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Art History of Mound Building in the Eastern Woodlands. |
Under Construction at this time but the web page is working. I am finishing colors, and links. Original: 5/19/2000 Updated: 10/14/2000 @ 12:00 a.m.
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Abstract
| The Present assignment for Art provides a general research and analysis of the art and Iconography with respect to Eastern Woodland cultures. |
Introduction
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The North American Eastern Woodlands society is one of many cultural combinations and adaptations. Over many thousands of years, a dissemination of cultures, social structures ceremonies, and art occurred between the North American indigenous nations. Dissemination of cultures over these thousands of years can be investigated using a careful analysis of art, history, anthropology, ethnolinguistics, and archaeology. This project will do an analysis of the available information to draw conclusions in relation to the origins of the art and culture relative to the Eastern Woodlands nations leading to the creation of the Mississippian ceremonial complex |
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It is important explore the oral history of the indigenous nations, and this oral history should be compiled to use in comparison with written historical records. The information about the society, and culture is passed from one generation to another by the use of oral tradition. These oral histories hold special insights for reconstructing the culture, and the iconography. The largest group of descendants of the Mississippian ceremonial complex are comprised of the Cherokee (Tsalagi), Creek, Choctaw, Chickasaw, Delaware, and Yuchi. All these descendent nations have like oral histories concerning the pre-contact and post-contact periods. These oral histories draw a map outlining the different cultures involved with the settlement of Eastern Woodland Nations. |
Oral History:
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The first oral history is a story told by my grandmother. She told many different stories during my youth about our traditions, and origins of the people of the Five-Civilized Tribes. This traditional training as a child was her way of insuring the continuance of the tradition over the next seven generations. It is because of the Oral tradition that the culture and religion are intact after five hundred years of occupation, and subjugation. Often during the evenings in winter she would sit down in her old wooden rocker and tell me stories about the Cherokee. These stories were about the customs, ceremony, and origin. When she told the stories I would sit beside her. She would then start telling the stories, and one of her favorite stories concerned how we came to live in the North "The Children of the Sun left our lands first, and they went North out of Mexico, across to the land from where the sun rises. This first group went up the Ohio Valley looking for people with our way and these people was known as the Yuchi. The second group of our people to leave where the Chickasaw, Choctaw, and they were located just north of Florida along the coastal marshes. These were the people of swamps, and nobody ever bothered them. Then the third group to leave was the Creek. The Creek were different than the first, because they was not afraid of fighting, and the Yuchi adopted them as an ally against enemies near by. The fourth move north was our people and we joined with those who went first, but there was no room for us so we took up living in the hills just north of the valley people. We were known as the people of the hills and the people over the hills. The hills ranged from the Delaware in the East to almost into what is called Arkansas. We fought with the Iroquois when we stretched our boundaries north. The Iroquois and our people made peace, We settled just south of their boundaries. At this time there were sixteen clans. We are related to the Deer, Turtle, Wolf, and Heron clans. The Turtle and the Heron clans are ruling clans, and we are not allowed to marry within our clans." |
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Yuchian Top Doctor's story of the migration. His oral history is detailed, and he always took the time to enlighten me regarding our oral history, he would say " Our people lived In Central America along the Yucatan Peninsula, and there were five migrations to the North. Two of these migrations were to the eastern side of what is now known as Florida. We did not land on the southern end of Florida, because the people were cannibals. One of the two groups went up to what is now known as the Ohio Valley, and the others went up the East Coast of North American. We were looking for those who believed the same way we did. The people to the East were good people, and were like us. The people in the most northern reach of the Ohio Valley were warlike so we came back down into the Ohio Valley. There we became middlemen for trade, and commerce. The Third group went up the West Side of Florida settling along what is know today as the Gulf Coast. The fourth group traveled to the north up the Mississippi, and settled from there through the interior mountains of North America to the Delaware Nation, and north to the Iroquois The fifth group went up along the Pacific Coast and settled in what is now known as Washington, Oregon, and California." |
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Emmet Starr, writes the third oral history in 1921 in the book History of the Cherokee Indians. Emmet Star begins his history with the explanation of how the Tsalagi came to be in North America "as is evidenced by mounds in Iowa, Illinois, Ohio, Virginia, and Tennessee that have been explored and showed artifactuary and ethnic composition almost identical with As the people became more numerous the commenced to migrate. The Cherokees, with the soft accents of the underhills, which was obviously the mother dialect, were evidently from the southern country, for the pleasant fluent languages always come from a southern people in contradiction from the harsher tones of the north. This tribe moved gradually to the north and the east peculiar to known early Cherokee customs and handicraft ... In the center of a mound at Etowah, Georgia and on the surface of the ground were found two copper plates. This territory was known to have been inhabited by the Cherokee since 1540. The only known similar designs to these are those of Central America, Yucatan and the Levant ... The Cherokee most probably proceeded by several hundred years the Muskogees in their exodus from Mexico and swung in a wider circle, crossing the Mississippi River many miles north of the mouth of the Missouri River as indicated by the mounds. All of the northern mounds are so built that the structure indicates they were built by other poplee." (Starr, p. 22). Emmet goes on to make a detailed explanation of the migrations offering truths that were not apparent to the people in 1921. |
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The Yuchi people chronicled the arrival of the Creek, and the Cherokee in their oral history as retold in the book Yuchi Tales by Gunter Wagner. The story about the Yuchi, Chickasaw, and the Shawnee talking about who was first to come to North America. The Yuchi tell of the drums who came after them in the story of the "The Separation of the Two Main Yuchi Bands" in the book the Yuchi Tales " Then the Shawnee shot at the sun, and the earth was covered all over with black blood, and the fierce monsters in the mountains made a loud noise. It sounded like drums and then the Creeks came out of the ground to the surface of the earth; Their drums were buffalo-horns; shouting everywhere; now to many were coming out of the ground and they doctored the sun; She brightened again and people ceased coming forth from the ground."(Wagner, p. 168). |
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Louis LeClerc de Milford in his Memoir tells the Creek verbal history as it was told by Creek elders " Creeks, which were then know as Muskogees ... Montezuma then reigned in Mexico, ... he summoned to his aid the tribes contiguous to his dominions. ... Creeks, which formed a separate republic in the northwestern part of Mexico ... Montezuma, who lost his life, and his empire, which was almost totally depopulated." (Milford, p.161). Mr. Milford points out after this battle the remaining Muskogees migrated north and finally came to settle in the area near Tallassie on the Tallapoosa River. This confirms the Yuchi story told by Gunter Wagner. This also confirms the routes explained by Emmet Starr in regard to the overland migrations taking place from Mexico, and Central America. It is clear trade, and alliances existed between cultures within the geographic core area in an effort to keep the nations secure from outside interference. The fact that the Muskogees resided in the in South Eastern North American and in the Mexican state of Guerrero during the same time period confirms direct contact with the major culture societies of Mesoamerica. This also confirms migration of the populations and contact over time. |
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James Wilson in the book The Earth Shall Weep uses the old Cherokee story of the Ea Lo Hi when he describes the movement of the Cherokee to the North " When We lived beyond the great waters there were twelve clans belonging to the Cherokee tribe ... They journeyed for many days and years and finally came to a country that had a good climate and [was] suitable for raising corn and other plenty ... Other red tribes or clans to the Cherokee tribe began to come also from the old country... clans was cut by the submergence of a portion of the land into the deep sea."(Wilson, p. 132). |
The following maps outline the various Oral Histories given. These maps are also representations of ancient trade routes used by the pre-contact, and post-contact Native American people of North and Central America.
