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Day of the Dead flowers, or flores de Día de Muertos, are an essential part of Mexico’s annual celebration honoring departed loved ones.
They adorn altars, cemeteries, and streets, filling the air with fragrance and color.
It is believed that the scent of the flowers guides the returning souls to their homes, welcoming them with beauty and joy.

Most of the flowers used for this celebration bloom in the fall, have strong aromas, and carry symbolic meanings related to death, renewal, and remembrance.
Their selection depends on local customs, regional availability, and family tradition.

The Language of Flowers in Día de Muertos

Flowers are considered messengers between the worlds of the living and the dead.
Their short lives mirror the fragility of existence, while their colors express the joy of reunion.
From the golden marigold to the deep red cockscomb, each flower brings its own symbolism and regional flavor to the altar.

Cempasúchil (Tagetes erecta)

The Flower of the Dead

Perhaps the most famous of all, the cempasúchil, or flor de muerto, is native to Mexico and Central America.
Its name comes from the Nahuatl word “cempoalxóchitl,” meaning “twenty flowers.”

The Aztecs used it in religious ceremonies and funerary rituals to honor the sun and the cycle of life and death.

During Day of the Dead celebrations, both natural and paper cempasúchil flowers are used to decorate altars and tombstones.
Families often create arches, crosses, and garlands, and many sprinkle petals on the ground to form a path from the doorway to the altar.

The flower’s bright orange color and strong scent are said to light and perfume the way for the souls returning home.

Terciopelo Rojo (Celosia cristata)

The Velvet Flame

Known in English as red cockscomb, the terciopelo rojo is prized for its vibrant red hue and velvety texture.

The flower can last up to eight weeks and thrives in both humid and dry climates, making it perfect for seasonal decorations.

In Mexican tradition, its red color represents the blood of Christ, symbolizing sacrifice and eternal life.

It is often combined with cempasúchil in altar arrangements, creating a striking contrast of gold and crimson that embodies both death and resurrection.

Alhelí Blanco (Matthiola incana)

The Fragrance of Innocence

The white alhelí, known in English as hoary stock, is cherished for its sweet, delicate scent.

Originally from the Mediterranean region, it symbolizes beauty, purity, and simplicity.

In Mexico, alhelí is especially used on altars for deceased children, where its white color represents the innocence of the young souls returning home.

It is often paired with soft flowers such as baby’s breath to create a tender, peaceful arrangement.

Nube (Gypsophila paniculata)

The Breath of Heaven

Commonly known as baby’s breath, nube is a light, cloudlike flower that complements more vivid blooms.

Native to Europe, it grows best in calcium-rich soils, hence its name derived from gypsum.

In Mexico, nube serves as a filler flower in bouquets and altar arrangements, symbolizing the presence of the divine and the continuity of life.

It is often combined with alhelí, gladiolas, and marigolds to soften the visual texture of the altar and bring balance to the composition.

Crisantemo Blanco (Chrysanthemum morifolium)

A Flower of Farewell

Chrysanthemums, or mums, originated in Asia and were cultivated in China as early as 1500 B.C.
In many cultures, they symbolize grief, remembrance, and the transience of life.

Introduced to Mexico through Spanish influence, white chrysanthemums became common at funerals and All Souls’ Day observances.

Their durable blossoms and calm white tones bring serenity to the vibrant palette of Día de Muertos offerings.

Gladiolas (Genus Gladiolus)

The Flower of Strength and Remembrance

The gladiolus takes its name from the Latin gladius, meaning “sword,” a reference to its tall, pointed leaves.
Native to southern Africa, it symbolizes strength, remembrance, and integrity in many cultures.

In Mexico, gladiolas are arranged in tall bouquets on altars and tombstones, their upright form symbolizing faithfulness and the connection between earth and heaven.

Their elegance and resilience make them one of the most enduring flowers used in Day of the Dead offerings.

