Sioux BeadworkHaskell Institute, 1933 - 27 Seiten |
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Seite 4
... strong re- semblance to that of the American Indians but the beadwork of the Indians remains unique for it has nowhere been surpassed . Though most of the tribes have shown some interest in the craft , since the early part of the ...
... strong re- semblance to that of the American Indians but the beadwork of the Indians remains unique for it has nowhere been surpassed . Though most of the tribes have shown some interest in the craft , since the early part of the ...
Seite 9
... Strong cotton threads forming the warp are stretched taut around a frame , and beads are strung with a fine needle on a thread that corresponds to the woof , and woven into the warp threads . Examples are found both of single and double ...
... Strong cotton threads forming the warp are stretched taut around a frame , and beads are strung with a fine needle on a thread that corresponds to the woof , and woven into the warp threads . Examples are found both of single and double ...
Seite 10
... strong buffalo skin or cow hide more satisfactory as a background for the heavy bead embroid- ery than the softer buckskin which stretches too easily to form a firm basis on which to work . Skins were used for tipis , saddles , boats ...
... strong buffalo skin or cow hide more satisfactory as a background for the heavy bead embroid- ery than the softer buckskin which stretches too easily to form a firm basis on which to work . Skins were used for tipis , saddles , boats ...
Seite 12
... strong soap solution has been used for this purpose . When the hide was well saturated it was dried , then soaked in warm water and rolled up into a tight bundle . If the hide was not well staked down to the ground before the process of ...
... strong soap solution has been used for this purpose . When the hide was well saturated it was dried , then soaked in warm water and rolled up into a tight bundle . If the hide was not well staked down to the ground before the process of ...
Seite 15
... STRONG LEADERSHIP PARALLEL TRAILS PEACE PIPE RIGHT - ANGLED TRIANGLE FORKED DESIGN H FORKED TREE CCCC HORSE TRACKS HOUR GLASS HOUR GLASS WITH FEATHERS AND TIPS TRIDENT FORM TRIPE VERTEBRAE WHIRLWIND ( CROSS HATCHED OR STIPPLED ) The ...
... STRONG LEADERSHIP PARALLEL TRAILS PEACE PIPE RIGHT - ANGLED TRIANGLE FORKED DESIGN H FORKED TREE CCCC HORSE TRACKS HOUR GLASS HOUR GLASS WITH FEATHERS AND TIPS TRIDENT FORM TRIPE VERTEBRAE WHIRLWIND ( CROSS HATCHED OR STIPPLED ) The ...
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Häufige Begriffe und Wortgruppen
American Indian baby carrier bead embroidery bead weaving Beaded articles birch bark blue broidery buckskin casins ceremonial conventional designs costumes couching stitch craft decoration design elements developed diamond early embroidered floral fringes geometric designs geometric forms give-away handicrafts hide horse horse-track HOUR GLASS Indian School Indian women interest ISOSCELES TRIANGLE large number lazy stitch leggins lightning MOCCASIN DESIGNS moistened native arts number of beads old beadworkers old pieces paints piece of sinew pipe Plains Indians porcupine quills pouches quill and bead rawhide REC'D rectangle Red lines represents reservations ridged saliva seed beads sewing Sioux beadwork Sioux designs SIOUX PATTERNS SHOWING Sioux Tribe Sioux women skin soaked in warm sometimes South Dakota spot stitch stripped symbolic meaning tendon threads tion to-day triangle tribal TYPICAL SIOUX PATTERNS usually VAMP war bonnet warrior woman's dress wounds woven yoke younger women Ц Ц Ц נ נ נ
Beliebte Passagen
Seite 3 - Additional data were obtained by studying collections at the American Museum of Natural History and the Museum of the American Indian.
Seite 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...
Seite 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.
Seite 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.
Seite 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...
Seite 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...
Seite 9 - The first bead frames were made of ash tied with sinew at the corners and were almost square.
Seite 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.
Seite 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.
Seite 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.