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Hó-ra-tó-a, a Crow warrior with headdress, painted buffalo robe, and hair reaching the ground. Painted by George Catlin, Fort Union 1832. A buffalo robe is a cured buffalo hide, with the hair left on. They were used as blankets, saddles or as trade items by the Native Americans who inhabited the vast grasslands of the Interior Plains. [1]
Mackinaw blankets are referenced by Josiah A. Gregg in his 1844 book Commerce of the Prairies about trade on the Santa Fe Trail. He notes that these were contraband, subject to confiscation by Mexican customs officers, but that they could be concealed between the double layers of Osnaburg sheet fabrics which formed the roof of covered cargo wagons.
Buffalo hide painting of Pawnees battling the Villasur expedition. Traditionally, men painted representational art. [3] [6] They painted living things. [2]Plains Indian male artists use a system of pictographic signs, characterized by two-dimensionality, readily recognizable by other members of their tribe. [7]
In the Civil War, the usual practice was to spread one rubber blanket on the ground, arrange the wool blanket on the rubber blanket, and, if available, spread a second rubber blanket on top of the wool blanket. The soldier slept directly on the rubber blanket, uncoated side up, and the wool blanket over the recumbent soldier.
According to Cree tradition, or oral history, pîhtokahânapiwiyin, known to English speakers as Chief Poundmaker, gained his name for his special ability to attract buffalo into pounds. A buffalo pound resembled a huge corral with walls covered by the leaves of thick bushes. Usually herds of buffalo were stampeded into this trap.
The buffalo gave us everything we needed. Without it we were nothing. Our tipis were made of his skin. His hide was our bed, our blanket, our winter coat. It was our drum, throbbing through the night, alive, holy. Out of his skin we made our water bags. His flesh strengthened us, became flesh of our flesh. Not the smallest part of it was wasted.