Native American Jewelry refers to personal jewelry, whether for personal use, sale or as an art; examples which include necklaces, earrings, bracelets, rings and pins, and knots, wampum, and labret, made by one of the Indigenous communities in the United States. Native American jewelry usually reflects the cultural diversity and history of its makers, but tribal groups often borrow and copy designs and methods from others, neighboring tribes or countries where they trade, and this practice continues to this day. Native Americans continue to develop different aesthetics rooted in their personal artistic vision and cultural traditions. Artists can make jewelry for jewelry, ceremonies, and displays, or for sale or trade. Lois Sherr Dubin writes, "[ti] the absence of written language, jewelry becomes an essential element of Indian communications, conveying much of the information level." Then, personal jewelry and jewelry "... suggests resistance to assimilation, which is still a major statement of tribal and individual identity."
Native American jewelry can be made from natural materials such as various metals, hardwoods, plant fibers, or precious and semi-precious gems; animal materials such as teeth, bones and skin; or man-made materials such as beadwork and quillwork. Metalsmith, beaders, carvers, and lapidaries combine these ingredients to create jewelry. Native American Contemporary jewelry ranges from hand-crafted and processed rocks and shells to computer-made steel and titanium jewelry.
Video Native American jewelry
Origins
Jewelry in America has an ancient history. The earliest example of jewelery in North America is four bone earrings set up at the Mead Site, near Fairbanks, Alaska, which is 12,000 years old. Beginning as far as 8800 BC, Paleo-Indians in Southwest America drill and form colorful stones and shells into beads and pendants. The Olivella shell beads, dating from 6000 BC, are found in Nevada; bones, horns, and possibly sea-shell sequins from 7000 BC found in the Russell Cave in Alabama; traded copper jewelry from Lake Superior beginning in 3000 BC; and stone beads carved into Poverty Point in Louisiana in 1500 BC.
Beads of heishe beads, or shell soil into flat discs, have been found in ancient ruins. Remnants of the shells used to make the beads were also found. Oyster shells, mother pearls, abalone shells, shellfish and shellfish have been an important trading item in the Southwest for over a thousand years.
Original beads continue to advance in the pre-Columbian era. The beads are made of clay and turquoise, coral, and shell filled. Carved wood, animal bones, claws, and teeth are made into beads, which are then sewn into clothing, or strung together into a necklace. Turquoise is one of the dominant ingredients of Southwestern Native American jewelry. Thousands of pieces were found at the Pueblo Ancestral site in Chaco Canyon. Some of the turquoise mines date back to the Precolumbian era, and the Pueblo Ancestral people traded turquoise with Mesoamericans. Some of the turquoise found in southern Arizona are from 200 BC.
Maps Native American jewelry
Great Plains
The Indians are the most famous plains for their beadwork. Beads in the Great Plains date back to at least 8800 BC, when the lignite beads were circular, incised abandoned at the Lindenmeier Site in Colorado. Shells such as marginella and olivella are sold from the Gulf of Mexico and the coast of California to the Plains since 100 CE. Gorgets shell ears, teeth, and abalone are valuable items for jewelry.
Bones provide material for beads as well, especially long cylindrical beads called hair pipes, which are very popular from 1880-1910 and are still very common in today's powwow regalia. It is used on chokers, breastplates, earrings, and necklaces worn by women and men, as well as ceremonial headdresses.
Porceline quillwork is a traditional jewelry for textiles in the northern plains, but quillwork is also used in creating bracelets, earrings, headbands, belts, headdresses, cockroaches, hairclips, and umbilical cord. Glass beads were first introduced to the Plains as early as 1700 and used in decorations in a way similar to quillwork, but they never completely replaced them. Lakota became very adept at the work of glass beads, especially members of the Standing Rock Sioux Tribe in Western Dakotas. Some award-winning quillworkers are active in the art world today, such as Juanita Growing Thunder Fogarty (Assiniboine-Sioux).
