பண்டைய எகிப்தியக் கட்டிடக்கலை

thumb|300px| ஓரசு கடவுளின் எட்ஃபூ கோயில்

எகிப்திய நாகரிகம் உலகின் மிகப் பழைய நாகரிகங்களுள் ஒன்று. இன்று காணக் கிடைக்கும் மிகப் பழைய கட்டிடங்கள் பல இப்பண்பாட்டைச் சேர்ந்தவையாகும். இக் கட்டிடங்களின் மூலம் எகிப்திய நாகரிகம் அடைந்திருந்த உயர் நிலை பற்றி அறியக் கூடியதாக உள்ளது. Ancient Egyptian architecture Ancient Egyptian Architecture
நைல் நதி பள்ளத்தாக்கு ஒரு பழமையான செல்வாக்கு பெற்ற நாகரிகத்தால் உருவாக்கப்பட்ட பண்டைய எகிப்திய கட்மைப்பு உள்ளிட்ட பல்வேறு கட்டமைப்புகளை  கொண்டுள்ளது. இங்குள்ள பழமையான கீசாவின் பெரிய பிரமிடு மற்றும் கீசாவின் பெரிய ஸ்பிங்ஸ் ஆகியவை புகழ் பெற்ற கட்டிடக்கலை  நினைவுச்சின்னங்களாகும்.

பண்டைய எகிப்து கட்டிடங்களில், மரம் பற்றாக்குறை காரணமாக,   சூரிய வெப்பத்தில்-சுட்ட மண்செங்கல் மற்றும் கல் (முக்கியமாக சுண்ணாம்பு, மணற்பாறை மற்றும்  கருங்கல்  ஆகிய இரண்டு முக்கிய கட்டுமான பொருட்களை கணிசமான அளவு பயன்படுத்தினர்.

பழைய எகிப்து இராச்சிய மன்னர்கள் முதன்முதலாக கல்லறைகள் மற்றும் கோயில்கள் கட்டுவதற்கு கற்களைப் பயன்படுத்தினர். அரச அரண்மனைகள், கோட்டைகள், கோவில்கள், நகரங்களின்  சுவர்கள் மற்றும் கோவில் வளாகங்களில் உள்ள துணை கட்டிடங்கள் கட்ட  செங்கற்கற்களைப் பயன்படுத்தினர்.

thumb|300px|19 ஆம் நூற்றாண்டுச் சுற்றுப்பயணிகள் பெரிய இசுபிங்சுக்கு முன்னால் - வடகிழக்குத் திசையிலிருந்து பார்க்கும் தோற்றம், பெரிய பிரமிடு பின்னணியில் உள்ளது.

கீசா பிரமிடுகளின் தொகுதி
எகிப்தின் தலைநகரமான கெய்ரோவின் எல்லைப் பகுதியில் கீசாவின் மேட்டு நிலப் பகுதியில் அமைந்துள்ளது. பண்டைக்கால நினைவுச் சின்னங்களைக் கொண்ட இத்தொகுதி நைல் நதிக்கரையில் அமைந்துள்ள பழைய கிசா நகரத்திலிருந்து 8 கிமீ (5 மைல்) தொலைவில் உட்புறமாகப் பாலைவனப் பகுதியில் அமைந்துள்ளது. இது, கெய்ரோ நகர மத்தியில் இருந்து தென்மேற்காக சுமார் 25 கிமீ (15மைல்) தொலைவில் உள்ளது. இத்தொகுதியிலுள்ள ஒரு நினைவுச் சின்னமான கிசாவின் பெரிய பிரமிடே பழங்கால உலகின் ஏழு அதிசயங்களில் இன்றும் அழியாமல் இருக்கும் ஒரே அதிசயமாகும்.

இதனையும் காண்க
thumb|மன்னர் காப்ராவின் பிரமிடு மற்றும் ஸ்பிங்ஸ்
thumb|இரண்டாம் ராமேசஸ் நிறுவிய கிளியோபாட்ராவின் ஊசி, பாரிஸ்
 ஜோசெர் பிரமிடு
 நெபெரிர்கரே பிரமிடு
 சகுரா பிரமிடு
 காப்ராவின் பிரமிடு
 செம்பிரமிடு
 வளைந்த பிரமிடு
 கருப்பு பிரமிடு
 கிளியோபாட்ராவின் ஊசி

படக்காட்சிகள்

மேற்கோள்கள்

வெளி இணைப்புகள்
 Ancient Egyptian Architecture in a Nutshell – Video
   The History of Ancient Egypt's Architecture – Video
  Egyptian Civilisation- Architecture, Religion, Government and Contributions- Video

பண்டைய எகிப்து
பகுப்பு:எகிப்திய நாகரிகம்
பகுப்பு:எகிப்தியக் கட்டிடக்கலை

It is one of the oldest in the world.

