LEADER 03537nam  2200697Ia 450 
001 9910782067203321
005 20230912134139.0
010   $a1-282-85961-7
010   $a9786612859618
010   $a0-7735-6960-X
024 7 $a10.1515/9780773569607
035   $a(CKB)1000000000521222
035   $a(SSID)ssj0000279370
035   $a(PQKBManifestationID)11241604
035   $a(PQKBTitleCode)TC0000279370
035   $a(PQKBWorkID)10260040
035   $a(PQKB)10434451
035   $a(CaPaEBR)400447
035   $a(CaBNvSL)jme00326202 
035   $a(Au-PeEL)EBL3331481
035   $a(CaPaEBR)ebr10147063
035   $a(CaONFJC)MIL285961
035   $a(OCoLC)929121801
035   $a(DE-B1597)656349
035   $a(DE-B1597)9780773569607
035   $a(VaAlCD)20.500.12592/89qwcj
035   $a(schport)gibson_crkn/2009-12-01/1/400447
035   $a(MiAaPQ)EBC3331481
035   $a(MiAaPQ)EBC3245908
035   $a(EXLCZ)991000000000521222
100   $a20010503d2001      uy             0
101 0 $aeng
135   $aurcn|||||||||
181   $ctxt
182   $cc
183   $acr
200 10$aFaces in the forest$b[electronic resource] $eFirst Nations art created on living trees /$fMichael D. Blackstock
210   $aMontreal ;$aIthaca $cMcGill-Queen's University Press$dc2001
215   $axxxii, 224 p. $cill., map ;$d24 cm
300   $aIncludes index.
311   $a0-7735-2256-5 
320   $aIncludes bibliographical references (p. [205]-218) and index.
327   $tFront Matter -- $tContents -- $tFigures -- $tPrologue -- $tForeword -- $tPreface -- $tAcknowledgments -- $tThe Long Way Around Is Closer to Home -- $tPreparing for the Journey -- $tThe Journey -- $tCampfire Reflections on the Journey -- $tAppendix: Comparison of Art History and Anthropological Research Methods -- $tNotes -- $tReferences -- $tIndex
330   $aIn Faces in the Forest Michael Blackstock, a forester and an artist, takes us into the sacred forest, revealing the mysteries of carvings, paintings, and writings done on living trees by First Nations people. Blackstock details this rare art form through oral histories related by the Elders, blending spiritual and academic perspectives on Native art, cultural geography, and traditional ecological knowledge. Faces in the Forest begins with a review of First Nations cosmology and the historical references to tree art. Blackstock then takes us on a metaphorical journey along the remnants of trading and trapping trails to tree art sites in the Gitxsan, Nisga'a, Tlingit, Carrier, and Dene traditional territories, before concluding with reflections on the function and meaning of tree art, its role within First Nations cosmology, and the need for greater respect for all of our natural resources. This fascinating study of a haunting and little-known cultural phenomenon helps us to see our forests with new eyes.
606   $aIndian art$zBritish Columbia
606   $aIndian art$zYukon
606   $aIndians of North America$zBritish Columbia$xReligion
606   $aIndians of North America$zYukon$xReligion
615  0$aIndian art
615  0$aIndian art
615  0$aIndians of North America$xReligion.
615  0$aIndians of North America$xReligion.
676   $a704.03/970711
700   $aBlackstock$b Michael D.$f1961-$01512908
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910782067203321
996   $aFaces in the forest$93747105
997   $aUNINA