the grand canyon of arizona-第29节

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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。