Native American Indian jewelry, admired for its intricate designs and vibrant materials, boasts a rich and complex history. The question of how long have indian tribes been making jewelry isn’t easily answered with a single date, as the practice stretches back millennia and evolved significantly over time. This article delves into the fascinating journey of Native American jewelry creation, exploring its prehistoric roots, the influence of trade and cultural exchange, and the distinctive styles developed by various tribes. To fully appreciate the artistry of this craft, it’s essential to understand its deep connection to cultural identity, spiritual beliefs, and the natural resources available to indigenous communities. The question, how long have indian tribes been making jewelry is a door that opens into the rich and diverse history of these people.
Prehistoric Adornment: Echoes of Ancient Traditions
Archaeological discoveries offer compelling evidence that Native Americans have been crafting and wearing jewelry for thousands of years. As early as 5500 B.C., communities across North America were utilizing natural materials like shells and stones for personal adornment. These early forms of jewelry weren’t merely decorative; they likely held symbolic significance, reflecting status, tribal affiliation, or spiritual beliefs.
One of the most prized materials in prehistoric jewelry was turquoise. Excavations at Hohokam sites in southern Arizona have unearthed turquoise artifacts dating back to 200 B.C., while turquoise from central Mexico has been traced to around 600-700 B.C., and South America to approximately 900 B.C. These findings reveal not only the antiquity of turquoise use but also the existence of sophisticated mining and lapidary techniques.
Prehistoric Native Americans actively mined turquoise, shaping it into drilled beads and other hanging ornaments. Evidence also suggests the use of turquoise appliqués on shell and other rocks, possibly adorning wooden ear decorations. The sheer abundance of turquoise found at sites like Chaco Canyon, with several thousand pieces recovered, underscores its importance in ancient cultures.
Beyond turquoise, the spiny oyster shell, Spondylus princeps, held significant value. Originating exclusively off the coast of Baja California, this shell has been discovered in archaeological excavations of the Anasazi, Mogollon, and Hohokam cultures of the desert Southwest, as well as in eastern mound excavations alongside turquoise. The presence of materials sourced from distant regions points to established trade networks and the value placed on these adornments.
The discovery of turquoise from New Mexico’s Cerillos mining area in southern Mexico and in excavated mounds east of the Mississippi River further strengthens the evidence for long-distance trade. These findings illustrate that the desire for adornment and the materials used to create it were powerful drivers of economic activity in prehistoric North America. The long history of how long have indian tribes been making jewelry shows that it started as a form of trading and economic activity.
The Evolution of Jewelry Styles: Beadwork and Quillwork
While metalwork, particularly silversmithing, is often associated with Native American jewelry, beadwork and quillwork represent equally important traditions with deep historical roots. These techniques, utilizing readily available materials, showcase the ingenuity and artistic skill of various tribes.
Beadwork:
Beadwork is a widespread art form among Native American tribes, particularly those of the northern, central, and southern Plains. While used in jewelry items like earrings and medallion necklaces, beadwork is more commonly found adorning bags, horse gear, moccasins, and clothing.
Different tribes developed distinctive beadwork styles, often characterized by specific designs and color palettes. The Cree, Ojibwa, and Shoshone are renowned for their intricate floral designs, typically executed on a white background with red or pink flowers, often roses, and intricate curling stems in green.
In contrast, the Arapaho, Blackfoot, Crow, Assiniboin, Gros Ventre, and Yanktonia Dakota tribes favored geometric patterns. Checkerboard motifs in squares and triangles, with fully beaded backgrounds in yellow, light blue, red, and sometimes white, were common. The Blackfoot tribe, in particular, excelled in this style, often preferring a yellow background.
The central Plains styles, practiced by the Teton and Yanktonia Dakota (Sioux), Cheyenne, and Arapaho, involved covering large areas with backgrounds in white or blue beads, with figures in blue, green, red, yellow, and white.
Around 1885, depictions of everyday life became popular themes in beadwork, especially for men’s jackets, vests, and pipe bags. Male figures in war bonnets, horses, and the American flag were frequently portrayed, reflecting the influence of outside cultures and the production of beaded items for non-Indian patrons.
Quillwork:
Quillwork, an art form utilizing porcupine quills, predates the widespread availability of trade beads. This intricate technique, primarily associated with Plains Indian tribes, involves softening, dyeing, and weaving porcupine quills onto various surfaces. While quillwork was used on similar items as beadwork, the availability of trade beads led to its decline, though contemporary artists are now reviving this ancient art.
The Silversmith Era: A Fusion of Cultures
The arrival of Europeans in North America brought about significant changes in Native American jewelry making. While some tribes had limited experience with metals like copper, the introduction of silver and silversmithing techniques revolutionized the craft.
The Navajo tribe played a pivotal role in spreading silversmithing throughout the Southwest. Although the exact date of their arrival in the region is debated, the Navajo were heavily influenced by the existing Pueblo cultures and the Spanish colonists. From the Spanish, they gained an appreciation for personal adornment and adopted certain design elements, such as the Moorish-inspired crescent and the pomegranate blossom.