A Living Tradition

Every year, Mexican flower markets bloom with life as families prepare for the Day of the Dead.
Stalls overflow with mountains of marigolds, bundles of gladiolas, and baskets of alhelí and nube, filling entire neighborhoods with fragrance and color.

The Jamaica Market in Mexico City and the Atlixco Flower Market in Puebla are among the most famous spots to witness this floral spectacle.

Whether freshly cut or made from paper, these flowers remind us that life is fleeting but love is lasting.
Their scent, color, and texture transform grief into celebration, welcoming the spirits home, if only for a night.

Conclusion

Day of the Dead flowers embody the essence of Mexico’s view of death: not as an ending, but as a reunion.
Through petals and fragrance, families express love and remembrance, turning cemeteries and homes into gardens of memory.
Every blossom, from the golden cempasúchil to the pure white chrysanthemum, tells the same story: that life, even in its brevity, is filled with color and meaning.

The Day of the Dead altars, known in Mexico as altares de muertos or ofrendas, are the heart of the Día de Muertos celebration.
On November 1 and 2, families across Mexico build these altars in their homes, schools, cemeteries, and plazas to welcome the souls of departed loved ones back to the world of the living.

According to ancient belief, during these two nights the spirits can cross the threshold between life and death, guided by the scent of flowers, the glow of candles, and the offerings lovingly prepared for them.
Altars are both a devotional act and a work of art, blending Indigenous, Catholic, and folk traditions into one of Mexico’s most meaningful rituals.

The Meaning of the Altar

Each altar serves as a symbolic gateway that connects both worlds.
It tells the spirits they are remembered, loved, and still part of the family.

Altars for children (angelitos) are prepared on the evening of October 31, decorated with white flowers such as nube (baby’s breath) and alhelí (hoary stock), representing purity.
Offerings include sweet tamales, hot chocolate, atole, fruit, candies, and toys—everything suitable for a child’s joy.

On the night of November 1, families replace or eat the children’s offerings and prepare for the arrival of adult souls.
Altars are then filled with marigolds, spicy foods, mezcal, cigarettes, and the favorite dishes of the departed, turning remembrance into celebration.

Structure of the Altar

Altars vary by region and family tradition. They can be modest or elaborate, but most share common elements and layers of symbolic meaning.

Levels

• Two levels represent heaven and earth.
• Three levels stand for heaven, purgatory, and earth.
• Seven levels—common in rural Mexico—symbolize the seven stages souls must pass to reach peace.

The Arch

Placed at the top of the altar, it represents the entrance to the world of the dead.
In some regions it is made from cempasúchil (marigold) flowers, and in others from reed or sugarcane.
It marks the point where the spirit passes to join the family once more.

Essential Elements of the Altar

Though details change from region to region, these elements are found on most altars across Mexico:

Photograph

A photo of the honored person gives the altar the purpose of making the loved one present again through memory and image.

Flowers

Flowers symbolize life and the fragility of existence.
The cempasúchil, or flor de muerto, is the most iconic: its bright orange petals are laid on the floor to form a path from the door to the altar, guiding the souls home with color and scent.
Other flowers like baby’s breath or amaranth are added according to region and meaning.

Papel Picado

Colorful cut-paper flags hang across the altar and represent the element of air. Their gentle movement mirrors the invisible presence of the souls and the joy of reunion.

Pan de Muerto (Bread of the Dead)

This sweet, anise-scented bread is a communal offering.
Its round shape symbolizes the circle of life, while the bone-shaped decorations honor those who came before us.
Each region has its own variation—some topped with sugar, sesame, or even small figurines.

Sugar Skulls and Candies

Skulls made of sugar, chocolate, or amaranth seeds remind us of death’s omnipresence, yet they are decorated with vibrant colors, turning death into celebration.
For children’s altars, alfeñique candies shaped like animals, fruits, or angels are added as playful gifts.

