Diversity in Diné Art

An Online Exhibition Presented By The Dancing Rabbit Gallery Navajo Flute Music Courtesy of Andrew Thomas

All Rights Reserved Diversity in Diné Art (Hello, my relatives and my people.) Yá'át’ééh, shik’èí dóó shidine’è
Preface The Navajo language is a subset of the Athabaskan language group, which includes the closely related Apache subset. The use of the word Diné to describe these peoples is deliberate, in that is how they prefer to be known. The meaning in their language is “the people.”
When Spanish explorers moved into the American Southwest, their native guides, often from other tribes, referred to the Diné as Navajo, which is a Zuni term for “invaders” or “enemy people.” Preface The Diné migrated to the Southwest from the Alberta and Wyoming areas roughly a thousand years ago, not coincidentally coinciding with the rapid decline and southward migration of the Ancestral Peoples (Anasazi).
During this time, the Navajo (Diné) peoples have lived and thrived in the American Southwest in close harmony with Mother Earth. Much of their copious artistic works reflect this relationship. The land is often rugged and bold, making it fertile ground for artistic inspiration. The Diné refer to this land as Diné Bikeyah.
Preface Many of the historic settlement areas of the Diné, such as Window Rock, Canyon de Chelly and Monument Valley, are dramatic evidence of the ability of Mother Earth to combine form, color, and materials to produce glorious and picturesque settings.
This exhibition is intended to celebrate the wide diversity of art produced by the highly talented artists within the Navajo Nation. Within the exhibition, we will showcase examples of Diné artistry in fine art, basketry, pottery, jewelry, and sculpture.
Diversity The Diné artists are quick learners and highly adaptive. For thousands of years, they observed and learned from those around them, such as the Hopi, Puebloan peoples, Havasupai, and Ute. They traded widely with other far-away cultures, such as the Inca of South America and Caddo of the Southeastern United States. They acquired techniques, materials, and inspiration from those groups and adapted and incorporated elements that they liked into their own distinctive art. Diné art clearly represents the Diné culture, but the linkages to many other indigenous peoples gives it a very universal appeal. Pictorial Communication Pictorial Communication The first recorded artistic creations come from the petroglyphs and pictographs found throughout this region. Many of these carved and painted images reflect the daily life of the Diné, including depictions of animals, crops, activities like hunting and dancing, religious symbols, and other similar images. Lacking a written language, the Diné utilized these images in conjunction with their rich and detailed oral histories. Many current Diné painters draw inspiration from these images and from their surroundings, producing emotional and inspirational representations of their culture.

Alex Sanchez Tim Yazzie Ancestral Iconography and Values The Diné have brought forward their petroglyphs and pictographs across many artistic media. It is not unusual to see the same image on a basket, a weaving, a piece of jewelry, and in a painting. These symbols tell stories of the Diné culture, the Diné values, and the Diné history.
Roger Deale, Jr. Fine Art David K. John Traditional Diné images are laden with stories of
the people, the history, and the culture of this
amazingly versatile and resourceful people. The
images contain stories and meaning far below the surface iconography.
Images of Diné Culture David K. John The sacred spirits are
often portrayed as they
are seen in the dances
and ceremonial regalia
of the Diné.


David K. John Bluebirds and hummingbirds, very common throughout the
Diné lands, are viewed as
messengers from the holy
spirits to the elders of the tribe.
Messengers of the Holy Spirits David K. John Here we see the
traditional regalia
embedded with
Diné symbology.
The horse and rider
are representative of
the close relationship
between Diné and
their horses.
David K. John Embedded Diné Symbology The color palette of many Diné artists reflects their surroundings.

Sharp blue skies, combined with brown and ochre landscapes, give a pleasing harmony of colors for the artist.

Artists must be very careful to show only elements of the culture that are acceptable for non-Diné to view.

Robert Manygoats The Southwestern Color Palette Dorothy Dunn is credited with establishing the Studio School at the Santa Fe Indian School in 1932. Her style, while distinctively flat and juvenile, gave inspiration to a number of artists who utilized her lessons.

