Pottery has been an integral part of Native American culture in the Southwest for nearly 2,000 years. Early pottery artifacts from the Southwest region date back to around 150 CE. Through centuries of artistic evolution, various tribes in the area developed their own unique styles and techniques.
The Ancestral Puebloans, who lived in the Four Corners region, were among the first to create pottery in the Southwest. Their pottery was characterized by intricate black-on-white designs, often referred to as "mimbres" style pottery. As time went on, other tribes, such as the Mogollon and Hohokam, also developed their own distinct pottery styles.
With the arrival of the Spanish in the 16th century, Southwestern Native American pottery began to incorporate new influences. The interaction between Native American potters and Spanish settlers led to a blending of cultures, which in turn resulted in the development of new pottery styles.
The choice of clay is essential, as it determines the final color and texture of the pottery. In the Southwest, the clay is still gathered at historic sites near their pueblos. Much of the clay available in the Southwest is rich in iron and gives the pottery its characteristic reddish-brown color. Some tribes, like the Taos Pueblo, have access to micaceous clay which allows them to create stunning pots with a naturally sparkly finish.
Southwestern Native American pottery is primarily made using a coiling technique. Potters begin by forming clay into long, thin coils, which are then layered and shaped into the desired form. Pueblo pottery is hand-coiled, and no wheel is used – which makes the perfect symmetry of the pots even more impressive. The vessel is dried, scraped with a piece of gourd, sanded, and slipped with a fine clay mixture. Any designs carved into the pot will be added before the firing process.
Once dry, the pottery is traditionally fired outdoors in an open pit fire utilizing slabs of wood for fuel. This method of firing is much more difficult to master than a kiln firing. The artist must master control over the fire to ensure the heat is evenly distributed across the pot and to avoid burning the clay. To create a black pot, many tribes will smother the fire with sheep dung at the end of the firing process. This causes the pot to absorb the dark smoke, turning its color a deep black.
After firing, the pot is polished over and over with a polishing stone often handed down from generation to generation. The skillful polisher gives the pot its lasting and beautiful sheen. The final step would be to add any painted designs to complete the piece of art. Many artists still hand paint their designs with natural pigments from materials gathered near their homes.
There are several distinct pottery styles associated with various tribes in the Southwestern United States. Some of the most well-known styles include:
Acoma Pueblo: Known for their thin-walled, lightweight pottery, Acoma Pueblo potters are famous for their intricate geometric patterns and fine-line work. The pottery is primarily white, with black and orange designs. The intricate, fine line designs are created using the sharp tip of a yucca stalk.
Hopi: Hopi pottery is characterized by its earthy colors, such as red, brown, and cream. The designs are often inspired by nature, featuring animals, plants, and abstract symbols. Hopi pottery was strongly influenced by the rediscovery of prehistoric Hopi pottery at the Sityaki archaelogical site, an ancient Hopi village. Hopi potters often recreate these prehistoric Sityaki-style designs in their contemporary work.
Navajo: Navajo pottery designs are often simple, using geometric patterns or abstract symbols. The Navajo often seal their pots with pinon pitch, giving it a shiny finish.
Zuni: Zuni pottery is known for its distinctive polychrome style, with designs painted in red, brown, and black on a white background. Zuni potters also incorporate animal and human figures in their work.
Pottery has always held a significant role in the lives of Southwestern Native Americans. It has been used for a variety of purposes, including cooking, storage, and ceremonial events. The creation of pottery is often seen as a spiritual practice, with potters following rituals and prayers throughout the process.
Beyond its practical uses, pottery is also a vital form of artistic expression for Southwestern Native American communities. It allows them to preserve their cultural heritage, tell stories, and pass down their history to future generations. Through pottery, they share their beliefs, values, and connection to the natural world. Each piece of pottery carries the spirit and essence of the potter who created it, as well as the legacy of the generations who have come before them.
The beauty and craftsmanship of Southwestern Native American pottery have captured the attention of collectors and art enthusiasts worldwide. Each piece is a unique work of art that embodies the rich history and culture of the people who created it. When collecting pottery, it is essential to learn about the tribes, styles, and techniques to truly appreciate the art form.
To support the preservation of this ancient art, it is crucial to purchase pottery from reputable sources, such as galleries, museums, or directly from the artists themselves. This not only ensures the authenticity of the piece but also supports the livelihood of the Native American artists and their communities.
Southwestern Native American pottery is a beautiful and unique art form that has stood the test of time. Its rich history, diverse techniques, and deep cultural significance make it a valuable and cherished part of the Native American heritage. By learning about and appreciating this ancient craft, we can help to ensure that the art of pottery continues to flourish in the Southwest for generations to come.
The Zuni people are one of the 19 Pueblo tribes in the southwestern United States, primarily residing in New Mexico. They have a long and distinguished history of artistry, with expertise in pottery, silversmithing, and carving. Among their most renowned artistic creations are their fetish carvings, which hold significant spiritual value and are used for ceremonial purposes.
In Zuni culture, a fetish is a small, carefully carved animal or figure that embodies the spirit of the animal or natural force it represents. These carvings are believed to hold special powers and are used in various rituals, ceremonies, and as protective talismans. The Zuni people believe that each fetish carries its own unique set of attributes and can aid its owner in different ways, such as providing guidance, protection, or healing. Shop Zuni Fetishes here.
Zuni fetish necklaces are a beautiful and meaningful representation of Zuni spirituality, combining artistry and symbolism in an exquisite piece of wearable art. These necklaces are typically made by stringing multiple fetish carvings together on a single strand, often interspersed with beads made from materials such as shell, turquoise, or coral. The resulting piece is a stunning, one-of-a-kind creation that serves both as a statement piece and a powerful symbol of the interconnectedness of all living things.
Zuni fetish necklaces have been crafted for centuries, with the earliest known examples dating back to the Ancestral Puebloans (Anasazi) who inhabited the region around 1000 A.D. These early necklaces featured simple animal carvings made from materials such as shell, turquoise, and bone.
Over time, the art of Zuni fetish necklace making has evolved, with contemporary artists incorporating intricate details, diverse materials, and innovative techniques. Today, Zuni fetish necklaces are highly sought after by collectors and enthusiasts for their beauty, craftsmanship, and cultural significance.
Material selection: Zuni fetish necklaces are made from a variety of materials, including semi-precious stones, shells, and wood. Some of the most commonly used materials include turquoise, jet, serpentine, and mother-of-pearl.
Carving techniques: Zuni fetish carvings showcase remarkable skill and attention to detail. Artists use both traditional and modern tools to create intricate, lifelike animal figures, often with exceptional realism and fluidity.
Symbolism: Each animal fetish used in a Zuni necklace carries its own unique symbolism, based on the Zuni people's spiritual beliefs and their relationship with the natural world. For example, the bear symbolizes strength and introspection, while the eagle represents vision and spiritual guidance. Learn more about common Zuni Fetish carvings and their meanings here.
Design and composition: A Zuni fetish necklace is carefully designed to harmoniously blend the various fetishes and beads, creating a visually striking piece that carries the spiritual energy of each individual carving.
Zuni fetish necklaces are a captivating fusion of artistry, spirituality, and history, offering a unique and meaningful way to connect with the rich cultural heritage of the Zuni people. These enchanting pieces of wearable art are not only visually stunning but also hold deep symbolic significance, making them cherished treasures for collectors and admirers alike.
By exploring the history, craftsmanship, and symbolism behind Zuni fetish necklaces, we gain a deeper appreciation for the creativity, skill, and spiritual beliefs of the Zuni people. As we wear and admire these exquisite necklaces, we are reminded of the interconnectedness of all living things and the power of art to inspire, heal, and connect us to our ancestral roots.
In today's fast-paced world, Zuni fetish necklaces serve as a beautiful reminder of the importance of honoring tradition, respecting the natural world, and embracing the spiritual wisdom of ancient cultures. Whether you are a long-time collector or new to the world of Native American art, the captivating history and enchanting beauty of Zuni fetish necklaces are sure to leave a lasting impression.
Navajo weaving is a centuries-old art form that began around the late 1600s when the Navajo people learned the art of weaving from the Pueblo Indians. The earliest Navajo weavings were primarily utilitarian in nature, created for clothing, blankets, and ceremonial purposes. The use of wool from the Churro sheep, which the Spanish introduced to the region in the 1500s, played a vital role in the development of Navajo weaving techniques.