Food and Drinks

Each family prepares the favorite dishes of their departed loved ones.
Common offerings include tamales, turkey with mole, pumpkin in brown sugar syrup (calabaza en tacha), seasonal fruits, and atole.
Adult altars may include mezcal, pulque, tequila, or even a cigarette pack which are tokens of pleasure to welcome the spirits home.

Candles

Candles represent light, faith, and hope, illuminating the way for souls.
Some regions light one candle per spirit; others place four to represent the cardinal directions.
The flickering flame transforms the altar into a sacred space.

Water

A glass of water refreshes the soul after its long journey. It is also a symbol of purity and renewal.

Salt

A small dish of salt purifies and prevents the soul from corruption during its brief visit among the living.

Copal (Incense)

Burning copal resin purifies the environment and attracts souls with its sweet smoke, a practice inherited from pre-Hispanic rituals.

Petate (Mat)

A woven palm-leaf mat is placed beside the altar for the spirits to rest.
It recalls the Indigenous belief that souls need comfort after traveling between worlds.

Personal Belongings

Objects such as a favorite hat, toy, instrument, or work tool personalize the offering, making the returning soul feel at home.

Religious Icons

Crosses, images of the Virgin Mary, or patron saints blend Catholic devotion with ancestral remembrance.

Regional Variations

Altars reflect the diversity of Mexico’s geography and traditions:

• In Michoacán, altars are covered in bright marigolds and reeds shaped into arches.

• In Oaxaca, intricate papel picado and handmade clay figures decorate multi-level displays.

• In Yucatán, altars, called hanal pixán, feature local foods like mucbipollo (buried tamale) and traditional beverages.

• In Puebla, the focus is often on symmetry and floral crosses made with cempasúchil and gladiolus.

Every region carries the same message: to remember is to keep alive.

The Celebration of Reunion

After November 2, families gather to share the food and drinks that were offered to the dead.
It is said that the souls only absorb the essence of the offerings, leaving behind their flavor for the living to enjoy.
This final meal symbolizes unity between both worlds—a joyful communion of memory, love, and gratitude.

Conclusion

The altar of the dead is more than decoration; it is a dialogue between life and death, a living artwork that carries centuries of devotion and creativity.
Through flowers, paper, food, and light, families reaffirm that love transcends time.
Each ofrenda, whether simple or grand, tells the same story:
that to honor our dead is to celebrate life itself.

José Guadalupe Posada (1852–1913) was a Mexican lithographer, engraver, and printmaker whose work captured the humor, struggles, and beliefs of everyday people during a time of political change.
He is best known as the creator of La Calavera Garbancera, later renamed La Catrina, now an iconic figure of Day of the Dead celebrations and Mexican folk art.
Scholars and artists alike consider Posada the precursor of Mexican modern art.

Early Life and Education

Posada was born on February 2, 1852, in Aguascalientes, Mexico, to Petra Aguilar and Germán Posada, a baker. His family was humble and largely illiterate, but his artistic talent was evident from a young age.

He received his first lessons from his older brother José Cirilo Posada, a schoolteacher, who encouraged him to draw while working as a classroom assistant. Posada’s gift for illustration led him to study briefly at the Academy of Fine Arts of Aguascalientes, where he began refining his technique.

First Steps as an Illustrator

In 1868, at only sixteen, Posada began working at the printing house of José Trinidad Pedroza, one of the best presses in the region. Pedroza became both mentor and friend, teaching him lithography and engraving on wood and metal.

By 1871, at age nineteen, Posada was already the head cartoonist of the satirical newspaper El Jicote (The Wasp), which often criticized local politicians. The publication’s success and controversy helped shape Posada’s lifelong style: sharp, direct, and socially conscious.

A few years later, Pedroza and Posada opened a second printing shop in León, Guanajuato, where Posada married María de Jesús Vela in 1875. The couple had one child who died young.
Posada built a reputation as a skilled illustrator, creating images for newspapers, books, and commercial packaging such as matchboxes and cigarette labels.

