page_title: Mexican featherwork
section_title: Mesoamerican featherwork
hierarchical_section_title: Mexican featherwork / Mesoamerican featherwork
caption_attribution_description: English: Close up of a cloth woven in cotton and feathers at the Centro Cultural de España en México in Mexico City
context_page_description: Mexican featherwork, also called "plumería", was an important artistic and decorative technique in the pre-Hispanic and colonial periods in what is now Mexico. Although feathers have been prized and feather works created in other parts of the world, those done by the amanteca or feather work specialists impressed Spanish conquerors, leading to a creative exchange with Europe. Featherwork pieces took on European motifs in Mexico. Feathers and feather works became prized in Europe. The "golden age" for this technique as an art form was from just before the Spanish conquest to about a century afterwards. At the beginning of the 17th century, it began a decline due to the death of the old masters, the disappearance of the birds that provide fine feathers and the depreciation of indigenous handiwork. Feather work, especially the creation of "mosaics" or "paintings" principally of religious images remained noted by Europeans until the 19th century, but by the 20th century, the little that remained had become a handcraft, despite efforts to revive it.
context_section_description: The use of feather for decorative purposes has been documented in many parts of the world in the past. In the New World, it is known to have had ceremonial use and ranking purposes, especially in attire in what are now Brazil and Peru. In Mesoamerica, their use became highly developed with some of the most intricate examples coming from what is now central Mexico. One reason for this was their symbolic and religious use.  Much of this symbolism arose with the spread of the worship of the Toltec god/king Quetzalcoatl, depicted as a serpent covered in quetzal feathers. Quetzalcoatl was said to have discovered gold, silver and precious stones. When he fled Tula, he released all kind of birds he was breeding. The Aztec main god, Huitzilopochtli, is associated with the hummingbird. His origin is from ball of fine feathers that fell on his mother, Coatlicue, and impregnated her. He was born fully armed with an eagle feather shield, fine plumage in his head and on his left sandal.
  Feathers were valued similarly to jade and turquoise in Mesoamerica. They were considered to have magical properties as symbols of fertility, abundance, riches and power and those who used them were associated with divine powers. Evidence of use goes back at least as far as the Mayas, with depictions of them on the murals at Bonampak. The Mayans also raised birds in part for feathers. Toltec groups were making feathered items from black and white feathers of local origin. The most developed use of feathers in Mesoamerica was among the Aztecs, Tlaxcaltecs and Purepecha. Feathers were used to make many types of objects from arrows, fly whisks, fans, complicated headdresses and fine clothing. By the reign of the Aztec ruler Ahuizotl, richer feathers from tropical areas came to the Aztec Empire with quetzal and the finest feathers used by Moctezuma's reign. Feathers were used for ceremonial shields, and the garments of Aztec eagle warriors were completely covered in feathers. Feather work dressed idols and priests as well. Moctezuma asked the Purépecha for help against the Spanish by sending gifts that included quetzal feathers. Among the Purépecha, feathers were used similarly, for ceremonial shields, bucklers, doublets for the cazonci or ruler and feather ceremonial garments for priests, warriors and generals. To declare war, the Purépecha showed enemies wood covered in feathers and send highly prized green feathers to allies and potential allies. Soldiers who died in war were buried with feathers.
  Feathers from local and faraway sources were used, especially in the Aztec Empire. The feathers were obtained from wild birds as well as from domesticated turkeys and ducks, with the finest feathers coming from Chiapas, Guatemala and Honduras . These feathers were obtained through trade and tribute. Feathers functioned as a kind of currency along with cocoa beans, and were a popular trade item because of their value and ease of transport over long distances and a close relationship developed between traders and feather workers. Certain areas were required to pay tribute in raw feathers and other in finished feather goods, but no area was required to provide both. Cuetzalan paid tribute to Moctezuma in the form of quetzal feathers. This demand was so great that it led to the local extinction of quetzals in that region, leaving only the name of a local tree, quetzalcuahuitl, where the birds used to hide to eat.
  The most important of feathers in central Mexico were the long green feathers of the resplendent quetzal which were reserved for deities and the emperor. One reason for their rarity was that quetzals could not be domesticated as they died in captivity. Instead wild birds were caught, plucked and released. Other tropical birds were used as well. Bernardino de Sahagún made a list of the species used for fine feathers, many of which are now either threatened or locally extinct. These include the mountain trogon, lovely cotinga, roseate spoonbill, squirrel cuckoo, red-legged honeycreeper, emerald toucanet, agami heron, russet-crowned motmot, turquoise-browed
caption: Close up of a cloth woven in cotton and feathers at the Centro Cultural de España en México in Mexico City
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