The Coconino sun., 1926-07-02

NAVAJO RUG MAKING
OLDEST LIVING CRAFT

An educational feature of the
Days of '49" will be the Navajo
rug weavers, representing the best
that the Western Navajo reservation
has produced in the twentieth CEN
tury, according to Chas. P. Mason,
secretary of the inter tribal associa-
ton, who has personally supervised
the selecting of the weavers for the
great pageant.
American art and handicraft as a
rule are subject to changes during the
centuries, in some cases from gener
alton to generation. The exception
that proves the rule is the handicraft
of the Navajo Indians in the desert
country Of northern Arizona and New
Mexico. There the methods of many
centuries ago are still employed in
the manufacture of the beautiful Ma
vaio blankets, or what should more
properly be called Navajo prayer
rugs.
Religious customs and the yenera-
tion of the Indians for the legends
and habits of their ancestors preclude
any innovations in the mode of manu-
facture Indeed. it would be difficult
to conceive any improvement, at least
any which could add to beauty, charm
or serviceability. Moreover, no me-
ehanical loom has ever been devised
to weave Navajo rug.
The rugs are woven by the squaws.
The looms are primitive, two stout
poles stretched between two of the
very infreqpent cottonwood trees
along the arroyos, or dry rivers of
the desert The wool is sheared from
are natural colors of the wool; Grim
the sheep as needed. White and black
son, brown and orange are secured
from dyes distilled from cactus plants
and roots; yellow is mined from the
ochrc deposits of the Painted Desert.
These are the principal colors used
Months are consumed in the max
ing of single rug. The weaver has
been trained from babyhood in the
craft and lore of her ancestors, for
skill and an understanding of the leg
ends of the tribe contribute to the
making of the design Every detail
is carried in the mind of the weaver,
and is executed as the work progres
ses. No alterations or correctio.ls
can be made after the work is start :.
There is no pattern or blue print to
guide the weaver, who sits patiently
before her loom adding strand upon
strand to the whole, until her product
sylnbolically portrays an idea c.
thought, with theme taken from the
legends of the earth, the nation, the
future, the past or beginning of time.
To one accustomed to interpret the
symbols the rug tells complete
story The colorS in predominance
contain definite message. The de-
signs are symbolical of natural phe-
nomena, for instance the jagged line
seen in so many rugs relates to the
lightning and generally is incorpor
ated in story of the oft-prayed-for
rain.
No two Navajo rugs have ever been
woven exactly alike.
The weaver, usually, like the auth
or or composer, awaits an inspiration.
Both sides of a Navajo rug are iden-
teal, however, for the woof and warp
are strands of long-fibre wool, and
the strands are battered down hard,
one upon another, with a heavy flat
slab of wood. Each thread, as in
serted in place, is put there to stay
forever.
The supply Of Navajo rugs is de-
crcasing noticeably each year. The
popularity Of these rugs for interior
decorations, sun-roomS and porchcs in
the homes of the people of the east
is resulting in the stocks of traders
on the reservations becoming rapidly
depleted. The movement of the young
er Indians TO adopt the empioymci.;;
of white people, with the result that
few weavers are being trained, is also
bringing close the time when the true
Navajo lug will be classed with the
ancient Persian tapestries, priced pos
sessions of the collections, and thing
of wonder.