The delicate style of this small clay sculpture, apparently a representation of Xochiquetzal, her face and the other details of the figure, as well as the detailed treatment in the production is due to the fact that a mold was used in making it.
First of all the figurine was modeled with all the details that characterize the piece, and a negative mold was made from it, into which wet clay was subsequently poured. Once it acquired sufficient rigidity, and it was extracted from inside the mold, the small sculpture probably received a few finishing touches: the lines were refined and the details were cleaned up before firing in wood ovens. Subsequently, the piece received a thin layer of white, which accentuates the fragility and refined textures of the piece.
Our sculpture is a representation of Xochiquetzal, the young goddess of beauty, flowers and pleasure. She was considered the patron deity of weavers, laborers and spinners, and was especially important for the worship ceremonies of the women who were responsible for the elaboration and manufacturing of textiles. They produced textiles and blankets, clothes and attire for the population.
The women who wove made the blouses and belts, as well as wrapped skirts and the quechquemitl (garment made from two pieces of rectangular cloth), maxtlatl (garment worn under a cloak or cape) and capes, that is, clothing for the entire family; both those obtained in the market as well as those obtained through tribute. They worked both maguey fiber as well as cotton. They used the backstrap loom, built with two parallel horizontal sticks attached by straps, which are placed at the ends of the warp. The upper stick is attached to a pole or a tree, while the lower one is held around the waist of the weaver who produced long rectangular or square pieces, many with complex patterns and textures incorporated into the fabric during the weaving process, or they were embroidered on the textiles once the weaving process was completed.
In the sculpture we can see representations of some of the tasks carried out by the weavers. The figurine wears an elaborate wrap that has diamond shapes with floral elements carved in its center. She is wearing a shirt that reaches the waist, a huipil which is hidden behind an elaborate circular pendant that hangs over her chest. Her headdress also has the characteristics that define this goddess: the long quetzal feathers that poke through her headdress made of folded paper and that encircle her head refer to her name. Xochiquetzal in the Nahuatl tongue comes from: xochitl, flower and quetzalli, the bird of rich iridescent green feathers. In this sense, the figurine is an example of the essence of indigenous art which contains a mixture of natural and supernatural elements: elements that work both on belief as well as a use which is scientifically recognized by specialists.
During Teotleco ceremonies that the Mexica celebrated, the painters, the silversmiths, the laborers and weavers; they led a person dressed as Xochiquetzal to the temple, represented as a beautiful young woman with bobbed hair cut to her forehead, wearing elaborate robes. They sat her on the steps of temple to weave while officials appeared dressed as monkeys, dogs, cats and monkeys, and danced a merry dance.
