The Enduring Gleam: A History of Navajo Silversmithing Art
The art of Navajo silversmithing, a dazzling testament to cultural resilience and artistic ingenuity, is more than mere adornment; it is a meticulously crafted narrative of adaptation, innovation, and enduring identity. From its humble beginnings rooted in the practicalities of metalworking to its present-day status as a globally recognized fine art, the history of Navajo silver is a story forged in fire and polished by generations of skilled hands.
The genesis of Navajo silversmithing is commonly traced to the mid-19th century, a period of immense cultural upheaval and transformation for the Diné people. Before the advent of silver, the Navajo were adept metalworkers, though their focus was primarily on iron and copper, used for tools, weapons, and utilitarian items. Their expertise in blacksmithing, likely learned from Spanish and Mexican traditions, laid the crucial groundwork for what was to come.
A pivotal figure in this nascent period was Atsidi Sani, or "Old Smith," also known as Herrero Delgadito (Thin Silversmith) by the Spanish. Born around 1820, Atsidi Sani is widely credited as the first Navajo to learn the art of silversmithing. The precise details of his tutelage remain somewhat debated, but prevailing accounts suggest he learned the craft from a Mexican smith named Nakai Tsosi (Thin Mexican) in the 1850s, possibly near what is now Canyon de Chelly or Fort Defiance. He observed, absorbed, and then, with characteristic Diné ingenuity, began to adapt the techniques to his own cultural context.
Initially, Atsidi Sani’s work, and that of his early apprentices like his sons and brother, was rudimentary, focusing on functional items. Bridles, bits, and buttons were among the first pieces, reflecting a practical application of the new material. Silver, often sourced from melted Mexican and U.S. coins, was hammered, filed, and soldered into simple forms. Adornment was secondary to utility, yet the inherent beauty of the metal quickly captured the imagination.
The forced internment of the Navajo at Bosque Redondo (Fort Sumner) between 1864 and 1868, though a horrific chapter in Diné history, paradoxically played a role in the dissemination of silversmithing knowledge. During this period, the Navajo were in close proximity to other Pueblo groups and Spanish-speaking communities, fostering cultural exchange. Upon their return to their homelands, the returning Diné carried with them not only the trauma of imprisonment but also an expanded understanding of the outside world, including new tools and techniques for working silver.
The post-Bosque Redondo era, roughly from the 1870s to the turn of the 20th century, marked a significant expansion and refinement of Navajo silversmithing. The availability of silver coins increased, and tools became more sophisticated. The introduction of turquoise, often acquired through trade with Pueblo peoples who had mined it for centuries, revolutionized the art form. The deep blue and green hues of turquoise, revered for its spiritual significance and perceived protective qualities, became the perfect foil for the gleaming silver.
This period saw the emergence of iconic Navajo jewelry forms. The concho belt, with its large, often oval-shaped silver plaques (conchos) strung on leather, became a powerful statement of wealth and status. The squash blossom necklace, believed to be influenced by Spanish-Mexican designs (specifically the pomegranate motif, adapted to resemble a squash blossom or Navajo prayer bead) and featuring a central naja (a crescent-shaped pendant of Moorish origin), cemented itself as a quintessential piece of Navajo adornment. Bracelets, rings, earrings, and buckles also grew in popularity, each piece meticulously hand-forged, stamped, and often set with hand-cut turquoise.
The role of trading posts, which proliferated across the Navajo Nation in the late 19th and early 20th centuries, cannot be overstated. Traders like J.B. Moore, C.G. Wallace, and Lorenzo Hubbell became crucial intermediaries, supplying silversmiths with raw materials (silver ingots, sheet silver, and turquoise), tools, and a market for their finished goods. They also often commissioned specific designs, influencing the evolution of styles, sometimes for better, sometimes for worse. While trading posts provided economic lifelines, they also introduced an element of commercial pressure that occasionally led to debates about artistic integrity versus market demand.
The early 20th century witnessed the "Golden Age" of Navajo silversmithing, largely driven by the burgeoning American tourist market. Companies like the Fred Harvey Company, which operated hotels and gift shops along the Santa Fe Railway, became major distributors of Southwestern Indian jewelry. This demand led to increased production, and with it, a need for more efficient methods. Coin silver gradually gave way to commercially produced sheet silver and wire, which were easier to work with. While some purists lamented the shift from hand-forged coin, it allowed for greater design flexibility and faster production.
The 1930s brought challenges and legislative responses. The Great Depression impacted the market, but also spurred innovation. More significantly, the proliferation of cheap, mass-produced "Indian-style" jewelry, often made by non-Natives and sometimes in factories, threatened the authenticity and economic viability of genuine Native American artisans. In response, the U.S. Congress passed the Indian Arts and Crafts Act of 1935 (later revised in 1990), which aimed to protect Native American artists by requiring products to be truthfully represented as to the Native American tribe or artist who made them.
World War II also impacted silversmithing. Silver was rationed for the war effort, leading some smiths to temporarily scale back or experiment with other materials. However, the post-war boom of the 1950s and 60s saw a resurgence in demand and a renewed focus on artistic excellence. This period saw the emergence of true artist-silversmiths who transcended the "craftsman" label. Kenneth Begay (1913-1977), often hailed as the "father of modern Navajo jewelry," exemplified this shift. His work, characterized by clean lines, sophisticated designs, and impeccable craftsmanship, moved Navajo jewelry from curio to fine art, garnering international acclaim.
The mid to late 20th century also saw the diversification of techniques. Tufa casting, an ancient method adapted by Navajo smiths, involved carving a design into a porous volcanic rock (tufa), pouring molten silver into the mold, and then polishing the resulting piece. This technique produced unique, textured, and often heavy pieces. Overlay, a technique often associated with Hopi silversmithing but also adopted and adapted by Navajo artists, involved soldering two sheets of silver together after cutting a design from the top layer, creating a striking contrast between oxidized and polished surfaces.
Today, Navajo silversmithing continues its vibrant evolution. Contemporary artists blend traditional techniques with modern aesthetics, incorporating new materials like gold, alternative stones, and abstract designs while maintaining a profound connection to their heritage. Artists like Jesse Monongye, Norbert Peshlakai, and Arland Ben demonstrate the ongoing innovation, pushing boundaries while honoring the ancestral knowledge passed down through generations. The internet and global markets have opened new avenues for direct sales, allowing artists to connect with collectors worldwide, bypassing traditional trading post structures.
However, challenges persist. The market is still flooded with inauthentic "Native American style" jewelry, underscoring the ongoing need for consumer education and adherence to ethical purchasing practices. Economic pressures, the rising cost of materials, and the need to pass down intricate skills to a new generation remain crucial concerns.
Yet, the art endures. The history of Navajo silversmithing is not merely a chronicle of techniques and materials; it is a profound narrative of cultural survival, artistic expression, and economic ingenuity. Each piece of Navajo silver, whether a simple button from Atsidi Sani’s time or a complex contemporary masterpiece, carries with it the spirit of the Diné people – a spirit that has consistently transformed challenge into beauty, and raw metal into enduring art. It is a legacy that continues to gleam, reflecting the rich history and vibrant future of a remarkable artistic tradition.
