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Navajo blankets can be considered an older form Navajo weavings. They are made around 1840-1890. These textiles, which were soft and easily wrapped around the body, could also be worn. Note: Saddle blankets, which are smaller and more expensive than wearing blankets, are highly collectible. Even at peak production, Navajo weaves were difficult to find. A blanket could take up to a whole year to weave, not to mention the time spent raising the sheep for the wool.
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Hubbell’s home and base of operation were at Ganado, Arizona about 50 miles south of Canyon de Chelly. His tastes ran to Classic Period weavings and many of the early rugs made by Ganado area weavers were close enough in appearance to classic mantas and serapes to have earned the generic name, Hubbell Revival rugs. Hubbell guided his weavers by displaying paintings of rug patterns he favored. Many of these paintings can still be seen at the original trading post, now preserved and operated as a National Historic Site. By the 1930s, Ganado area weavers had thoroughly adopted the color scheme, but had moved away from Classic-inspired weavings to new patterns with a large central motif-often a complicated diamond or lozenge shape-with a double or triple geometric border.
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Chinle Revival rugs typically feature bands of repeating geometric motifs alternated with plain or striped bands of contrasting colors. Common colors for Chinle rugs include yellow, gold, brown, tan, terra cotta, soft pink and other earth tones, as well as natural wool colors ranging from white to black. About the time of World War II, Crystal-area weavers developed their own banded revival rugs bearing no resemblance to Moore’s early designs. Generally known as Modern Crystal rugs, these borderless patterns often combine vegetal and aniline colors in shades of brown, yellow, and terra cotta with natural greys and whites. This is accomplished by alternating weft threads of two contrasting colors and tightly “battening” or packing them together, giving the effect of a thin, undulating line.

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When trying to determine the authenticity of a Navajo rug, one of the first things you should check is the warp. Warp strings run vertically and make up the foundation of the rug. Navajo rugs are made on a continuous loom that contains the actual warp threads. You can check this visually and by running your hand along the side of the rug to feel whether the warp threads run the length of the rug or whether they’ve been cut. However, in Mexican-made copies, the cut warp threads are hidden, making it more difficult to detect.
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Despite the obvious symbolism of patterns such as the “Tree of Life,” most pictorial motifs had no specific religious meaning; they simply were objects common in the culture or of special interest to the weaver. The major exceptions to this rule, however, were weavings that portrayed Yeis, or Navajo Holy People, and weavings that recreated sacred ceremonial sand paintings. A small number of weavers made Sand Painting Rugs as early as the 1890s in the area around Two Grey Hills. Most famously, the medicine man Hosteen Klah made a series of sand painting rugs with the help of his mother and nieces between 1919 and 1936.


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Section LinesMany Navajo rugs will have what Indian arts dealers call, "lazy lines." It is an inaccurate and insulting term that I hope will be replaced by the term, "Section Line." The section line line is a diagonal joint or break in the weave where a weaver has worked on a single section of the rug without having to reach all the way across the rug. She weaves one section, then moves over and weaves another section. This creates the diagonal section line. Not all Navajo rugs have section lines. The end borders in Mexican imitation Navajo rugs are generally much wider than in a genuine Navajo rug. Side borders are often wider as well. If the rug has fringe at both ends that are extensions of the warps, then it is not a genuine Navajo rug.
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There will usually be 3bands of wavy lines or a solid color between one or two more complex bands,which are patterned with motifs such as squash blossoms, arrows, stars, crosses, triangles, etc. Muted earthen colors such as rust, grey, and rich brown, aswell as pastel greens, pinks, or yellow are common. This design was said to be influenced by the serape blanketsworn in New Mexico.The design is usually a simple geometric shape such as a chevron, diamond,serrate, or triangle, etc. These are either repeated throughout the rug or as a border or evencan appear in blocks set against a solid background. The design will appearquite busy and can have a combination of colors.
