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A History of Native Art in Canada and North America
A History of Native Art in Canada and North America /nativeart.html
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Native Art乡土艺术
A History of Native Art in Canada and North America一个在加拿大
和北美本土艺术史
The story of the development of native art in North America is complex and must rely a great deal on archaeological and ethnographical evidence.作者在北美本土艺术的发展故事是复杂的，必须依靠考古和民族学的证据很大。

The history of native art in Canada began sometime during the last ice age although the earliest surviving artifacts...在加拿大本土艺术史的某个时候开始，在最后一个冰河时代，虽然最早的文物... decorative and depictive carvings from the Lower Fraser Valley in British Columbia...appear to date from only 5000 years ago.从装饰性和描述性雕刻下在不列颠哥伦比亚省弗雷泽河谷...似乎只有日期由5000年以前。

The development of native art may be divided into three distinct periods:对本地艺术的发展可分为三个不同的时期：
prehistoric art史前艺术
contact or "historic" art接触或“历史性”的艺术
contemporay native art本土的当代艺术
Ethnographers have shown that a correct interpretation of the function and meaning of Native artworks depends upon an understanding and appreciation of the ways of life, aesthetic values and principles of the peoples themselves.人类学家已经表明，一个函数的正确解释和乡土艺术作品的意义时的理解和人生，审美价值和原则的人民自己的方式表示赞赏而定。

Prehistoric Native Art史前本土艺术
Relative to the other periods, there is little known about the prehistoric period of native art in North America.相对于其他时期，很少有了解的北美本土艺术的史前时期。

The end of the prehistoric period varies from region to region across the continent.史前时期的结束因地区而异整个非洲大陆。

For example in Canada, the first contact with the French explorers in the Maritimes and along the St. Lawrence River took place in the 16th century, but Europeans didn't meet up with the First Nations people living on the west coast until late in the 18th century.对于在加拿大的例子，在大西洋省份与法国探险家沿圣劳伦斯河第一次接触发生在16世纪的地方，但不符合欧洲人与原住民生活在西海岸直到晚在人民行动18世纪。

Climatic and geographic conditions don't allow for the survival of artworks made from perishable materials like wood, fibre or hide, so most prehistoric art has been lost.气候和地理条件不允许从材料如木头易腐艺术品生存，纤维或隐藏，所以大多数史前艺术已丢失。

A major exception has been rock art...paintings in red ochre or carvings incised upon natural rock surfaces.一个主要的例外是岩石艺术...画红色赭石或切开后，自然岩石表面雕刻。

Yet there have been some important discoveries.然而，有一些重要的发现。

A tiny antler figurine, probably 4000 years, old gives evidence of the beginnings of what would become historic northwest coast art and a 5000 year old petroglyph site in northwestern Ontario speaks of the imagery that is used by contemporary artists.小小的鹿茸雕像，大概4000年，旧的起源提供了证据，什么将成为西北海岸的艺术和历史5000年安大略省西北部的古老岩石雕刻的网站是由当代艺术家们用形象
说话。

The discovery and dating of prehistoric artworks depends on painstaking excavation and careful interpretation. Totem poles were once thought to be the product of European contact, but its since been verifired that they have had a continuous on-site development dating back at least 2500 years.约会的发现和艺术品史前取决于挖掘和认真细致的解释。

图腾柱一度被认为是联系产品欧洲，但其被verifired他们曾连续在现场开发，至少可以追溯到2500年。

Like contemporary art, prehistoric art has varied not only in genre, style, function, imagery and meaning from region to region, but has undergone changes from period to period.像当代艺术，史前艺术各不相同，不仅在体裁，风格，功能，形象和区域意义的地区，而且经历了从时间变
化的时期。

Across North America these changes accelerated around 1000BC when pottery, agriculture and settled village life in the Eastern Woodlands made its impact.北美各地约1000BC时，这些陶器，农业和定居在东兀兰乡村生活作出了加速变化的影响。

There are several exceptional occurrences of prehistoric art in Canada.在加拿大有许多史前艺术中的几个特殊事件。

The Marpole culture which existed from approximately 500BC to 500 AD along the Fraser River delta and the surrounding Gulf Islands produced a plentiful variety of stone and bone carvings in the shape of ceremonial bowls, effigies and utensils that are distinct forerunners of the style and iconography of historic west coast native art.从文化的马波尔约500BC至500沿菲沙河三角洲及周边海湾群岛广告对其存在制作的礼仪形状的石头雕刻丰富的品种和骨碗，肖像和器
具属于不同的风格和意象的先行者历史悠久的西部沿岸的土著艺术。