Metal jewelry came to the Plains through Spanish and Mexican metal craftsmen and traded with tribes from other regions. Southern Plains Native Americans adopted metal work in the 1820s. They usually cut, stamp, and polish cold German silver, a nickel alloy. Plain men adopt pectorals and metal armbands. In the late nineteenth and early twentieth centuries, members of the Native American Church expressed their membership to others through pins with peyote button symbols, water birds, and other religious symbols. Bruce Caesar (Sac and Fox-Pawnee) is one of the most active Southern Plains metalsmiths active today and was awarded the NEA National Heritage Fellowship in 1998. US Senator Ben Nighthorse Campbell (Northern Cheyenne) is a master silver craftsman.
Northeastern Woodlands
Before European contact and at least 1500 years ago indigenous peoples from Northeastern Woodlands produced disc-shaped and discoid shell beads, as well as small hollow shells. The earliest beads are larger when compared to the next beads and beads of wampum, with hand-drilled holes. The use of a more streamlined iron drill increases drilling a lot.
"Wampum" is the word Wampanoag which refers to the white shell of a distributed leather shell. This term now refers to both and purple beads of quahog clamshells. The Wampum workshop is located between the Narragansett tribe, the Algonquian people located along the southern coast of New England. Narragansett manic beads are buried with wampum supplies and tools for completing ongoing work in the afterlife. Wampum is highly sought after as a merchandise throughout the Eastern Woodlands, including the Great Lakes region.
Narragansett liked a tear-shaped turtle pendant, and a claw purple made from purple shells worn by Iroquois in the Hudson Valley, around the Connecticut River. The Seneca and Munsee create a shell pendant with drilled columns, decorated with a circular shell called runtee . The skin of the shell is carved into birds, turtles, fish, and other shaped pendants, and ear coils.
Carved stone pendants in Northeastern Woodlands date back as far as the Hopewell tradition from 1--400 CE. Bird motifs are common, ranging from bird head raptors to ducks. Carved shells and incised animal teeth, especially bear teeth, have been popular for pendants. Historically, pearls were inserted into necklaces and bear teeth had been coated with pearls. Seneca and other Iroquois carved a small pendant with a human face, believed to be a protective amulet, of bone, wood, and stone, including catlinite.
Artist Iroquois has carved an ornamental hair comb from the horns, often from deer, since 2000 BC. Comb it with an anthropomorphic or zoomorphic image. This became more complicated after the introduction of metal knives from Europe in the late 16th and 17th centuries.
In the Northeast Woodlands and Great Lakes area, rectangular gorgets have been carved out of slate and other stones, dating from the late period of ancient times.
Copper worked in pre-contract period, but Europeans introduced silver to the northeast in the mid-seventeenth century. Today some Iroquois silver craftsmen are active. German silver is more popular among Great Lakes silversmiths.
Northwest Coast
In the past, walrus ivory was an important material for engraving bracelets and other items. In the 1820s, the main argillite quarry was discovered in Haida Gwaii, and this stone proved more easily carved than ivory or bone and was adopted as a carving material. Venetian glass bead beads were introduced in large quantities by Russian merchants in the late 18th century, as part of the feather trade. Red and yellow are the most popular colors, followed by blue. The Chinese historical coins with wetted parts are strung together as beads.
Copper, originally traded from tribes near the Coppermine River in the interior, was worked into jewelry even before European contact. Later, silver and gold became a popular material for jewelry. The bracelet in particular is hammered and then carved with a heraldic or mythic design, and is given in potlatches. Northwest Coast jewelers are increasingly using repoussÃÆ'Â teknik techniques in metalworking. Charles Edenshaw (Haida, 1839-1920) and Bill Reid (Haida, 1920-1998) were highly influential jewelers on the Northwest Coast.
Dentalium shells have become traditional beads, used in necklaces, earrings, and other jewelry. The Kwakwaka'wakw and Nuu-chah-nulth people are used to harvest shells from waters off Vancouver Island, but the stock is depleted and today most of the teeth are harvested from Southeast Asia. Abalone shell provides beads and jewelry. High-ranking women traditionally wear large abalone earrings.
Today weavers Haida and Tlingit baskets often make a miniature red cedar ( Thuja plicata ), yellow cedar, and pine basket root to be worn as a pendant or earrings.