The Fascinating History of Navajo Rugs: The different periods of Navajo Weavings
In the early 20th century, J.B. Moore, an entrepreneur and trader, recognized the potential of Navajo weavings as an art form and marketable commodity. Moore, who owned the trading post at Crystal, New Mexico, published the first known catalogue of Navajo rugs in 1903. This groundbreaking catalogue showcased a variety of Navajo weaving styles and patterns, with a particular focus on a unique aesthetic that would eventually become known as the Crystal style.
During this period, Navajo weavers began to incorporate new design elements into their weavings in response to the demand for more decorative and colorful pieces. The central diamond-shaped medallion, which is a hallmark of the Crystal style, was one such design element. The medallion was likely inspired by oriental rugs, which were popular among collectors at the time.
Moore's catalogue was instrumental in popularizing Navajo weavings outside the Southwest region, creating a wider market for these exquisite works of art. His simple paper catalogue with "plate numbers" for each design style were sent throughout the United States, particularly to customers on the East Coast. His marketing efforts introduced the concept of the "Navajo rug" to a broader audience and positioned the art form as a desirable collector's item.
The Crystal style of Navajo weaving emerged in the late 19th and early 20th centuries, influenced by the Crystal Trading Post's location and the preferences of J.B. Moore himself. The style is characterized by its geometric designs, natural earth tones, and the use of undyed wool. The Crystal style is distinguished from other regional styles by its more subtle and understated patterns, often featuring simple, elegant borders and a limited color palette.
Some of the most common design elements found in early Crystal style weavings include:
Geometric motifs: Crystal style weavings often incorporate geometric shapes such as diamonds, triangles, and zigzags, which are arranged symmetrically or asymmetrically.
Earth tones: The use of natural, undyed wool gives Crystal style weavings a distinctive, muted color palette of browns, tans, grays, and creams.
Minimalist borders: Unlike the more elaborate borders found in other regional styles, Crystal style weavings often feature simple, unadorned borders that emphasize the rug's central design.
Vegetal dyes: Some Crystal style weavings use vegetal dyes made from plants, which can produce a range of subtle colors that complement the natural tones of the undyed wool. This is particularly true of modern Crystal weavings as the design has changed over the past century.
The J.B. Moore catalogue and the rise of the Crystal style played a significant role in shaping the trajectory of Navajo weaving history. Moore's efforts to market Navajo rugs to a broader audience helped elevate these intricate works of art from utilitarian items to highly sought-after collectibles.
Early Crystal weavings are considered the predecessors to the famous Navajo Storm Pattern Design. Even in very early Crystal weavings, you can see hints of design elements that would eventually become essential to the Storm Pattern Design, including a strong central element connected by diagonal stepped lines to elements in each of the four corners. Moore's “Plate IX”, obviously a Storm Pattern but not labeled as such, was first printed between 1903 and 1911.
The modern Crystal style has evolved since the days of J.B. Moore. Beginning in the 1940s, the Crystal rug became known as a banded, vegetal-dyed weaving without a border. Like the Burntwater and Wide Ruins styles, plant dyes give the Crystal its characteristic soft earth tones and pastels. Another defining feature is the presence of bands of alternating wavy lines between the more prominent bands of primary design.
Today, Navajo weavings remain a symbol of cultural heritage and artistry, with the Crystal style standing out as a testament to the Navajo weavers' ability to adapt and innovate. The J.B. Moore catalogue continues to be an essential reference for collectors and enthusiasts across the globe.
Storyteller is a classic Navajo jewelry design that has roots in Navajo Folk Art. The storyteller design gives homage to how the Navajos traditionally did not have a written language, so all history and traditions are passed on orally. The scenes depicted in storyteller jewelry tell the story of the traditional Navajo way of life, which may include a hogan (traditional Navajo home), weaving, drumming, chores, horses, sheep, cooking, campfire, or Southwest scenery. The details can get quite intricate and are most commonly displayed on cuff bracelets. Storyteller jewelry is typically made with the overlay technique, which involves one layer of silver with a cutout design laid on top of a solid layer of silver. Storyteller jewelry is one example of how art can serve as a beautiful medium to share aspects of cultures, beyond written text.
One of our favorite storyteller designs is by Navajo silversmith, Cody Hunter, who creates “Inner Beauty” cuffs. On the outside, these cuffs have a sandstone texture and 14k gold petroglyph symbols. On the inside, these cuffs reveal a beautiful multi-layered storyteller scene. The true beauty of this bracelet is on the inside, hence the name, "Inner Beauty.” Cody’s storyteller designs vary slightly; some showcase a grandmother telling stories to children or some have a weaver at the loom. All of his pieces bring to life the striking landscape of Canyon de Chelly, sheep herding, horses, a hogan, and a 14k gold sun.
Another one of our favorite storyteller artists is Navajo silversmith, Robert Taylor. Robert grew up in a hogan where his father was a medicine man and his mother was a weaver. Robert cherishes his traditional upbringing and continues to live in the same place where he was born. His pride in his Navajo culture is reflected in his iconic storyteller cuff bracelets that tell the story of Robert's life on the Navajo Reservation.
Although each bracelet is one-of-a-kind, they share similar symbols and the basic story often includes these elements:
- Red rock formation as seen in Monument Valley
- Two cows representing the raising of cattle
- An outhouse with someone about to enter
- A rack where butchered sheep were hung
- An outdoor bread oven
- The rug loom with Robert's mother weaving
- The traditional hogan where the family lived
- Sheep dog and horses that were used to herd the sheep
- One or two sheep
- The open sky with its big clouds and ever-present ravens
- On both sides of the cuff’s opening, Robert places an arrowhead or healing hand
Some artists, like Roland Begay, incorporate more contemporary elements within their storyteller designs, like a truck:
No matter the various ways Navajo jewelers create their version of the storyteller design, the intention remains the same: to share the story of the Navajo / Diné way of life.
Related Articles: The Navajo Ceremonial Basket, All About Navajo Rugs, History of Navajo Concha Belts
]]>The Sleeping Beauty Turquoise mine is located near Globe, Arizona, east of Phoenix. Sleeping Beauty Turquoise is known for its solid sky-blue color and lack of host rock matrix webbing. However, natural Sleeping Beauty turquoise can come in a variety of shades, including green on rare occasion, and even include a dark host rock and pyrite.
Like many of the older turquoise mines, the claim was originally for producing copper and gold in the late 1800s, and the turquoise was a surprise byproduct. The Sleeping Beauty mine is located near Castle Dome and Pinto Valley mines, which are all along the south slopes of the Porphyry Mountains. Large amounts of copper and turquoise have originated from this area in Arizona. This copper in the soil is what creates the bright blue turquoise.
The Sleeping Beauty mine skyrocketed to popularity in the 1970s and has become one of the most famous turquoise mines in the Southwest. The pale, clear blue colors offered by the Sleeping Beauty mine have become a staple in Native American jewelry. Because Sleeping Beauty turquoise typically has no distinct webbing, the solid blue stone can be easily imitated in plastic or non-turquoise materials claiming to be Sleeping Beauty. For this reason, it is important, as always, to be confident that you're purchasing the turquoise from a reputable business.
While the Sleeping Beauty mine produced a bountiful amount of turquoise over the years, the Sleeping Beauty mine was closed around 2012, due to rising costs to access the turquoise deposit. All Sleeping Beauty turquoise that you see available on the market was mined prior to this date.
Well, we suggest the SWAIA (Southwestern Association for Indian Arts) Santa Fe Indian Market, New Mexico in August! This year is the centennial of the Santa Fe celebration of this oh, so special event that celebrates the magnificent works of American Indian artists from all over the United States and Canada. A variety of tribes and nations are represented here. It is one of the most prestigious art events in the world. And wouldn’t it be special to attend the 100th anniversary of such an incredible event?!? Yeah, that’s what I thought. It would be awesome!
The first Indian Market took place in 1922 in Santa Fe. (Yes, you probably did the math.) It has served as a place to celebrate the artwork; pottery, jewelry, weavings, etc. of American Indians. There are some artists who work all year to present their wares to the world of collectors, buyers, and other human beings who love to support works of incredible Native American artists.
It is a very well attended event with upwards of 100,000 attendees per year. And fun fact: it is the largest juried work of American Indian artists in the world.
Garland’s is honored to carry the works of artists who have and currently share their masterful artwork at Santa Fe Indian Market. It is a place where generations of artists are featured. You may see the works of at least three generations of artists at the same time, which is pretty darn incredible to say the least.
Santa Fe Indian Market is the most well known American Indian Art show, but if you live in Arizona, you’re in luck. The Heard Museum hosts its own Indian Market and Fair in March of each year. In 2023, they will be holding the 65th Heard Museum Indian Market. The tickets should go on sale sometime in November of this year.
