Читать книгу The Vanishing Race: The Last Great Indian Council - Dixon Joseph Kossuth - Страница 7

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.

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.

Footgear often proclaimed the tribal relation, the peculiar cut and decoration of the moccasin denoting a man's tribe. The war-shirt was frequently ornamented to represent the life story of the man wearing it. The breast contained a prayer for protection, and on the back might be found woven in beaded tapestry the symbols of victory. He had conquered the trail behind him. The shirt was often decorated with a fringe of human hair, the more warlike appending the scalps of the slain. The warrior wore no regalia so imposing as his war-bonnet with its crown of golden eagle feathers. Before the coming of the horse the flap at the back rarely extended below the waist, but when the warriors came to be mounted, the ruff of feathers was so lengthened that when the Indian was dismounted it trailed on the ground. The making of a war-bonnet was accompanied by song and ceremony. Each feather before it was placed in position was held in the hand and had recounted over it the story of some war honour. A bonnet could not be made without the consent of all the warriors and it stood as a record of tribal valour and a special mark of distinction granted to the man by his tribe. Every Indian takes great joy in laying out his colour scheme. It becomes a mosaic of artistic talent. Feathers are gathered from the eagles' flight. Skins are taken from the wild beasts. Bones, beads, sparkling metals, soft-tinted sea shells, and all of them blended with the varicoloured paints that he has compounded in nature's mortar. The woman enters into the work with intelligent zest, and when completed the whole array of blended colours is beyond the criticism of the tribe. The back of an Indian's war-bonnet and war-shirt is always more gaudy and sumptuous than the front view and this because when Indians pass each other their salutation is brief and formal. They ride right on. But after the meeting they turn in the saddle and look back to take an inventory. The wealth of the Indian, his position in the tribe, his ceremonial attainment are all passed upon and estimate entered. This colour scheme goes on through the entire Indian wardrobe to pipe sack, coup stick and moccasins. The Indian could not have received his suggestion for a colour scheme from the tinted leaves of autumn for they are dull in comparison. He may have had a hint from the glowing sunsets that in that western land fill earth and sky with a glory so transcendent that mere rhetoric is a profanation. More likely is it that when free and unrestrained he roamed over plain and hill his soul became enamoured with the dazzling array of colours, beyond the genius of the proudest palette, to be found in the marvellous formations that surround the great geysers of the Yellowstone, colours more exquisitely beautiful than the supremest refinement of art. Every-whither down the cone-shaped mounds are tiny steam-heated rivulets interlacing each other, edged with gold and vermilion and turquoise and orange and opal. Indian trails have been found also interlacing each other all through this wonderland. Deep furrows in the grassy slopes of these ancient footprints are still plainly visible. Thither we may believe came the red man imbued with the spirit of reverence and awe before all this majesty and beauty, and from this exhaustless laboratory claimed the vivid colouring for the expression of his life of faith.