Essay

For Inuit communities in northern Greenland, particularly the Inughuit (Polar Inuit) of Avanersuaq, polar bear hunting is both a traditional and necessary practice. Sled dogs (referred to as nanorriutit) are essential partners in these expeditions, bred – sometimes with Arctic wolves and specifically trained to track, surround, and even confront polar bears (referred to as nanoq) - an adaptation critical to surviving the High Arctic (Lund Jensen and Sinding, 2023). The polar bear is highly prized for its warm fur and meat, and the Inughuit have developed specialized training methods to prepare their dogs for these hunts. In his paintings, Harald Moltke captures the partnership between hunters and their dogs, emphasizing the distinct role of sled dogs as not just animals but active contributors in these challenging pursuits. His work shows hunters equipped with spears, reflecting a time when firearms were scarce among the Inughuit, requiring hunters and their dogs to engage the bears up close, a method that relies on skill, bravery, and deep mutual trust between hunter and dog.

In contrast, in southern Greenlandic communities like Qeqertarsuaq on Disko Island, encounters with polar bears are less frequent and occur primarily when drifting ice carries bears south from Baffin Bay. Jacob Danielsen’s paintings, particularly those depicting his father’s polar bear hunts, reveal a different approach to handling polar bears. Here, sled dogs are not specifically trained for hunting large prey, but one dog is released from the fan hitch - a type of sled harnessing pattern common in West Greenland - to circle and distract the bear, allowing the hunter to get close enough to deliver a lethal shot. Danielsen’s works emphasize the quick adaptability and readiness required of the qimmeq in this context, illustrating the bravery of the dogs and the improvisational skills of the hunters. His insider perspective reveals the intense and often dangerous dynamics of these encounters, shedding light on the challenges unique to this southern region.

The art of both Moltke and Danielsen serves as a valuable cultural record of Greenland’s diverse hunting traditions, emphasizing the importance of sled dogs within Inuit communities. Danielsen’s work, commissioned by Philip Rosendahl, the Inspector of North Greenland, based in what was formerly known as Godhavn (Qeqertarsuaq, Disko Island), during his tenure as a colonial administrator, aimed to document the varied practices of hunting life. Initially asked for one painting, Danielsen instead created an entire series, portraying the daily rhythms and moments of high tension that defined hunting practices across Greenland’s varied environments. His images show the departure from home with sled dogs, the moments of confrontation with prey, and the return journey, capturing the practical and spiritual significance of these activities. This series, in turn, preserves a cultural heritage that extends beyond hunting itself to encompass the broader relationship between Inuit, their environment, and their animals (Rosendahl, 1942).

During the 1902-1904 Danish Literary Expedition, Moltke accompanied Ludvig Mylius-Erichsen and other explorers along the northwest coast, observing firsthand the lifeways of northern Inuit communities. His depictions of Inughuit emphasize the endurance and unity required to survive in this harsh region, with sled dogs playing a crucial role in daily life. Unlike Danielsen, who painted from a firsthand, internal perspective, Moltke approached Greenlandic life as an outsider, capturing not only the physical but also the symbolic relationship between Inuit and their sled dogs. In his illustrations for Grønland, illustreret Skildring af Den Danske litterære Grønlandsekspedition 1902–1904 (Greenland, an Illustrated Account of the Danish Literary Greenland Expedition 1902–1904) (Erichsen and Moltke, 1906), Moltke provides a view of the High Arctic in which both humans and animals coexist within a shared struggle for survival, resilience, and adaptation.

The artwork of both men provides a contrast in the role of sled dogs in polar bear hunting across Greenland’s regions. In the north, where polar bears are a more constant presence, the dogs are trained to confront the bears directly, acting like hunters themselves. In the south, where encounters are rarer, the dogs serve more as deterrents or distractors, with hunting relying on firearms rather than close combat. These regional differences reveal the adaptability of the Inuit and their animals to varying environments within the Arctic and offer a critical reflection on the ways in which material culture is shaped by environmental demands. Through these images, we can understand how Inuit hunting practices are not monolithic but are instead tailored to meet the specific conditions and challenges of each region.

Furthermore, these visual records take on added significance in the context of contemporary environmental challenges. As climate change disrupts Arctic ecosystems, traditional hunting practices face new threats. Approximately 90% of Greenlanders report experiencing the impacts of climate change, with reductions in sea ice drastically affecting polar bear habitats and hunting grounds. For example, the drift ice that once brought polar bears into hunting range in the Baffin Bay and Melville Bay areas is diminishing, making it increasingly difficult for the Avanersuaq hunters to use their specialized hunting dogs (Jensen, 2024; Minor et al., 2023; Newton et al., 2021; Rantanen et al., 2022). In an environment where the existence of certain animal species and their habitats are changing rapidly, Harald Moltke and Jacob Danielsen’s works act as cultural and historical documents, preserving a record of Greenland’s Inuit communities and their ways of life that may soon be altered or even lost.