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American Indian baby carrier bead embroidery bead weaving Beaded articles beaded background birch bark blue border broidery buckskin casins ceremonial conventional designs costumes couching stitch craft cross or dragon Dakota decoration design elements developed diamond dried early embroidered floral fringes geometric designs geometric forms give-away glass beads H H H H H handicrafts hide horse horse-track Indian School Indian women interest Isosceles triangle large number lazy stitch leggins lightning MOCCASIN DESIGNS moistened Museum native arts number of beads old beadworkers old pieces piece of sinew pipe Plains Indians porcupine quills pouches quill and bead rawhide rectangle Red lines represents reservations ridged seed beads sewing Sioux beadwork Sioux designs Sioux patterns showing Sioux Tribe Sioux women skin soaked in warm sometimes spot stitch stripped symbolic meaning tendon threads Three-row pattern tion tipi triangle tribal TUPTLt Typical Sioux patterns usually VAMP vertebrae warrior wounds woven younger women
Page 3 - Additional data were obtained by studying collections at the American Museum of Natural History and the Museum of the American Indian.
Page 25 - ... Poetic description 325 Local culture reflected in literary form 327 Symbolic meaning of narrative 337 Different literary styles are found in the same tribe 337 Distribution of literary forms 338 Music 340 Dance 344 Conclusion 349 Text figures 357 Explanation of plates 373 Name Index 374 This book is an attempt to give an analytical description of the fundamental traits of primitive art. The treatment given to the subject is based on two principles that, I believe, should guide all investigations...
Page 25 - An attempt to give an analytical description of the fundamental traits of Indian Art— and to determine the dynamic conditions under which art styles grow up.
Page 3 - With a revival of interest in the native arts and crafts of the American Indian, the Indian Office is encouraging those who are working on the reservations to acquaint themselves with what remains of the Indian handicrafts.
Page 8 - Another perforation is made to admit the sinew at the end of the row of beads. As in the overlay stitch, the perforation does not pass through to the under side of the skin, but runs horizontally just below the surface, so that no stitches show. The same number of beads is again strung on the sinew, which is carried back to the starting point and passed throjgh another perforation, close to the first one. Thus the pattern is made up of beads sewed down only at the ends of each...
Page 17 - ... On the upper part of the bag the border figure (c) represents a victory in which the owner's horse, represented by the green diamond-shaped figure, was wounded, as shown by the red area within the horse symbol ; (b) represents a feather, and implies that the owner of the bag was entitled to wear an eagle feather in his hair as a sign that he had killed an enemy. The figures of the pipe indicate the owner's right to carry the official peace pipe. The parts of this design are not new and so not...
Page 9 - The first bead frames were made of ash tied with sinew at the corners and were almost square.
Page 17 - The turtle was used as a talisman. The U-shaped design below the yoke of the woman's dress represented the breast of a turtle, the wing-like extension corresponding to the sides of the shell.
Page 7 - The small seashells with which it is ornamented have had their points ground off and have been sewn to the garment with threads of sinew.
Page 13 - To-day some of the older women make designs by folding and tearing or cutting paper, thus insuring a balanced pattern. Folded and torn (or bitten) patterns may have been derived from similarly manufactured patterns of birch bark made by the Indians of the Great Lakes and eastern Canada.