94 A STUDY OF NAVAJO SYMBOLISMtKWAS=HOft$EFig. 6. Derivation <strong>of</strong> words from pre-Sanskrit.and accompanied by a dawn maiden on eachside and by two Asvins on horses. In the CalcuttaMuseum are three images <strong>of</strong> Surya withone pair <strong>of</strong> arms, and one in a "kudu" (niche).They have one flower in each hand. SwamiOonkarananda <strong>of</strong> Ramakrishna Math, Belur,near Calcutta, said that Surya must have fourarms and seven horses, and two wives, andthat below him there must be a god with acoach who prevents the world from beingburned up with too much light. At Anuradapurain Ceylon is a bas-relief cut in livingrock <strong>of</strong> a warrior with crest, and horse's headat the side, that is reputed to represent Iswara,a pre-Buddhistic Sun God, above a relief <strong>of</strong>elephants and other figures. Temples therefaced East and had four altars. Bands <strong>of</strong> figures<strong>of</strong> fat gods <strong>of</strong> fortune, <strong>of</strong> horses or sacredswans went around the temples, moving insunwise direction, as is the custom in circlingBuddhist temples.Pr<strong>of</strong>essor Chatter jee told me that he believedthe word Asvin to be derived from pre-Sanskrit, as indicated in figure 6. Asvin twinswith similar attributes, and connected withSurya, the Sun, are also known in Persia. DanGopal Mukerji, a Brahman whom I knew inthe United States and consulted about the<strong>Navajo</strong> material which I was collecting, toldme that the <strong>Navajo</strong> word Ethkay-nah-ashiseemed to him to be similar to a Sanskrit wordmeaning "the substance through which Godcreates," and the earthly form "twins that rideon horses."Swami Oonkarananda, after examining my<strong>Navajo</strong> material commented on a variety <strong>of</strong>subjects. He said that the string hand-drillis used to make holy fire; that it is the customto make a Mandala <strong>of</strong> Perusha (Dontso) wheneverthey make Puja (prayer) and to place onit a vessel <strong>of</strong> water containing a mango twigthat has three or five leaves on it; that boysare whipped during their initiation; and thatthere is fire walking in South India. Mandalasare all memorized, and not made into pictures.These mandalas or Rangole patterns are madeby holding a rag soaked in rice liquid in thehand, and letting the liquid run down to earthon the first finger. Swami Oonkarananda feltthat there is a possible connection with theAryans <strong>of</strong> Mesopotamia or Egypt or Sumeriathrough paintings. The mandala pattern isused for meditation with no figures placed init, for the pattern suggests the powers, thecenter is <strong>of</strong>ten Mount Meru, the white innerrings for the initiated (such as Christ), thenext circle for active good people, and thenext for worldly ones. He mentioned thetradition found in the Vedas and also <strong>of</strong>tenin the Mahabarata <strong>of</strong> an expedition to a distantland, where there were "fair daughters<strong>of</strong> serpent kings." He spoke <strong>of</strong> Ardhanariswar,the half male and half female god <strong>of</strong> theVedas.He observed that while in Tibet one heldstones in the hand while praying, in India onerather held two long ritual sticks <strong>of</strong> wood.While pouring butter on a fire with the righthand, it was customary to hold a bunch <strong>of</strong>tied grasses or fifty kinds <strong>of</strong> herbs in the lefthand. This use <strong>of</strong> a bundle <strong>of</strong> herbs which isalso a practice in Zoroastrianism, recalled tome the use <strong>of</strong> bundles <strong>of</strong> herbs in <strong>Navajo</strong>ceremonies, particularly in the rite <strong>of</strong> Wohltrahd,or the untying <strong>of</strong> knots on a sick person.Swami Oonkarananda said that the <strong>Navajo</strong>word Sahanahray, which ends many <strong>Navajo</strong>prayers, was possibly connected with theword Swaha which is said at the end <strong>of</strong> theoblation <strong>of</strong> fire in sacrifice; also that Ethkaynah-ashi(fig. 7) was probably like Stohas inVedic during sacrifice.Pr<strong>of</strong>essor Chatterjee showed me a paintingmade in red on a wall (fig. 8) when his son
