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Describes and illustrates technique in an attempt to bring about an appreciation of the complexity of the art of porcupine-quill work.
Describes and illustrates technique in an attempt to bring about an appreciation of the complexity of the art of porcupine-quill work.
Reprint of the original from 1916.
Excerpt from The Technique of the Porcupine-Quill Decoration Among the North American Indians The buffalo-berry and squaw-currant were used for producing a red dye, but the former was preferred because it is more succulent than the squaw-currant, which has a large seed with a thin Skin and consequently required a greater quantity to produce the de sired color. The operation Oi dyeing consisted simply Of boiling the fruit and porcupine-quills together in water until the required color was Obtained. Sometimes dock-root was used in addition to the fruit, because it produced a brighter and stronger color. Care was exercised in collecting the root, as the mother, not the father plant, must be used; the difference between the two plants was recognized by the flowers. Wild grapes were used for making black dye Of superior quality, while a good substitute was found in hickory or walnuts when grapes were not obtainable. The nuts, gathered green (that is, before the hard shell had formed), were laid in the sun and occasionally sprinkled with water until they turned black, and then were boiled in water with the quills. The resultant color was a brownish black, and consequently was not SO satisfactory to the discriminating artist as that produced by the grapes. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
In-depth guide to ancient Native American crafts focuses on the techniques of the western Sioux. Explanations of techniques involved in quillwork, including dyeing and sewing, beadwork methods. More than 80 photographs and drawings depict handsome motifs on articles of clothing including vests, shirts, robes, dresses, leggings, moccasins, blankets, saddlebags, and shields.
For hundreds of years, American artisanship and American authorship were entangled practices rather than distinct disciplines. Books, like other objects, were multisensory items all North American communities and cultures, including Native and settler colonial ones, regularly made and used. All cultures and communities narrated and documented their histories and imaginations through a variety of media. All created objects for domestic, sacred, curative, and collective purposes. In this innovative work at the intersection of Indigenous studies, literary studies, book history, and material culture studies, Caroline Wigginton tells a story of the interweavings of Native craftwork and American literatures from their ancient roots to the present. Focused primarily on North America, especially the colonized lands and waters now claimed by the United States, this book argues for the foundational but often-hidden aesthetic orientation of American literary history toward Native craftwork. Wigginton knits this narrative to another of Indigenous aesthetic repatriation through the making and using of books and works of material expression. Ultimately, she reveals that Native craftwork is by turns the warp and weft of American literature, interwoven throughout its long history.
Major portion of the work deals with the bark insertion technique. Lavishly illustrated with black and white and colour photographs.