Table Of Content

Plains Indian Buffalo Cultures A R T F R O M T H E P A U L D Y C K C O L L E C T I O N (cid:30) emma i. hansen Foreword by ARTHUR AMIOTTE plains indian buffalo cultures Hansen PLAINS INDIAN BUFFALO CULTURES book.indb 1 1/29/18 11:16 AM Hansen PLAINS INDIAN BUFFALO CULTURES book.indb 2 1/29/18 11:16 AM Plains Indian Buffalo Cultures art from the paul dyck c ollec tion (cid:31) emma i. hansen Foreword by ARTHUR AMIOTTE UNIVERSITY OF OKLAHOMA PRESS : NORMAN In cooperation with the BUFFALO BILL CENTER OF THE WEST, CODY, WYOMING Hansen PLAINS INDIAN BUFFALO CULTURES book.indb 3 1/29/18 11:16 AM The following works appear uncaptioned on the pages noted: Library of Congress Cataloging-in-Publication Data Names: Hansen, Emma I., author. | Amiotte, Arthur, writer of foreword. PAGE i: Shield and cover Title: Plains Indian buffalo cultures : art from the Paul Dyck collection / Apsáalooke (Crow), Northern Plains, Emma I. Hansen ; foreword by Arthur Amiotte. ca. 1850 Description: Norman : University of Oklahoma Press, . | Includes bibliographical Plains Indian Museum, NA.108.152.1-.2 references and index. (See figure 1.17, page 31) Identifiers: LCCN | ISBN ---- (hardcover : alk. paper) | ISBN ---- (pbk. : alk. paper) PAGE ii: Subjects: LCSH: Indian art—Great Plains—Catalogs. | Dyck, Paul, –— Charm Art collections—Catalogs. | Art—Private collections—Wyoming—Cody—Catalogs. | Apsáalooke (Crow), Northern Plains, Dyck, Paul, –—Ethnological collections—Catalogs. | Indians of North America— ca. 1890 Material culture—Great Plains—Catalogs. | Buffalo Bill Center of the West—Catalogs. Tanned hide, glass beads, pigments, Classification: LCC E.G H  | DDC ./—dc sage grouse feathers; 8½ x 4 inches LC record available at https://lccn.loc.gov/ Plains Indian Museum, NA.502.345 This charm carries with it the power of the thunderbird that has the ability The paper in this book meets the guidelines for permanence and durability of the Committee on to create thunder and lightning. Production Guidelines for Book Longevity of the Council on Library Resources, Inc. ∞ PAGE Vi: Charm Copyright ©  by the University of Oklahoma Press, Norman, Publishing Division of the Northern Plains, ca. 1870 University of Oklahoma. Manufactured in China. Rawhide, eagle feathers, tanned hide, pigments; 16 × 8½ inches All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, Plains Indian Museum, NA.502.344 or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise—except as permitted under Section  or  of the United States Copyright Act— PAGE 1: without the prior written permission of the University of Oklahoma Press. To request permission Shield cover to reproduce selections from this book, write to Permissions, University of Oklahoma Press,  Kaigwa (Kiowa), Southern Plains, Venture Drive, Norman, OK , or e-mail [email protected]. ca. 1890 Plains Indian Museum, NA.108.154           (See figure 2.22, page 52) Hansen PLAINS INDIAN BUFFALO CULTURES book.indb 4 1/29/18 11:16 AM (cid:31) Dedicated to the Native artists and culture bearers of the North American Great Plains Hansen PLAINS INDIAN BUFFALO CULTURES book.indb 5 1/29/18 11:16 AM Hansen PLAINS INDIAN BUFFALO CULTURES book.indb 6 1/29/18 11:16 AM CONTENTS FOREWORD: Paul Dyck as Collector ix by Arthur Amiotte PREFACE xv Introduction 3 1 Buff alo Culture Era 13 2 Protecting the Land and the People 35 3 White Swan: Crow Warrior and Artist 61 4 Artistry of Women 73 5 Leadership, Respect, and Ceremony 105 6 Plains Indian People and Th eir Horses 133 7 Enduring Legacies of the Paul Dyck Collection 149 NOTES 163 BIBLIOGRAPHY 171 INDEX 179 Hansen PLAINS INDIAN BUFFALO CULTURES book.indb 7 1/29/18 11:16 AM Hansen PLAINS INDIAN BUFFALO CULTURES book.indb 8 1/29/18 11:16 AM FOREWORD Paul Dyck as Collector ARTHUR AMIOTTE The Paul Dyck Collection is a prime and comprehensive body of culturally iconic forms from a period in Northern Plains history—from  to —thought of as the apex of classical Plains Indian cultures. It is exhibited and stored in its new home since September , , at the Plains Indian Museum of the Buffalo Bill Center of the West in Cody, Wyoming. As avid museum visitors and those with a passion for history and art can attest, an actual museum viewing experience sometimes is just not enough, even with printed panel texts and sophisticated audio guides. One may think of a museum installation as the body or face of a collection. The didactics and printed catalogue discourse are thus its voice. Together they enrich and help fulfill the mission of a museum to educate, enlighten, and inspire. The significance of this book as a companion to the Paul Dyck Collection is manifold. Its components present a wealth of visual and narrative messages to be quietly and individually pondered by readers at their convenience after or before viewing the actual collection. For some, this book may be inspiration and impetus to want the actual museum experience. For others, it will serve as research as they continue their journey toward understanding the history and art of the indigenous tribal people of this country. The collection speaks to us of the appreciative and intellectual character of the artist- collector Paul Dyck (–). The collection came about during his lifetime because Dyck sincerely believed in the value of the historical, cultural, and aesthetic messages encrypted within these art objects as expressed through media, composition, and creative processes. Early in his life, his mission to collect arose from fascination with the lives and cultures of Plains Indians. He was further encouraged by his father, Anton Cifka, who began the collection. His father, and later Dyck himself, visited descendants who still owned these treasured heirlooms in their homes on reservations. Several generations of Native Americans still practiced traditional techniques and styles of pre-reservation art forms. Paul Dyck sought personal contact with these descendants of historical heroes and heroines on numerous reservations of the Great Plains during the first half of the twentieth century. He also sought out and Coat Dakota (Eastern Sioux), ca. 1850 maintained associations with other non-Indian collectors, dealers, and auction houses. From all Tanned hide, glass beads, metal these sources, he garnered the treasures featured in this exhibition. chain, silk ribbon, silk cloth, cotton Dyck preferred objects made during the earlier decades of the nineteenth century cloth, wool cloth, tanned otter hide, brass buttons; 43 × 24 inches (–), but he augmented these with items created through the s, the beginning of Plains Indian Museum, NA.202.1476 the reservation period, and thereafter throughout the twentieth century. When a particular, ix Hansen PLAINS INDIAN BUFFALO CULTURES book.indb 9 1/29/18 11:16 AM