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American Indian Rugs:

Navajo Rug The art of weaving by Pueblo Indians in New Mexico goes back many years. In the 1500's the Spanish conquistadores first saw the Pueblos, dressed in cotton material of excellent quality and design. In fact, the quality was so superior, the Indians were forced to make cotton blankets for export to Spain.

Friction between the Pueblos and the Spanish increased until the Indians rebelled and moved farther north--with the Navajo Indians. Prior to this time, the Navajos did not weave, but had greatly increased their flocks of sheep. The Spanish had introduced Churro sheep in the region, and wool soon replaced the cotton in most native clothing. The Navajo first began to weave during the 1600's. By the 1700's, the Navajos had learned the art and in the following hundred years had become so expert at it that they excelled their teachers and the term "Indian rug" became synonymous with the Navajo.

By the 1840s, in the Great Plains region, Navajo skills were very highly regarded. It was not uncommon for traders to exchange ten buffalo robes for one Navajo wearing blanket. This was known as the Chief's Blanket. It was woven in broad bands of ivory and brown handspun wool, with accents if indigo-dyed blue.

The blankets from this era, 1750 to 1875, are called Classic Period Blankets. The designs varied from simple stripes and terraced triangles to zigzag motifs. Red diamonds and bar motifs were also popular.

By 1850, the U.S. Government had taken much of what is now its southwestern territory from Mexico. The Navajos resisted this expansion and raided many of the settlements. The U.S. Government perceived this as a threat to western expansion. As a result, by the 1860's most Navajo homes, crops and flocks had been destroyed. The tribes were removed to a restricted location at Fort Sumner in the Pecos River Valley in south-eastern New Mexico.

The Navajos were not able to produce vegetable dyes, so they relied on the aniline dyes from the trading post. Colors used tended to be natural ivory, grey, browns and blacks, frequently accented with a strong red. Care should be taken when cleaning these rugs as the aniline colors will sometimes fade in direct sunlight, or bleed when wet.

The Navajos were unable to produce the bright red colors found in the English cloth, called baize or bayeta, therefore, cloth was imported from England, unraveled, and single yarns used, or as many as seven strands were twisted together to be woven into a blanket. Native wools were also used but mostly in their natural colors of white, brown or black and other colors were obtained by mixing these or by limited use of the few natural dyes.

In 1868, the Navajo were allowed to return to a reservation established near their former homelands. They were no longer self sufficient and were forced to rely on commercially produced goods. The arrival of the railroad to the edge of the reservation increased an influx of commercially produced yarns and dyes. The blankets produced during this time 1875 to 1900 are referred to as Transitional Period Blankets. These blankets display complex patterns and a rainbow of colors.

By 1875, packaged synthetic dyes and commercial yarns utilizing these dyes greatly altered and expanded the Navajo weaver's arsenal. By the turn of the 20^th century, the Navajo weavers returned to using native handspun wool in natural shades, accented primarily by blue, black and red, often obtained from synthetic chrome dyes. Blending or carding of natural wool colors also proved very popular. This resulted in a rug containing as many as ten natural shades.

The use of pictoral elements as decorative details on Navajo blankets and rugs dates back to the Classic period. The earliest documented example of a Navajo blanket with pictoral elements was found on the body of a Cheyenne Chief named White Antelope after a massacre by US troops at The Battle of Sand Creek, Sand Creek, Colorado, in 1864. By 1900, ingenious Navajo weavers were incorporating designs in to their blankets that depicted all aspects of their lives. These included homes, trains, mountains, flowers and words.

In the early 20^th century, pictoral designs derived from Navajo religious themes were introduced. A medicine man and weaver, Hosteen Klah, is credited for producing many of the early examples of this design. It is referred to as "sandpainting". These were done on a commission basis and were very expensive. The corn stalk, which is referred to as the "Tree of life" is depicted with birds on its stalks. Also, there is a deity called the "Yei" which is pictured on many of these. There were also "Yeibichai" rugs which depict a ceremonial dance in which Navajos impersonate the Yei deities. These rugs are woven in bright colors and are typically from the Shiprock area in New Mexico.

Complex geometric rugs generally date from 1910 to the present day. They can have simple borders of combined geometric elements and/or multiple borders with alternating geometric elements. The central fields often contain a multiple of geometric motifs, eye-dazzling designs and bright color accents.

