Navajo blankets, rugs and weavings history
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The Bosque Redondo Period persisted from 1864 unti1 1868. Following the United States acquisition of the American Southwest in 1848, the Navajos' nomadic way of life frequently conflicted with that of the new American citizens. In 1864, 8,000 Navajos were forced to walk to Fort Sumner, at Bosque Redondo in east central New Mexico, in what endures in infamy as the Long Walk. The internment severely affected Navajo life and their art; natural wool was unobtainable, and the Navajo textile art revolution tragically toppled. The conditions at Bosque Redondo were deplorable; and in 1868, the Navajos were permitted to return to their homeland.

The Transition Period from 1868 to 1890, brought much change. Weavers began rebuilding their sheep flocks, and embarked on an unleashed celebration of color. Weavers began experimenting with the now available bright colors of the Germantown yarns, so named because of original manufacture in Germantown Pa. Traders settled on the southwest Indian reservation, providing a consistent link between the Navajo people and the larger market economy of the United States. Commercial Germantown yarns generally lost their fascination, and weavers returned to using hand spun wool. An important part of the trader strategy was to promote the Native American Indian blankets, that could be sold to the white man. During this period, Navajo textiles made the transition from Navajo blankets to Navajo rugs. Small Navajo Native American blankets, saddle blankets were also produced. Some traders attempted to influence weavers to make changes in their Indian blankets and rug designs. During this period, most of the motifs that became important parts of Navajo Indian weaving and art were introduced, and some of the Navajo weavings regional rug history and styles developed.

During the Rug Period 1890 to 1930, new styles were experimented with; and weaving of Navajo blankets and rugs, driven largely by the traders, developed for the purpose of selling these southwest Indian blankets and art. Traders encouraged the use of hand spun wool, and many of the brightest colors were discouraged, although red remained popular. Don Lorenzo Hubbell, of Hubbell Trading Post, encouraged a return to the Navajo late Classic Period southwest Indian blankets designs and colors: bold crosses, stripes and diamonds, and black borders. Another influential trader, J. B. Moore of Crystal Trading Post, encouraged the use of design motifs such as arrows and swastikas, and patterns associated with oriental rugs, such as large, elongated central figures and borders. Navajo blankets and rug weaving production was high, traders were turning out catalogs, and tourists were coming to see these southwest Indian blankets and art. In 1910, the introduction of the French Rambouillet sheep to the Navajo reservation, was a disaster to the expansion of Navajo blankets, rugs and weavings, and southwest Indian art that had been taking place. In an effort to increase meat production, the federal government had overlooked an important fact, the sheep's wool was difficult to clean, card, spin and weave.

Navajo blankets to Navajo rugs history - page 3

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