In southern Ontario the precontact Iroquoian culture between 900 - 1600 AD produced highly technical and visually appealing pottery that was decorated with representational and geometric designs.在安大略省南部的precontact易洛魁文化之间900 - 公元1600年生产的高度技
术性和视觉吸引力的陶器，与代表和几何图案装饰。

The same culture produced clay and stone effigy pipes of fascinating shape and iconographic variety.同样的文化生产粘土和各种迷人的形状和肖像石头肖像管道。

The bowls and stems were carved in high relief or incised with human and zoomorphic images (lizards, turtles and birds) which are still powerful animals in the iconography of Great Lakes religious art.碗和茎高浮雕或刻在人力和兽形图像（切蜥蜴，龟，鸟），而后者仍然在大湖区的宗教艺术意象强大的动物。

Historic Native Art乡土艺术的历史
Because so many examples of postcontact native art have been collected, sketched and written about by explorers, traders, missionaries, artists and scholars for more than 400 years, much is known of historic native art.由于postcontact本土艺术这么多的例子已经收集，勾画和关注，探险家，商人，传教士，艺术家和学者超过400年写的，许多是历史本土艺术闻名。

The distribution and cultural character of Native groups in the early contact period have resulted in a distorted view of the great depth, diversity and richness of native art history.的分布及在早期接触期间乡土群体的文化性格也导致了大深度扭曲的观点，多样性和丰富的本土艺术史。

Native Art in Canada can be divided into seven regional subdivisions在加拿大本土艺术可分为7个区域分支机构
The Eastern Subarctic native art is probably the oldest in Canada.东部亚寒带本土艺术可能是加拿大历史最悠久的。

The majority of prehistoric and early contact rock art sites are located in this region of the Canadian shield.在史前和早期接触岩石艺术网站大部分都位于这一地区的加拿大盾牌。

The inhabitants - the Ojibwa, Cree, Algonquin, Ottawa, Montagnais, Naskapi,
M'qMak and the Maliseet - were largely Algonquin speaking people who lived a nomadic lifestyle based on hunting, fishing and the gathering of wild foods.居民- 的奥吉布瓦，克里，阿尔冈金，渥太华，蒙塔奈斯，纳斯卡皮，M'qMak和马利塞特- 在很大程度上阿尔冈昆母语的人士谁住一个游牧的生活方式的基础上狩猎，捕鱼和采集的野生食物。

In some cases the lifestyle continued well into the 20th century.在某些情况下，生活一直持续到20世纪。

The Western Subarctic native art came from a region of environmental and cultural conditions similar to that inhabited by the Cree in the eastern Subarctic, but was produced by Athapaskan speaking peoples.西部亚寒带本土艺术来自不同的环境和文化条件类似的地区由克里居住在东部亚寒带的，而是由人民产生Athapaskan发言。

The Dene Nation, as the Athapaskans prefer to be called, are linguistically distinct, but share a comparable culture with their eastern neighbours.民族的代内，作为Athapaskans宁愿被称为是语言不同，但都有一个与其东部邻
国相比文化。

Decoration of personal gear and clothing was the major form of artistic expression.个人装备和服装装饰，是艺术表现的主要形式。

Caribou and moose hid was embellished with porcupine quills, moosehair tuftting (introduced by the Grey Nuns in the late 1800's), beads and commercial threads in geometric and floral patterns.驯鹿和驼鹿躲在被修饰与豪猪刺，moosehair tuftting（由格雷南斯介绍了19世纪后期），珠和几何和花卉图案的商业往来。

The artisans seem to have had a well developed sense of color and design compared to some of their Eastern counterparts.工匠们似乎有一种颜色和设计感较发达的东部对口一些。

The Southern Great Lakes and Upper St Lawrence Valley from the late prehistoric to the early historic period underwent more rapid changes than any other region in Canada.南部的大湖和圣劳伦斯上游史前后期流域的早期历史时期经历了比任何其他地区多在加拿大的迅速变化。

The Huron and Iroquois were farmers living in relatively permanent villages and their political and social institutions were expressed in suitable works of art.易洛魁人的休伦和农民在相对固定的乡村生活，他们的政治和社会机构在合适的艺术作品表达。

But by the 19th century many of the First Nations peoples living in this area had migrated both westward and eastward or were even settling into Reserves in the area.由19世纪的第一民族生活在这一地区的人民都很多，但有向西和向东迁移，甚至储备或在该地区定居。

