In a bowl found at old Shongopovi, a ruin inhabited at the same epoch as
Sikyatki, the sun takes the form of a sky bird. In this design the ring
figure is replaced by a bird with wings, tail, and a beak, evidently the
sun bird, hawk, or eagle (pl. 88, _a_).
[Illustration: FIG. 92.—Two circles with figure.]
A theoretical interpretation of plate 88, _b_, is facilitated by a
comparison of it with the design painted on a bowl from the Wattron
collection, now in the Field Columbian Museum. As this has all the parts
represented in figure 75, the conclusion would naturally be that the
intention of the artist was to represent a bird figure.
Ring or circle shaped figures are found on several bowls from Sikyatki,
and in one case (fig. 92) we find two circles side by side separated by
a rectangular figure. The meaning of these rings and the accompanying
design is not known. Concentric circles diametrically accompanied with
two figures, one with a head and two lateral feathers, the other with the
form of a hash-knife figure, are shown in figure 93.
In figure 94 the appendages of the ring design or sun emblem is much more
complicated than any of the preceding. Each of the four quadrants has
two appendages, a cluster with two feathers, and a curved body with a
sickle-shaped extension, the whole giving a swastika-like appearance to
the design. The interior of the circle is likewise complicated, showing a
structure difficult to interpret. From comparisons with preceding figures
this is likewise regarded as a sun emblem.[38]
[Illustration: FIG. 93.—Sun with feathers.]
[Illustration: FIG. 94.—Sun symbol.]
[Illustration: FIG. 95.—Ring with appended feathers.]
[Illustration: FIG. 96.—Ring figure with legs and appended feathers.]
The ring or circle shown in figure 95 hangs from a band that may be
likened to the sky-band of previous description.[39] A triangle[40] is
attached to the upper side of this band, while appended to the ring
itself there is a featherlike object corresponding to a bird’s tail and
wing. This figure is unique in the Sikyatki collection of ancient Hopi
pictography.
In figure 96 we find a leg appended to the lower side of the ring
balanced by three wing feathers above or on the opposite side, two
curved or crescentic extensions projecting from the rear, diametrically
opposite which arises a curved body (head) with terminating sickle-shaped
prolongation. This figure may be considered a bird design, having the
tail twisted from a lateral to a vertical position and the wing raised
from the body.
[Illustration: FIG. 97.—Sun emblem with appended feathers.]
In figure 97 we find a similar ring still further modified, the
appendages to it being somewhat different. The ring is here broader than
the last, inclosing an area crossed by two lines forming a cross, with
short parallel lines at the ends of each arm. There is a head showing a
circular face with dots indicating eyes and mouth. The head bears a crest
of feathers between two horns. Here we have in place of the appendage
to the lower side an elongated curved projection extending to the left,
balanced by a short, stumpy, curved appendage on the right, while
between these appendages hang four parallel lines suggesting the highly
conventional feathers of a tail. The horns with the crest of feathers
between them recall the crest of the Sun god, of the Kachina clan,
called Tunwup, a Sky god who flogs the children of modern Walpi.
[Illustration: FIG. 98.—Sun symbol.]
[Illustration: FIG. 99.—Sun symbol.]
The ring design in figure 98 has a bunch of three feathers in each
quadrant, recalling the feathers of a sun emblem so well shown with other
kinds of feathers in plate 76, _b_.
In figure 99 we have a circle with four appended bifurcated geometrical
extensions projecting outward on the periphery, and recalling featherless
tails of birds. This is also a highly conventionalized sun emblem reduced
to a geometrical figure.
In connection with all these circular figures may be considered that
shown in figure 92, the form of which is highly suggestive. In the
various modifications above mentioned we detect two elements, the ring
and its peripheral appendages, interpreted as feathers, head, feet,
and other bird organs. Sometimes the ring predominates, sometimes the
feathers, and sometimes a bird figure replaces all, the ring being lost
or reduced in size. This variation is primitive and quite consistent with
the Pueblo conceptions and analogies known to occur in Hopi ceremonial
paraphernalia. This variation illustrates what is elsewhere said about
the influence of the magic power on the pictorial art of Hopi.[41]
The sun, to the Hopi mind, is likewise represented by a bird, or a
compound of both becomes a Sky-god emblem; the horned serpent is the
servant of the Sky god.
We find among the modern Hopi several disks with markings and decorations
of such a character that they are identified as representations of the
sun. One of these is worn by the leader of the kachinas in a ceremony
called the Powamû, an elaborate rite, the purpose of which is to purify
from evil influences. This Sun god[42] is called Ahül, and the symbolism
of his mask, especially feathers attached to the head, suggests some of
the Sikyatki designs considered above.