நாகரிகங்களுள்

இப்பண்பாட்டைச்

சேர்ந்தவையாகும்

கட்டிடங்களின்

அடைந்திருந்த

ancient Egyptian architecture
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Read a brief summary of this topic
ancient Egyptian architecture, the architectural monuments produced mainly during the dynastic periods of the first three millennia bce in the Nile valley regions of Egypt and Nubia. The architecture, similar to representational art, aimed to preserve forms and conventions that were held to reflect the perfection of the world at the primordial moment of creation and to embody the correct relationship between humankind, the king, and the pantheon of the gods. For this reason, both Egyptian art and architecture appear outwardly resistant to development and the exercise of individual artistic judgment, but Egyptian artisans of every historical period found different solutions for the conceptual challenges posed to them.
Dynastic Egypt
Any survey of Egyptian architecture is weighted in favour of funerary and religious buildings, partly because of their location. Many temples and tombs survived because they were built on ground unaffected by the Nile flood, whereas most ancient Egyptian towns were lost because they were situated in the cultivated and flooded area of the Nile Valley. Yet the dry, hot climate of Egypt allowed some mud brick structures to survive where they have escaped the destructive effects of water or humans.
The two principal building materials used in ancient Egypt were unbaked mud brick and stone. From the Old Kingdom (c. 2575–2130 bce) onward, stone was generally used for tombs—the eternal dwellings of the dead—and for temples—the eternal houses of the gods. Mud brick remained the domestic material, used even for royal palaces; it was also used for fortresses, the great walls of temple precincts and towns, and for subsidiary buildings in temple complexes.
Tombs
Mortuary architecture in Egypt was highly developed and often grandiose. Most tombs comprised two principal parts, the burial chamber (the tomb proper) and the chapel, in which offerings for the deceased could be made. In royal burials the chapel rapidly developed into a mortuary temple, which, beginning in the New Kingdom (c. 1539–1075 bce), was usually built separately and at some distance from the tomb. In the following discussion, funerary temples built separately will be covered with temples in general and not as part of the funerary complex.
Mastabas were the standard type of tomb in the earliest dynasties. These flat-roofed, rectangular superstructures had sides constructed at first from mud brick and later of stone, in the form of paneled niches painted white and decorated with elaborate “matting” designs. They were built over many storage chambers stocked with food and equipment for the deceased, who lay in a rectangular burial chamber below ground.
In the great cemeteries of the Old Kingdom, changes in size, internal arrangements, and groupings of the burials of nobles indicate the vicissitudes of nonroyal posthumous expectations. In the 3rd dynasty at Ṣaqqārah the most important private burials were at some distance from the step pyramids of Djoser and Sekhemkhet. Their large mastabas incorporated offering niches as well as corridors that could accommodate paintings of equipment for the afterlife and recesses to hold sculptures of the deceased owner. By the later Old Kingdom, internal space in mastabas became more complex as they accommodated more burials. In the mastaba of Mereruka, a vizier of Teti, first king of the 6th dynasty, there were 21 rooms for his own funerary purposes, with six for his wife and five for his son.
The tomb for Djoser, second king of the 3rd dynasty, began as a mastaba and was gradually expanded to become a step pyramid. It was built within a vast enclosure on a commanding site at Ṣaqqārah, the necropolis overlooking the city of Memphis. The high royal official Imhotep was credited with the design and with the decision to use quarried stone. This first essay in stone is remarkable for its design of six superposed stages of diminishing size. It also has a huge enclosure (1,784 by 909 feet [544 by 277 metres]) that is surrounded by a paneled wall faced with fine limestone and contains a series of “mock” buildings (stone walls filled with rubble, gravel, or sand) that probably represent structures associated with the heraldic shrines of predynastic Egypt. At Djoser’s precinct the Egyptian stonemasons made their earliest architectural innovations, using stone to reproduce the forms of predynastic wood and brick buildings. The columns in the entrance corridor resemble bundled reeds, while engaged columns in other areas of the precinct have capitals resembling papyrus blossoms. In parts of the subterranean complexes, fine reliefs of the king and elaborate wall panels in glazed tiles are among the innovations found in this remarkable monument.
For the Old Kingdom the most characteristic form of tomb building was the true pyramid, the finest examples of which are the pyramids at Al-Jīzah (Giza), notably the Great Pyramid of King Khufu (Cheops) of the 4th dynasty. The form itself reached its maturity in the reign of Snefru, father of Khufu, who constructed three pyramids, one of which is known as the Bent Pyramid due to its double slope. Subsequently only the pyramid of Khafre (Chephren), Khufu’s successor, approached the size and perfection of the Great Pyramid. The simple measurements of the Great Pyramid indicate very adequately its scale, monumentality, and precision: its sides are 755.43 feet (230.26 metres; north), 756.08 feet (230.45 metres; south), 755.88 feet (230.39 metres; east), 755.77 feet (230.36 metres; west); its orientation on the cardinal points is almost exact; its height upon completion was 481.4 feet (146.7 metres); and its area at the base is just over 13 acres (5.3 hectares). The core is formed of huge limestone blocks, once covered by a casing of dressed limestone. Other features in its construction contribute substantially to its remarkable character: the lofty, corbeled Grand Gallery and the King’s Chamber—built entirely of granite—with five relieving compartments (empty rooms for reducing pressure) above.
The pyramids built for the later kings of the Old Kingdom and most kings of the Middle Kingdom (c. 1938–1630 bce) were comparatively smaller in size and not as well constructed. The tomb of King Mentuhotep II of the 11th dynasty is, however, of exceptional interest. Its essential components were a rectangular structure, terraced porticoes, a series of pillared ambulatories, an open court, and a hypostyle hall tucked into the cliffs. (See discussion below.)
The monumentality of the pyramid made it not only a potent symbol of royal power but also an obvious target for tomb robbers. During the New Kingdom the wish to halt the looting and desecration of royal tombs led to their being sited together in a remote valley at Thebes, dominated by a peak that itself resembled a pyramid. There, in the Valley of the Kings, tombs were carved deep into the limestone with no outward structure. These rock-cut tombs had been constructed for private citizens as early as the 4th dynasty. Most were fairly simple single chambers serving all the functions of the multiplicity of rooms in a mastaba. Some, however, were excavated with considerable architectural pretensions. At Aswān huge halls, often connecting to form labyrinthine complexes, were partly formal, with columns carefully cut from the rock, and partly rough-hewn. Chapels with false doors were carved out within the halls. In some cases the facades were monumental, with porticoes and inscriptions.
At Beni Hasan the local nobles during the Middle Kingdom cut large and precise tomb chambers in the limestone cliffs. Architectural features—columns, barrel roofs, and porticoes, all carved from the rock—provided fine settings for painted mural decorations. The tomb of Khnumhotep is an outstanding example of fine design impeccably executed.
The earliest royal tombs in the Valley of Kings were entirely hidden from view; those of the Ramessid period (19th and 20th dynasties) are marked only by a doorway carved in the rock face. They had no identical plan, but most consisted of a series of corridors opening out at intervals to form rooms and ending in a large burial chamber deep in the mountain, where the massive granite sarcophagus rested on the floor. Religious and funerary hieroglyphic texts and pictures covered the walls of the tomb from end to end. The finest of the tombs is that of Seti I, second king of the 19th dynasty; it extends 328 feet (100 metres) into the mountain and contains a spectacular burial chamber, the barrel-shaped roof of which represents the vault of heaven.
After the abandonment of the valley at the end of the 20th dynasty, kings of the subsequent two dynasties were buried in very simple tombs within the temple enclosure of the delta city of Tanis. No later royal tombs were identified in Egypt proper.
Temples
Two principal kinds of temple can be distinguished—cult temples and funerary or mortuary temples. The former accommodated the images of deities, the recipients of the daily cult; the latter were the shrines for the funerary cults of dead kings.
It is generally thought that the Egyptian cult temple of the Old Kingdom owed most to the cult of the sun god Re at Heliopolis, which was probably open in plan and lacking a shrine. Sun temples were unique among cult temples; worship was centred on a cult object, the benben, a squat obelisk placed in full sunlight. Among the few temples surviving from the Old Kingdom are sun temples built by the 5th-dynasty kings at Abū Jirāb (Abu Gurab). That of Neuserre reveals the essential layout: a reception pavilion at the desert edge connected by a covered corridor on a causeway to the open court of the temple high on the desert, within which stood the benben of limestone and a huge alabaster altar. Fine reliefs embellished the covered corridor and also corridors on two sides of the court.
The cult temple achieved its most highly developed form in the great sanctuaries erected over many centuries during the New Kingdom at Thebes. Architecturally the most satisfying is the Luxor Temple, started by Amenhotep III of the 18th dynasty. Dedicated to Amon, king of the gods, his consort Mut, and their son Khons, the temple was built close to the Nile River and parallel with the bank. The original design consists of an imposing open court with colonnades of graceful lotus columns, a smaller offering hall, a shrine for the ceremonial boat of the god, an inner sanctuary for the cult image, and a room in which the divine birth of the king was celebrated. The approach to the temple was made by a colonnade of huge columns with open papyrus-flower capitals, planned by Amenhotep III but decorated with fascinating processional reliefs under Tutankhamun and Horemheb. Later Ramses II built a wide court before the colonnade and two great pylons to form a new entrance. In front of the pylon were colossal statues of the pharaoh (some of which remain) and a pair of obelisks, one of which still stands; the other was removed in 1831 and reerected in the Place de la Concorde in Paris.
The necessary elements of an Egyptian temple, most of which can be seen at Luxor, are the following: an approach avenue of sphinxes leading to the great double-towered pylon entrance fitted with flagpoles and pennants; before the pylon a pair of obelisks and colossal statues of the king; within the pylon a court leading to a pillared hall (the hypostyle), beyond which might come a further, smaller hall where offerings could be prepared; and, at the heart of the temple, the shrine for the cult image. In addition, there were storage chambers for temple equipment and, in later periods, sometimes a crypt. Outside the main temple building was a lake, or at least a well, for the water needed in the rituals; in later times there might also be a birth house (mammisi) to celebrate the king’s divine birth. The whole, with service buildings, was contained by a massive mud brick wall.
Successive kings would often add to temples so that some complexes became enormous. The great precinct of the Temple of Karnak (the longest side 1,837 feet [560 metres]) contains whole buildings, or parts of buildings, dating from the early 18th dynasty down to the Roman period. Of the structures on the main Karnak axis, the most remarkable are the hypostyle hall and the so-called Festival Hall of Thutmose III. The former contained 134 mighty papyrus columns, 12 of which formed the higher central aisle (76 feet [23 metres] high). Grill windows allowed some light to enter, but it must be supposed that even on the brightest day most of the hall was in deep gloom. The Festival Hall is better described as a memorial hall. Its principal room is distinguished by a series of unusual columns with bell-shaped capitals, inspired by the wooden tent poles used in predynastic buildings. Their lightness contrasts strikingly with the massive supports of the hypostyle hall.
The most remarkable monument of Ramses II, the great builder, is undoubtedly the temple dedicated to the sun gods Amon-Re and Re-Horakhte at Abu Simbel. Although excavated from the living rock, the structure follows generally the plan of the usual Egyptian temple. Four colossal seated statues emerge from the cliff face: two on either side of the entrance to the main temple. Carved around their feet are small figures representing Ramses’s children, his queen, Nefertari, and his mother, Muttuy (Mut-tuy, or Queen Ti). Three consecutive halls extend 185 feet (56 metres) into the cliff, decorated with more colossal statues of the king—here, disguised as Osiris, god of the underworld—and with painted scenes of Ramses’s purported victory at the Battle of Kadesh. On two days of the year (about February 22 and October 22), the first rays of the morning sun penetrate the whole length of the temple and illuminate the shrine in its innermost sanctuary.
The other type of temple, the funerary temple, belongs to the mortuary and valley temples included in the pyramid complex of the Old and Middle Kingdoms. The so-called valley temple stood at the lower end of the causeway that led up to the pyramid. It had a columnar hall and storerooms; basins and drainage channels have occasionally been found in the floors. Its exact function is uncertain. It may have been for the purification of the dead king’s body by ritualistic washing and even for the embalming ceremony. It might have served, moreover, as a landing stage during the inundation.
The valley temple of Khafre’s pyramid, known as the Granite temple, had a monumental T-shaped hall along the walls of which were ranged seated statues of the king; the floor was of alabaster, and the roof supported by monolithic pillars of red granite. The mortuary temple adjoined the pyramid and had, usually, a central open court surrounded by pillars or columns, a varying number of storerooms, five elongated chambers or shrines supposedly connected in some way with five official names of the monarch, and a chapel containing a false door and an offering table. It was in this chapel that the priests performed the daily funerary rites and presented offerings to the dead king’s soul.
The 5th dynasty mortuary temples of Sahure’s and Neuserre’s pyramids at Abusir are noteworthy; they appear to have been edifices of great magnificence, with fine palm and papyrus columns of granite and walls embellished with excellent reliefs. The only known instance of a mortuary temple not adjacent to the pyramid but enclosing it is the 11th dynasty funerary monument of King Mentuhotep (c. 2050 bce) at Dayr al-Baḥrī, now badly ruined. A ramp led up to the terrace, in the centre of which was the pyramid resting on a podium and surrounded on all sides by a covered hall with 140 polygonal columns. Beyond the hall was an open courtyard flanked by columns, and then a hypostyle hall containing a chapel at the far end.
Although no longer buried in pyramids, the New Kingdom sovereigns still had funerary temples built in the vicinity of their rock-cut tombs. By far the most original and beautiful was the female king Hatshepsut’s temple, designed and built by her steward Senenmut near the tomb of Mentuhotep II at Dayr al-Baḥrī. Three terraces lead up to the recess in the cliffs where the shrine was cut into the rock. Each terrace is fronted by colonnades of square pillars protecting reliefs of unusual subjects, including an expedition to Punt and the divine birth of Hatshepsut. Ramps lead from terrace to terrace, and the uppermost level opens into a large court with colonnades. Chapels of Hathor (the principal deity of the temple) and Anubis occupy the south and north ends of the colonnade of the second terrace.
The largest conventionally planned funerary temple complex was probably that of Amenhotep III, now to be judged principally from the two huge quartzite statues, the Colossi of Memnon. These and other royal sculptures found in the ruins of the temple’s courts and halls testify to the magnificence now lost. Its design, as well as much of its stone, was used by Ramses II for his own funerary temple, the Ramesseum. The huge enclosure of the latter included not only the temple but also a royal palace (only traces of which can now be seen). The temple itself contained two huge open courts, entered through towering pylons, which led to a lofty hypostyle hall and a smaller hall with astronomical carvings on the ceiling. Statues of vast size stood before the second pylon, one of which, now toppled and ruined, has been estimated to weigh more than 1,000 tons. Mud brick storerooms in the enclosure preserve ample evidence of the use of the vault in the late 2nd millennium bce.
Ramses III’s funerary temple at Madīnat Habu contains the best-preserved of Theban mortuary chapels and shrines, as well as the main temple components. The most private parts of the temple, to which few had access apart from the king and his priestly representatives, begin at the sides of the first hypostyle hall, with the temple treasury and a room for the processional boat of Ramses II (a much-honoured ancestor) on the south and shrines for various deities, including Ramses III, on the north. A second pillared hall is flanked by a solar chapel and a small Osiris complex, where the king took on the personae of Re, the sun god, and of Osiris, a transfiguration considered necessary for his divine afterlife. Beyond the Osiris complex, along the temple axis, is a third small hall and the main shrine for the Theban god Amon; two lateral shrines were reserved for Amon’s consort Mut and their divine child Khons.
As with most New Kingdom temples, the mural decorations on the outer walls of funerary temples, including that at Madīnat Habu, dealt mainly with the military campaigns of the king, while the inner scenes were mostly of ritual significance. Within the temple precinct lived and worked a whole community of priests and state officials. A small palace lay to the south of the main building, and a further suite of rooms for the king was installed in the castellated gate building on the east side of the precinct. The reliefs in this “high gate” suggest that the suite was used for recreational purposes by the king together with his women.
Domestic architecture
Mud brick and wood were the standard materials for houses and palaces throughout the Dynastic period; stone was used occasionally for such architectural elements as doorjambs, lintels, column bases, and windows.
The best-preserved private houses are those of modest size in the workmen’s village of Dayr al-Madīnah. Exceptional in that they were built of stone, they typically had three or four rooms, comprising a master bedroom, a reception room, a cellar for storage, and a kitchen open to the sky; accommodation on the roof, reached by a stair, completed the plan. Similar domestic arrangements are known from the workmen’s village at Kabun.
Villas for important officials in Akhenaton’s city of Tell el-Amarna were large and finely decorated with brightly painted murals. The house of the vizier Nakht had at least 30 rooms, including separate apartments for the master, his family, and his guests. Such houses had bathrooms and lavatories. The ceilings of large rooms were supported by painted wooden pillars, and there may have been further rooms above. Where space was restricted (as in Thebes), houses of several stories were built. Tomb scenes that show such houses also demonstrate that windows were placed high to reduce sunlight and that hooded vents on roofs were used to catch the breeze.
Palaces, as far as can be judged from remains at Thebes and Tell el-Amarna, were vast, rambling magnified versions of Nakht’s villa, with broad halls, harem suites, kitchen areas, and wide courts. At Tell el-Amarna some monumental formality was introduced in the form of porticoes, colonnades, and statuary. Lavish use was made of mural and floor decoration in which floral and animal themes predominated.
Greco-Roman Egypt
After the conquest of Egypt by Alexander the Great, the independent rule of pharaohs in the strict sense came to an end. Under the Ptolemies, whose rule followed Alexander’s, profound changes took place in art and architecture.
The most lasting impression of the new period is made by its architectural legacy. Although very little survives of important funerary architecture, there is a group of tombs at Tunah al-Jabal of unusual form and great importance. Most interesting is the tomb of Petosiris, high priest of Thoth in nearby Hermopolis Magna in the late 4th century bce. It is in the form of a small temple with a pillared portico, elaborate column capitals, and a large forecourt. In its mural decorations a strong Greek influence merges with the traditional Egyptian modes of expression.
A boom in temple building followed the establishment of the Ptolemaic regime. At Dandarah, Esna, Idfū, Kawm Umbū (Kôm Ombo), and Philae the Egyptian cult temple can be studied better than at almost any earlier temple. Though erected by the Macedonian rulers of Egypt, these late temples employ purely Egyptian architectural conventions but include flourishes that appear only in the Ptolemaic period, such as pillars in the shape of colossal sistra (a percussion instrument), Composite capitals with elaborate floral forms, monumental screen walls, and subterranean crypts. The temple of Horus at Idfū is the most complete, displaying all the essential elements of the classical Egyptian temple, but for exploitation of setting and richness of detail it is difficult to fault the temples of Philae and Kawm Umbū, in particular.