Among Dorothy’s art students were Harrison Begay, Allan Houser, Pablita Velarde, Alfonso Roybal, Julian Martinez, and many others.
Harrison Begay The Legacy of Dorothy Dunn Harrison Begay Students of Dunn
were encouraged to
paint what they knew
– scenes from their
homes and from
their culture.


Harrison Begay Paintings from Life Roger Deale, Jr. Later artists, while still using many of Dunn’s artistic techniques, incorporated many Diné symbols and stories into their works.

Roger Deale, Jr. The handprint often represents the presence of man.
Distinctively Diné Symbols found in the Diné paintings often incorporate the same iconography as that
found in weavings, pottery, jewelry, baskets,
and other elements of Diné art.
Roger Deale, Jr. Our People, Our Land Storage Vessels Storage Vessels Pottery and baskets were utilitarian means of gathering and storing seeds, food, and other items. Because of the prevalence of piñon trees throughout the Diné area, the pitch from these trees was often used to seal the pots and baskets to prevent leakage. That led to the distinctive fire and smoke clouds seen on traditionally fired pots and to the dark coloration on the insides of many traditionally made baskets. Until the 20th century, Diné culture did not allow figurals to be added to pottery or baskets, so they were often unadorned.
Basketry One of the earliest methods of storage, basketry evolved rapidly among the different cultures around the world. The techniques of making baskets, however, tended to be relatively common among a specific group of people, but quite distinct from other groups of people.
Basketry The most common type of basket construction is coiling in which a larger substance is coiled in circles starting at the center. A thinner material is stitched around the coils to hold them in place. This material can add decoration. Sometimes, the thick material is actually a bundle of thin materials like grasses. The coil is spiraled outward and, unless the intent is a plaque, upward. This method offers more strength and more opportunity for decoration.
Diné Wedding and Ceremonial Baskets The main feature of any wedding basket is the pathway
design, adapted from the Navajo creation story. The black
design symbolizes the darkness (night) and clouds that bring the rain. The white part inside the black design represents the sacred mountains. The outside white area represents the dawn and is tied together with the outside rim which represents a person’s thoughts, prayers, and values. The red part within the black design represents the life giving rays of the sun, and is often called a rainbow.
Basketry Pathway There is always a line from the center of the basket to the outer rim, a path from the center for the Spirit to come and go. The basket has a pathway which leads out to the edge where the weaver has stopped coiling. The rim of a Navajo wedding or ceremonial basket always terminates opposite the spirit line.
Diné basket making has declined in recent decades, but survives because of the importance of wedding and ceremonial baskets.
Sarah Ross Today weavers are receiving deserved recognition for their baskets
whether they are to be used in ceremonies, weddings, or sold to collectors.
Rose Johnson Basketry As Art Samuel Manymules Traditional Diné Pottery Pottery For hundreds of years, Diné pottery utilitarian vessels were used for carrying water, storing seeds and foods, serving meals, and other highly plebian needs. The clay for the pots was carefully dug from the ground, ground into a fine powder, and reconstituted into a screened clay with water and wedging. The wedging was necessary to remove air pockets from the clay, which would cause explosions during the firing. After the clay was built into the desired vessel, it was fired outdoors with a wood or manure fuel surrounding the vessel. That fuel gave the dark smoke clouds so typical of Diné pottery.

