0.5
1 cm
Panorama de los estudios sobre dechados en México
145
Muriel 2005 - J. Muriel, La legislación educative para las niñas y doncellas
del virreinato en la Nueva España. En: La sociedad novohispana y
sus colegios de niñas. Fundaciones del siglo XVI, T.I, México, 2005.
Needleprint, 2009-2015 - Needleprint, 2009-2015. http://needleprint.blogs-
pot.mx/
Sandoval, Flores 2015 - J. Sandoval, M. Flores, Los dechados, México, ene-
ro 2015. http://culturacolectiva.coin/los-dechados/
Segura Lacomba 1949 - M. Segura Lacomba, Bordados populares españo-
les, Madrid 1949.
Stapley 1924 - M. Stapley, Tejidos y bordados populares españoles, Madrid
1924.
Textiles 2015 - Textiles, Victoria and Albert Museum, Londres 2015. http://
www.vam.ac.uk/page/t/textiles/
Turok Wallace 1994 - M. Turok Wallace, Dechados y textiles mexicanos en
museos extranjeros, “México en el mundo de las colecciones de arte.
México Moderno”, México 1994.
Archivos
FDFM - Fondo Franz Mayer, Acervos Documentales, Museo Franz Mayen
Summary
Panorama of research into embroidery patterns functioning in Mexico
In Mexico, primarily during the 19th century, production of embroidery designs
was a popular activity among young girls. Objects which reflected reproducibi-
lity of some of the ornaments and methods of creation, became patterns demons-
trating types of embroidery techniques. They have been subject of numerous
studies, especially in historical, ethnographic, archaeological or restoration-re-
lated contexts. This allowed for distinguishing the main concepts that led to de-
vising schemes which designated a former approach to the subject. This article
reviews various research concepts that have shaped reflection on embroidery
patterns in Mexico, including foreign studies. It also proposes an art history
approach, allowing for new findings and possibilities for analysing those ob-
jects being elements of material culture. Women who dealt with development of
patterns may be seen as artists, the masters of their profession, whose virtuosity
was manifested in the class of the objects themselves as a result of devoted time
and extraordinary manual skill.
145
Muriel 2005 - J. Muriel, La legislación educative para las niñas y doncellas
del virreinato en la Nueva España. En: La sociedad novohispana y
sus colegios de niñas. Fundaciones del siglo XVI, T.I, México, 2005.
Needleprint, 2009-2015 - Needleprint, 2009-2015. http://needleprint.blogs-
pot.mx/
Sandoval, Flores 2015 - J. Sandoval, M. Flores, Los dechados, México, ene-
ro 2015. http://culturacolectiva.coin/los-dechados/
Segura Lacomba 1949 - M. Segura Lacomba, Bordados populares españo-
les, Madrid 1949.
Stapley 1924 - M. Stapley, Tejidos y bordados populares españoles, Madrid
1924.
Textiles 2015 - Textiles, Victoria and Albert Museum, Londres 2015. http://
www.vam.ac.uk/page/t/textiles/
Turok Wallace 1994 - M. Turok Wallace, Dechados y textiles mexicanos en
museos extranjeros, “México en el mundo de las colecciones de arte.
México Moderno”, México 1994.
Archivos
FDFM - Fondo Franz Mayer, Acervos Documentales, Museo Franz Mayen
Summary
Panorama of research into embroidery patterns functioning in Mexico
In Mexico, primarily during the 19th century, production of embroidery designs
was a popular activity among young girls. Objects which reflected reproducibi-
lity of some of the ornaments and methods of creation, became patterns demons-
trating types of embroidery techniques. They have been subject of numerous
studies, especially in historical, ethnographic, archaeological or restoration-re-
lated contexts. This allowed for distinguishing the main concepts that led to de-
vising schemes which designated a former approach to the subject. This article
reviews various research concepts that have shaped reflection on embroidery
patterns in Mexico, including foreign studies. It also proposes an art history
approach, allowing for new findings and possibilities for analysing those ob-
jects being elements of material culture. Women who dealt with development of
patterns may be seen as artists, the masters of their profession, whose virtuosity
was manifested in the class of the objects themselves as a result of devoted time
and extraordinary manual skill.