Question: what is through the oldest buildings in the world

It is one of the oldest in the world.

Question: what are the oldest buildings in the world

It is one of the oldest in the world.

Question: what is the world's oldest building

பழைய நாகரிகங்களுள் ஒன்று .

It is one of the oldest in the world.

Question: what is the highest level of in the world

It is one of the oldest in the world.

Today , the oldest buildings that can be seen include many of the present ones . Through these buildings the highest level of the highest level of the highest level of the highest level .

It is one of the oldest in the world. Today, the oldest buildings that can be seen include many of the present ones. Through these buildings the highest level of the highest level of the highest level of the highest level.


thumb|right|360px|தூத்திக்குவான், மெக்சிகோவில் அமைந்துள்ள சந்திரனின் பிரமிட்டு.
நாகரிகம் (civilization) என்பது, சிறிய கிராமக் குடியிருப்புகளில் வாழ்ந்துகொண்டு அல்லது நாடோடிகளாகத் திரிந்துகொண்டு உயிர் வாழ்வதற்காக வேட்டையாடலையோ அல்லது சிறிய நிலங்களில் விவசாயத்தையோ மேற்கொண்ட குலக்குழுக்கள் அல்லது பழங்குடிகள் போலன்றி, பலர் நகர வாழ்க்கையை மேற்கொண்டு விவசாயத்தைப் பயன்படுத்தும் நிலையிலுள்ள சிக்கலான சமூகங்களைக் குறிக்கும். இதற்கீடான ஆங்கிலச் சொல்லின் மூலமான civis என்னும் லத்தீன் மொழிச் சொல் "பிரஜை" அல்லது "நகரவாசி" என்னும் பொருள்கொண்டது. நவீன தொழிற் சமூகம் ஒரு நாகரிக சமூகத்தின் ஒரு வடிவமாகும்.

நாகரிக வளர்ச்சியின் அளவை, வேளாண்மை முன்னேற்றம், தொலைதூர வணிகம், தொழிற் சிறப்பாக்கம், சிறப்பு ஆளும் வகுப்பினர், நகரியம் என்பவற்றின் வளர்ச்சியைக் கொண்டே அளவிடப்படுகின்றது. இந்த அடிப்படையான கூறுகள் தவிர, நாகரிக வளர்ச்சியைப் பல்வேறு துணைக் கூறுகளின் சேர்மானங்களும் குறிக்கின்றன. இவற்றுள் வளர்ச்சியுற்ற போக்குவரத்து முறைமை, எழுத்து, நியம்படுத்திய அளவை முறை, நாணய முறை, சட்ட முறைமை, சிறப்பியல்பான கலை, கட்டிடக்கலை, கணிதம், மேம்பட்ட அறிவியல் விளக்கம், உலோகவியல், அரசியல் கட்டமைப்பு, ஒழுங்கமைக்கப்பட சமயம் போன்றவை அடங்கும்.

நாகரிகத் தோற்றம் குறித்த கருத்துகள்

நாகரிகம் என்பது என்ன என்பதற்குத் தெளிவான அளவுகோல்கள் தேவை என்பது வரலாற்று அறிஞர்களின் வாதமாகும்.வெறும் தத்துவார்த்த விளக்கங்கள் மட்டும் போதாது என்றுகூறி அத்தகையோர் வேறு சில திட்டவட்டமான அளவுகோல்களை முன்வைக்க முனைந்தனர்.

வேட்டையாடுதல்

மனிதகுலம் வேட்டையாடத் தொடங்கியபிறகே, மனிதன் கல், வெண்கலம், இரும்பு என வகை வகையான ஆயுதங்களைக் கண்டுபிடித்தான். இவற்றின் துணையோடு விவசாய வாழ்க்கையை மேற்கொண்டான். அதன் உபரி உற்பத்தி காரணமாக, மனிதன் பிறரோடு இணைந்து வாழும் சமுதாய வாழ்க்கைக்கு முன்னேற்றம் கண்டான். இதனால், ஆட்சி முறை, சட்டத் திட்டங்கள், சமுதாய நெறிகள் ஆகியவை மனித நாகரிகத்தில் தோன்றின.

சமுதாய வாழ்க்கை

இதன் ஆதரவாளர்கள், வேட்டையாடத் தொடங்கிய காலம்வரை பின்னோக்கிப் போகும் இந்த அணுகுமுறை சரியன்று என்று நம்பினர். இது கற்காலத்துக்கே கூட்டிகொண்டு போய்விடும் என்றனர்.மனித குலம் தோற்றுவித்த கூட்டு சமுதாய வாழ்க்கையே நாகரிகத்தின் தோற்றுவாயிலாகும். அச்சமுதாய வாழ்க்கையில், மனிதர்கள் தங்களுக்குள் ஒரு தலைவனைத் தேர்ந்தெடுத்து அவன் வழி நடக்க முற்பட்டனர். இதனால், தொழில் அடிப்படையிலான சமுதாயப் பிரிவுகள் உருவாக்கப்பட்டன. ஒவ்வொரு பிரிவினரும் தத்தம் தொழிலில் கவனத்தைச் செலுத்தினர். விவசாயம், வீடு கட்டுதல், கைவினைப் பொருட்கள் செய்தல், வணிகம் எனப் பல துறைகளில் மனிதகுலம் வளர்ச்சியும், முன்னேற்றமும் கண்டது.

நகர வாழ்க்கை

நகரங்கள் வந்தபிறகுதான் நாகரிகம் வந்தது என்பது இவர்கள் வாதமாகும்.லத்தீன் வார்த்தையான Civilis -ன் அடிப்படையிலானது.

எழுத்துவடிவ மொழி

சுமேரியாவில் கி.மு. 4000ல் க்யூனிபார்ம் என்னும் சித்திர எழுத்து முறை தோன்றியது. அதன்பின், கி.மு. 3500ல் எகிப்திலும், கி.மு. 1600ல் இஸ்ரேல், லெபனான் பகுதிகளிலும் அகரவரிசை எழுத்து மொழியும் நடைமுறைக்கு வந்தன. மனிதன் தன் கருத்துகளைப் பரிமாறிக்கொள்ள வழி வகுத்தது எழுத்து வடிவ மொழிதான். எனவே, எழுத்துவடிவ மொழிதான் நாகரிகத் தொடக்கம் என்பது இவர்களின் கருத்தாக உள்ளது.

இவை அனைத்தையும் அலசி ஆராய்ந்த கோர்டன் சைல்ட் (Gordon Childe) என்னும் இங்கிலாந்து நாட்டு வரலாற்று ஆசிரியர் பத்து அளவுகோல்களை முடிவு செய்தார். இவற்றின் அடிப்படையில்தான் நாகரிகங்களை அளக்கவும், ஒப்பிடவும் வேண்டும் என்று கூறினார். அவர் குறிப்பிடும் அம்சங்கள் இவைதாம்:

1) நகரக் குடியிருப்புகள்

2) தேர்ந்தெடுத்த சில தொழில்களில் தொழிலாளர்கள் வித்தகர்கள் ஆதல்

3) தேவைக்கு அதிகமான உற்பத்தி

4) வரையறுக்கப்பட்ட சமுதாயப் பிரிவுகள்

5) அரசாங்க அமைப்பு

6) பொதுமக்கள் பயன்படுத்துவதற்கான பெரிய கட்டடங்கள்

7) தொலைதூர வாணிபம்

8) கலைப் பொருட்கள்

9) எழுத்துக்கள், இலக்கியம்

10) கணிதம், வடிவியல் (Geometry) வானியல் ஆகிய துறைகளில் தேர்ச்சி.

