Among the conventional pictures of birds on Sikyatki pottery some are
shown as seen from above, or dorsally, others from below, or ventrally,
and still others laterally. These pictures sometimes become so
conventionalized that it is difficult to identify the parts represented,
as will appear from illustrations to follow.
[Illustration: FIG. 28.—Dorsal view of a bird.]
[Illustration: FIG. 29.—Bird figure, two halves restored to natural
position.]
Figure 28 represents a bird design in which three parallel bands
representing tail feathers of a well-marked type hang between two curved
extensions that occupy the relative position of wings. In the angles near
the attachment of these tail feathers there are two globular enlargements
which occur also in other pictures. The extremity of each winglike
crescent is spirally curved inward. Two semicircular figures representing
rain clouds are surmounted by two parallel lines and a heavy, solid band,
appearing at the proximal end of the tail in the position where the body
should end, as in other figures where the rain-cloud symbols are much
more complex.
The two drawings shown in figure 29 are the two halves of a single figure
cut along its medial line. One of these halves is reversed in such a
way that corresponding parts are found on the same side. Viewing these
two parts in this position, we can readily identify various organs of a
highly conventionalized bird whose wings are represented by a curved body
terminating in a spiral, the body decorated with rain-cloud figures and
the bowl with conventionalized figures. This is the only figure showing
the distortions and reversions of the two halves of the bird’s body and
appendages.
Homologous parts are recognizable also in the bird design shown in figure
30, but in this picture the size of the wings is greatly reduced, each
consisting merely of two feathers. The rectangular body bears a single
large terraced or rectangular rain-cloud symbol, three semicircular
figures, and two triangles. Two tail feathers and two posterior
extensions of the body, one on each side, are shown. There are three
parallel lines on each side of these posterior extensions. In a bird
design, figure 31, the body is decorated with four triangular rain clouds
and the wings are extended. The tail has six feathers with a lateral
extension on each side. The two detached figures associated with this
bird design possibly were intended to represent the shrines of these
birds.
[Illustration: FIG. 30.—Dorsal view of a bird.]
[Illustration: FIG. 31.—Bird figure.]
The curved appendages are spreading in figure 32, and at their point of
junction with the body arises a typical feather symbol. The body has
four solid semicircular figures, possibly representing rain clouds,
and a single feather on the top of the head. Organs corresponding to
wings, body, and tail are traceable, but they are somewhat modified in
comparison with the forms already considered. This design is partly
surrounded by a band to which two star designs are attached.
We find all the parts or organs associated with the bird designs already
described represented in figure 33, but the details of the symbolism
are more elaborated than in any of the preceding. Here the wings are
bent inward, while the feathers have taken more angular forms. The head
is rectangular, bearing representations of two rain clouds just above
the wings, while two others appear below. These have the same form as
the cloud symbols shown in figure 20. Although this drawing is far from
being a realistic representation of a bird, the presence of symbols
characteristic of certain avian features leaves no doubt that a bird was
intended.
In figure 34 is shown a Sikyatki bird figure still further
conventionalized, but the parts are depicted in such manner as to make
the identification as a bird practically certain. Head, body, wings, and
tail are elaborately represented. The head is semicircular and surmounted
by a headdress with three vertical feathers. The wings are large, each
terminating in two symbols representing the feathers,[16] with pointed
distal extremities. The tail feathers have rounded extremities and
are three in number. On each side of the feathers of the headdress,
wings, and tail hang figures of unknown meaning. This is one of the most
instructive bird figures in the collection from Sikyatki.
[Illustration: FIG. 32.—Bird figure.]
[Illustration: FIG. 33.—Bird figure.]
[Illustration: FIG. 34.—Bird figure.]
[Illustration: FIG. 35.—Bird figure. (Thunderbird.)]
Figure 35 represents a very elaborate figure of a bird, readily
comparable with the last mentioned, from which it differs in certain
particulars. This bird design is replete with symbolism and may be
regarded as one of the most instructive pictures that has come to us from
the ancient Hopi. The view is from the back, the legs being much reduced
in size, the claws alone being represented at each upper corner of the
body directly under the attachment of the wings. The beak is invisible,
but an elaborate headdress,[17] in which tail feathers are conspicuous,
is a prominent feature. The form of the tail and wing feathers of this
bird is practically the same as the last, except that they are more
elaborately drawn. Each wing has two feathers, and three others form the
tail. The arrow points projecting from beneath the extremities of the
wing feathers are possibly lightning symbols. Each is crossed by two bars
in the same manner as the tongue projecting from the mouth of the serpent
shown in figure 23, which is also a lightning symbol.
[Illustration: FIG. 36.—Bird figure.]
[Illustration: FIG. 37.—Highly conventionalized figure of bird from
dorsal side.]
The design illustrated in figure 36 represents a bird, as seen from the
back, with outstretched wings, recalling the lateral view of a bird shown
in figure 54 in having smaller bird figures attached to the tips of the
wings. The place of attachment of the wings to the body is embellished
with crosshatched lines and stepped figures, recalling the rain-cloud
symbols. The head is rectangular, destitute of a beak, inclosing two
square figures with short parallel lines, representing falling rain,
projecting from the upper side. On one side of the head is a semicircular
design. The tail has three feathers, the two on the sides being broader
than the one in the middle. These feathers are without markings, but
the end of the body from which they depend is ornamented with stepped
figures surmounted by two horizontal parallel lines and two triangles.
In the background, at each side of the body, there are dotted circles,
suggesting flowers, a feature often accompanying designs representing
butterflies or moths.
In figure 37 is shown a highly conventionalized dorsal view of a bird,
with sickle-formed wings slightly extended, seven pointed tail feathers
with lateral appendages, and a rectangular head with three semicircular
rain-cloud figures. The globular enlargement at the base of the wings in
one instance is accompanied by a fan-shaped figure.
[Illustration: FIG. 38.—Conventional figure of a bird.]
The design shown in figure 38 is regarded as a highly conventionalized
bird symbol, each wing being represented by a curved pendant, to the
extremities of which feathers are attached. The body is rectangular and
decorated with a median horizontal white band continued above and below
into black lateral triangles which possibly may represent feathers, and
flanked triangular white areas on each side.
In figure 39 the design has been so greatly conventionalized that almost
all resemblance to a bird has been lost. The wings are represented
by simple terraces, the body by a rectangular figure, and the head
terminates in three points. It is possible that the limit of bird
conventionalization has been reached in this variant, and the difficulty
of identification of organs is correspondingly great.
[Illustration: FIG. 39.—Conventional figure of a bird.]
[Illustration: FIG. 40.—Conventional figure of a bird.]
[Illustration: FIG. 41.—Conventional figure of a bird.]
[Illustration: FIG. 42.—Conventional figure of a bird.]
The design shown in figure 40 would perhaps more logically fall within
the series of circular figures, identified as sun emblems, elsewhere
considered, except for the extensions representing wings and tail. This
is mentioned as one of the instances where organs of birds are combined
with a circle to represent the Sun god.
Figure 41 resembles figure 40 in some essential points and may also be
considered in connection with sun emblems. On account of the presence of
feathers it is here included among the bird designs.
Figure 42 exhibits an exceptional bird form as viewed from the rear.[18]
Wings, body, tail, and possibly the head, are recognized after some study.