History of Navajo Saddle Cloth
A hundred years ago, if you had to travel anywhere in the American West, you would probably be riding a horse. A good saddle is a must, and a sturdy, thick saddle pad under the saddle can help protect the horse from the weight of the load. Your saddle pad is likely made by a Navajo weaver; her work is coveted for its strength, durability, and beauty. Sturdy horses can stand up to years of use, while more complex specimens can be displayed for decoration and are a symbol of Western horse culture.
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Navajo weavers in the Southwest have been making and trading saddle cloth for over 150 years. Woven as practical items that can be used in abundance, they convey the same sense of design and craftsmanship as other fine Navajo weaves. Discarded by dealers and collectors over the years and underrepresented in museum collections, they are now one of the most popular collections at the Navajo Textile Mills. Your newfound appreciation is long overdue.
Single layer (usually 2'8" x 3' square) or double layer (up to 3' x 5' folded in half), these heavy duty "utility" blankets are usually designed to hold the "frame" of their rider's saddle in her position on the horse explains many of her design features: decorative borders, corner designs and tassels can be seen around the edges of the saddle itself, while in plan view the saddle placement is a sheer stripe or an open void in the fabric to allow for the center of the saddle , many of these parts may resemble an ornate frame around a hollow center, or an "open window" can be seen in the middle of the saddle edge. Structurally, they are thicker than a typical stretcher, so it is likely that the first Navajo fabric used as a blanket.
Many stages of Navajo weaving development can be seen in saddle cloth: early classics (before 1880) used indigo, Valletta red, and other vegetable dyes in ribbon designs; brightly colored commercial Germantown yarns appeared in 18 The late century was an integral part of the development of the "Fancy", "Dazzler" and "Sunday" saddle pads; the transition period brought new materials such as mohair, aniline dyes, and trends such as twill weaving, adding upholstery and trim (and technical Challenge); the ceiling era of the 20th century brought elaborate borders, medallions and graphic elements.
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The history of saddle cloth tells the story of the skill and productivity of weavers and the role that horses played in the American West. As Lane Coulter explains in his book Navajo Saddle Blankets: Riding Textiles in the American West, "The Navajo became an equestrian culture during colonial times, so they were (their) saddle cloth The first customers. But other markets quickly developed. .." Making tens of thousands of blankets for cowboys and other cavalry, Navajo pieces are considered some of the best and most durable in existence . As the country became more urbanized and "frontier life" disappeared, Navajo saddle cloth became a material bridge between the modern world and modern Western horse culture.
In Navajo culture, saddle cloth is a form of status and pride. "Sunday Saddle" or "Fancy" saddle pads should be woven from the highest technology and best - usually the lightest - materials. A refined iridescent bezel with edges and edges will excite riders. Sometimes initials (perhaps the rider's name), ranch emblems, graphic elements or lucky charms are woven into the corners. These blankets often appear to be used only once for special occasions, such as rodeos or regional fairs, and then put away or hung for display. Like the finest classic shawls, it is these items, woven with so much personal attention and care, that are most sought after and cherished by collectors.
Double saddle blankets are about the same size as the classic 19th century "children" blankets, and there is speculation that ancient blankets may have been woven for the same purpose. While some classics have worn patterns that can be used as saddles, this may not be the intended purpose - children's blankets are thinner and thinner than any blanket used under the saddle. Confusingly, many small samplers, miniature blankets and "travel" fabrics made since the late 18th century are also not classified as saddle cloth.
Thanks to the efforts of a handful of dealers, scholars and collectors, new discoveries of Navajo saddle cloth have steadily boosted the market value of antique pieces. Books and catalogs by Lane Coulter and Joshua Baer (The Last Blankets) helped define this new category, as did Ray Trotter's forthcoming book (Navajo Saddle Blankets, 2011).
Navajo weaving has undergone many changes over the years as markets, socioeconomic conditions and available materials have changed. From 19th century quilts to 20th century quilts to today's fine tapestries, the work environment for weavers is constantly changing. Only saddle cloth has remained relatively unchanged throughout history, both as a social commodity and as a Navajo commodity. As such, it is a fascinating living tradition that provides an open window into the art and culture of the past. In Coulter's words, "[Saddle cloth] has served very well for the myriad cultural and utilitarian demands that have been placed on it over the past century and a half."
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Navajo Saddle Pad Modeled After Phase III Chieftain Pad
One of the first textiles woven by Diné was saddle cloth. Along with the baby blanket, it is one of the few textiles woven for personal use. Eventually it caught on with denim because the thick weave and size allowed the blanket to be folded twice as thick. By the late 19th century, the Navajo economy was heavily dependent on the sale of textiles. Oriental blankets were popularized by merchants, and women responded by making textiles in styles and sizes suitable for use as blankets. Blanket weaving is more profitable than saddle cloth weaving, so make the effort to get there.Navajos and cowboys still need saddle cloth, but weavers make saddle cloth when they need it because the financial return is minimal.
The pattern consists of two-inch wide strips of tape in various colors. A row of edges is made of dark blue yarn with burnt orange and red yarn. Alternating stripes are alternating single rows of red and orange yarn. These tape styles alternate throughout the textile. The four corners are rhombus-shaped and consist of brown, red and burnt orange. It is a corner design derived from the three-phase ceiling style.
To quote Ryan Coulter, author of the Navajo Saddle Blanket: Textiles for Horseback Riding in the American Southwest:
“Navajo saddle cloth is one of the most underrated art forms in the American Southwest, the Cinderella of Navajo textiles. Saddle pads have played a key role in Navajo life, both as a commodity and as a modern Navajo people. A force for economic sustainability in life. They represent the physical connection between Navajo weavers and merchants. This humble textile is found on ranches, country houses, the floors of eastern bungalows, Art museum walls on horseback, even among the actual necessities people ask for. You haven't seen a sunset in a century and a half.
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This saddle pad comes in a variety of sizes and is not folded for the horse, but is on public display as a work of art. His style is known as the "Chief's Blanket" - a name derived from the popularity of this design among the Plains Indians. They were valued by members of these tribes and were so expensive that it was thought that Native Americans who could afford them had to become chiefs.
Warp and Weft: In weaving, weft (sometimes weft) refers to threads or yarns that pass above and below the longitudinal warp, inserted and held under tension on a frame or loom to form a fabric
Material. Warp threads are longitudinal or longitudinal threads in a roll, while weft threads are transverse threads. A single weft thread that passes through a warp thread is called a weft thread. The terminology varies (for example, in North America, weft is sometimes called filler or weft). Each individual warp thread in a fabric is called a warp or warp thread. Weft yarns are threads or yarns, usually made of staple fibers. Wool, linen or cotton are used as starting fibers. Today, synthetic fibers are commonly used in weaving. Since the weft does not need to be as tight as the warp on a loom, it can often be less strong. Weft threads are guided by warp threads with "shuttles", nozzles or "claws". The handloom was the original tool of the weaver, in which a shuttle was guided by hand through alternately drawn warp threads. A useful way to remember what is warp and what is weft is "one of them is from weft to thread". -Wikipedia
Condition: very good with some very light stains
Attribution: This Navajo Saddle Blanket is based on the Phase III Chief Blanket of the California Gentleman Collection
Suggested Reading: Navajo Saddle Blankets: Cycling Textiles in the American Southwest by Lane Coulter
keywords:textiles, navajo nation
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