So, I will end this post with a bit of homework for you. Attached below are some exciting links that just might teach you a think or two. Woo-hoo!
1. SWAIA
]]>Established in 1976, Garland's Navajo Rugs now is home to the largest selection of Navajo rugs in the world, and its role in preserving this precious art form is undeniable and certainly commendable.
Sedona Monthly Magazine, story by Monica Galvan
]]>...the Southwest can be a mesmerizing, absorbing territory. Perhaps one of the most fascinating aspects of the Southwest is the striking presence of beautiful Navajo rugs, which have become a characteristic mark of the people, culture and landscapes that comprise the Navajo Reservation. Spanning some 16 million acres across Arizona, New Mexico and Utah, this reservation is the largest in the country, and it is home to some of the finest artists in the world.
Here in Sedona, it is possible to observe the long-standing art of weaving by exploring Garland's Navajo Rugs. Established in 1976, Garland's now is home to the largest selection of Navajo rugs in the world, and it is easy to understand why this is true. Owners Dan and Tricia Garland's respect for Navajo art and culture, their encouragement of the weavers and the fair cash prices they pay for their art have earned them obvious loyalty from the best Native American artists.
But a story about Navajo rugs and their weavers is not just about artwork - it is about history, mystery and romance. Such is the story of Garland's Navajo Rugs. The idea to start this business originally began with Dan’s father, Bill Garland, who, Dan will tell you, lured Tricia and him out of Oak Creek Canyon, where Dan worked in the family's apple orchard, to establish a store that would sell nothing but Navajo rugs. The foolproof appeal? A Navajo rug, unlike Indian jewelry, cannot successfully be imitated by a machine, and Garland's would be the first store in the nation to carry only Navajo rugs. Sure, there already were several Indian trading posts, but the main commodity was jewelry, and an assortment of beautiful weavings often was piled in a corner alongside pottery, baskets and kachina dolls. This father-son team, along with their wives Georgiana and Tricia, set out to create a gallery that would offer a large selection of Navajo rugs - all sizes, styles and colors - so that people could find one that perfectly fit their needs.
"In the beginning, there were no weavers coming into the store, so some of the best memories that my dad and I have are of our trips to the reservation," said Dan. “We spent time going into trading posts and buying rugs, learning about them and trying to get a feel for which rugs came from where, and comparing values. Of course, we wanted to buy directly from the weavers, but first we had to discover which rugs were made in what parts of the reservation and what their comparable values were.”
These early trips to the reservation certainly were important learning experiences for Bill and Dan, and many of them turned into memorable adventures. Dan recalled one day when they followed a long dirt road in Chilchinbetoh, at the center of the reservation, so far that they finally realized they were lost. As a truck approached in the distance, they hoped that the driver could direct then to the trading post they so anxiously sought. As it happened, this mysterious truck driver was the trader from the illusive trading post, and he was thrilled to learn that Bill and Dan wanted to look at Navajo rugs. "We turned around and followed the trader to his post, and he opened up a safe that had cement vaults with one little bare-bulb light," explained Dan. "And there were these rugs that the trader had bought from weavers - and nobody had looked at them for two years." As they inspected the trader's rugs, Dan realized not only that these beautiful works of art should be displayed where they could easily be appreciated, he also recognized the important influence that trading post owners had on Navajo designs.
Trading posts on the reservation often supplied goods to the Navajos, who then had a bill. They would get their corn, flour, gasoline - basic goods for their daily needs from the trading post, and in turn they would bring in rugs to repay their debt. Oftentimes, half the price of the rug already was owed to the trading post, but the relationship still was mutually beneficial. In fact, which designs the trader could sell and which rugs he thought would be profitable for the Navajos had a powerful influence on what the weavers created.
"Each trading post had a community of weavers that lived nearby, and each trader carried rugs with unique color schemes and characteristics", explained Dan. "Similarly, the local plant and mineral sources used to create vegetal dyes, the availability of aniline dyes to create brighter colors and the natural colors of sheep wool all shaped designs that now classify the regional styles of Navajo rugs."
After visiting various trading posts and learning about Navajo rugs, Bill, Dan and Tricia set up their business and slowly, weavers discovered the store and walked in with rugs they had woven. "We would try to treat them fairly and give them cash prices - we didn't try to trade them goods like they were used to," said Dan. Like anyone else, weavers needed money to purchase groceries in town and buy clothes for their families, so they appreciated getting cash prices for their art. This policy was the beginning of an important reputation for Garland's - a reputation that would blossom into familial relationships with multiple generations of weavers and establish Garland's as an influential force in the art of Navajo weaving and Native American arts in general.
In 1985, Bill Garland decided to open a new store that sold only Indian jewelry, Garland's Indian Jewelry, which is an astonishing gallery in Oak Creek Canyon. "He always has been a man of new endeavors," said Dan, of his father. While Bill ventured out to learn about Indian jewelry, Dan and Tricia continued to operate the rug store with the help of Steve Mattoon, who has been general manager at Garland's Navajo Rugs since 1981. As the story goes, Susan introduced Steve to Bill, Dan and Tricia, and one morning Steve awoke to a stack of books about Navajo weaving that Bill had left on his doorstep. The rest is history.
"One of the things that impressed me from the very start was their relationship with the weavers," said Steve, "It wasn't just a commercial relationship - it went deeper than that, and I could see it really was something special.”
The reputation of business practices at Garland's spread quickly. Weavers heard about the fair cash prices and kind treatment at the gallery, and soon so many weavers were bringing their rugs down from the reservation that Dan no longer had to make trips to the trading posts. Purchasing directly from the weavers, Dan and Steve were able to turn their friendships with the weavers into a symbiotic relationship. "It's more of a family situation," explained Dan. "If their grandfather dies, they call us and we'll give them some money to help with the funeral. Sometimes it’s a donation, sometimes they need to borrow monev. But it’s been a very good relationship and they always bring in a rug to pay me back. It works both ways.”
One way this generosity and kindheartedness has helped Dan's business is by establishing loyalty between the weavers and the gallery. "It's not uncommon for a weaver to drive five hours one way to sell us a rug, then turn around and drive home" said Steve.
"There are other places between here and the reservation to sell rugs, but they like doing business with us. I think it's because of the mutual respect we've built up over the years." Indeed, Dan, Steve, Sandy Windborne, Tracy Watkins and Daniel Garland Jr. are all very aware of the role they play in encouraging the art of Navajo weaving.
In fact, one of the greatest strengths of Garland's Navajo Rugs is its knowledgeable, enthusiastic staff. In addition to the current lineup, former staff members Betty Johnston, Frank La Salvia, Cindy Mattoon and Mike Krajnak have enriched the business with their many years of expertise and dedicated commitment to the promotion of fine Native American art.
Additionally, the weavers appreciate the respect that the staff at Garland's has shown for their creativity. "They like that we've kept the markup low on the rugs," said Dan. "They can walk around, see their rugs, see how they’re priced and realize that they get the majority of the price. They don't feel taken advantage of - and appreciating that, they bring us more rugs.”
"It's a little different from the old trading post situation where the weaver was coming in to trade her product for her groceries, " explained Steve. "This is a different environment; our gallery specializes in Navajo rugs. Consequently, the rugs are created differently from the start - they are not just a commodity to trade for flour - they are art.”
Any day of the week, visitors can see this interaction between the staff and the weavers at the gallery. The weavers bring their rugs inside wrapped in a sheet or a towel and they're welcomed with a "Yá át tééh," a Navajo greeting literally meaning "it is good." The weaver then sits in a comfortable chair while the staff unrolls the rug, measures it and assesses the fineness of the weave and intricacy of the design. This analysis usually is a collaborative effort on the part of the knowledgeable staff members, who will joke with the weaver while they negotiate the price. "We keep track of each weaver on a separate card that shows all of her weavings, what size they were, how much she was paid and if they're selling," said Dan. "If the weaver wants more money and it's not too unreasonable of an increase, we continue to give her more money as we go. They're very loyal people. If you treat them right, they continue to come back with their rugs. Some of them have been bringing every one of their rugs to us for 30 years. It's very gratifying.”
Tracy Watkins, a Garland's employee for 10 years, enjoys the cultural interaction that he has with the Navajos on a daily basis. “It's fascinating and it's more than strictly business. It’s very personal, it's very human'" said Tracy. "There are very few people who can have this kind of experience every day, working with Native American people, getting to know them and enjoying a glimpse into their lives. They're different; still, they're like us and it’s really fascinating."Some of them have been bringing every one of their rugs to us for 30 years."