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4. Violet lines document the written oral history recorded in the book Yuchi Tales of the Creek, and Cherokee arrival in the Yuchi held lands. Gunter Wagner is adopted Yuchi, and spent his youth with the Yuchi. 5. The Gold line represents the Oral History of Ea Lo Hi written by Mr. Wilson in the book The Earth Shall Weep. |
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The movement north by the cherokee is verbally illustrated in the oral history passed down. These people who conducted the first colonization of North American from Mesoamerica include the Yuchi, Creek, Choctaw, and Chickasaw. This convergence is also further verified by the common use ceremonies including Pipe Ceremony, Green Corn Ceremony, Ripe Corn Ceremony, Moon Ceremonies, Stomp Dance Ceremony, Black Drink, and Ball Playing, which are all principal components of the Eastern Woodlands Ceremonial Complex. The overall homogeneity of the society and ceremonial complex manifest a common origin, and ancestry. Diffusion of ceremony, and culture over time could not facilitate such a complete interdependence. If the cultures were not part of the mainstream community there would be an indicator, or variant trait that would remain aloof from the assimilating society acting as a marker that would indicate change through contact. |
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A diffusion of art and culture did take place, but the extent of the diffusion may never be known. The oral history of the Cherokee and the Yuchi tell a story of how they were not from the north, and that their cultures, and art are in fact from the south. This can only be taken as an assumption as there is only comparative evidence to collaborate the many facets of like art resident in existing artifacts and culture of the Eastern Woodland nations. Multiple comparisons of art iconography do show a common origin, but the use of comparison can become degraded in content even with the finest extraction. This would Render the tier of fact ineffective in regards to the relevant information needed to formulate a conclusion based on objective data. It is important to make sure the comparative data is diverse enough to render relevant evidence. The Art Historian Miguel Covarrubias confirms the oral histories when he refers to the cultures of the Americas noticing the diffusion of art, and culture within a localized geographical core area. Covarrubias illustrates his theory in Figure 127b. |
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Covarrubias, contemplates the similarities of art and culture and the effects of the mainstream community on the sub community within the geographical core area. He also faces the same problem many historians face while exploring historical events without core evidence or witnesses. The best he can propose is the cultures within a reasonable geographical core area do have contact over time. |
Cultural Patterning
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Cultural patterns, and social patterns of the subcommunity develop parallel to the mainstream community, but are independent relating to the social structure of the sub community. It is also clear that people outside of the influence of the mainstream community would not exhibit art and cultural similarities because of their geographic locality that would normally be on the outer most reach of the geographic core area, or outside of the geographic core area. This communities culture and art would develope in a different pattern and content due to their isolation. He goes into great detail when he explores the possibility of cross cultural development " I attempt to show the relative position of the principal art culture ... generally have personalities of their own ... though their link with senior culture is often evident."(Covarrubias, p. 69). In this case, Covarrubias has hit the mark concerning the distribution of cultures in the area of the Gulf of Mexico. These nations are within a relative short distance of each other, and there are many comparisons that can be drawn within the geographical core area. The transference of artistic concepts could only be facilitated by the induction of cultural traits by a dominant culture. This transference points to a possible migration of a superior culture, into an area dominated by primitive cultures. As the fundamental traits of the art is Mesoamerican in origin, and this art style replaces the occurrence of primitive art in the geographic core area. It soon becomes clear that the local communities were affected by a culture with a superior technology. Migration of people from their own indigenous area could only be caused by a major cataclysm, or negative force driving the people into migration. . During the Middle, and Late Archaic era the glacial period began to retreat causing major changes in the geographical landscape which could be considered catastrophic due to extreme flooding, ocean levels rising. During this time period where once lush vegetation existed the new ecological system created new deserts also causing the people to move in search of sustinace. In the scope of human history, this has happened many different times world wide.
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Concerning the maps of the oral histories they relate closely to the map Covarrubias uses to explain his theory concerning the likeness of art relative to the cultures of the Gulf of Mexico core area. The maps of the archaeological sites, and the trails outlined by the early explorers comprised of the ancient routes used by the mound building cultures also confirms the map Covarrubias proposes in his research. The relative distance concerned with the travel around and across the Gulf of Mexico including the Caribbean route is small considering the geographic core area. The Caribbean route starts in the Yucatan and extends 100 hundred miles to Cuba, then extends 150 crossing Cuba, and the final distance covers 100 miles to North America from Cuba. The total trip north would comprise a distance of 350 miles easily covered over a period of weeks by dugout or canoe staying within sight of land the whole journey. Even the currents in the Gulf of Mexico flow in a contributory manor concerning journeys north from the Yucatan peninsula, These travelers could easily cover the distance for trading purposes. Figure A16, In the art appendix is a fragment of shell art illustrative of travel by water confirming Mesoamerican people, and Eastern Woodlands people did have the technology to make the journey to North America. |
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The second choice of possible routes would be overland. This route would have a relative distance of about 1500 miles. This journey would not be difficult to travel in several months following the Gulf of Mexico's coastline. Diffusion of culture did occur over thousands of years, but the question of who, where, and why may never be known. |
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Environment
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The first method of archaeology used would be environmental. The model concerning the geographical core area in a time line starts at 20,000 CE, and would extend into the Middle Archaic era. During the past year, new information has been discovered at the Allendale Paleo-Indian Expedition site in South Carolina. This site borders the Toppers Mound site protraying a picture of the settlement patterns for pre-Clovis people dating back to the beginning of the last glacial age. These cultures were locked into the geographic core area of the Gulf of Mexico. The land base during this glacial period extends down into the Gulf of Mexico caused by ocean levels dropping from 300 to 500 feet. |
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This is confirmed by environmental science research relating the glacial period done by Professor Timothy R. Patterson, Ph.D., At Carlton University. He states in his course offered via the internet "The buildup of icecaps removes a great deal of water from the ocean. During the last glacial maximum this caused sea level to fall by about 120 m, exposing the continental shelves and in many places greatly altering the geography of the world." (Patterson,p.31). Robert W. Christopherson makes the same observation in the book Geosystems where he explains " Sea levels at that time were approximately 100 m (330ft) lower than today. "(Christopherson, p. 533). The Rand McNally Goode's World Atlas Edited by Edward B. Espenshade Jr. illustrates the current depths of the Gulf of Mexico in the map of "Ocean Depths in Profile" (Espenshade, p. 4). This created what could only be called a sub-continent attaching North, Central, and South American together. This landmass would continue 10 to 13 thousand years allowing free movement between the peoples in the Gulf of Mexico geographical core area before the glacial period slowly receded, and the Gulf of Mexico slowly refilled covering the sub-continent once again. Science can only estimate the amount of time it would take to refill the area of the Gulf of Mexico. |
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This map outlines the depths in the area of Gulf of Mexico that are less than 500 feet in depth. The areas that have a depth of greater than 500 feet would have created land locked inland seas during the last glacial period. This would also coincide with the Oral histories especially the oral history of Ea Lo Hi, and would explain the start of mound building at the end of Middle to Late Archaic periods. |
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Archaeology
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The first archaeological model will be Inevitable Variation. This model deals with the sequencing and growth of cultural identification, diffusion of common traits, and the termination of the mainstream communities. The appearance of termination causing what marks a loss of a cultural commonality replaced by a like community emerging with the needed cultural attributes to justify itself. |
