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Presented here are one hundred classic-era (1880s-1940s) Hopi and Zuni carved dolls from private and public collections that have rarely, if ever, been put on exhibition and that collectively form a profound and powerful assembly of the very finest examples from the classic period in Kachina carving. Andrea Portago has gracefully photographed these rare figures using available light so as not to distort their colours and to reveal their movement and drama, passion and personality.
More than a hundred years ago, anthropologists and other researchers collected and studied hundreds of examples of quillwork once created by Arapaho women. Since that time, however, other types of Plains Indian art, such as beadwork and male art forms, have received greater attention. In Arapaho Women's Quillwork, Jeffrey D. Anderson brings this distinctly female art form out of the darkness and into its rightful spotlight within the realms of both art history and anthropology. This book is the first comprehensive examination of quillwork within Arapaho ritualized traditions. Until the early twentieth century and the disruption of removal, porcupine quillwork was practiced by many indigenous cultures throughout North America. For Arapahos, quillwork played a central role in religious life within their most ancient and sacred traditions. Quillwork was manifest in all life transitions and appeared on paraphernalia for almost all Arapaho ceremonies. Its designs and the meanings they carried were present on many objects used in everyday life, such as cradles, robes, leanback covers, moccasins, pillows, and tipi ornaments, liners, and doors. Anderson demonstrates how, through the action of creating quillwork, Arapaho women became central participants in ritual life, often studied as the exclusive domain of men. He also shows how quillwork challenges predominant Western concepts of art and creativity: adhering to sacred patterns passed down through generations of women, it emphasized not individual creativity, but meticulous repetition and social connectivity - an approach foreign to many outside observers. Drawing on the foundational writings of early-nineteenth-century ethnographers, extensive fieldwork conducted with Northern Arapahos, and careful analysis of museum collections, Arapaho Women's Quillwork masterfully shows the importance of this unique art form to Arapaho life and honors the devotion of the artists who maintained this tradition for so many generations.
Social and behavioral scientists study religion or spirituality in various ways and have defined and approached the subject from different perspectives. In cultural anthropology, and archaeology the understanding of what constitutes religion involves beliefs, oral traditions, practices and rituals, as well as the related material culture including artifacts, landscapes, structural features and visual representations like rock art. Researchers work to understand religious thoughts and actions that prompted their creation distinct from those created for economic, political, or social purposes. Rock art landscapes convey knowledge about sacred and spiritual ecology from generation to generation.
Contributors to this global viewdetail how rock art can be employed to address issues regarding past dynamic interplaysof religions and spiritual elements. Studies from a number of different cultural areas and time periods explore how rock artengages the emotions, materializes thoughts and actions, and reflects religiousorganization as it intersects with sociopolitical cultural systems."
"Reconstructing Tascalusa's Chiefdom" is an archaeological study of
political collapse in the Alabama River Valley following the
Hernando de Soto expedition.
Swordfish Cave is a well-known rock art site located on Vandenberg Air Force Base in south-central California. Named for the swordfish painted on its wall, the cave is a sacred Chumash site. When it was under threat and required measures to conserve it, nearly all of the cave's interior was excavated to create a rock art viewing area. That effort revealed previously unknown rock art and made it possible to closely examine how early occupants used the space inside the cave. Archaeologists identified three periods of human use, including an initial occupation around 3,550 years ago, an occupation about 660 years later, and a final Native American occupation that occurred much later, between A.D. 1787 and 1804. Well illustrated with photographs, maps, and drawings of the rock art, the excavations, and the artifacts revealed therein, the book presents a rare opportunity to directly link archaeology and rock art and to examine the spatial organization of prehistoric human habitation.
When the Blackfoot Indians were confined to reservations in the late nineteenth century, their pictographic representations of warfare kept alive the rituals associated with war, which were essential facets of Blackfoot culture. Their war ethic served as a unifying force among the four tribes of the Blackfoot nation - Siksika, Blood, and North and South Piegan. In this visually stunning survey, L. James Dempsey, a member of the Blood tribe, plumbs the breadth and depth of warrior representational art. He has mined archival resources and museum collections and interviewed many tribal members to provide a uniquely Native perspective on the importance of warrior art in Blackfoot history and culture. Filled with 160 images of startling beauty and power, Blackfoot War Art tells how pictographs served as a record of both tribal and personal accomplishment. This singular historical record of all available information on Blackfoot warrior pictography depicts painted robes; war tepee covers, liners, and doors; and painted panels. Dempsey provides descriptions and a great deal of other information about the pieces included here. His survey focuses especially on recent paintings that scholars have overlooked. In revealing changing trends in the representation of war, Dempsey skillfully weaves together pictures, people, and histories to convey a fascinating view of this warrior art from a Blood perspective.
Indexed in Clarivate Analytics Book Citation Index (Web of Science Core Collection)
Accompanying a major exhibition, this stunning volume serves as an introduction to North American Indian art and a rare opportunity to see this comprehensive and superb private collection. A glorious testament to the infinite beauty, diversity, and historical significance of Native American culture, Indigenous Beauty presents outstanding examples of art made by tribes across the North American continent. This aesthetically rich and inclusive collection offers a broad view of American Indian art, including sculpture from the Northwest Coast; ancient ivories from the Bering Strait region; Yup'ik and Alutiiq masks from the Western Arctic; Katsina dolls from the Southwest Pueblos; Southwest pottery; sculptural objects from the Eastern Woodlands; Eastern regalia; Plains regalia and pictographic arts; and Western baskets. David Penney's introduction and texts by other renowned experts offer insight into the visual and material diversity of the collection, providing a greater understanding of the social and cultural worlds from which these works came. This magnificent survey is both an invaluable resource and a visual pleasure.