 நதிக்கரை நாகரிகங்கள்

உலகில் கூடுதலான நாகரிகங்கள் நதிக்கரையிலே ஆரம்பிக்கப்பட்டன. ஏனென்றால், விவசாயத்திற்குத் தேவையான வண்டல் மண்ணும், தேவையான அளவு நீர் கிடைத்ததாலும், காலநிலை சரியாக இருந்தததாலும் மற்றும் போக்குவரத்திற்கு இலகுவாக இருந்ததாலும் அவர்கள் நதிக் கரையோரங்களில் குடியேறினர்.

 சில நதிக்கரை நாகரிகங்கள்

 யூப்பிரதீஸ் தைக்ரீஸ்

இது கி.மு. 3500 தொடக்கம் கி.மு. 1500 வரை இருந்த நதிக்கரை நாகரிகமாகும்.இது மொசப்பதேமிய நாகரிகம் என்றும் சுமேரிய நாகரிகம் என்றும் அழைக்கப்படுகிறது. இந்த நாகரிகம் ஈராக் நாட்டிற்குச் சொந்தமானது.

 நைல் நதி நாகரிகம்

இது கி.மு.3100 தொடக்கம் 1070 வரை இருந்த நதிக்கரை நாகரிகமாகும். இது மிஸிர் நாகரிகம் என்றும் எகிப்திய நாகரிகம் என்றும் அழைக்கப்படுகிறது. இந்த நாகரிகம் எகிப்து நாட்டிற்குச் சொந்தமானது.

 நாகரிகத்தின் பண்புகள்

பொதுவாக நாகரிகங்கள் பின்வரும் சிறப்பியல்புகளைக் கொண்டுள்ளன:

 விலங்கு வலு, சுழற்சிப் பயிர்ச் செய்கை மற்றும் நீர்ப்பாசனம் போன்ற விவசாயத் தொழில் நுட்பங்களின் உயர்நிலைப் பயன்பாடு. இது விவசாயிகளின் உயிர்வாழ்வுத் தேவைக்கு அதிகமாக மேலதிக உற்பத்திக்கு வழிசமைத்தது.
 தங்களுடைய உணவைத் தாங்களே உற்பத்தி செய்வதற்காக பெருமளவு நேரத்தைச் செலவு செய்யத் தேவையின்றியிருந்த குறிப்பிடத் தக்க அளவு மக்கட் பிரிவினர். இவர்கள் வேறு தொழில்களிலும், வணிகத்திலும் ஈடுபடக்கூடியதாக இருந்தது. இது "specialization of labor" எனக் குறிப்பிடப்படுகிறது.
 நிலையான குடியிருப்புகளில் இவ்வாறான உணவல்லாதன உற்பத்திசெய்வோரின் சேர்க்கை நகரங்கள் எனப்பட்டன.
 ஒரு சமூகப் படிநிலையமைப்பு. இது ஒரு பிரபுத்துவ குடும்பத்தின் அல்லது ஓர் இனக்குழுவின் தலைவன் (chieftain) மக்களை ஆளும் தலைமைமுறை அரசாகவோ (Chiefdom) அல்லது ஆளும் வர்க்கம் அரசாங்கத்தின் அல்லது அதிகார வர்க்க (bureaucracy) த்தின் ஆதரவுடன் நடத்தும் ஓர் அரச சமூகமாகவோ இருக்கலாம். அரச அதிகாரம் நகரங்களிலே குவிந்திருக்கும்.
 சமுதாயத்தின் அன்றாட வாழ்க்கைக்கு நேரடியான ஆதாரமாக அமையாத பல்வேறு சிறப்புத் தொழில் துறை (specialized professions ) களின் உருவாக்கம்.
 குறைந்தளவு மரபார்ந்த பாரம்பரியங்களைக் கொண்ட சமூகங்களைப் போலன்றி, ஒழுங்கமைந்த சமயம் மற்றும் கல்வி போன்ற சிக்கலான, மரபுசார் சமூக நிறுவனங்களின் உருவாக்கம்.
 சிக்கலான பொருளாதாரப் பரிமாற்ற வடிவங்களின் வளர்ச்சி. இது பணம் மற்றும் சந்தைகளின் உருவாக்கத்துக்கு வழிவிடக்கூடிய வணிகத்தின் விரிவாக்கத்தை உள்ளடக்கும்.
 எளிய சமூகங்களில் இருப்பதிலும் கூடிய பொருள்சார் உடைமைகளின் திரள்வு.
 உயிர் வாழ்வுக்காக விவசாயம் செய்யவேண்டிய தேவையில்லாதவர்கள் உருவாக்கும் கலைகளின் உயர் வளர்ச்சி. இது எழுத்துத் துறையையும் உள்ளடக்கும்.

இந்த வரைவிலக்கணத்தின்படி, சீனா போன்ற சில சமூகங்கள் நாகரிக சமூகங்கள் என்பது தெளிவு, அதுபோல புஷ்மென் போன்ற வேறு சமுதாயங்கள் அவ்வாறில்லை என்பதும் வெளிப்படையாகும். எனினும் இந்த வித்தியாசம் எப்பொழுதும் தெளிவாக இருப்பதில்லை. எடுத்துக் காட்டாக, பசிபிக் வடமேற்கில் பெருவளவு மீன்கள் கிடைப்பது, விவசாயம் இன்றியே மேலதிக உணவு வழங்கலை உறுதிசெய்தது. இங்கு வாழும் மக்கள் நிலையான குடியிருப்புக்களையும், சமூகப் படிமுறையையும், பொருட் செல்வத்தையும், உயர் நிலையிலான கலைகளையும் (அதிக புகழுடையதாக குலக்குறிக் கம்பங்கள்) தீவிர விவசாய வளர்ச்சி இல்லாமலேயே உருவாக்கினார்கள். அதே சமயம் தென்மேற்கு வட அமெரிக்காவின் புவேப்லோ (Pueblo) பண்பாட்டினர் உயர்நிலை விவசாயம், நீப்பாசனம், மற்றும் தாவோஸ் போன்ற நிலையான சமுதாயக் குடியிருப்புகளை உருவாக்கியிருந்தும், நாகரிகத்தோடு சம்பந்தப்பட்ட சிக்கலான நிறுவனங்கள் எதையும் உருவாக்கவில்லை. இன்று பல இனக்குழுச் சமூகங்கள் அரசுகளுக்குக் கீழ் அவ்வரசுகளின் சட்டங்களின் அடிப்படையில் வாழுகிறார்கள். நாகரிகத்தின் அரசியல் அமைப்பு அவர்களுடைய வாழ்க்கை முறையின் மேல் திணிக்கப்பட்டுள்ளது, எனவே அவர்களும் நாகரிக மற்றும் இனக்குழுச் சமூக அமைப்புகளுக்கு மத்தியிலான இடைநிலையினராகத்தான் இருக்கிறார்கள்.

எனவே மேலும் அச்சொட்டான, வரையறுக்கப்பட்ட வரைவிலக்கணம் தேவையாகலாம். நாகரிகத்தின் விளைவுகளை நாகரிகம் என்ற கருத்துருவுடன் குழப்பிக் கொள்ளக் கூடாது. நாகரிகம் என்பது, சட்டம் மற்றும் சொத்துரிமைகளின் அடிப்படையிலமைந்த மக்களிடையேயான அமைதிவழி ஊடாடல் (interaction) ஆகும்.

முதலில் உருவான நாகரிகம் சுமேரியர்களுடையதாகும். இவர்கள் கி.மு 3500 அளவில் நகரச் சமூகமாக உருவானார்கள்.

 மனிதவரலாற்றின் சில நாகரீகங்கள்
300px|thumbnail|ஓர் எகிப்திய விவசாயி பழக்கப்பட்ட விலங்கினால் இழுக்கப்படும் கலப்பையைப் பயன்படுத்தி உழுகிறான். இவையிரண்டும் முதல் நாகரிகத்துக்கு வழிசமைத்த இரு விவசாயம் சம்பந்தப்பட்ட வளர்ச்சிகளாகும்.

 ஆரம்ப கால நாகரிகங்கள்
 கற்கால நாகரிகம்
தென்மேற்கு ஆசியாவின் லேவண்ட் பகுதியில் கி.மு.12000 உருவானதாக கருதப்படுகிறது.கி.மு. 8,000 முதல் 5,000  வரையிலான காலகட்டதில் நடந்த விவசாய புரட்சி காரணமாக தென்மேற்கு,தெற்கு ஆசியா, வடக்கு,மத்திய ஆப்பிரிக்கா மற்றும் மத்திய அமெரிக்கா பகுதிகளில் நாகரிகங்கள் வளர்சியடைந்தது.