The second archaeological model will be Revitalization; this model deals with cultures living side by side in the same geographic core area. Cultures are assimilated facilitated by acculturation over long periods of time. These cultures diversify splitting, and extending the sphere of influence creating the cultural commonality. |
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The mound building cultures of the Eastern Woodlands appear to grow until reaching a certain point, and then terminate. After termination a new society appears with a like cultural identity. This culture appears to obtain its maximum growth only to terminate again. It becomes hard to say which culture should be considered the primary causation for the apparent commonality in the societies in question. The above description follows the Inevitable Variation model, which is considered New Archaeology. We must look to the dating of the sites to see which is the oldest continually inhabited site with influence in the geographic core area. The culture resident in the oldest site would have affected all other societies in the geographic core area. |
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In this study we do have approximate dating that helps to identify the oldest site. The Hollywood Mound site in South Carolina and the connecting Stalling's Island site could be the oldest site concerning mound builders in the Eastern Woodland culture. The Stalling's site is dated to 12,000 BCE, and this site's time line extends into the Hollywood Mound complex dating from 4500 BCE, where mound building becomes apparent in the geographic core area. Mr. Waring stresses the importance of the Hollywood Mound complex. He details his justification by outlining the mound and its contents " The Hollywood Mound has a unique importance since it is the only reported site in the Southeast in which ceremonial material belonging to the Southern Cult ... archaeological evidence, notable the use of shell-tempering, red painted ware, shell gorgets, pipes, tobacco and stone graves."(Waring, p. 293). This site would be the site to examine for artifacts to compare with other sites in the geographic core area. Comparisons are needed in this case with other sites in the area, because C14 results regarding the geographical core area could be flawed. The pipe artifacts shown in Figure 23 Through Figure 28 illustrate styles starting from primitive rough designs extending to fine ornate effigy pipes. This gradual difference in pipe design, and manufacture demonstrates the changing technology in the cultural and ceremonial patterns over time. Other sites in the region have tendencies toward pipe manufacturing include Poverty Point, Emerald Mound Complex, and mound sites around the Natchez area. The similarity in the pipe form can be seen in Figures 11, 14, 18, 19, 20. The Poverty Point Mound complex and the Emerald Mound complex and mound sites around the Natchez area have different dating from the Hollywood site. This difference and the simularity of the pipe designs suggest inaccuracy in C14 Dating. This different dating when compared with the relevant technology displays the apparent inaccuracy of the C14 dating in the geographic core area. C14 tests have proven relevant to once living material in controlled testing, and can not be used on inorganic materials. The C14 tests have also proven to be very inaccurate depending on the material, and the decomposition rates found surrounding the mound builder areas. It is also possible that the sites being defiled in the 1800s disturbed the organic material in the sites, nullifying the C14 testing. There are also records of mound builders opening the mound and using the contents for ceremony. These types of contamination could cause definite problems with C14 dating. If the sites are contaminated the archaeologist must rely on comparison with known sites considered to have reliable dating within a reasonable geographic core area. If the pipes render the same design, and manufacture techniques, this would substantiate the theory that the artifacts are from a similar society. There is little difference in the pipes found concerning this geographical core area. |
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I will use for comparison of the pipes from Hollywood Mound complex found in Figure 27 and the pipes found at Adams Co. Mississippi, Poverty Point, and Winona, Mississippi illustrated in Figures 11, 20, and 30. These pipes are primitive examples, manufactured of sandstone, and clay. All the pipes are of L shaped in design with a square edge. The openings using conical holes in the stem of the pipe and the bowl. This conical opening allows the drill to be inserted into the pipe. This conical opening was piloted with an obsidian blade. The clay version of this pipe was formed with twig or reed inserted into the clay and then the pipe was molded and dried. The twig was removed after drying, and stem hole, and bowl holes were carved out in a conical manner. The pipes mentioned above and the straight pipe in Figure 19, found in Jaketown, Mississippi could be considered among the oldest in North America. This would indicate early introduction, and use of tobacco in the ceremonial complex. This use of tobacco would suggest that those using the pipe were sedentary enough to grow the tobacco for ceremony. The growing and curing cycle concerning Nicotiana Rustica is about seven months. The Tobacco needs constant care. The Cherokee and Creek Nations created clans to cultivate tobacco for ceremony. The similarity concerning the pipe manufacture and the culture found at the sites mentioned would give evidence that the culture did not reach termination but advanced as technology advanced. The desertion of certain mound sites could have been promoted by hostilities with neighboring nations, lack of food production, drastic events, or a changing the ecology around the mound community. As the same base cultural habits, and agricultural crops are found at the different sites in the geographical core area, assimilation of the communities dispersing into a sister communities rather than termination becomes apparent. This would confirm the revitalization model, which is considered Old World Archaeology. As both models apply then further information will be needed to obtain a valid correlation |
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The final method archaeology will be the use of agriculture relating to the farm products grown, and their influence upon the art iconography, and the ceremonial complex of the Eastern Woodlands |
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Antonio Waring, discusses Maize and its introduction into the culture of the Eastern Woodlands. He sets this date around the time when mound building started and the people became sedentary agriculturists. Maize with an origin in Mesoamerica confirms that contact did happen between Mesoamerica and the people of the Eastern Woodlands. This concept of cross-cultural contact has been hotly debated for 200 years. Waring speaks of the people of the Eastern Woodlands being released from their bondage to hunting, and gathering " The Archaic was terminated - not by a catastrophe - but by a blessing. The introduction of maize agriculture ... ceremonial enclosures and elaborate burial mounds appeared."(Waring, p. 245). The introduction of Maize into the geographic core area, and the elaborate ceremonies developing after the maize Introduction confirms the similarity between the Gulf of Mexico geographic core area societies. The second agricultural product to be shared in the ceremonial complex is tobacco. The traditions of the Eastern Woodlands require the use of tobacco, primarily Nicotiana Rustica. This tobacco is a plant domesticated in South America. Lynda Shaffer offers this information in her book Native Americans Before 1492 " Tobacco (Nicotiana Rustica) was one of the several plants smoked." (Shaffer, p. 35). Tobacco is a native plant to the Central and South America, and Nicotiana Rustica is a relative of the Poke plant in North America. Jerald T. Milanich edited the book Famous Florida Sites and he writes about the introduction of tobacco, and corn " Through the Introduction of tobacco." (Milanich, p. 221). Harry Harrison Kroll uses the chronology of the colonization of the Americas to illustrate the love for tobacco the mound builders, and their cousins raising tobacco in the Yucatan, where this plant originates. He talks about Columbus finding San Salvador, and the Native Americans smoking at first contact. He also mentions the combining of Sumac leaves with the tobacco to blend. The Sumac for the Cherokee and Creek is one of the plants also used in the Black Drink. It is clear that this combination was used both for pleasure and for ceremony in North, and Central America. He does his best to show how tobacco was dispersed and he even reveals how the Native American people viewed tobacco "But the Indians said it was in the world from the beginning ... used till the end of time." (Kroll, p. 248). It is clear that tobacco was used in the North and the South in the Americas. We now have confirmation of two more common cultural traits found in the Gulf of Mexico geographical core area. The cultural groups within the Gulf of Mexico share like ceremonial, and cultural traits. These common cultures and the common ceremonial complex will form the foundation for the pipe and gorget art patterning. These cultural similarities can not be ignored . Hunting and gathering communities before the advent of agriculture were small community units. These units or tribal entities were different from one geographic location to another geographic location. I will use the Wintu of California who were a Hunter, gatherer community bordering on agriculture well studied in the 20th century. This community today still exhibit traits found in a community boarding on agriculturalism. There are four separate bands of the Wintu, and the location and the medicine person of that locality dictate the ceremonial complex for each. This separation is due to the movements of the tribal bases to obtain food, which does not allow the different tribal faction to be sedentary enough to form a commonality in ceremonial tradition. The language group is the same, but the primary living elder dictates the ceremonial tradition. This not the case for the tribal nations located in the Gulf of Mexico core area. There is a solid contiguous culture, and ceremonial complex rather than an individual dictating the religious practice. In the Gulf of Mexico core area there is a cultural stratification controlling the infrastructure of the peoples and towns. This is apparent from the commonalties found in the manufacture of pipes for ceremony, and the traditions found in the geographic core area. |
