THE INDIAN'S VIEWPOINT
Now we see at once the root of the red man's failure to approach even distantly the artistic standard of the civilized world. It lies not in the lack of creative imagination—for in this quality he is a born artist—it lies rather in his point of view. I once showed a party of Sioux chiefs the sights of Washington, and endeavored to impress them with the wonderful achievements of civilization. After visiting the Capitol and other famous buildings, we passed through the Corcoran Art Gallery, where I tried to explain how the white man valued this or that painting as a work of genius and a masterpiece of art.
"Ah!" exclaimed an old man, "such is the strange philosophy of the white man! He hews down the forest that has stood for centuries in its pride and grandeur, tears up the bosom of mother earth, and causes the silvery watercourses to waste and vanish away. He ruthlessly disfigures God's own pictures and monuments, and then daubs a flat surface with many colors, and praises his work as a masterpiece!"
This is the spirit of the original American. He holds nature to be the measure of consummate beauty, and its destruction as sacrilege. I have seen in our midsummer celebrations cool arbors built of fresh-cut branches for council and dance halls, while those who attended decked themselves with leafy boughs, carrying shields and fans of the same, and even making wreaths for their horses' necks. But, strange to say, they seldom made a free use of flowers. I once asked the reason of this.
"Why," said one, "the flowers are for our souls to enjoy; not for our bodies to wear. Leave them alone and they will live out their lives and reproduce themselves as the Great Gardener intended. He planted them: we must not pluck them, for it would be selfish to do so."
Indian beadwork in leaf and flower designs is generally modern. The old-time patterns are for the most part simple geometrical figures, which are decorative and emblematic rather than imitative. Shafts of light and shadow alternating or dovetailed represent life, its joys and sorrows. The world is conceived of as rectangular and flat, and is represented by a square. The sky is concave—a hollow sphere. A drawing of the horizon line colored pale yellow stands for dawn; colored red, for sunset. Day is blue, and night black spangled with stars. Lightning, rain, wind, water, mountains, and many other natural features or elements are symbolized rather than copied literally upon many sorts of Indian handiwork. Animal figures are drawn in such a manner as to give expression to the type or spirit of the animal rather than its body, emphasizing the head with the horns, or any distinguishing feature. These designs have a religious significance and furnish the individual with his personal and clan emblem, or coat of arms.
Symbolic decorations are used on blankets, baskets, pottery, and garments of ceremony to be worn at rituals and public functions. Sometimes a man's teepee is decorated in accordance with the standing of the owner. Weapons of war are adorned with emblems, and also pipes, or calumets, but not the every-day weapons used in hunting. The war steed is decorated equally with his rider, and sometimes wears the feathers that signify degrees of honor.