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Although the prehistoric Indians of Tusayan have left no written records in the forms of books, documents, or codices, there survives from their time a most elaborate paleography which has been preserved on imperishable material in the dry soil of Arizona for several centuries. This paleography is a picture writing, often highly symbolic and complicated, but from it the student can obtain an idea of Hopi thought and its expression at that remote time. It reveals phases of ancient life which have been modified or lost in the subsequent development of the race.FROM THE BOOKS.
Inuit art, both ancient and contemporary, has inspired the interest of scholars, collectors and art lovers around the globe. This book examines Inuit art from prehistory to the present with special attention to methodology and aesthetics, exploring the ways in which it has been influenced by and has influenced non-Inuit artists and scholars. Part One gives the history of the main art-producing prehistoric traditions in the North American arctic, concentrating on the Dorset who once flourished in the Canadian region. It also demonstrates the influence of theories such as evolutionism, diffusionism, ethnographic comparison, and shamanism on the interpretation of prehistoric Inuit art. Part Two demonstrates the influence of such popular theories as nationalism, primitivism, modernism, and postmodernism on the aesthetics and representation of twentieth-century Canadian Inuit art. This discussion is supported by interviews conducted with Inuit artists. A final chapter shows the presence of Inuit art in the mainstream multi-cultural environment, with a discussion of its influence on Canadian artist Nicola Wojewoda. The work also presents various Inuit artists' reactions to Wojewoda's work.