Louise Rose Goodman Lorraine Williams Alice Cling Adding Dimension and Decoration Damon Tso Elsie Black Betty Manygoats Embellishments Betty Manygoats Within the past fifty years, the Diné tribal elders have allowed figurals to be added to the pottery, initially seen as appliques of local creatures like frogs and lizards, but rapidly moving into sculptural elements.
Louise Rose Goodman Pottery Figurals and Fanciful Images Lucy McKelvey Additionally, the traditional utilization of monochrome glazes has moved in a new direction with the adoption of polychrome paints similar to that used by many of the Pueblo potters. Again, the Diné adapt and imitate the best practices of their neighbors, yet put a traditional Diné appearance to the pottery.
Lucy McKelvey Diné Polychrome of Today Ever Evolving Jewelry the utilization of these techniques to begin crafting their own silver jewelry. After the forced march in 1864 to the Bosque Redondo detention area, the Diné began to incorporate turquoise and subsequently other gemstones into their jewelry. Continued refinement of the tools and techniques by Navajo Nation jewelers has produced some of the most elegant pieces of wearable art ever seen, easily rivaling those of jewelers around the world.
Jewelry With the introduction of silversmithing by the Spanish conquistadors in the 1600’s, the Diné rapidly embraced The earliest works were concho belts, bracelets, and necklaces, but eventually expanded to a full range of jewelry. Today, some of the most popular features of Navajo Indian jewelry include high quality gemstones, intricate incised and stamped patterns, and expansion beyond sterling silver into gold and other precious metals. Silversmithing The Spanish brought the techniques and tools of silversmithing, and the Diné rapidly adopted this art form. For many Diné artists, melting and molding the silver, sometimes with finishing stamp work, was a significant accomplishment. Atsidi Sani is widely believed to be the first Diné to learn
silversmithing, working with the metal as early as 1860. It was
he who taught the trade to other Indian tribes living in the
Southwest, including the Zuni and Hopi. With the knowledge of
silversmithing, the Diné began working with melted down coins and other silver wares to make their own jewelry. As the knowledge was passed on to Sani’s sons and others, artists were able to refine their techniques, adding gems or casting with sandstone.
It Began With Atsidi Sani Sand casting creates a matte finish with an antique feel as opposed to a more high-shine finish. Every piece of
Diné jewelry created by sand casting is truly a one-of-a-kind piece — the mold is destroyed by the molten silver. Sand casting is considered one of the most difficult silversmithing techniques to master, but the Diné artists keep this rich tradition alive.
Sand Cast Jewelry Creation Tufa-casting is an old Diné technique where the
impression of the bracelet is carved in volcanic stone
(tufa-stone) and the molten metal is poured into the
impression. This was one of the very first techniques that the Diné created in the late 1800’s.
Tufa Cast – A Diné Technique Harrison Jim Although concho belts have been a hallmark of Diné
culture for many years, it is believed that they
borrowed the design from Mexican horse bridles. In the earliest days, Diné concho belts were made from hammered Mexican or U.S. silver coins. The flattened coins were then stamped by hand and strung on leather to form the concho belt.

Concho Belts During the 1900s, the basic concho belt design got several
new features. Buckles and butterfly-shaped spacers were
added to the belts, and artists adorned their pieces with
turquoise.
Generally, there are two main types of concho belts: leather
and link. Leather concho belts feature conchos strung along leather, whereas link concho belts connects the conchos with silver chain links.
Concho Belts A naja is a crescent-shaped pendant that appears either alone or as the centerpiece of a squash blossom necklace in Diné jewelry. Naja is the Diné word for crescent.
It is believed that the symbol originated from the Moors and was then adopted by the Spanish as an ornamental design on horse bridles and men’s belt buckles. When the Spanish came to the American Southwest, the Diné borrowed this symbol for their own jewelry.

