The Navajo squash blossom design is one of the most identifiable Southwestern jewelry creations. It was originally taken from a Spanish pomegranate motif and worn as jewelry in Navajo traditional dress, though it has also been used in Hopi and Zuni jewelry styles over the years. The Navajo were strongly influenced by the Spanish in terms of silversmithing – their modern techniques evolved from blacksmithing methods brought to Mexico by the Spanish in the 16th century. The Mexicans, in contact with the Navajo through trade, in turn passed along the skills to make functional and decorative items in silver.

The man thought to be the first Navajo silversmith was named named Atsidi Sani (Old Smith). He first learned the art of blacksmithing from a Mexico craftsman in the 1850s. When the Navajo were forced off their land and moved to Bosque Redondo in a historic event known as the “Long Walk,” Atsidi Sani convinced government agents to provide him with blacksmithing tools. When permitted to return to the Navajo reservation in 1868, Atsidi Sani brought his tools with him. In the 1870s, Atsidi Sani applied his metalworking knowledge to the art of crafting silverwork. Eventually, he encouraged other Navajo men, including his four sons, to learn the skill.

The Navajo were influenced by popular Spanish designs and created their own distinctive variations for members of their tribe or for trade with neighbors. The Spanish influence may be seen in the squash blossom bead, a round silver bead with a flowering end. Spanish gentlemen were known to wear pomegranate designs, the symbol of Granada, Spain, on their clothing. Navajo silversmiths adapted the pomegranate symbol and added another important motif: the crescent moon and star symbol, called “nazhahi” or more commonly “naja,” that was attached to a horse’s bridal and hung on the center of its forehead. The “naja” added to the plain bead necklace in the 1890s became commonly known as the “Squash Blossom.”

Traders who lived on reservations, worked with Native American artists and sold their work, became interested in Navajo silversmithing. They encouraged the artisans in their endeavors and provided them with tools, materials, and in many cases, even a workplace in the trading post. This newfound income and support allowed Navajo silverwork to thrive and evolve. Turquoise stones were added to enhance their creations and soon distinctive Navajo silver jewelry became a popular keepsake among travelers and collectors alike.

There are three parts to the squash blossom bead: the petal, cut into thirds and flattened out; the bulb, a round bead that is sometimes adorned with turquoise; and the shank, a short piece of metal that attaches the bead to the necklace. Squash blossom jewelry often is characterized by heavy silverwork, and traditionally the turquoise came from mines located across Arizona, though it has been mined in many arid deserts across the world. The jewelry is produced by fabricating the metal, a process which involves everything from soldering and texturing to heating and softening of the metal interspersed with hammering designs into it.
The necklace in the Park’s collection was donated by the Crawford Family Trust in memory of Joan Crawford, an avid collector of Navajo and Southwestern jewelry.

Bahti, Mark. “Silver and Stone: Profiles of American Indian Jewelers.” Tucson: Rio Nuevo Publishers, 2008.

Wright, Barton. “The Impact of Tradition on Native American Art.” Arizona Highways Magazine. October 1996. Pg. 12 – 19.