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Whirling Log-Hopi travels and Navajo whirling winds in healing ceremonies

define art

An object whose form is elaborated to provide visual and tactile pleasure to enhance its rhetorical power as visual representation

Chaco Canyon Anasazi Petroglyph Of 1054 Supernova

Ernest Smith Sky Woman Falling to Turtle Island, Iroquois origin story

Ghost Dance David Bradley

Roles of art

temporal division,expression of worldview and ceremonial

Milky Way Sand Painting

Kamia/California

crosses-indicate directionality

stepped designs-indicate mountains or clouds

morning star

lightening

saddle

whirling winds, corn, cardinal signs

Raven-the trickster

Thunderbird-NW mythical creature

Spider weaves the web of life

Navajo spider myth

she wove the universe

Hopi spider myth

saved humans from floods by hiding them in reeds

Lakota spider myth

trickster

cosmology

found in art, architecture, myth and ritual

World Tree uniting the underworld, the world we live in and the heavens

masculine colors

blue, purple black and grey

feminine

earth tones of orange, brown, red, tan and white

directional colors

blue-south white-north west-yellow east-red

blood and courage

red

purity and sacred

blue

warmth and plenty

yellow

new life and spiritual

green

strength and endurance

black

earth and rest

brown

fire and pride

orange

new life and birth

white

Anasazi 8-1450

prehistoric, 4 corners

Hohokam

exclusively Arizona 300-1250

Mogollon

New Mexico and Mexico

Hohokam pottery bowl

Hohokam 850-950

Hohokam pottery jar

Hohokam seated figure 1100

Hohokam etched shell 9-1100

Hohokam shell jewelry

Hohokam 10-11th C.

characteristics of Hohokam pottery

anvil and paddle, red on tan or buff, geometric designs, animals

Hohokam plate 9-11th C.

Hohokam shell frog effigy 9-11th C.

Hohokam palettes

Anasazi/Puebloan art

Kiva, Kachina and pottery

ansazi bowl snowflake black on white 950-1250

Anasazi vases Chaco Canyon

Mesa Verde mug

Anasazi seed jar 12-13

Kachina respect and spirit

Kachina

Dolls made by fathers to instruct the girls in creation stories of their culture, including colors, forms and symbols

universal Kachina

Shalako Mana and Hemis

Hopi Kachina characteristic

carved

Zuni Kachina characteristic

cloth and feathers

Kachina chronology

Kiva pottery mound mural

Kiva mural painting

Anasazi inlay fetish

versus Hohokum, these are inlay work not etched with an acidic substance

Mogollon Human

Mogollon animal

Mogollon narrative

Mogollon shamanistic

Mogollon geometric

Classic Mimbres 1100

Casas Grandes

Found in the Chihuahua Casas Grandes Valley, pronounced curvilinear motif along with the macaw or parrot beak and larger rounded base

Casas Grandes jar and small bowl

Casas Grandes human effigy

1280-1450

Casas Grandes effigy with cigar

1280-1450

Casa Grandes bear effigy pot

1160-1260

Casas Grandes macaw pot

1280-1450

casas grande jar

artist Juan Quezada Mata Ortiz pot

Nampeyo/ Hopi pot

Nampeyo lineage of pots

pre-historic influence of Juan Quezada

Maria Martinez

Esther Hoyt

influenced young students at the Ildefonso School in 1900

Elizabeth DeHuff

Influenced young students at the Santa Fe Indian School 1901

Crescenicio Martinez

Influenced by Palarito excavations in caves and murals, founder of the Ildefonso painting tradition

Eleven Figures of the Animal Dancers/C.Martinez 1917-18

Ceremonial Buffalo Dance Velino Herrera 1948

one of the original students of the Santa Fe School to visit Elizabeth Duff's painting sessions

Fred Kaboti

Tonita Pena

1st woman to "break the mold."

Alfonso Roybal

joe herrera

transitional painter

Pablita Valerde

painted murals on the rock walls as they might have been

Michael Kaboti

Kiva/Cubist influences father Fred Kaboti

Roxanne Swentzell

Daniel Namingha

Dine

Navajo word to describe themselves, meaning "the people" they migrated from SW Canada between 1300-1500 AD

Mythology of Navajo weaving

Spider Woman taught the Dine how to weave. Spider Man gave them instructions for building the looms. The first loom was of sky and earth cords, with weaving tools of sunlight, lightning, shell, and crystal

History of Navajo weaving

Navajos learned to weave from the Pueblo peoples who were influenced by the Spanish. Spanish influence includes wool, indigo (blue) dye, and simple stripe patterns.

Churro sheep

brought by the Spanish

Navajo weaving prior to 1850

natural variations in the sheep's wool,

1st phase Chief blankets

1800-1860 initial Spanish influence, stripes

2nd phase blanket

The beginning of the experimenting in something other than stripes

3rd phase blanket

The final branching out of design as the Navajo started to create more patterns versus the more traditional weaving of their Puebloan teachers

Saltillo characteristics

lozenge shape, geometric borders and stripes

Germantown

Germantown

Eyedazzler

Transitional

after the late classic period, aniline dyes in a larger array of colors was available, however these were more garish and less desireable,

Moore-Crystal

stormpattern

2 Gray Hills

no color, just the colors of the wool, considered very desirable

Burnt water

rare with vegetal dyes

Flickr Creative Commons Images

Some images used in this set are licensed under the Creative Commons through Flickr.com. Click to see the original works with their full license.

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