Talla de santos, tradition in every cut

Footnote: Tattooed Christs are among the most popular pieces.

A look at the history, tradition, and spirit behind one of Puerto Rico’s most emblematic folk arts

The “talla de santos” is one of the main expressions of Puerto Rican art. It dates back to the colonial era, when Spanish colonizers introduced religious imagery to Boriken. According to history, since there were few churches and located far from the people living in the interior of the island, home altars with religious images carved in wood began to emerge.

The religious sculptures and images that arrived in Puerto Rico during the evangelization period served as inspiration for this artistic tradition. At first, it developed as a rustic craft, but over time, the craftsmanship and detail carved by the artisans into their pieces gained value—entually being recognized today as a national symbol.

“It was around the 1500’s when the story of the santos began. The Jesuits (religious order of clerics) were the most scholarly people. They founded schools and were the ones who brought them. But unlike in Spain, Puerto Rico does not have large wooden saints in churches. Instead, it has small household santos, used in home worship, usually measuring just seven to eight inches”, said Ibsen Peralta, one of the most renowned talladores de santos in Puerto Rico.

At that time, he said, the roads to the churches were remote, the routes were in poor condition, and people often walked barefoot, and felt ashamed to attend church that way. So the handcrafted figures began to emerge, as santeros sold their works throughout the island for use in home worship.

San Antonio, San Francisco, San Jose, San Juan Nepomuceno and San Ramon Nonato are some of the devotional saints that, since that time, have been represented in artistically carved wooden figures. Also, the Virgen de Monserrate — considered by many the true patroness of Puerto Rico, although, according to history, the Virgen de la Providencia was later established as the island’s official patroness.

“There was an apparition of the Virgen de Monserrate in Hormigueros. In the chapel there, they have a silver frame made from melted ex-votos or religious offerings from people asking for miracles. For example, someone with arthritis might offer a representation of a small hand, or crutches if they were unable to walk”, explained Peralta.

“The (talla de) santos were carved by local artisans. Cedar was used, as it’s a softer wood. They would look at what was brought from Spain and try to replicate it”, he added.

As he recalls, around the 1950s, Puerto Rico became industrialized and society began to change, with more professionals emerging. People started to forget about the little santitos, as plaster saint figures began to arrive and were being blessed by priests. It was also around that time that the Instituto de Cultura Puertorriqueña (ICP) was established.

With Luis Muñoz Marin as governor, and Ricardo Alegria and Teodoro Vidal on the board of the Institute, efforts began to promote the rescue and preservation of Puerto Rico’s artistic legacy — including the tradition of talla de santos. Alegria, he recalls, used to say that the culture was going to be lost, everything, even how to make a güiro. And the ICP was created with other important fgures, such as Lorenzo Homar (1913-2004), Rafael Tufiño (1922-2008) and Jack Delano (1914-1997).

“There were only four or five talladores de santos left, and Ricardo Alegria began to promote and encourage the tradition. And the numbers began to grow. Today, there may be around 150”, Peralta stated.

Peralta explains that there is no formal school in Puerto Rico where talla de santos is taught, but if you’re interested and motivated, all you have to say is, “I want to learn.”

The Puerto Rico Industrial Development Company (PRIDCO) has a craft development division that connects interested individuals with a master artisan, depending on where they live. The artisan is supposed to be paid for the teaching workshop.

“First, you get certified as an artisan, and then in the specific category you specialize in. After that, you’re invited to fairs and added to a talent registry. From there, it’s all about selling the pieces you create”, he said.

Peralta also shared that the ICP is responsible for supporting and promoting artisans. Meanwhile, many people seek out this type of art directly at exhibitions or businesses that showcase it. And although there is a registry of workshops, the actual number of active ones remains uncertain.

Antonio Aviles, he says, is one of the leading figures in talla de santos, having learned the craft from his father, Don Celestino Aviles. And as a master in this art, Antonio has even offered courses at the Taller de Bellos Oficios at the University of Puerto Rico, Rio Piedras campus. Meanwhile, his father is credited with reviving this art form during the 1980’s. Don Celestino created the Encuentro Nacional de Santeros, a festival held in Orocovis that brings together woodcarving artisans from across the island, more than 100. Today, the municipality of Orocovis is the driving force that keeps this historic festival alive.

Meanwhile, the private sector and shopping centers like Plaza Las Americas and San Patricio Plaza continue to support and sponsor talla de santos exhibitions. For years, Casa Bacardi stood out for organizing a craft fair that was considered the Olympics for carvers and lovers of this art form.

Peralta was invited to participate several times in this event, even being honored as Artisan of the Year.

“In my case, I got certified through PRIDCO, in the Department of Artisan Development, and also through the Instituto de Cultura. I’m also in the Puerto Rico Tourism Company database. I started out studying Graphic Design. I had a teacher who really believed in me -Kamery Tirado- she saw my potential. Later, I enrolled at Interamerican University for Computer Science, and then continued studying Design at the Instituto de San Juan. At 21, my first child was born, and I decided to bet on my talent and on myself. My first piece was bought by my aunt for $25 as a gift. I made a set of Three Kings out of a broomstick. Now I deliver them in boxes and use cedar and mahogany”, said Peralta.

There’s no formal school in Puerto Rico to teach wooden santo carving, Peralta lamented. Anyone who’s motivated to learn, he said, must be self-taught and develop their own talent. You research, read, and ask a lot of questions. You start incorporating techniques like human anatomy, proportions, and movement. Also, color theory, mixing, and working with oils. Traveling also helps a lot since it exposes you to different techniques, colors, and pieces. And above all: ask, ask, ask.

“I take custom orders, but I don’t have much time. I usually focus on creating the pieces and then exhibiting them. Here in Puerto Rico, people love art and consume it a lot. The talla de santos are mostly purchased by Puerto Rican collectors — it’s an emotional connection.

The best-selling figures are the Reyes Magos and the Virgen de Monserrate. For Puerto Ricans living abroad, the figure of the Reyes Magos represents their homeland. It’s a symbol of resistance”, he explained.

The religious aspect is deeply rooted in this type of art, he emphasized. Some, like himself, also explore other areas — such as a recent piece he created of a Christ figure painted in colorful patterns.

“I like to break away from the typical. Recently, I made some tattooed Christs, and they’ve been among the most popular (of my pieces)” he said.

“I use cedar. Others use different types of fine woods. Cedar’s grain helps with carving — it cuts more smoothly. It’s the preferred wood to work with. Its price has gone up. You get it at sawmills, and it has to be cut during a specific moon phase. It’s a whole process, a science, so the piece lasts a lifetime and doesn’t get damaged by woodworms”, he added.

The prices of these pieces range from $60 to $15,000, depending on the artist. Some people buy them to collect, others out of devotion, he noted.

His second and most recent exhibition is titled Cruciatus, and it was shown at the San Patricio Gallery between April and May. 

Eric Saunders Malave, Jesus and Emmanuel Nieves Dorta, Xavier Colon, Los Millan and Felix Martínez were some of the talladores de santo mentioned by Peralta as part of Puerto Rico’s talented group of woodcarvers.

“We know each other, we value each other’s work, and we support one another,” he said.

Regarding this art form, he noted that it’s currently experiencing a rise in popularity, especially among older adults who are now retired from their jobs. 

“The talla de santos is one of the artistic expressions that most strongly defines us. That’s why, if you want to buy something truly Puerto Rican, it should be a carved piece, especially the Reyes Magos. It’s a good purchase, you’re taking home a piece that represents who we are”, he concluded.