the grand canyon of arizona-第29部分
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the design repeated in a diagonal panel at each corner。
The greatest charm of these primitive fabrics is the unrestrained freedom of the weaver in her treatment of primitive conventions。 To the checkered emblem of the rainbow she adds sweeping rays of color； typifying sunbeams。 Below the many angled cloud group she inserts random pencil lines of rain； or she often softens the rigid lines signifying lightning； with graceful interlacing and shaded tints。 Not confining herself alone to these traditional devices； she often creates realistic figures of common objects such as her grass brush； wooden weaving fork； a stalk of corn； a bow； an arrow or a plume of feathers from a dancer's mask。 Although the same characteristic styles of weaving and decoration are general； none of the larger designs are ever reproduced with exactness。 Every fabric carries some distinct variation or suggestion of the occasion of its making。
Among the Navahos the women invariably do the weaving though in the past a few men were experts in the art。 Among the Pueblo Indians the men perform this work。 The products of the Pueblo looms are readily distinguishable from those of the Navahos； the latter having far out…distanced the Pueblos in the excellence of their work。 Only among the Hopi； are blankets made that in any way resemble the work of the Navahos。 Generally a Hopi man weaver can be found at work in the Hopi House； as well as Navaho women weavers。
The Hopi to this day preserve the custom of wearing a bridal costume completely woven out of cotton。 After the wedding breakfast the groom's father 〃takes some native cotton and； running through the village； distributes it among the relations and friends of the family。 They pick the seeds from the cotton and return it。 A few days later a crier announces from the roof of a house that on a certain day the cotton for the bridal costume will be spun in the kivas。〃 Here the friends assemble and 〃the rasping of the carding combs and the buzzing of the primitive spindles〃 are heard accompanied by singing； joking and laughing of the crowd。 This cotton is then woven either by the bridegroom or his father or other male relation； into square blankets； one measuring about 60 by 72 inches； the other about 50 by 60 inches； also a sash with long knotted fringes at each end。 When woven they are given a coating of wet kaolin； which adds to their whiteness。
This preparation of garments often takes several weeks； during which time the young married couple reside at the home of the groom's parents。 Now the bride； with considerable simple ceremony； walks with one of the robes on； and the other in a reed wrapper； to her mother's house where； unless her husband has prepared a separate home for them； they continue to reside。 In the Field Columbian Museum； Chicago； is a fine model showing the young bride wearing her new garment； going to her mother's home。
In their ceremonial dances； the Hopi women wear cotton blankets； highly embroidered at the sides and edges with red； green； and black wool。 Fine specimens may be found in the Hopi House。 Similar to these in style； though long and narrow in shape； are the ceremonial kilts or sashes of the men。 In pictures showing the march of the Antelope Priests during the Hopi Snake Dance these beautiful sashes are well depicted。
In addition to the products of the vertical loom； the Navaho and Pueblo women weave a variety of smaller articles all of which are remarkable for their strength； durability and striking designs。
In weaving sashes； belts； hair bands； garters； etc。； the weaver uses a 〃heddle frame〃 similar to those found in Europe and New England。 None of these have been found in places that assure us of their use before the Spanish occupation； so we conclude that they were introduced by the conquistadores or the early colonists about 350 years ago。
The Thlinkets of Alaska； also； are good weavers。 In the Fred Harvey collection in the Hopi House； El Tovar； and Albuquerque； the United States National Museum and the Museum of Princeton University； fine collections of their work are to be seen。 These collections generally consist of cape and body blankets made of the wool of the white mountain…goat。 The colors are white； black； blue and yellow。 The black is a rich sepia； obtained from the devil…fish； the blue and yellow colors coming from two barks grown in the Alexandrian archipelago。 The white is the native color and the fringe of both cape and blanket is undyed。 To strengthen and give solidity to the garment； the fibrous bark of the yellow root is twisted into the warp。