Art came to have a new purpose.艺术来到了一个新的目标。

It was a source of income to people whose traditional means of livelihood had been destroyed.这是一个人的收入来源，以传统的谋生手段已被销毁。

Arrt was made to be sold to outsiders...tourists and collectors of "native arts and crafts". Arrt是用来出售给外人...游客及“乡土艺术和手工艺品”收藏家。

But even in prehistoric times this culture was affected by outside influence.但即使在这种文化影响的是外界的影响史前时代。

The Iroquois in particular had trade connections to the south with the highly complex and economically advanced Eastern Woodland cultures along the Mississippi.特别是在易洛魁人有贸易联系的高度复杂和经济发达的东部沿密西西比河南部的林地文化。

The Woodland culture had in turn been influenced by the Mayan civilization in Central America.林地文化反过来又影响了在中美洲玛雅文明。

Innovations to technology of making pottery entered Canada through this trade source, for example.创新的制陶技术的进入，通过这种贸易来源，例如加拿大。

Historic Prairie Native Culture and Art, as it developed in the 19th century, was a combination of Native and white cultures - the product of postcontact European influences such as the horse and the gun which provided increased mobility and effectiveness in the buffalo hunt.草原本土文化历史和艺术，因为它在19世纪的发展，是本土文化的结合，白- 对postcontact欧洲的影响，如马和枪其中规定在水牛狩猎增加流动性和效益的产品。

Art produced by the Bloods, the Blackfoot and the Assiniboine was similar in technique, materials and motifs to that of the subarctic and eastern neighbours.艺术所产生的布卢兹的黑脚和阿希尼伯恩是在技术，材料和图案类似的亚北极和东部邻国。

But, most native art produced by people living on the prairies was two dimensional and painting on hides was the major genre.但最原始的艺术在大草原上生活的人生产的二维和隐藏绘画为主要体裁。

Large tipis might that used up to 40 buffalo hides were the major architectural form.大蒂皮斯可能是用了40水牛皮革为主要建筑形式。

The Blackfoot lavishly painted the tipis of important men with naturalistic and geometric motifs.乌脚奢华与自然彩绘和几何图案的重要人物的蒂皮斯。

Dream images on rawhide shields might be said to be comparable to contemporary surrealistic paintings in visionary and aesthetic impact.梦在罗海德盾牌图片可以说是有远见和审美的影响媲美当代超现实主义绘画。

Painted buffalo robes were another major art form.彩绘水牛长袍是另一个主要的艺术形式。

Personal belongings like deer hide moccasins, jackets, dresses, legings and shirts were embellished with porcupine wuill work and beads.像鹿隐藏鹿皮鞋，夹克衫，连衣裙，legings和衬衫财物则点缀与
豪猪wuill工作和珠子。

Rawhide containers of various sizes, parfleches for example, were unique to the area and each had its own distinct design painted on.不同大小的罗海德容器，例如parfleches，有其独特性，每个地区都有自己独特的设计画。

Native Art from the Plateau region of central British Columbia is unique in may ways.本机从不列颠哥伦比亚省中部高原地区艺术是五月的独特性。

The interior Salish left behind a major body of prehistoric pictographs.内政部萨利什留下了史前象形文字的主要机构。

The Lillooet, Thompson, Okanagan and Shuswap of the historic era made finely crafted and watertight baskets using a coiling technique and decorated them with geometric motifs.该利洛伊特，汤普森，那根和作出的历史性时代舒斯韦普精工制作和使用一篮子水密卷取技术，并饰有几何图案他们。

The plateau peoples may have been the only First Nations group in Canada to have used textiles - they wove blankets from mountain goat hair - and next to nothing is known of their clothing or religious beliefs which would provide a context for an interpretaion of their art.高原人民可能已经在加拿大第一民族组只用纺织品- 他们从山山羊毛编织毯- 旁边没有什么是他们的衣服或宗教信
仰这将提供一个对他们的艺术同声传译上下文已知的。

Northwest Coast Native Art - more coming on this in a couple of days西北沿岸的土著艺术- 多来在这几天
Arctic Native Art - more coming on this shortly北极本土艺术-更多即将在短期内就这Contemporary Native Art当代乡土艺术
Canadian aboriginal art of the prehistoric and postconact periods can be described as traditional art.加拿大和postconact时期的史前原住民艺术可以说是传统艺术。

Althoug it was affected by European materials, techniques and motifs during the hstoric period it was largely shaped by the context of the culture which created it. Althoug是受欧洲材料，工艺和图案在hstoric期间它主要是由文化，创造了这个背景下形成的。

