Seal hunter waiting at breathing hole. Hunting and fishing was harder during the winter months because of the thick ice and snow that blanketed the Arctic, but the Inuit were still able to find food. Winters were spent seal hunting and ice fishing.
In the interior regions, they also hunted caribou. Seals were the main source of food during the winter months. Sealskin and blubber were also used to make clothing, and materials for boats, tents, harpoon lines, and fuel for light and heat. Hunters would wait, sometime for hours, at a seal's breathing holes in the ice, then kill them with a harpoon when they came up for a breath.
The Ringed Seal was the most important marine mammal, because they were a year-round source of food for the Inuit. However, the ringed seal hunting patterns did change with the seasons: October-November ice cover starting to freeze : easy to find breathing holes in ice December-March thicker ice and snow cover : harder to find breathing holes April-June: hunted the younger seal pups July-September open water season : when most of the seals are hunted.
Harp Seal. Ringed Seal. Ice Fishing. Fishing was also an important source of food for the Inuit, although it was more important in certain areas than others. They mostly fished for Arctic char, especially during their spring and fall runs. Whitefish and trout were also available. During the summer, the Inuit fished from boats called 'kayaks'.
During the winter, the Inuit fished through holes in the ice. Inuit child fishing with harpoons. Men in kayaks. Netsilik man ice fishing.
The Inuit had several ways of preparing meat and fish. When fishing, the Inuit attached sealskin floats to harpoon heads with lines , which kept the animal close to the surface after being killed.
The Inuit fishing spear has three heads like a trident, and is used in conjunction with nets and fishing lines. The harpoon, often used for seal hunting, can also be used as a fishing tool. The Inuit learned to make warm homes out of snow and ice for the winter. During the summer they would make homes from animal skin stretched over a frame made from driftwood or whalebones.
To build the igloo, the builder takes a deep snowdrift of fine-grained, compact snow and cuts it into blocks with a snow knife, a swordlike instrument originally made of bone but now usually of metal. But while a central fire will always deliver some heat to the ice of the igloo, the ice of the igloo will also tend to lose heat to colder air outside. Snow is used because the air pockets trapped in it make it an insulator. It depends on a bunch of things, including how long you will be staying in the igloo.
Leo: To trade? A small Nanook and made 25 cents. As for topic did I depict? Just only ten years ago pick the drum dancer. Drum beat was loud, over the years had slowly drifted as all the Inuit stuff, but if you listen hard enough and look to the past you will still hear the BEAT. The stories and beliefs are still there but not as load. Sorry to say.
Leo explains that his sources of inspiration are mainly related to the old stories he heard from the past and had experienced himself. His favourite topic consists in depicting human figures linked to Inuit myths and cosmology but also to the daily life from the past. Anyway, she is considered as the Sea Godness among Inuit societies. Following the Inuit cosmology, she is at the origin of the living beings thus, being the most popular figure related to Inuit culture see: Laugrand, F.
Most of his carvings are made out of stone and whale bones; sometimes both materials are used thus, playing with their colours. At first, the silhouette of human figures could seem to be massive maybe because of the general form and the texture of the material but looking at them closer, you would identify many details from furs, clothes and hairs, as well as discreet smiles on faces. Through his carvings, Leo depicts human figures on movement - moving actually means to be alive.
These figures often look up the sky, as if they want to keep connection with their ancestors and spirits. The representation of a mother and her child in sculpture is not a frequent subject in the Inuit art contrary to the qallunaat art not Inuit where this topic appears in the religious as profane representations. This theme remains relatively recent in the history of Inuit art although it is more present in contemporary graphics art than in sculpture.
Formerly, the miniature representation of human characters inunnguaq it Inuktitut only consisted of the making of shaman amulets and toys for the children, in the form of small ivory or bone carvings and skins dolls.
It is only from s with the launch of the artistic programs in the Arctic that raises the stone sculpture of humans. Carved characters in stone are mostly hunter with or without game in small size. This topic is particularly spread, especially since the artists are above all hunters, formerly as today; their artistic creations are drawn from their own experiences. Inuit women also involve in the artistic production: if formerly they dedicated themselves more in drawing, in tapestry or in the clothing making, women of the Arctic communities want to diversify their activities while increasing their incomes and some of them started carving….
Thus, new iconographic topics appear with more feminine subjects such as the maternity and the mother to the child or feminine activities in camps. Sat or up, the mother is represented almost always with her child in the hood of her amauti feminine jacket : only the head of the baby is then visible. It is about an identical very strong symbol because the amauti remains the feminine traditional garment par excellence, in a society where the maternity is very valued.
Nevertheless, the artists who sculpture the theme of the maternity are not exclusively women: Booby Aupaluqtuq, a young sculptor from Inujjuaq, represents this theme among the others. Powered by Shopify. Menu 0. Carving Stones. What kind of stone is it?
Serpentine Even if Inuit carvers do not use only stones as materials for sculptures ivory, caribou antler, or bones may be also carved , the most common stone used by artists is serpentine. Argillite Argillite is a sedimentary rock formed predominantly from a mixture of clay and other minerals.
Other types of Arctic stone used by Inuit carvers include white or pink marble and quartz. Carving in Kangiqliniq Nunavut Carvers such as George Arlook, John Tiktak, Hunter Toonoo, work with steatite and serpentine hard grey stone and black stone as well as ivory and in ceramics; they are widely admired for his sculptural representations of the human form and face and organic shapes.
Carving in Kimmirut Nunavut Local green soapstone and serpentine soapstone are often used by the Kimmirut artists; there is a soapstone quarry located near Kimmirut. Carving in Iglulik Nunavut Artists from Iglulik are famous for their carvings in stone, caribou antler and walrus or caribou bone.
Carving in Panniqtuuq Nunavut Panniqtuuq is home to some of the most accomplished Inuit carvers in the Arctic. Carving in Puvirnituq Nunavik Towards the middle of the XX th century, carving expanded quickly in the Canadian Arctic while the artworks got larger stature, created from soapstone and serpentine, the raw material used for the qulliq -the traditional seal oil lamp.
Carving in Kuujjuaraapik Nunavik The art making such as carving and sewing started to expand when the Hudson's Bay Company opened a trading post called Great Whale River in on the site of today's Kuujjuaraapik.
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