Southeastern Woodland Indian Designs

Contains designs from ceramics, textiles, metal-working, basketry and sculpture, ranging from pure Indian designs to those reflecting Spanish influence drawn from the cultures of the Seminole, Natchez, Creek and affiliated tribes.

Of great significance to everyone interested in Native American Culture, this excellently researched and rendered book is designed to educate as well as entertain. It is filled with fun facts and ready-to-color symbols illustrated from ancient artifacts and designs of the American Indian Tribes of the South East Woodlands of North America. This book will intrigue and captivate people of all ages. An enjoyable collection of drawings and information it can also serve as an important classroom teaching aid.

Gathers together the five regional books of Native American designs: Eastern Indian Woodland Designs, Northwest Indian Designs, Plains Indian Designs, Southeastern Woodland Indian Designs and Southwest American Indian Designs.

Contains many examples from the Iroquois, Algonquian and other Native American Indian tribes of the eastern United States.

Pictures designs and objects of Indians throughout the United States and along the Canadian Pacific coast from the prehistoric era to the nineteenth century

Early Art of the Southeastern Indians is a visual journey through time, highlighting some of the most skillfully created art in native North America. The remarkable objects described and pictured here, many in full color, reveal the hands of master artists who developed lapidary and weaving traditions, established centers for production of shell and copper objects, and created the first ceramics in North America. Presenting artifacts originating in the Archaic through the Mississippian periods--from thousands of years ago through A.D. 1600--Susan C. Power introduces us to an extraordinary assortment of ceremonial and functional objects, including pipes, vessels, figurines, and much more. Drawn from every corner of the Southeast--from Louisiana to the Ohio River valley, from Florida to Oklahoma--the pieces chronicle the emergence of new media and the mastery of new techniques as they offer clues to their creators’ widening awareness of their physical and spiritual worlds. The most complex works, writes Power, were linked to male (and sometimes female) leaders. Wearing bold ensembles consisting of symbolic colors, sacred media, and richly complex designs, the leaders controlled large ceremonial centers that were noteworthy in regional art history, such as Etowah, Georgia; Spiro, Oklahoma; Cahokia, Illinois; and Moundville, Alabama. Many objects were used locally; others circulated to distant locales. Power comments on the widening of artists’ subjects, starting with animals and insects, moving to humans, then culminating in supernatural combinations of both, and she discusses how a piece’s artistic “language” could function as a visual shorthand in local style and expression, yet embody an iconography of regional proportions. The remarkable achievements of these southeastern artists delight the senses and engage the mind while giving a brief glimpse into the rich, symbolic world of feathered serpents and winged beings.