Pipe Description Cross Section:
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The material used in the ceremonial pipes can differ in many ways depending on the location, weight, or color of the stone that is to be used. The color and weight may even be dictated by the preference of the ceremonial complex practitioners. This depends on the ceremony, or the ordeal the pipes are to be used in. The pipes of the Easter Woodlands ceremonial complex represent several different art forms. The oldest pipes are primitive in style, and are located within one regional area. The materials for making pipes is normally dictated by the availability of the stone, or the trade system the particular nation uses. The materials include limestone, sandstone, pottery, antler, wood, steatite, slate, catlinite, bauxite, and a combination of clay and bauxite, which is fired. There are differences in the style, but most all follow a common style base. The exceptions to the rule may be personal pipes, or pipes used by priests or medicine elders. Pipes found on the far outskirts of the sphere of influence may follow a style, which is more primitive. The following descriptions will be a cross section from the Pipe Appendix. The paper will discuss their attributes, style, and iconography starting with the oldest pipes and progressing to the newer pipes. The first set of pipes will be the pipes found at the Hollywood Mound Complex dating to 4500 BCE. The Hollywood Mound Pipes are small pipes made of clay and sandstone. The dating for these pipes stretches from the Middle Archaic to 1773 when the land was ceded to the British. The first pipe in this collection is Figure 27. This pipe is manufactured in an L pipe style composed of porous clay. The clay first molded, and twig, or reed is inserted into the clay to create the passage between the stem opening, and bowl opening areas. This formed block of clay is cut into the desired shape using obsidian, or another type of stone blade, and the fired until solid. Then the twig or reed it taken out of the clay and the conical openings carved to fit the stem, and the opening for the bowl. This pipe displays a boxed type cut using 90-degree corners. The bowl is narrow at the base widening toward the mouth. The mouth of the bowl is squared to match the outer rim of the bowl. The stem section again flares outward from the base in a square pattern, but the opening for the stem remains conical. The squared opening at the bowl is provided as an aesthetic to making the pipe uniform. Figure 23, is the Third pipe in the collection and this pipe demonstrates a different style from the older pipe shown in Figure 27. This pipe again displays a primitive style using rough clay. The pipe is at a 45-degree angle completing the L pipe shape. The pipe is circular illustrating a change from the squared format. This pipe has conical openings in the bowl and the stem. The bowl end, and stem end has been engraved with four circles each. This stands for the four directions and celestial kingdom, terrestrial kingdom, the prayer carrier, and Earth, or a combination of the two. This pipe requires a stem to smoke. Figure 24, is the Third pipe in the collection demonstrating a different style from the older pipe shown in Figure 27. The pipe is made out of a finer grade of clay, and the outside of pipe is now a circular shape rather than the box style of the first L pipe. Circle iconography is also incorporated into the pipe. These four circles extend from the base of the pipe outward to the bowl. The same circle pattern extends from the base of the pipe to the stem opening. The pipe base is very special as it displays circular pattern in each of the remaining directions. The circles around the base, and at the end of the stem stand for the spirits of creation who dwell in the four directions. The four circles extending up the bowl stand for the celestial kingdom, terrestrial kingdom, the prayer carrier, and Earth. The L pipe circles clearly have a ceremonial meaning, and the pattern that has been inclued is very pleasing to the eye. Figure 26, is the fourth pipe in the collection is somewhat like the L pipe in Figure 24, because the main structure is circular. This L pipe is much more streamline, and the surface is very fine clay, or it could be polished. The pipe uses just four rings and the stem and bowl telescope from the main body in to a cone shape on the bowl and stem. The stem and bowl openings are conical, and the pipe uses a wooden stem. The four circular patterns represent celestial kingdom, terrestrial kingdom, the prayer carrier, and Earth, or may signify the four directions. Figure 28, is the fifth pipe in the collection is another L pipe at a 45-degree angle. This effigy pipe is different in design from the prior pipes. The effigy is clearly an eagle's head with tufts of feathers gracing the top of the bowl. As the North American eagles do not have tufts this pipe is displaying the first harpy eagle I have found in North American Iconography. The age of the pipe would relate to the pipe found in Figure 23. The pipe shows a circle at the bowl of the pipe, and four circles around the eyes clearly expressing the four phases of creation. The eagle incorporated in the pipe is clearly a representation of a spirit carrier. This pipe also requires a stem. Figure 25, is the sixth pipe in this collection demonstrate a completely new concept in pipe construction from the others in the collection. The pipe consists of a human effigy, holding a basket. The basket is the bowl of the pipe, and the hip area of the human effigy is the stem opening for the pipe. The human effigy is hunch backed and displays a hair pattern that includes top knotting of the hair. The pipe is made of soapstone that is polished. This figurine is very fragile, and is very pleasing to the eye. The ceremonial content of the pipe is reveling. Harvest time is connected to the Corn Mother by way of the Green Corn Ceremony, Ripe Corn Ceremony, and the 12 phases of the moon. It is clear that this pipe is connected to the Mississippian era ceremonial complex. As all of the pipes in this collection require stems, and no stems were found it is certain the stems must have been passed on at the death of the original pipe holder. This was a common practice in the past, and still is today. The Author David Anderson outlines, and gives a general description of the pipes in the book The Savannah River Chiefdoms " At its Western base lay the pipes ... Pipe 3a, and 3b (135216) was carved from soapstone; the remainder are of clay." (Anderson, p.352). It is clear that the pipes in this collection are for ceremonial and personal use. It is also clear that the primary culture was affected by a Mesoamerican influence by the use of a Harpy Eagle in Figure 28, which is not indigenous to North America. The change in the style of the pipes is a clear indication of cultural influence concerning ceremonial representation. The next set of pipe descriptions will concern miscellaneous sites in Mississippi. There are those that can not be identified to a certain mound groups in Mississippi area. The first pipe in this set will be Figure 11. This pipe is from the area around Natchez, Mississippi. The nearest mound in proximity is the Emerald Mound. The pipe is an L pipe style composed of porous clay. With the same base construction found in Figure 27, from the Hollywood Mound complex. The clay first being molded, and then a twig, or reed added to create the passage between the stem, and bowl areas. This formed block of clay is cut into the desired shape using obsidian, or another type of stone blade, and the fired until solid. Then the twig or reed is taken out of the clay and the conical openings carved to fit the stem, and the opening for the bowl. This pipe displays a boxed type cut using 90-degree corners. The inside area of the bowl is curved rather than cut at a 90-degree angle. The bowl, and stem openings are conical in type. This pipe is one of the pipes that represent the primitive style found in all of the regionl mound sites. There is no date represented with this pipe, but comparing this pipe with Figure 27, from Hollywood Mound, I would say the pipes date would be approximately 4500 BCE. Figure 20, is the next L pipe represented from Jaketown Mississippi. This site according to the James Ford, Philip Phillips, and William Haag dates from the glacial period. The estimated age of the Jaketown site as 5000 BCE, but as the environment of the Mississippi area was not stable over a long period of time, dating is hard to fix. The author suggests a date of 2000 BCE. This L pipe is also like the pipe in figure 27. The bowl opening is squared, but the pipe its self is equally proportioned over all. The clay is a rough grade of clay. The stem and bowl are conical, and the stem hole is shorter than the bowl. The pipe is classified as a Poverty Point style. This pipe at one time was painted red. Figure 19, is the next pipe from Jaketown site. This pipe is a standard straight pipe. This pipe required no stem, and is considered very primitive compared with the clay L pipes. This pipe is also classified as a Poverty Point style pipe. This pipe is also colored red but the author is not sure if the pipe was fired to hot, or if it is painted. The author does make the comparison with the Poverty Point site explaining why these pipes are classified as Poverty Point pipes "Poverty Point Period occupation of Jaketown is firmly established according to the orginal excavation records. Again dating, and C14 test are questionable due to contamination of the site since the post-contact period. ."(Ford, p.102).
