Object: Rug on loom

E/1981/6/1
United States, Arizona
Navajo
1930’s
Materials: wool, wood

This partially complete weaving was made on an unknown Arizona reservation as a demonstration piece and was later donated to the museum. It is very likely that the Navajo learned to weave from neighboring Pueblo groups no later than the seventeenth century, though Navajo legends tell of how weaving was first taught to them by Spider Woman. Since then, they have become well known as masters of the craft and their pieces are still highly valued. Nearly all Navajo weavers are women, while men traditionally make the loom and tools.

Because this particular rug is only half-complete, it is easy to see many of the characteristics that distinguish Navajo weavings. All the yarn is handspun wool, as opposed to commercially made or cotton yarn. Germantown style rugs were woven with commercial yarn and occasionally cotton warp (the lengthwise threads), but this in an exception. This piece also has two shades of carded gray, made by blending white and black wool together. While some Navajo rugs, especially those in the “eye dazzler” style, incorporate several bright colors, most have a natural palette with one accent color, usually red. The Navajo maintain strong, straight edges by weaving in a selvage cord as they go, which is often of a contrasting color. Here, a two-ply black yarn is used for that purpose. The top and bottom edges of Navajo weavings are also flat and smooth, rather than fringed. This is due to the warp thread being set up on the loom in a continuous figure eight, eliminating loose ends and allowing the entire warp area to be filled.

A traditional element of Navajo weaving not present in this piece is a spirit line, though it is typically made just before the piece is finished. According to legend, when Spider Woman walked away from the tree where the gift of weaving came to her, she left a line behind her, a line that lead to new things. When Spider Woman shared her gift with the Navajo, she taught them to leave a line that ran out of the pattern and to the edge of the blanket. This was the line that she had left behind her, and it allowed the weaver’s mind to be released from the finished piece and move on to new things [Holly Thompson].

Object: Women’s shawl

E/1989/2/1
Guatemala
Ixil Maya
1980’s
Materials: cotton thread

This shawl, known as a rebozo in Spanish or as a tzute, is part of the Sam Noble Museum of Natural History’s extensive Mayan textile collection. John Pitzer collected this shawl, along with many other pieces of Mayan textiles in the collection, on the behalf of the museum during his many trips to Central America. This collection was the subject of the museum’s first online exhibit, which can be viewed here.

Tzutes serve a wide a wide variety of purposes among the Maya. For example, they may be used for warmth or shade, as a basket covering, or to carry goods home from market. Others are ceremonial. Both men and women wear tzutes, although the size, color, and design are gender-specific. Traditional Mayan textiles are woven on either a backstrap or treadle loom. Backstrap looms are simple and portable. One end of the loom is tied to a post, and the other is secured to the weaver’s waist with a strap. The width of the fabric is limited, but the weaver can create detailed brocade designs. Conversely, large, foot-powered treadle looms create simpler designs and wider fabric. Backstrap looms are used almost exclusively by women and treadle looms by men, though they may weave clothing for the opposite sex. This is a woman’s shawl and was likely made on a backstrap loom.

Each piece of traditional clothing worn by a Mayan individual communicates something about his or her social status. Groups within the Maya each have their own particular style as well. The thin vertical stripes on this piece are a common feature of the shawls and sash belts of the Ixil Maya in the town of Nebaj, Guatemala. This simple design contrasts with the intricate geometric patterns on their huipiles, or blouses. While many Maya still wear traditional clothing, western clothing is becoming more popular, often resulting in blended outfits of both traditional and western pieces. This tzute is also a blended garment: the fabric is traditionally woven, while the design is machine stitched rather than brocaded [Holly Thompson].

More information on modern Mayan textiles click here.

Object: Khukuri

E/1975/1/20
Nepal
Unknown date
Materials: Metal, wood, leather.

The Khukuri, pronounced koo-kri, is an ancient weapon employed by the Nepalese Ghurka soldiers and is now a commonly used household tool in Nepal. It is unknown exactly where or when it originated, but some experts attribute the craftsmanship of the khukuri to the ancient Greek sword the kopis, as well as the Japanese sword.

