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38 Cards in this Set
- Front
- Back
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Kiowa medicine tipi liner painting.
Plains were used for ceremonies, storage of sacred objects underwater horned serpent design on top represents starry sky tipi symbolizes universe, world axis |
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Sun Dance enclosure and Big Horn Medicine Wheel.
Plains Medicine Wheels may be astronomical observatories post representing World Tree might have been at center linking the two constructions (circles: earth, sun, cosmogram around central axis), center post of sun dance enclosure represented, during Sun Dance young men suspend themselves from framework, undergo ordeal to produce visions |
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petroglyphs,
Plains Writing on Stone, Alberta. 18th century reasons for date: horses present, introduced c. 1750, but warriors shown still using large shields abandoned in 18th century artists male w/purpose to record biographical information style also represented on men’s robes and shirts to advertise men’s qualifications for leadership positions and marriage |
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painted hide.
Plains, now located France 18th century Plains men’s robe painting showed battles, achievements, life history, style (abstract, geometric, but narrative), |
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Chief Arapoosh’s (Sore Belly’s) shield.
ethnic group (Crow) where designs came from spirits encountered in vision quests design for protection each unique to owner’s visions this one represents (a moon spirit), function of crane’s head and eagle feathers (amulets) |
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Little Rock’s shield.
Cheyenne represents (thunderbirds, moon, Pleiades), meaning kept secret by owner, who was killed by Custer in Washita Massacre in 1868) |
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parfleche.
women’s art have abstract, geometric decoration, function (containers for packing belongings when moving camp), hard buffalo hide parfleche:to turn aside an arrow designs were regulated among Cheyenne, controlled by guild of women new designs came from (dreams) |
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Lakota man’s shirt.
Plains man did drawing and painting, his wife did bead and quill decoration scalp locks attached to sleeves which implies that this is a shirt-bearer’s shirt, shirt-bearer needs to be first on battlefield and last to leave, responsible for rescuing those left behind failed at this shirt taken away |
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Sioux pipe bowl with chief rewarding followers.
Plains catlinite, inlaid with lead catlinite (regarded as sacred, alive, carvers fasted before cutting stone) scene shows chief distributing liquor to reward followers, chief has around US presidential peace medal, worn as status symbol |
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“Between Two Worlds” by Wohaw.
that this is a drawing in pencil and crayon produced in 1876 when he was a prisoner in Fort Marion US commander introduced drawing to the prisoners to force them to accept white culture prisoners used drawing to preserve identity under pressure of forced acculturation scene represents Wohaw caught between this traditional ways of life, represented by the buffalo, and the culture he was being forced to accept, represented by steer and farm |
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ledger drawing by Black Hawk.
Lakota/Sioux c. 1880 represents artist transformed into a Thunderer or upper world being Black Hawk was (shaman spots represent hail, sent by Thunderers to help warriors in battle “horse’s” tail (rainbow), and zigzag lines (power) |
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Battle of Little Big Horn drawing by No Two Horns.
Hunkpapa Sioux c. 1880-1940 produced the drawing @ reservation battle shown, death of his favorite horse |
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Ghost Dance dress.
Arapaho, plains beliefs of Ghost Dance religion-apocalypse would purify earth of whites and resurrect dead Native Americans, dance done to speed up this event decoration to repel white bullets and enable God to recognize his own at end of world Ghost Dance religion (1889-1891) robed figure at top center Wovoka, the prophet who started the religion crosses (the Morning Star, herald of the end of the world), turtle symbolism (earth, women’s health) |
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Coso Mountains petroglyph.
550 BCE-950 CE animals mountain sheep Penney interprets them related to hunting magic David Whitley interprets them related to rain-making shamanism, with hunting/death of animals related to shamanic trance tools they were made with quartz hammerstones quartz was sacred releases sparks when broken |
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Blythe geoglyphs.
technique (removing upper, oxidized layers of gravel to reveal lighter gravel underneath), controversy over date if it is a horse, than work is historic; if a puma or other animal, could be prehistoric |
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Chumash rock paintings at Painted Cave
paintings were created during shaman’s vision quests, puberty rites for boys style (bright, multicolored, star and sun-like figures, lots of geometric shapes experiences this style may have been related to (dreams and visions under the influence of jimson weed), these paintings are found in caves, rock shelters Chumash shamans understood these places portals to the spirit world |
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Miwok feast basket
basket was used to hold food at feasts given by chiefs and given as gifts by chiefs to allies and followers what decorated baskets were for chiefs wealth cremated with him how food was cooked in baskets (filled with water and a hot stone dropped in), how decoration use of different colored materials than background color of basket |
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Pomo “treasure baskets”
gifts at rites of passage, from birth through puberty initiations to weddings and funerals decorate them feathers, shell, glass in infancy suspended above cradle like a mobile at funerals suspended above funeral pyre |
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Hupa Jump Dance basket.
basket imitates bone or horn wallet for holding shell money they both symbolize oversized wallets really are (wealth Jump Dance (competition between men in dancing skills, fancy dress, and wealth |
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baskets by Louise Keyser
her ethnic group (Washoe she worked (1895-1925 she invented the round basket she was marketed by white traders as a princess, Dat So La Lee for her work (just room and board) |
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“trinket basket” by Elizabeth Hickox.
ethnic group Wiyot/Hupa added lid, used dark colors to create negative instead of positive decoration maiden hair fern used to create dark patterns |
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decorated Maidu baskets at feast
(acorn mush) |
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whale bone club from Prince Rupert
500 BCE-500 CE Nw coast probably a scepter or badge of office in a group of clubs in a cemetery shows features of later Northwest Coast art continuous formline on face, animal head on top of human head |
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Marpole Culture stone effigy vessel.