Initially, the Navajo used materials like German silver (a copper-nickel-zinc alloy), copper, brass, and silver to create ornaments. These adornments, often obtained through trade or conquest, were worn as symbols of wealth and status. The crescent-shaped naja, for example, was likely valued for its aesthetic appeal rather than its religious significance.
Atsidi Sani ("Old Smith") is credited as the first Navajo silversmith. He learned blacksmithing in the early 1850s and may have begun working with silver in the early 1860s. After being captured by the U.S. Cavalry in 1864 and sent to Fort Sumner, Atsidi Sani continued to develop his skills. While some believe he learned silversmithing after his return to the Dinetah (Navajo homeland) in 1868, evidence suggests he may have been practicing the craft earlier.
Early Navajo silverwork focused on items like concha belts, bracelets, bow guards, tobacco flasks, and necklaces. Rings, earrings, pins, hair ornaments, buckles, and bolos evolved from these initial forms. By the 1880s, a full range of silver jewelry was being produced throughout the Navajo reservation.
Early Navajo silverwork featured hammered designs with file decoration. Turquoise, a stone highly valued by the Navajo, began to be incorporated into silver jewelry around 1880. Prior to this, turquoise was often glued to other materials.
Atsidi Sani passed on his knowledge to his sons, who in turn taught others. The craft spread to the Zuni tribe around 1872, when Atsidi Chon ("Ugly Smith") taught his friend Lanyade the skills of silversmithing. Lanyade, already skilled in metalworking with copper, brass, and iron, paid Atsidi Chon a horse for his instruction.
Lanyade then traveled to various pueblos, selling his jewelry and teaching others. He taught Sikyatala, the first Hopi silversmith, at Sichomovi on Hopi First Mesa. Due to this lineage, early Zuni and Hopi silverwork was largely Navajo in style.
Over time, the styles evolved as the Pueblo students adapted the techniques and incorporated their own cultural aesthetics. The Zuni, known for their lapidary skills, developed the fine and channel inlay techniques that characterize their jewelry today. The Hopi, with guidance from the Museum of Northern Arizona, developed the "overlay" technique in 1938, creating a distinctly Hopi style using designs inspired by pottery shards from the Sikyatki Pueblo ruins.
Contemporary Indian Jewelry: A Celebration of Diversity
Today, Native American silversmiths often possess a wide range of skills, including goldsmithing and lapidary. They freely blend tribal design elements and incorporate their own innovations, blurring the lines between traditional styles. It is no longer possible to identify the tribal origin of a piece of jewelry solely based on its style. The question, how long have indian tribes been making jewelry, becomes less about the history and more about the artistry of today.
To determine the tribe of origin, it is essential to verify the artist’s tribal affiliation. Many contemporary artists register a hallmark symbol, which is stamped on the jewelry as a form of signature. Real sterling silver jewelry may also be marked with "sterling," "ss," or ".925" to indicate its purity.
However, not all Native American jewelry is marked. Many artists only sign their best work, and some artists in remote areas may not register a hallmark.
The Significance of Turquoise: A Sacred Stone
Turquoise has been a cornerstone of Native American jewelry in the Southwest for over 2000 years. The stone held immense importance, used in religion, art, trade, treaty negotiations, and jewelry. It was often associated with life itself.
Turquoise also had medicinal and mystical applications. It was believed to prevent injury, cure ailments, and influence dreams. As a good luck talisman, it was used across various cultures.
Different tribes held unique beliefs about turquoise. The Zuni believed blue turquoise represented the male sky, while green turquoise represented the female earth. The Hopi adorned their fetishes with turquoise to enhance their powers and believed it could hold back floods. The Apache believed attaching turquoise to a weapon would improve its accuracy and that it brought rain. The Navajo considered turquoise a sacred stone that brought good fortune and appeased the Wind Spirit.
The Squash Blossom Necklace: A Symbol of Cultural Fusion
The squash blossom necklace, a popular item in Native American jewelry collections, originated with the Navajo in the late 1880s. The Navajo term for the "squash blossom" bead, yo ne maze disya gi, simply means "bead that spreads out," with no direct reference to squash or pomegranate blossoms.
The necklace’s crescent-shaped pendant, known as the naja, was inspired by iron ornaments on Spanish horse bridles. The naja reflected Moorish influences on Spanish culture and was adopted by the Navajo, becoming associated with ceremonies and crop fertility.
Early Navajo silver beads were large and unornamental. Over time, more complex designs developed, including fluted and oval beads. Spanish-Mexican trouser and jacket ornaments, often resembling pomegranates, were also used as beads.
Today, the squash blossom necklace remains a beloved piece of jewelry among both Native Americans and collectors. It is a timeless representation of cultural fusion and artistic innovation.
In conclusion, the question, how long have indian tribes been making jewelry is a complex one with answers that start in prehistoric times and continue today. The history of Native American jewelry is a testament to the ingenuity, resilience, and artistic vision of indigenous communities. From the earliest use of shells and stones to the sophisticated metalwork of today, Native American jewelry reflects a deep connection to the land, cultural traditions, and the ongoing evolution of artistic expression. The legacy of these skilled artisans continues to inspire and captivate, ensuring that the art of Native American jewelry will thrive for generations to come. Answering the question of how long have indian tribes been making jewelry can be answered by saying, "As long as there has been a culture to be preserved."