How did they know the child was autistic lol

Bottle with caiman
Cupisnique culture (Peru)
1000–800 BCE

Women’s blouse part (mola panel)
Guna (Panama, Central America)

It’s adorable 🧡

Inuit girl with puppy
Photographed by Richard Harrington
ca. 1949

Amulet
Tlingit, Southeast Alaska
ca. 1840–1870

Lummi Woman
Artist: Edward S. Curtis
ca. 1899

Four-Cornered Hat
Wari, Andean Highlands (present-day Peru)
ca. 600–900 CE

Headdress frontlet
Tsimshian (Native American)
ca. 1820–1840

The Cradleboard: An Invaluable Tool in Everyday Ka’igwu Life How Care, Craft, and Family Shaped Kiowa Cradleboards

A closer look at how Kiowa (Ka’igwu) families crafted and used cradleboards in everyday life, grounded in Native American history and lived practice.

Feast Ladle
Late 1800s
Tlingit artist, southeast Alaska (Native American)

Beautiful!

It is!

Yes! The white is such a subtle but striking contrast!

Hollow Horn Bear, Native American Date: 1907 Artist: Edward S. Curtis, American, 1868–1952 SOURCE: https://www.artic.edu/artworks/49941/hollow-horn-bear

Hollow Horn Bear
Date: 1907
Artist: Edward S. Curtis

Wedding Basket Date:c. 1895 Artist: Pomo, Native American Northern California, United States

Given to a bride at her betrothal, twined dowry baskets are some of the largest and most complex objects woven by Pomo artists. The basic pattern of this basket includes different sizes of serrated design motifs that are animated with topknot feathers from the California quail, imported glass beads, and indigenous clamshell beads.

Status On View, Gallery 136 Department Arts of the Americas Culture Pomo Title Wedding Basket Place California (Object made in:) Date 1890–1900 Medium Plant fibers, feathers, and glass and clamshell beads Dimensions 61 × 63.5 cm (24 × 25 in.) Credit Line Mrs. Leonard S. Florsheim Jr. Fund; African and Amerindian Art Purchase Fund Reference Number 2000.323 IIIF Manifest https://api.artic.edu/api/v1/artworks/155966/manifest.json

SOURCE LINK: https://www.artic.edu/artworks/155966/wedding-basket

Wedding Basket
Date: c. 1895
Artist: Pomo
Northern California, United States

Beautiful work!

It is! Unfortunately no, I couldn’t pinpoint the tribe.

Photo by Josh Meeder: https://www.pexels.com/photo/arctic-landscape-of-snowcapped-mountain-11011921/

Photo by Ydes Rappelet: https://www.pexels.com/photo/drone-photography-of-snow-covered-mountains-9733790/

“The foxes run. The foxes die. I mourn them, but I understand that there is danger in mourning for those who would not mourn for you in return. Empathy is for those who can afford it. Empathy is for the privileged. Empathy is not for Nature.” — Tanya Tagaq, Split Tooth

Beautiful work!

Gorgeous!

Title: [Native American Baskets] Artist: Adam Clark Vroman (American, La Salle, Illinois 1856–1916 Altadena, California) Date: ca. 1900 Medium: Platinum print Dimensions: 5 3/4 x 4 3/8 Classification: Photographs Credit Line: Gilman Collection, Museum Purchase, 2005 Object Number: 2005.100.1334 LINK: https://www.metmuseum.org/art/collection/search/286453

Native American Baskets
Photographer: Adam Clark Vroman
Date: ca. 1900

Of course!

It’s a beautiful work of art!

It is!

Of course!

Bow Guard (Ketoh) Date: 1900–20 Artist: Navajo (Diné), Native American

“During the 1860s and early 1870s, Navajos (Diné) learned silversmithing from Hispanic artisans in New Mexico, and Plains Indian craftsmen whose own metalwork stemmed from Colonial sources in the eastern United States. Mexican pesos, U.S. American dollars, and ingot silver were melted down and recast in molds carved from soft volcanic tufa. Navajo silversmiths employed steel tools and punches to develop decorative patterns. Early concho belts, bow guards, bracelets, necklaces, horse headstalls, and other items of silver jewelry display massive forms and simple ornamentation. By the 1890s turquoise was increasingly used; although most turquoise was obtained from Southwestern sources, some was imported from China and Iran. Navajo silversmiths rapidly established a distinctive elegant style that has become one of the classic hallmarks of Native American art in the greater Southwest. Today, Navajo jewelry, like that of their neighboring Pueblo neighbors, exhibit much greater complexity of design and the use of diverse semiprecious stones, shell, and a variety of metals.” — The Art Institute of Chicago Link: https://www.artic.edu/artworks/198335/bow-guard-ketoh

Bow Guard (Ketoh)
Date: 1900–20
Artist: Navajo (Diné)

OVERVIEW: Title: Woman's Dress Date: ca. 1880 Geography: United States Culture: Sioux (Teton) Medium: Native-tanned leather, glass beads Dimensions: W. 57 × L. 49 in. (144.8 × 124.5 cm) Classification: Hide-Costumes Credit Line: Gift of Charles and Valerie Diker, 1999 Object Number: 1999.484.4 LINK: https://www.metmuseum.org/art/collection/search/318347 Native American, Indigenous

Woman's Dress
Sioux (Teton)
ca. 1880

Photo by Alex Moliski Source Link: https://unsplash.com/photos/a-lush-green-field-surrounded-by-tall-pine-trees-ONKdIIoA6tk?utm_content=creditShareLink&utm_medium=referral&utm_source=unsplash Native American

"We must protect the forests for our children, grandchildren, and children yet to be born. We must protect the forests for those who can't speak for themselves such as the birds, animals, fish, and trees." — Qwatsinas (Hereditary Chief Edward Moody), Nuxalk Nation

Ceremonial Robe Western Apache, Native American ca. 1880

Title: Ceremonial Robe Date: ca. 1880 Geography: United States Culture: Western Apache Medium: Native-tanned leather, pigment Dimensions: L. 76 x W. 54 in. (193 x 137.2 cm) Classification: Hide-Costumes Credit Line: Gift of Charles and Valerie Diker, 1999

https://www.metmuseum.org/art/collection/search/318353

Ceremonial Robe
Western Apache
ca. 1880