Papierformat

Leitfaden für studentische Kunstwerke

cradleboard

Name Klasse Datum

Kiowa Peoples, cradleboard (1928). Zur Referenz reproduziert; alle Rechte liegen beim Rechteinhaber.

Eckdaten

Künstler
Kiowa Peoples artsdot.com/de/artists/kiowa-peoples/
Gemalt
1928
Originalgröße
114 x 34 cm

Im Kontext

cradleboard — Kiowa Peoples

Wie groß ist es?

Das Original hat die Maße 114 × 34 cm (Höhe × Breite), hier dargestellt neben einer erwachsenen Person von durchschnittlicher Größe.

Entstehungsjahr

  1. 1920

▲ dieses Werk, 1928

Farbpalette

Anhand des Bildes gemessen

    Hauptfarbe

    Espresso #4c4939

    Gespeicherte Palette

    • #4C4939
    • #D3D3D3
    • #7C7A6C
    • #BEBEBE
    Palette
    Neutrals Die dominierende Farbgruppe im Bild.
    Hauptfarbe
    Espresso
    Intensität
    Monochromatic Wie gesättigt und vielfältig die Farben sind – von einem einzelnen, dezenten Farbton bis hin zu einer Vielzahl leuchtender Töne.
    Kontrast
    Bold Wie stark sich die Farben in Helligkeit und Sättigung über das Bild hinweg unterscheiden.
    Harmonie
    Discordant Palette Wie gut die Farben zusammenwirken, von kontrastreich bis hin zu vollkommen harmonisch.
    Helligkeit
    Brilliant Wie hell oder dunkel das Bild insgesamt wirkt, von tiefen Schatten bis hin zu strahlenden Glanzpunkten.
    Sättigung
    Muted Wie rein und kräftig die Farben sind, von fast Grau bis hin zu voll lebendig.

    Künstler und Museen

    Künstler/in

    Kiowa Peoples

    Origins and Migration: The People of the Southern Plains

    The Kiowa, or Ǥáuigú as they call themselves—meaning “Principal People”—possess a history etched in resilience and adaptation. Their story isn’t one confined to a single geographic location but rather a testament to movement and transformation across the vast landscapes of North America. Emerging from western Montana around 1700, their southward migration led them through the Rocky Mountains of Colorado before settling into the Southern Plains by the early 19th century. This journey wasn’t merely physical; it was a cultural evolution shaped by encounters with diverse tribes and the challenges of a changing environment. The Kiowa weren't isolated but actively engaged in a complex network of alliances, particularly with the Plains Apache, communicating through the universal language of Plains Sign Talk. Their early existence was marked by a nomadic lifestyle centered around buffalo hunting, their lives inextricably linked to the rhythms of the plains and the abundance it provided.

    Language and Cultural Preservation

    Central to Kiowa identity is their language, Ǥáuiđòᵰ:gyà, a member of the Tanoan language family. However, like many Indigenous languages across North America, Kiowa faces the threat of extinction. By 2012, only around 20 fluent speakers remained, a stark reminder of the cultural losses experienced through generations of assimilation policies and societal shifts. Recognizing this critical situation, the Kiowa Tribe has undertaken significant revitalization efforts in recent years. These initiatives include language classes offered at universities like Tulsa, Oklahoma, and USAO in Chickasha, alongside community-based programs designed to immerse younger generations in their linguistic heritage. The preservation isn’t simply about vocabulary and grammar; it's about safeguarding a worldview, a unique way of understanding the relationship between humanity and the natural world. The Kiowa language is deeply interwoven with their oral traditions, particularly the stories surrounding Saynday, the Kiowa hero who could communicate with both animals and humans—a testament to their belief in interconnectedness.

