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North American Indian Jewelry and Adornment: From Prehistory to the Present. New York: Harry N. Abrams, 1999: 170-171. ISBN 0-8109-3689-5. Haley, James L. Apaches: a history and culture portrait. Norman: University of Oklahoma Press, 1997. ISBN 978-0-8061-2978-5. Karasik, Carol. The Turquoise Trail: Native American Jewelry and Culture of the ...
Owen is recognized for helping popularize this traditional Ancestral Pueblo style of Native American jewelry, which was not previously well known. [16] [17] [18] After developing her technique, she taught her family members to carry on the tradition, including her brother Joe, sister in law Angie P. Reano, and her children Rena, Dean and Donna.
The Navajo silversmiths also borrowed the "naja" (najahe in Navajo) [58] symbol to shape the silver pendant that hangs from the "squash blossom" necklace. Turquoise has been part of jewelry for centuries, but Navajo artists did not use inlay techniques to insert turquoise into silver designs until the late 19th century.
Among these peoples turquoise was used in mosaic inlay, in sculptural works, and was fashioned into toroidal beads and freeform pendants. The distinctive silver jewelry produced by the Navajo and other Southwestern Native American tribes today is a rather modern development, thought to date from c. 1880 as a result of European influences.
Orville Z. Tsinnie (1943–May 23, 2017) was a Diné silversmith, jewelry maker and katsina carver from the Navajo Nation. He lived and worked in Shiprock (Navajo: Tse bit'a'i), New Mexico for most of his life.
One of the most important forms of Navajo and Southwestern Native American jewelry, is the Squash Blossom Necklace. Most are made of a string of plain round silver beads, interspersed with more stylized "squash blossoms", and feature a pendant, or "naja", hung from the center of the strand.