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designs. Asij stated that traditional woven Mayan designs are in danger of losing their cultural significance and economic value because of piracy and counterfeit production of Mayan garments. He calls for the creation of schools designed to create the next generation of
Guatemalan weavers, in order to ensure that this ancient and sacred art continues to be valued. He also proposes that a study be conducted that would track sales of Mayan garments, specifically to locate problems of exploitation of their designs and how these designs are sold. Asij also proposed that Mayan communities be allowed to import their manufacturing equipment tax-free. Mayan communities could also purchase advertising, and export their textiles from Guatemala tax-free as well. All Departments of Guatemala's government are expected to promote and participate in the protection of traditional Mayan textile production.
170:, a long stick-like device for holding the thread, and whorls, a weight held on the spindle to increase its motion. There were two kinds of looms used for weaving, "the foot loom and the back-strap loom. The latter is almost invariably used by women, who attach one end of the loom to a tree or post and fix the other end behind their lower back. For this reason the width of the textile is constrained by what the particular woman can manage. Until the fairly recent past, foot looms were operated mostly by men, but this practice is changing. The threads are made of cotton, although silk is frequently interwoven with cotton in textiles destined for ceremonial use." After european contact Clothing made from animal skins began to be used by the elites.
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weaver must make in producing a garment are spontaneous. Often the only conscious decision made prior to beginning the weaving process is the selection of the colors for the background fabric." Patterns would signify specific ethnic groups and social status but nowadays the patterns are less strict and more creativity filled. For other groups, "local tradition dictates at least the overall composition of garments. Although deviation from these aesthetic norms is not strictly forbidden, it does leave the weaver open to ridicule or gossip."
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closes the sheds in which weft threads are inserted by lifting heddles, placing and rotating the wooden batten, and using other hand-held implements as needed... 'The loom itself appears to be a simple device. When the cloth is completed, nothing remains of the loom except a pile of sticks', yet studies of this technology have argued that it is really 'a complex device, more responsive to the weaver's creative impulses than the modern treadle loom' introduced into the region by the
Spanish.
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Association for
Development of Sacatepequez, known in its Spanish acronym as AFEDES. They argue that corporations have been exploiting their culture by mass-producing their designs which ultimately devalues and degrades their sacredness, and they are calling for revamped legislative protection that grants each Mayan community collective intellectual ownership of their traditional designs.
141:." As stated by Brumfiel, the use of these easier to acquire materials, "reduces the time needed for cloth production by two-thirds to three-quarters..., making it possible for weavers to devote more time to the actual weaving process" when using a backstrap loom. Instead focusing most of their time on creating the dyes and dyeing the cotton or maguey now, mollusk dye or
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In 2011, Efrain Asij, President of
Guatemala's Commission for Culture, proposed legislative changes in favor of protecting textiles produced by indigenous communities. He touted the textiles' economic value to the women of these Mayan communities, as well as the cultural heritage represented in these
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looms were introduced, although backstrap looms continue to be popular. There had to be specific bodily discipline, like stillness, balance and kneeling for a long time, in order to use the backstrap looms correctly which would end up defining, "the proper physical comportment for women." Bone picks
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The backstrap loom, in use before
European contact and still used by some weavers today, cannot even exist on its own without the support of a convenient upright at one end and the weaver's body at the other. The weaver controls the tension by the direction in which she moves her body, and opens and
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Apart from more freehand designs new materials are being introduced into the textiles. For example textiles now, "include the use of imported rickrack, ribbons, metallic threads, variegated embroidery floss, and velvet edgings on hand-loomed garments. All of these can be seen as inventive free-play
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The hair sash is often the only part of the traditional outfit that is still locally woven by women on a backstrap loom. Each ethnic group not only has their own way of wearing the hair sash interlaced or wrapped around their long hair, but colours, motifs, widths, and the manner of setting up the
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Adventure
Learning Foundation. Retrieved 20 March 2012. "Mayan women traditionally wear traje, which is a combination of a skillfully woven, multicolored blouse called a huipil of a corte, a woven wraparound skirt that reaches to the ankles, and is held together by faja (sash) at the waist. Women
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often are used to display one's religion and/or community affiliation. Different communities tend to have different designs, colors, and lengths as well as particular huipils for ceremonial purposes. It was uncommon and often disgraceful to wear a huipil design from another community within one's