After 17 years at Garland's, Sandy Windborne feels like she is part of a huge extended family. "They are so generous about including us in their lives, ." she explained. "It's unique because it's not just dealing with the art - it’s dealing with the people.” When Sandy's first grandchild was born, a baby girl, one of the weavers brought her a tiny pair of turquoise earrings as a gift for the newborn. “It really was special to me because it made me feel like we really are friends and that our relationship is important to them, too, " she said. Certainly, each of the employees at Garland's feels a connection with the weavers, knowing they are much more than just a salesperson behind the counter.
In the case of Daniel Jr., many of the weavers have known him since he was a baby hanging out with Dan at the store. Now, after working for two years at the gallery, Daniel has a new respect for the art of weaving and he loves interacting with these renowned artists. "Because I've been around this my whole life. I have heard the names of our weavers and seen their rugs," he explained."It's unique because it's not just dealing with the art - it’s dealing with the people.”
"It was really neat when I first started working here because weavers would call and say their names and I'd reply, 'Oh, Sadie Curtis - the famous Sadie Curtis?' To me they were all famous because I'd heard their names and seen their rugs but never really met them. It was really cool for me to meet these people that were kind of celebrities to me.”
In the same way, the staff at Garland's has seen many weavers grow while establishing themselves in the Navajo rug business. It is not uncommon for three generations of weavers to come in at the same time, each with rugs to sell. "We try to encourage weaving," said Dan. "Of course, a girl's first rugs may be crooked or out of balance a little bit, but we always buy them because if we don't, they're not encouraged to keep weaving. Usually, we put their picture with their first rug, and maybe they're just selling for the same price we paid for them, but people love seeing a cute little 10-year-old girl in the picture with her first rug. And they'll buy it and follow her career for years.”
In fact, the staff's encouragement of these artists essentially is what has preserved and promoted the weaving of large-scale Navajo rugs for collectors today. A rug measuring 9 feet by 12 feet takes a weaver approximately one year to create.
"You can imagine that weavers can’t survive for a year without some sort of payments that come in a timely manner, perhaps monthly," explained Dan. Its willingness to work with a weaver throughout the long process of creating a large floor rug has established Garland's as a great source for hard-to-find, large rugs.
"It has given me a purpose in life," said Dan. "I feel like, yes, this is a business and we make a living from it, but I feel like we really are making a difference by buying these weavings and keeping this art alive. We're supporting the art by purchasing it, guiding the artists, helping them, giving them wool, giving them money and encouraging them. We have the largest selection of Navajo rugs in the world, so had we not had that impact on the Navajo rug art form, I'm not sure where it would be today. I don't mean to take too much credit, but it really has been gratifying to work with these people. It's had a good effect both ways, on us and for them.’
Garland's also has had an effect on the way that these weavings are viewed. Whereas once Navajo weavings were used as blankets and then as rugs, Garland's now sells 60 percent of their weavings as wall hangings and 40 percent as floor rugs. In recent years, the Navajos have moved toward making their rugs finer and finer. Each thread is spun to a very fine size so that when it's woven, the rug has more threads per inch - a process that takes the weaver more time, and thus increases the value of the piece. The very fine rugs usually are not used on the floor, they’re used as wall hangings," said Dan. "We provide people with Velcro to hang them on the walls for a very nice presentation, and the weavings are viewed as art, which is something that hasn't always been true. They were viewed as floor rugs and now people are picking up 100- or 130-year-old weavings and looking at them as the beautiful art forms that they are, and these connoisseurs are collecting them for that purpose, not just as utilitarian objects.”
Of course, since their inception, Navajo rugs have been created as artwork. The Navajo weavers have a legend, which tells of Spider Woman, a mythological figure who was the master weaver, teaching the first Navajos how to weave. Today, the Spider Woman ceremony still is performed when a young girl's hands are put into a spider web, and this ceremony is supposed to give the girl the power to create beautiful weavings. Historians believe that Navajos migrated from the Northwest around A.D. 1000-1200 and settled near the San Juan River, in the Four Corners region. A hunting and gathering people, the Navajos are believed to have learned to weave on a vertical loom from their pueblo neighbors, the Zunis. While they first wove using cotton, Spanish colonization circa A.D. 1500 brought sheep and hence, wool, to the Navajos, who began to weave very fine blankets. These blankets were treasured among Spanish colonialists, American cavalrymen and neighboring Indian tribes, who would travel long distances to trade for them. In fact, the term chief blanket comes from the fact that these blankets were so highly prized that often only the chiefs of other tribes could afford them. In the 1880s, Navajos began to weave rugs to be used on floors and as wall decorations, a result of machine-made wool blankets coming to the Southwest via railroad.
With less of a demand for blankets, Navajos focused on the beautiful rugs that we think of today, but the method of weaving remains the same as centuries ago. Indeed, the continuity between the way the rugs originally were made and the way they still are made today preserves their value. These laborious, time-consuming methods are the reason that Navajo rugs still are so highly prized, and the fact that Navajos have never mechanized the weaving process ensures that these works of art will only increase in value over the years.
Possibly the most impressive aspect of these treasured works of art is the fact that the complex designs on Navajo rugs come completely from the weavers' minds and souls - they are not drawn on paper before they are woven. The ability to visualize complicated geometric patterns that seem to change depending on a person's point of view is nothing short of mathematical genius. To be able to execute these colorful patterns on a huge loom so that the final piece harmoniously flows together is a gift that perhaps only Spider Woman could have bestowed upon the Navajos. No one is more aware of the talent and time required to create a beautiful Navajo rug than Dan Garland, and no one shows more honor and integrity in preserving this timeless art form.
"Dan always is conscious of his role here, which among other things is being able to support these weavers, said Tracy. "He takes that seriously and he never forgets that we wouldn't be here without them.”
The Santo Domingo (Kewa) Pueblo is located on the east bank of the Rio Grande, 25 miles southwest of Santa Fe, New Mexico. The Kewa people, and other Southwest Pueblo peoples, are descendants of an over two-thousand-year tradition of turquoise and shell jewelry making. Turquoise has long been a cherished material for these Southwest Native Americans. The Cerrillos turquoise mine in New Mexico, located just 30 miles north of the Santo Domingo Pueblo, supplied much of the turquoise for these Pueblo peoples in the pre-Spanish era. While turquoise was a nearby resource, the shells in their traditional jewelry came from farther away, by trading with the Hohokam peoples on the Gila River who gathered shells from the Gulf of California or made expeditions to the Pacific Ocean for certain shells, like abalone. Since the time of these ancient trade routes, the Pueblo peoples have utilized shell as a base for setting turquoise and mosaic designs. The Kewa/Santo Domingo people in particular have most consistently created shell and turquoise jewelry in the style of their ancestors.
The Kewa/Santo Domingo people have always been creators and traders of jewelry. Even their people's creation story coincides with the origin of their jewelry making. According to this story, long ago three groups of people came to be in a place called Shipap, north of the current Santo Domingo home. The three groups eventually decided to go separate ways, but they decided to help each other out by each group providing a particular labor. The Kewa people had the responsibility to supply everyone with beads, earrings, and other forms of jewelry. Thus, jewelry has always been a part of the Kewa way.
After the Kewa resisted the Spanish colonization for several years, the first mission church was established at the pueblo by the late 16th century. The pueblo was named Santo Domingo by Portuguese colonist, Gaspara Castaño de Sosa in 1591. Today, the people of Santo Domingo celebrate a Green Corn Dance every year on the feast day of St. Dominic, the patron saint of the Santo Domingo pueblo. On August 4, the people dress in ceremonial attire to chant, drum, and dance the colorful Green Corn Dance in front of the old adobe pueblo. It is known as one of the largest Native dance ceremonies held annually in the Southwest.
Santo Domingo continues to be an emergence place for beautiful artistry, pottery, and jewelry. In addition to the traditional mosaic inlay designs on shell, Kewa/Santo Domingo artists are well known for their hand rolled heishi beads. "Heishi" comes from the Kewa word meaning "shell." Some of the finest turquoise and shell necklaces are made by Santo Domingo artists. These heishi necklaces involve cutting stones or shells into square tabs, drilling holes (with a cactus spear in traditional times, but later a pump drill), stringing them on cotton or fiber strings, and rolling the squares against a rough surface (today, a grinding wheel) until they slowly become round beads. In more recent years, tufa casting silver has also been utilized by several accomplished Santo Domingo artists. Although it is a small tribe, the amazing amount of talent in this one group of people has ensured that the historic jewelry and art of the Santo Domingo pueblo will continue to have a vibrant future.
