The Tusayan ritual : a study of the influence of environment on aboriginal cults / by J. Walter Fewkes.
- Jesse Walter Fewkes
- Date:
- 1896
Licence: Public Domain Mark
Credit: The Tusayan ritual : a study of the influence of environment on aboriginal cults / by J. Walter Fewkes. Source: Wellcome Collection.
25/30 page 697
![representing the forked and the straight the sheet lightning. Two coronets, one on each side of the alter, are worn by two of the chiefs ; and they are made in the form of rain clond symbols, semicircles from i which parallel lines representing falling rain are drawn. Here, there- i fore, we see several rain symbols in prominent places. But the cere- i mony in which this altar is used is primarily one for the growth of colu; ] let us examine the objects in it with that thought in mind. Four effigies or idols between the uprights of the reredos represent the following personages: The one to the right is the goddess of ; growth. She carries in her belt prayer offerings for abundant harvests. At her feet is an effigy of the corn mountain, colored with different colored corn, since all kinds of corn are under her control. In her left hand she has a small jar of holy water, since corn can not grow with¬ out moisture. The figure at her left is tbe patron goddess of the society who celebrate growth ceremonials, the ancestral deified totem of the fraternity. At her left is the corn goddess, since corn is the one cereal whose growth is desired. This figurine bears on her head the symbol of the ear of maize. Ho field of corn may be harvested without the protection of the warrior in a country harassed by enemies, and the fourth effigy represents the god of war, whose effigy naturally has a place on this altar. The white meal which is sprinkled on the heads of all the idols represents the prayers of the faithful, for as each priest approaches the altar she breathes her prayer on sacred meal and scat¬ ters it on the heads of the effigies. These prayers are for a good harvest, a successful crop and abundant rains. There are three objects in front of the images which are the badges of the priests, called the u mothers.” In advance of these, spread on the floor, is an elaborate picture, made of different colored sands, representing on one side the Earth Goddess, and on the other the Watcher, or little War God. Connected with the altar is a bowl with terraced rim, used as a medicine bowl, and a single upright ear of maize with a feather, a kind of standard, which is placed at the pathway of the kiva to warn uninitiated persons not to intrude on the mys¬ teries which are performed about the altar. The influence of arid climatic conditions is shown in the character and intent of symbols. The conventional figure of the rain clouds and falling rain is depicted more than any other on various parapher¬ nalia of worship. It is painted on the altars, drawn in sacred meal on the floor of his sacred rooms, or kivas, embroidered on ceremonial kilts. The priest wears it on his marks and paints it on the body. It is an omnipresent symbol. By a natural connection it is often replaced by figures of animals or plants associated with water. The frog and tadpole appear when the rain is abundant, and for that reason the priest paints the figures of these animals on his medicine bowl, or places effigies of it on the altar. In certain rites he makes clay balls, in which he inserts small twigs,](https://iiif.wellcomecollection.org/image/b30477542_0025.jp2/full/800%2C/0/default.jpg)
