Native American jewelry
Native American jewelry refers to items of personal adornment, whether for personal use, sale or as art; examples of which include
Native American jewelry can be made from naturally occurring materials such as various metals, hardwoods, vegetal fibers, or precious and semi-precious
Origins
Jewelry in the Americas has an ancient history. The earliest known examples of North American jewelry are four bone earrings found at the
Necklaces of
shells have been important trade items in the Southwest for over a thousand years.Native beadwork continued to advance in the
Great Plains
Plains Indians are most well known for their beadwork. Beads on the Great Plains date back to at least to 8800 BCE, when a circular, incised lignite bead was left at the Lindenmeier site in Colorado.[10] Shells such as marginella and olivella shells were traded from the Gulf of Mexico and the coasts of California into the Plains since 100 CE.[10] Mussel shell gorgets, dentalia, and abalone were prized trade items for jewelry.[11]
Bones provided material for beads as well, especially long, cylindrical beads called hair pipes, which were extremely popular from 1880 to 1910 and are still are very common in powwow regalia today. These are used in chokers, breastplates, earrings, and necklaces worn by women and men, and in ceremonial headdresses as well.[12]
Porcupine
Metal jewelry came to the Plains through Spanish and Mexican metalsmiths and trade with tribes from other regions. Southern Plains Native Americans adopted metalsmithing in the 1820s. They typically cut, stamped, and cold hammered
Northeastern Woodlands
Before European contact and at least 1500 years ago indigenous peoples of the Northeastern Woodlands produced barrel-shaped and discoidal shell beads, as well as perforated small whole shells. The earliest beads are larger when compared to later beads and those of wampum, with hand drilled holes. The use of the more slender iron drills much improved drilling.
"Wampum" is a
Narragansett favored teardrop-shaped shell pendants, and the claw pendants made of purple shell were worn by Iroquois in the
Carved stone pendants in the Northeastern Woodlands date back as far as the Hopewell tradition from 1—400 CE. Bird motifs were common, ranging from the stylized heads of raptors to ducks.[21] Carved shells and incised animal teeth, especially bear teeth, have been popular for pendants. Historically, pearls are incorporated into necklace and bear teeth have been inlaid with pearls.[22] Seneca and other Iroquois carved small pendants with human faces, which were believed to be protective amulets, from bone, wood, and stone, including catlinite.[23]
Iroquois artists have carved ornamental hair combs from antlers, often from moose, since 2000 BCE. The combs are topped with anthropomorphic or zoomorphic imagery. These became more elaborate after the introduction of metal knives from Europe in the late 16th and 17th centuries.[24]
In the Northeast Woodlands and Great Lakes regions, rectangular
Copper was worked in precontact times, but Europeans introduced silversmithing to the northeast in the mid-17th century. Today several Iroquois silversmiths are active. German silver is more popular among Great Lakes silversmiths.[26]
Northwest Coast
In the past, walrus ivory was an important material for carving bracelets and other items. In the 1820s, a major argillite quarry was discovered on Haida Gwaii, and this stone proved easier to carve than ivory or bone and was adopted as a carving material.[27] Venetian glass seed beads were introduced in great numbers by Russian traders in the late 18th century, as part of the fur trade. Red and amber were the most popular colors, followed by blue. Historical Chinese coins with defenestrated section were strung as beads.[28]
Copper, initially traded from tribes near the
, 1920–1998) were highly influential Northwest Coast jewelers.Today Haida and Tlingit basket weavers often create miniature
Southeastern Woodlands
In the
European contact introduced glass beads and silversmithing technology. Silver and brass armbands and gorgets became popular among Southeastern men in the 18th and 19th centuries. Sequoyah was an 18th/19th-century Cherokee silversmith. Until the 19th century, Choctaw men wore horsehair collars when playing stickball. Choctaw women's dance regalia incorporates ornamental silver combs and openwork beaded collars.[35] Caddo women wear hourglass-shaped hair ornaments, called dush-tohs when dancing.[36]
Southwest
Silversmiths dominate the production of jewelry centered in the Four Corners region of the American Southwest. Early in the 1800s, Spanish and, later, Mexican, silver buttons, bridles, etc. became available in what is now Arizona, Colorado, New Mexico and, Utah through acquisition and trade. Navajo (Diné) artists began working silver in the 1850s after learning the art from Mexican smiths. The Zuni, who admired the silver jewelry made by Navajo smiths, traded livestock for instruction in working silver. By 1890, Zuni smiths had instructed the Hopi as well.[39]
The centuries-old art of lapidary, preserved by clan and family tradition, remains an important element of design. Stone on stone mosaic inlay, channel inlay, cluster work, petite point, needle point, and natural cut or smoothed and polished cabochons fashioned from shells, coral, semi-precious and precious gems commonly decorate these works of art with blue or green turquoise being the most common and recognizable material used.