Never wash, steam clean, or iron a Navajo rug. Some rugs will have fold marks when purchased but these will come out naturally over a period of time after they are mounted or allowed to lie flat. Never shake a rug to clean it as the whip action can break the fibers.
Rugs should be lightly vacuumed on a regular basis. When vacuuming a textile, it is recommended to use a non-brush attachment. Make sure to avoid sucking the corner tassels into the vacuum. For a floor weaving, place your foot over the tassels when vacuuming the corners.
Most light stains and dirt can be dabbed clean with a damp cloth. Be sure to avoid getting the rug wet as this can cause dyes to bleed (particularly red dyes into white). Rugs should only be dry cleaned in an emergency; for example, if there is a severe stain. Repetitive dry cleaning will remove the natural lanolin oils from the wool and is not ideal for the long term preservation of the Navajo weaving.
After years of floor use, a weaving may need to be washed. We recommend using a professional textile cleaner who specializes in Persian, Oriental, or Navajo weavings. If a professional cleaner is qualified to clean Persian rugs, then they will also be able to safely clean your Navajo rug. Persian rug cleaning companies can remove all types of stains and there are also services to restore weavings that have been damaged. There are many qualified Persian rug cleaning companies across the world. If you are unable to find one in your area, feel free to contact us and we can recommend one.
Sunlight is a major factor in the deterioration of Navajo rugs. Direct light can fade the colors of the rug and intense sunlight can structurally damage the rug fibers over time. It is best to keep textiles away from direct sunlight, spotlights, and other sources of bright illumination. Even if displayed in indirect sunlight, a weaving's colors may fade to some degree. To ensure that the fading is uniform, rotate and turn the rug over on a regular basis. One to two times per year is typically sufficient. Regularly flipping your rug, and vacuuming, also prevents moth activity.
A weaving's dye sources are a factor with fading. Weavings with vegetal dyes will typically fade faster than weavings with aniline dyes or natural wool colors. This should be taken into consideration when selecting the area to display your weaving.
Moths, and also crickets and carpet beetles, can quickly render a major investment worthless. The treatment of Navajo rugs to prevent moth damage is a matter of some debate even among experts.
Regularly inspecting and vacuuming your rug every month or so is perhaps the best preventative measure and should largely eliminate moths and their eggs. Mothballs are sometimes suggested as a treatment for infestation. However, this can result in lessening the lanolin content in the textile.
One recommended procedure, in the event you have an infestation in your rug, is freezing. Wrap the rug carefully in plastic to prevent damage from condensation and place it in a freezer for at least 24 hours. This procedure will kill any moths but there is some question if it will kill their eggs. The normal hatching period of moth eggs is about 18-20 days. Because of this, the procedure should probably be repeated about 25 days after the initial treatment.
Dry cleaning will kill a moth infestation but the treatment outlined above (freezing) is a far safer, non-chemical solution. Any chemical treatment of rugs can potentially result in a deterioration of the fibers over a period of time.
For everyday prevention, we recommend keeping a moth trap that attracts moths through pheromones in the room where your weaving is located.
If you intend to use your textile as a rug and place it on the floor, some type of padding should be purchased. We recommend a pad with a non-slip rubber bottom and a felt top that will grip the weaving and keep it laying flat. If you would like a pad recommendation, please contact us. Just like wall-displayed weavings, we recommend flipping the rug occasionally to ensure even wear on both sides.
Most textiles purchased today are hung rather than placed on the floor. This minimizes the potential of staining that can occur or damage from pets.
In our experience, Velcro is the easiest way to hang a rug. If you purchase a Navajo Rug from Garland's and wish to hang it on a wall, we will provide you with an appropriate amount of 2" self-adhesive velcro tape for free.
Please note, some antique weavings with less “fuzz” may not stick adequately to the Velcro. In this case, we recommend using carpet tack strip to hang your weaving.
Read our Full Guide on How to Hang your Navajo Weaving
If you own a number of rugs and some require storage, be sure that they are rolled rather than folded. Rugs should be rolled in the direction of the warp threads. This prevents creasing. If possible, wrap the exterior of the weaving(s) with cotton cloth.
The weaving(s) can be kept in a chest or closet. Cedar chests do prevent moth and insect activity. You may choose to use mothballs. Mothballs can be hazardous to people and should be used with caution. Mothballs should never be left in an open container and should always be used in a well ventilated area. The mothball vapors are heavy and they should be placed above the weavings. Never let the mothballs touch the rugs.
The Morenci Turquoise mine is one of Arizona’s most famous and collectible turquoise mines. Located in Greenlee County in Southeastern Arizona, turquoise was first discovered by a copper mining operation started in 1864. The area wasn’t actively mined for turquoise until much later. In 1956, the turquoise rights were acquired by William “Lucky” Brown. From 1956 to 1984, Lucky Brown and his sons mined some of the world’s highest quality turquoise at this site. In 1984 all turquoise mining operations ceased in the Morenci area. All the Morenci turquoise available on the market today was mined prior to 1984.
Both green and blue turquoise was present in the Morenci turquoise deposit. High grade Morenci turquoise is characterized by a deep blue color, caused by the copper content in the ground. One of the signature looks of Morenci turquoise is a beautiful iron pyrite (fools gold) matrix. Metal inclusions in high grade turquoise are unusual, and many collectors seek turquoise with a pyrite matrix. As with most turquoise mines, the high grade material was always scare. Less than 10% of the turquoise mined at the Morenci mine was considered high grade. Today, high grade Morenci turquoise with deep blues and iron pirate is highly valued and extremely difficult to acquire.
Photo: Luzi, a Tohono O'Odham woman, photographed by Edward Curtis circa 1905
The Tohono O'Odham (Papago) people are known worldwide for their beautiful basketry. Traditionally a semi-nomadic people, the Tohono O'Odham lifestyle called for light, transportable containers. Their baskets varied in shape and size depending on the use and were traditionally made from willow or yucca. These baskets were utilitarian objects; used for drying fruit, storing food, or sifting and separating seeds.
At the end of the 19th century, the Tohono O'Odham people transitioned from a subsistence economy to a money economy. One of the best ways to make money was to sell artwork and their baskets were in demand. Finer baskets with intricate designs commanded higher prices.
Europeans introduced horses to the American West and in the mid-20th century, those horses greatly influence Tohono O'Odham basketry. They began weaving extremely fine, miniature baskets using the tail hair of horses. Using the same coiling techniques as their more traditional baskets, the horsehair baskets were so fine that it's almost impossible to count the number of stitches per inch. Horsehair baskets have become highly collectible and there are very few Tohono O'Odham artists alive today that can create this beautiful artform.
About two hundred years ago, there was a tribe of Native Americans who needed a new leader and someone who could negotiate with Washington DC over their lands. Four young warriors came to the call of the Medicine Man...
]]>This beautiful one-piece sculpture by Raymond Chee, Sr depicts the story of the Living Feather.
About two hundred years ago, there was a tribe of Native Americans who needed a new leader and someone who could negotiate with Washington DC over their lands. Four young warriors came to the call of the Medicine Man. He listened to each of the four young warriors as they presented their plan for leading the tribe forward. The Medicine Man said, “I’ve listened to you all, and you all have good thoughts, but only one of you can lead the tribe.”
He presented a challenge to the four young warriors. The next day, they would go out and the first one to bring back a feather from a live eagle would earn the right to become the next Chief and spokesman of the tribe.
The young warrior depicted in this sculpture got up early the next morning. At the base of the cliffs where the eagles were known to live, he caught a jack rabbit using a snare. He secured a leather thong from a branch of a tree to the rabbit’s leg. He then released the rabbit, which squealed to get away. The warrior hid behind the rocks. An eagle flying overhead came down and grabbed the rabbit in its talons. As the eagle tried to pull up in the air, the warrior grabbed the leather thong holding the rabbit, pulling both the rabbit and eagle down. He was able to pull a feather out of the wing of the eagle. He then released the rabbit to the eagle, and it flew off. Thus, he was the first to return to the village with a Living Feather and earned the leadership role he sought.
This carving is all one piece of wood. The only things that Raymond Chee added were the turquoise pendant and the Living Feather in the warrior’s hand. This is a true masterpiece of a great legend.
