Native American Pin Vest

In days gone by, small to medium pins were commonly worn on blazer lapels, sweaters, coats, jackets, scarves. clutch purses and hats…………pins were a fashion staple.

See the slide show below for samples of classic Navajo pins.

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A brooch is a large decorative piece of jewelry pinned to a sweater or dress to complete and outfit and make a bold statement. Large grandmother pins can be thought of as a brooch.

 

Native American artists have made many styles of pins over the years and continue to do so today.  They range in size from tie tacks and hat pins all the way up to large petit point pins and employ all types of animals, symbols and designs.

See the slide show below for samples of Zuni, Hopi and Navajo symbols.

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Although I have written about ways to use pins in previous blog posts, truth be told, I rarely use pins unless it is as a pendant, using a pin-to-pendant converter.

See these articles:

Pins Make a Comeback

Native American Pins 

Native American Pins Beautify Handbags

Like many Native American jewelry aficionados, I have accumulated quite a few pins and rather than just look at them in a drawer or box, I decided to use a denim vest to display some of them.

See the slide show below for examples of animal pins.

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Butterfly pins are popular by both Zuni and Navajo artists.

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Cluster and grandmother pins are made by both Zuni and Navajo artists.

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Paula

Charles Loloma Badger Paw Pendant

When this piece arrived in an estate lot several years ago, I fell in love with it immediately – purely for its design and symbolism. I didn’t even look at the back – just thought it was an extraordinary piece.

Then I turned it over…..and………thought………..could it be?

I started googling and soon had a strong feeling this could be a piece by Hopi legend Charles Loloma.

So I wrote to the niece of Charles Loloma, Verma Nequatewa.

Sonwai is the artistic name used by Verma Nequatewa. Verma began working with her uncle, the late Charles Loloma, in the mid-1960’s and continued working with him until his studio closed in the early 1990’s. At that time, she opened her own studio and has been continuing his teachings through her own jewelry.

Here is the reply I received from Bob Rhodes in response to my photos and email to Verma : “The pendant has a tufa-cast back and inlay of turquoise, lapis lazuli, coral and ironwood. It is difficult to see the detail in the photo, so I may have missed something.
The piece represents what Charles called a “Badger Hand.” Charles was Badger clan and this is his concept of a combination of badger paw and human hand. It was most likely made at the Loloma Studio at Hotevilla, AZ in the late 1960’s or early 1970’s. At that time he often did not differentiate between turquoise from different mines. He had a wash basin that he put all sorts of turquoise in, then picked pieces out for different colors and shapes. He did only use natural, not treated, turquoise, so some of the stones will “mature” or change color as they are exposed to light, air and skin oils. What you have is a very representational piece of Loloma jewelry of that time period. ”

Well I got goose bumps and thanked them both so much for the thoughtful and detailed reply.

They appreciated the photos as they are collecting as many as they can of Charles Loloma’s pieces.

Charles Loloma (1921-1991) was an active Hopi artist from 1949-1991. He is one of the most innovative and influential Native American artists of his time. He used many techniques including tufa casting, lost wax casting, stone and wood inlay, and cobblestone.

Although he was also a painter and ceramicist, he is most well known for his jewelry.

This badger paw pendant is an example of the high stone-to-stone inlay he became so well-known for.

According to Loloma himself, “I am not versed in the exact date that I started working in jewelry, but my guess is it was in 1947 when I was a student at Alfred University. I was working in pottery and silver.”

In the mid 1950s Loloma moved to Scottsdale, Arizona and began making jewelry in earnest.

The name Loloma translates to “many beautiful colors” which is certainly evident in his work. He broke from the tradition of solely using turquoise and coral by adding unusual stones of bright color as well as fossilized ivory and imported woods such as iron wood.

Much has been written about Charles Loloma – see Southwestern Indian Jewelry, Crafting New Traditions by Dexter Cirillo.

Paula

The Hand Symbol in Native American Art

Horse Fetish by Carol Martinez, Zuni

The Hand

In Native American art, the hand usually represents the presence of man. From the earliest hand imprints on cave walls, the hand depicts a man’s work, achievements and his personal history.

When a hand had a swirl in the middle of it, that is said to be the “eye in hand” and represents a mystic, or all-seeing, hand, the presence of the Great Spirit in man.

Mystic Hand Pendant

A Native American’s horse was highly honored and often covered in symbols for various purposes. This would vary from tribe to tribe but hand prints were often used in various positions on a horse to mean different things.

The most prized handprint was when preparing for battle, if it was a kill-or-be-killed mission, an upside-down hand would be placed on the warrior’s horse.

If a horse knocked down an enemy, right and left hand prints were put on the horse’s chest.

