< Back

September, 2025

August, 2025

July, 2025

June, 2025

May, 2025

April, 2025

March, 2025

February, 2025

January, 2025

December, 2024

November, 2024

October, 2024

September, 2024

August, 2024

July, 2024

June, 2024

May, 2024

April, 2024

March, 2024

February, 2024

January, 2024

December, 2023

November, 2023

October, 2023

September, 2023

August, 2023

July, 2023

June, 2023

May, 2023

April, 2023

March, 2023

February, 2023

January, 2023

December, 2022

November, 2022

October, 2022

September, 2022

August, 2022

July, 2022

June, 2022

May, 2022

April, 2022

March, 2022

February, 2022

January, 2022

December, 2021

November, 2021

October, 2021

September, 2021

August, 2021

July, 2021

June, 2021

May, 2021

April, 2021

March, 2021

February, 2021

January, 2021

December, 2020

November, 2020

October, 2020

August, 2020

July, 2020

June, 2020

May, 2020

April, 2020

March, 2020

February, 2020

January, 2020

December, 2019

November, 2019

October, 2019

September, 2019

August, 2019

July, 2019

June, 2019

May, 2019

April, 2019

March, 2019

February, 2019

January, 2019

December, 2018

October, 2018

September, 2018

August, 2018

May, 2018

April, 2018

March, 2018

February, 2018

January, 2018

December, 2017

November, 2017

October, 2017

September, 2017

August, 2017

June, 2017

May, 2017

April, 2017

March, 2017

February, 2017

January, 2017

November, 2016

October, 2016

July, 2016

May, 2016

April, 2016

January, 2016

December, 2015

October, 2015

September, 2015

May, 2015

December, 2014

November, 2014

December, 2013

August, 2013

May, 2013

April, 2013

March, 2013

February, 2013

September, 2011

August, 2011

July, 2011

June, 2011

May, 2011

April, 2011

March, 2011

February, 2011

Preston Singletary’s Coppers

1st May 2013

The artwork of Preston Singletary is rich with cultural symbolism. He is often asked about the different forms and symbols used in the pieces he makes, so we are starting a blog series that will help explain some of the artistic, spiritual, historical, and anthropological meanings behind some of Preston’s most recognizable works.

For our first post, we will look at the Tináa, or Copper Shield form. Preston has used it several times in various works throughout the years. He references it as an item of clan treasure and symbolic wealth.

According to anthropologists, the copper shield form, or tináa, is ancient and possibly Asiatic in origin (dating from before the peoples now known as Native Americans crossed the land bridge more than 12,000 years ago). They symbolized the wealth of the clan, both due to the monetary value of the copper and other supernatural meanings attributed to copper as it occurs in nature. In many myths, the discovery of copper was tantamount to an encounter with a supernatural being. Although copper was historically used only by a chief, myths sometimes portray the discoverer of copper as low in status, with their status rising when they find it. The discovery of copper not only gives the finder tangible evidence of contact with the supernatural, but also manifests the element of luck, which has its own magical connotations. The discovery of copper in its natural state ensured wealth. Wealth was considered the outward manifestation of power, which was believed to be supernaturally endowed or acquired.

From Northwest Tribal Arts:

The "Copper" was used by the First Nations people as a form of money and wealth. It was made out of "Native" copper which was found in the land where they lived, and superficially resembled a shield. Considered very rare and hard to obtain, raw copper was traded from the Athabaskan Indians in the Interior Plains, or from the white man in later times.

Coppers were beaten into shape and usually painted or engraved with traditional designs. Most Coppers were fairly large, often 2 to 3 feet tall and a foot across.

One of the most interesting aspects of the Copper is that they were given names so that their worth and heritage could be passed on. A Copper was only worth what it was last traded for, and it could only be traded for a larger amount the next time around. Consequently, some Copper values became highly valuable - worth the total of 1,500 to 2,000 blankets, a couple of war canoes and hundreds of boxes and bowls.

No matter what the original value was the next person who wanted it had to trade more in exchange for it. Only the richest and most powerful could afford the price of an old Copper. Many Coppers were in rather shabby condition as a result of having been used in quarrels between Chiefs.

To the Kwakiutl, the ownership and display of a Copper became an essential for the proper conduct of a marriage or important dance ritual.

A man whose family's honour had been injured by the actions of remarks of another would publicly have a piece cut from a valuable Copper and give the piece to the offender. That person was obligated to cut or "break" a Copper in return. The broken pieces could be brought up and joined into a new Copper or used to replace pieces missing from a "broken" one.

The most valuable Kwakiutl Coppers tend to be rough and patched since they have the longest history and have been broken the most often. Coppers that have been broken have a certain prestige value that is quite independent from their monetary value.

    Sharing: