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.
THE WOMAN AND HER CRAFTSMANSHIP
In his weaving, painting, and embroidery of beads and quills the red man has shown a marked color sense, and his blending of brilliant hues is subtle and Oriental in effect. The women did most of this work and displayed vast ingenuity in the selection of native materials and dyes. A variety of beautiful grasses, roots, and barks are used for baskets by the different tribes, and some even used gorgeous feathers for extra ornamentation. Each was perfectly adapted in style, size, and form to its intended use.
Pottery was made by the women of the [Southwest] for household furniture and utensils, and their vessels, burned in crude furnaces, were often gracefully shaped and exquisitely decorated. The designs were both imprinted on the soft clay and modeled in relief. The nomadic tribes of the plains could not well carry these fragile wares with them on their wanderings, and accordingly their dishes were mainly of bark and wood, the latter sometimes carved. Spoons were prettily made of translucent horn. They were fond of painting their rawhide cases in brilliant colors. The most famous blankets are made by the Navajoes upon rude hand looms and are wonderfully fine in weave, color, and design.
This native skill combined with love of the work and perfect sincerity—the qualities which still make the Indian woman's blanket or basket or bowl or moccasins of the old type so highly prized—are among the precious things lost or sacrificed to the advance of an alien civilization. Cheap machine-made garments and utensils, without beauty or durability, have crowded out the old; and where the women still ply their ancient trade, they do it now for money, not for love, and in most cases use modern materials and patterns, even imported yarns and "Diamond dyes!" Genuine curios or antiques are already becoming very rare, except in museums, and sometimes command fabulous prices. As the older generation passes, there is danger of losing altogether the secret of Indian art and craftsmanship.
MODERN INDIAN ART
Struck by this danger, and realizing the innate charm of the work and its adaptability to modern demands, a few enthusiasts have made of late years an effort to preserve and extend it, both in order that a distinctive and vitally American art-form may not disappear, and as a means of self-support for Indian women. Depots or stores have been established at various points for the purpose of encouraging such manufactures and of finding a market for them, not so much from commercial as from artistic and philanthropic motives. The best known, perhaps, is the Mohonk Lodge, Colony, Oklahoma, founded under the auspices of the Mohonk Indian Conference, where all work is guaranteed of genuine Indian make, and, as far as possible, of native material and design. Such articles as bags, belts, and moccasins are, however, made in modern form so as to be appropriate for wear by the modern woman. Miss Josephine Foard assisted the women of the Laguna pueblo to glaze their wares, thereby rendering them more salable; and the Indian Industries League, with headquarters in Boston, works along similar lines.
The Indian Bureau reports that over $600,000 worth of Navajo blankets were made during the last year, and that prizes will be awarded this fall for the best blankets made of native wool. At Pima $15,000 worth of baskets and $5,000 worth of pottery was made and sold, and a less amount was produced at several other agencies.
Another modern development, significant of the growing appreciation of what is real and valuable in primitive culture, is the instruction of the younger generation in the Government schools in the traditional arts and crafts of their people. As schooling is compulsory between the ages of six and sixteen years, and from the more distant boarding-schools the pupils are not even allowed to go home for the summer vacation, most of them would otherwise grow up in ignorance of their natural heritage, in legend, music, and art forms as well as practical handicrafts. The greatest difficulty in the way is the finding of competent and sympathetic teachers.