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diff --git a/24568.txt b/24568.txt new file mode 100644 index 0000000..ff959dc --- /dev/null +++ b/24568.txt @@ -0,0 +1,658 @@ +Project Gutenberg's Aboriginal American Weaving, by Mary Lois Kissell + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Aboriginal American Weaving + +Author: Mary Lois Kissell + +Release Date: February 11, 2008 [EBook #24568] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK ABORIGINAL AMERICAN WEAVING *** + + + + +Produced by Irma Spehar and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + Aboriginal American Weaving + + ---- BY ---- + + MISS MARY LOIS KISSELL, + + American Museum of Natural History, + + NEW YORK CITY. + + A Paper Read before The National Association of Cotton Manufacturers + at their Eighty-eighth Meeting at Mechanics Fair Building, Boston, + Mass., April 27th, 1910. + + [Illustration] + + + + + ABORIGINAL AMERICAN WEAVING. + + MISS MARY LOIS KISSELL, American Museum of Natural History, New York + City. + + +Wonderful as is the development of modern machinery for the +manufacture of American textiles--machinery which seems almost human +in the way it converts raw materials into finished cloth; just as +surprising are the most primitive looms of the American aborigines, +who without the aid of machinery make interesting weavings with only a +bar upon which to suspend the warp threads while the human hand +completes all the processes of manufacture. Modern man's inventive +genius in the textile art has been expended upon perfecting the +machinery, while primitive man's ingenuity has resulted in making a +beautiful weaving with very simple means. + +No doubt could we know the history of primitive loom work in America +prior to the coming of the white man, we would find an extended +distribution of weaving, but all early textiles have been lost owing +to the destructability of the material and the lack of climatic and +other conditions suitable for their preservation--conditions such as +are present in the hot desert lands of the Southwest and the coast +region of Peru. However, so many impressions of weavings have been +found on early pottery as to assure us that beautiful work of this +kind was made in eastern, middle and southern United States. In +western British Columbia at the present time there are tribes carrying +on certain forms of weaving which show four interesting types. + + [Illustration: FIGURE 1.--KWAKIUTL SQUAW, WEAVING.] + +The simplest type is the cedar bark mat woven of flat strips in +horizontal and vertical lines. In beginning wide strips of the inner +bark are hung from their centre over a crossbar of wood which is +supported at either end by an upright beam. The halves of the strips +hanging in front are then split into strands of the desired width and +a line of fine twining woven across to hold them securely. The checker +weaving of the mat is now begun at the left edge by doubling the weft +element over the last warp and then weaving with the doubled element +over and under one warp until the right edge is reached where it is +turned back and slipped under an inch of the weaving just completed. +Figure 1 shows a squaw at work on such a mat, and when she has +completed this half of the mat the second half will be undertaken. She +finishes the edge by turning up the warp ends below the last line of +weft and binds them with a row of twining just above this last weft. + + [Illustration: FIGURE 2.--MAT WITH CHECKED DESIGN.] + +In their industries, primitive people always utilize the materials +found in their environment, because no means is afforded them, as in +modern life, for the transportation of materials from a distance. +British Columbia is rich in cedar trees, so it is not strange that +material from this tree enters so largely into the weaving of this +region. Cedar bark lends itself very delightfully to the technic of +these mats, and its golden brown checked surface is at times crossed +by black lines or broken by a group of black checks in simple designs. +These vary greatly, but only one example (Figure 2) can be shown here. + + [Illustration: FIGURE 3.--PRIMITIVE LOOM WITH PLAITED MAT.] + +The second type of weaving, also of cedar bark, is begun like the last +mat, but the elements are so placed as to cross the surface +diagonally--alternate strips passing diagonally downward to the right +and left as in Figure 3. These strips are not woven but plaited over +and under each other without the addition of a weft element as in +weaving. When the side edge is reached the strips turn over at right +angles and continue to plait in the changed oblique direction. The +lower edges are finished by bending the elements at right angles and +plaiting them obliquely back for an inch into the completed surface. +Checked weaving and plaiting is employed in a variety of ways, for +aside from mattings it enter into the construction of baskets, +pouches, bags, sails, raincoats, baby's hoods, and a number of other +articles. + + [Illustration: FIGURE 4.