 வெண்கல கால நாகரிகம்
வெண்கல காலத்தில் பின்வரும் பகுதிகளில் நாகரிகங்கள் உருவாகின.அவை
 மெசொப்பொத்தேமிய நாகரிகம்
 லேவண்ட்/மேற்கு செமிட்டிக் நாகரிகம்
 ஹிட்டைட் நாகரிகம்
 இந்திய நாகரிகம்: இரு வேறு சமூகங்களை கொண்டிருந்தது.
 சிந்துவெளி நாகரீகம்
 வேதகால நாகரிகம்
 மினோவன்
 சீன நாகரிகம்

 இரும்பு கால நாகரிகம்
இக்காலத்தில் பொதுவாக இரும்பு அதிகமாக பயன்படுபட்டன இக்காலத்தில் வேறுபட்ட விவசாய நடைமுறைகள், மத நம்பிக்கைகள் மற்றும் கலை பாணிகளை உட்பட பல சமுதாய மாற்றங்கள் உருவானது.
ஜெர்மன் வரலாற்று தத்துவவாதியான கார்ல் ஜாஸ்பெர்ஸ் பண்டைய நாகரிகங்கள் கி.மு. 800 முதல் கி.மு.200 வரை சீனா, இந்தியா, ஈரான் போன்ற நாடுகளில் இருந்த மத குருமார்கள், தீர்க்கதரிசிகள், மத சீர்திருத்தவாதிகள் மூலம் திசை மாறியது என குறிப்பிடார்.இவை பரவிய பகுதிகளாவன
மத்தியதரை கடல் நாகரிகங்கள்
 கிரேக்க-உரோம நாகரிகம்
 மேற்கத்திய நாகரிகம்:
 பைசன்டைன் நாகரிகம்
ஹெலினிஸ்டிக் நாகரிகம்
மத்திய கிழக்கு நாகரிகங்கள்
 பாரசீக நாகரிகம்
இரண்டாவது  யூதம் கோயில் நாகரிகம்
பண்டைய இந்திய நாகரிகம்
பண்டைய சீனா (குயின் வம்சம், ஹான் வம்சம்)
பண்டைய நாடோடிகள் (க்சியாங்னு, ஹன் இனத்தவர், கோக் துர்க் பேரரசு
 இடைக்கால நாகரிகங்கள்
கிறித்தவ மக்கள் மற்றும் கிறித்தவ நாடுகள்
மேற்கத்திய கிறித்துவம்
கிழக்கு கிறித்துவம்
 இஸ்லாமிய நாகரிகம்
இஸ்லாமிய பொற்காலம்
கலிபா
சோமாலியா
அடல் சுல்தான்களின் பேரரசு
அஜுரான் பேரரசு
வாரசங்லி பேரரசு
மங்கோலிய - துருக்கிய (தைமுரிட் பேரரசு)
முகலாய இந்தியா
ஒட்டோமான் பேரரசு
ஆசியா
சோழ பேரரசு, தமிழ்நாடு , இந்தியா
பாண்டிய பேரரசு, தமிழ்நாடு , இந்தியா
சேர பேரரசு, தமிழ்நாடு , இந்தியா
பல்லவ அரசு, தமிழ்நாடு , இந்தியா
சுய்,சீனா
டாங்,சீனா
சாங்,சீனா
கொரியா
மங்கோலிய பேரரசு(யுவான்)
மிங்,சீனா
நிலப்பிரபுத்துவ ஜப்பான்
கன்ஃபூசிய வியட்நாம்
 தென்கிழக்காசிய நாகரிகம்
சம்பா,அங்கூர் கம்போடியா
அயுத்தயா இராச்சியம் , இடைகால தாய்லாந்து
பேகன்,பர்மா
 மெசோஅமெரிக்க நாகரிகம்:
டோல்டெக்
ஆஸ்டெக் நாகரிகம்
மாயா நாகரிகம்
 அண்டியன் நாகரிகம்
 சிமொர்
கஸ்கோ/இன்கா பேரரசின் இராச்சியம்
அய்மாரா
ஆப்பிரிக்க நாகரிகங்கள்
மாலி பேரரசின்
சோங்காய் பேரரசு
ஆஷாந்தி பேரரசு
அபிசினியா பேரரசு
பெனின் பேரரசு

 தற்கால நாகரிகங்கள்
மேற்கத்திய உலகம்
மேற்கு ஐரோப்பா
வட அமெரிக்கா
தென் அமெரிக்கா
ஆஸ்திரேலியா மற்றும் நியூசிலாந்து
மத்திய உலகம்
கிழக்கு ஐரோப்பா
ஸ்லாவிக்
கிரீஸ்
மத்திய கிழக்கு
அரபு உலகம்
ஈரானிய உலகம்
இஸ்ரேல்
துருக்கிய உலகம்
கிழக்கத்திய உலகம்
கிழக்கு ஆசியா
 ஜப்பானிய நாகரிகம்
கொரியா
தெற்கு ஆசியா
தென்கிழக்கு ஆசியா
மலாய் உலக
சகாரா துணை நாகரிகம்,ஆப்பிரிக்கா

 வெளியிணைப்புகள்

 நாகரிகம் பற்றி பிபிசி (ஆங்கிலம்)
 நாகரிகத்துக்கு எதிரான கூட்டமைப்பு (Coalition Against Civilization)

பகுப்பு:மானிடவியல்
*
பகுப்பு:பண்பாடு

10) In the fields of calculation, geometry (Geometry) and geometry.

Question: what is another term for calculation

Question: geometry and geometry are fields in which field

Question: what are the fields of calculation called

Question: what are the fields of calculation

10 ) In the fields of calculation , geometry ( Geometry ) and geometry .


குலக்குறிக் கம்பம்

thumb|விக்டோரியா, பிரித்தானிய கொலம்பியாவிலுள்ள, குலக்குறிக் கம்பம்
thumb|350px|குலக்குறி கம்பம், அமெரிக்க இயற்கை வரலாற்று அருங்காட்சியகம்
குலக்குறிக் கம்பங்கள் (Totem poles), வட அமெரிக்க பசிபிக் கரையை அண்டி, பெரும்பாலும் மேற்கத்திய செஞ்செடார் (Western Redcedar) போன்ற, பெரிய மரங்களிலிருந்து செதுக்கப்படுபவையாகும். Totem pole

இதனையும் காண்க
 குலக்குறிச் சின்னம்

மேற்கோள்கள்

 வெளி இணைப்புகள்

 Native online.com
 Royal BC Museum, Thunderbird Park–A Place of Cultural Sharing, online interpretive tour
 Totem: The Return of the Gpsgolox Pole, a feature-length film by Gil Cardinal, National Film Board of Canada
 Article related to conservation of Pacific Northwest totem poles
Totem Poles: Heraldic Columns of the Northwest Coast Essay by Robin K. Wright - University of Washington Digital Collection

பகுப்பு:கலைகள்
பகுப்பு:மானிடவியல்

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totem pole
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- Related Topics:
- Northwest Coast Indian
totem pole, carved and painted log, mounted vertically, constructed by the Native Americans of the Northwest Coast of the United States and Canada. There are seven principal kinds of totem poles: memorial, or heraldic, poles, erected when a house changes hands to commemorate the past owner and to identify the present one; grave markers (tombstones); house posts, which support the roof; portal poles, which have a hole through which a person enters the house; welcoming poles, placed at the edge of a body of water to identify the owner of the waterfront; mortuary poles, in which the remains of the deceased are placed; and ridicule poles, on which an important individual who had failed in some way had his likeness carved upside down.
The carving on totem poles separates and emphasizes the flat, painted surfaces of the symbolic animals and spirits depicted on them. Each pole generally has from one (as with a grave marker) to many (as with a family legend) animal images on it, all following standardized forms which are familiar to all Native Americans of the Northwest Coast; beavers, for example, always include cross-hatched tails, and eagles show downward curved beaks.
The word totem refers to a guardian or ancestral being, usually supernatural, that is revered and respected, but not always worshipped. The significance of the real or mythological animal carved on a totem pole is its identification with the lineage of the head of the household. The animal is displayed as a type of family crest, much as an Englishman might have a lion on his crest, or a rancher a bull on his brand. More widely known, but in fact far less common, are the elaborately carved tall totem poles that relate an entire family legend in the form of a pictograph. This legend is not something that can be read in the usual sense of the word; only with an understanding of what the symbols mean to the Native Americans and a knowledge of the history and customs of the clan involved can the pole be interpreted. Each animal or spirit carved on the pole has meaning, and when combined on the pole in sequence, each figure is an important symbol constituent of a story or myth. An exact interpretation of any set of symbols, however, would be almost impossible without the help of a knowledgeable narrator from the family.
The totem pole was also a sign of the owner’s affluence, for hiring an artist to make a pole was an expensive proposition. The carving of totem poles reached its peak in the early and middle 19th century, when the introduction of good metal tools and the wealth gained from the fur trade made it possible for many chiefs to afford these displays. Few examples of this period remain, however, as the moist coastal atmosphere causes the cedar poles to rot and fall in about 60 to 70 years.

விக்டோரியா, பிரித்தானிய கொலம்பியாவிலுள்ள, குலக்குறிக் கம்பம் குலக்குறி கம்பம், அமெரிக்க இயற்கை வரலாற்று அருங்காட்சியகம் குலக்குறிக் கம்பங்கள் (Totem poles), வட அமெரிக்க பசிபிக் கரையை அண்டி, பெரும்பாலும் மேற்கத்திய செஞ்செடார் (Western Redcedar) போன்ற, பெரிய மரங்களிலிருந்து செதுக்கப்படுபவையாகும்.

