HOri CEllEMONIAL TIGMENTS. 4(>7 



nieanlno-s are many. The colors onibloinatic of the regions coiistantl}^ 

 occur ill Hopi paintino- iind present an interesting' phase of their 

 beliefs as set forth by Mr. Stephen. 



The Hopi orientation l)ears no relation to nortli and sonth, but to the points on his 

 liori/A)n whii'ii mark the places of ^junrise and sunset at the summer and winter 

 solstices. He invariably l)egins his ceremonial circuit l)y pointing (1) to the place 

 of sunset at summer solstice, then to (2) the place of sunset at winter solstice, then 

 to (3) the sunrise at winter solstice, and (4) the summer solstice, next to (5) theabove, 

 and (6) the below. 



The names of these directions and their eml)leniatic colors are as follows: 



1. Kwi-ni-wi; yellow, because the anthropomorphic deity who sits there is yellow, 

 wearing a yellow cloud as a mask which covers his head and rests ujion his shoul- 

 ders; a multitude of yellow butterflies constantly flutter liefore the cloud, and yellow 

 corn grows continually in that yellow land. 



Similar i)henomena are manifest at all the other directions, only of diffei-ent colors, 

 thus: 



2. Te-vyiin-a, Blue. 



3. Td-tyiik-a, Red. 



4. Ho-po-ko, White. 



5. Omi, Black. 



6. At-kya-mi, all colors, and here sits the deity regarded as the maker of all life 

 germs. He sits ujion a flowery mound on which grows all vegetation; he is si)eckled 

 with all the colors, as also is his cloud mask, and before it flutter all the butterflies 

 and all the sacred birds. ^ 



The prayer offering-.s called Paho, of most of the ceremoni(\s, are 

 painted green, the color of vegetation, a frequent Hopi supplication 

 being- for abundant crops. One set of the Pahos of the Ninian Katcina 

 ceremony are painted yellow, and are said to be a supplication for 

 flowers. Red is the color of the warrior, who also ru])S his face with 

 powdered charcoal and sprinkles it with micaceous iron ore, when he 

 desires to represent the Twin AVar-Gods. 



The different ceremonies have prescribed uses of certain colors in 

 costume, paraphernalia, and bodily decoration of the priests, and the 

 "dolls" and other representations of the beings of the spirit world 

 are painted in traditional colors.' 



In passing, attention may be called to the ceremonial sand painting 

 of the Hopi and Navajo, where the most beautiful effects ar(> secured 

 by allowing sand in slender streams of different colors to fall from the 

 hand guiding it over the surface to form designs. The blending of 

 the colored sands is soft and harmonious, and the result is a sand 

 mosaic.'' 



With the poor tools and appliances in their reach the skill the 



'A. .M. Stephen, Pigments in Ceremonials of the Hopi, International Folk-Lore 

 Congress, I, p. 261. 



'■^Washington Matthews, The ^fountain Chant, Fifth Annual Report of the Bureau 

 of Ethology, p. 445. 



* James Stevenson, Xavajo Ceremonial of Hasjelti Dailjis, Eighth Annual Report 

 of the Bureau of the Ethnology, p. 2fi0. 