The pipe illustration to the left is the Discoidal Pipe from the Perrault Collection. Catalog Number: 16210, Accession Number: 5390, Courtesy of the Milwaukee Public Museum, 2000. It is clear that the pipe shown in Figure 13a, is not part of the Perrault Collection, and will be classified as Discoidal Pipe, original site unknown. Figure 15, is from Clarksdale Mississippi and is part of the Clark Collection. The pipe is a hand motif showing five fingers. The pipe effigy is classified and identified as a bear's claw. It is clear with the five digits that it is a human hand. A bear paw has four stumpy digits, and dew claw 2 to 4 inches above the claw causing the fifth digit represented in the pipe to be missing from the motif. The pipe bowl is fashion in the palm of the hand. If a person were to look at a hand, palm up the observer would see the simularity. The bowl in the palm of the hand signifies and offering of prayer as the smoke is rising to the celestial kingdom. The stem is set into the wrist of the hand completing the offertory arm and hand. This pipe I would consider a personal pipe as it does not follow any standard pipe design. Figure 16, is the next pipe. This pipe has no location. The pipe was painted red at on time. The effigy of the face is a clay object where eyes and mouth are poked into the clay, and a little nose is made by pinching the clay. I can only say this piece has no likeness anywhere that can be located. Figure 30, is the next pipe. This pipe is an L pipe made out of sandstone. Estimated dating is 800 CE To 1400 CE, and the pipe is from Winona Mississippi. The pipe is clay and is from the same general area, and type as 11, This pipe shows traits indicative of figure 27, from the Hollywood Mound complex. The shape and form is the same as Figure 11. This primitive style states that the estimated dating is incorrect. The bowl opening is squared, but the pipe its self is equally proportioned over all. The clay is a rough grade of clay. The stem and bowl are conical. This is an example of the like cultural styles within the geographical core area from the Emerald Mound complex, and the Hollywood Mound complex. The pipes from Lindsley Estate Mound complex in Tennessee will be next. The Lindsley Estate Mounds date from 1000 BCE, To 1432 CE. Figure 57, will be the first pipe of the Lindsley Estate group. This pipe is a sandstone L pipe. This is a very primitive design, and does not appear commonly in the geographic core area. The pipe is a single stone with a base that is oblong. Surface of the pipe is very rough but unique. The bowl section is a ball shape with a circle at the top. Out of all the pipes viewed. We are looking at a pipe that is outside of the influence of the mound builders in the geographic core area. Figure 29, This second pipe is a 45-degree angle L pipe. The pipe is made of slate and has a finer finish. The pipe also has the same design as Figure 26, and Figure 23 of the Hollywood Mounds. The Pipe is circular, and is flared from the base ending at the bowl, and the stem is flared from the base to the stem. The bowl and stem are conical in shape. Four circles are engraved in the pipe. The four circular patterns represent celestial kingdom, terrestrial kingdom, the prayer carrier, and Earth, or may signify the four directions. Figure LIN1, is the third pipe from Lindsley Estate Mound. The pipe is a replica of Figure 25 from the Hollywood Mound. These replications of concept in Tennessee bring the state of Tennessee into the geographic core of influence from the Hollywood Mound complex. The pipe consists of a human effigy, holding a basket. The basket is the bowl of the pipe, and the hip area of the human effigy is the stem opening for the pipe. The human effigy is hunch backed and displays a hair pattern that includes top knotting of the hair. The pipe is made of soapstone that is polished. This figurine is very fragile, and is very pleasing to the eye. The ceremonial content of the pipe is reveling. Harvest time relates directly to the Corn Mother through Green Corn Ceremony, Ripe Corn Ceremony, and the 12 phases of the moon. Figure EMC1, is a pipe effigy matching both the Figure LIN1, from the Lindsley Estates Mounds in Tennessee, and Figure 25 of the Hollywood Mound in South Carolina. This figure from the Etowah Mound Complex in Georgia confirms the influence of the Gulf of Mexico geographical core area. Steatite is the material this pipe manufactured from, and the steatite has mica flakes shinning throughout the pipe. The pipe consists of a human effigy, holding a clay pot. The pot is the bowl of the pipe, and the hip area of the human effigy is the stem opening for the pipe. The human effigy is hunch backed and displays a hair pattern that includes top knotting of the hair on the back of the head. This figurine is very fragile, and is very pleasing to the eye. The ceremonial content of the pipe is reveling. Harvest time related to the ceremonies representing Corn Mother by way of the Green Corn Ceremony, Ripe Corn Ceremony, and the 12 phases of the moon. It is clear that this pipe representative of the Mississippian era ceremonial complex. This pipe illustrates the primary connection of trade and influence in the geographic core area. It also shows the spread of the influence encompassing other less developed people. The Emerald Mound complex pipes, estimated dating is 2000 BCE to 1600 BCE, The dating concerning the Emerald mound varies. As there is not real way of knowing from what mound these pipes came from except for the fact that they did come from the Natchez Trace area. I will stay with the dates listed above. Figure 31, V. L. Perrault of Natchez while speaking to the representative from the Milwaukee Public Museum discribed verbally, and in writing how he came into possession of the Mound Builder Pipes " Having been collected during a period of thirty years, by Mr. Perrault. these relics leave come from two places in Adams County Mississippi. The five large pipes the bowls arrowheads, the grinds, the stove for preparing and dressing hides all were dug up from a large Indian Mound on a plantation owned at the time by Mr. Perrault. The place is called Emerald Mound."