In 1888, a devastating flood destroyed much of León, prompting Posada and his wife to relocate to Mexico City, where he would produce his most influential work.

Life and Work in Mexico City

Upon arriving in the capital, Posada began contributing illustrations to newspapers like La Juventud Literaria (The Literary Youth), where editor Ireneo Paz—grandfather of poet Octavio Paz—praised his imagination and predicted a great future for him.

Posada soon opened a modest workshop, producing engravings for songbooks, religious prints, news sheets, recipe pamphlets, and board games. In a city where most people could not read, his images became a vital form of visual storytelling.

Around 1890, he began working for the publisher Antonio Vanegas Arroyo, whose print shop became the center of Mexico’s illustrated popular press. Posada’s productivity exploded—he created thousands of engravings depicting politics, daily life, disasters, crimes, miracles, and folktales.

Working alongside engraver Manuel Manilla, Posada perfected a distinctive technique using relief etching on zinc plates, which allowed for fine detail and tonal shading.

Together with Vanegas Arroyo and poet Constancio Suárez, Posada produced the calaveras literarias: short satirical poems about public figures, accompanied by his humorous skeleton illustrations.

It was in these prints that he created La Calavera Garbancera, mocking the vanity of those who denied their Indigenous heritage while trying to appear European. This image would later evolve, through Diego Rivera, into La Catrina—the elegant Lady of Death now celebrated across the world.

Themes and Artistic Legacy

Posada’s art combined humor, social critique, and folklore. He illustrated:

• Political corruption and class inequality
• Natural disasters and sensational crimes
• Religious visions, miracles, and ghost stories
• Daily life and urban scenes of ordinary people

He worked tirelessly and left behind an estimated 15,000 engravings over his lifetime.
His art spoke directly to Mexico’s working class, reflecting their fears, joys, and beliefs at the turn of the century.

Posada died in Mexico City on January 20, 1913, a widower and without children. He was buried in a common grave at the Panteón de Dolores, his work largely forgotten until later rediscovered by the next generation of Mexican artists.

Posada’s Influence on Mexican Modern Art

Decades after his death, Posada’s work was recognized as a cornerstone of modern Mexican identity.
Artists, writers, and historians have celebrated him as both popular and universal.

• Diego Rivera considered him his artistic father and placed Posada at the center of his mural “Sueño de una tarde dominical en la Alameda Central”, holding hands with La Catrina.
• José Clemente Orozco said that watching Posada work inspired him to become an artist.
• Octavio Paz, Nobel Prize–winning poet, wrote that Posada achieved “a minimum of lines and a maximum of expression,” calling him an expressionist who never took himself too seriously.
• Luis Seoane, painter and engraver, described Posada as “the greatest engraver in the Americas, deeply Mexican and therefore profoundly universal.”
• Historian Fernando Gamboa emphasized his deep connection to the people, calling him “a popular artist in the deepest and highest sense of the word.”

The José Guadalupe Posada Museum

Posada’s hometown of Aguascalientes honors his memory through the Museo José Guadalupe Posada, located in the Jardín de San Marcos.

The museum houses hundreds of his original prints, plates, and historical documents, alongside contemporary works inspired by his style.

Each year, exhibitions and workshops celebrate his contribution to Mexican art and his enduring influence on La Catrina and the calavera tradition.

Conclusion

José Guadalupe Posada transformed everyday life into timeless art.
Through his engravings, he gave a visual voice to Mexico’s people and captured their humor, faith, and resilience during times of change.
His legacy endures not only in museums and murals but also in the living traditions of Day of the Dead, La Catrina, and Mexican folk art around the world.

La quema de Judas, or Judas Burning, is a lively Easter-time tradition celebrated in Mexico on Sábado de Gloria (Holy Saturday).
Large papier-mâché effigies of Judas Iscariot—stuffed with fireworks—are ignited and exploded in public plazas, symbolizing the destruction of betrayal and evil.

