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North American Indian Jewelry and Adornment: From Prehistory to the Present. New York: Harry N. Abrams, 1999: 170-171. ISBN 0-8109-3689-5. Haley, James L. Apaches: a history and culture portrait. Norman: University of Oklahoma Press, 1997. ISBN 978-0-8061-2978-5. Karasik, Carol. The Turquoise Trail: Native American Jewelry and Culture of the ...
Both men and women wore necklaces, bracelets and pendants made of shell, stone, bone and dried berries. Shells, such as abalone, conus and olivella from the coast of the Pacific Ocean, would have been obtained through trade. [1]
New artists’ colonies started growing up around Santa Fe and Taos, the artists' primary subject matter being the native people and landscapes of the Southwest. Images of the Southwest became a popular form of advertising, used most significantly by the Santa Fe Railroad to entice settlers to come west and enjoy the “unsullied landscapes”.
Located in the museum's Jackman Gallery this exhibit features the Morgan Collection of Southwest Pueblo pottery and the Mullen collection of Southwest Jewelry. It tells the story of the importance of the railroad and tourism in the revival of Southwestern Art and how the art has become a major source of income for many Pueblo families.
These materials and their associated colors are principle in the Zuni sunface, a cultural symbol which is present in Zuni jewelry and fetishes and represents their Sun Father. Other materials used are travertine or "Zuni rock", fishrock, jasper , pipestone , marble , or organic items such as fossilized ivory, bone , and deer or elk antler .
Today jewelry-making thrives as an art form among the Zuni. Many Zuni have become master stone-cutters. Techniques used include mosaic and channel inlay to create intricate designs and unique patterns. Two specialties of Zuni jewelers are needlepoint and petit point. In making needlepoint, small, slightly oval-shaped stones with pointed ends ...
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