. L'Arapaho. Les Indiens Arapaho Arapaho ; art ; le Symbolisme en art, photo-écriture, Indienne ; les Indiens d'Amérique du Nord ; les Indiens d'Amérique du Nord. Bulletin 76 American Museum of Natural History. [Vol. XVIII, de masse, et d'attacher la toile à elle près de son sommet, de sorte qu'en- soulevant la pole la toile a été élevé à la bonne hauteur. Les autres femmes maintenant tous sortit de la tente dans laquelle ils avaient été. Cedar-Woman ont pris le poteau qui était couché sur la toile et il partiellement relevé quatre fois. Alors le propriétaire de la tente, sans aide, soulevées tout à fait, mettre à sa place, et la propagation la toile autour de t

• Contributeur: Central Historic Books / Alamy Banque D'Images
• ID de l’image: PG0268
• Taille du fichier: 7,1 MB (175,1 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1662 x 1503 px | 28,1 x 25,5 cm | 11,1 x 10 inches | 150dpi

Informations supplémentaires

Cette image appartient au domaine public, ce qui signifie que le droit d’auteur a expiré ou que le titulaire du droit d’auteur a renoncé à ses droits. Les frais facturés par Alamy couvrent l’accès à la copie haute résolution de l’image.

Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.

. The Arapaho. Arapaho Indians; Arapaho art; Symbolism in art; Picture-writing, Indian; Indians of North America; Indians of North America. 76 Bulletin American Museum of Natural History. [Vol. XVIII, ground, and tying the canvas to it near its top, so that by- raising the pole the canvas was elevated to the proper height. The other women now all came out from the tent in which they had been. Cedar-Woman took the pole that was lying on the canvas and partially raised it four times. Then the owner of the tent, unassisted, raised it altogether, put it in its place, and spread the canvas around the framework of poles, though without fastening it either in front, over the door, or at the bottom edge; so that it sagged and hung loosely. Cedar-Woman now took the four tails which had had em- broidered pendants attached to them, and which were to be fastened to the four small cir- cular ornaments that were a few feet above the ground on the southeast, southwest, northwest, and northeast sides of the tent. Starting from before the door, and followed by the owner of the tent, she took a complex course that finally brought her before the northeast side of the tent, where one of the tails was to be attached to the beaded ornament. Her course is shown in Fig. 19. Altogether she walked past every part of the circumference of the tent three times (excepting the distance between the place where she stopped and the door from which she started); crossed the tent four times from north to south or south to north, lifting up the canvas once at each of the places where the ornaments were, going under it, and emerging under the ornament directly to the north or south; and in all her course kept turning from left to right, making five complete revolu- tions. When the two women had stopped on the northeast of the tent, the owner pierced the ornament with an awl, and Cedar-Woman fastened the tail to it. The remaining par- ticipants in the ceremony, together with several other per- sons who h

Recherche dans la banque de photos par tags

• bookcentury1900
• bookdecade1900
• booksubjectsymbolisminart
• booky