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27 cm (1) 461 p. (1) a member of the Blood tribe (1) and doors; and painted panels. Dempsey provides descriptions and a great deal of other information about the pieces included here. His survey focuses especially on recent paintings that scholars have overlooked. In revealing changing trends in the represe (1) and histories to convey a fascinating view of this warrior art from a Blood perspective (1) and North and South Piegan. In this visually stunning survey (1) Blackfoot War Art tells how pictographs served as a record of both tribal and personal accomplishment. This singular historical record of all available information on Blackfoot warrior pictography depicts painted robes; war tepee covers (1) blood (1) December 2008 (1) Dempsey skillfully weaves together pictures (1) ill. (some col.) (1) L. James Dempsey (1) liners (1) map URL Table of contents only Note General visually stunning survey of Blackfoot war art When the Blackfoot Indians were confined to reservations in the late nineteenth century (1) people (1) plumbs the breadth and depth of warrior representational art. He has mined archival resources and museum collections and interviewed many tribal members to provide a uniquely Native perspective on the importance of warrior art in Blackfoot history and cul (1) their pictographic representations of warfare kept alive the rituals associated with war (1) which were essential facets of Blackfoot culture. Their war ethic served as a unifying force among the four tribes of the Blackfoot nation—Siksika (1) XXII (1)
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