The Navajo Ceremonial Basket utilizes plant material native to the washes that surround the Navajo Reservation. The basket is woven from strips of Sumac coiled over a foundation of sumac rods. It is commonly believed that having a Navajo basket in your home is a blessing. Just as the doorway of a traditional Navajo dwelling faces east, so too should the opening of a Navajo basket design. By honoring the east, we welcome the purity, rebirth and renewal that the rising sun brings. If the opening cannot be pointed east while displayed, it is acceptable to point the opening upwards towards the sun and sky.
Native tribes in the Southwest have been creating ornamental jewelry for many hundreds of years. Before the Spanish ever arrived, these tribal artists had mastered the art of heishi bead rolling and lapidary on shells or wood. However, it was not until the mid-nineteenth century that they learned to work metal from Mexican smiths who had learned from the Spanish. In the southwest, the Navajos were the first to cast silver jewelry in the late 1870s and the technique spread to the Zuni and Hopi tribes by 1890.
Tufa stone is a compressed volcanic ash material that is found on the Navajo reservation. It is easier to carve than sandstone and its porous surface leaves a unique texture once the metal has cooled. Tufa casting is a labor-intensive process involving many steps.
Generally, most tufa molds break after one casting. This makes tufa cast jewelry a one-of-a-kind work of art. The heat from the liquid metal may cause the tufa mold to break or fracture. Even if the mold remains intact, the casting process typically has worn down and damaged the carved design so that a second cast would not have the crisp design of the original. The tufa molds themselves are carved works of art. The tufa is destroyed, but its beauty is permanently imprinted on the metal it touches.
This tufa mold (above) was hand carved by Navajo silversmith, Ric Charlie. He uses dental tools to achieve the intricate designs and textures in the delicate tufa stone.
See the finished bracelet (below) after the gold has been poured and cast, the bracelet cleaned and shaped, and finished with diamonds, turquoise, and sugilite.
The Squash Blossom Necklace has been interpreted by many artists and has taken many forms over the centuries, but typically features round silver beads, interspersed with beads that have a flared side like that of a blooming flower, with a single centered horseshoe-shaped pendant called a Naja. The variations on this template are limitless, however, and are only constrained by the imagination of an artist.
It is believed that the Navajo (or Diné) people were the first to adopt the Squash Blossom Necklace design, sometime in the late 1870s. Soon thereafter, however, most neighboring Southwest tribes had incorporated the necklace into their jewelry designs as well. Today, the Squash Blossom is an art form made by many Native and non-Native artists throughout the Southwest and beyond.
While the Native people of the Southwest had long histories of jewelry making and personal adornment, it wasn’t until contact with the Spanish that they began to incorporate metals into their work. The Navajo were certainly among the first to work with metals, perhaps initially capturing or trading for simple iron adornments from Spanish soldiers as well as their horse bridles and saddles. These ornaments soon made their way onto necklaces that graced the necks of the local populace.
As the Navajo began to learn the art of silversmithing in the late 1800s (a craft also attributed to continued contact with the Spanish and Spanish Mexicans), these metal adornments were probably recreated in silver form and strung together with beads formed from silver coins to form a proper necklace. As with many native cultures, wealth was often worn in the form of adornment, and in many early photographs of the Navajo and other Southwestern Native peoples, it is clear that Squash Blossom Necklaces were worn with pride and reverence for their beauty and inherent value.
Most agree that the term “Squash Blossom” refers to the unique, integral flared beads that line a Squash Blossom necklace. These beads do, in fact, resemble the blossom of a flowering squash plant - and to further support this interpretation, squash was one of the primary crops (along with beans and corn) that sustained the Native people of the Southwest, and is referred to as one of the four sacred plants of the Navajo. Seems like a simple answer, right? Maybe, but digging deeper into the history of the Southwest and the passage of symbols across cultures, the answer may be even more interesting than that.
The squash blossom bead bears an even more striking resemblance to the pomegranate fruit, the image of which has been a recurring motif in art and literature for more than 2000 years. Originally cultivated in the Middle East, the pomegranate spread east to China and west to Africa, and eventually proliferated in southern Spain. In fact, the city of Granada in Spain’s Andalusia region was named after the revered fruit, which symbolized many things including royalty due to its crown-like shape as well as fertility, birth, and eternal life, due to its abundance of seeds.
In colonial times, the Spanish brought the plant and its symbology with them to the New World, and the iconography decorated their missions as well as their personal adornments and horse gear. Given the knowledge that the Navajo assimilated these ornaments into their jewelry, we can assume that the “squash blossom” bead is actually the descendant of thousands of years of Eurasian symbology, and perhaps was only given the name “squash blossom” in the early 20th Century when marketing the necklace to the tourists traveling the Southwest via train.
In addition to the beads, perhaps the most defining characteristic of a Squash Blossom necklace is its centerpiece, the “Naja.” A crescent-like shape, the Naja is another symbol believed to have roots in the Middle East, brought to Spain by the Moors. The Navajo, whether directly from the Spanish, or indirectly through the influence of the Plains Indians, adopted the crescent form as a horse headstall (the front-center band of the bridle). Only later did it become the crowning achievement of their Squash Blossom necklaces, hanging symmetrically at the center of the necklace when worn. Although the Navajo claim that the Naja has no precise symbolic or spiritual significance, it is ubiquitous in their culture and held in high esteem.
Anyone, anytime, anywhere! While Squash Blossoms experienced a peak in popularity sometime in the 1970s, they have always been in fashion, as seen in the earliest known portraits of Native Americans by photographer Edward Curtis to today’s fashion icons. Today, Squash Blossoms are as popular as ever, thanks in part to an increased appreciation for handmade crafts among the millennial generation. Furthermore, men are once again donning the historic art form, in timeless fashion.
A Squash Blossom necklace has always been the pride of an owner's collection and the decision of which to purchase is no small task! As always, when purchasing collectible handmade jewelry, our first recommendation is to work with a reputable dealer who can help you find the right piece and guarantee the craftsmanship and authenticity of the necklace you choose. Secondarily, Squash Blossom necklaces come in all shapes, sizes, colors, weights and lengths. Whichever necklace you choose should be comfortable to wear, so if you're shopping in person, try a few on. If you are shopping online, make sure the dealer offers a fair return policy in case the necklace is too heavy or the colors are not as described. Whether you prefer a large necklace with stones or a lighter mid-century "Box Bow" style, there's a Squash Blossom for everyone! Whichever you choose, you will carry a legacy of beauty and history around your neck for years to come.
Love the look, but aren't ready for a whole necklace? Shop our selection of Squash Blossom Pendants and Squash Blossom Earrings!
]]>The Zuni pueblo is located in a scenic landscape of magnificent mesas and diverse habitats, about 34 miles south of Gallup, New Mexico. Zuni has over 10,000 tribal members. The tribe is traditionally built on a matrilineal clan system and revolves around a multifaceted ceremonial system that honors ancestors and their deep relationship to the striking desert Zuni homeland. The Zuni people convey cultural traditions through various forms of art, especially jewelry. In fact, Zunis have been making jewelry for over one thousand years! Jewelry-making became an important source of income for the people. Zuni silversmiths are known for having perfected the art of lapidary, producing some of the finest inlay jewelry in the Southwest and leading the way for other tribes in the 20th century. Other styles made famous by Zuni artists are needlepoint and petitpoint, where tiny stones are set in intricate designs. Below we explore various expressions of Zuni art.
Zuni fetishes are an ancient art form of the Anasazi and Mogollon region where animals were carved from shell, turquoise, and other stones. Fetishes are part of Zuni spiritual tradition and believed to bring good health, abundant crops, successful hunting, and other blessings. Originally the fetishes were stones that naturally resembled an animal, and over time the carving became more intricate to bring the animal to life in the stone. This practice laid the foundation for Zunis to become exceptional lapidary artists. Read here for common Zuni fetish carvings and their meanings.
Metal working in Southwest tribes began with the arrival of the Spanish, as they took small copper bells and coins traded from Mexico and turned them into jewelry. Over time, Zuni artists developed stunning jewelry with clusters of small needlepoint and petitpoint hand-cut stones. Through their masterful jewelry making, Zunis led the way for other Southwest native jewelers.
Zuni artists soon became known as masters of lapidary inlay work as well. Many vintage Zuni jewelry depicted intricate inlay of important Southwest cultural symbols, such as Rainbow God, Knifewing God, Thunderbird, and Sunface.
Fine Zuni inlay work shows off in its beautiful depiction of animals and nature. Dennis Edaakie was a highly regarded Zuni artist who made jewelry inspired by wildlife, and today, Quintin Quam makes gorgeous animal inlay jewelry. Countless other talented Zuni artists have brought animals to life in their jewelry as well (including one of our favorites, Rolanda Haloo - whose inlaid bird jewelry always seems to sell out immediately!)