Apache
Both
Apache jewelers use virtually any color, but do tend toward traditional favorite color combinations, including black and white, red and yellow, or pale blue and dark blue.
Hopi
Sikyatata became the first Hopi silversmith in 1898.
In 1946, Willard Beatty, director of the Indian Education for the
The Museum of Northern Arizona encouraged the early silversmiths to develop their own style, distinct from neighboring tribes. Victor Coochwytewa was one of the most innovative jewelers - one who is often credited with adapting the overlay technique to Hopi jewelry, along with Paul Saufkie and Fred Kabotie. The Hopi Silvercraft Cooperative Guild was organized by these early students.[45] Saufkie's son Lawrence continued making silver overlay jewelry for more than 60 years.
Overlay involves two layers of silver sheets. One sheet has the design etched into it, and then is soldered onto the second sheet with cut out designs. The background is made darker through oxidation, and the top layer is polished where the bottom layer of silver is allowed to oxidize. The top un-oxidized top layer is made into a cutout design, which allows the dark bottom layer to show through. This technique is still in use today in silver jewelry.
Hopi jeweler Charles Loloma (1921–1991) transformed mid-20th-century Native American jewelry by winning major awards with his work that incorporated new materials and techniques. Loloma was the first to use gold and to inlay multiple stones within a piece of jewelry, which completely changed the look of Hopi jewelry.[46]
The
Early Navajo smiths rocker-engraved, stamped, and filed designs into plain silver, melted from coins, flatware, and ingots obtained from European-American traders. Later, sheet silver and wire acquired from American settlers were also made into jewelry. The punches and stamps used by Mexican leather workers became the first tools used to create these decorations. Still later, railroad spurs, broken files, iron scraps and, later, piston rods became handmade stamps in the hands of these skilled artisans.[50] As commercially-made stamps became available however, through contact with the larger American economy, they were also utilized. Several other traditional hand tools are employed, being relatively simple to construct.
The
Turquoise is closely associated with Navajo jewelry, but it was not until 1880 that the first turquoise was known to be set in silver. Turquoise became much more readily available in ensuing decades. Coral and other semi-precious stones came into common use around 1900.
One of the most important forms of Navajo and Southwestern Native American jewelry, is the Squash Blossom Necklace. Most are made of a string of plain round silver beads, interspersed with more stylized "squash blossoms", and feature a pendant, or "naja", hung from the center of the strand. The squash blossom beads are copied from the buttons which held together the pants worn by the Spanish, and later, Mexican caballeros. These buttons represent - and are modeled after - pomegranates.[51][52][53] Their identification as "squash blossoms", which they closely resemble, is an understandable, and often repeated, error.[54] The naja, which resembles an upside-down horseshoe, completes the design. Their origin can be found a continent, and several hundred years away, as a traditional part of Spanish horse halters.[55][56][57]
In 1903, anthropologist Uriah Hollister wrote about the Navajo; he said, "Belts and necklaces of silver are their pride... They are so skillful and patient in hammering and shaping that a fairly good-shaped teaspoon is often made of a silver dollar without melting and casting."[58]
-
Navajo bracelets with turquoise
-
Navajo Squash Blossom Necklace
-
silver overlay bolo tie, by Tommy Singer, c. 1980s. This is an example of a Navajo copy of Hopi silver overlay technique, evident from the absence of matting on the black oxidized surfaces of the bottom silver sheet, or small, repeated, closely packed chisel strokes, very taxing on the silversmith, especially the eyes.[59]
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Silver Navajo belt buckle,Woolaroc
Kewa Pueblo
Zuni
Zuni jewelry-making dates back to Ancestral Pueblo prehistory. Early Zuni lapidaries used stone and antler tools, wooden drills with flake stone, or cactus spine drillbits, as well as abrading tools made of wood and stone, sand for smoothing, and fiber cords for stringing.[61]
With the exception of silver jewelry, which was introduced to
Since pre-contact times, Zuni carve stone and shell
Lanyade became the first Zuni silversmith in 1872.[44] Kineshde, a Zuni smith of the late 1890s, is credited for first combining silver and turquoise in his jewelry.[64] Zuni jewelers soon became known for their clusterwork.
