Ceramic Trees of Life: Popular Art from Mexico

Ceramic Trees of Life: Unit 5: Art and Árboles

 

Art and Arboles

Rooted in history and belief, branching in many directions, sheltering ideas and hopes, bearing fruits of sustenance and leaves of life, trees are many things to people all over the world.

 

A Personal Tree of Life

Students will construct a tree of their own life, selecting appropriate and available materials and filling the branches and spaces with representations of their desires, their history, or a theme of their own. In keeping with the exhibition, a ceramic Tree of Life would be great, but working within time, space, and equipment limitations, alternatives can work as well. Several are offered here.

Papier mache is a good substitute, but this technique requires time over several sessions. An armature is necessary (malleable wire or mesh is good) and the finished tree can be painted. For inspiration see the decorative variations in the exhibit. Students should, however, not imitate—the tree they make is their own.

Paper strips offer an alternative. Students can roll construction paper (two-layer thickness of 9 x 12 in.) and tape it to serve as the trunk. 3A in. wide strips of the same paper (or a different color) can be taped to the trunk to imitate the curving branches of the exhibition trees. First roll the strip (single or double layered) around a pencil and then ease out the curve before taping. Subsequent branches should be taped to the trunk and the previously taped branches.

Similar techniques can be used with a flat piece of cardboard as the base; in this process the tree will not stand upright without its backing. On the cardboard outline the tree with a pencil and to this outline glue the long edge of a V2 in. strip of paper. Using the process called quill work, fill this outline with the large rounded branches and then with smaller coiled shapes within. To make quilled coils wrap strips of paper (about V2 in. wide) around a pencil or narrow dowel. Wrap tightly, unwrap, and rewind by hand into a looser circle. You can glue the desired shape or clip it together temporarily until placing it as part of the tree. Other shapes can be made by pinching one end of a constructed coil (teardrop), by pinching one end into a point and making a depression in the opposite end with your thumb (heart-shape), by pinching both ends of the coil into points (leaf), by wrapping both ends of a paper strip inward and leaving the connecting portion uncoiled, then folding in half so that the glued coils turn outward (butterfly), and by turning coils on either end of the strip to go in oppposite directions (S-shape). Quilled flowers have round coil centers surrounded by teardrops, hearts or leaves.

A tree made of a small leafless branch can be held upright by placing it in a can filled halfway with plaster of paris. (Mix water and plaster of paris in a paper cup until it has the consistency of heavy cream. Add water, carefully mixing all the while with a wooden spoon or ice cream stick. Pour into can and wait a few minutes before pushing the branch into it.) If the branch does not stand by itself in the plaster, support it until the plaster sets. Cover the can by painting it or wrapping it with colored paper.

Birds, animals, flowers and objects representing things important to the makes can be added to any tree depending on the sturdiness and stability of the tree these can be cutout drawings or constructed or molded pieces. Students should keep in mind that these are their own trees, significant to themselves. They should be able to tell or write about the ideas that are important to them and how their trees reflect these ideas and the person.

Students can also draw or paint trees and add elements representing aspects of their lives.

Ceramic Trees of Life: Unit 4: On the Language Arts Limb

 

On the Language Arts Limb

Trees play a major role in the stories of many cultures and in the origins of many religions. It may be called a Tree of Life or a World Tree, the Sacred Tree or Tree of Enlightenment, but variously it stands as a symbol of human experience, for new beginnings, and for ideas of transition.

 

About Two Trees

The following two stories should be read to students for comments and discussion. The first would be a good subject for interpretation and illustration by the listeners.

YGGDRASIL, A Norse story

The ash tree is huge- its crown reaches to the heavens, its roots penetrate the underworld. Between the sky and underground kingdoms, the tree is the representation of the living world. Its limbs climb to every plane of existence and in its braches live animals and giants. This is the “World Tree,” the “Sacred Tree,” the “Tree of the Universe” in Scandinavian mythology. Its name is Yggdrasil. Also known as the “Tree of Knowledge” and the “Tree of Fate,” it encompasses all of the earth and heavens.

Yggdrasil’s roots extend deep into subterranean kingdoms. One of the three main roots leads into the land of the gods, and another penetrates the cold, barren land of the dead ruled over by a feared death goddess. Here the giant serpent dragon feeds on unlucky dead. A third root goes down deep into the frozen land of the Frost Giants, enemies of both gods and men, who are carried to the underworld on a ship built of the fingernails of dead men. At each of the roots are springs of water with special powers; the Well of Wisdom, the Well of Fate, and Roaring Kettle, the source of many rivers. These waters keep the tree from decaying and give it immortality.

Below Yggdrasil a great serpent encircles the earth with tail in his teeth. As he gnaws at the roots trying to destroy the tree, his movements bring storms and earthquakes to the world.

Linking this underworld to the sky are the trunk, limbs and branches of Yggdrasil. Here, feeding on the branches live a goat and four stags that represent the four winds. From the antlers of one stag, drip waters that feed all the rivers of the world.