Naja Pendants The earliest naja pendants were simply decorated and made of silver. They would have a hook allowing it to be attached to a necklace. Today, naja pendants can feature a variety of stones in addition to silver, and they also appear in bracelets and earrings.
Naja Pendants The distinguishing feature of the squash blossom necklace is the crescent-shaped pendant lying at its center, known as the naja. The squash blossom as a design concept originated with the Diné. They were the first Southwest tribe to utilize the design of the edible gourd, an important source of sustenance.
An Iconic Southwestern Necklace Squash Blossom Necklaces The name of the necklace comes from the tri-petal bead, the “blossom,” developed by Navajo silversmiths, who called it yo ne maze disya gi, or “bead that spreads out.” But the classic squash blossom necklace is actually comprised of three distinct components: the plain, unembellished round beads, round beads embellished with blooming petals and the naja centerpiece.
The Classic Squash Blossom Style
soldiers. Others assert that the squash blossom is just that — an homage to one of the most important foods of the early Southwest Native diet. Along with beans and corn, squash is one of the Three Sisters. This trio of crops share a symbiotic relationship when planted together and have provided sustenance to Indigenous peoples of the high desert for centuries. Origins aside, one thing is clear: the squash blossom represents a centuries-old fusion of cultures and design.
Squash Blossom Shape Some believe the squash blossom was taken from the
pomegranate-shaped decorations found on the buttons of Spanish Turquoise began to appear in Diné jewelry around 1880.
The Diné actually sourced their turquoise from the Santo
Domingo tribe, and by 1885, turquoise was in high demand
for Navajo jewelry. When tourists started to frequent the area in the 1920s, Diné jewelry became a popular souvenir. Especially popular were turquoise and squash blossom jewelry. With these styles in demand, many Diné artists started making jewelry in their home to keep up with demand. The popularity of turquoise has endured, and it is one of the most sought-after types of Diné jewelry.
The Addition of Turquoise With the availability of turquoise stones, often easily
dug from rock slides or slightly below the surface,
Diné silversmiths began incorporating turquoise into their works. As almost all turquoise is a very soft, flaky composition, only the hardest pieces of turquoise could be utilized in their works. Early Diné gemstones are readily recognizable in that the gemstones are rarely cut into regular shapes, but are much more irregular both on the stone surface and in the shape mounted within the sterling silver bezel.
Turquoise and Silver Although Diné silversmithing had been practiced only by men, Diné women had begun working the metal by 1918 and began to make beautiful Native American turquoise jewelry as well.
Sheila Becenti Women as Silversmiths As the Diné silversmiths continued to advance their skills
and capabilities, they began shaping and modifying the
gemstones, often combining different colors and shapes to
produce pleasing tableaus of gemstones on their silver bases. Necklaces, cuffs, and rings were the easiest platforms for the silversmiths to utilize, and rapid innovation in designs became evident. Early squash blossom necklaces, for example, often had one or a small number of turquoise stones on the naja pendant, but these necklaces rapidly became covered in dozens of beautifully cut stones.
Albert Lee Shaping of Cabochons The Diné artists rapidly moved into different gemstones
and similar materials, as their trading network had shown
them many different options. The most recognizable gemstones
included Lapis Lazuli, Jet, Onyx, Agate, Quartz, and many other hard colorful stones. The most recognizable non-stone materials included Spiny Oyster, Coral, Mother of Pearl, and similar organic materials.
Alvin Yellowhorse A Multitude of Gemstones As the stonework became more prominent in Diné jewelry,
inlay placement, where the stones are either fixed in a
channel or groove, or where the stones are fixed with
pressure to either side by other stones, rose in popularity.
Mixing stones and colors in elegant patterns continued to flourish.
Michael Perry Inlay of Stones The next stage for Diné jewelers was more and more
precision in their stone cuts, leading to a style called
micro-inlay. With this style, the stone fragments are
extremely fine and the precision of the cuts requires
patience, a steady cutting hand, and high magnification.
Abraham Begay Innovation of Micro-Inlay Some Diné master jewelers have focused on close
alignment of different stones and different colors,
and others have moved into the creation of pictorial
tableaus depicting animals, people, and even landscape
scenes.
Alvin Yellowhorse Abraham Begay Innovation of Micro-Inlay The evolution of Diné jewelry has been quite rapid over
the past two or three centuries, to the point today where
Diné jewelry is among the finest seen around the world in