The spectacle mixes faith, satire, and folk art, filling the streets with noise, color, and laughter as crowds gather to watch towering figures—sometimes five meters high—burst into flames.
Smaller Judas figures, about 30 centimeters tall, are also sold for home celebrations.

Origins of the Celebration

The burning of Judas has roots in European Christian rituals dating back to medieval times.
Across Spain, Portugal, and Greece, people burned effigies of Judas Iscariot during Easter to symbolize repentance and the triumph of good over evil.

Spanish and Portuguese colonizers carried the custom to the Americas, where it took hold in Mexico, Brazil, Venezuela, Ecuador, Uruguay, Chile, and the Philippines.

In Mexico, the earliest Judas figures were made of straw and rags and simply burned.
With the arrival of paper and fireworks through the Manila–Acapulco trade route, the effigies evolved: artisans began crafting cardboard figures stuffed with cohetes (firecrackers), which would explode dramatically when lit.

From Religion to Satire

After Mexico’s War of Independence, the Judas burning gradually lost its purely religious meaning and became a secular community event.
Effigies began to represent not only Judas Iscariot but also public figures accused of corruption or betrayal. Shop owners sponsored burnings by stuffing Judas figures with candies, bread, or cigarettes to attract customers.

By the mid-19th century, the effigies often took the shape of devils or caricatures of unpopular politicians.
A law passed in 1849 prohibited dressing or naming Judas figures to resemble specific individuals—a reminder of how politically charged the tradition had become.

By the late 1800s and early 1900s, La quema de Judas was a nationwide event.
In Mexico City, artisans sold hundreds of effigies in public markets during Holy Week.
One of them was Pedro Linares, the legendary cartonero who later invented alebrijes.
In the 1950s, Linares’s workshop in La Merced employed over 300 helpers just to meet demand for Judas figures.

The Decline and Revival

Over time, censorship, safety regulations, and urban restrictions on fireworks led to a decline in public burnings.
However, artisans and local governments have helped preserve the tradition by organizing community events and sponsored burnings.

In Mexico City, the Linares family continues to build and burn Judas figures in La Merced.

In Santa Rosa Xochiac, an entire neighborhood participates in making massive Judas effigies that are paraded and ignited in the town plaza, blending ancient ritual with local pride.

The modern Judas has become a canvas for creativity—some shaped like alebrijes, others like politicians or devils—celebrating art as much as satire.

Symbolism and Meaning

For many scholars, the Judas burning functions as a scapegoating ritual, a collective way to release social tension.
Others see it as an act of purification—burning away corruption, betrayal, and evil to restore balance.
Through laughter and spectacle, it allows people to confront betrayal and hypocrisy while reaffirming community bonds.

In Mexican culture, where death and humor intertwine, La quema de Judas embodies the same spirit as Day of the Dead celebrations: facing the darker side of life through art and festivity.

Judas Figures as Folk Art

By the end of the Revolution, traditional Judas effigies were commonly depicted as red-horned devils, made by cartoneros (papier-mâché artisans) and sold in markets before Holy Week.
Over time, the craft grew more elaborate and expressive, largely thanks to two outstanding artists: Carmen Caballero Sevilla and Pedro Linares.

Carmen Caballero Sevilla

Carmen Caballero devoted her life to making Judas figures and skeletal sculptures.
She caught the attention of Diego Rivera, who met her while painting the murals at the Abelardo Rodríguez Market.
Rivera admired her artistry so much that he invited her to work in his studio, where she created Judas, skeletons, and charros for him.

Her pieces appeared in Rivera’s painting The Painter’s Studio and were later collected by Frida Kahlo, Rufino Tamayo, and even Henry Moore.
Though her name faded over time, sculptor and curator Enriqueta Landgrave helped revive interest in her work, which now survives in the Frida Kahlo, Diego Rivera, and Dolores Olmedo museums.

