With reference to the origin of these animal sculptures many writers
appear inclined to the view that they are purely decorative and
ornamental in character, _i.e._, that they are attempts at close
imitations of nature in the sense demanded by high art, and that they
owe their origin to the artistic instinct alone. But there is much in
their general appearance that suggests they may have been totemic in
origin, and that whatever of ornamental character they may possess is of
secondary importance.
With, perhaps, no exceptions, the North American tribes practiced
totemism in one or other of its various forms, and, although it by no
means follows that all the carving and etchings of birds or animals by
these tribes are totems, yet it is undoubtedly true that the totemic
idea is traceable in no small majority of their artistic
representations, whatever their form. As rather favoring the idea of the
totemic meaning of the carvings, it may be pointed out that a
considerable number of the recognizable birds and animals are precisely
the ones known to have been used as totems by many tribes of Indians.
The hawk, heron, woodpecker, crow, beaver, otter, wild cat, squirrel,
rattlesnake, and others, have all figured largely in the totemic
divisions of our North American Indians. Their sacred nature too would
enable us to understand how naturally pipes would be selected as the
medium for totemic representations. It is also known to be a custom
among Indian tribes for individuals to carve out or etch their totems
upon weapons and implements of the more important and highly prized
class, and a variety of ideas, superstitious and other, are associated
with the usage; as, for instance, in the case of weapons of war or
implements of the chase, to impart greater efficiency to them. The
etching would also serve as a mark of ownership, especially where
property of certain kinds was regarded as belonging to the tribe or gens
and not to the individual. Often, indeed, in the latter case the
individual used the totem of his gens instead of the symbol or mark for
his own name.
As a theory to account for the number and character of these animal
carvings the totemic theory is perhaps as tenable as any. The origin and
significance of the carvings may, however, involve many different and
distinct ideas. It is certain that it is a common practice of Indians to
endeavor to perpetuate the image of any strange bird or beast,
especially when seen away from home, and in order that it may be shown
to his friends. As what are deemed the marvellous features of the animal
are almost always greatly exaggerated, it is in this way that many of
the astonishing productions noticeable in savage art have originated.
Among the Esquimaux this habit is very prominent, and many individuals
can show etchings or carvings of birds and animals exhibiting the most
extraordinary characters, which they stoutly aver and doubtless have
come to believe they have actually seen.