Multiple human images in Eskimo sculpture

• Main Author: Blodgett, Ruth Jean
• Format: Thesis
• Language: English
• Published: 1974
• Subjects: Eskimo sculpture; Human figure in art; Eskimo art; Arctic; Greenland; eskimo*; Thule; Alaska
• Online Access: http://hdl.handle.net/2429/18863

Although the human head is a common subject in art, the Eskimos have utilized this motif in a most uncommon manner. Sculptures consisting of a number of human heads, and only human heads, have been produced throughout the arctic, but never as consistently as by the Dorset and contemporary artists. In view of the unusual nature of this subject and its flourishing appearance 900 years apart in two distinct Eskimo cultures, one wonders what significance the motif had for the Eskimos themselves and what connection, if any, exists between its role in the art of two different, albeit Eskimo, cultures. Investigation of these problems is complicated by the particular circumstances of both cultures, especially the Dorset. Little has been written about the multiples of either culture. And while the contemporary Eskimos are available for interview—and were very helpful in answering the queries put to them—the Dorsets have long since been replaced by the Thule Eskimos. Our only actual evidence of the prehistoric Dorsets is archaeological. In these circumstances the actual Dorset multiples themselves are especially important—they are our major source of information as to their use and significance. Although they themselves and analogy with other Eskimo cultures may suggest certain interpretations, any tentative conclusions about the multiples created by the Dorsets cannot be definitely substantiated. Research and personal interviews in the north established that the multiples have no ulterior significance for the contemporary Eskimos. The sculpture is made for sale in the south and continued possession of it is not necessary for the Eskimo's well-being. There was no consistent interpretation of the subject. The head motif may be used simply as a design element or the heads may represent any of the following: humans—often in a family group, mythological characters, or spirits. Most artists said the idea for the multiples was from their own head or from seeing other contemporary carvings of this subject. Only a few of the contemporary Eskimos gave any indication of knowledge of the use of this subject by older Eskimos in historical times. However, multiples were made in the 1800's in such places as Alaska, the Ungava District, and at Angmassalik, Greenland. Between these few 19th century examples and the Dorset multiples of about 1000, there seems to be a complete break in the tradition of the subject. Various factors indicate that the majority of Dorset art was probably used in a religious-shamanistic context. The use of heads on other religious objects as well as the occurrence of standardized multiples, with a specific number of faces, over a large geographical area indicate that the multiple was a part of this religious art. It seems likely that the multiple was used by the shaman himself as a magic staff in ceremonies and most likely in those shamanic duties associated with retaining the well-being of his charges; particularly their health. The motif of heads suggests the possible use of the multiple in that popular Eskimo means of divination—head-lifting. In any of these life-associated capacities, the beings represented on the multiple could be: successfully cured humans, the shaman's helping spirits, or even more likely, souls; either souls to be returned to the body during illness to effect the cure, dead souls of others consulted during a illness, or souls conducted away at the death of those not successfully cured. If the Dorset multiple functioned as a religious item, and it seems most likely that it did, the contemporary sculptors have continued the tradition of the original subject but have not retained the original significance. Arts, Faculty of Art History, Visual Art and Theory, Department of Graduate