Pedro Linares and the Modern Judas

Before becoming famous for his alebrijes, Pedro Linares was one of Mexico City’s most important Judas makers.
He produced hundreds of traditional devil effigies each year, then expanded the craft to include skeletons and hybrid creatures, combining elements of fantasy and satire.

Even after his international recognition for alebrijes, Linares continued burning Judas figures in his neighborhood, seeing it as an essential cultural act.
His descendants—especially Miguel Linares and Paula Linares—still carry on the tradition, creating large-scale Judas sculptures that blend humor, political commentary, and imagination.

Where to See Judas Burnings Today

• La Merced Market (Mexico City): annual Judas burning organized by the Linares family.
• Santa Rosa Xochiac (Mexico City): neighborhood celebration featuring giant Judas effigies.
• Museo de Arte Popular (Mexico City): exhibitions on cartonería and traditional papier-mâché figures.
• Various towns in Estado de México and Puebla: local artisans continue building and burning Judas during Holy Week.

Conclusion

The Judas Burning tradition unites Mexico’s history of faith, satire, and artistic invention.
Born from colonial ritual and transformed by folk imagination, it has become a vivid expression of resistance and renewal.
Through the hands of artisans like Carmen Caballero and Pedro Linares, the Judas effigy turned from a symbol of betrayal into a masterpiece of popular art—proof that in Mexico, even fire and laughter can keep heritage alive.

Papel picado—literally “perforated paper”—is the traditional Mexican art of cutting intricate designs into tissue paper to create colorful banners.
These delicate flags decorate Day of the Dead altars, streets, and homes during festivals, weddings, and national holidays. Each design reflects the occasion it honors, from skulls and saints to doves, angels, or national emblems.

The art of papel picado captures the spirit of celebration: fleeting, vibrant, and full of meaning.

Origins and History

The roots of papel picado trace back to pre-Hispanic paper-making traditions. Indigenous peoples of central Mexico made amatl—a bark-based textile—from fig or mulberry trees.
The Aztecs used this paper for codices, ritual decorations, and offerings to the gods, sometimes coating it with rubber and pigment.
Modern artisans from Guerrero still use this material, known as amate paper, as a canvas for traditional Nahua paintings.

However, unlike common belief, papel picado did not evolve directly from amate.
Amate is fibrous and cannot be finely cut without tearing. The true origins of papel picado emerged much later, shaped by colonial trade and local creativity.

The Birthplace: San Salvador Huixcolotla, Puebla

The town of San Salvador Huixcolotla, in the state of Puebla, is recognized as the cradle of papel picado.
Its name in Nahuatl means “place of abundant thorns.” Originally inhabited by Nahua and Popoloca peoples, the town was established by Spanish settlers in 1539 and grew near large haciendas.

During the colonial period, Puebla was on the trade route that carried goods from the Philippines through Acapulco to Veracruz and then to Spain. Among the imported items was a thin, brightly colored silk paper known as papel de China (China paper).
Locals began crafting decorations from this material, and by the 1920s, artisans in Huixcolotla were producing cut-paper banners for markets and festivals.

By the 1970s, papel picado had become a staple across central Mexico, used to adorn Day of the Dead altars, Independence Day parades, and Christmas celebrations.
Mexican migrants later carried the tradition abroad, spreading it across the Americas and beyond.

How Papel Picado Is Made

Traditional papel picado is cut by hand using stacks of delicate tissue paper placed over a lead plate as a base.
A manila-paper stencil is laid on top, and artisans use small chisels and hammers to cut through dozens of sheets at once, forming repeated patterns.

Steps of the Process

1. Designing the pattern: drawn on manila paper.
2. Stacking: layers of tissue paper are placed over the lead sheet.
3. Chiseling: dozens of cuts made with fine chisels of various shapes.
4. Assembly: sheets are glued or sewn to a string to form long banners.