(Perrault, personal note). The age and location of these pipes will never be know as there is no way now to conduct a C14, or any other test to my knowledge. This pipe is a platform effigy pipe common in this region. The pipe is designed with a winged motif incorporating rattlesnake tails, and buttons circling the pipe bowl in three directions, and flowers growing from between the tails, and rattles. The Wings spread from the front of the effigy, and run about 3/4 the distance to the back of the effigy. The rattle tails and button run down from the top of the pipe starting directly behind the wings. Winged serpents are common in North America, and Central America. Figure 32, is the second pipe of the series. The pipe is from the Natchez Trace area. This pipe is classified as a bird effigy by the Museum, but the iconography is contrary to the motif incorporated into the effigy. There are two circular items at either side of the effigy head, which appear to be ear spools. If this were the case then the effigy would change and represent a long nosed god with Mesoamerican origin, but if the spool like items represent feather tufts then we are looking at a Harpy Eagle. The Harpy Eagle is indigenous to Central America. The effigy also has the circles around the eyes, and a well defined beak or snout. Figure 33, is the third effigy pipe in the series. This effigy is of a human kneeling, with arms crossed. The forehead of the human is slanted, but this is not uncommon in the geographic core area iconography. The human effigy has a v mark in the forehead, and this may have a connection with Mesoamerica, or not. There is two lines descending from the head on either side of the "V" shaped cleft located at the center of the forehead. This could represent the length of hair, or a garment is being worn covering the back of the head. The two lines connect on the rear side of the effigy as they curve around the bowl opening. Figure 34, is the next effigy pipe in the series. Milwaukee Public Museum identifies the effigy as a cougar, but after looking at blown up images, I relate this image as a monkey. First, the mouth is open mouth showing teeth that are large, squared, and blunt. As cougars have long sharp teeth, the effigy is certainly not a cougar. While looking at a side view blowup of this pipe, I would like to state that the head is of a primate. The eye sockets are extended outward, and rounded at the top. This is not a trait shared with cougars. The forward portion of the skull angles from the eye socket upward and then the back of the skull and extend to the rear of the skull at the same angle. The front of the face is flattened, and the jaw is large and crescent shaped. I would almost go as far as to say the face and head is that of an ape. The right and left sides of the face are rounded extending to a small hump on the back just before the pipe bowl. The legs are not of a cougar but are the legs of a primate as it stands on all four legs. long fingers rapping around the slab it is standing on. Cougars have stump feet and do not display the length illustrated in this pipe. The hind legs are also of a primate. They slant forward as the animal is putting its weight on the fingers, and arms. The feet are long also, and this to is not a trait of a cougar. There is no tail rapping the stem opening, and if it were a representation of a cougar, the tail would wrap that area. This pipe is a North American representation of the Monkey God at Copan. That is the only explanation for the physiology of the animal incorporated in this effigy. If this is so then we have another instance of Mesoamerican influence. These pipes are of the finest craftsmanship, and represent a society of men who make pipes as their duty within the ceremonial complex. They are fragile, and beautiful in their design and meaning. Esthetically to a Native American they would make the heart fly. To Europeans, they would represent a fine achievement in figurine sculpting. To one who makes pipes, they are an art achievement to strive to obtain. The section of the pipe description will focus on the pipes from the Hopewellian, and American Bottom mound Sites. This time period referencing this geographic core is 300 BCE to 1400 CE. The Hopewellian and American Bottom sites are a revolution in the art of the Easter Woodland. These artifacts are renowned for their beauty and style although they have a utilitarian usage. The first pipes in this section will be from Naples Illinois. They are all made of soap stone and date from 300 BCE to 1 CE. Figure 61, is the first pipe of this series. It is a platform effigy pipe of a cougar, or panther. The panther is of polished soapstone. The detail is fine, and the pipe is fragile. The bowl of this pipe is drilled straight into the area behind the shoulder blades of the cougar, or panther. As many of the Hopewellian style pipes this pipe has a narrow stone stem that extends from the back of the animal like if it were setting on a long stone. The anatomy of the animal is in perfect proportions for the size of the pipe. The cougar or panther on the pipe is so life like you would wonder when it would be jumping off the stone it is lying on. Panther is a representative terrestrial kingdom, and the text talks about three groves somewhere out of sight that may be used for a bloodletting ceremony. I can not see them from this view. Figure 65, is the second pipe of the series. This pipe is Hopewellian, and the dating is from 250 BCE to 250 CE. Material incorporated in the building of the pipe is red catlinite. This pipe is a flat platform pipe plain. The bowl extends from the center of the pipe bulging in a circular manner with a small disk like circle at the top. There are teeth marks on the stem of the pipe. This pipe stem less so the stem is the pipe. This is a large pipe according to any standards. The pipes dimensions are 21/2" x 21/4" by 9 1/2". The pure size of the pipe and the fact the pipe is made from red catlinite hint the pipe was utilized for ceremony. The pipe is plain, but beautiful in its design. Figure BILL1, is the third pipe in this series. The pipe is made of Steatite the effigy is that of a beaver. The pipe is a platform pipe, and the effigy is of fine sculpting and intricate design. The teeth of the beaver are made of bone, and the eyes are fresh water pearl. The beaver faces the person smoking the pipe. The pipe bowl is located in the back of the beaver, and the stem hole is at the end of the platform making the beaver look like it is standing on a log, or rock. The effigy its self is a wonderfully inventive piece of art. The use of a combination of materials illustrates the complicated process incorporated in the manufacture to achieve the desired artistic affect. Stem less platform pipe are common in the Hopewellian ceremonial complex. Figure 48, is the American Bottom Site Frog effigy Pipe. This figurine dates from 900 CE to 1400 CE. The American Bottom collection is known as one of the finest art works in the Mound Builder societies. Their pipes and figurines were popular in communities stretching across the geographic core area of influence. Pipe making societies in this area of Adena, Cahokia, and Hopewell were known as the best craftsmen of their time. The pipes and figurines are very ornate, and their unique beauty draws the eyes of all those who see the fine work incorporated in the art. The frog effigy is composed of bauxite, and clay. The pipe was fired,and then polished to bring out the beauty of the composition. The frog effigy is holding a rattle in his hand, and there is a stream of spiritual power radiating downward from the rattle. This is recognizable by the many downward lines projecting from the rattle at the edge of the pipe. The frog being an underworld animal would call upon the terrestrial power of the underworld. The use of the rattle in the mound building cultures is well known. Rattle was preferred for ceremony rather than drum in the Corn Mother cultures. This figure represents the transformation of either a healer or a person who knows the practice. Calling on the underworld may be used by good or bad elements within the society. The pipe bowl is in the back of frog, and the drawtube is at the back with the frog facing away from the person conducting the smoke ceremony. This is unusual in the areas of Adena, Cahokia, and Hopewell as the animal effigy pipes normally face the person who is using the pipe. |


