Warriors of the Plains horse tribes painted their horses for
special occasions. These painted markings and symbols were not so much an identifier
in the nature of the Angle horse brand as they were an enhancement, visual or
spiritual, of the horse’s and the rider’s presence. Some of the symbols represented
specific accomplishments and so could be read like a biography of the warrior.
Other symbols conferred spiritual powers and abilities that had been shown to
the warrior on a vision quest. Some examples of painted horses can be seen in
rock art and other Native American art forms, and some of these messages can
still be read in the painted markings.
Symbols from painted horses, Thomas E. Mails,
Mystic Warriors of the Plains, 1991, p.220.
Thomas Mails illustrated a number of commonly seen marks in
his book Mystic Warriors of the Plains (Mails 1991:220) and examples (including
variations) of some of these symbols can be seen in examples of Native American
art. “Painted exploit symbols used on
horses. a, war party leader. b, enemy killed in hand combat. c, owner fought
from behind breastworks. d, hail. e, coup marks. f, horse raids or number of
horses stolen. g, mourning marks. h, medicine symbol.” (Mails 1972: 220)
Picture Canyon, Baca County. Photograph: Peter Faris.
Close-up of symbol on the horse from Picture
Canyon, Baca County, Colorado.
In Picture Canyon, Baca County, Colorado, a horse figure
that is faintly drawn in black and also lightly incised into the cliff face has
markings carved into his front shoulder that might represent a variation of
Mail’s marks for coup counts. An extremely faded rider can be made out and the
shapes of tipis in the background are now almost invisible.
A coup count, Dog Soldier Ledger, pl. 91, p. 189.
Detail, A coup count, Dog Soldier Ledger, pl. 91, p. 189.
Coup count symbols can be seen on the horse illustrated in
one of the plates in the Dog Soldier
Ledger (p. 91, p. 189) in which an unidentified warrior has dismounted to
count coup with a strike of his bow on a wounded soldier.
Keyser, James D. and Michael A. Klassen,
2001, Plains Indian Rock Art,p. 237.
An incised panel from Joliet, Montana, is illustrated in
James Keyser’s and Michael Klassen’s 2001 book Plains Indian Rock Art (p. 237). The large horse in the center of
the illustration carries an “H” on his hip which might represent an Anglo
brand, but the horse also shows a open-bottom rounded symbol on his front
shoulder which is quite possibly Mail’s symbol for horse raids and/or horses
stolen, a could possibly actually refer to the capture of the horse illustrated
by its rider.
White Bird lancing a soldier, a circle is painted
on the hip of his horse. Dog Soldier Ledger,
plate 100, p. 203.
Another illustration from the Dog Soldier Ledger (p. 100, p.
203) shows White Bird lancing a white man. White Bird’s horse is painted with a
circle identified by Mails as signifying fighting from behind breastworks or
from some sort of defensive position. Additional illustrations of White Bird in
the same publication show the same symbol on his horse.
“A warrior often
painted his favorite war horse with the same pattern and colors he used for his
own face and body. And when he was preparing for ceremonial events or for
journeys into enemy territory, he painted his horse at the same time as he
painted himself. – The main thing to bear in mind is that the painted horse
always carried a message about his owner, hence sometimes the quality of the
horse bearing the marks – although the painted horse might not always be the
one the owner had ridden on the raids described.” (Mails 1991:219)
The value and importance of the horse painting is
illustrated by George P. Horse Capture and Emil Her Many Horses in their 2006
book “Song for the Horse Nation”. “Siya’ka
said that on one occasion when he was hard pressed on the warpath, he
dismounted, and, standing in front of his horse, spoke to him saying: “We are
in danger. Obey me promptly that we may conquer. If you have to run for your
life and mine, do your best, and if we reach home, I will give you the best
eagle feather I can get – and you shall be painted with the best paint.””
(Horse Capture and Her Many Horses 2006:41) “The best paint” presumably is paint made with
the rarest, or hardest to acquire, pigments, the value being due to the effort
or expense of acquisition.
A range of motives and reasons led to painting of their horses by Native American Plains warriors, and many of these motives and reasons were of such importance that the same symbols were occasionally portrayed on rock art of horses. Indeed, many of these symbols can often be found independantly painted or pecked into the rock as well, but that is a subject for a later posting.
REFERENCES:
Afton, Jean, David Fridtjof Halaas, and Andrew E. Masich
1997 Cheyenne
Dog Soldiers: A Ledgerbook History of Coups and Combat, Colorado Historical
Society and University Press of Colorado, Denver.
Horse Capture, George P., and Emil Her Many Horses
2006 A Song
For the Horse Nation: Horses in Native American Cultures, National Museum
of the American Indian, Smithsonian Institution, Washington D.C., and Fulcrum
Press, Golden, Colorado.
Keyser, James D.
and Michael A. Klassen
2001 Plains
Indian Rock Art, University of Washington Press, Seattle.
Mails, Thomas E.
1991 Mystic Warriors of the Plains, Barnes
and Noble Books, New York
nice blog
ReplyDeletenice blog and paintings
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