The complex geometric rugs-particularly those produced at Two Grey Hills and Teec Nos Pos from the 1930s to the 1950s tend to be more expensive than simple geometric ones, and are sought after by collectors.

The 1920's brought about the extensive use of synthetic dyes. The Dupont Chemical Company created synthetic dyes that matched the natural ones. The resulting style became known as the Chinele Revival. It was named after the Chinle, Arizona trading post. These rugs were softly toned in hues of yellow, green, blue,tan, pink, and greys.

Originally, blankets were woven as wearing apparel but used as rugs when made from heavier yarns. Hence the terms Indian blankets and rugs are almost interchangeable. Meanwhile, the Indians wove belts, socks, garters and headbands for themselves--most of the blankets and rugs were sold.

The rugs were woven on stationery, upright looms with the entire weaving processes done by hand and constructions were either flat, plain weave or twill. Flat weave is where the warp yarns pass over and under alternate weft yarns. Twill weave floats some of the weft yarn over certain warp yarns and forms a double weave which produces a pattern on both sides but reversed in colors or they may be quite different in design and color.

Over the years, the weaving process underwent many changes. At first the quality of the rug was outstanding from a spinning, weaving and design standpoint, but as the sales of these rugs increased (due to the coming of the railroad) the excellent quality decreased. Also, the Indians lost their flocks of sheep, commercial yarn was introduced and these yarns were coarse, heavy and lacked sheen--dyes were harsh, faded easily and bled when wet.

In an attempt to aid the Indians, the government brought in sheep with short, crimpy wool, which was difficult to clean and dye. This general downward grade continued until the 1920's when various companies began to work with the Indians in attempts to upgrade the quality of their rugs by improving their yarns, dyes, designs and weave techniques. Much work has been done in developing native dyes and most of the dyes are obtained from various local plants. The methods, by which these dyes are gotten and used, are new to the Indians--not revivals of old techniques.

The native dyes produce soft; pastel shades whereas brighter colors are usually commercial dyes. In many cases darker colored yarns contain an excess of dye which will bleed rather easily when subjected to any water solution and, in some cases, to solvents. These dyes may also fade when exposed to sunlight.

White, brown and black wools are also used undyed or are blended together to produce various shades and the black wools may also contain black dye to deepen the color. Most of the white yarns will contain some black, which makes them difficult to bleach or strip without the yarns becoming lighter.

Although most of the rugs are broadly referred to as Navajos, they can also be classified as to area where they are made, the nearest trading post, or the design they represent, such as: Black Mountain; Greesewood Springs; Two Gray Hills; Red Mesa or, chief blanket, double saddle blanket; and star design.

The design on the chief's blanket is one in which the longer dimensions are the width rather than the length. A single saddle blanket measures 30" x 30" and a double blanket is 30" x 60".

To weave one of these rugs, the amount of time will depend upon several factors; (1) the size will vary from a very small piece to one 15' x 30', (2) the weight of the rug is determined by the size or yarns used-heavy and medium weights on rugs-lighter weights for wall hangings, (3) closeness of the weave as well as uniformity, and (4) the design and weaving techniques used.

Weaving is done mainly by women and usually only in their free time--a small, heavy rug may require only a week while others may take as long as a year. Because of small financial returns, there are only a few weavers producing rugs and even fewer learning the art. Because of this and the physical labor involved, it is probably that these rugs will not be produced in the not too distant future.

The things, which make a good quality rug, are:

Edges straight and parallel-do not get narrower going from one end to the other.
Rug should lay flat- corners and edges as well. There should be no ripples or bulges.
Yarns should be evenly spun.
Weave should be uniform.
Warp yarns should be wool, but should not show on the face.
Color should be matched.
Imperfection: A true craftsman will weave an imperfection into the rug. It may be a broken line or a color appearing in the wrong place. The reason for the imperfection is: If a perfect rug were made, there would be nothing to strive for after perfection has been obtained.

The cost of these rugs will depend upon size, quality and design and may vary from as low as $10.00 for a three-foot long tourist rug to several thousand dollars for a 4' x 6' work of art. There have been great increases in the sales of rugs which sell for under $100.00.

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