DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0115
Symbolism
93
symbolism of the Indians designates the sky and life. The margin
is formed by a green line and the whole surface is divided into
three fields by two convergent blue lines. The large lateral fields
are strictly symmetrical. They contain three groups of stars repre-
sented by rectangles. The lowest line,—four red rectangles with
enclosed green centers,—represent large, bright stars; and the top
row, red without centers, are the children of the stars. It is un-
certain whether by this term the smallest stars or falling stars are
meant.
“The middle field, bounded by blue lines, represents the path
of life of the child. In this field are found peculiar green figures
which terminate above and below in T shaped ends. They are
diamond shaped and enclose a red and yellow checkerwork. They
designate the child’s good luck or the success that he will have in
life. In this case green symbolizes growth and development; yellow,
maturity and perfection; red, blood, life and good-fortune; all of
which are related to the deities. The lower rim of the hood is
interrupted on both sides by small white and blue squares. These
are said to represent the child’s age. I did not learn what was
meant by this expression. Probably the change of seasons was
meant, since the alternation of blue and white signifies the change
of winter and summer.
“The hood ends in a square flap which bears in its center a
green diamond terminating in cross bars, but smaller and simpler
than the corresponding figures of the central field. It represents
the heart. The blue lines and angles in the corners of the flap
are continued in the same way on the opposite side. They repre-
sent the unexpected events of life. Attachments on each side are
the child’s ears; the short lines of beads embroidered on the back
of the flap represents the hair of the child.”
Based on these results a somewhat extended study of the sym-
bolism of American Indian art was undertaken, in the course of
which A. L. Kroeber investigated the art of the Arapaho; Roland
B. Dixon, that of the Californian tribes; Clark Wissler, that of the
93
symbolism of the Indians designates the sky and life. The margin
is formed by a green line and the whole surface is divided into
three fields by two convergent blue lines. The large lateral fields
are strictly symmetrical. They contain three groups of stars repre-
sented by rectangles. The lowest line,—four red rectangles with
enclosed green centers,—represent large, bright stars; and the top
row, red without centers, are the children of the stars. It is un-
certain whether by this term the smallest stars or falling stars are
meant.
“The middle field, bounded by blue lines, represents the path
of life of the child. In this field are found peculiar green figures
which terminate above and below in T shaped ends. They are
diamond shaped and enclose a red and yellow checkerwork. They
designate the child’s good luck or the success that he will have in
life. In this case green symbolizes growth and development; yellow,
maturity and perfection; red, blood, life and good-fortune; all of
which are related to the deities. The lower rim of the hood is
interrupted on both sides by small white and blue squares. These
are said to represent the child’s age. I did not learn what was
meant by this expression. Probably the change of seasons was
meant, since the alternation of blue and white signifies the change
of winter and summer.
“The hood ends in a square flap which bears in its center a
green diamond terminating in cross bars, but smaller and simpler
than the corresponding figures of the central field. It represents
the heart. The blue lines and angles in the corners of the flap
are continued in the same way on the opposite side. They repre-
sent the unexpected events of life. Attachments on each side are
the child’s ears; the short lines of beads embroidered on the back
of the flap represents the hair of the child.”
Based on these results a somewhat extended study of the sym-
bolism of American Indian art was undertaken, in the course of
which A. L. Kroeber investigated the art of the Arapaho; Roland
B. Dixon, that of the Californian tribes; Clark Wissler, that of the