"மேற்கோள்கள்

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Totem Poles & Sculptures
Artist: Don Yeomans
Biography
Title: Talking Stick
These images represent a commissioned sculpture by Haida/Metis carver Don Yeomans. The Haida people come from Haida Gwaii, also known as the Queen Charlotte Islands, located about 150 km. West of the Northern British Columbia coast.
The sculpture looks much like a totem pole, and measures about 22' high, with a diameter of about 18". This sculpture pictured is a commissioned site-specific piece, intended for an interior placement. Though the piece looks like a totem pole, it is actually a very large-scale talking stick. A talking stick is also known as a Speaker's Staff. The talking stick or Speaker's Staff is held by the speaker, the speaker would stand by the chief and relay the message of the chief to those assembled.
The large scale talking stick pictured, carved by Don Yeomans, is modeled after the talking stick held by the Chieftain figure in 'The Spirit of Haida Gwaii' by the late Haida artist, Bill Reid. The 'Spirit of Haida Gwaii' is one of two bronze casts, measuring about 20' long or 6 m. The 'Spirit of Haida Gwaii' features a large canoe filled with characters central to Haida mythology. One bronze cast is finished with a green patina and is in the collection at the Vancouver Airport Authority, known as 'The Jade Canoe'. The canoe may be viewed in International Departures at the Vancouver International Airport. The other cast is finished with a black patina, and was installed in the Canadian Embassy in Washington D.C. in 1991, and is known as 'The Black Canoe'. The plaster/wood original from which the hollow bronze was cast is on display at the Canadian Museum of Civilization in Ottawa, Ontario. 'The Spirit of Haida Gwaii' may also be viewed in a number of publications available for sale at Black Tusk Gallery, or sourced through your local library.
One publication sourced here is titled 'The Black Canoe', text by Robert Bringhurst and photographs by Ulli Steltzer, Douglas and McIntyre, Vancouver/Toronto, 1991.
The talking stick held by the Chieftain figure in 'The Spirit of Haida Gwaii' is modeled after an actual talking stick found in the collection of the Smithsonian Institution of Washington, D.C. The Smithsonian talking stick measures 82 cm or 32". We understand the talking stick in question is currently in storage at the Smithsonian. The talking stick was purchased by a collector at Massett in 1883. Massett is an ancient village on the North End of Haida Gwaii. The Smithsonian Institution talking stick thought to be have been owned by Xana, from the Masset area of the late 19th century. There are no records to determine the theory that this is Xana's talking stick, though Xana's memorial totem pole matches exactly the figures seen on the upper part of talking stick in the collection at the Smithsonian Institution. It is these upper figures which are featured in the talking stick held by the chieftain figure in 'The Spirit of Haida Gwaii' by Bill Reid, and the same figures featured in this commissioned talking stick, by Don Yeomans.
The talking stick is said to tell of the story of creation, among the Haida people. "The details of the featured figures in the talking stick are the Raven with human hands, and the Ttsaamuus or Snag in the form of a Seabear (Grizzly with finned arms and a killer whale's tail) The young Raven is emerging from the Snag's mouth" pg. 74, Bringhurst/Steltzer, 1991.
The remainder of the pole is expected to be finished in the next six weeks, and we hope to post additional photographs representing the progress. Additionally, much is to be said about the symbolism of the figures. Please check back.
see
a great archival clip of the artist Bill Reid
retrieving totem poles for the Vancouver
Anthropology museam
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What Do Totem Poles Mean?
Carved from mature cedar trees by the Native people of the Northwest
Pacific coast (British Columbia, Canada and southern Alaska, USA),
full size totem poles are outgrowths of the region's aboriginal art
forms. Originally an important part of the Potlatch ceremony, a feast
with deep meaning to coastal First Nations, totem poles were once
carved and raised to represent a family-clan, its kinship system, its
dignity, its accomplishments, it prestige, its adventures, its
stories, its rights and prerogatives. A totem pole served, in essence,
as the emblem of a family or clan and often as a reminder of its
ancestry.
In times past, a totem was raised for several reasons:
- in honor of a deceased elder who meant a great deal to the band
- to show the (great) number of names and rights a person had
acquired over their lifetime
- to record an encounter with a supernatural being
- to symbolize the generosity of a person who sponsored a Potlatch
ceremony.
Today, totem poles are carved for both Natives and non-Natives.
They have come to represent Northwest Pacific Coast Native tradition
and pride.
To grasp the symbolism hidden within a totem pole try this mental
exercise: envisage the Great Seal of the United States or the Coat of
Arms (the Armorial Bearing) of Canada. (Look them up on the internet
if you need to.) These national emblems are roughly equivalent to the
meaning bound up in a totem pole. The Great Seal with its Eagle,
shield and arrows features symbols, assigned a certain meaning, and
representing qualities the United States chooses to identify with. In
the same way, the Coat of Arms of Canada features a lion and unicorn,
maple leaves, fleur de lis and a motto, that sums up its ideal
national identity. As for totem poles, they once performed much the
same function for Native bands. A big Native family grouping, not just
a mother, father, sister, brother, but a whole Clan of relatives, who
were related by blood, by experience, by war exploits, and by adoption
identified very strongly with the crests and figures carved on their
totem pole.
In general, totem poles (like Coats of Arms and Great Seals) mean:
"This is who we are; these carvings symbolically show what we
stand for." Additionally, Natives felt they had special rights to
claim a link to the super-human beings they depicted on their poles.
These special links included: being "descended from ...." or
having recently "encountered ..." or having received "a
gift from ...".
Some poles embody one-of-a-kind stories or unusual symbols. These
stories or symbols are known in their entirety only to the pole's
owner and the carver of the totem pole. If the pole's owner or carvers
gave an account to a relative, granted interviews to academics, or
left a written record, these unusual meanings are known. If not,
hidden or special meanings are lost over time.
The secret to uncovering the meaning behind a totem figure, and the
symbolism behind emblematic crests such as Bear, Wolf, Half-man, Sea
Serpent, Glass Nose, Hawk, Red Snapper, or Wild Woman is to see the
figures, sort them out, learn to identify them through photographs,
and discover the myriads of stories that have been revealed and
recorded.
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Fake Totem Poles
Versus Real Ones
Totem poles made by Northwest Pacific Coast First Nation's carvers
for their own people portray the owner's deeply meaningful symbols and
family crests. However, Northwest Pacific Coast First Nation's carvers
also construct totem poles for non-Native people -- technically not
part of the old totem tradition. This practise has evolved, however,
to become an important part of the modern tradition and is legitimate.
Since authentic full size totem poles today, cost in the region of $25
000 to $60 000 each, outsiders usually commission them to commemorate
a great event or a great "coming of age," to symbolize a
pact between nations, or to illustrate some sort of bond between
Native people and the company or government entity who commissions the
pole.
To be authentic, a totem pole needs to be "sanctioned."
That means that it must pass certain tests. First, it must be made by
a trained Northwest Pacific Coast native person, or in rare cases, a
non-Native apprentice who is approved by a Northwest Pacific Coast
Band from coastal British Columbia or Alaska. Secondly, it must be
raised (and blessed) by Northwest Coast natives or elders who are part
of the totem pole tradition. Chain saw artists, non-Native imitators,
or (non-apprenticed) Natives from bands far away from the Northwest
Pacific Coast do claim to produce "totem poles". But under
the rules of the Northwest Pacific Coast native totemic tradition,
they are fakes.
Small argillite or wooden totem poles, made for the tourist trade,
are "real," under the following conditions:
- they are miniature prototypes of poles once sanctioned, but for
some reason, never built
- they are authentic copies of poles that once stood
- they are miniature copies of poles still standing
- they are assembled under the rules of protocol still practised
today.
A great number of the miniature totem poles found in souvenir
stores fall into the last catagory. However, they are not
"authentic" if an outsider just "made them up."
Once a person learns about totem poles, it is easy to spot fakes,
because they often break the rules of totem pole assembly-protocol.
Fake totem poles are rather like a bad translation of your language if
the translator is not familiar with the nuances of words. The
translation, like the fake, looks right, but it sounds strange to
someone who knows better. (A foreign translation I once saw on English
Etiquette contained a handy chapter entitled "For to Visit a
Sick.") Once a person has been exposed to good examples of real
totem poles and has viewed photographs of the best ones, fake totem
poles become obvious.
MAKE BELIEVE, MAGIC "TOTEMS:" Recently, the word
"totem" has come into use as part of the elaborate
"Dungeons and Dragons" game playing stategy. Players give
and receive "totems," a talisman-like magical-charm that is
said to empower its users with certain powers and attributes. These
include totems named "Parrot," "Jaquar,"
"Tiger," "King Arthur," etc. Some New Age artists
and jewellers also employ the "totem" as a image for various
qualities they imbue into the object. Confusion arises if these groups
claim their artificial "totem" constructs are part of the
"ancient" First People's practise of building totem poles.
These types of talismen-totems are/were not part of any Pacific
Northwest Coast First Nations' traditions. Totem poles are emblems,
not talismen. The difference is significant.
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How To Make a Totem Pole
Come Alive
Groups of faces and figures piled one on top of the next, woven
into patterns with repeating shapes combine along the height of a
totem pole to produce a mystical portrayal of something wondrous.
Though it is technically an oversimplification to say that Bear means
"dignified self-sacrifice" or Wolf means "powerful
healing" or Sea Serpent (Siskiutl) means "bravery in
war" these interpretations contain a kernal of meaning within
them. However, it is in knowing the entire First People's story behind
each figure that totem poles really come alive.
Northwest Pacific Coast Native stories involve the easy
transformation of animals into humans or vice versa, or the
transformation of supernatural beings into humans.They involve whole
villages of Salmon or Whale people who live happily in underwater
cities; powerful beings who live deep within whirlpools in the ocean,
smelt copper, and periodically change into Frogs; wild creatures who
steal children, try to eat them, are caught, burned and transformed
into Mosquitos; giant Thunderbirds who swoop down from the sky and
snatch up giant Whales to eat for dinner; Wolves who, at night, change
into bony, yet attractive Ghost People, and Wolves who grow tired of
hunting in packs on the land and change into hunting packs of Killer
Whales.
The excitement of these stories comes because these events really
happened in a time not so long ago, (oh yes, they did!) and still
continue to happen for those whose eyes are opened by stories.Once the
First Nation's story has been told, and the figure has been
identified, why, totem poles come to life.
These and many, many other interesting totem stories are told in
the book: Totem
Poles.
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Where to
Visit Totem Poles and See Record-Breaking Poles in British Columbia
and Alaska
Numerous totem poles continue to stand tall, in various locations,
sometimes singly and sometimes in clusters all along the Northwest
Pacific Coast from Seattle, Washington, along the coastal regions of
British Columbia, Canada up to southern Alaska. They are located in