    Art as Historical Record: The Murals

    For centuries, the Kiowa have employed art as a powerful medium for preserving their history, beliefs, and cultural knowledge. This tradition found particularly potent expression in mural painting, which remained largely private until recently. Initiated by Lewis Toyebo in 1978, the Kiowa mural project aimed to visually document their land, language, and culture for future generations. In 2019, Angela M. Chaddlesone McCarthy spearheaded an effort to share these murals more widely, honoring her father Sherman Chaddlesone’s vision alongside fellow artists Parker Boyiddle Jr. and Mirac Creepingbear. These artworks aren't merely decorative; they are narrative tapestries that recount pivotal moments in Kiowa history—like the story of the Half Boys and Spider-Woman—and embody core philosophical tenets, such as the belief in a harmonious relationship with all living things, encapsulated in the saying “Behold, I stand in good relation to all.” The decision to share these murals represents a conscious effort by the Kiowa Tribal government to educate the world about their presence, perseverance, and rich cultural heritage.

    Contemporary Expressions: Kiowa Artists Today

    While deeply rooted in tradition, Kiowa artistic expression isn’t static. Contemporary artists continue to build upon this legacy, exploring new mediums while remaining connected to their ancestral roots. Kiowa Gordon, a member of the Hualapai Tribe through his mother's side, exemplifies this dynamic interplay between past and present. Though not solely identified as a Kiowa artist, his work—most notably his portrayal of Embry Call in The Twilight Saga and Jim Chee in Dark Winds—brings Indigenous representation to mainstream audiences. His journey reflects the broader trend of Native American artists reclaiming their narratives and challenging conventional portrayals within popular culture. This contemporary engagement with art serves as a powerful form of cultural revitalization, ensuring that Kiowa stories continue to resonate for generations to come.

    Historical Significance and Ongoing Resilience

    The forced relocation to a reservation in Southwestern Oklahoma in 1867 marked a traumatic chapter in Kiowa history, disrupting their traditional way of life and imposing significant hardships. Despite these challenges, the Kiowa people have demonstrated remarkable resilience, maintaining their cultural identity and sovereignty through self-governance and community initiatives. The federally recognized Kiowa Indian Tribe of Oklahoma, headquartered in Carnegie, continues to advocate for its members’ rights and preserve its unique heritage. The ongoing efforts to revitalize the Kiowa language, share their artistic traditions, and promote education are not simply acts of preservation but powerful statements of self-determination—a testament to a people who continue to stand in good relation to all, honoring their past while forging a path toward a vibrant future.

    Weitere Lesetipps

    Online verfügbar

    QR-Code mit Link zur Download-Seite für cradleboard

    artsdot.com/de/art/download/kiowa-peoples-cradleboard-D8Z7MB-en/

    Zitierweise für dieses Kunstwerk

    MLA
    Peoples, Kiowa. cradleboard. 1928, https://artsdot.com/de/art/kiowa-peoples-cradleboard-D8Z7MB-en/
    APA
    Peoples, Kiowa (1928). cradleboard [Painting]. https://artsdot.com/de/art/kiowa-peoples-cradleboard-D8Z7MB-en/
    Chicago
    Kiowa Peoples. cradleboard. 1928. https://artsdot.com/de/art/kiowa-peoples-cradleboard-D8Z7MB-en/
    Harvard
    Peoples, Kiowa (1928) cradleboard. Available at: https://artsdot.com/de/art/kiowa-peoples-cradleboard-D8Z7MB-en/

    Genau hinsehen

    cradleboard — Kiowa Peoples

    Genau hinsehen

    Antworten Sie in Ihren eigenen Worten. Es gibt hier keine falschen Antworten – nur Antworten, die Sie erklären können.

    1. Was fällt Ihnen als Erstes ins Auge und warum?
    2. Welche Farben oder Formen erzeugen die Stimmung – und wie sieht diese Stimmung aus?
    3. Was wollte der Künstler wohl, dass Sie fühlen?
    4. Wenn Sie dem Künstler eine Frage zu diesem Werk stellen könnten, welche wäre das?

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