Native American Indian Art

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Click Image for Details Sterling Silver and Turquoise Men's Ring Native American Sterling Silver and Gemstone Belt Buckle & Bolor Tie Set Native American Sterling Silver and Gemstone Bolo Tie Native American Sterling Silver Kachina Bolo Tie Sterling Silver and Gemstone Ring (Sizes 4 to 7) Sterling Silver and Gemstone Ring (Sizes 7 1/2 to 11) Sterling Silver and Turquoise Cuff Bracelet Sterling Silver Ring with Turquoise and Coral Cabochons Sterling Silver Men's Ring with Turquoise and Coral Cabochons Acoma Handcrafted Pueblo Indian Pottery Sterling Silver Men's Ring with Turquoise and Coral Cabochons Sterling Silver and Turquoise Men's Ring Sterling Silver and Black Onyx Ring Sterling Silver and Turquoise Men's Ring Authentic Hopi Indian Priest Killer Kachina Doll Indian Artifact Craftsman Cast Iron Throwing Axe Blade Sterling Silver Men's Ring with Turquoise and Coral Cabochons Native American Old Pawn Sterling Silver and Turquoise Bolo Tie Blackhawk Beaded Tomahawk Indian Artifact Four Corners Medicine Wheel Dream Catcher Native American Sterling Silver and Turquoise Nugget Brooch Pueblo Indian Hand Coiled Pottery Native American Sterling Silver and Gemstone Bolo Tie Lakota Sioux Tomahawk Native Craft Indian Artifact Native American Denim Lapis Sterling Silver Post Earrings Native American Turquoise & Coral Sterling Silver Belt Buckle Authenitic Hopi Coiled Indian Pottery (6 1/4" x 6 1/2") Sterling Silver Ring with Faux Bear Claw, Turquoise and Coral Cabochons (Sizes 10 to 13) Sterling Silver Ring with Faux Bear Claw, Turquoise and Coral Cabochons (Sizes 13 to 16) Native American Black Onyx Sterling Silver Necklace Native American Sterling Silver and Turquoise Butterfly Brooch Authentic Hopi Indian Butterfly Maiden Kachina Doll

Ritual Native American Indian Art In History

Native American Indian Art

Many tribal crafts were intended for use in daily life as well as in ceremonies and rituals. Some items were made as garments or to store food. The ceremonies and rituals served various functions, including healing and maintaining success in hunting and farming, and they expressed beliefs about the relationship of The People with the universe and the world around them. These beliefs gave shape and meaning to their crafts. Masks worn in healing ceremonies, for example, helped specialists in those rituals communicate with the spirit world. Carved wooden totem poles of the Pacific Northwest recorded family histories, and they were presented and displayed at elaborate ceremonies that helped the family preserve its history and status within the community. To serve its purpose effectively, these works were expected to be skillfully crafted and beautiful to its viewers.

A form for which Navajo healers have become widely known for is sand painting, an elaborate kind of dry painting made for ritual purposes. At the ritual the healer sings about the legendary Holy People (Navajo creator gods and cultural heroes). Some of the songs or chants take years to memorize. The healer then makes images from dry materials, such as sand, crushed stone, and plant pollen, according to strict design formulas. The patient sits upon the painting itself to be restored to a state of harmony and health. Finally, the healer destroys the dry painting he has assembled with great effort, to allow the materials to return to the earth. Today, some Navajo crafts people weave rugs that resemble sand paintings or glue sand in place on boards to create the same effect. These works are sold in shops and galleries and are not considered to have the powerful effect of those created by ritual healers.

The Navajo also work in silver, using methods developed from those first taught to Navajos by a Mexican blacksmith around 1850. Early works in silver include belt buckles and horse gear such as bridles. Today, Navajo people wear intricate silver jewelry including pieces set with turquoise and other stones. They also sell this jewelry to outsiders. Zuni jewelers are known for complex mosaic inlays of colored stones set in complex patterns in their silverwork.

Early Navajo smiths used Mexican and U.S. coins to create jewelry. Often, if they were given a special order from a trader, local rancher, or businessman, they would receive the metal in the form of candlesticks, tea pots, etc. to melt for their work. The Navajo preferred to use melted Mexican silver coins because they were easiest to work (.90275 fine). The next preferable source was whatever sterling silver was available (.9025 fine). Least desirable, but most available and durable, was silver from melted U.S. coins (.900 fine). In 1890, the U.S. made it unlawful to melt or deface (by soldering on hooks, eyes, jump rings or by “doming”) coins for beads. However, this was difficult to enforce, and U.S. coinage continued to be used in the developing Navajo silver industry. Now that there was a demand for materials and tools, the reservation traders began to stock many of the needed items. Although the Navajo were able to make flux from indigenous materials, the commercial flux was superior. Likewise, commercial cutting, grinding, and fine polishing tools were more desirable than homemade ones. This was the beginning of a new economy involving the different tribes, traders, and eastern suppliers.

Navajo women are known for their woven textiles made from sheep’s wool, especially blankets for wearing and rugs. Some of these textiles are striped. Others, called chief’s blankets, are patterned with a combination of stripes, crosses, and diamond shapes. During some periods chemical imports replaced natural dyes, with weavers using yarns manufactured by machine. The bright and lively patterns that resulted are called eye dazzlers. At other times weavers have responded to demands of purchasers and made textiles with natural materials in softer colors that buyers considered more authentic.

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