The relationship between the "Yonga" and animals is rooted in the very origin of the fabric that serves as the canvas for these designs. According to Yine mythology, it was the spider that taught the women the techniques of spinning and weaving cotton.

The word "Yonga," is understood as 'writing' or 'lettering'. In the case of the designs it translates 'to paint,' 'to embody' (Smith,2019). The term Yonga describes the intricate, colored linear designs set against contrasting backgrounds. Linguistically, Yongata refers to the specific act of painting these lines, while "Sagata" describes the broader process of covering surfaces—such as vessels, garments, or the skin. These designs reach their highest complexity on the pottery, body ornamentation, and textiles worn by women during the "Pishta," the Yine’s most significant social and ritual festival. While these motifs serve a clear aesthetic purpose, they are also gender-specific, differing in application for men and women.

Every Yine design follows a specific sequence of strokes, typically beginning with a frame that defines the composition's borders. Starting from a single corner, the artist applies repetitive patterns that prioritize symmetry while allowing for subtle, organic variations. The complexity of "Yonga" is further heightened by the use of three distinct natural dyes, each chosen based on the specific surface being decorated. Because these pigments are nearly invisible during application, the artist must possess immense skill and foresight to manifest the intricate designs as they dry.

The transmission of knowledge for "Yonga" designs follows the "Yimaka" or 'imitation' approach in Indigenous pedagogy. In this way, grandmothers play a fundamental role as teachers of the girls, who accompany them from an early age in their activities and learn through active imitation. This process involves learning-by-doing while in the company of their grandmothers. To facilitate learning, the grandmothers use plants or elements associated with powers of knowledge that help improve the girls' memory and skills, such as the smoke from the burning of a paucar nest (a bird considered a good weaver), which the girls should receive this transmisison in their hands. In addition, there are other plants and elements that enhance learning. The teaching process is accompanied by body hygiene practices and advice. (Minedu, 2019).

A master designer is defined by her ability to visualize complete 'Yonga' compositions before the first stroke is made. This visionary capacity is what allows Yine women to translate complex patterns onto various surfaces with unwavering confidence and precision.

While the tradition of "Yonga" remains vibrant today, its practice has evolved in significant ways. In a shift from ancestral customs, some men have begun to practice the art publicly, aiding in its broader diffusion. Simultaneously, Yine women have transitioned into formalized markets and the art world, organizing into associations to lead the promotion of their work while maintaining the integrity of their designs.

On May 28, 2019, the Peruvian Ministry of Culture officially declared the knowledge, wisdom, and techniques of "Yonga" designs as Cultural Heritage of the Nation across the regions of Cusco, Loreto, Madre de Dios, and Ucayali. This milestone was achieved through the collaborative efforts of the Federación Nativa del Río Madre de Dios y Afluentes (FENAMAD), alongside anthropologists Luisa Elvira Belaunde and Luis Felipe Torres, and Yine master artists Rittma and Daniel Urquia Sebastián. The declaration recognizes "Yonga" as a vital pillar of the Yine people’s historical memory and social structure, ensuring the preservation and continued expression of their traditional aesthetic patterns and ritual practices.

Cotton is one of the most vital fibers utilized by the Yine people. The transformation of raw cotton into functional art involves a meticulous series of ancestral processes: harvesting and selection, followed by spinning, and finally, weaving on a traditional loom. These techniques are used to create essential items such as garments (including the traditional Kushma), backpacks, and other woven goods that are central to their daily life and identity.

The "tipli" and "sajijpal" are the main inputs used to obtain natural dyes. The tipli is a root similar to cassava. When it is cut into very fine pieces, a yellow color can be obtained, which is used to make the first strokes of the iconographies that will be painted on the textiles; then this yellow color is mixed with the black mud or sajijpal for the black colour to be obtained (RER, 2011).

Beyond textiles, natural dyes play a central role in Yine aesthetics. Huito (or genipapo) is the primary pigment used for intricate body painting, while achiote—known as "apijigre" in the Yine language—provides the vibrant red hues used to dye cotton fibers. While these ancestral dyes remain culturally significant, they are increasingly being supplemented or replaced by acrylic fabric paints, which offer a modern alternative for contemporary textile production.

The traditional garments used by men and women are the kushma and pampanilla. The process of elaboration of these garments is long and delicate and includes the art of weaving through the backstrap loom. These objects are considered by men and women as the most difficult to weave, but at the same time, the most precious (RER, 2011).

The kushma is a traditional long, vertical-collared tunic worn by Yine men. Historically, these garments possessed a sacred character, believed to be inextricably linked to the wearer’s unique energy or spirit. It was forbidden for anyone else to wear another’s kushma, as conflicting energies were thought to cause spiritual harm. These tunics were often left inside homes as 'guardians' to ward off thieves and evil spirits. While the kushma remains a symbol of identity today, its mystical-religious significance has largely diminished in contemporary life.

The "pampanilla", or traditional skirt, is a tubular garment worn by Yine women, adjusted at the waist and decorated with intricate geometric designs. These skirts are often adorned with native seeds known as phimejiro, macojeli (grey seeds), and piñis. Historically, women wore these daily, typically owning at least two.

The introduction of the blouse occurred during the rubber boom, brought by employers to a culture where women traditionally remained bare-breasted. While early blouses were fashioned from imported silk exchanged for Yine products, they were eventually adapted to cotton and embellished with ancestral Yine designs.

Additionally, the "Gitnuprechil" (or Aparina) remains a vital cultural item—a traditional baby carrier hand-woven from cotton on a backstrap loom.

Today, however, hand-spun cotton is increasingly being replaced by commercial fabrics in a variety of colors. These materials are typically acquired through local traders or purchased during visits to nearby urban centers, reflecting a shift in how the Yine source their textiles.