Nw coast Fraser River 500 BCE-500 CE Soapstone these objects are found in burials, shell heaps, isolated places away from villages shaman may be portrayed here and used the vessel many may have been burned or broken to release shaman’s power at death rattlesnake head forms the “bowl” the figure is carrying Salish in this area used vessels for puberty initiations of young girls Northwest Coast style stacking of human and animal faces, skeletonization |
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Makah wood effigy bowl from Ozette site
18th century wooden materials were preserved -village buried by a mud slide later object this bowl resembles (potlatch feasting bowls) |
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Haida house with house frontal pole.
represents mythic animals and ancestors from a chief or noble’s family history entering and exiting the house through the house frontal pole represents entry into/being eaten by clan animal and being reborn from it cedar |
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totem poles at Skidegate.
Haida, town was abandoned when these photos were taken (smallpox epidemic poles with boxes on top are mortuary poles they were used as tombs—body placed on top taller freestanding poles without boxes on type are memorial poles don’t contain a body Haida carving style shown here (stays close to form of the log, not very three-dimensional, any projecting parts are added on rather than carved, minimal use of paint) |
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Charles Edenshaw with argillite carvings.
Haida he created both traditional art like totem poles and art for outsiders like these carvings, type of stone is argillite these figures were sold to sailors, tourists, designs came from miniature versions of Haida sculpture in wood |
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Crooked Beak of the sky mask.
Kwakiutl event these masks were danced during (potlatch, winter ceremonial) mask was part of (Hamatsa or Cannibal Society) creatures represented supposedly came from (realm of Cannibal spirit at north end of the world; forest) |
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transformation mask.
Kwakiutl what creatures are represented wolf on outside, raven inside shape-shifting reflected in these masks chiefly or noble families owned the “rights” to masks like this someone else could get the “rights” to mask and performance (purchase, gift at potlatch, conquest, or marriage with owning family), mask was performed potlatch, winter ceremonial Northwest Coast style shown here (continuous black formline, ovoids and u-shapes as basic building blocks, dynamic quality) |
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Hamatsa dancers.
Know ethnic group same general information on the Hamatsa/Cannibal society, other mask besides crooked beak (Hoxha) dancers pretend to bite audience members and eat their flesh features of Kwakiutl wood carving shown by totem pole in background (very three-dimensional, extensive use of paint, dynamic color scheme) |
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Tsonokwa/Dzonoqua feasting dish.
Kwakiutl would be used at (potlatch), what potlatch is, Wild Woman of the Woods/sasquatch traits of this creature (dangerous, eats children, but very stupid, so can be fooled or cheated out of its wealth), image pertains to (Hamatsa/Cannibal Society), when participants eat from the dish (symbolic cannibalism), what eating from the head, breasts, navel, etc. signified (social rank or importance of the guest) |
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copper.
Kwakiutl form of money or wealth symbolized (salmon, light) broken and thrown in the river as display of wealth and conspicuous consumption; piece given at potlatch as a challenge to a rival to host an even more expensive potlatch; bragged over and stories told about it by chief at potlatch chiefly family theoretically owned the copper features of NW Coast style (emphasis on symmetry, formline, secondary faces, use of ovoids and u-shapes as building blocks, splitting of the image) |
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screen and posts in the Whale House of the Ganaxtedi clan.
Tlingit screen at center partitioned off chief’s private room in family house; provided dramatic entrances/exits for him during a potlatch being is painted on the screen (rain spirit, Raven in his role as bringer of fresh water to humans), entering and exiting the screen symbolized being swallowed by/reborn from clan spirit NW Coast art illustrated by screen emphasis on symmetry, formline, secondary faces, use of ovoids and u-shapes as building blocks, splitting of the image post on left represents story of the girl who loved the woodworm, which grew to be a monster post on right represents story of Raven catching a salmon by lying to it and lying to the other birds so he could eat it himself giant feast dish in front of screen represents woodworm what moiety the Ganaxtedi family belonged to (Raven) |
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shaman’s mask.
Tlingit small figures on top of mask represents shaman’s spirit allies frog coming out of mouth represents possession state—ally speaking through shaman; language of animals that he learns during his vision quest; magical power in shaman’s tongue name for shaman’s ally spirits (yek), spirits of the dead in animal form |
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shaman’s oyster catcher rattle.
Tlingit what type of bird is represented, why it is special (dives underwater to catch fish just as shaman descends into the spirit world; breaks shells against rocks like a human; first to fly away on a predator’s approach, which alerts other birds, so seen as their guardian), used in curing ceremonies rattled by shaman in one hand while he touches patient with the other shown shaman and spirit allies subduing a witch spirit ally mountain sheep appears on the oystercatcher’s tail symbolism of tongues (same as for last image), how tongues touched to patient’s body) |
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Raven Barbecuing Hat.
Tlingit clan crest hat hats represent (ancestors, symbols of family) different families in same clan or moiety fought over ownership of ha |
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Chilkat blanket.
Tlingit Chilkat subgroup that makes these blankets materials (mountain sheep wool, cedar bark) men created the designs women, using a painted pattern board created by the men wove the robes features of Northwest Coast art seen here (all of the ones listed above), face of mythic animal would be on owner’s back when worn some chiefs burned them at early 20th century potlatches to display their immense wealth |