Following the Sitgreaves Expedition in 1854, Captain Lorenzo Sitgreaves illustrated a Zuni forge, which was still in use as late as the early part of the 20th century. The forge was made from adobe, with bellows handmade from animal skins. Silver was cast in sandstone molds, and finished by tooling - as opposed to engraving. Thin sheets of silver were cut with scissors and shears.[65]
The establishment of the railroad, with the accompanying tourist trade and the advent of
Wallace provided large chunks of turquoise to Zuni artists, giving them the opportunity to carve figures in the round. Wallace also encouraged the increased production and improvement of small-stone techniques like
See also
- Native American art
- Native American beadwork
- List of indigenous artists of the Americas
- Bracer
Notes
- ^ Roberts, Kathaleen. "Birch Bark Biting, One of the Rarest of Native American Art Forms, Will Be Featured at Showcase." Albuquerque Journal. 19 Nov 2007. Retrieved 22 Dec 2011.
- ISBN 0-8109-3689-5.
- ^ Mann, Charlotte (September 19, 2014). "TAIL-SHAPED BONE EARRINGS CARVED BY ANCIENT ANCESTORS ARE THE OLDEST EVER FOUND IN NORTH AMERICA". Mann's Jewelers. Retrieved 18 July 2015.
- ^ Dubin 466
- ^ Dubin 29
- ^ a b Adair
- ^ Morgan, William Henry. League of the Ho-D-No-Sau-Nee or Iroquois. Volume 2. 1851
- ^ Anderson, Lee. (n.d.). "The History of American Indian Jewelry."
- ^ Margery Bedinger, Indian Silver, Navajo and Pueblo Jewelers, University of New Mexico Press, 1973. M.G. Brown, Blue Gold, The Turquoise Story, Main Street Press, Anaheim, CA, 1975.
- ^ a b Dubin 239
- ^ Dubin 241
- ^ Ewers, John C. "The Substitution of the Bone Hair Pipe." Hair Pipes in Plains Indian Adornment: A Study in Indian and White Ingenuity. (retrieved 6 Aug 2011)
- ^ Indyke, Dottie. Juanita Growing Thunder-Fogarty. Southwest Art. (retrieved 6 Aug 2011)
- ^ Dubin 284
- ^ Dubin 285
- ^ Dubin 291
- ^ "Lifetime Honors: Bruce Caesar." Archived 2012-09-24 at the Wayback Machine National Endowment for the Arts. (retrieved 6 Aug 2011)
- ^ Strogoff, Jody Hope and Ernest Luning. "InnerView with Ben Nighthorse Campbell." Colorado Statesman. 25 March 2011 (retrieved 6 Aug 2011)
- ^ Dubin 170-171
- ^ Dubin 169, 174
- ^ Dubin 157
- ^ Dubin 158
- ^ Dubin 168
- ^ Dubin 166-7
- ^ Bostrom, Peter A. "Two Hole Gorgets." 31 May 2007 (retrieved 4 August 2011)
- ^ Dubin 185
- ^ Shearar 16
- ^ Shearar 19
- ^ Shearar 30
- ^ Shearar 24
- ^ Shearar 37
- ^ Shearar 15
- ^ "Native American:Prehistoric:Mississippian". Illinois State Museum. Retrieved 2010-07-30.
