blanket
| Nom de l'objet : | blanket |
|---|---|
| Type de l'objet : | blanket |
| Catégorie de l'objet : | DRESS & ADORNMENT |
| Sous-catégorie de l'objet : | textiles |
| Matériaux : | dye fibre, wool bone fibre, cotton ? plastic shell |
| Technique de fabrication : | sewn cut |
| Numéro de catalogue : | A4325 |
| Province d'origine : | British Columbia |
| Pays d'origine : | Canada |
| Continent d'origine : | North America |
| Culture : | Kwakwaka'wakw: Kwagu'l |
| Secteur géo-culturel : | Northwest Coast |
| Contexte culturel : | ceremonial |
| Date de fin de production : | 1953 |
| Description : | Button blanket made of black wool with a red border on the sides and top that has a gap at the top centre where there is off-white cotton printed with a multicoloured geometric pattern. The main crest design in appliqué red cotton at the centre is of an |
| Fonctions : | The traditional crest-style button blanket ceremonial robe proclaims hereditary rights, obligations, and powers through the depiction and display of family crests. The design becomes the property of the family and cannot be copied. The documentation for each crest is known and recited at feasts where those attending verify its prerogatives and obligations. Before Europeans introduced manufactured cloth to the coast in the 1700s, the indigenous peoples made their ceremonial robes from animal skins and furs. Button blankets were used increasingly from the latter part of the 19th century among the coastal Indian nations, from Vancouver Island north to the Alaska Panhandle. The only Northwest Coast groups that did not use the button blanket were the Salish-speaking peoples of southwestern British Columbia and northwestern Washington State. There are differences in use from group to group, and generation to generation. Ceremonial robes are currently gaining increasing acceptance as part of both educational and political activities. |
| Hauteur : | 64 |
| Largeur : | 130 |
| Unité de mesure linéaire : | cm |
| Sujet ou image : | being, sisiutl utensil, copper |
| Signification iconographique : | Emblems or crests distinguish different social groups (lineages, phratries, or moieties) and symbolize their privileges. They can be shown on any material possessions, such as totem poles or robes, and each group owns the right to display specific crests. Within each group, families or individuals have the right to show the general crests is specific ways. The crest designs on this blanket represent thunderbird: Kwankwanxwaliga, double-headed sea serpent, Sisyulh and coppers, tlh!aqwa. Thunderbird is one of the supernatural birds of the ancestor myths, the parent of many children who became chiefs of lineages. The flapping of his wings causes crashes of thunder, and lightning flashes from his eyes. He is so enormous that he fishes for killer whales as though they were small fish. He is is represented with supernatural horns curving from his head. Sisiutl, the mythological double-headed serpent, is closely associated with Winalagalis, the war spirit. Sisiutl can be ridden and rowed like a canoe, its flesh is impervious to spears, it can inflict instant death at a glance, and can cause any enemy looking at it to turn to stone with all his joints turned backwards. Sisiutl is frequently depicted on ceremonial objects, including dance aprons and coppers. Coppers were made from a large sheet of beaten copper, cut in the shape of a shield, with a t-shaped ridge imposed on the bottom half. They were brought out as the climax of a potlatch, and were particularly associated with the marriage transfer of privileges, with a wife's gift to her husband, and with naming ceremonies. Used as a decorative motif on garments, staffs and crest carvings, they had a clear meaning of wealth. |
| Département : | Museum of Anthropology |
| Établissement : |
UBC Museum of Anthropology
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| Ville de l'établissement : | Vancouver |
| Province de l'établissement : | British Columbia |
| Enregistrement de l'institution : | Fiche complète provenant du site du musée |