The graphic art of the Apache finds expression chiefly in ceremonial paintings on deerskin, and in basketry. Only rarely have they made pottery, their roving life requiring utensils of greater stability. Such earthenware as they did make was practically the same as that of the Navaho, mostly in the form of small cooking vessels. Usually the pictures are painted on the entire deerskin, but sometimes the skin is cut square, and at others ceremonial deerskin shirts are symbolically painted. Occasionally the Apache attempts to picture the myth characters literally; at other times only a symbolic representation of the character is made. In addition to the mythic personages, certain symbols are employed to represent the incident of the myth. These paintings are made under the instruction of a medicine-man and are a part of the medicine paraphernalia. On some skins the most sacred characters in Apache mythology are represented symbolically—Nayé̆nĕzganĭ, the War God; Tubadzĭschí̆nĭ, his younger brother; Kútĕrastan, the Creator of All; Stĕnátlĭhăn, the chief goddess. In fact the symbolism on an elaborately painted deerskin may cover every phase of Apache cosmology.
In their basketry the Apache women display great taste in form, and in their more superior work employ much symbolic decoration. Since the beginning of the present "messiah craze" all baskets display the sacred symbols believed to have been[pg 021] revealed to Das Lan by Chuganaái Skhĭn—a combination of the cross and the crescent. There are many baskets, made before this new religious wave swept over the tribe, into which the symbolism has since been woven.
The basket most used is the tú̆tza, or burden basket, roughly and loosely woven, ornamented with circular lines as often painted on as woven in. Previous to a messiah craze, which had its origin with the Apache about 1901, the designs in these baskets were purely decorative, without attempt at symbolism; but now, by order of a crafty old medicine-man, every tú̆tza must display the combined cross and crescent.
The tus is a water bottle, made invariably of withes of the aromatic sumac, loosely woven, and coated inside and out with piñon gum. To use material other than sumac would be considered very bad. In the Apache deluge myth the people, instructed by Stĕnátlĭhăn, built a monster tus of piñon branches in which they floated away.
The tsa-naskú̆dĭ is a bowl or tray-shaped basket of splendid form, with symbolic decoration of intricate pattern.
The most pretentious basket is the tus-naskú̆dĭ, in general form like the tus, but much larger; it is used for the storage of grain. Its lines are most beautiful, as are also its inwoven symbolic designs.
Owing to the extremely secretive nature of the Apache, it is difficult for the casual student to learn anything of the relations between their mythology and the designs used in their basketry. Questioned, they will perhaps say, "We don't know," or "To make it look pretty." But an intelligent and trustworthy interpreter will tell you, "That woman knows, but she will not tell." A law of the cult brought about by the recent messiah religion is that every woman must have in readiness for use during the migration to the future world a tus, a tú̆tza, a tsa-naskú̆dĭ, and a gourd drinking-cup, all decorated with the cross and crescent. These are not used and are carefully preserved.
The clan and gentile systems of the American Indians have been the bulwark of their social structure, for by preventing intermarriage within the clan or the gens the blood was kept at its[pg 022] best. Added to this were the hardships of the Indian life, which resulted in the survival only of the fittest and provided the foundation for a sturdy people. But with advancing civilization one foresees the inevitable disintegration of their tribal laws, and a consequent weakening of the entire social structure, for the Indians seem to have absorbed all the evil, and to have embodied little of the good, that civilized life teaches.
The Covered Pit - Apache