Southeast Forest
In Southeast Mississippi culture, which dates from 800 BC to 1500 CE, clay, stone, and pearl beads are worn. Gorgets Shell is encrusted with thick shadows from the Southeast Ceremonial Complex. It's still carved today by several sellers of Muscogee Creek, Chickasaw, and Cherokee. The long-nosed deity mascot made of bones, copper, and sea shells. It is a small face shaped with a square forehead, circular eyes, and a large nose with varying lengths. They are often displayed on the SECC representation of the falcon impersonator as an ear ornament. Before Europeans brought glass beads to the southeast in the 16th century, the pearls and tears of Job were a popular material for necklaces. Ear spools of stone, or sometimes wood coated with copper paper, are very popular, and are commonly found in Spiro Mounds from 1100-1400 CE.
European contacts introduce glass beads and silver technology. The bracelet of silver and brass sleeves and gorget became popular among Southeastern men in the 18th and 19th centuries. Sequoyah was a craftsman of 18-19th century Cherokee silver. Until the 19th century, Choctaw men wore a horse collar while playing stickball. Choctaw female dance regalia combines silver comb and silver bead collars. Caddo ladies wear an hourglass-shaped ornament, called dush-toh when dancing.
Southwest
The Heishe necklace has been made by some southwestern tribes since ancient times. The word "heishe" comes from the word Santo Domingo for "shell." One heishe is a shell, turquoise, or coral, which is cut very thin. The shells used for the heishe include mother-of-pearl, spiny oyster, abalone, coral, conch and clam. Tiny, thin sheishe strung by Santo Domingo to create necklaces, which are important trade goods.
Silversmith dominates jewelry production centered in the Four Corners region of Southwest America. In the early 1800s, Spain and, later, Mexico, silver buttons, bridles, etc. Available in what is now Arizona, Colorado, New Mexico and, Utah through acquisitions and trades. Artist Navajo (DinÃÆ'Â ©) began using silver in 1850 after studying the art of the Mexican blacksmith. Zuni, who admired the silver jewelry made by Navajo a blacksmith, traded cattle for teaching in silver work. In 1890, Zuni the blacksmith had instructed Hopi as well.
The centuries-old art, preserved by clan and family traditions, remains an important element of design. Stone in the mosaic stone inlay, channel inlay, cluster work, petite point, needle point, and natural cut or tidy and polished old cabochons from shells, corals, semi-precious and precious gems generally adorn works of art with blue or green turquoise to be the most material common and recognizable used.
Apache
Both Apache men and women have traditionally been wearing various jewelry, including earrings and bracelets with shell and turquoise beads. Many bracelets and other jewelry are made of silver with turquoise inis, and the rings have been made of brass or silver. Apache women historically wear a number of necklaces simultaneously, ranging from chokers to round beads of abalone and other shells, turquoise, jet, stone, glass beads, and certain grains, such as mountain laurel seeds, and even roots plant. Necklaces often feature abalone shell pendants. When trade beads became available from Europe and Europe-America, Apache women began wearing several layers of glass beaded necklaces. Mirrors obtained from merchants are also worn as pendants, or woven into vests and other clothing items.
Apache jewelry uses almost any color, but tends toward a combination of traditional favorite colors, including black and white, red and yellow, or pale blue and dark blue. The beadwork of Plains tribe influenced the eastern Apache tribe. Even today, young Apache girls wear necklaces with sticks and drinking tubes during their puberty ceremony.
Apache San Carlos jewelry is known for the use of peridot, green gemstones, silver bolo ties, necklaces, earrings, and other jewelry.
Hopi
Sikyatata became the first Hopi silver craftsman in 1898. The Indian silver merchant Hopi is currently known for his coating technique used in the design of silver jewelry. The silver scarcity made the main jewelry components used by Hopi into shells and stones until the 1930s and 1940s, and very few Hopi knew how silver works.
In 1946, Willard Beatty, director of Indian Education for the US Department of the Interior, saw the Hopi art exhibit and was inspired to develop a silver program for Hopi World War II veterans. The veterans learned to cut, grind and polish, as well as die mold and sand casting from the stylish Hopi design. The students then taught the silver tribesmen, whom they used to create traditional designs of decorative patterns of pottery and old baskets.
The Museum of Northern Arizona encouraged early silversmiths to develop their own style, distinct from neighboring tribes. Victor Coochwytewa is one of the most innovative pieces of jewelry - a man who is often credited with adapting coating techniques on Hopi jewelry, along with Paul Saufkie and Fred Kabotie. The Hopi Silvercraft Cooperative Guild was organized by these early students. Saufkie's son, Lawrence, continues to make silver overlay jewelry for over 60 years.