However, contemporary native art, like contemporary art all over the world, has a different purpose.然而，当代乡土艺术，像当代艺术在世界各地，具有不同的目的。

Contemporary native art is a means of self-expression and recently of sociopolitical activism.当代乡土艺术是一种自我表达的手段和最近的社会政治运动。

For discussions sake, contemporary native art is that which has been produced from about 1945.讨论起见，当代乡土艺术，是从已生产约1945年。

Three major schools have emerged - Inuit Art, West Coast Native Art and the Woodlands School of Legend painters.三个主要的学校出现了- 因纽特艺术，西沿岸的土著艺术与传奇画家兀兰学校。

But there is a fourth group - a widely scattered group of independant artists who work independently within the context of mainstream Western art.但是有一个第四组- 一个谁的工作范围内的西方主流艺术的范围内自主独立的艺术家广泛分散的。

And I suppose a fifth category if one considers "tourist" or "souvenir" art as a category.The latter isn't new.我想和第五类，如果一认为，“旅游”或“纪念品”作为category.The后者艺术并不是新的。

It came into being to satisfy the Euro/Canadian market for "Indian souvenirs" as early as the 19th century.它应运而生，以满足欧洲/加拿大市场的“印度纪
念品”早在19世纪。

The production of replicas of traditional forms to European travellers and colonists gave way to new kinds of objects that were specifically made for sale as souvenirs...argyllite carvings by the Haida of British Columbia, beaded pouches, necklaces, moccasins and pin cushions (and other Victorian whimsies) were made by the Iroquois and Algonquin peoples for sale at Niagra Falls or at agricultural fairs.由不列颠哥伦比亚省海达，珠绣袋，项链，鹿皮鞋和针垫（与传统形式的复制品生产向欧洲旅客及殖民者让位给了具体的作为纪念品出售了对象的新种... argyllite雕刻其他）维多利亚whimsies作了伊罗奎和在尼亚格拉瀑布或出售农产品展销会阿尔冈昆人民。

Carved ivory cribbage boards and miniature genre carvings have been a staple of the Inuit for a hundred years.象牙雕刻纸牌板和微型雕刻流派已一百多年的因纽特人主食。

∙Canadian Aboriginal Art加拿大土著艺术
In the aesthetic sense, Canadian aboriginal art didn't occur as a concept until the midpoint of the twentieth century.在审美意义上说，加拿大原住民艺术并没有出现这个概念直到20世纪的中点。

∙Norval Morrisseau诺瓦尔Morrisseau
Ojibwa artist Norval Morrisseau is the grandfather of native art in Canada.奥吉布瓦艺术家诺瓦尔Morrisseau是在加拿大本土艺术的祖父。

His vision of himself and his people created the possibility that native artists and native culture could stand along side the art and culture of the Canadian mainstream society.他的眼光，他自己和人民群众创造的可能性，本土艺术家和本土文化可以站在路边的艺术和加拿大主流社会文化。

∙Indian Group of Seven印度七国集团
In 1973 seven native artists gave birth to the Indian Group of Seven, or as they called themselves, the Professional National Indian Artists Inc. 1973年7本土艺术家生下了7个印度集团，或作为他们自称，全国印第安人艺术家的专业公司
∙Woodland Art林地艺术
Canadian native artists have produced three major schools - Woodland Art, Inuit Art and West Coast Art.加拿大本土艺术家们创作了三个主要的学校- 林地艺术，因纽特艺术和西海岸艺术。

All have been based on ancient traditions that, despite the persistent and pervasive forces of acculturation, have endured to the present day.所有已经在此基础上，尽管涵化持续和普遍的力量，忍受到今天古老的传统。

∙The Second Wave of Canadian Native Artists第二次浪潮的本土艺术家加拿大
In 1972 the show Treaty Numbers 23, 287, 1171 broke the ice jam of native art in Canadian galleries. 1972年，条约的数字显示23，287，1171打破了加拿大艺术画廊冰果酱的人。

The
following year, artists participating in the show formed The Professional National Indian Artists Inc and mentored a second wave of Canadian Native Artists.次年，参加演出的艺术家组成的专业全国印第安人艺术家和指导公司是加拿大原住民艺术家第二次浪潮。

Other Native Artists其他本地艺术家
With a decade of Morrisseau's breakthrough in Toronto, young native people across the country began to consider that itwas possible to have an art career.凭借在多伦多十年Morrisseau的突破，全国青年本土人开始认为，可能有一个脚步的艺术生涯。

Here are a few of those artists.下面是这些艺术家等等。

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