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Bags such as this one display a wide range of images, which are created by the kinds of geometric lines that are common to all methods of design representation in the Columbia River area, regardless of medium. The human figures shown here differ little in conception and structure from ones that are carved in relief in either wood or horn, bone or antler (c.f. Holm 1983c, pp. 34-36). If the raised tails of the quadrupeds shown here relate to the historic Salish tradition (see fig. XX)[T153], the figures represent dogs, certain species of which were kept in part for the use of their fine, woolly hair. These stiffly geometric versions in red and black are very unusual in that their faces are totally frontal in attitude, their two eyes and pointed ears represented in the simple stitches of overlaid hemp and grass yarns. The use of red color, not a dye native to the area, suggests that this bag was made after increased trade brought new resources into the weaver's hands.
Indian hemp is the name of a woody, leaf-bearing plant (Apocynum cannabinum) or shrub with bark yielding a very fine, strong fiber that can be spun for a number of textile and cordage uses from weaving to net making. Employed as thigh-spun yarn strands, the hemp provides a very strong, durable base material for both the cylindrical and flat bags traditionally made in this area. By the mid-19th century, flat bags were being made of commercial wool and cotton fabrics decorated with glass bead embroidery in floral and animal representational motifs, techniques that had transfered from the continental interior to be adapted to the form of local traditional prototypes (Schlick/Duncan 1991, p. 41). (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
ProvenanceNatalie Fay Linn, Portland, Oregon
BibliographyVincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.303.
Jonaitis, Aldona. Art of the Northwest Coast. Seattle and London: University of Washington Press, 2006, pg. 65.
Fognell, Eva and Alexander Brier Marr, eds. Art of the North American Indians: The Thaw Collection at the Fenimore Art Museum, 2nd ed. Cooperstown, New York: Fenimore Art Museum, 2016, p. 319.
Culture
Wishxam or Wasco
Root Bag
Date1840-1860
DimensionsOverall: 5 × 5 3/4 in. (12.7 × 14.6 cm)
Object numberT0150
Credit LineGift of Eugene V. and Clare E. Thaw
Photograph by John Bigelow Taylor, NYC
Label TextThe reverent gathering of vegetable food resources, such as the varieties of native roots that grow in the volcanic soils of the plateau region, has been an annual observance by interior peoples for thousands of years. Fragments of twined basketry dated at 9000 years old have been recovered archaeologically near The Dalles (Cressman et. al., 1960, p. 73) (Schlick/Duncan 1991, p. 37). Traditional communities today continue to observe these important annual ceremonies. Small, cylindrical pouches such as this were woven in part to serve as the receptacles for the ritual harvests of a large variety of native roots, including cous, camas, bitteroot and others. Decorated by overlay twining with the images of animals, spirits, and other representations, bags like these may have been carried by those leaders of Root Societies whose position it was to collect the year's first resources. Gently curved, T-shaped digging sticks (known as "kapin" in the Yakima language and still in use today) are the tools employed to loosen the root bulbs and tuberous growth from the soil. Ritual blessings and thanks to the earth spirits would be given at these special root feasts, where the first ceremonial harvests would be shared by the community. Larger hemp and corn husk bags also made on the plateau would hold the gatherings intended for drying and storage for the family's yearly supply.Bags such as this one display a wide range of images, which are created by the kinds of geometric lines that are common to all methods of design representation in the Columbia River area, regardless of medium. The human figures shown here differ little in conception and structure from ones that are carved in relief in either wood or horn, bone or antler (c.f. Holm 1983c, pp. 34-36). If the raised tails of the quadrupeds shown here relate to the historic Salish tradition (see fig. XX)[T153], the figures represent dogs, certain species of which were kept in part for the use of their fine, woolly hair. These stiffly geometric versions in red and black are very unusual in that their faces are totally frontal in attitude, their two eyes and pointed ears represented in the simple stitches of overlaid hemp and grass yarns. The use of red color, not a dye native to the area, suggests that this bag was made after increased trade brought new resources into the weaver's hands.
Indian hemp is the name of a woody, leaf-bearing plant (Apocynum cannabinum) or shrub with bark yielding a very fine, strong fiber that can be spun for a number of textile and cordage uses from weaving to net making. Employed as thigh-spun yarn strands, the hemp provides a very strong, durable base material for both the cylindrical and flat bags traditionally made in this area. By the mid-19th century, flat bags were being made of commercial wool and cotton fabrics decorated with glass bead embroidery in floral and animal representational motifs, techniques that had transfered from the continental interior to be adapted to the form of local traditional prototypes (Schlick/Duncan 1991, p. 41). (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
ProvenanceNatalie Fay Linn, Portland, Oregon
BibliographyVincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.303.
Jonaitis, Aldona. Art of the Northwest Coast. Seattle and London: University of Washington Press, 2006, pg. 65.
Fognell, Eva and Alexander Brier Marr, eds. Art of the North American Indians: The Thaw Collection at the Fenimore Art Museum, 2nd ed. Cooperstown, New York: Fenimore Art Museum, 2016, p. 319.
On View
On view1450-1550