We adore Colin Coonsis' mosaic inlay work that is a contemporary take on traditional Zuni inlay. Says Colin: "I sustain the belief that people today are influenced by a progressive society, and even Native American artists must adapt to progression with an open mind. As I collect experience, my work becomes ever more intricate, and detailed. The tradition of Zuni art remains, and through my jewelry, the traditional ideals that have influenced Native American art for nearly a century are preserved through the collective influences that I have derived from my predecessors." We know Colin has a bright future ahead.
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The Storm Pattern is a well-known regional style in Navajo weaving which originated in the western part of the reservation near Tuba City and Kayenta. It is an older design and one of the few Navajo rugs that tells a story.
]]>The connecting zigzag lines from the four corners to the center are intended as lightning bolts. They carry blessings back and forth between the mountaintops, bestowing good spirits on the weaver and her household.
Storm Patterns often include symbols at the top and bottom of the rug representing the water bug, who has a place in Navajo mythology and associated with the sacred desert resource of water. Just inside the water bug often appears his companion, the snowflake. Some form of the sacred arrow is usually portrayed along the sides of the rug.
The Storm Pattern is easily recognized by its design elements as described above, but it can be woven in an unlimited variety of colors and detail.
Storm Pattern by Sarah Tisi
]]>This is a story of one of the Creation stories of the past in out Navajo Legends/Culture. This is a story of how the Stars were placed in the sky.
The ending of my basket should be at the bottom. The first part of the story begins on the dark/black side of the basket. Medicine Men were picking certain spots in the sky to place...taking the longest of time. My first MM (Medicine Man) is sitting there, wondering where to put the next star and he doesn't have a clue where...the second MM is thinking...with folded arms. The third MM is pointing to a direction to where to place one. The Coyote is always in every one of our Creation stories...He is standing there, sort of upset because they (MM) were taking forever to place stars.
So this takes us to the other side of my basket...the blue side. Here the Coyote grabs a bunch of Stars from the ground and throws them in the air...scattering them all over. The MM were placing each Star so that it represented a Diety...instead the Coyote throws them everywhere in the sky. The MM stand up in anger and scold the Coyote because of what he did...that's why the MM are standing and making fists to show their anger towards the Coyote.
So the Black Sky was slightly lit and when the Coyote threw the Stars in the air...It lit up the sky blue.
The Yei...I put him or the Rainbow in each of my baskets...is surrounding the whole story as protection for the story.
Thank you so much to anyone who considers purchasing one of my baskets...I hope that it will make your home even lovelier than before.
Thank you,
Navajo Basket weaver
Traditional/Contemporary Designs.
Teec Nos Pos, Arizona
]]>The first creation of the Great Spirit was Father Sky and Mother Earth, from whence all life sprang. The crossing of their hands and feet signifies the union of heaven and earth, bound eternally together by the Rainbow Guardian. Regardless of in which direction we may look, we find sky and earth fused as one on the horizon. The physical earth and sky or mind must function together to produce new life. All things are conceived first in thought before they become physical manifestations. This is the meaning of the line running from the head of Father Sky to the head of Mother Earth.
The stars, moon (sometimes the sun), and the constellations are shown on the body of Father Sky. The zigzags crossing his shoulders, arms, and legs form the Milky Way. From the bosom of Mother Earth radiates the life-giving energy of the sun, bringing fertility to the womb of Mother Earth, from whence springs the seed of all living things.
Mineral, vegetable, and animal – all things grow, mature, bear fruit, and fall. They all return back to the source from which they came (represented by the ovals at the bottom of Father Sky and Mother Earth).
The bat, the sacred messenger of the spirit of the night, guards the sandpainting at the opening in its border.
The following is a description of the design elements used in the Tree of Life / Corn Pollen Chant Navajo sandpainting. At the center is a Cornstalk which is one of the four sacred plants of the Navajo people. The four sacred plants of the Navajo are: 1. Corn (used in wedding and healing ceremonies) 2. Squash 3. Beans 4. Tobacco The fanned feathers at the top of the Central Cornstalk symbolize the powers of clear thought and good judgment.
]]>The following is a description by Navajo sandpainting artist, Sammy Myerson, of the design elements used in a traditional Tree of Life / Corn Pollen Chant Navajo sandpainting.
At the center is a Cornstalk, which is one of the four sacred plants of the Navajo people. The four sacred plants of the Navajo are:
1. Corn (used in wedding and healing ceremonies)
2. Squash
3. Beans
4. Tobacco
The fanned feathers at the top of the Central Cornstalk symbolize the powers of clear thought and good judgment.
Two white figures on either side of the Central Cornstalk are Talking God Yeis (supernatural beings who lead the Yei-be-chai healing ceremony. Hanging from ribbons from each Talking God figure is a squirrel.
Two blue figures above the Talking Gods are Big Thunder: Considered to be very powerful and capable of finding missing objects.
Corn fields are above each Big Thunder figure on either side of the Central Cornstalk.
Moving towards the top of the sandpainting are the Four Sacred Peaks in turquoise, gold, black, and brown. They represent the San Francisco Peaks in Arizona, Mt. Taylor in New Mexico, Mt. Hesperus and Sierra Blanca in Colorado.
The round symbol at the top of the sandpainting is the Sun with its rays radiating out.
There are three Rainbow Bars (protection bars for the sandpainting) in blue, brown, and white that are seen towards the bottom of the sandpainting and underneath the two Big Thunder figures.
The Hopis had already settled three mountain tops or “mesas” prior to initial Spanish contact in the 16th Century. The Hopis built their villages on the mesa tops and dry farmed in the ravines running down the mountain sides. In 1540, the Spanish recorded the Hopi Village, Old Oraibi, as having 1,500 - 3,000 residents. Old Oraibi is still an active Hopi village and community and is considered the oldest continuously inhabited settlement in North America. To this day, residents of Old Oraibi choose to continue a traditional lifestyle and live without modern comforts such as electricity, plumbing, or running water.
Hopis are known for their colorful and traditional culture, with Kachinas being central to their religion and art. Kachinas are spiritual beings believed to live on the sacred San Francisco Peaks near Flagstaff, Arizona. Hopi men wear elaborate masks and costumes to embody Kachina spirits and perform dance ceremonies in the central plazas of their villages. The Hopis believe these Kachina spirits allow all mankind to live in harmony with nature.
Hopi Kachina carving began hundreds of years ago as a teaching tool for Hopi children. Hopi men would carve “old-style” Kachina figures and gift them to their children prior to an upcoming dance. There are more than 200 individual kachinas and this helped Hopi children to become familiar with the Kachinas that would be visiting during the upcoming ceremony. Hopi Kachina carving has grown from simple old-style dolls to elaborate hand carved sculptures in stunning realism. One thing has not changed, however. Hopi Kachinas are always carved out of the root of the Cottonwood tree. This has religious significance, as the Cottonwood tree’s roots are very aggressive water seeking roots. As dry-farmers who rely on rain for their crops, this is the only type of wood used for Kachina carving. Much of their religion and symbolism has to do with asking for water and rain.
Hopi pottery is hand coiled and traditionally fired outdoors. Their clay is gathered from traditional sites and pieces are hand polished and painted after firing. Modern Hopi pottery design was significantly influenced by the excavation of Sikyatki in 1895. Sikyatki is a large Hopi village that was abandoned in the 1500s. During its excavation, an amazing wealth of beautifully painted pottery was discovered. Hopis observed these ancient designs and led by Nampeyo, they began making new pottery in Sikyatki polychrome style.
In silversmithing, Hopis are best known for their intricate overlay designs. Their overlay designs are cut out entirely free-hand from either sterling silver or gold. Subject matter can range from simple symbols, such as rain clouds, to extremely intricate scenes depicting Kachina dances, Kivas, storm clouds, lightning, and pueblo buildings.
Recommended Further Reading: The Book of Hopi by Frank Waters
The weaving above is a beautiful example of a Late Classic Second-Phase Chief Blanket. The Late Classic period includes Second-Phase Chief Blankets and Third-Phase Chief Blankets and Serapes. Serapes are woven vertically and are narrower than they are tall, whereas Chief Blankets are wider than they are tall. Most weavings today are woven similar to a Serape. This Late Classic period featured more experimentation in design and pattern, beginning with Second-Phase blankets adding a bit more detail to the simple banded design. Third-Phase blankets became known for their terraced diamonds and symmetrical angles. During this period, the Navajo traded for bolts of red fabric from Europe (called bayeta in Spanish) and American flannel. The weavers unraveled the red fabric, re-spun the threads, and used them in combinations with natural wool. Additionally, red cochineal dye (from dried insects), as well as the introduction of aniline (chemical) dyes offered other forms of color. The weaving below is a Late Classic Third-Phase Chief Blanket. This blanket dates to 1875 and features Piano Key designs in natural homespun white and black (dark brown) wool. Dyes used include indigo blue and three sources of red bayeta.