city squares, outdoors along highways, tucked away in Native reserves
(reservations,) clustered in heritage sites, or preserved in various
museums. (All are specifically identified in the book "Totem
Poles.") Many are located in cities: Seattle WA, Vancouver BC,
Victoria BC, Prince Rupert BC, and Ketchican AK, but visitors must
know on which street to look. Others are found by adventuring into the
outback and arranging a camera safari to find them. A map and written
directions in the book pinpoints these locations.
Record setting totem poles attract everyone's attention: the
world's tallest presently points skyward in Victoria BC, and the
world's oldest, original (indoor) collection is being cared for in
Ketichikan AK. Other record breaking poles include the worlds thickest
totem pole, in Duncan, BC and the world's second tallest pole in Alert
Bay, BC. The world's most viewed totem poles, about 8 million visits a
year, (Vancouver Parks Department figures) are in Stanley Park,
Vancouver, BC, Canada.
Eco-tourists, the new wave of specialty travellers now exploring
the byways of North America, love to discover breath-taking scenery
and to appreciate the First People who inhabit an area. They and all
others with a spirit of adventure find this guidebook an invaluable
way to plan camera safaris to all sorts of totem poles: accessible,
remote and semi-remote. The magic of these carved tree trunks is
undiminished by time, particularly at the now declared UN World
Heritage site, a haunting Haida village of decaying totems, the oldest
outdoor collection, abandoned about 1835 and now accessible by water
on Anthony Island, Ninstints, Queen Charlotte Islands, BC.
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"Low Man on the Totem
Pole"
Such a common expression, and so incorrect .... one wonders how it
persists. At first glance it might appear that the lowest figure on a
totem pole, has the weight of an entire menagerie on top, and
obviously lacks status. Go surfing the Internet to any number of
academic sites and see the number of acamedians who whistfully refer
to themselves as "low man on the totem pole." Interestingly
enough, the low end of the totem pole is very important. Totem poles
are carved, not by one carver, but by a chief carver and a number of
apprentices. The chief carver is well aware that the viewers of a
finished upright pole, range in size from 3 feet (children) to about 7
feet (basketball players.) So, to be certain the totem looks
professional and well-executed, the chief carver personally carves the
bottom ten feet of the pole and allows the inexperienced apprentices
to carve the higher regions. The most intricate and best carved
figures are usually placed on the bottom end with the story thinning
out towards the top. Many poles (but certainly not all of them!) are
topped off with Thunderbird, sort
of a generic capper figure, something like a Christmas star, who often
has far less meaning than all the carefully thought out symbolic
creatures carved into the lower regions. If anything, the lower
figures on a totem pole are slightly more important.
These and many, many other interesting facts are explored in the
book: Totem
Poles.
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Myths and Falsehoods About Totem
Poles
There are a number of myths about totem poles and the rich
traditions that surround them.
The following statements are untrue; (true statements in brackets)
- totems were once worshipped (Never, ever. They are emblems, not
icons.)
- totems are/were used as talismen (Never, ever.)
- Northwest Pacific Coast shamans used totem poles to ward off evil
spirits (Never, ever.)
- a slave was once buried at the base of a totem (Totems have been
dug up to verify this, it is not true!)
- ancient, wierd totemic traditions were once in place (Totem pole
practises are quite logical and have evolved mostly over the last
200 years since metal tools made totem making easier. Claims of
bizarre, magical "totemism" practises are fabricated
fiction.)
- totem pole building today is a vanishing legacy (Today, authentic
native totem pole carving thrives in British Columbia and southern
Alaska; however, it is true that for about 40 years between 1910 and
1950 only a few true totem poles were built and raised.)
- decaying totem poles are thousands of years old (In reality, most
totem poles, though made of decay resistant cedar, fall over in
about 100 years; the oldest ones in Ninstints, BC date from about
1835. Within the west coast First Nations' totem tradition,
duplicates of decaying totem poles are made and raised by the
decendants of the family who own them.)
- the totem poles in the popular viewing area in Stanley Park,
Vancouver BC, are fake (They are real, very valuable, and if they
have been replaced, are authorized replacements of the original
poles.)
- painted poles are fakes (Some poles are painted, some are not. The
choice is the carvers' to make.)
- unpainted poles are fakes (Ditto, to the above statement.)
- totem poles are solemn and always very serious (Actually, there
are several jokes woven into totem poles such as figures
"accidentally" carved upsidedown, or a little figures
winking, grinning and peeking out of Bear's ear or out of Whale's
blowhole. Tricks have occasionally been played on the pole's
sponsor. If the person paying for the pole annoys the carvers too
much, he might be portrayed on the pole, - a little too
embarrasingly naked. A little touch of carved-in amusement, here and
there, is a valid part of the tradition.)
- certain totem poles, with a rectangular box on the top, once held
the remains of a dead chief (This is a commonly repeated mantra and
in fact, the type of pole with a flat board on top is called a
Mortuary Pole. But there has never been a documented case where a
human corpse was actually placed in one.)
- no other aboriginal people make real totem poles (New Zealand's
Maori people construct a form of totem to commemorate their
ancestors and the Ainu people from Hakkaido in northern Japan build
totem pole-like clusters of tree trunks as "playgrounds"
for their gods. "Is there any relation between these people and
the Natives of the Northwest Pacific Coast?" is the more
interesting, unanswered question.)
Experience shows that the following statements seem to contain a
modicum of truth:
BAD LUCK OR JUST BAD MANNERS?
- It seems to be bad luck to carve a full size duplicate of a totem
pole without permission from the family of the people who own the
original pole. At the least, it shows bad manners.
- It seems to be bad luck for strangers to replace an old totem pole
with a new one or to remove an old totem pole unless they have
permission to do so. At the least, it shows bad manners.
- It seems to be bad luck to claim to be a totem-pole-carver unless
completing a apprenticeship to a Northwest Pacific Coast Native who
follows the traditions. At the least, it shows bad manners.
- It seems to be bad luck to steal a totem pole. At the least, it is
illegal.
- It seems to be bad luck to kick a totem pole. At the least, it
shows bad manners.
GOOD LUCK OR JUST GOOD MANNERS?
- It seems to be good luck to keep a totem pole (a 3 foot high one)
aboard a submarine in war.
- It seems to be good luck to officially borrow a totem pole and
later return it. (For example: In 1970, Japan "borrowed"
totems for their Expo World Exposition, and then returned them.
Today, the people responsible for that exercise administer a large
trust fund, recently opened a major Japanese Zen Garden on the roof
Museum of Civilization in Ottawa-Hull Canada, and participate in
other diplomatic initiatives.)
These and many, many other interesting facts are explored in the
book: Totem
Poles.
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Where To Get
or See an Authentic Northwest Totem Pole
TO COMMISSION ONE: Those who have about $25 000 to $60 000 to
spare will, of course, appreciate the information on the great totem
pole carvers today, where they may be found and how to have your own
pole carved. Others will have to be content with foot-high
miniatures for sale in art galleries and craft stores.
TO BUY AN AUTHENTIC MINIATURE REPLICA: There are hundreds of Arts
and Crafts stores and Art Galleries specializing in Native Arts made
by Pacific West Coast Native artists. Many of these outlets sell
Native-made replicas of totems. For a comprehensive coverage of
Galleries, and Native Arts and Crafts outlets in Western Canada see
the book "Native
Sites in Western Canada".
TO VIEW A REAL TOTEM POLE: People from many parts parts of the
world might be surprised to realize that there was a very
significant "harvesting" of totem poles, sometimes
described as a "feeding frenzy," that went on from about
the years 1880 to about 1935. Anthropologists, ethnologists and
various collectors from Germany, France, Great Britian, Australia,
the United States, eastern Canada and many parts of the world combed
the Northwest Pacific Coast for all manner of Native articles and
artifacts.Totem poles were chopped down (mostly with permission) by
the hundreds, and shipped, via the "new" railroads, all
over the world. Collectors reportedly received $11 an inch, back in
1910, a princely sum.
So if you live in Australia, Germany, Sweden, or Great Britain,
there may well be a museum near you chock full of old, authentic,
invaluable totem poles, just begging to tell their stories. There
are also large collections throughout America and at the Smithsonian
as well as artifact collections in Seattle WA, Portland OR, and
elsewhere. In eastern Canada, the Museum of Civilization in
Ottawa-Hull has amassed an outstanding collection of totem poles.
Phone around and find out. You might be astounded.
Let us know if you found
authentic examples in a museum near you. At one point in the
20th century, around 1945, there were said to be more totem poles
aging in museums around the world, than there were (remaining) in
British Columbia and Alaska combined!
In Western Canada, Vancouver BC, there is a good collection at
the the Museum of Anthropology and on Vancouver Island the Royal
British Columbia Museum in Victoria BC also has a comprehensive
collection. Other western North American totem sites are listed in
the section entitled
|Where to Visit Totem Poles and See Record-Breaking Poles|
These and many, many other interesting facts are explored in the
book: Totem
Poles.
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The
Far-Flung Totem Project
Because there was such a widespread
harvesting of totem poles from the Northwest Pacific
Coast and Alaska between about 1880 and 1930, even today,
there are poor records on exactly where they came to rest.
It is said that hundreds went to Germany and many of these
disappeared about 1945. It is said that many were burned
in a serious fire in Stockholm. It is known that excellent
totem poles were commissioned and given to the reigning
monarch, Queen Elizabeth, and to the nation of France as
gifts. It is known that many were shipped to the
Smithsonian Institute (Museum of the American Indian has
many), and universities throughout the United States and
as far away as Australia.
Where are the Poles Today?
If you know about Alaskan or Northwest Pacific Coast
totem poles in a museum or commissioned by a company and
at a location near you, but far away from Alaska and
British Columbia, please let us know. We want to find out
where they are. Recently, a journalist from Israel visited
a Kwakiutl band on Vancouver Island to find out about a 3
foot totem pole, recently donated to the British Museum in
London, that had been a mascot on a submarine called
"Totem" in WWII. It was authentic; he did find
the carver, now almost 100 years old. If you know of totem
poles or stories of totem poles, please take the time to
share them.
We will add these findings to this site.
E-mail Us: Where are
the Far-Flung Totem Poles? We know about totem poles
throughout British Columbia and Alaska. But other totems'
locations are of great interest. Know of some?
We are particularly seeking information on the 3 foot
totem pole used as a mascot for the submarine Totem..
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A Sampling of Common Totem
Figures (Lots of defining close-up photos and condensed stories in
the book: Totem
Poles)
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Thunderbird
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Grand lord of the Sky Realm; frightens humans who disturb
him; needs homage; busy with his own wars carried out beyond
human perception; eats Whales; likes to come to human's
dance ceremonies
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Kolus
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Thunderbird's dull-witted brother; a show off;
competitive; strong; will occasionally transport huge