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In current day Mayan textiles, much has changed in the fields of design, technique, and materials. The
Kaqchikel and Kʼicheʼ are two specific ethnic-linguistic groups that still have strong weaving traditions. According to Schevill, "field studies reveal that many of the design decisions which a
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when visiting another village. Textiles produced by weavers within Mayan communities tend to have similar recognizable traits unique to that community, however, weavers are not restricted in their creativity. Instead the community design serves as an outline for what women should have, and then
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In 2016, legislative changes were presented to
Guatemala's national government by the National Movement of Maya Weavers, a coalition of weavers from all over Guatemala. 30 Weaving Co-Operatives from 18 linguistic communities in Guatemala are supporting the movement which is led by the Women's
122:. This fiber was, "another commonly spun material, and depending on the species used and the number of production steps, it could produce either cluded human and animal hair (rabbit and dog), feathers, and vegetable fibers such as milkweed and
101:
Elite women were also given the opportunity to work with the most expensive feathers and pearl beads. However, women of the elite not only had to prepare the best clothing for their families, but they also had to be talented in weaving
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wrapped around his waist and sometimes a sleeveless shirt, either white or dyed in colours. In the twentieth century traditional male attire was characterized by some articles that were specific to a couple of towns, this included: a
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threads speed-up the overall process. Another reason for using chemically dyed threads is because the, "colors are brighter and do not fade with wear, washing and exposure to the sun as readily as do naturally dyed threads."
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Weavers today who continue this tradition, use a backstrap loom, a traditional and ancient technique. This is a wearable device, one side attached to the weaver and the other side attached to a solid object/structure.
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is a loose rectangular garment with a hole in the middle for the head made from lightweight sheer cotton. The huipil is usually white with colorful cross-stripping and zigzag designs woven into the cloth using the
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were used before contact and were unique in that they had different designs for most families and were usually passed on from generation to generation with the elite having the most expensive and beautiful.
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Classic Maya clothing displays its full variety in the context of religious performance. The deities themselves and their human impersonators were recognizable by their dress. A good example of this is the
625:, who wore a netted over-skirt consisting of green jade beads and a belt consisting of a large spondylus shell covering the loins, and who was repeatedly impersonated by the king as well as the queen.
98:, both of which were commonly dyed. The preparation of cotton for spinning was very burdensome, as it had to be washed and picked clean of seeds. The cotton was usually associated with the elites.
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loom and incorporating the geometric and figurative designs into the cloth are distinct. Elaborate hair sashes woven of finer thread with more complex imagery are worn on special occasions.
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harassment while, "women... continue to wear indigenous styles of clothing to symbolize their work of bearing and enculturating the next generation and thus perpetuating Mayan culture."
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Until the nineteenth century, most dyed threads were naturally dyed but now in current times, Guatemalan weavers prefer and heavily rely on "commercial and handspun yarns dyed with
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within the community design, weavers can implement a variety of personal details to create an individual finished product. One common theme is to express praise to different
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also wear some form of headdress, such as pañuelo, on their heads, or cintas, four- or five-foot-long colorful ribbons that are braided into their shiny, long, black hair."
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Mahler, Joy. "Garments and textiles of the Maya
Lowlands." Archaeology Of Southern Mesoamerica 2, (n.d.): 581. Anthropology Plus, EBSCOhost.
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made of deerhide. Women possessed two items of clothing: a length of ornamented material with holes made for the arms and head, known as a
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78:. They were considered a prestige good that would distinguish the commoners from the elite. According to Brumfiel, some of the earliest
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from sheep. In
Mesoamerica, only plant fibers were used before European contact. The loose fibers are spun into threads by hand, with
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When the weather was temperate, Mayan clothing was needed less as protection from the elements and more for personal adornment.
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536:, that functioned as an overwrap on cool days, and as blanket at night. The manta also served as a blind across the door.
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The Imagining of Community in the Arts of Guatemala: Weaving, Folk Tales, Marimba Performance, Contemporary Painting
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Brumfiel, Elizabeth M. (December 2006). "Cloth, Gender, Continuity, and Change: Fabricating Unity in Anthropology".