NOTES ON CORRESPONDING SYMBOLS: WHEELWRIGHT 952JFig. 8. Design on wall with Perusha on top. Fig. 9.Idealized form <strong>of</strong> man.Fig. 7. Ethkay-nah-ashi figures at bottom.was initiated.on the earth. This painting, with the PurushaSuch paintings used to be madeat the top, is very much like the prehistoricPersian symbol <strong>of</strong> the conventionalized bird<strong>of</strong> the sky, and is identical with the <strong>Navajo</strong>representation <strong>of</strong> Dontso, the Messenger.The Guru Bijay Krishna Chatterjee, after<strong>study</strong>ing the <strong>Navajo</strong> sand painting <strong>of</strong> theCreation, found it absolutely correct and understandable,although he had different interpretationsfrom the <strong>Navajo</strong>. To him Dontsowas Purusha, the symbol <strong>of</strong> the spirit or soul(Logos), which was made under a sacred vessel<strong>of</strong> water during the Puja, or prayer ceremonial.The position with upraised hands <strong>of</strong>this figure is identical with that in Egypt <strong>of</strong>Ka, who is the spirit form <strong>of</strong> existing man or<strong>of</strong> any living substance. To him the rainbowand lightning were sensory and motor activities,the cornstalk equilibrium; the wholepainting; represented development <strong>of</strong> character.The Ethkay-nah-ashi or Asvins representedhealers and, beyond that, the feminineand masculine form <strong>of</strong> the breathing and outbreathing<strong>of</strong> God. By creating all forms <strong>of</strong>Shaktra, leading up to the gunas, or flowers<strong>of</strong> corn, which are the qualities <strong>of</strong> characterdesired, and then up to Hamsa (the swan <strong>of</strong>pure spirit level) at the top <strong>of</strong> the picture,through sensory and motor activities andthrough the corn stalk <strong>of</strong> direct growth orequilibrium, the whole form represented thebody <strong>of</strong> man (fig. 7), with matter passing upthrough form to spirit. He laughed with joyat it. He said that everything was done fourtimes in ceremonies; that from his point <strong>of</strong>view the colors used by the <strong>Navajo</strong> in thispainting were correct, except that they hadsubstituted black for blue.The Guru mentioned the legend in theVedas <strong>of</strong> King Bali to whom God manifestedhimself. God, when asked by King Bali whatHe wanted, said that He wished to put hisfoot (set his seal) on Creation. God put onefoot on the world, one on the spirit, and thenasked King Bali where else to put His foot."On me," said the King, showing his willingnessto be used by God, and was thereuponsent to Amors or Antipolis, to make it alwaysholy. The East Indians think this was America.Swami Nikhilananda <strong>of</strong> the Vedanta Center
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UNIVERSITYOF FLORIDALIBRARIES
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PAPERS OF THE PEABODY MUSEUMVOLUME
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PAPERSOF THEPEABODY MUSEUM OF ARCHA
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PART I: NAVAJO SYMBOLS IN SANDPAINT
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CONTENTSPLATE III. Antlered altar f
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PART I:NAVAJO SYMBOLS IN SAND PAINT
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TOTHE NAVAJO SAND PAINTINGBECOME ac
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A STUDY OF NAVAJO SYMBOLISMa bruise
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A STUDY OF NAVAJO SYMBOLISMsquares
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GREAT POWERS OF EARTH, SKY, WATER,A
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SKY SYMBOLS, STARS AND COMETSA land
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WIND, RAIN, HAIL, CLOUDS, MIST, LIG
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THEBODY PAINTING AND PICTURE WRITIN
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48 A STUDY OF NAVAJO SYMBOLISMtrail
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INTRODUCTIONWHILE doing field work
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travel, education, and contact with
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