both elegance and quality.
Master jewelers of the Diné are rightly seen as equal to master jewelers from Europe, the Americas, and Asia with their wearable art.
Vern Begaye Evolution of Wearable Art Weavings Produced by Diné people of the Four Corners area of the United States, Navajo textiles are highly regarded and have been sought after as trade items for over 150 years. Commercial production of hand-woven blankets and rugs has been an important element of the Diné economy.
Strong, Lightweight, and Artistic Weavings Diné weaving is really a blend of these ingredients: the upright loom of the Ancestral Peoples (Anasazi), the weaving techniques of the Puebloan peoples and the wool from the Spanish churro. This recipe makes the most spectacular rugs and tapestries that have been coveted by collectors for more than a century.
Diné Weavings From the inception of Diné weaving from around 1700, weaving has provided an important economic benefit to the Diné tribe and a fine outlet for their artistic talents. Today, Diné rugs are made in the weaver's home or hogan on vertical looms using the same methods they have mastered for over three hundred years. Without pencil and paper or outlines, Diné weavers' minds unfold complex designs in their wool rugs.
Diné Weavings The Spanish conquistadors brought the fine-wool churro sheep
from Spain in the 16th century, and they were immediately
assimilated into the Diné way of life. The churro sheep were well
suited to harsh climates and produced ample quantities of fine wool. The wool is sheared from the sheep, carefully carded and spun into wool fibers, and sometimes dyed with vegetal dyes. Churro sheep are distinctive in that they often have four horns instead of two, giving them a fierce visage.
Photo courtesy of N-CSA Churro Sheep The loom is usually set up outdoors with the vertical warp strung between heavy logs suspended from trees or a wooden frame. The rug is woven by passing the weft over and under the warp threads and beating it down securely with a wooden comb.
Photo ©Library of Congress, Prints & Photographs Division, Edward S. Curtis Collection 1904
A Vertical Loom Adopting the vertical loom and native cotton yarns, Diné weavers quickly established themselves as master craftsmen in the weaving arts. Diné weavers’ skill at transforming wool thread into high quality mantas (wearing blankets), dresses, shirts and sashes made their work desirable, not only among themselves, but by surrounding tribes such as the Pueblos, Apache, Arapahoe, Cheyenne, Sioux and Ute.
A Vertical Loom One unique characteristic about a Diné rug is that the foundation warp thread turns back at the top and bottom continuously so the exact length of the rug is therefore predetermined. The weaver needs to have great skill for her design to be finished when she reaches end of the rug. In the entire world there are no other weavings made in such a way.
A Unique Weave From the simple striped blankets of the Classic
Period, Diné rug designs have exploded into a number of regional styles and individual expressions
of the Diné weaver’s imagination. Serrated diamonds, lightning zigzags and bold crosses adorn Diné chief blankets. Traders encouraged the locals to weave blankets and rugs into distinct styles.
Beautiful Variations Unique styles developed around the trading posts throughout the Diné reservation. These styles included Two Gray Hills – predominantly black grey, brown and white, with traditional patterns; Teec Nos Pos – colorful, with very extensive patterns; Ganado – red dominated patterns with black and white; Crystal and Burntwater – Oriental and Persian styles (almost always with natural dyes); Wide Ruins and Chinle – banded geometric patterns; Klagetoh and Red Mesa – diamond type patterns.
Trading Post Styles Teec Nos Pos Major Trading Post Styles Two Grey Hills Ganado Klagetoh Chinle Non-Regional Weavings Non-regional, or general rugs, make up the largest category of Diné rugs. The non-regional rugs do not exhibit unique characteristics that allow them to be pinpointed to a specific Chapter or trading post area. Many master weavers like to mix styles and experiment with dyes, color compositions and designs, adding their unique touch to rugs that may not be in the style of the area in which they live.
Symmetry and Color No matter whether the beautiful rug is from a specific area or a non-regional rug, these weavings exhibit a fourfold symmetry, which is thought to embody traditional ideas about harmony or Hozh.
Diné developed a significant reputation for high quality blankets and rugs.
Yei and Yeibechai Style Rugs The Yei symbol is a frequently used pattern in Diné
rugs during ceremonies. In Diné mythology, the Yei
spirits mediated between the Great Spirit and humans
(the name Yei derives from Yeibicheii, meaning the Holy People.
There is a difference between Yei figures and Yebechai figures. Yebechais have somewhat more human proportions, usually face sideways, and often have legs bent in a dancing motion. Though female dancers have square heads, male dancers are identified with their round heads.