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Mahler, Joy. "Garments and textiles of the Maya Lowlands." Archaeology Of Southern Mesoamerica 2, (n.d.): 363
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Mahler, Joy. "Garments and textiles of the Maya Lowlands." Archaeology Of Southern Mesoamerica 2, (n.d.): 362
658:. The Mayan men have declined in their usage of traditional mayan clothing mainly because they want to avoid
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Ancient Maya women had two natural types of cotton to work with, one white and the other light brown, called
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The Mayan women, weavers of textiles, are the ones who, for the most part, stick to tradition and wear the
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Sam Noble Oklahoma Museum of Natural History. The Fabric of Mayan Life: An Exhibit of Textiles.
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Sam Noble Oklahoma Museum of Natural History. The Fabric of Mayan Life: An Exhibit of Textiles.
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Hearne, Pamela. "The Silent Language of Guatemalan Textiles." Archaeology 38, no. 4 (1985): 56
181:, that use sticks and straps worn around one's waist to create tension. As written by Mahler:
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Ventura, Carol (2010). "Women's Hair Sashes of Mesoamerica". In Schevill, Margot Blum (ed.).
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Hernandez, Bernardo (24 April 1997). "Mexicanisimas novias" [Very Mexican brides].
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In woven textiles, the first step is preparing fiber, which can come from plants, such as
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Berg Encyclopedia of World Dress and Fashion (Volume 2): Latin America and the Caribbean
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could be worn loose or tucked into a skirt; this depends on the varying lengths of the
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1294:. Crafts of the worldl (illustrated ed.). The Rosen Publishing Group. p. 9.
1060:"Opposing Corporate Theft of Mayan Textiles, Weavers Appeal to Guatemala's High Court"
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The most prevalent and influential aspect of women's clothing in ancient times is the
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1011:(3). George Washington University Institute for Ethnographical Research: 785–815.
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Hearne, Pamela (July–August 1985). "The Silent Language of Guatemalan Textiles".
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Schevill, Margot Blum; Berlo, Janet Catherine; Dwyer, Edward B., eds. (1996).
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130:." Maguey was of major value as a cordage material used for horse gear, nets,
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Cintas Mayas tejidas con el telar de cintura en Jacaltenango, Guatemala
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1269:. Washington D.C.: Carnegie Institution of Washington. pp. 7–27.
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1001:"Intellectual property law and the ethics of imitation in Guatemala"
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village; although, it was a sign of respect to wear a community's
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850:"Espectadores podrán conocer el enigma del huipil de La Malinche"
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Textile traditions of Mesoamerica and the Andes: an anthology
963:"4320: Iniciativa Que Dispone Aprobar Ley Del Traje Indigena"
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Textile manufacture during the British Industrial Revolution
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Martin, Simon; Berrin, Kathleen; Martin, Mary Ellen (2004).
126:, a fibrous nettle native to Southern México, also known as
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Maya Hair Sashes Backstrap Woven in Jacaltenango, Guatemala
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to other families and rulers. Weavers had three different
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or a band of cloth winded around their waists. Some wore
494:, a woven wraparound skirt that reached her ankles. The
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532:. Both genders wore a heavier rectangle of cloth, as a
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520:Maya farmers wore minimal clothing. Men wore plain
502:or sash worn at the waist. Both women and men wore
1276:Austin: University of Texas Press. pp. 8–60.
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925:. Oxford, England: Oxford University Press /
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1558:Timeline of clothing and textiles technology
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70:, and textiles were a significant form of
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569:technique still commonly used today. The
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603:Detail of hair sash being brocaded on a
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1323:The Pitzer Collection of Mayan Textiles
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848:Rodríguez, Ana Mónica (27 April 2011).
651:on the part of the indigenous artist."
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66:have traditionally created textiles in
2624:Indigenous textile art of the Americas
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1244:. London: Thames and Hudson. pp.
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1170:. Lewiston, N.Y.: Edwin Mellen Press.
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879:(in Spanish). Mexico City. p. 30.
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86:can date back to around 1000–800 BCE.
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1189:. Austin: University of Texas Press.
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448:, a man's typical dress was a cotton
118:to work with. Women also worked with
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856:(in Spanish). Mexico City. p. 4
177:, Mayan women exclusively wove with
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1611:Indigenous peoples of the Americas
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511:Maya clerics and other dignitaries
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1291:Mayan Weaving: A Living Tradition
796:"Weaving: From Thread to Fabric."