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The following Table is a representation of ceremonial pipes from archaic to present. Please note that the most of the documentation regarding dating of the pipes is missing. This is due to archaeological techniques used in the early 1900s to catalogue artifacts, and the problem of personal excavations done by landowners, or those who found the sites before the site excavations. Questions arise when the origin, or the procurement of and artifact from the mound culture of the Eastern Woodland has no documented starting point. The following Chart gives an illustration of the materials, type, and location of the ceremonial pipes found, and the collection they reside or have resided in. The dating is meager so I will give a general dating of the site if available. Pipe Information Chart Location Dating Material Type Effigy Collection Adams Co. Mississippi Clay L Pipe George Lake Mississippi Clay Bear Clarence B. Moore Coahoma Co. Mississippi Clay Wolf Hon. J. L. Alcorn Natchez Clay Stem Less Perrault Collection Natchez Clay L Pipe Perrault Collection Coahoma Co. Clarksdale, Mississippi Clay Hand / Foot Charles W. Clark Collection Clay / Red Paint Human Head Georgia Group / Great Lakes 1000 CE to 1450 CE. Clay Frog Georgia Group 1000 CE to 1450 CE. Clay Straight, and Effigy Human Holding Basket Poverty Point 1500 BCE to 700 BCE Clay Tube Clay Trumpet Pipe Clay Trumpet Pipe Iroquois Hopewell 200 BCE to 400 AD Clay T Pipes / No Stem Hollywood Mound Richmond Co. South Carolina 4500 BCE to 1500 AD Soap Stone L Pipe / Hollywood Mound Richmond Co. South Carolina 4500 BCE to 1500 AD Soap Stone L Pipe / inscribed circular patterns Hollywood Mound Richmond Co. South Carolina 4500 BCE to 1500 AD Soap Stone Human effigy holding Basket Hollywood Mound Richmond Co. South Carolina 4500 BCE to 1500 AD Soap Stone L Pipe / Inscriptions Circular Hollywood Mound Richmond Co. South Carolina 4500 BCE to 1500 AD Soap Stone L Pipe / Boxed Lindsley Estates 1000 BCE to 1432 AD Sandstone Lindsley Estates Tallahassee, Florida 1000 BCE to 1432 AD Catlinite L Pipe Winona, Montgomery Co. Mississippi 800 AD to 1400 AD Sandstone L Pipe / Box Pattern Ballard Collection Emerald Mound, Selertown, Mississippi 2000 BCE to 1600 AD Limestone Winged Serpent / Carved Patterns Perrault Emerald Mound, Selertown, Mississippi 2000 BCE to 1600 AD Limestone Winged Serpent / Hawk Transformation Perrault Emerald Mound, Selertown, Mississippi 2000 BCE to 1600 AD Limestone Human Perrault Town Creek, North Caroline 1200 AD 1560 AD Soap Stone Frog Town Creek, North Caroline 1200 AD 1560 AD Soap Stone L Pipe BBB Motor Site, Illinois 900 to 1400 AD Clay and Flint Birber Figurine BBB Motor Site, Illinois 900 to 1400 AD Clay and Flint Keller Figurine Sponemann Site 900 to 1400 AD Clay Flint Willoughby Figurine Dohack D4 Site Clay L pipe Broken Dohack D4 Site Clay Straight Naples Illinois 300 BCE to 1 Ad Soap Stone Panther Naples Illinois 300 BCE to 1 Ad Soap Stone Hawk / Platform Naples Illinois 300 BCE to 1 Ad Soap Stone Owl / Platform Hopewellian Ohio 250BCE to 250 AD Soap Stone Frog / Platform Hopewellian Indiana 250 BCE to 250 AD Soap Stone T Pipe Temple Mound, North Carolina 1200 to 1600 AD Steatite Duck Emerald Site, Natchez, Mississippi 1400 to 1600 AD Human Kneeling Emerald Site, Temple 1. 1200 to 1600 AD Human Kneeling Frank S. Benson and Henry Batterman Big Mound, Madrid, Missouri Frog two stem Tremper Mound 100 BCE to 500 AD Soapstone T Pipe Tremper Mound 100 BCE to 500 AD Soapstone T Pipe Frog / Platform Tremper Mound 100 BCE to 500 AD Soapstone T Pipe Dog / Platform Tremper Mound 100 BCE to 500 AD Soapstone T Pipe Beaver / Platform Sunflower Mound, Mays Place, Yazzo Co. Georgia Soapstone Man sitting Great Serpent Mound 700 to 1000 AD Soap Stone Hawk Great Serpent Mound 700 to 1000 AD Soap Stone Vulture Smith County, Tennessee Grey Steatite Duck Smith County, Tennessee Green Steatite Heron Chillicothe Soap Stone Platform Smith County, Tennessee Fine Steatite Songbird 8000BCE William Kennedy Posey Co. Indiana Stone Panther Guenall Collection Tremper Mound, Ohio 100 BCE to 500 AD Stone Hawk Hopewell Plowed Up by R.C. Phillips, Hillsboro, Coffee Co. Tennessee Light Grey Steatite Phillips Attalla, Etowah County, Alabama Smith Farm Knoel Farm, Nashville, Tennessee Catlinite Duck Pipe George Wood Collection Rowlett's Station Kentucky Catlinite Disk Pipe R. S. Munford Collection. Chattanooga Tennessee Oolitic Limestone Mr. A. E. Douglas Columbus, Ohio Soap stone Ohio State Historical Society Maude County, Tennessee Grey Steatite Duck Jackson Collection Ohio Soap Stone Manatee Davis Collection Ohio Soap Stone Toucans or Eagle Davis Collection Yazzo, Mississippi Clay L Pipe Lake Saint Joseph, Vicksburg Pottery Pipe L Pipe Heye Museum Xochipala Guerrero Mexico. 1200 to 1500 BCE Clay Human Art Museum Princeton University Silertown, Emerald Mound Complex 2000 BCE to 1600 AD Sand Stone Monkey Perrault The gorgets and the use gorgets in the Eastern Woodland societies manifest a loyalty to their primary tribal society while exhibiting relations and continuity to the regional society. The gorgets proceeding the Woodland era I have found to be in very poor condition. This condition may be related to ceremony in the mortuary complex, but it appears the true culprit is the disturbance caused by farming, debasing the burial mounds, or poor archaeological practices in the early years of the discipline of archaeology in North America. The numbers of Gorget artifacts that have been recovered in North America are many, but the relative numbers of gorgets in good condition are few. Materials used in the manufacture of gorgets include stone, shell, and copper. There are few examples and they are limited to the major Mound sites. This makes identification of cultural community very difficult at best. Many different theories circulate in reference to the gorgets and their purpose in the culture. Gorgets are one of the keys needed to uncover the cultural sophistication of the early societies of the Eastern Woodlands. Within the disciplines many say that gorgets are symbols relating the tribal base or the primary community a person belongs. Many scholars have also concluded gorgets represent the spirit world and were worn as a protection against evil. The gorget medium is a combination of the two uses. The first is as identification within the primary culture, and second the gorget represents profound spiritual meaning to the individual.