At the top of Yggdrsil lives a wise eagle, enemy of the serpent who gnaws at the tree roots. Between the eagle’s eyes, perched on his forehead, lives a hawk who is keeping watch over the world while a rooster n the treetop crows to warn the gods of enemy attacks. A squirrel constantly runs up and down the trunk between the eagle of the highest branches and the snake gnawing at the roots; he carries insults from one to the other.

With its main branch piercing through the heavens Yggdrasil links the underworld, the earth and the sky. Recognized as a source of knowledge this world tree serves as a representative of the past, present and future.

The Sacred Tree, A Native American Story

For all the people of the earth the Creator has planted a Sacred Tree under which they may gather, and there find healing, power, wisdom and security. The roots of this Tree spread deep into the body of Mother Earth. Its branches reach upward like hands praying to Father Sky.

The fruits of this Tree are the good things the Creator has given to the people: teachings that show the path to love, compassion, generosity, patience, wisdom, justice, courage, respect, humility and many other wonderful gifts.

The ancient ones taught us that the life of the Tree is the life of the people. If the people wander far away from the protective shadow of the Tree, if they forget to seek the nourishment of its fruit, or if they should turn against the Tree and attempt to destroy it, great sorrow will fall upon the people. Many will become sick at heart. The people will lose their power. They will cease to dream dreams and see visions. They will begin to quarrel among themselves over worthless trifles. They will become unable to tell the truth and to deal with each other honestly. They will forget how to survive in their own land. Their lives will become filled with anger and gloom. Little by little they will poison themselves and all they touch.

It was foretold that these things would come to pass, but that the Tree would never die. And as long as the Tree lives, the people will live. It was also foretold that the day would come when the people would awaken, as if from a long, drugged sleep; that they would begin, timidly at first but then with great urgency, to search again for the Sacred Tree.

The knowledge of its whereabouts and of the fruits that adorn its branches have always been carefully guarded and preserved within the minds and hearts of our wise elders and leaders. These humble, loving and dedicated souls will guide anyone who is honestly and sincerely seeking along the path leading to the protecting shadow of the Sacred Tree (Bopps 1990).

Ceramic Trees of Life: Unit 3: Beneath the Math Bough

 

Beneath the Math Bough

Students consider how the popularity of ceramic Trees of Life has impacted the lives of the artists and the economy of the Mexican communities. They also will recognize the value of living trees in their own lives and communities.

 

How High is That Tree?

Have students hypothesize how they could measure the height of a tree. After they've had time to think of practical methods, have them work in pairs to estimate the tree height and record the estimation. Then have them use the following method:

Each student should first ascertain the actual height of the other and record both heights.

Student A goes to stand next to the tree.

Student B holds a stick out at arm's length and lines up the top of the stick with the top of his/her partner's head.

On the stick mark the place that lines up with Student A's feet.

Remaining in the same spot Student B should see how many times this measured part of the stick goes into the height of the tree.

Then multiply that number by A's height to get the tree's height.

Let students change positions and repeat the activity. Are their measurements fairly comparable?

 

Ceramic Trees of Life: Unit 2: In the Shade of the Science Branches

 

In the Shade of the Science Branches

Trees, of course, are apt subjects for many science activities. A sampling of suggested lessons follows the first two more elaborated activities, which are taken from the work of nature educator, Joseph Cornell (1989, 62 and 1979,27).

 

We, the Tree

Students will learn tree parts and their functions while joining together to act out the parts.

You will select in the following order:

Heartwood: Two or three tall, strong-looking students who stand back-to-back.

Taroot: A few students who sit at the base of the heartwood, facing outward.

Lateral Roots: Students, preferably with longhair, willing to lie on the ground, feet touching the tree and bodies extending away from the tree.

Sapwood: Group of students, enough to completely encircle the heartwood, who, taking care to not step on any roots, stand and face inward holding hands.

Cambium/Phloem: More students to encircle the sapwood, also standing and facing inward and holding hands. Their hands will turn into leaves.

Bark: All but a few of the remaining students, standing around the tree facing outward.

Enemy Animals and Insects: Have other students take the roles of tree enemy animals and insects.

As you give the students their roles provide the following narration, either in printed or written form. After students review the function of the tree parts they have been assigned, ask them to paraphrase this information and share it with classmates as they act out their respective parts:

The Heartwood is the inner core, the strength of the tree. You hold the trunk and the branches upright so the leaves can get their share of the sun. The heartwood has existed a long time made up of thousands of little tubes that used to carry water up and food down. Now it's dead and the tubes are all clogged with resin and pitch but you are still an important part of the tree. Why is the heartwood so important? It provides strength and support for the tree. (Students will need to consider body language, sounds, and behavior that befit the heartwood.)

The Taproot anchors the tree to the ground. You make it possible for the tree to get water and important minerals from deep in the earth. When storms come, the taproot keeps the tree from being blown over by high winds. Not all tress (including redwoods) have a taproot, but this one does. (As with the heartwood, this group of students will need to consider body language, sounds, and behavior that suggest their tree role.)