A Hopi Indian will tell you that a kachina is a supernatural being who is impersonated by a man wearing a mask. Small wooden dolls carved in the likenesses of the various kachinas are used to help to teach Hopi children the tribal religion and traditions. Each child receives a doll made especially for him by his male relatives. He treasures the doll and studies it so that he can learn to recognised and respect the host of spirit kachinas that people the Hopi world. Kachinas are difficult to classify because different Hopi pueblos have different ideas about their appearance and their functions. The late Dr Harold Colton identified 266 different kinds of kachina dolls, and in this book he describes the meaning, the making, and the principal features of all of them.
Eddy Hulbert (1898-1960) was an accomplished, self-taught blacksmith and silversmith whose output is highly sought after by today's collector of Western antiquaria. Known for his spurs, bits, belt buckles, and jewelry, his style is distinctive and bold, and his designs unique. Much of Hulbert's work was commissioned by local ranchers and families in the Dryhead, Montana area, where he made his home and left an indelible mark on silverwork from this interesting part of the country. In four chapters, Hulbert's work has been grouped according to the items that he designed, fashioned, and embellished: spurs, bits and bridles, belts and belt buckles, and jewelry. The last chapter introduces the work of two of Hulbert's contemporaries, Ed Klapmeier and C.E. O'Such, of Miles City, Montana. Rare photographs of individuals who were Hulbert's customers add to the local color and flavor of his time. This book is ideal for those interested in silversmithing and/or jewelry making, and for those admirers of America's Great West.
Art is integral to the life ways of the Tlingit, Haida, and Tsimshian. It surrounds us and it holds us up. Our Northwest Coast art is ingrained in the social fabric and oral histories of our clans. It is characterized by formline-a term used to describe the unique artistic style of the indigenous people of the Northwest Coast. Formline is a composition of lines whose widths vary to create form. The overall collection of these compose an image or design. The formline designs may represent stories of Raven (the Trickster), historic events, clan crests, or other concepts. Formline is an art that dates back more than two thousand years (Brown 1998). Two-dimensional formline is depicted on objects such as bentwood boxes, clan hats, and house screens. Though formline is drawn in two dimensions, it transforms to be adapted to three-dimensional pieces, such as masks and totem poles. In this booklet we hope to provide a concise and easy-to-understand guide for interpreting Northwest Coast formline art.
There was a time when I was privileged to build a small sacred fire on a mound in the sacred circle for new moon ceremonies. The fire was an embodiment of the spirit made manifest for the group who came together to replenish their collective and individual spirits. It was my privilege to make pretty fires which danced as they burned. This task of mine was a sacred task and I took it seriously, but what I enjoyed most about the festivities was the joy and humor which infested all who participated. One of the many things I have experienced in my long life is the joy and laughter I have always associated with Native American activities. When Indians are together they laugh together, much more than I have noticed in gatherings of non-Indians, who have other cultural indicators of spirituality. Many Native traditions hold clowns and tricksters as essential to contact with the sacred. People prayed after they had laughed, because laughter tended to open one's mind and free up rigid preconceptions. So human animals had tricksters within the most sacred ceremonies lest they forget how the sacred comes through upset, reversal, surprise. The trickster in most Native traditions is essential to creation, to birth. And the heyokah, the booger, the clown, the neweekwe, the koshari, the contrary, was the sacred bringer of this laughter. The bringing of laughter to the group was often accomplished with a zany dance of pratfalls or patently absurd physical activities. There is a shared understanding of the need for this aspect of sacred dancing being necessary to open the spirits of the people, to prepare them to participate in the spiritual togetherness of the sacred circle. The sacred clowns of the Native Americans were very often overtly sexual in their "clowning"; so much so that in modern American society they would all be pilloried for sexual aggression. One must remember that these clowns were male, female, and bisexual. Their sexually explicit stance was their way of forcing their audience, the other members of their group, into a place of embarrassment which could be relieved only by laughter. Laughter was the weapon of change in an individual's anti-social behavior. Poking fun was the ultimate weapon of shaming. And because it produced laughter all could share in a release of tension caused by the wrongness involved. So when i finally found a thick, stiff nylon string to make string figures with I began to make dancing figures which became for me a series of "sacred clowns" personifying this crucial part of my cultural upbringing. This book is a partial record of my ongoing passion of creating touchstones of laughter, for reaching the spirituality within us all. inoli
The many 19th and 20th century American Indian collectibles showcased in this book especially embrace authentic weapons and weapon cases, horse gear, tools, stone pipes, and ceremonial items. Actual old trade goods, such as Hudson's Bay collectibles, trade beads, trade cloth, and trade blankets, are also featured. Contemporary replicas of traditional Indian art appear, including clothing, ornamented blankets, pouches and bags, parfleches, and more. Extensive text provides valuable information for collectors on identifying old and new artifacts, plus fascinating background on Indian "hobbyists" around the world. The range of items in each category is comprehensive, and detailed descriptions will be useful for both sellers and collectors. The values reflect actual auction estimates and results. The authors' companion volume, The New Four Winds Guide to American Indian Artifacts, has more Indian-made items of both old and new vintage.
"Coast Salish Totem Poles," the media companion to "A Totem Pole
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