Osage Indian Tribe In Color
Osage Indian called Black Dog
Free Archive of Historical documents and history of Native American tribes. Includes Indian Pictures, Photographs, and Images. Indian Pictures from the Iroquois Indians, Cheyenne Indians, Sioux Indians, Blackfoot Indians, Cherokee Indians Southwest Indians, California Native Americans and Algonquin Indians including complete history
Showing posts with label color. Show all posts
Showing posts with label color. Show all posts
Wednesday, August 26, 2020
Osage Indian Tribe In Color
Thursday, August 6, 2020
Color Photo Gallery of Native American Sioux and Pueblo Indians
Color Photo Gallery of Native American Sioux and Pueblo Indians
Monday, June 8, 2020
Paintings of the Blackfoot Indians
Paintings of the Blackfoot Indians
Painting of a Blackfoot (Blackfeet) Indian woman called Long Time Pipe Woman
Friday, May 29, 2020
Wednesday, September 4, 2019
Sioux Indian "Yellow Kidney"
Sioux Indian "Yellow Kidney"
Colorize photograph photo of the Sioux Indian called
Monday, December 12, 2016
An Osage Indian, Little Eagle Color Photo Dated 1928
An Osage Indian, Little Eagle Color Photo Dated 1928
Rare colorized photo of the Osage Indian called Little Eagle, taken in 1928.
Monday, March 21, 2016
Native American Art - The Song of the Arrows
Native American Art - The Song of the Arrows
The Song of the Arrows
The Song of the Arrows
HIS ADORNMENT
To the casual observer the costume and character of the Indian all look alike. The mind is confused amid a riotous and fantastic display of colours. The fact is that the minor details of Indian dress are an index to Indian character and often tell the story of his position in the tribe, and surely tell the story of his individual conception of the life here, and what he hopes for in the life hereafter, and like the laurel wreath on the brow of the Grecian runner, they spell out for us his exploits and achievements. To the white man all these decorations are construed as a few silly ornaments, the indulgence of a feverish vanity, but they open like a book the life of the Indian. His motive in adornment is to mark individual, tribal, or ceremonial distinction. The use of paint on the face, hair, and body, both in colour and design, generally has reference to individual or clan beliefs, or it indicates relationship, or personal bereavement, or is an act of courtesy. It is always employed in ceremonies,
religious and secular, and is an accompaniment of gala dress for the purpose of honouring a guest or to celebrate an occasion. The face of the dead was frequently painted in accordance with tribal or religious symbolism. Paint is also used on the faces of children and adults as a protection from wind and sun. Plucking the hair from the face and body is a part of the daily program. The male Indian never shaves and the beard is a disgrace. A pair of tweezers becomes his razor. Sweet grasses and seeds serve as a perfume. Ear ornaments are a mark of family thrift, wealth or distinction, and indicate honour shown to the wearer by his kindred.
religious and secular, and is an accompaniment of gala dress for the purpose of honouring a guest or to celebrate an occasion. The face of the dead was frequently painted in accordance with tribal or religious symbolism. Paint is also used on the faces of children and adults as a protection from wind and sun. Plucking the hair from the face and body is a part of the daily program. The male Indian never shaves and the beard is a disgrace. A pair of tweezers becomes his razor. Sweet grasses and seeds serve as a perfume. Ear ornaments are a mark of family thrift, wealth or distinction, and indicate honour shown to the wearer by his kindred.
Among the Plains Indians the milk teeth of the elk were the most costly adornments. They were fastened in rows on a woman's tunic and represented the climax of Indian fashion, the garment possessing a value of several hundred dollars. Head bands, armlets, bracelets, belts, necklaces, and garters of metal and seeds and embroidered buckskin were in constant use. They were not only decorative but often symbolic. Archaeological testimony tells of the almost general use of sea shells as necklace ornaments, which found their way into the interior by barter or as ceremonial gifts. The chiefs of the tribe were fond of wearing a disk cut from a conch-shell, and these were also prominent in religious rites, ranking among the modern tribes as did the turquoise among
the people of the Southwest. A necklace of bear claws marks the man of distinction, and sometimes was worn as an armlet. In the buffalo country the women seldom ornamented their own robes, but embroidered those worn by the men. Sometimes a man painted his robe in accordance with a dream or pictured upon it a yearly record of his own deeds, or the prominent events of the tribe. Among the southern tribes a prayer rug was made on deer skin, both the buffalo and deer skins having been tanned and softened by the use of the brains taken from the skull of the animal. The skins were painted with intricate ornamentation, symbols and prayer thoughts adorning the skin in ceremonial colours; white clouds and white flowers, the sun god, and the curve of the moon with its germ of life, the morning star, and also a symbol of the messengers from the gods. Above it all zigzag lines ran through the blue of the sky to denote the lightning by which the children above sent their decrees to the earth children who roamed the plains.
the people of the Southwest. A necklace of bear claws marks the man of distinction, and sometimes was worn as an armlet. In the buffalo country the women seldom ornamented their own robes, but embroidered those worn by the men. Sometimes a man painted his robe in accordance with a dream or pictured upon it a yearly record of his own deeds, or the prominent events of the tribe. Among the southern tribes a prayer rug was made on deer skin, both the buffalo and deer skins having been tanned and softened by the use of the brains taken from the skull of the animal. The skins were painted with intricate ornamentation, symbols and prayer thoughts adorning the skin in ceremonial colours; white clouds and white flowers, the sun god, and the curve of the moon with its germ of life, the morning star, and also a symbol of the messengers from the gods. Above it all zigzag lines ran through the blue of the sky to denote the lightning by which the children above sent their decrees to the earth children who roamed the plains.
Saturday, March 12, 2016
The Crow Indian Tribe Colorized Photo Gallery
The Crow Indian Tribe Colorized Photo Gallery
Agnes Yellow Tail photographed at the turn of the last century
Crow Indian woman and young child.
Crow Indian children photographed horseback.
Crow Indian children photographed circa 1900. The colorized photo provides insight into how color coordinated the children were clothed.
Crow Indian setting up camp. The woman on the ladder is putting on the stitching for the doorway. The woman seated is organizing the pillows and blankets for the interior.
Monday, March 7, 2016
Rare Colorized Historic Photographs of the Crow Indians
Rare Colorized Historic Photographs of the Crow Indians
Crow Indian girl, Agnes Yellow Tail photographed in 1905.
Two Crow Indian men photographed in Montana in 1920
Crow Indian woman photographed with child around the turn of the century in Montana
Crow Indians photographed on the Little Big Horn in Montana around 1910
Crow Indian family photographed having a meal under the shade of a tree. Circa early 1900s
Turn of the century colrized photo of Crow Indians riding out of their camp on horseback.
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