CHAPTER XVIII。 Pueblo And Navaho Pottery And Silverware
Primitive Processes。 The primitive industries of a primitive people are always interesting to the student。 They are more； they often reveal more than appears at first sight。 We； with our present knowledge of improved mechanical methods； stand and watch an Indian silversmith or potter； and we laugh at the crudity of the methods employed； naturally comparing them with our own。 But this is not the proper way to look upon the work of the aborigine。 Rather let the gazer imagine himself without any of his advanced knowledge。 Let him project himself into past ages； and find himself groping his way out of the darkness of primitive ignorance。 He will find himself seeking for many centuries； ere he invents and discovers even the rude processes used today by the Indian。 As an inventor； the aborigine has laid us under great obligation； for he discovered the first steps of mechanical progress； without which all later steps would have been impossible。
Hopi Pottery。 In the Hopi House； the processes of making pottery and silverware by primitive methods may be seen in active operation； though in the manufacture of silver； some modern appliances have taken the place of the ancient ones。 In the pottery； however； everything is exactly as it used to be before the white race appeared on the American continent。 The Hopi woman brings her clay with her from some pit or quarry in Hopiland； where experience has demonstrated a good pottery clay is found。
After thoroughly washing； pulverizing and crushing； it is ready to be worked up into domestic and other utensils。 Squatted upon the ground； the potter places in her lap a small basket； wood； or pottery base； upon which she places a 〃dab〃 of clay。 This she thumbs and pats； until it forms the basis of the new vessel。 Then another piece of clay is rapidly rolled between her hands； until it is in the form of along rope。 This rope is then coiled around the edge of the base already made； pressed well into it and then smoothed down。 After four or five coils of clay are thus added； the potter takes a small 〃spat；〃 generally a piece of dried gourd skin； dips it into water； and proceeds to smooth out and make thin the clay coils。 As quickly and dexterously as can be； her hands and the spat manipulate the vessel； until it has the desired shape。 More coils of clay are then added； and the shaping continues until the vessel is complete。 Now it is put out into the sun to dry； and when reasonably solid； it is ready for the painting and decoration。 With a rude brush made of horsehair or yucca fibre； and paints gathered and ground by herself； she works out the design that her imagination has already created and pictured upon her piece of work。 Some of these designs represent conventionalized objects of naturebirds； clouds； mountains； rain； corn； lightning； tadpoles； dragon…flies； horned toads； serpents and the like； others are purely geometrical； and the variety and extent of them are more wonderful than any except the experts realize。 In a monograph upon the ancient pottery of these people； Dr。 Fewkes pictures every known geometrical figure of ancient and modern times； all of which were copied by him from vessels that have been excavated from ancient ruins and graves。
The Pottery of Nampeyo。 Every village has its own style of pottery。 Among the Hopis； the finest potter is a resident of Tewa or Hano； Nampeyo by name。 Her ware is characterized by beauty of shape； perfection of form； dignity and character in design； and a general appearance that is pleasing and artistic。 Zuni pottery is of a superior quality to that of Acoma； Laguna； and the other villages near by； and often contains in its designs the deer； with its peculiar red line of throat leading to the heart。
Black Pottery。 At Santa Domingo and Santa Clara； pueblos on the Rio Grande； a black ware is produced that is effective and strongly decorative in certain pieces。
Ancient Varieties。 Ancient ware； dug from ruins and graves； is exceedingly rare and commands a high price。 There are three distinguishable varieties； among others； that denote comparative age。 The earliest type is of the corrugated ware； in which the thumb and finger marks； denoting the pressure of the coils； one upon another； are clearly in evidence。 Some pottery was made in basket matrices； and marks of the basket are clearly outlined upon the outside of the vessels so made。
The second type is the plain black and white ware； and the third is the red ware painted with black designs。
Both ancient and modern ware； the latter in large variety； may be seen and purchased at the Hopi House。
Navaho Silverware。