Each workshop keeps its own pattern archives, often passed down through generations.
While many artisans still use traditional tissue paper, some now work with plastic film, which resists weather and lasts longer outdoors.

However, mass-produced die-cut plastic banners have begun replacing handcrafted ones, putting this centuries-old technique at risk.
In 1998, the state of Puebla declared the artisanal papel picado of San Salvador Huixcolotla an official part of its cultural heritage.

Patterns and Symbolism

The designs of papel picado are as varied as Mexico’s celebrations:

• Day of the Dead (Día de Muertos): skeletons, skulls, and La Catrina, often inspired by José Guadalupe Posada’s engravings.
• Christmas: nativity scenes, angels, bells, and stars.
• Independence Day (September 16): the national emblem, eagles, and heroes of the Revolution, in green, white, and red.
• Religious Festivals: saints, crosses, and floral motifs.
• Personal Celebrations: birthdays, weddings, and baptisms, often with names or custom designs.

The choice of color carries meaning:

• 🟣 Purple and black for mourning and remembrance.
• 🟢 Green, white, and red for patriotism.
• 💛 Yellow and orange for offerings to the dead.
• 🎉 Bright multicolors for joy and community.

An Ephemeral Art

The fragility of papel picado gives it its poetry.
Each banner lasts only as long as the celebration it adorns, a reminder that beauty and joy are as fleeting as paper in the wind.

Master artisan Pedro Ortega Lozano, from Tláhuac, Mexico City, has elevated the craft to fine art. Born in 1960 and self-taught, he creates complex compositions using metallic, tissue, and embossed papers.
His retablos and altars depict scenes of daily life and mythology, blending popular art with personal narrative.

Pedro Ortega has received national and international recognition, including the National Folk Art Prize and a feature in the book “Grand Masters of Mexican Folk Art” sponsored by Banamex.
As he once said,

“Just as happiness lasts only a tiny moment, paper is also a tiny moment.”

Where to See Papel Picado

• San Salvador Huixcolotla, Puebla: workshops, local markets, and the annual Feria del Papel Picado.
• Museo de Arte Popular (Mexico City): rotating exhibitions on paper arts and crafts.
• Tláhuac, Mexico City: studio of Pedro Ortega Lozano.
• Day of the Dead Celebrations: across Mexico and Mexican communities abroad, adorning streets, plazas, and altars.

Conclusion

From the colonial trade routes of Puebla to modern altars around the world, papel picado continues to unite history, artistry, and community.
Each cut tells a story of celebration, faith, and transience which are proof that even the most delicate art can endure through generations of hands and hearts.

The alebrijes are brightly colored, imaginative creatures that mix features from many animals such as dragons, lizards, roosters, and butterflies. These hybrid figures are covered in intricate patterns and intense colors that reflect the vibrant spirit of Mexican folk art.
Originally made with papier-mâché, they later evolved into wood carvings, becoming one of Mexico’s most beloved artistic symbols.

History and Origins

The origin of alebrijes goes back to Mexico City in the 1930s, when a cartonero (papier-mâché artisan) named Pedro Linares López began creating fantastic creatures inspired by a vivid dream.
While sick with a high fever, he imagined himself walking through a strange forest filled with hybrid animals that cried out the word “alebrijes.” When he recovered, he brought his dream to life using paper, cardboard, and paste, the materials he already used to make judas and piñatas.

Another version of the story mentions the painter José Gómez Rosas, known as El Hotentote, who asked Linares to make surreal creatures for a masquerade at the San Carlos Arts Academy. In either version, Linares combined imagination, symbolism, and traditional craft to create something entirely new.

His pieces caught the attention of well-known artists such as Frida Kahlo and Diego Rivera, who became collectors of his work. In 1975, filmmaker Judith Bronowski released the documentary Pedro Linares: Artisan of Fantasy, which introduced the alebrijes to the world. Linares later received Mexico’s National Prize for Popular Arts and Traditions in 1990 and continued working until his death in 1992.

