i6A STUDY OF NAVAJO SYMBOLISMFig. i 6. Evil blue star. Fig. 17. Dark world.mountains, the trees, and the shrubs appear tobe blue, therefore, blue and green were consideredthe same color.Color is never an abstraction in <strong>Navajo</strong><strong>symbolism</strong>, and black carries more significancethan other colors because <strong>of</strong> its varying characteristics.Just as we associate black withdeath and with garments <strong>of</strong> mourning, so dothe <strong>Navajo</strong> associate death, the underworld(fig. 17), a dark night, an evil deed, or anyplace <strong>of</strong> danger with this color. Black wind,black lightning, and black hail are all deemeddestructive forces and are pictured wearingblack clothing and masks. Even the feet andhands <strong>of</strong> these characters are black. The greatblack serpent <strong>of</strong> the underworld, the blackGila monster, and the king horned toad areevil forces to be propitiated.All colors are credited with dual characteristics,and black is no exception. We find theblack thunder speaking in the loudest voice,and black clouds bringing the greatest rainfall,which is a much prayed-for blessing. Ablack square in the center <strong>of</strong> a sand paintingmay represent the place <strong>of</strong> emergence intothis world, the dark underneath land, or thehome <strong>of</strong> under-earth dwellers. A black circlein the same position might be a mountain ormountain cave, or it may stand for a deep lakewith a constant supply <strong>of</strong> water.Black mountains usually stand at the northor the east and are considered guards or wallsbetween the <strong>Navajo</strong> and their enemies. Theyare a beneficent power which provides springs,lakes, fire wood, obsidian, herbs for healing,mountain sheep, and other food animals, andthe feathers <strong>of</strong> the magpie.The blanket <strong>of</strong> night is pictured as a mat<strong>of</strong> black sand decorated with patterns <strong>of</strong>white stars and also the sun and the moon.It is outlined in white morning light. Nightby itself is not considered evil unless it iscloudy, windy and moonless; then it is saidto be filled with evil spirits, and the birds,animals, or people who hunt or travel abouton such a night are thought to be their servants.Owls, night hawks, coyotes, rats, mice,crickets, moths, whip-poor-wills, and badgersare classed with witches. If one <strong>of</strong> these isdrawn into a sand painting its color is eitherblack charcoal or gray cedar ashes, both <strong>of</strong>which have been through fire.Gray is a color seldom used in a major sandpainting made for an ordinary healing ceremony,but there are various shorter rites forthe purpose <strong>of</strong> warding <strong>of</strong>f evil influences thatdo use gray ashes to draw symbols. If a <strong>Navajo</strong>has injured a coyote, or a badger, orweasel, or any other night prowler and theact has been followed by an accident or badluck, he concludes that the animal has turnedits evil influence against him and his household.Then a medicine man who knows thecorrect ceremony is hired, and <strong>of</strong>ten he makesa symbol <strong>of</strong> the animal with gray ashes. Smallsketches <strong>of</strong> gray ash are also used in sometrance rites.Red is a color <strong>of</strong> fierce power which is seldom,if ever, used as the main color or background<strong>of</strong> a sand painting. In places where amajor symbol might logically be expected tobe red, there is a compromise <strong>of</strong> mixed colorscalled "ditsos," which appears on the paintingas a dusky pink. This is used in the northin lieu <strong>of</strong> a red thunder bird, it is used as thecolor <strong>of</strong> serrated arrows sent forth by thenorthern lights, for special medicine bundles,and to indicate thunder reverberations. Onlythree ceremonies use this particular color, butin the Mountain Chant it is used in nearly allthe larger paintings. A somewhat lighter shade<strong>of</strong> pink, made from a mixture <strong>of</strong> red and whitesand, is for the masks <strong>of</strong> the mountain godsand indicates tanned weasel hide, also theuppermost star is pink.Red occupies an important place in thecolor <strong>symbolism</strong> <strong>of</strong> all <strong>Navajo</strong> sand paintings,as it represents the life principle <strong>of</strong> animalsand humans as well as immortals. It may alsodesignate the symbol which causes death.Many animals are drawn with a red and blueline from the mouth to the heart (fig. 18),which represents the breath and the circula-
NAVAJO SYMBOLS IN SAND PAINTINGS AND RITUAL OBJECTS: NEWCOMB 17Figs. 18-21. 18. Bear. 19. Squirrel. 20. Guardian rainbow. 21. Mountain god wearing four blankets <strong>of</strong> fire.tion. There is a heart symbol which <strong>of</strong>tenshows four beats <strong>of</strong> the heart. Animal skinsused for medicine bags usually have a redline along the back to show where the knifeslit the hide (fig. 19). Nearly all masks andmany figures are outlined in red to indicatethe life and power within. The figures <strong>of</strong> thesun and the moon are always outlined in red.Red pollen is <strong>of</strong>ten sprinkled on and abovethe sketches <strong>of</strong> animals and birds.On the other hand, a red arrow, or onetipped with red, is the symbol <strong>of</strong> a poisonedpoint which is capable <strong>of</strong> causing death. Whenthe tongue <strong>of</strong> a serpent is yellow it is harmless,but if the tongue is red it represents asnake whose bite is deadly poison. The reddot or cap on a serpent's head shows whereit carries its poison. The red arrow-shapedcaps worn by the Flint Boys and the Warriorsindicate their privilege and power to slay theirenemies. Contact with red wind or a glimpse<strong>of</strong> the red star will bring illness or bad luck.Another role this color plays in the paintingis that <strong>of</strong> guardian. The rainbow (fig. 20)which frequently guards the painting on threesides is red and blue, divided and edged withwhite. The beneficent blue is generally drawnon the inside and the militant red is placed onthe outside. The red and blue sun rays followthe same pattern as do the red and blue spotson wrists, knees, and ankles, and other rainbowspots and arcs used as protection.There are a few sand paintings in whichred is the predominant color and these dealwith fire, the red wind, or the red ant people.A red cross represents a blazing fire, and thelarger the cross in proportion to the rest <strong>of</strong>the painting, the greater the significance <strong>of</strong>the fire. In one painting <strong>of</strong> the MountainChant, the mountain gods each wear fourblankets <strong>of</strong> fire, one above the other, to emphasizethe height <strong>of</strong> the leaping flames on
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REFERENCES
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REFERENCES
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(Continued from inside back cover)P