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Navajo Jewelry
Years ago, I expressed an interest in purchasing jewelry that
would compliment my collection of broken-in Levi's. My
friend, who specializes in western antiques, showed me a Texas
tie called a bolo. "I'd be proud to have my husband wear
this," she said. "It's old. Hand-made out of the finest
silver and turquoise. And, it's signed. Real cowboy. Wear it
for a few days. You'll love it."
When I returned the neck-tie one week later, I couldn't
explain why. Nor, could I find anything else that suited me.
My friend's jewelry was filled with symbolic imagery. It was
shiny and fancy and fashioned by what seemed to be great
artisans, but it wasn't for me. It didn't feel Indian.
Feared for their fighting prowess, a decision was made by the
U.S. Government in 1861 to round up Navajo nation from their
beautiful homeland in the four corners of Utah, New Mexico,
Arizona, and Colorado, and dispatch them to a wasteland in
east/central New Mexico. Fighting ensued. In 1864, U.S.
militia led by Kit Carson finally prevailed. The Navajo
surrendered and began the grueling 300 mile "Long Walk" to
Bosque Redondo Reservation.
Unsurpassed blanket weaving skills, and many other culturally
important "old ways" of the Navaho were all but lost at
Bosque. When their farms failed, white men began issuing
families stamped copper food ration tickets. This early woeful
experiment in social engineering would introduce the Navajo to
metalworking. Taught by Mexican silversmiths called Plateros,
they soon began forging exact copies of their ration tickets.
When overseers discovered two meals were being served for
every ration, the white men produced newly designed copper
tickets that were exactly duplicated again. Frustrated, the
army finally ordered paper coupons from Washington.
In 1870, following four terrible years in which a quarter of
their population died, the Navajo people were permitted to
return to the "Dinetah," an area comprising approximately 1/5
their original homeland. Sadly, their self-sufficiency would
never return. Although many skills were lost, the Navajo had
brought with them a new trade: jewelry making. Indian
silversmiths acquired high status. In the early days, much of
their work was commissioned by tribe members who paid lofty
barters for their custom-made jewelry. Old measurements of
success, livestock and crops, had all but been destroyed.
Silver jewelry helped fill the void.
Prior to 1920, the Navajo jeweler procured his silver by
melting down coins received in trade. He worked with copper
and brass when silver was unavailable. Silver was always the
emphasis. Turquoise and other stones were used as a means of
complimenting the silver. Engraving and stamping was
accomplished chisel, shaped steel piping, awl, and punch.
Design was strongly influenced by geometric patterns found on
Mexican leatherwork.
Early authentic Navajo jewelry rarely includes design work
with symbolic or religious inference. Jewelry incorporating
trite designs like rain clouds, swastikas, teepees,
arrowheads, or buffaloes was more likely designed by a
profit-minded anglo trader than a Navajo.
Traditional Navajo jewelry is symmetrical, repetitive and
balanced in design. The silversmith usually worked from the
middle out. The finest Navajo jewelers envisioned a piece
before it was made. This vision includes the "chiaroscuro,"
the oxidation and patina silver acquires with time. The
blackish grime that finds a home in the crevices of an old
bracelet or bolo may well be part of its art.
Other tribes like Zuni, Hopi, and Pueblo also made, and
continue to make, jewelry. We'll talk more on the subject next
week. By the way, I finally did find my bolo. Its simply
designed, old, worn and patined. Most importantly, it feels
Indian.
by
AntiqueTalk.com
Reprinted with permission
Copyright by Wayne Mattox © |
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