Navajo blankets to Navajo rugs history
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During the Revival Period 1930 to 1940, a number of people and groups became interested in reviving Navajo weaving. Mary Wheelwright of Boston and L H McSparron of Chinle Trading Post succeeded in convincing local Navajo women to experiment with vegetable dyes in their rug art weaves, and furnished them sketches of designs taken largely from Transition Period Navajo blankets and weavings. Their efforts are predominantly responsible for the quality of pastel colors, and superior manufacture of the contemporary Navajo blankets, rugs and weavings now produced from the eastern part of the reservation.

During the Regional Rug Period 1940 to 1974, several geographic areas of the southwest, emerged as Navajo Indian rug art or style centers. Navajo Indian blankets, rugs and weavings from one region became notably different from Navajo Indian blankets and rugs of another region. Each regional rug was embodied with its own distinctive style, art, color, dye and design; and the weaving style center was easily recognized. Four areas in the southwest had by the early 1900s emerged as style centers: Crystal, Ganado, Chinle and Wide Ruins. Two more geographic areas achieved regional style status in the 1940s: Two Grey Hills and Yei. Three additional area Navajo rug and weaving styles were accepted in the 1950s: Teec Nos Pos, Lukachukai Yei and Yeibichai, and Storm; and lastly in 1974, Burntwater was embraced as a Navajo regional style rug.

Although in days gone by, the regional areas were the sole suppliers for the Navajo blankets, rugs and weavings bearing the area names and patterns; today, Navajo rugs of all styles are woven throughout the Navajo Indian reservation. There are no longer regional rugs, only regional styles. The rug style names will probably continue, but the southwest geographic boundaries that gave birth to the regional styles are now merged. Regional styles, account for only about 25 percent of total current Navajo blanket and rug production. Most contemporary weavers do not steadfastly adhere to Navajo regional rug styles. Some weavers, regardless of their reservation home, may prefer one rug art design while residing in a different regional area. The majority of weavers like to mix styles, and experiment with dyes, color compositions and designs, and may create a weave totally different from what is usually created in the southwest region in which they live. These Navajo blankets, rugs and weavings are called general rugs, and represent 40% of the contemporary Navajo southwest Indian blankets and rug production. Another exceptional artist, is the Navajo who challenges herself to weave the complex Navajo specialty rugs and blankets.

In the decade that has passed, a renaissance has taken place, Navajo rug production has increased immensely, artistic quality is at an all time high, and the value of these Navajo rugs is soaring.

Navajo blankets to Navajo rugs history - page 1

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