Overlay involves two layers of silver sheets. One sheet has a design engraved into it, and then soldered onto a second sheet with a cut out design. The background is made darker through oxidation, and the polished top layer where the bottom silver layer is allowed to oxidize. The top of the unoxidized top layer is made into a cut design, allowing the dark underlay to be displayed. This technique is still used today in silver jewelry.
Jeweler Hopi, Charles Loloma (1921-1991) transformed American native jewelry in the mid-20th century by winning great accolades with his work incorporating new materials and techniques. Loloma was the first to use gold and coated several stones in a piece of jewelry, which completely changed the look of Hopi jewelry.
The Navajo, or DinÃÆ'Â ©, began silver work in the 19th century. Atsidi Sani, or "Old Smith" (c 1828-1918), who was probably the first Navajo blacksmith and credited as the first silver Navajo silver, learned to work silver from a Mexican blacksmith in early 1853. Navajo metalsmiths make buckles, bridles, buttons, canteens, hollow beads, earrings, crescent-shaped pendants (called "najas"), bracelets, crosses, powder fillers, tobacco cafes, and disks, known as "conchas" or conchos "- usually used to decorate belts - made of copper, steel, iron, and most commonly, silver.
Early Navajo blacksmith rockers-engraved, stamped, and designs were filed into plain silver, melted from coins, cutlery, and ingots obtained from European-American merchants. Then, the silver and wire sheets obtained from the American settlers were also made into jewelry. The blows and stamps used by Mexican leather workers became the first tool used to make this decor. But then, the train spurred, the file was broken, pieces of iron and, then, the piston rod into handmade stamps in the hands of these skilled craftsmen. However, as commercially made stamps become available, through contact with the larger American economy, they are also utilized. Several other traditional hand tools are used, which are relatively easy to make.
The bellows consist of a leather pouch about one foot long, opened with a wooden circle. It comes with a valve and nozzle. A forge, crucibles, grounding, and tongs are used during the melting process. Mat prints, matrix and die, chisel, scissors, pliers, files, awls, and emery paper also come into play. Solder settings, consisting of blobs and torches made of wet cloth used with borax, manipulated by a blacksmith. Silverworkers use grinding stones, sandstone dust, and ash to polish jewelry, and salts called almogens are used for whitening. Navajo Jewelry started silver sand casting around 1875; the silver is melted and then poured into the mold, which will be carved out of sandstone. When cooled and adjusted, the snippet usually requires additional archiving and smoothing. Cast jewelry is also sometimes carved. Sterling silver jewelry is soldered, and surrounded by rolls, beads, and leaf patterns.
Turquoise is closely related to Navajo jewelry, but only in 1880 the first turquoise was known to be silver in color. Turquoise becomes more readily available in the next few decades. Coral and other semi-precious stones began to be used publicly around the year 1900.
One of the most important forms of Navajo and Southwestern Native American jewelry is the Squash Blossom Necklace. Most are made of strands of round spherical silver beads, interspersed with more stylish "squash flowers", and have pendants, or "naja", depending on the center of the strand. The pumpkin flower beads were copied from the knob that united the pants worn by the Spanish, and then, the Mexican caballeros. These buttons represent - and are modeled after - pomegranate. Their identification as a "squash flower", which is very similar to them, is an understandable error, and is often repeated. The naja, which resembles an inverted horseshoe, complements the design. Their origin can be found continents, and a few hundred years away, as a traditional part of Spanish haltersters horses.
In 1903, anthropologist Uriah Hollister wrote of the Navajo; he said, "Belts and silver necklaces are their pride... They are very skilled and patient in hammering and forming a pretty good teaspoon often made of silver dollars without melting and casting."
Kewa Pueblo
Kewa Pueblo, formerly known as Santo Domingo, is located in the Rio Grande and is specifically known for its troubling necklaces, as well as a necklace style consisting of a tear-shaped "tab" that hangs on a heishe shell or turquoise beads. Tabs are made from an inset bone with a design in a traditional mosaic style, using turquoise, jet and shell bits. These beautiful and colorful necklaces are also sometimes misidentified as "Jewelry of Depression", but their origin must precede the Great Depression, and they are still made today in large numbers by the Kewa artist.
