Ledger art

Ledger art is narrative drawing or painting on paper or cloth, predominantly practiced by Plains Indians but also from the Indigenous peoples of the Plateau and Great Basin. Ledger art flourished primarily from the 1860s to the 1920s. A revival of ledger art began in the 1960s and 1970s. The term comes from the accounting ledger books that were a common source of paper for Plains Indians during the late 19th century.

Battle exploits were the most frequently represented themes in ledger art. Many ledger artists documented the rapidly changing environment by portraying new technologies such as trains, as well as encounters with European Americans and American soldiers. Other themes such as religious practices, hunting, and courtship were also subjects. Many ledger artists worked together with ethnologists, to document cultural information such as shield and tipi designs, winter counts, dances and regalia.

Ledger art evolved from Plains hide painting. Among Plains tribes, women have historically painted abstract geometrical designs, such as those found in parfleches, whereas men paint representational designs. The men's designs were often heraldic devices or visions painted on shields, tipis, shirts, leggings, or robes. Before the Plains tribes were forced to live on reservations in the 1870s, men generally painted personal feats in battle or hunting. Plains ledger art depicted communally acknowledged events of valor and tribal importance in order to gain status for the individuals who participated in them, and their band and kin. Plains pictorial art emphasizes narrative action and eliminates unnecessary detail or backgrounds. Figures tended to be drawn in hard outlines and filled with solid fields of color.

These narrative works were all historically painted on animal hides – particularly buffalo hides. When buffalo became scarce after the US federal government's eradication programs, Plains artists began painting and drawing on paper, canvas, and muslin.

Battle exploits dominated ledger art. Other themes such as hunting, courtship, and religious practices were common subjects. Ledger artists also documented their rapidly changing environment by portraying encroaching European Americans and new technologies such as trains and cameras. Many ledger artists worked with ethnologists, by documenting shield and tipi designs, ethnobotanical information, winter counts, dance customs and regalia, and other cultural information. Dreams and visions inspired ledger art just as they had inspired earlier hide paintings.

The artists creating ledger art today often reference pre-reservation lifeways, historical transitions, and social commentary. They use this style to illustrate cultural continuity between historical and contemporary Native life.

An increasing supply of ledger books and other paper came from traders, government agents, missionaries, and military officers. With these came pencils, ink fountain pens, crayons, and watercolor paints. These new tools allowed for greater detail and experimentation than the earlier tools, such as bone or wood styli dipped in mineral pigments, had. The compact ledger books and pencils were highly portable, making them ideal for nomadic lifestyles.

The creation of ledger art at times involved communal authorship, with more than one artist contributing to an individual drawing, and several artists working within a specific ledger book. Many of the earlier ledger book drawings contained several signature glyphs, suggesting shared authorship. Examples of shared authorship are found in the Dog Soldiers ledgers, in which many of the drawings attributed to Bear with Feathers indicate that he drew the human figures, but another artist drew the horses. In 1877, a Northern Arapaho man named Friday, ally of the Northern Cheyenne, described communal drawing to Army Lt. John G. Bourke, stating that it was "extremely common" for close friends to draw in each other's books.