Miller, Mary; Karl Taube (1993). The Gods and Symbols of Ancient United mexican states and the Maya . London: Thames and Hudson. ISBN0-500-05068-six.
• Benz, Bruce; Lorenza Lopez Mestas; Jorge Ramos de la Vega (2006). "Organic Offerings, Newspaper, and Fibers from the Huitzilapa Shaft Tomb, Jalisco, Mexico". Ancient Mesoamerica. Vol. 17, no. 2. pp. 283–296.

Further reading [edit]

• Codex Espangliensis: A modern fine art codex printed on amatl paper.

External links [edit]

• The Construction of the Codex in Archetype- and Postclassic-Period Maya Civilization by Thomas J. Tobin. Maya codex and paper making.

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Source: https://en.wikipedia.org/wiki/Amate

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