The appearance during the first millennium A.D. of small, exquisitely carved artifacts of walrus ivory in the Bering Strait region marks the beginning of an extraordinary florescence in the art and culture of North America. The discovery in the 1930s and 1940s of world-class carvings of animals, mythical beasts, shape-shifting creatures, masks, and human figurines astounded scholars and excited collectors. Nevertheless, the extraordinary objects that belong to this fascinating, sometimes frightening, world of hunting-related art remain largely unknown. Gifts from the Ancestors examines ancient ivories from the coast of Bering Strait, western Alaska, and the islands in between--illuminating their sophisticated formal aesthetic, cultural complexity, and individual histories. Many of the pieces discussed are from recent Russian excavations and are presented here for the first time in English; others are from private collections not usually open to the public. The essays, written by an international group of scholars, adopt a refreshing interdisciplinary approach that gives voice to the various competing, and now sometimes cooperating, stakeholders, including Native groups, museums, archaeologists, art historians, art dealers, and private collectors.

This book introduces readers to the belief and symbolism present in the prehistoric art of the Bering Strait region. For about a century, the archaeology of this area has mainly focused on material, economic, and technological perspectives, leaving studies of prehistoric spirituality, religion, and cosmology to be under-conceptualized. This text questions the nature of materiality, and the relationship between it and spirituality. It employs an analytical and methodological approach located within the frameworks of practice theory and animist ontologies to open up thought-provoking avenues for interpretive possibility. This book also provides new knowledge about the prehistoric material culture of ancient Inuit people, and offers an assessment of contemporary archaeological theories, such as cognitive archaeology, structural archaeology, and shamanism theory, in order to examine the reliability of these theories in the studies of prehistoric art. According to the ontological trend which has constituted a powerful challenge to traditional nature/culture and body/mind dichotomies, this book reconsiders prehistoric Inuit cultures, providing an analysis of therianthropic motifs on prehistoric ivories to explore potential shamanism within ontological and cosmological structures.

Archaeological digs have turned up sculptures in Inuit lands that are thousands of years old, but "Inuit art" as it is known today only dates back to the beginning of the 1900s. Early art was traditionally produced from soft materials such as whalebone, and tools and objects were also fashioned out of stone, bone, and ivory because these materials were readily available. The Inuit people are known not just for their sculpture but for their graphic art as well, the most prominent forms being lithographs and stonecuts. This work affords easy access to information to those interested in any type of Inuit art. There are annotated entries on over 3,761 articles, books, catalogues, government documents, and other publications.

On the edge of the Arctic Ocean, above the Arctic Circle, the prehistoric settlements at Point Hope, Alaska, represent a truly remarkable accomplishment in human biological and cultural adaptations. Presenting a set of anthropological analyses on the human skeletal remains and cultural material from the Ipiutak and Tigara archaeological sites, The Foragers of Point Hope sheds new light on the excavations from 1939–41, which provided one of the largest sets of combined biological and cultural materials of northern latitude peoples in the world. A range of material items indicated successful human foraging strategies in this harsh Arctic environment. They also yielded enigmatic artifacts indicative of complex human cultural life filled with dense ritual and artistic expression. These remnants of past human activity contribute to a crucial understanding of past foraging lifeways and offer important insights into the human condition at the extreme edges of the globe.

The North American Arctic was one of the last regions on Earth to be settled by humans, due to its extreme climate, limited range of resources, and remoteness from populated areas. Despite these factors, it holds a complex and lengthy history relating to Inuit, Iñupiat, Inuvialuit, Yup'ik and Aleut peoples and their ancestors. The artifacts, dwellings, and food remains of these ancient peoples are remarkably well-preserved due to cold temperatures and permafrost, allowing archaeologists to reconstruct their lifeways with great accuracy. Furthermore, the combination of modern Elders' traditional knowledge with the region's high resolution ethnographic record allows past peoples' lives to be reconstructed to a level simply not possible elsewhere. Combined, these factors yield an archaeological record of global significance--the Arctic provides ideal case studies relating to issues as diverse as the impacts of climate change on human societies, the complex process of interaction between indigenous peoples and Europeans, and the dynamic relationships between environment, economy, social organization, and ideology in hunter-gatherer societies. In the The Oxford Handbook of the Prehistoric Arctic, each arctic cultural tradition is described in detail, with up-to-date coverage of recent interpretations of all aspects of their lifeways. Additional chapters cover broad themes applicable to the full range of arctic cultures, such as trade, stone tool technology, ancient DNA research, and the relationship between archaeology and modern arctic communities. The resulting volume, written by the region's leading researchers, contains by far the most comprehensive coverage of arctic archaeology ever assembled.

In 1954, eager buyers lined up three abreast for over half a block to get into the Canadian Handicrafts Guild in Montreal where, once inside, they wrestled and argued to purchase stone sculptures carved by Inuit artists. In a short span, interest in Inuit carving became a worldwide phenomenon and a major source of income for the Inuit. Their sculptures, tapestries and prints later became the unofficial national art of Canada, gracing homes, corporate offices, postage stamps and international art showcases. This is the story of how Inuit art came to be regarded as some of the best Indigenous art of the twentieth century. James Houston, an artist as well as a brilliant raconteur and lecturer, was unquestionably instrumental in its development. His enthralling Arctic stories were a gift to journalists, but his inconsistencies became a major hurdle for historians. This book portrays the unusual alliance between James Houston and early Inuit art enthusiasts, the Canadian Handicrafts Guild and the Canadian Department of Northern Affairs. Through painstaking research, it presents their adventures, management, concerns and successes.

Figurines dating from prehistory have been found across the world but have never before been considered globally. The Oxford Handbook of Prehistoric Figurines is the first book to offer a comparative survey of this kind, bringing together approaches from across the landscape of contemporary research into a definitive resource in the field. The volume is comprehensive, authoritative, and accessible, with dedicated and fully illustrated chapters covering figurines from the Americas, Europe, Africa, Asia, and Australasia and the Pacific laid out by geographical location and written by the foremost scholars in figurine studies; wherever prehistoric figurines are found they have been expertly described and examined in relation to their subject matter, form, function, context, chronology, meaning, and interpretation. Specific themes that are discussed by contributors include, for example, theories of figurine interpretation, meaning in processes and contexts of figurine production, use, destruction and disposal, and the cognitive and social implications of representation. Chronologically, the coverage ranges from the Middle Palaeolithic through to areas and periods where an absence of historical sources renders figurines 'prehistoric' even though they might have been produced in the mid-2nd millennium AD, as in parts of sub-Saharan Africa. The result is a synthesis of invaluable insights into past thinking on the human body, gender, identity, and how the figurines might have been used, either practically, ritually, or even playfully.