Khukuri knives are considered an exceptional piece of Nepalese craftsmanship. They are usually hand-made and very detailed, taking at least one entire day to produce. All supplies included in the process are carefully chosen to ensure the finest quality. The heated steel is first hammered and beaten repeatedly to form the blade. The steel is then cooled and tempered to enhance strength. Once this is done, the blade is sharpened and shined. A machine is only used during the shining stage. The handle is made from buffalo horn and the sheath, or scabbard, is made of wood and covered with leather. The scabbard has two pockets on the back which hold a piece of steel called a chakmak for sharpening the knife. There is a notch near the handle of the Khukuri that serves as a channel to drain blood, or other liquids, out of the sheath and also keep the handle from becoming slippery.

This knifes significance lies among the brave and loyal Ghurka soldiers who derive their name from the 8th century warrior-saint of Gguru-Goraknath. The Ghurka soldiers have carried the Khurkuri knife into battle for many years and it has become a traditional weapon in battle. They served for more than 185 years for the East India Company, (British army), and received a plethora of military honors. With that said, the Khukuri knife is symbolic of the bravery and strength of the Ghurka soldiers. Other Khukuri knives can be viewed at the National Museum of Kathmandu [Chenoa Copeland].

Object: Figurines

E/1957/21/21
India
1950’s
Materials: Ceramic, metal, paint

These tiny, yet beautiful figurines, standing merely 2 inches tall, were made to be purchased by Ganges pilgrims at Benares, India as token of having made the journey. Each of the figurines were hand-painted with a great deal of detail and most of the figures can be identified as specific Hindu deities.

These figurines represent many important deities of the Hindu religion. They include Parsam Ram (an incarnation of Vishnu), Saraswati, Krishna, Sita, Rama (an incarnation of Vishnu), an unidentified female figure, Kunti, Vishnu, Radha, Hannuman, and Rishi (the figures are shown from left to right, in this order, in the photograph below).

While the pantheon of Hindu deities is quite extensive, most of these characters are mentioned in the more famous ancient epics of India: the Ramayana and the Mahabharata, and are fundamental to Hindu belief. These epics are long heroic tales originally written in Sanskrit. Of the figurines held by the Sam Noble Oklahoma Museum of Natural History, Rama, Sita (Rama’s consort), and Hanuman are extremely important characters in the Ramayana epic. In this legend, Hanuman is a monkey who discovers he has special powers given to him by the gods. He and Sita assist Rama in his heroic battle against Ravana and his plot to conquer the heavens.

Of the many Hindu deities, there are three that are commonly grouped as the primary trinity of Hinduism. These are Vishnu (the protector), Brahma (the creator), and Siva (the destroyer). These three deities are believed to create a balance in the universe. In the group of figurines held at the Sam Noble Oklahoma Museum of Natural History, Vishnu is depicted three times (he is the first, fifth, and eighth figure shown below) [Chenoa Copeland].

Object: Tanpura

E/1954/9/6
India
Date unknown
Materials: Wood, ivory, metal, gourd

A tanpura is a commonly used musical instrument in India. It is a stringed drone instrument, which provides a deep harmonic foundation for a musical ensemble. In India, Taan means a musical phrase and puraa means to complete. Therefore, the name of this instrument means that it completes the entire sound. Tanpuras are made mainly of wood making them very durable and easy to transport. The resonator is made of a gourd and the neck is made of wood and has no frets. There are typically anywhere from four to seven steel strings attached to pegs on the bottom and tightened to nuts on the top. Many tanpuras are sanded and painted or lacquered to enhance their appearance. This object in particular is decorated with green and red dye.

Historically, these instruments were used in folk and tribal music, and often played an important role in religious worship. Now, they are increasingly popular and used by many groups of people. It is interesting to note that men and women play the instrument differently. Women traditionally play from a seated position, and tend to use relatively small versions of this instrument. Men, however, can play the instrument from a variety of positions, including while standing, allowing them to use larger versions of this instrument [Chenoa Copeland].

To hear what a tanpura sounds like, click one of the links below.

Large file.

Small file.