This Chilkat Apron Pattern Board in etched Glass is by Kwagu’ł artist Calvin Hunt. The Panel represents a Chilkat Blanket design sandblasted into a 1/2 inch or about a 1.2 cm thick rectangular piece of glass.
The glass panel is 32 inches or over 81 centimeters long by 17 1/2 inches or 44 cm tall. The glass panel is mounted on a cedar wood panel which is nearly 2 inches or 5 cm thick. As a free-standing panel, the board is mounted on a driftwood log stand and is 24 inches or about 60 cm tall. The panel may be detached from the log and has mounts for hanging it on a wall.
Chilkat weaving represents a collaboration between male and female artists: crest designs for a Chilkat garment (a dancing robe, tunic, apron, or leggings) were traditionally painted by a man on a flat pattern board to be translated into the luxurious mountain goat wool weaving by a woman. Chilkat weaving is said to have originated among the Tsimshian and later adopted by the Chilkat Tlingit
Among the Kwakwaka'wakw, those with Tlingit heritage claim the prestigious Chilkat-woven ceremonial regalia that came to them through marriage. When she married Robert Hunt in Fort Rupert, Tlingit noblewoman and Calvin Hunt’s ancestor, Anisalaga (Mary Ebbets), brought the knowledge and the rights of this intricate and complex weaving to the Kwakwaka'wakw.
The fine art of Chilkat weaving was done on an upright loom with twined wool and cedar bark warps. Finger-weaving the weft of white, black, yellow, and sometimes turquoise blue and red twinned wool a female artist created curvilinear formline designs that included ovoids and perfect circles. The dramatic Chilkat Dancing Robe—still seen in potlatches worn by high-ranking people—is hemmed on the bottom edge with a heavy flowing fringe of white mountain goat wool. Chilkat aprons sometimes have fringes adorned with tiny bells, deer hooves, and in the past with brass thimbles and or puffin beaks.
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