The weaving below is a 1875-1880 Moki Serape, which places it within the Late Classic Period. The Moki aspect of this serape is the blue (indigo dye) and black stripes. The "Moki" style was introduced by the Spanish and adopted by the Navajos. Indigo dye is rare and it never fades, which is why the blue is still so vibrant and striking. The red in this serape is called Raveled Flannel. At this time, the weaver did not have access to bright aniline dyes to get this red color. However, she was able to purchase bolts of red cloth that were coming over on boats from Europe and then on the Santa Fe railroad to the Southwest. She unraveled the cloth and then re-spun it into a red yarn that she incorporated into her weaving. Such rare pieces are fascinating windows into time! Learn more about the Moki style here.
During this period, Navajo blankets continue to be woven, including serape designs and chief blankets. In the 1880s, the trains made their way out to the West with trade goods, including machine woven blankets. These blankets were warm and much cheaper than the hand woven Navajo blankets. Even the Navajos started wearing these blankets, and the demand for the hand-woven Navajo blankets decreased. However, early traders began to bring tourists out who purchased these blankets to use as floor, bed, and wall coverings. This changed the intention of weaving from blankets to bed coverings, floor rugs, and wall hangings. Transitional weavings are still very soft as the weavers were still used to weaving blankets.
Above is a great 1890s transitional weaving, ideally hung as a wall piece. It features all the bright aniline dyes, and there is no defined border yet, as this is before the rug period. These transitional weavings from the 1890s are very collectible. Their designs are a continuation of the blanket designs woven in the same soft, long staple churro wool that was introduced by the Spanish. Also, this was the advent of the beautiful bright aniline dyes, so the weavers made rugs full of bright, beautiful colors that are unique to this period.
Because this period involved aniline (chemical) dyes brought over on the railroads, there was an explosion in new colorful designs using these aniline dyes. This was also the period (around 1875) that brightly colored machine-woven Germantown yarn was first brought over from Pennsylvania to the Southwest on the Santa Fe railroad. This period only lasted from 1875-1900, and the rugs from this time are very collectible. The rug above is a fantastic example of a Germantown rug in great condition. Read more about Germantowns here.
This is the period where non-native traders and trading post owners began to encourage weavers to make actual floor rugs with defined outer borders. They knew there was a demand for floor pieces, especially from tourists from the midwest and east coast. This caused a distinct shift from the designs of wearable blankets that the Navajos had always woven in the past and the new true floor rug weavings that emerged. Sometimes the Navajos would leave a line (called a spirit line) that breaks through the border. The rug above is a 1920s J.B. Moore Crystal with rich colors and crisp designs.
At this point, the different regional areas on the Navajo reservation began to develop distinct styles. For example, Lorenzo Hubble at the Ganado trading post loved red backgrounds in rugs. The weavers in that area knew they had the best chance of selling their rug if they wove a red background into their weaving. Over time, this style began to be known as "Ganado Red". It's a weaving with a central diamond design and a red background, as seen in the gorgeous rug above by Betty Ann Nez. Similarly, other trading post owners had various preferences that directed the style of that regional area. The trading post owner near Two Grey Hills preferred rugs with all natural wool colors and no chemical dyes. The trader near Teec Nos Pos liked Persian weavings and introduced photos of Persian rugs to the weavers in that area. To this day, Teec Nos Pos weavings have strong design themes similar to Middle Eastern rug designs.
Even in the 1930s and 1940s, most of these weavers traveled by horse or wagon, so they would only be able to sell rugs to the nearest trading post. This meant they adopted the style from the nearby trading post and passed on the style to the next generations. Because of this, even to this day, when a weaver is from the Two Grey Hills area, she will most likely specialize in Two Grey Hills style weavings.
Or read it below:
"When you think of Native American art in Sedona, some family names come to mind: Hoel, Wilcox and, of course, Garland. The Garland family moved to Sedona from Phoenix in 1970 (they had spent years vacationing in Oak Creek Canyon), and in 1972, patriarch Bill Garland opened Garland’s Oak Creek Lodge. Not all families can work together, but it seemed to come natural to the Garlands. In 1976, Bill, along with his son Dan and Dan’s wife, Tricia, opened Garland’s Navajo Rugs on the same plot of land where the family previously sold apples from the lodge’s orchard every fall. The Garlands designed the building to resemble a trading post; the beams in front were hand-carved by Native American artisans living in Taos, New Mexico. The family made trips to area reservations and then Navajo weavers began bringing their goods to Sedona. “Eventually, we had the world’s largest selection of Navajo rugs,” says Dan. “We had more than 5,000 rugs hanging here.”
Dan is reluctant to continue to claim that title, but the 5,000-square-foot space still boasts several thousand rugs in all sizes and colors. (Bill passed away in 2008.) Dan learned to speak some Navajo in order to communicate better with the artists, and he even learned how to weave. “The Navajo girls would make fun of my crooked loom,” he says, laughing. As the shop’s reputation grew, other artists began to trickle in with kachinas, pottery, baskets and sandpainting, but the gallery held out when it came to representing jewelers. That was the job of Garland’s Indian Jewelry, which opened in Oak Creek Canyon in 1985 and then doubled in size in 1990. (The family also owns the adjacent Indian Gardens Cafe & Market.) Last year, the rug shop finally added jewelry to its collection and plans to bring in even more next year.
The rugs are all displayed by size and by regional style. A visit to Garland’s is a tutorial on the many factors that go into rug weaving, and yes, the majority of the rugs are meant to be placed on the floor, though Dan admits most wind up hanging on the wall the same way you’d hang a piece of fine art. Dan says Garland’s Navajo Rugs is in the process of receiving a bit of a facelift, and he hopes to start hosting artists who will demonstrate weaving and carving techniques next year.– Erika Ayn Finch, Sedona Monthly Magazine"
How to Hang Your Navajo Rug with Velcro. In our experience, Velcro is the easiest way to hang a rug. If you purchase a Navajo Rug from Garland's, we will provide you with Velcro for free if you wish to hang your rug on a wall. The velcro is self-adhesive and you can stick it directly to most surfaces.
]]>In our experience, Velcro is the easiest way to hang a rug on a wall. If you purchase a Navajo Rug from Garland's and wish to display it on a wall, we will provide you with an appropriate amount of 2" self-adhesive velcro tape for free.
Please note: Some antique weavings may not adhere to Velcro. Please continue reading at the bottom of this article for instructions on how to hang these antique weavings.
Hanging Directly on Wall:
To hang your rug with Velcro, cut the Velcro to the width of your weaving. Remove the backing from the Velcro tape and stick the adhesive side to the wall. Simply press the weaving's top edge from corner to corner along the Velcro to evenly support it. You can use any extra Velcro to stick under the bottom edges of the rug, as this ensures the rug lies perfectly flat against the wall.
Using a Wood Strip:
Placing the adhesive side of the Velcro directly onto the wall may lift off paint when removed. If you wish to protect your wall surface, we recommend attaching the Velcro tape to a wood strip. Instructions for this process are below:
Step 1:
Peel off the backing of your 2” self-adhesive Velcro tape. Make sure you have enough Velcro to run a strip from corner to corner along the top edge of the weaving to evenly support it.
Step 2:
Adhere the Velcro tape to a thin strip of wood such as lattice or a wide yard stick. Again, make sure the length of the wood is equal to the width of your rug.
Step 3:
Nail the wood to the display surface or suspend it from the surface on wire that has been run through "eye hooks."
Step 4:
After the wood strip is in place, just press the Navajo weaving up against the Velcro tape for display. It holds the weaving in place beautifully.
Some antique weavings with less “fuzz” may not stick adequately to the Velcro. In this case, we recommend using carpet tack strip to hang your weaving. This can be purchased at any hardware store. It is a strip of wood that has many small tacks that stick upwards. This strip of wood can be nailed into your wall. The top of the weaving can be worked into the tacks and it will safely hold the weaving up and distribute the weight evenly along all the tacks on the strip.
If your weaving will be displayed on a hardwood or tile floor, we recommend using a thick rug pad to prevent slipping on the weaving.