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Gorget Descriptions Cross Section:
The following gorget descriptions represent a cross section of gorgets and Iconography. The spiritual meaning of the gorgets and origin relating to the geographical core area will be explored in this section. Figure A1. This gorget will be the first gorget represented from the art appendix. This gorget is from Nashville, Tennessee. Several of this gorget have been found during site excavations in Tennessee. At the gorget's center, there is a spinning wheel. This spinning wheel has the same meaning as the helix within our own DNA. This is the center of the universe and the center of creation on an infinite and finite scale. Rimming the outside is 14 circles with 12 of these circles relating to the phases of the moon, and the other two stands for ceremonies outside of the 12 moon phases. The six circles near the center riding on the seventh circle stand for the seven spirits of the creation. The largest of the seven circles is the spirit of creation. These gorgets are a representation of the total base cosmology. Figure A2. The second gorget in the series. This is a common gorget found in Kentucky, Virginia, Illinois, Missouri, and Arkansas. This gorget is a wonderful example of the continuity of culture between the different towns across the Easter Woodlands geographic core area. This figure is a representation of the eagle dancer, or eagle warrior. The figure is dressed in an eagle costume, brandishing a weapon in the left hand, and holding a figure in dancer right hand. Ear spools are noticeable located on the ear. There is knife in the right hand and the figure has what appears to be a goggle eye hanging of the elbow. A top knot graces his hair in the front giving the appearance of a feather bundle hanging. This style is common in both Mesoamerican, and Eastern Woodlands art iconography Figure A7. The third gorget in the series. This is also a common gorget in the areas of Mississippi, South Carolina, North Carolina, Georgia, and Tennessee. Serpent motifs all over the Eastern Woodland stand for water. Spirits concerned with this symbolism are considered terrestrial in nature. This may also be a representation of Uktana or winged serpent, which is another water spirit also known by some as the Water Panther. The rattle snake motif is common in both North America, and Central America. Figure A16. This shell fragment is very important concerning the civilizations capability to reach out, trading by canoe. The figure in the canoe has the top knotted hair, and it appears again similar to hairstyles found in Mesoamerica. Goggle eye is present in the bow section of the canoe. Mesoamerican contact is apparent and will continue for some time. Figure A18. This gorget is a very important gorget to the series. The gorget is from Spiro Mound Complex, and dates from 750 CE to 1350 CE. The World Tree is the first representation in this gorget. It is represented by the two snakes curling together from the ground and coupling through a sun symbol. This stands for connection with the celestial kingdom. Both of the figures in the gorget are standing as twins with the only difference being the garment design. The first figure standing with no icons showing on his clothes, but he is wearing the same headdress, and holding a sacrificial animal. The second figure is a ruler, or a god representation. The second figure clothes is Illustrate the X Symbol used in the Olmec Empire representing the creator, or a rulers right to divine rule. The Olmec cross is on the second figure's skirt. The difference between the twin figure is the representation of the mortal conducting ceremony, and the terrestrial figure is the accepting or spirit side of the mortal existence. This is hard evidence of influence from the area of Mesoamerica in the Gulf of Mexico geographical core area. The two figures being twins is an indication that the concept of the Hero Twins and the influence on the general cultures in the ceremonial complex. Figure A20. This gorget is from Georgia, and North Carolina, and dates from 1000 CE to 2000 CE. The gorget is representation of Uktana a spirit of the water, with a relation to the terrestrial kingdom. This symbol is a healing symbol still in use today. The fire cross in the center justifies Uktana's link to the celestial kingdom, and terrestrial kingdoms. The four Uktana figures are representative of the four directions. Some Eastern Woodland nations still claim this symbol as the water panther, but in traditional circles, it is considered a winged serpent spirit. According to legend, the Yuchi killed Uktana at the request of the Creek, and the Tsalagi, but this can not be substantiated. Figure A29a. This gorget is from Carthage Alabama no dating listed. This gorget is a representation of the ceremonial ground consisting of a circle within a square, which dates back to the Olmec Empire. The Green Corn ceremony ground controlled by a medicine elder during ceremony. The eight lobes on the circle in the center stand for the original eight spirits of the creation. Placing importance on the eighth spirit as the power is still there after being placed in the terrestrial kingdom. This is why we honor the eight spirits in certain ceremonies. The fire cross symbol in the center still and will always stand for creation and the four direction in the number of seven, or combinations of seven to infinity. Tufted red headed woodpecker is sacred from the East Coast to California. Figure A38, and A39, are from the area of Tennessee and Etowah in Georgia. The gorget from Etowah is shell, and the gorget from Tennessee is copper. Each of these gorgets speaks of the story of the water spider and its role in creation. This is the most common iconography beside the spirit cross. The area this icon covers is from Delaware in the East, to Arkansas in the West along the entire Appalachian region. This area was controlled by the Cherokee, and this was confirmed by Hernando De Soto's expedition. These gorgets being disbursed over such a wide distance is also evidence of a cultural commonality. Figure A34. This interesting gorget is the oldest of all the gorgets in this series. The gorget is from the Butler Collection in Ohio. The gorge is shaped elongated wide in the middle and narrow at both ends. The gorget is worn horizontally across the subject's chest. There are symbols of spirit radiation emitting from both ends. There is also four strait lines on both ends of the gorget and concerns the spirits of creation, and the four directions. The Delaware symbol for north can be seen on the right hand side of the gorget symbolized with a vertical line at a 45-degree angle, and crossed by four-line horizontally. At the base of the vertical line, there is two cross over lines with upward marks. There is one glyph on either side. The Delaware Nation still has people in Ohio. The other parts of the glyph on the gorget outline a site, and tell about the spirit at the site. Gorget Information Chart: Location Dating Material Iconography Collection Gorgets Nashville Tennessee 1000 CE to 1600 CE. Shell Circles, and Helix Col. J. D. Morgan Etowah 1000 CE to 1450 CE. Shell Eagle / Human Study of North American Archaeology Etowah 1000 CE to 1450 CE. Shell Eagle / Warrior President and Fellows of Harvard College Etowah 1000 CE to 1450 CE. Shell Eagle / Warrior Courtesy of Robert S. Peabody Foundation of Archaeology Etowah 1000 CE to 1450 CE. Shell Eagle / Warrior Courtesy of Robert S. Peabody Foundation of Archaeology Etowah 1000 CE to 1450 CE. Shell Corn Mother /World Tree Mississippi 1000 CE to 1650 CE. Sandstone Rattle Snake Disc Covarrubias, Miguel, The Eagle, The Jaguar, The Serpent. Etowah 1000 CE to 1450 CE. Shell Eagle / Human Courtesy of Robert S. Peabody Foundation of Archaeology Spiro 750 CE to 1300 CE. Shell Transformation / Human Covarrubias, Miguel, The Eagle, The Jaguar, The Serpent. Missouri Mounds Complex 750 CE To 1600 CE. Shell Transformation Tennessee 1000 CE to 1600 CE. Shell Weeping Eyes Etowah 1000 CE to 1450 CE. Shell Eagle Warrior Etowah 1000 CE to 1450 CE. Shell Eagle Warrior Spiro 750 CE to 1300 CE. Shell Capturing Heron Spiro 750 CE to 1300 CE. Shell Man / God Madrid Mo. 750 CE To 1600 CE. Shell Long Nose Deity Mr. Douglas discovered The Antiquities of Tennessee and the Adjacent States. Spiro, Le Flore Co. Oklahoma 750 CE to 1300 CE. Shell Fragment Water going. Spiro 750 CE to 1300 CE. Shell World Tree Spiro 750 CE to 1300 CE. Shell World Tree North Carolina 4500 BCE to 1773 CE Shell Rattle Snake Cyrus, Thomas, Introduction to the Study of North American Archaeology Etowah 1000 CE to 1450 CE. Cloth Uktana Tribal / Wedding Cover Courtesy William Day Tennessee 1000 CE to 1600 CE. Shell Turkey