--ANOTHER TYPE OF LOOM.] + +Cedar bark which has been softened and shredded plays an important +part in the clothing of this region, especially in blankets like that +in Figure 4. The blanket here, however, is not of cedar bark but of +goat's hair for a number of materials are made use of by this technic. +In this weaving the warps are not thrown over the crossbeam as in the +other loom but are supported on a cord which itself is bound to the +beam by another cord. Neither are the warps united by a strip of weft +running over and under but by a two strand weft element which twines +about the warps. To my knowledge this form of weaving has never been +reproduced by machinery as no machine can make threads twine. The +blankets of cedar bark are undecorated, but those of wool frequently +have strands of another color passed across the surface and caught +into the weaving from time to time, producing similar designs to that +in Figure 4. As observed in the illustration the lines of weft are not +driven home but are set some distance apart, the space between varying +on different garments. At the lower edge, however, there is frequently +found a band of closely woven twining, at other times a band of fur, +or a long fringe may complete the edge. + + [Illustration: FIGURE 5.--UNFINISHED CHILKAT BLANKET.] + +The most beautiful weaving of western British Columbia is the Chilkat +blanket, Figures 5 and 6, a weaving which is unique in technic and +design, both in primitive and modern textile art. It is a ceremonial +garment and the gorgeous designs in white, blue, yellow and black are +of totemic significance and relate to the ceremonial life of the +Indian. In earliest times this blanket was undecorated, a plain field +of white; then color was introduced on the white field in stripes of +herring-bone pattern typifying raven's tail, because similar to the +vanes of the tail feathers; and later the elaborate geometric designs +of present day blankets developed. These designs are first painted +upon a pattern board the size and shape of those which are to appear +upon the blanket, and it is from this pattern board that the squaw +weaves her pattern. But although the woman (Figure 7) does weave the +blanket, the man also has his part in the process as he furnishes the +loom, the pattern board and the skin of the goat. The squaw prepares +all the materials and collects the bark, for the warp is of shredded +two-ply cedar bark wrapped with a thread of wool, while the weft is +entirely of the soft wool of the mountain goat. + + [Illustration: FIGURE 6.--OLD CHILKAT BLANKET.] + + [Illustration: FIGURE 7.--SQUAW WEAVING CHILKAT BLANKET.] + +Lieut. G. T. EMMONS tells us that the goat of this region abounds in +the rugged coast mountains from Puget Sound to Cook's Inlet, but is +unknown on the outlying islands. Its preference is the glacial belt +and snow-fields of the most broken country and the terraced sides of +the precipitous cliffs. It is gregarious in habit being found in bands +of from ten to fifty or more. From September until April the skin is +in prime condition with an abundance of soft wool under a heavy +covering of long coarse hair; but the hunting is only done in the +autumn. To prepare for the plucking, the skin must be kept wet on the +underside so it is moistened and rolled up for several days, thus +loosening the hold of the fleece. With thumb and fingers of both +hands the squaw, seated upon the ground, pushes the fleece from her, +procuring by this process great patches of wool and hair. Then the +hairs are plucked out and thrown away and the wool is ready to be +spun. During the spinning the woman also sits upon the ground with +legs outstretched, with the crude wool by her left side within easy +reach. This she draws out with her left hand and feeds to her right, +in the amount necessary to form the required size of thread. As it is +received between the palm of the right hand and the right thigh, it is +rolled from the body and falls to the side in loose, connected thread. +This soft thread is next spun between the palm of the hand and the +thigh to form a single tightly twisted strand; and by the same process +two of these strands are rolled together to form the weft thread for +the blanket. In technic the blanket is related to the last one +described for it is a twine weaving, but a twilled twine as the two +strand weft encloses two warps at a move and with each succeeding line +of weft advances one warp giving the surface a twilled effect. It is +interesting that the small blocks of design are woven separately +something as a tapestry, and later the blocks are sewed together with +a thread of sinew from the caribou or whale. + + [Illustration: FIGURE 8.--A THIRD TYPE OF LOOM.] + + [Illustration: FIGURE 9.