- ^ "Stone Ear Spools." Oklahoma Archaeological Survey. (retrieved 23 April 2010)
- ^ Dubin 213
- ^ Dubin 217
- ^ Dubin 538
- ^ "Totems to Turquoise: Santo Domingo." American Natural History Museum. (retrieved 12 July 2011)
- ^ Hewett, Edgar. Native Peoples of the American Southwest. 1968
- ^ a b c Haley 104
- ^ a b "Tribal History: Jewelry." Fort Still Apache: Chiricahua-Warm Springs Apache. (retrieved 12 July 2011)
- ^ Dubin 512
- ^ "White Mountain Apache Indian Reservation." Arizona Handbook. (retrieved 4 August 2011)
- ^ a b c Dubin 483
- ^ "Hopi Silverwork & Jewelry." Northern Arizona Native American Cultural Trail. (retrieved 4 August 2011)
- ^ Dubin 534–5
- ^ "Fritz Casuse: Biography." Towa Artists. Retrieved 22 Dec 2011
- ^ Schaaf, Gregory and Angie Yan Schaff. American Indian Jewelry I: 1,200 Artist Biographies. Center for Indigenous Arts and Cultural Press, 2003. Page 278.
- ^ Adair 6
- ^ a b Dubin 484
- ^ Adair 44
- ^ Bedinger 82-85
- ^ Dubin 503
- ^ "Squash Blossom Necklace." Fernbank Museum of Natural History. (retrieved 7 Aug 2011)
- ^ Adair 41-43
- ^ Bedinger 73-77
- ^ Dubin 502-503
- ^ Hollister, Uriah. "Full Text of The Navajo and His Blanket." Internet Archive. (retrieved 18 April 2010)
- ^ Tommy Singer. Retrieved 22 Dec 2011.
- ^ "Many Beautiful Colors: Jewelry by Native American Artists." Archived 2011-06-29 at the Wayback Machine Wheelwright Museum of the American Indian. (retrieved 23 April 2010)
- ^ Slaney, Deborah C. "The Evolution of Zuni Jewelry." Southwest Art. 1 August 1998 (retrieved 4 August 2011)
- ^ a b c d Cirillo, Dexter. "Southwestern Indian Jewelry". Abbeville Press, 1992.
- ^ Dubin 510-511
- ^ "History of Native American Turquoise Jewelry in the USA."] 9 September 2007 (retrieved 4 August 2011)
- ^ Smith, Harlan I. "Primitive Work in Metal." The Southern Workman. Hampton Institute. Vol. 40, Issue 12, 1911. Page 217.
References
- Adair, John. The Navajo and Pueblo Silversmiths. University of Oklahoma Press, 1989. ISBN 0-8061-2215-3.
- Baxter, Paula A., & Bird-Romero, Allison. Encyclopedia of Native American Jewelry: A Guide to History, People, and Terms. Phoenix: Oryx Press, 2000. ISBN 1-57356-128-2.
- Branson, Oscar T. Indian Jewelry Making. Tucson, AZ: Treasure Chest Publications, 1977. ISBN 0-442-21418-9.
- Dubin, Lois Sherr. North American Indian Jewelry and Adornment: From Prehistory to the Present. New York: Harry N. Abrams, 1999: 170-171. ISBN 0-8109-3689-5.
- Haley, James L. Apaches: a history and culture portrait. Norman: University of Oklahoma Press, 1997. ISBN 978-0-8061-2978-5.
- Karasik, Carol. The Turquoise Trail: Native American Jewelry and Culture of the Southwest. New York: Abrams, 1993. ISBN 0-8109-3869-3.
- Shearar, Cheryl. Understanding Northwest Coast Art. Vancouver: Douglas & McIntyre, 2000. ISBN 0-295-97973-9.
- Turnbaugh, William A., & Turnbaugh, Sarah Peabody. Indian Jewelrey of the American Southwest. West CHester, PA: Schiffer Publications, Ltd., 1988. ISBN 0-88740-148-1.
- Wright, Margaret Nickelson. Hopi Silver: The History and Hallmarks of Hopi Silversmithing. Flagstaff, AZ: Northland Press, 1972.