Navajo wearing blankets represent a significant category within Native American textiles, prized for their intricate designs, robust construction, and deep cultural resonance. For collectors, dealers, or enthusiasts, the ability to accurately identify these pieces—understanding their historical context, materials, and design evolution—is crucial for assessing authenticity, provenance, and market value. Distinguishing a true Classic Period wearing blanket from a later Transitional piece or a contemporary reproduction requires a nuanced understanding of specific characteristics developed over centuries. This guide provides a framework for recognizing the key attributes that define these textiles, from their earliest forms to the advent of the rug trade.
The Evolution of Navajo Wearing Blankets
The history of Navajo weaving is a dynamic narrative, shaped by cultural exchange, resource availability, and changing economic pressures. Understanding the chronological development of wearing blankets provides essential context for identification.
Early Contact and Spanish Influence (Pre-1800s)
Prior to extensive European contact, Navajo weaving primarily utilized native cotton and plant fibers. The introduction of Churro sheep by the Spanish in the 16th century revolutionized their textile production, providing a superior wool fiber. Early Navajo weavers adapted Spanish horizontal looms and began producing blankets primarily for their own use and for trade with neighboring tribes. These early pieces are exceedingly rare, often characterized by simple striped designs and natural, undyed wool.
The Classic Period (1800-1865)
This era represents the zenith of Navajo wearing blanket production. Weavers achieved extraordinary technical skill, creating tightly woven, durable textiles with sophisticated designs. Key characteristics include:
- Materials: Predominantly hand-spun Churro wool, known for its long staple, luster, and resistance to moth damage. Imported Bayeta cloth, unraveled and re-spun, provided vibrant red hues. Saxony yarns, fine European wools, also appeared, offering a softer texture and rich colors.
- Dyes: Natural dyes were paramount, including indigo for blues, cochineal for reds, and various plant-based dyes for yellows and greens. The limited palette often enhances the visual impact of the designs.
- Designs: Classic Period blankets are famous for their bold, geometric patterns. "Chief Blankets" are iconic, evolving through distinct phases:
- First Phase: Simple horizontal stripes, often black and white.
- Second Phase: Rectangular blocks or bands of color integrated into the striped field.
- Third Phase: Diamond or serrated diamond motifs, often radiating from the center, becoming more complex and visually dynamic.
Serapes, characterized by a central slit for the head, also emerged, featuring intricate overall patterns.
- Weave: Exceptionally tight and even, often with a high warp-to-weft ratio, making them dense and water-resistant.
The Bosque Redondo Era and Transitional Period (1865-1880)
The forced incarceration of the Navajo at Bosque Redondo (1864-1868) marked a profound disruption. While weaving continued, access to traditional materials changed. Post-Bosque Redondo, the introduction of commercially milled, pre-dyed "Germantown" yarns from Pennsylvania significantly altered textile production. These yarns, available in a wider, brighter color palette, allowed for more intricate and pictorial designs, moving away from the strict geometric forms of the Classic Period. Blankets from this Transitional Period often show a blend of traditional design elements with new colors and finer yarns, bridging the gap between wearing blankets and the emerging rug trade.
Key Characteristics for Identification
Accurate identification relies on a systematic examination of materials, construction, and design elements.
Weave and Material Analysis
The type of wool and its preparation are primary indicators of age and authenticity.
- Hand-spun Churro Wool: Look for slight irregularities in thickness and twist, characteristic of hand processing. Classic Period blankets exclusively feature hand-spun wool.
- Bayeta: This re-spun flannel appears as a rich, often slightly uneven red. Its presence suggests a Classic Period or early Transitional piece.
- Saxony Yarn: Fine, soft, often three-ply wool, appearing in rich, deep colors, indicating high-end Classic Period production.
- Germantown Yarn: Uniform, tightly plied, and often brightly colored, its presence firmly places a blanket in the Transitional Period (post-1870s).
- Weave Density: Classic wearing blankets exhibit a remarkably tight, even weave. Count warps and wefts per inch; higher counts (e.g., 20-30 wefts per inch) are indicative of fine, early pieces.
Pattern and Design Motifs
Design evolution provides a strong chronological marker.
- Chief Blankets: The progression from simple stripes to complex diamond patterns is a clear identifier for Classic Period pieces.
- Moki Patterns: Characterized by narrow, alternating dark and light stripes, often in indigo and natural black, sometimes with thin red accents. These are early and enduring designs.
- Serrated and Terraced Designs: These geometric forms, often in vibrant colors, become more prevalent in later Classic and Transitional pieces, indicating a shift towards more complex visual narratives.
- Pictorial Elements: The appearance of figures, trains, or other representational imagery is a strong indicator of the Transitional Period, coinciding with the availability of Germantown yarns.
Size and Function
The original purpose of the textile influences its dimensions and construction.
- Wearing Blankets: Generally sized to be worn, typically rectangular, and often longer than they are wide. Their tight weave provided warmth and protection from elements.
- Rugs: As the market shifted from wearable art to floor coverings (post-1880s), blankets became larger, heavier, and often incorporated bolder, less intricate designs suitable for floor display.
Pro Tip: Examine the selvage (finished edge) carefully. Classic Period blankets often feature a two-ply warp cord, sometimes reinforced with additional strands, that is wrapped by the weft. The presence of a "lazy line"—a diagonal, unjoined line in the weave where a weaver worked in sections—is a common, authentic characteristic and not a flaw.
Preserving and Valuing Navajo Textiles
Proper care and understanding of provenance are critical for maintaining the integrity and value of Navajo wearing blankets. Avoid direct sunlight, store flat or rolled (never folded for extended periods), and consult professional textile conservators for cleaning or repair. Documented provenance, such as records of previous ownership or exhibition history, significantly enhances a blanket's value and authenticity claims.
Making Informed Decisions on Navajo Blanket Acquisition
For those considering acquiring Navajo wearing blankets, thorough research and careful inspection are paramount. Engage with reputable dealers, study historical examples in museum collections, and prioritize pieces with clear provenance and documented history. Understanding the nuances of materials, dye techniques, and design evolution from the Classic to the Transitional periods allows for a discerning approach, ensuring that acquisitions are both historically accurate and commercially sound.
Frequently Asked Questions
What is the primary difference between a Navajo wearing blanket and a Navajo rug?
Wearing blankets (pre-1880s) were primarily made to be worn, featuring a tighter, finer weave and often more intricate designs, making them lighter and more flexible. Rugs (post-1880s) were designed for floor use, generally thicker, heavier, and larger, with designs often adapted for viewing on the floor.
How can I tell if the wool in a Navajo blanket is hand-spun or commercial?
Hand-spun wool typically exhibits slight variations in thickness and twist, and when unraveled, the fibers may not be perfectly uniform. Commercial yarns, like Germantown, are consistently uniform in diameter and ply, appearing machine-spun.
Are all red areas in Classic Period Navajo blankets made from Bayeta?
While Bayeta was a prominent source of red, especially in early Classic pieces, cochineal dye applied to hand-spun wool also produced vibrant reds. The key is to look for the distinct texture and slight variegation of re-spun Bayeta versus consistently dyed hand-spun wool.
What is a "lazy line" and does it indicate a flaw?
A "lazy line" is a diagonal, unjoined seam in a Navajo textile, resulting from the weaver working on sections of the blanket separately. It is a common and authentic characteristic of hand-woven Navajo textiles and is not considered a flaw, often serving as an indicator of traditional weaving methods.