--NAVAJO LOOM.] + +The weaving from this region which most nearly approaches machine work +in process of making is the dog-hair and goat's wool blanket. It is +woven upon a loom of two revolving cylindrical beams, supported by +upright posts at either end (Figure 8). The end of the warp thread is +attached to a staying cord stretched from post to post about midway +between the revolving beams. The warp then encircles the loom, catches +under the staying cord, then turns and travels back to its starting +point, there to catch under the staying cord and repeat the operation. +The weft moves across the warps as in twilled cloth, over two, under +two, with an advance of one warp at each line of weft. Dog's hair, +duck down and goat's wool are the materials used, especially the +latter. These materials are spun in two-ply thread twisted partly upon +the thigh of the weaver and finished on a spindle. + +Leaving this weaving area in western British Columbia we pass to the +other locality of note in North America where primitive weaving is +practised,--in southwestern United States and northern Mexico. Here +the loom work is at a more advanced stage of development than that of +the northern area, the weavers making use of a loom frame, sheds, +healds, batten and an improvised shuttle. The Navajo Indians are the +most skilled weavers north of Mexico and a description of their +weaving is fairly typical of this area. As the warps are of soft +pliable threads they must of necessity be stretched between two beams. +These are suspended vertically if the weaving is to be of any great +size, the distance between them being that of the proposed length of +the blanket (Figure 9). The warp threads are not stretched across the +beams with an oval movement but are laced over them, forming two +sheds, the upper of which is held intact by means of the shed-rod, and +the lower by a set of healds passing over a heald-rod. A wooden fork +serves as a reed and a slender twig as a shuttle. Upon this twig is +loosely wound from end to end the weft thread. The shuttle at one move +crosses less than half of the warps as the batten--a flat stick of +hard oak--is too short to open more than that length of the shed for +the passage of the shuttle. + + [Illustration: FIGURE 10.--HOPI BLANKET.] + + [Illustration: FIGURE 11.--HOPI WEAVING.] + + [Illustration: FIGURE 12.--MEXICAN SERAPE.] + +In Figure 10 only a portion of a blanket from the Hopi Indians is +shown, that the delicate design may be better seen. A number of Hopi +patterns have this fine white line of tracery upon the dark background +and it is this play of the fine line pattern on the fabric which is +one of the chief beauties of Hopi weavings. The sparkle of white is +even more brilliant in Figure 11, another smaller weaving from the +same people. They make constant use of the diagonal or twilled +technic, a weave which requires that the warps be divided into four +sheds, the upper supplied with a shed stick, the three lower with +healds. The sheds are shifted in a variety of orders for the +construction of different patterns. + + [Illustration: FIGURE 13.--HUICHOL WEAVING.] + +One of the most beautiful weavings the writer has ever seen from the +southwest is that pictured in Figure 12, which is, however, only a +small center portion of the beautiful sirape from Mexico. The pattern +in two colors of indigo upon a tan colored ground is especially +effective, while the tiny blue dots sprinkled upon the tan surface and +the tan dots over the blue design add a subtle and delightful charm +not frequently met with. + +The last two examples, Figures 13 and 14, are also from Mexico, the +first a bit of weaving with animal designs from the Huichol Indians, +and the last a belt loom from the same people. In making belts and +other narrow fabrics the loom is either horizontal or oblique in +position, stretching from some post or tree to the weaver and there +attached to a loop which passes either about the waist or under the +thighs and rendered tense by the weight of the weaver. These belts may +be woven with two or four sheds according to the style of weaving +desired, while another method of pattern work on two shed weaving has +the addition of a round stick run into the warps so as to raise +certain threads while the weft passes two or three times underneath +producing a variety of damask weaving. + +The stretch between these simple methods of primitive peoples and +machine methods of modern life is great indeed and we will long +continue to wonder that with such crude devices these people could +produce results which compare favorably with our modern weavings. + + [Illustration: FIGURE 14.--MEXICAN BELT LOOM.] + + + + + +End of Project Gutenberg's Aboriginal American Weaving, by Mary Lois Kissell + +*** END OF THIS PROJECT GUTENBERG EBOOK ABORIGINAL AMERICAN WEAVING *** + +***** This file should be named 24568.txt or 24568.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/4/5/6/24568/ + +Produced by Irma Spehar and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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