772:"Spinning: From Fiber to Thread."
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1120:Schevill, Berlo & Dwyer 1996
1108:Schevill, Berlo & Dwyer 1996
1096:Schevill, Berlo & Dwyer 1996
730:Schevill, Berlo & Dwyer 1996
718:Schevill, Berlo & Dwyer 1996
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2629:Textile arts of Central America
1240:Courtly Art of the Ancient Maya
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1058:Abbott, Jeff (14 August 2016).
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999:Thomas, Kedron (Summer 2012).
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552:, which is still prominent in
199:Traditional pre-contact attire
1:
1267:Textile of Highland Guatemala
961:Asij, Efrain (5 April 2011).
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26:) are the clothing and other
1689:Conservation and restoration
973:(in Spanish). Archived from
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513:wore elaborate outfits with
363:Spanish conquest of the Maya
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16:Clothing of the Maya peoples
7:
2609:Maya science and technology
1752:Textile manufacturing terms
1274:Maya Textiles of Guatemala.
1272:Schevill, Margot B (1993).
890:Ventura, Carol Ann (2003).
835:Cultural Dress of the Maya.
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591:animals around the collar.
10:
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2523:Uaxaclajuun Ubʼaah Kʼawiil
1716:Mathematics and fiber arts
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1166:Greene, David B. (2010).
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1005:Anthropological Quarterly
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498:was held together with a
480:A woman typically wore a
206:This article is part of
190:After European contact,
2538:Yuknoom Yichʼaak Kʼahkʼ
2498:Kʼakʼ Tiliw Chan Yopaat
1139:American Anthropologist
801:Retrieved 7 March 2012.
777:Retrieved 7 March 2012.
2634:Textile arts of Mexico
1507:
832:"Mayan Women's Dress."
629:Legislative protection
608:
406:Mesoamerica portal
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162:, or animals, such as
2513:Kʼinich Yax Kʼukʼ Moʼ
2503:Kʼinich Janaabʼ Pakal
2262:Título de Totonicapán
1835:Classic Maya collapse
1591:Australian Aboriginal
1521:Clothing and textiles
1506:
1288:Stalcup, Ann (1999).
1017:10.1353/anq.2012.0052
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354:Classic Maya collapse
183:
110:, and tie-dyeing for
2518:Kʼinich Yoʼnal Ahk I
2241:Ritual of the Bacabs
1902:Twin-pyramid complex
1726:Units of measurement
929:. pp. 208–214.
642:Current day textiles
2483:Bʼalaj Chan Kʼawiil
2453:Xmucane and Xpiacoc
2248:Songs of Dzitbalché
1770:Clothing portal
1567:Regional and ethnic
1541:Indian subcontinent
616:Ideological aspects
607:Maya backstrap loom
484:, which combined a
2508:Kʼinich Yat Ahk II
2316:Howler monkey gods
1699:wearable fiber art
1508:
980:on 5 December 2017
676:Textiles of Oaxaca
623:Tonsured Maize God
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477:(wool hip cloth).
36:indigenous peoples
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2533:Yuknoom Chʼeen II
2493:Itzam Kʼan Ahk II
1811:Maya civilization
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1196:978-0-292-77714-9
936:978-1-84788-104-5
469:(shirt), belt or
457:(wool jacket) or
446:Maya civilization
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217:Maya civilization
175:pre-Columbian era
76:religious beliefs
40:Yucatán Peninsula
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20:Maya textiles
2448:Vucub Caquix
2407:
2376:Ah-Muzen-Cab
2367:Post-Classic
2356:Moon goddess
2260:
2253:
2246:
2239:
2234:Rabinal Achí
2232:
2225:
2217:
2210:
2203:
2196:
2185:Chilam Balam
2183:
2176:
2024:
1887:Architecture
1747:Sewing terms
1742:Dyeing terms
1625:
1367:Fundamentals
1360:Textile arts
1305:. Retrieved
1290:
1273:
1266:
1239:
1220:(4): 54–57.