How Alebrijes Are Made

Papier-Mâché Alebrijes

The original technique used by Pedro Linares is still practiced by artisans in Mexico City. The process usually includes:

1. Creating the structure with wire, reeds, or newspaper rolls.
2. Covering the base with layers of pasted paper to form a solid shape.
3. Sanding and detailing once the piece dries completely.
4. Painting with bright acrylic colors, dots, and geometric lines.

Each figure is hand-painted and completely unique. The Linares family continues this tradition in La Merced, keeping the art alive for new generations.

Wood-Carved Alebrijes

In the state of Oaxaca, the idea of alebrijes found new life through Manuel Jiménez of Arrazola, who began carving fantastic animals out of copal wood during the 1960s. His work inspired other artisans to do the same, giving rise to an entire tradition of colorful, hand-carved figures.

The process involves selecting the right branch of copal, carving it with machetes and knives, drying it, applying a base coat, and painting it with small brushes using thousands of tiny dots and lines. Each workshop develops its own patterns, inspired by local Zapotec culture and by the concept of tonas and nahuales, animal spirits that protect each person.

Alebrijes Through Time (Timeline Infographic)

Year	Event
1930s	Pedro Linares creates the first papier-mâché alebrijes in Mexico City.
1940s–60s	Artists and collectors promote Linares’s work among Mexico’s art circles.
1975	Judith Bronowski’s documentary spreads the art internationally.
1990	Linares receives the National Folk Art Prize.
1960s–1970s	Manuel Jiménez pioneers the Oaxacan wood-carving style.
2007	The Museo de Arte Popular in Mexico City starts La Noche de los Alebrijes, a parade of giant creatures.

Alebrijes Today

Each October, the streets of Mexico City come alive during La Noche de los Alebrijes, when enormous illuminated creatures parade from the Angel of Independence to the Zócalo. More than 200 artists and collectives participate, accompanied by music, storytelling, and performances that celebrate creativity and imagination.

Meanwhile, in Oaxaca, workshops in San Martín Tilcajete and Arrazola welcome visitors who wish to see how the figures are carved and painted. Many families, including the descendants of Manuel Jiménez, continue to pass down their skills and create new designs every year.

Alebrijes also reached international audiences through the 2017 Disney-Pixar film Coco.

Although the film’s colorful spirit animals were inspired by alebrijes, they were reimagined as guides in the Land of the Dead rather than as traditional folk art figures.

The movie’s popularity helped renew global interest in Mexican craftsmanship and introduced millions of viewers to this unique artistic tradition.

Symbolism and Meaning

Alebrijes are more than decorative art pieces. They are expressions of imagination, identity, and protection.
Their animal combinations often represent transformation and connection between the natural and spiritual worlds.
Colors also carry meaning:

• Green represents nature and renewal.
• Red symbolizes strength and passion.
• Blue expresses spirituality and calm.
• Yellow stands for joy and creativity.

Every artisan develops a personal language of color and pattern, turning each alebrije into a reflection of individual vision and regional heritage.

Where to See Alebrijes

• Museo de Arte Popular (Mexico City): Permanent exhibitions and organizer of La Noche de los Alebrijes.
• San Martín Tilcajete and Arrazola (Oaxaca): Artisan towns known for workshops and galleries.
• La Ciudadela Market (Mexico City): One of the best places to buy authentic folk art directly from artisans.
• Museums Abroad: Several international museums of Latin American art hold original works by Pedro Linares and other master artisans.

Conclusion

From the dreams of Pedro Linares to the hand-carved sculptures of Oaxacan artisans, alebrijes have evolved into a living symbol of Mexican creativity.
They represent the fusion of imagination and tradition, linking the mystical with the handmade. Whether molded from paper or carved from wood, these fantastic creatures continue to inspire wonder, connecting Mexico’s past, present, and artistry through color and form.