The Pat Hand Print was the left hand pressed onto the horse’s right hindquarters. It was put on a horse who had returned from a dangerous mission with his master unharmed.

Horse Fetish by Carol Martinez, Zuni

Paula

Native American Terms – Fetish, Totem, Amulet, Talisman

Paula,
I wondered why in your web store you describe some Indian animal carvings and jewelry pieces as fetishes and others amulets or totems. Are they all the same thing? – Stuart

Stuart,
The terms fetish, amulet, totem and talisman are often used interchangeably to describe an object that provides good fortune and protects from evil. The exact meaning of any of these terms depend on the culture and location in which it is used. Briefly, here is how I see them:

Talisman

Alaskan Thunderbird Talisman by David Audette from Sitka, Alaska

A talisman is an object that is considered to possess supernatural or magical powers and is used especially to avert evils, disease, or death. A talisman is typically engraved or cut with figures or characters, constellations, planets, or other heavenly signs. It is often worn as an amulet or charm. From the Greek word “telein”, which means “to initiate into the mysteries”. The word talisman is often used synonymous with amulet.

Amulet

Turquoise and Sterling Silver Lucky Horseshoe Amulet by Navajo artist Wilbur Muskett Jr.

An amulet is a protecting charm – any object worn to bring good luck and to ward off evil, illness, and harm from supernatural powers and from other people. Amulets are typically carvings, stones (especially with naturally occurring holes), plants (such as sage, 4-leaf clover, shamrock), coins, and jewelry (crosses, horseshoes, gemstones).

Totem

Horse Totem on Horse Spirit Medicine Bag by Apache artist Cynthia Whitehawk

A totem is an object that symbolizes a person’s or a tribe’s animal guide. This could be a totem pole, an emblem or a small figurine or carving. Native American tradition holds that different animal guides come in and out of a person’s life depending on the direction that person is headed and the challenges he faces. A totem animal is the one animal that acts as the main guardian spirit and is with a person for life, both in the physical and spiritual world. Traditionally, it is the totem animal, such as an eagle, wolf, bear, horse or dragonfly, that finds the person, not the other way around.

Fetish

Bear Fetish by Zuni artist Emery Eriacho

A fetish is a sacred object used in religious ceremonies, for spiritual awakening and to communicate with and direct supernatural powers. A fetish can provide protection, promote healing and ensure success in ventures such as hunting or farming. A Native American fetish is most often a carving, usually of an animal, that has some sort of power, and is sometimes decorated with stones, shells, and feathers. A carving without power is merely a carving. A person’s own beliefs determine the difference between a fetish and a carving.

So, whether an object is a talisman, totem, amulet or fetish is up to you. Just as the beauty of an object is in the eye of the beholder, so the power of an object is in the belief of the seer or wearer.

Native American Hopi Sterling Silver Overlay

©  2010 Horsekeeping © Copyright Information

The Hopi are Native Americans that live in northeastern Arizona surrounded by the Navajo reservation. The name Hopi is an abbreviation of Hopi’sinom which means “People who Live in the Correct Way”.

The Hopi religion is based on total reverence and respect for all things. The traditional life includes many cultural and religious ceremonies.

 

 

Their art and traditional crafts reflect their beliefs. They are noted for kachina dolls, pottery and jewelry, most notably silver overlay work.

Hopi Sterling Silver Overlay Bracelets

With silver overlay, there are two layers of silver. The top layer is a scene, figures, or symbols meticulously cut out and then place on a solid silver layer.

The bottom layer is the background behind the cutouts and is traditionally darkened (oxidized) for contrast. In addition the same areas are usually etched with hashmarks.

The two layers are “sweated” together – that is, the silver is heated so that the two layers meld.

The result is a 3-D picture with great depth and interest.

 

 

Native American Symbols – The Hand

 

 

 

 

 

 

 

 

 

 

 

 

 

In Native American art, the hand usually represents the presence of man. From the earliest hand imprints on cave walls, the hand depicts a man’s work, achievements and his personal history.

When a hand had a swirl in the middle of it, that is said to be the “eye in hand” and represents a mystic, or all-seeing, hand, the presence of the Great Spirit in man.

A Native American’s horse was highly honored and often covered in symbols for various purposes. This would vary from tribe to tribe but hand prints were often used in various positions on a horse to mean different things.

The most prized handprint was when preparing for battle, if it was a kill-or-be-killed mission, an upside-down hand would be placed on the warrior’s horse.

If a horse knocked down an enemy, right and left hand prints were put on the horse’s chest.

The Pat Hand Print was the left hand pressed onto the horse’s right hindquarters. It was put on a horse who had returned from a dangerous mission with his master unharmed.