1217:
1213:
1186:
1167:
1142:
1138:
1130:Bibliography
1115:
1103:
1091:
1079:
1067:. Retrieved
1063:
1036:. Retrieved
1008:
1004:
994:
982:. Retrieved
975:the original
970:
921:
914:
895:
891:
885:
876:
870:
858:. Retrieved
853:
843:
834:
815:
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508:
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485:
481:
479:
474:
473:(sash), and
470:
466:
465:(trousers),
462:
458:
454:
443:
300:
276:Architecture
189:
184:
172:
153:
136:
127:
124:chichicastle
123:
116:natural dyes
100:
95:
93:
68:Maya society
32:Maya peoples
28:textile arts
23:
19:
18:
2588:Yohl Ikʼnal
2423:Hun Hunahpu
2341:Kinich Ahau
2331:Jaguar gods
1647:Indonesian
1429:Nålebinding
1084:Greene 2010
1038:December 2,
760:Greene 2010
560:today. The
450:breechcloth
139:mollusk dye
106:, brocade,
84:Mesoamerica
56:El Salvador
2603:Categories
2438:Qʼuqʼumatz
2311:Hero Twins
2296:Death gods
2170:Literature
2106:Households
2072:Priesthood
1735:Glossaries
1464:Rug making
1434:Needlework
1394:Embroidery
1301:0823953319
1282:0292751435
1255:0500051291
1069:4 December
984:4 December
854:La Jornada
682:References
554:Guatemalan
522:loincloths
463:pantalones
134:and bags.
128:mala mujer
108:embroidery
2578:Sak Kʼukʼ
2408:Popol Vuh
2346:Maize god
2306:Goddess I
2227:Popol Vuh
2077:Sacrifice
2060:Midwifery
2050:Childhood
2000:Mythology
1963:Languages
1850:Guatemala
1721:Recycling
1694:Fiber art
1536:Byzantine
1444:Patchwork
1064:Truth out
687:Citations
595:Hair sash
526:moccasins
515:jewellery
475:rodillera
461:(tunic),
382:Guatemala
281:Astronomy
266:Sacrifice
261:Mythology
246:Languages
96:cuyuscate
90:Materials
82:found in
48:Guatemala
2619:Maya art
2573:Lady Xoc
2433:Jacawitz
2418:Camazotz
2401:Yum Kaax
2396:Kukulkan
2156:Tzolkʼin
2117:Calendar
2067:Religion
2025:Textiles
2005:Numerals
1990:Medicine
1985:Mayanist
1926:Ceramics
1919:Graffiti
1706:Industry
1684:Blocking
1651:Balinese
1595:Burmese
1526:Quilting
1474:Spinning
1454:Quilting
1414:Knitting
1379:Beadwork
1374:Appliqué
1265:(1945).
1226:41730223
1033:10146235
1025:41857271
670:See also
605:Jakaltek
589:kiuggkes
459:capixaij
321:Medicine
301:Textiles
286:Calendar
256:Religion
208:a series
168:spindles
132:hammocks
104:tapestry
52:Honduras
2463:Zipacna
2428:Huracan
2336:Kʼawiil
2321:Itzamna
2282:Classic
2274:Deities
2204:Grolier
2197:Dresden
2191:Codices
2041:Society
2030:Warfare
1968:Classic
1946:Economy
1936:Cuisine
1907:Revival
1892:E-Group
1860:Yucatán
1845:Chiapas
1821:History
1677:Related
1641:Oaxacan
1631:Mexican
1621:Mapuche
1574:African
1489:Weaving
1424:Macramé
1404:Felting
1384:Crochet
1307:May 17,
1159:4496525
898:].
877:Reforma
579:Huipils
567:brocade
504:sandals
444:In the
377:Chiapas
372:Yucatán
340:History
331:Warfare
326:Cuisine
251:Writing
241:Society
192:treadle
173:In the
150:Process
112:tribute
80:weaving
38:of the
30:of the
2549:Queens
2413:Awilix
2361:Yopaat
2326:Ixchel
2211:Madrid
2141:Kʼatun
2131:Baktun
2020:Stelae
2010:People
1973:Script
1931:Cities
1880:Topics
1663:Korean
1636:Navajo
1616:Andean
1599:Acheik
1479:Stitch
1469:Sewing
1449:Plying
1399:Fabric
1389:Dyeing
1298:
1280:
1252:
1246:16-198
1224:
1193:
1174:
1157:
1031:
1023:
933:
902:
860:May 5,
660:ladino
656:trajes
584:huipil
575:huipil
571:huipil
562:huipil
549:huipil
541:Huipil
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