Many people own some form of Native American Jewelry, and such pieces have been in fashion for years. However, many people do not understand how the many designs relate to the specific symbols, beliefs and aesthetics of particular tribes and artists. Another aspect is the use of older pieces with no appreciation of them as anything other than matching an outfit. I will focus on the southwest and sterling pieces due to their popularity. However, there are many types of Native American jewelry some beaded, some in bone, seeds etc. Artists pour years of experience, decide what times of day might be best and allow the wearer to have access to amazing cultural and individual designs. I will demonstrate that really understanding the jewelry will help you find better pieces, wear them in more interesting combinations and connect with them in more meaningful ways.
Old Pawn:
Many old pawn pieces were sold during hard times and belonged to families as heirlooms. They are often unsigned although there are fakes coming out of china. In these cases they should demonstrate wear and some detail in craftsmanship especially when looking at how they hold stones into place with what look like little teeth. One common mistake people make right from the start is to clean this “tarnished” pawn jewelry. This can lower the value. These pieces in particular hold many layers of meaning. Due to their origins some cultural beliefs about older jewelry include the belief that a piece sometimes comes to you because it is meant to be cared for by you. Yet one should beware of where a seller might have gotten the item such as a burial or in a dishonest fashion. Such jewelry brings you bad luck.
Cultural Meanings:
A design example I have included is the first image of an older piece I own and love because of its meaning. It is sand-cast and holds in its center a design that represents the four worlds, mountains, corn and mother earth. Corn is central to the beliefs of the Hopi and the four worlds is significant as well. In this case I believe it is Navajo however, their beliefs have some similar core aspects to that of the Hopi.
Sand-cast:
This is a process the Navajo created in the 1860's in which one carves the design into two halves of a prepared soft sandstone (tufa). It involves about 4 days of work and is harder than one might assume. Vents are carved leading away from the design in the stone so that hot air can escape. One also has pour channels where the silver will be poured in. The stone is heated to prevent silver from sticking to it and then the artist can pour in the heated or molten silver. This is a very simplified explanation and there are various stages to the pours, both silver and air must be at a “good” temperature, and polishing the final piece is done in phases.
Navajo Jewelry and Meanings:
To the Navajo people, jewelry represents status and one wears their jewelry on special occasions to demonstrate wealth, family pride and status. They often layer many pieces to illustrate or wear their wealth. Some items are seen as cash and trades may be made. One example of use of such jewelry today for the Navajo would be an occasion such as weddings which would be the perfect example of when this might occur.
History tells us that art of silversmithing was brought to the Navajo by the Spanish. However, the Navajo took the techniques and made them their own. In their jewelry we see elements of Spanish influence such as the naja (A Moor design which looks like a half moon shape on many squash blossom necklaces) as well as Navajo values or designs. Designs such as the Spanish dome bead and pomegranate led to key components of what would become the squash blossom (see image 2). Yet, again in this case the Dine or Navajo borrowed and altered these designs. The Navajo did not start using turquoise set in sterling until the late 1800's. Beaded necklaces include those made of seashells and corals which are altered into amazing beads. Some are tube like, others are in the shape of a fetish animal (these can also be made of many stones). Fetish necklaces sometimes contain one or over 50 fetishes. A fetish is usually in the form of an animal. It is an early belief found in the southwest Zuni and other tribes since the beginning and is of great cultural significance. They can belong to and represent a clan, or even family. The wearer is protected by the spirit which lives inside or is embodied in the fetish. They are taken care of by their owners in various ceremonial ways. (See Image 3).
Zuni and Hopi:
Zuni work is often intricate polished inset stones in silver forming amazing designs. The stones in jet black, coral, shell and turquoise make up the core materials and overshadow the silver work underneath.
Hopi jewelry is heavily influenced by their pottery designs. They use and layers of silver to create an effect found in their jewelry. Hopi motifs include abstract designs, cornstalks, kiva elements and the Kokopelli. Hopi and Zuni artists did and continue to communicate concerning techniques and designs.
Kachinas to the Hopi are spirits associated with elements, living things, ancestors and life/death. There are over 500 kachinas maybe thousands, millions and they have rolls such as bringing rain and one example lives in the clouds. They oversee or take care of each of these aspects found in nature or the world. Dances are performed, dolls which embody them are made and even kachina jewelry exists. Their role is central to teaching children their culture and playing a part in the everyday natural world. So when wearing a Kachina ring remember who they are.
Finding Great Southwestern Jewelry:
In the 1970's southwestern jewelry became very popular and the size in both sterling and stones became larger. This is often how you can tell if a piece is from that era, are the stones chunky? I like this look, the bigger the better and I have a few of these items. Large stone bracelets or oversized squash blosooms are still popular. In the 1970's a new movement began in the world of the Native American silversmith which combined notions of 60's “modernism” with cultural designs. New materials such as gold were also used. The greats like Charles Loloma, Boyd and Richard Tsosie, Jesse Monongyne, Jimmy King Jr., Harvey Chavarria among many others commanded the market. So, now that you know their names you can look them up and see which styles you admire. Some works are still reasonable, but the pieces by those such as Loloma can be into the thousands. However, these are true artists and to own a piece is an honor and there is a price to be paid for craftsmanship.
Some of these “modernist” artists are still living. Other living artists are extremely talented and one can find them on the sides of the market at Santa Fe. Look for the Native American artists, sitting on the sides of the central market without booths for great quality pieces. The Navajo fair on the reservation in New Mexico during the summer months is a great spot for good artists and fair prices. Vendors also along the roadside near Shiprock New Mexico can be great finds. In the summer small Native run fairs spring up and are wonderful because you can speak with the artist. Older designs and 1970's items can be found at local estate sales or even on etsy or ebay (but be careful and do research on the piece/design so that you have comparables).
Possible web sources to familarize yourself with artist's work and or purchase from:
http://southwesternjewelry.net
http://www.sedonaindianjewelry.com/Jewelry/frames.html – This site has a lot of the masters like Tsosie so you can learn how to identify past work or buy current examples.
I have tried to impart specific yet basic level knowledge and tips in blog form which does not allow for complete anthropological or research level depth. For more information see:
Books:
Editor. Chalker, Kari. Totems to Turquoise.American Museum of Natural History.
Arizona Highways magazine. Older editions from the 1970's. Especially April 1979. Collector's Edition. The New Look in Indian Jewelry.
Shelby Jo-anne Tisdale. Fine Indian Jewelry of the Southwest: The Millicent Rogers Museum Collection.
The Beauty of Navajo Jewelry. by Theda Bassman, Gene Balzer.
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