TEQUITQUI ART: HISTORY, CHARACTERISTICS AND OUTSTANDING WORKS - ART - 2025

Tequitqui art is the name given to the artistic manifestations made by the indigenous people of Mexico and Central America after the Spanish conquest. Some regions where they can be appreciated are Mexico City, Puebla, Michoacán, Jalisco, Hidalgo, Tlaxcala, Oaxaca, the State of Mexico and Chiapas.

During the 16th century, the fusion of European and native styles and techniques created a new form of expression, which was reflected in the painting, sculpture and architectural structures of that time. These works are mainly found on the facades of Christian temples, monasteries and convents, on the atrial crosses and on the interior murals of the chapels.

Cross with tequitqui art located at the entrance of the Calvario Chapel in Mexico. Source: Andrea.merelo.

The word tequitqui is of Nahuatl origin and means "tributary." The term was used for the first time by the historian and art critic José Moreno Villa, in his book The Mexican in the Plastic Arts (1948). There he defined it as a strange mixture of styles, belonging to three different periods: Romanesque, Gothic and Renaissance.

For his part, the Mexican researcher Constantino Reyes-Valerio baptized it as "Indo-Christian art" in his book Indo-Christian Art. Sculpture from the 16th century in Mexico (1978). In this name he united the theme of the works, which was Christian, with the origin of the artist who made them, who was Indian.

History of tequitqui art

Before the arrival of the Spanish, the art of native cultures revolved around their religions. Through him the natives expressed their traditions and paid tribute to their divinities through sculptures, monuments and other works.

After the conquest, the Franciscan, Dominican and Augustinian missionaries sought to abolish these beliefs and instill in them the Christian faith.

The task was not easy. On the one hand there were the language difficulties and on the other the Indians refused to abandon their practices and rites.

Faced with this, the greatest efforts of the monks targeted indigenous children, who due to their young age had the least entrenched customs and were more susceptible to change.

Christian art with indigenous workmanship

This entire period of evangelization coincided with the construction of monasteries, convents, and chapels that housed innumerable sculptural and pictorial works.

Most had a Christian theme and were made by the Indians, under the intellectual direction of the friars.

Among other tasks, the natives were in charge of cutting and hauling stones, sectioning wood, making lime, and making brick. But in addition, some more qualified, were in charge of artistic decoration, sculpting and painting.

In these works, which show a fusion of styles and techniques, indigenous artists also covertly included symbols and signs of their traditions and beliefs.

This religious hybrid gave rise to a new form of expression, which was called as tequitqui art.

Characteristics of tequitqui art

Tequitqui art on one of the walls of the former Santiago Apóstol Convent in Mexico. Source: DavidConFran.

In his book, José Moreno Villa pointed out that Tequitqui art seemed to be anachronistic: “it was born out of time, due to the fact that the Indian indoctrinated by the friars or masters from Europe received prints, drawings, ivory, rich fabrics as models embroidery, breviaries, crosses and other objects made in different periods ”.

From there, the artists took their inspiration and at the same time added their own knowledge and beliefs. For this reason, the works of this period are characterized by the fusion of styles.

Another of its salient features is improvisation. Although the monks had certain knowledge, they were not professionals and did not follow a specific line of work, but managed with what they could and had at hand.

Architecture

In Tequitqui architecture, elements of Mudejar, Gothic, Renaissance, Plateresque and Romanesque art can be found.

On the other hand, the construction of open chapels is something that occurs only in this region, because the Indians did not usually enter the churches, since only priests could enter their ancient temples.

Painting

Tequitqui painting stands out for the use of pure and primary colors.

Sculpture

Tequitqui sculpture stands out for the flatness in the carving of the stone and the use of the technique of the corn cane and some native woods.

The natives, meanwhile, incorporated their own figures and ornaments into their works, which were mixed with Spanish art. For example, the angels had more similar features to the indigenous ones and had the wings of an eagle, which among the Aztecs was the symbol of Huitzilopochtli, the sun.

Outstanding works of tequitqui art

Some outstanding places where Tequitqui art excels are:

Former convent of San Juan Bautista Coixtlahuaca

Located in San Juan Bautista, 113 kilometers north of the City of Oaxaca, this construction was completed by the Dominican friars in 1576. The place housed 36 niches that protected the images of original saints, most of them carved in wood.

In the upper arch of the open chapel a chain of serpents is carved, representing an indigenous symbolism.

Former convent of San Francisco de Nuestra Señora de la Asunción in Tlaxcala

It was built between 1537 and 1540. The roof of the temple was made of wood in a Mudejar style. It has no domes and its only tower is separated from the church.

For its part, the main altar is in the Baroque style and has important paintings and sculptures with Tequitqui art.

Convent of San Gabriel Arcángel in Cholula, Puebla

It is a Franciscan construction that was completed in 1552. It was erected on the land where a temple dedicated to the cult of Quetzalcóatl was located.

Its original 16th century mural decoration was made entirely by indigenous people, although much of it is lost today.

Convent of San Nicolás de Tolentino in Hidalgo

Its construction was carried out between the years 1550 and 1573, and it constitutes one of the greatest examples of New Spain art from the 16th century.

It has a Plateresque style and has Renaissance paintings and a large number of tequitquis elements that symbolize the religious syncretism of the time.

References

1. Moreno Villa, José (1948). The Mexican in the plastic arts. Mexico.
2. Reyes-Valerio, Constantino (1978). Indo-Christian art. Sculpture from the 16th century in Mexico. Mexico.
3. News Media (2013). Tequitqui art in Mexico and Guatemala. Francisco Marroquín University. Available at: newmedia.ufm.ed
4. Mexican. Tequitqui art. General Directorate of Information Technologies and Communications of the Ministry of Culture of Mexico. Available at: mexicana.cultura.gob.mx
5. Fernández, J. (1989). Mexican art. Porrúa. Mexico.
6. Tequitqui, Wikipedia. Available at: wikipedia.org.