Gail Bird is a contemporary Kew jewelry, known for its collaboration with Navajo Jazzie Johnson jewelry and their concha themed belt.
Zuni
Date of jewelry making Zuni returns to prehistoric Pueblo. Early Zuni lapidaries used stone and tool horns, wood drill with flake rock, or boron spinal cactus, as well as abrading tools made of wood and stone, sand to smooth, and fiber ropes for stringing.
With the exception of silver jewelry, which was introduced to Zuni Pueblo in the 19th century, most of the materials commonly employed by Zuni's jewelry makers in the 20th century were always used in the Zuni region. These include turquoise, jet, argillite, steatite, red shale, freshwater shellfish, abalone, and spiky oyster.
From pre-contact, Zuni carved rocks and amulets, which they traded with other tribes and even non-Natives. Fetish carved from turquoise, amber, shell, or onyx. Currently, the Zuni bird fetish is often arranged with a heishe bead on a multi-strand necklace.
Lanyade became the first Zuni silver craftsman in 1872. Kineshde, a Zuni blacksmith in the late 1890s, is credited for first incorporating silver and turquoise in his jewelry. Zuni jewelry was immediately known for their group work.
Following the Sitgreaves Expedition in 1854, Captain Lorenzo Sitgreaves illustrated a Zuni workshop, which is still in use until the end of the 20th century. The fence is made of adobe, with handmade bellows from animal skins. Silver is cast in sandstone molds, and finished with tooling - as opposed to carving. Thin sheets of silver are cut with scissors and scissors.
The formation of the railroad, with its accompanying tourist trade and the appearance of a trading post, was heavily influenced by Zuni and the techniques and materials of jewelery of other Western tribes. At the beginning of the 20th century, C.G. Wallace influenced Zuni's silver direction and short work to attract non-native audiences. Wallace is aided by the proliferation of cars and interstate highways like Route 66 and I-40, and tourism promotion in Gallup and Zuni. Wallace hires Zuni local people as scribes, jewelers, and miners. He provides equipment, equipment, and silver equipment to the jewelry sellers with whom he does business. Wallace influenced Zuni's art by encouraging the use of special materials sold in his post - like corals - and making others reluctant like turtle shells.
Wallace gave Zuni a large turquoise piece, giving them a chance to engrave the figure in the round. Wallace also encourages increased production and improvement of small stone techniques such as embroideries and petit points in the hope that this style will thwart the production of machine-made jewelry. He also urged traders to experiment with silver construction to meet their customers' preferences for light jewelry.
See also
Note
References
- Adair, John. The Navajo and Pueblo Silversmiths . University of Oklahoma Press, 1989. ISBNÃ, 0-8061-2215-3.
- Baxter, Paula A. & amp; Bird-Romero, Allison. Native American Jewelry Encyclopedia: A Guide to History, People and Terms. Phoenix: Oryx Press, 2000. ISBNÃ, 1-57356-128-2.
- Branson, Oscar T. Manufacture of Indian Jewelry. Tucson, AZ: Treasure Chest Publication, 1977. ISBNÃ, 0-442-21418-9.
- Dubin, Lois Sherr. Jewelry and Jewelry of North Indian States: From Prehistoric to Current . New York: Harry N. Abrams, 1999: 170-171. ISBNÃ, 0-8109-3689-5.
- Haley, James L. Apaches: historical and cultural portraits. Norman: University of Oklahoma Press, 1997. ISBNÃ, 978-0-8061-2978-5.
- Karasik, Carol. Turquoise Trail: Jewelry and Native American Culture. New York: Abrams, 1993. ISBNÃ, 0-8109-3869-3.
- Shearar, Cheryl. Understanding the Northwest Coast Art. Vancouver: Douglas & amp; McIntyre, 2000. ISBNÃ, 0-295-97973-9.
- Turnbaugh, William A. & amp; Turnbaugh, Sarah Peabody. Jewelrey India from Southwest America. West CHester, PA: Schiffer Publications, Ltd., 1988. ISBNÃ, 0-88740-148-1.
- Wright, Margaret Nickelson. Hopi Silver: History and Excellence of Hopi Silversmithing. Flagstaff, AZ: Northland Press, 1972.
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