longhouse beams for humans
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Eagle
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Aristocratic lord of the Sky Realm; part of Thunderbird's
entourage or live with other lordly Eagles; occasionally
transforms into a human dancer
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Hawk
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Transforms regularly into Hawk Woman or Hawk Man; hates
Mosquitoes; quite regal; stand-offish but will assist humans
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Raven
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Powerful, ever-transforming trickster; ever hungry; ever
curious; deviant; compulsive; crooked, corrupt and deceptive
but somehow likeable; ever politically incorrect
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Whale
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Ruler of His own Underwater City; lives with noble
supernatural beings there; hates Thunderbirds; some turn
into Wolves
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Copper Woman
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Ever-interfering, social climbing wife of Komowkwa, the
Underwater King of copper smelting; grants wealth to her
personal favorites; particular friend of Frog; causes
volcanic eruptions disguised as Volcano Woman
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Siskiutl, the Two-headed Sea Serpent
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Can turn enemy warriors into stone with one glance; has
been known to swiftly pull huge war canoes to the site of a
battle; protects his crestholders from injury during war;
has removable crystal eyes; hates Thunderbirds (his enemy)
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Dzunkwa (Tsnoqua)
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Cannibal woman who owns certain valuable treasures that
humans like to steal; lives on the Earth Realm; smells
awful; collects children but they often get away;
dull-witted; cannot be killed
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Bear
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Can easily transform into a human; must not be
insulted/cursed; lumbering, caring figure with a yen to
marry good-looking human princesses; has twin children who
grow to adulthood in record time; able to make fires with
wet sticks (Bear wood)
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Beaver
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Vengeful creature; occasionally murders humans; if
provoked digs underground tunnels that cause earthquakes and
landslides; constructs fine arrows
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Wolf
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Powerful; generally avoids humans; able to heal human
sickness but this healing is costly; fraternizes with Ghosts
at night; when in the mood turns into Whale; powerful ones
are pure white
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Frog
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Much misunderstood and underestimated; associated with
great wealth; survives volcanic eruptions; must not be
insulted; friend of Copper Woman
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Mosquito
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Arose from the transformed remains of chopped-up cannibal
beings; it continues to love blood
Note: Wood Carvers often buy this book for the closeup, detailed
views of each figure.
These and many, many other interesting figures are explored in
the book: Totem
Poles.
|Totem Pole Topics| Bottom
of the Page| How
To ORDER the book|
More Questions
About Totem Poles
How old are the oldest totem poles? ( A better way of asking this
would be: How old are the oldest outdoor poles? How old are the
oldest poles protected indoors?) How old is the totem-making
tradition?
Why do many Haida totem figures thrust out their tongues?
Why is the Thunderbird frequently depicted on top of a Whale? Why
is Whale head down?
At the bottom of many totems stands a human-figure holding a
baby. Why is it called a Bear?
What is the relationship between totem pole building and the
potlatch ceremony?
When was the Golden Age of Totem building? Why did totem building
cease?
Is it true that there was a period when totems were burned and
chopped down? Why? By who? (You may be surprised at the answers
here.)
What did Native people do, in secret, to keep the tradition
alive? Did it work?
Did any people or groups speak out to save the totem tradition?
(You may be surprised at the answers here.)
How was the tradition revived? Who and when?
Are there particular totem styles linked to certain bands?
What skill did visiting British naval sailors teach Haida Native
deckhands, that came to be used on totem poles?
Why does the Beaver figure hold an intact arrow on some totems? a
broken arrow on others?
If I want to see excellent examples of totem poles today, where
are they located?
When a pole tips over or falls down, what does the tradition
dictate is the proper next step?
Is it true that totem poles were once used to keep school
furnaces burning? Where?
Have there ever been rivalries among Native people over the
height of their totems? over the figures carved on poles? How about
murders?
In pre-contact times, were teepees and totem poles found
together?
Why do so many bands claim to have the world's tallest totem?
Where is the Guiness Book of Record tallest totem? How tall is it?
Where is the world's thickest totem?
What do modern Native people think about new methods of casting
totems pole copies from fibreglass?
The answers to these questions are found in the book: Totem
Poles.
Totem Poles: The Book's Table of Contents
- The Origin and History of Totem Poles (tells the whole story of
when they began, the Golden Age)
- Totem Pole Symbols and Ceremonies (tells about the Potlatch;
Building, and Raising Poles)
- Identifying Totem Figures (shows photos, describes figures, tells
condensed stories of figures)
- Land of the Totem Poles (tells exactly where to find most of the
Totem Poles standing today)
About Making the Book
Three years in the making and thousands of miles logged through
British Columbia to southern Alaska, this book is chock full of
color photos and stories. The elders of several bands graciously
answered questions, and gave their specific permission to the author
to relate certain stories, some told for the first time in this
book. Other stories were condensed and simplified, for quick
telling, from the copious volumes of academic writings compiled by
early ethnographers and anthropologists who passed through the
region beginning 100 to 120 years ago.
Totem Poles is the second in a series of Altitude guidebooks on
Native subjects. The first, "Native
Sites in Western Canada", is a guide to everything public
and Native-owned or Native-supported in the west, and is also
available in German, "Indianer
In West-Kanada." Beautiful British Columbia magazine
(circulation .25 million) recently published a short Kramer-piece on
record-setting totems with a second article due out later in 1997.
Ever sensitive to the special place that emerging First Nations hold
in the modern world, Kramer was most honoured to receive a
ceremonial Eagle Feather from the Native Investment and Trade
Association.
Besides delivering
talks, workshops and teaching courses Kramer, past President of
the Western Tour Directors Association of Canada, is contracted
every year to guide special
interest tours either through western Canada or the American
Southwest. Current projects include the biography of Richard Krentz,
maker of the world's tallest totem pole as well as consultations
for various government and financial bodies on the viability of
Native-themed tourist attractions.
|Totem Pole Topics| Top
of Page| Bottom
of the Page| How
To ORDER the book|
recommended books from Native Online
Totem
Poles of the Pacific Northwest Coast
by Edward Malin
Our Price: $15.96
You Save: $3.99 (20%)
Usually ships in 2-3 days
Paperback - (July 1994) 195 pages
Excellent text for understanding the Coastal Indian Totems, July
7, 1999
Reviewer: A reader from Port Angeles, WA. USA
This book is for anyone who wants to study or research the Coastal
Indian Totem Pole. Written in an easy to read yet scientific style it is
historically accurate, authoritative and comprehensive. It contains
multiple drawings and colored plates illustrating the types of poles,
their function and individual details. It is a must for the experienced
artist who intends on carving a totem showing carving techniques, tools,
pictures, animal subjects with an explaination of the meaning and
placement of each. It even tells how to raise a carved totem. Available
in paperback it has to be a best buy!
|
|
|Looking
at Totem Poles
|
by Hilary Stewart
List Price:
$14.95
Our Price: $11.96
You Save: $2.99 (20%)
Availability: This title usually ships within 2-3 days.
Paperback
- 191 pages (November 1993)
University of
Washington Press; ISBN: 0295972599 ; Dimensions (in inches): 0.47
x 9.03 x 6.03
Amazon.com Sales
Rank: 79,871
-
Totem Poles
An Altitude Superguide
by Pat Kramer
112 pages, 153 full color photographs including 15
full page bleeds, 10 archival photographs
Quick
Image: Book Cover
An excellent resource!
Totem
Pole Workshops or Totem Pole Tours
Hot Links to (Authentic)Totem
Pole Photos and Bits of Totem Information
- Computer Protocol using the Totem Name, Wonderful!
Photo:
Oh my! Check out the photo from the book: Totem Poles
and see
what Computer communication protocol has transpired!!!
- Vancouver Island and Victoria, BC, Canada
Story
of Cedar: Royal British Columbia Museum, Victoria BC
- World Heritage Site, Haida Gwaii (Queen Charlotte
Islands, BC) Canada
Photo:
Ninstints,
World Heritage Site, Queen Charlottes BC, Grizzly Bear Mortuary Pole
Photo:
Ninstints, World Heritage Site, Queen Charlottes BC, Mortuary Pole
Photo:
Ninstints, World Heritage Site, BC, Group of Totems (new http://www.lib.sfu.ca/graphics/lynn/totems.gif)
Photo:
Ninstints World Heritage Site,BC, small photo of decaying poles
Photo:
Haida Totem Photo Wins Contest
Info:
Story of Alaskan Tlingit totem poles
- FAR-FLUNG Totems around the World
Photos
& Info: Museum of Civilization, Ottawa-Hull, Canada, Grand Hall of
Totem Poles
Photo:
Authentic Pole commissioned for Aveda Corporation, Minneapolis (link
is gone)
- Books, Films, Videos on Totem Poles
Info,
Carving A Totem Pole, A Book by Vicki Jenson
Info:
Looking at Totem Poles a Book by Hilary Stewart
Info:
Native Sites in Western Canada: A Book by Pat Kramer
5
WAYS TO ORDER: TOTEM POLES by Pat Kramer, a full color guidebook
Info
in German: Indianer in West-Kanada
Fun with Totem Poles
SMOKE SIGNALS? Huh?
Want to send a crazy mixed-up Totem
Pole Cartoon Birthday Card? Go to SMOKE SIGNALS
NAVIGATING THIS SITE
|Totem Pole Topic Selection|
|Meaning of Totems |
Fake totems | How
to Make a Totem Come Alive | Visit
BC and Alaska Totems |
"Low Man on the Totem Pole" | Myths
and Falsehoods About Totems | Common
Totem Figures | Where
to Get or See a Totem Pole | |Making
the Book| Questions About
Totem Poles
5
WAYS TO ORDER: TOTEM POLES by Pat Kramer, a full color guidebook
Workshops
or Tours to Totem Poles
carvers who will take orders of poles are:
Gordon Dick
COUNTRY: Canada
EMAIL: gatleo@shaw.ca
TITLE: Gordon Dick Nuu-chah-nulth Artist
HTTP: http://members.shaw.ca/gatleo/Native%20Carved%20Jewelry%20by%20Gordon%20Dick.htm
Carves Jewellery & Wood, Functional Art
Artist, Carver, Pole Carver, Jewellery carver, Print Maker
DESCRIPTION: A Nuu-chah-nulth Artist who enjoys making Jewellery and
wood carvings. He explores many mediums and creates functional Art.
Cody Mathius 604-988-0684
add your name to the list of carvers
Visit the companio site: Discover the Native
Sites in Western Canada
5
WAYS TO ORDER: TOTEM POLES by Pat Kramer, a full color guidebook
TOP OF PAGE
Site Last Updated, 2/1997

Question: who made the film Totem the return of the gpsgolox pole

Question: who is the author of totem poles: Heraldic columns of the northwest coast

Question: who owns the rights to totem poles

Question: where is the royal bc museum located

Question: what is the name of the pacific northwest totem pole

Question: where can you find the royal bc museum

Question: where is a place of cultural sharing located

Question: what is the name of thunderbird park

Native online.com Royal BC Museum , Thunderbird Park – A Place of Cultural Sharing , online interpretive tour Totem : The Return of the Gpsgolox Pole , a feature - length film by Gil Cardinal , National Film Board of Canada Article related to conservation of Pacific Northwest totem poles Totem Poles : Heraldic Columns of the Northwest Coast Essay by Robin K. Wright - University of Washington Digital Collection