| Native Indian jewelry, especially of the Navajo and | | | | a nomadic nature, the Navajo came frequently |
| Zuni variety,is generating increasing interest for its | | | | into contact with the Spanish in the south-west |
| beautiful and stunning design and workmanship. It | | | | from about the late 16th century. There were |
| is based on a tradition that is not that long, going | | | | clashes and sometimes friendly association. The |
| back to about the middle of the 19th century. | | | | Spanish personal ornaments and adornments |
| The emphasis here is on the silverwork that is | | | | fascinated the Indians. And they began to copy or |
| employed in the making of the jewelry. There is a | | | | assimilate the Spanish style and began to wear |
| fascinating history which is worth looking into. It is | | | | ornaments made from so-called German silver. |
| an American legacy of the native Indians, from | | | | But silversmithing, using real silver, was not yet |
| the time of the Spanish Conquest. So in that | | | | within their grasp. |
| sense it is a tradition that goes back to the | | | | Though the history is not completely certain, it is |
| founding times of America. | | | | generally thought that the first Navajo silversmith |
| Native American Indian jewelry was, and is, | | | | was Atsidi Sani (also known as "Old Smith"), and |
| generally classified into two main types - | | | | the making of silver jewelry started in th 1860s. |
| beadwork and metalwork. Beadwork has a longer | | | | Atsidi Sani was among some 8000 of the Navajo |
| history stretching back to pre-Colombian times. It | | | | tribe who were captured and imprisoned at Fort |
| concentrated on the use of natural materials, and | | | | Sumner in New Mexico in 1864 to 1868. It seems |
| semi-precious gemstones, such as shells and | | | | that by the end of the captivity, Atsidi Sani |
| turquoise, animal bones and ivory. | | | | learned the art of silversmithing. The art was |
| In this article, I am concentrating on metalwork | | | | transmitted to his sons, and spread to the Zuni in |
| jewelry making. Because the skills and techniques | | | | around 1872. Atsidi Chon (known also, perhaps |
| of fashioning metal were not advanced until after | | | | descriptively, as "Ugly Smith") taught his Zuni |
| the arrival of the Europeans on the American | | | | friend Lanyade the skill of making silver. The |
| continent, the metalwork jewelry was, prior to | | | | Navajo style was passed on to the Hopi, when |
| that period, of relatively simple order. Iron and | | | | they in turn learned making silver jewelry from |
| copper were used, so was brass and later silver. | | | | the Zuni. |
| The technique was by manual hammering and | | | | In the early days, the source of silver was |
| etching. The fashioning of silver by silversmiths | | | | Mexican and U.S. coins. The U.S. coins, being readily |
| came after silversmithing was introduced by the | | | | available and of good quality, were often used. In |
| Spaniards. | | | | 1890 a law was passed prohibiting the melting of |
| The influence was on the south-west of the | | | | U.S. coins, but that was more often honored in |
| American continent. In fact, it was the Mexicans | | | | the breach than observance. |
| first who learned the skill of silversmithing from | | | | The emblematic piece of Navajo or Navajo-style |
| the Spanish invaders. After the native Indians | | | | jewelry is the squash blossom necklace. This was |
| learned it from the Mexicans, their skill gradually | | | | actually adopting the Spanish crescent-shaped |
| grew and has developed into the intricate use of | | | | "naja" as the centerpiece of the necklace. The |
| silver with gemstones like turquoise, with | | | | crescent was itself a legacy of Moorish influence |
| distinctive designs that are stunningly eye-catching. | | | | upon the Spanish. Muslim Spain had a history of |
| The Navajo are credited with being the tribe that | | | | almost 800 years from 711-1492, with a |
| helped spread the craft of silversmithing. Being of | | | | flourishing culture. |