Argillite totem pole sculpture
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LOOK
Look closely at this sculpture. What animals do you think the carver has represented? Read the historical context provided to verify your answer.
THINK
Why do you think the carver made the gyaaG̱ang gii niijang (model totem pole) this size? Read the historical context below to find more information and to see if your answer is correct.
Details
Date Late 19th century
Materials - Argillite
Historical Context
Choose one of the three levels below to match your needs.
- This gyaaG̱ang gii niijang (model totem pole) was carved out of hlG̱aa hlG̱ahl s’aagas (argillite) in the late 19th century. It depicts, from bottom to top, a ts’ing (beaver) and hlk’yan Ḵ’uust’aan (frog), a xaaguu (halibut), a small and large xuuya (raven), a xaaydaG̱a (human), and a taan (bear) and its cub.
- Its formline style of design is still used today.
- It would have been of interest to yaatsxaaydaG̱a (European) traders because of its size and style.
This gyaaG̱ang gii niijang (model totem pole) was carved out of hlG̱aa hlG̱ahl s’aagas (argillite) in the late 19th century. It depicts, from bottom to top, a ts’ing (beaver) and hlk’yan Ḵ’uust’aan (frog), a xaaguu (halibut), a small and large xuuya (raven), a xaaydaG̱a (human), and a taan (bear) and its cub.
Its formline style of design is still commonly used today.
This gyaaG̱ang gii niijang (model totem pole) would have been of interest to traders and collectors because of its style and portable size. As a trade item, argillite carvings were very popular among yaatsxaaydaG̱a (Europeans).
This gyaaG̱ang gii niijang (model totem pole) was carved out of hlG̱aa hlG̱ahl s’aagas (argillite) in the late 19th century. It depicts, from bottom to top, a ts’ing (beaver) and hlk’yan Ḵ’uust’aan (frog), a xaaguu (halibut), a small and large xuuya (raven), a xaaydaG̱a (human), and a taan (bear) and its cub.
HlG̱aa hlG̱ahl s’aagas (argillite) can be carved into many different forms, and carvings have been sought after by visitors to Haida Gwaii from the 19th century to today. Early carvings for trade depicted yaatsxaaydaG̱a (Europeans) and motifs copied from foreign goods but, by the 1880s, carvers had turned almost exclusively to representing Haida subject matter.
Formline, one of the most recognizable formal elements of Haida art, is visible in the details of the creatures on this pole.
A sculpture like this one would have been of great interest to traders and collectors, given its style, attention to detail and small, portable size.
- This gyaaG̱ang gii niijang (model totem pole) was carved out of hlG̱aa hlG̱ahl s’aagas (argillite) in the late 19th century. It depicts, from bottom to top, a ts’ing (beaver) and hlk’yan Ḵ’uust’aan (frog), a xaaguu (halibut), a small and large xuuya (raven), a xaaydaG̱a (human), and a taan (bear) and its cub.
- Its formline style of design is still used today.
- It would have been of interest to yaatsxaaydaG̱a (European) traders because of its size and style.
This gyaaG̱ang gii niijang (model totem pole) was carved out of hlG̱aa hlG̱ahl s’aagas (argillite) in the late 19th century. It depicts, from bottom to top, a ts’ing (beaver) and hlk’yan Ḵ’uust’aan (frog), a xaaguu (halibut), a small and large xuuya (raven), a xaaydaG̱a (human), and a taan (bear) and its cub.
Its formline style of design is still commonly used today.
This gyaaG̱ang gii niijang (model totem pole) would have been of interest to traders and collectors because of its style and portable size. As a trade item, argillite carvings were very popular among yaatsxaaydaG̱a (Europeans).
This gyaaG̱ang gii niijang (model totem pole) was carved out of hlG̱aa hlG̱ahl s’aagas (argillite) in the late 19th century. It depicts, from bottom to top, a ts’ing (beaver) and hlk’yan Ḵ’uust’aan (frog), a xaaguu (halibut), a small and large xuuya (raven), a xaaydaG̱a (human), and a taan (bear) and its cub.
HlG̱aa hlG̱ahl s’aagas (argillite) can be carved into many different forms, and carvings have been sought after by visitors to Haida Gwaii from the 19th century to today. Early carvings for trade depicted yaatsxaaydaG̱a (Europeans) and motifs copied from foreign goods but, by the 1880s, carvers had turned almost exclusively to representing Haida subject matter.
Formline, one of the most recognizable formal elements of Haida art, is visible in the details of the creatures on this pole.
A sculpture like this one would have been of great interest to traders and collectors, given its style, attention to detail and small, portable size.
Summary
- This gyaaG̱ang gii niijang (model totem pole) was carved out of hlG̱aa hlG̱ahl s’aagas (argillite) in the late 19th century. It depicts, from bottom to top, a ts’ing (beaver) and hlk’yan Ḵ’uust’aan (frog), a xaaguu (halibut), a small and large xuuya (raven), a xaaydaG̱a (human), and a taan (bear) and its cub.
- Its formline style of design is still used today.
- It would have been of interest to yaatsxaaydaG̱a (European) traders because of its size and style.
Essential
This gyaaG̱ang gii niijang (model totem pole) was carved out of hlG̱aa hlG̱ahl s’aagas (argillite) in the late 19th century. It depicts, from bottom to top, a ts’ing (beaver) and hlk’yan Ḵ’uust’aan (frog), a xaaguu (halibut), a small and large xuuya (raven), a xaaydaG̱a (human), and a taan (bear) and its cub.
Its formline style of design is still commonly used today.
This gyaaG̱ang gii niijang (model totem pole) would have been of interest to traders and collectors because of its style and portable size. As a trade item, argillite carvings were very popular among yaatsxaaydaG̱a (Europeans).
In-Depth
This gyaaG̱ang gii niijang (model totem pole) was carved out of hlG̱aa hlG̱ahl s’aagas (argillite) in the late 19th century. It depicts, from bottom to top, a ts’ing (beaver) and hlk’yan Ḵ’uust’aan (frog), a xaaguu (halibut), a small and large xuuya (raven), a xaaydaG̱a (human), and a taan (bear) and its cub.
HlG̱aa hlG̱ahl s’aagas (argillite) can be carved into many different forms, and carvings have been sought after by visitors to Haida Gwaii from the 19th century to today. Early carvings for trade depicted yaatsxaaydaG̱a (Europeans) and motifs copied from foreign goods but, by the 1880s, carvers had turned almost exclusively to representing Haida subject matter.
Formline, one of the most recognizable formal elements of Haida art, is visible in the details of the creatures on this pole.
A sculpture like this one would have been of great interest to traders and collectors, given its style, attention to detail and small, portable size.