American Indian Symbolism-b

By the first act he returned thanks to the Great Spirit for the preservation of his life during the past year, and for being permitted to be present at this council. By the second, he returned thanks to his Mother, the Earth, for her various productions which had ministered to his sustenance. And by the third, he returned thanks to the Sun for his never-failing light, ever shining upon all." NAVAHO SAND PAINTING. From an original drawing by Hasteen Klah. The Navaho dry or sand paintings are made by sprinkling varicolored ground pigment upon a base of smooth sand. The one here reproduced is encircled by the rainbow goddess, and portrays an episode from the Navaho cosmogony myth. According to Hasteen Klah, the Navaho sand priest who designed this painting, the Navahos do not believe in idolatry, hence they make no images of their gods, but perpetuate only the mental concept of them. Just as the gods draw pictures upon the moving clouds, so the priests make paintings on the sand, and when the purpose of the drawing has been fulfilled it is effaced by a sweep of the hand. According to this informant, the Zuni, Hopi, and Navaho nations had a common genesis; they all came out of the earth and then separated into three nations. The Navahos first emerged about 3,000 years ago at a point now called La Platte Mountain in Colorado. The four mountains sacred to the Navahos are La Platte Mountain, Mount Taylor, Navaho Mountain, and San Francisco Mountain. While these three nations were under the earth four mountain ranges were below with them. The eastern mountains were white, the southern blue, the western yellow, and the northern black. The rise and fall of these mountains caused the alternation of day and night. When the white mountains rose it was day under the earth; when the yellow ones rose, twilight; the black mountains brought night, and the blue, dawn. Seven major deities were recognized by the Navahos, but Hasteen Klah was unable to say whether the Indians related these deities to the planets. Bakochiddy, one of these seven major gods, was white in color with light reddish hair and gray eyes. His father was the sun ray and his mother the daylight. He ascended to heaven and in some respects his life parallels that of Christ. To avenge the kidnapping of his child, Kahothsode, a fish god, caused a great flood to arise. To escape destruction, the Zunis, Hopis, and Navahos ascended to the surface of the earth. The sand painting here reproduced is part of the medicine series prepared far the healing of disease. In the healing ceremony the patient is placed upon the drawing, which is made in a consecrated hogan, and all outsiders excluded. The sacred swastika in the center of the drawing is perhaps the most nearly universal of religious emblems and represents the four corners of the world. The two hunchback god, at the right and left assume their appearance by reason of the great clouds borne upon their backs. In Navaho religious art, male divinities are always shown with circular heads and female divinities with square heads. *** It was necessary for the Indian to secure the red stone for his calumet from the pipestone quarry where in some remote past the Great Spirit had come and, after fashioning with His own hands a great pipe, had smoked it toward the four corners of creation and thus instituted this most sacred ceremony. Scores of Indian tribes--some of them traveling thousands of miles--secured the sacred stone from this single quarry, where the mandate of the Great Spirit had decreed that eternal peace should reign.