Yei and Yeibechai Style Rugs Yei rugs began appearing in the 1890’s as trading posts encouraged their weavers to include these religious figures in their weavings. During the 1920’s, two distinct styles of yei/yeibechai rugs developed. Rugs made in the area of Shiprock tend to have light colored backgrounds with no border, while rugs woven in Northeastern Arizona tend to have simple borders with dark backgrounds.
From Dr. Mark Sublette, owner of Medicine Man Gallery in Tucson
This Yei rug features square headed female dancers facing outward holding feathers.  As is recommended, this rug has always been hung on the wall.

Sculpture – Three Dimensional Art Forms David K. John David K. John Mixed Media Sculpture Along with pottery, jewelry, and the other diverse art forms, Diné artists embraced sculpture as a three-dimensional means of expressing their artistic souls. Stone, wood, glass, metals (including bronze), and even pottery are all sculptural mediums currently being utilized by Diné artists.

Nathaniel Tsosie Native Wood Easily carved cottonwood is prevalent and easily
obtained in the Navajo Nation. Therefore, early carvers developed figural representations for both religious purposes and teaching purposes.
Roger Pino Wood Carvings The recent trend in the making of katchinas has been to sell to tourists, thus are not exact replicas of Diné religious items. This is to limit the knowledge of non-Diné people of the sacred religious aspects of the Diné.
Cottonwood trees, prevalent in the Navajo Nation, are an easily carved and painted wood source.
Oreland Joe Sr. Stone Evolving from found stones that represented figures, the Diné carvers knapped stone into weapons and also into religious items. The art of knapping stones into sharp edges had a significant impact on the ability of the Diné to hunt for food and engage in predatory raids on other tribes, for which they rapidly became known. The use of stone for religious items was not as prevalent due to the weight of the items compared to wood, but the durability was a significant factor in its favor.
Carol Lujan Glass Though practiced in Europe and Asia for many centuries,
the skills and equipment of making molten glass into
sculptures has only entered the Native American skillset within
the past half-century. Kilns required to heat the molten glass
to two thousand or more degrees are not common, but as this
art form is spreading throughout the Native American population, there are a number of Diné artists exploring and utilizing this medium.
David K. John Glass Incorporating glass with other elements, such as
the gold, silver, and feathers found in this
representational dance mask, are becoming
increasingly prevalent as artists explore and
utilize mixed media on their glass platforms.
David K. John Pottery As Sculpture Departing from traditional storage
vessels, Diné artists are using
pottery and mixed media elements
to create additional 3D representations
of their culture.
David K. John Pottery As Sculpture Stylized figures lend
themselves to a
very expressive
imagination.
Jack Black David K. John Bronze With the incursion of Spanish explorers, the ability to create
bronze molded figures became a skillset of the Diné artists.
Rapidly, they began sculpting and casting bronze figures of
wildlife and even representational people in their culture.
As a result, the bronzes of the past few hundred years are
rare and only becoming more prevalent in the past century.
An Incredible Talent Pool The largest reservation in the United States, the Navajo Nation covers over 27,000 square miles within the States of Arizona, Utah, and New Mexico. There are approximately 400,000 Diné registered on tribal rolls, making it the largest Native American tribe in the United States. As a result, there are thousands of Diné artists experimenting and producing art at prodigious levels, giving them the largest volume of Native American art in the world.

Artistry On Display The wide diversity and high level of quality of Diné artistry can be seen at the highest level of juried art shows and competitions. Additionally, there are events such as the Navajo Fair in Window Rock, Arizona (the legislative capital of the Navajo Nation) held in 2022 from September 4-11, and the world-famous Crownpoint Navajo Rug Auction held monthly by the Crownpoint Weavers Association.
As a result of the sheer number of Diné artists and their innate curiosity of adapting and innovating within their artistic milieu, there are thousands of Diné artists experimenting and producing art at prodigious levels, giving them the largest volume of Native American art in the world. High Expectations for the Future The future of Diné art is bright indeed.
Thank you for visiting our exhibition.
We hope that we provided you with a deeper understanding
of Diversity of Diné Art and have provided you some insights
of the exceptional talents of Native American artists.

A clever individual, Kokopelli has become an icon of celebration recognizable by both Native American and other peoples. This simple iron figure stands as décor in my Gallery space, bringing a light spirit and gleeful tone to the world.
Please feel free to let your friends know about this exhibition, which will run as a Featured Exhibition
on The Dancing Rabbit Gallery website, www.thedancingrabbitgallery.com,
through the end of August, 2022.

If you wish to acquire any of the sculpture featured here, please contact us at: katie@thedancingrabbitgallery.com

All of the images are copyrighted by the owners of The Dancing Rabbit Gallery unless otherwise attributed. Music