Lateral Roots are underground, growing outward all around the tree like the branches do above the ground. There are many hundreds of you lateral roots. You help keep the tree standing. At your tips are tine root hairs. (Now spread the hairs of one or more of the students/ roots out around their heads.) Trees have thousands of miles of roots hairs that cover every square inch of soil into which they grow. When your root hairs sense that there is water nearby your cells grow toward it and suck it up. These cells at the tips of your root hairs are as tough as football helmets. Now let’s have the taproot and lateral roots all practice slurping up water. When I say, “Let’s slurp” you all make a loud slurping noise. Okay, let’s hear you slurp!

Sapwood carries water up to the branches and leaves. You draw water up from the roots and lift it to the tree’s highest branches. You are the most efficient pump in the world, with no moving parts. You can lift hundreds of gallons of water a day and you do this at speeds of over 100 miles an hour! After the roots slurp the water from the ground, your job is to bring the water up the tree. When I say, “Bring the water up,” you lift your arms up into the air and shout, “Wheee!” Okay, let’s practice. First roots, you slurp (they make the appropriate noises) and (immediately follow with the command to the sapwood) Sapwood, bring the water up! Wheee!

Cambium and Phloem surround the sapwood. The cambium layer, closest to the sapwood, is the growing part of the tree. While the tree’s roots and branches are growing, the tree is also adding a new cambium layer outward from the trunk. Toward the outside of the tree is the phloem. This part carries food manufactured by the leaves and distributes it to the rest of the tree. Let’s turn our hands into leaves. (They stretch arms upward and outward so they intersect each other’s arms at wrists and forearms, leaving their hands to flutter like leaves.) When I say, “Let’s make food!” raise your arms and flutter your leaves and absorb the energy from the sun and make food. When I say, “Bring the food down” you go, “Whooo!” (Demonstrate that this sound is a long descending sound at the same time as you bend at the knees and drop your arms and body toward the ground.) Let’s practice.

The Bark protects the tree. You are the bark. What kinds of dangers do you protect from the tree? (Suggest fire, insects, animals, extreme temperature changes, and sometimes people.) Protect the tree like a football blocker. Raise your arms with both elbows out and both fists close to your chest.

Go through all the sounds and motions with all the parts, in this order: Let’s slurp!... Let’s make food! … Bring the water up! … Bring the food down! (Note that the cambium/phloem ring makes food before the sapwood brings the water up.)

At this point the students playing animals and insects try to break through the bark to get to the inside part of the tree and a student plays a person trying to carve his/her name in the tree. As they try to penetrate the bark's protective layer, the bark actors should try to fend them off.

While this is happening, shout the commands for all the other parts of the tree to do their jobs in sequence: "Heartwood, stand tall and strong! Get tough, Bark! Roots, let's slurp! Leaves, let's make food! Sapwood, bring the water up! Phloem, bring the food down!" After the first round, just shout the commands without giving the names of the tree parts. When you finish, the students should give themselves a big hand for being such a wonderful tree.

Ceramic Trees of Life: Unit 1: Hanging on the Branch of History

 

Hanging on the Branch of History

The Mexican ceramic Tree of Life reflects, in many ways, the history of its country of origin. Against its trunk and in its branches you can see influences of indigenous peoples and of Spanish colonial beliefs and practices along with very contemporary references.

History Up a Tree

 With the following information you can denote influences in the images shown here and in the trees in the exhibition Ceramic Trees of Life: Popular Art from Mexico.

 The earliest civilizations of Mexico including the Maya, Mixtec and Aztec, saw the tree as a powerful axis mundi, a life-giving force marking the center of the world. The tallest tree was designated Tota, "our father," by the Aztecs who used cords to bind "him" to other trees as part of an annual festival held to insure agricultural success (FIGURE 7). In religious celebrations the people used clay for the vessels in which copal was burned as incense.

When the Spanish conquistadors arrived in the sixteenth century they brought their own tree symbolism: the tress (and inhabitants) of the Garden of Eden, and the crosses they mounted on top indigenous temples. Christian ceremonies also involved ritual objects for the burning of candles- theirs were Baroque candelabra of silver and bronze.

Contemporary Mexican villages retain many of these traditions, their ceramic works often based on the forms of candelabra and incensarios. Festivals still mark a reliance on successful seasons of agriculture.

The opening of the Pan-American Highway in the late 1940’s, making the towns more accessible and generating an increased interest in decorative wares, led local potters to create specifically for the desires and demands of paying consumers and collectors

After seeking the many influences in the images discussed here, consider the following questions:

- How do we know about the practices and beliefs of indigenous peoples in early Mesoamerica?

- What is the difference in what we can discern about a culture when we find an artifact such as an incensario or a ceramic tree in a collector’s home as opposed to documenting it in the location where it was used? 

- How much credence should one give to an account of the lives and beliefs of native people as written and drawn by a conquering or colonizing group?

- How might biases of a writer influence his or her accounts? Can you alter a factual piece with opinions and/or biases?

- How might firsthand account based on observation become further distorted in retellings and interpretations?

- How do artists reconcile retaining tradition with producing objects for popular consumption?