the grand canyon of arizona- 第26部分

Indian　Pottery。　Hopi；　Acoma；　Santa　Clara；　Zuni　and；　other　pottery　abounds　side　by　side　with　Navaho　blankets；　war　clubs；　bridles；　quirts；　moccasins；　Sioux　beadwork；　pouches；　and　baby…carrying　baskets。　Not　only　can　the　Navaho　women　be　found　weaving　blankets；　but；　what　comparatively　few　white　persons　have　ever　seen；　in　one　of　the　rooms　is　a　Hopi　man　weaving　a　blanket；　which　I　question　could　be　told　from　a　Navaho；　even　by　an　expert；　unless　he　saw　it　woven。　In　another　room；　the　Hopi's　wife　is　making　pottery。

During　the　day；　time；　when　required；　the　attendants　will　gladly　show　visitors　the　collection　of　rarer　curios　on　the　second　floor。　An　anachronism　introduced　here；　to　meet　modern　requirements；　is　the　indoor　stairway；　but　one　excuses　it　for　the　sake　of　the　interesting；　symbolic；　katchina　figures　that　have　been　painted　on　the　staircase　walls。

Mexican　Antiques。　Here　one　room　is　devoted　to　Mexican　antiques；candlesticks；　crucifixes；　paintings；　tapestry；　bells；　incense…burners；　wooden　plow；　a　model　of　the　ancient　caretta；　chairs；　daggers；　etc。

Alaska　Room。　The　Alaska　Room　contains　models　of　totem　poles；　carvings　on　ivory　and　wood；　boats；　snowshoes；　shields；　baskets　of　several　varieties；　Haida　hats；　etc。

Ancient　Blankets。　The　Old　Blanket　Room　contains　an　assortment　of　the　rarer　and　older　Navaho；　Mexican　and　Chimillo　blankets；　some　of　which　are　in　the　exquisite　old　colors　used　before　modern　aniline　dyes　were　known。　Scattered　about　also　are　some　rare　pieces　of　ancient　pottery　in　black　and　white；　dug　out　from　ruins　in　Arizona　and　New　Mexico。

Hopi　Altar　Room。　By　far　the　most　interesting　room　in　the　house　to　the　thoughtful　inquirer　is　the　Hopi　Altar　Room。　Here　are　two　reproductions　of　altars　made　by　the　ethnologist；　Rev。　H。　R。　Voth；　who　was　led　to　his　study　of　the　Hopi　while　a　Mennonite　missionary　to　the　Oraibi　pueblo。　These　altars　are　thus　described　by　him：

Tao　Altar。　One　of　the　fraternities　among　the　Hopi　Indians　of　Arizona　is　the　Tao　or　Singer　Society。　Such　altars　are　erected　in　connection　with　the　sacred　and　secret　ceremonies　in　underground　rooms　or　kivas　in　the　different　Hopi　villages。　Around　these　altars　the　priests　arrange　themselves；　squatting　on　the　floor；　during　their　ceremonies；　and　engage　in　singing；　sprinkling　of　sacred　meal；　smoking；　asperging　of　sacred　water；　etc。　Here　they　prepare　their　prayer　offerings；　utter　their　prayers；　and　practise　numerous　other　religious　rites。　Of　the　slabs　and　sticks　in　the　ridge　of　the　altar　those　of　a　zigzag　form　represent　lightning；　which　is　supposed　to　emanate　from　clouds；　which　are　represented　by　the　terraced　parts　on　top　of　the　slabs。　The　flat　slabs　symbolize　stalks　of　corn；　with　ears　of　corn　carved　on　them。　The　thin　sticks　are　supposed　to　represent　the　departed　members　of　the　society。　In　front　of　the　slabs　are　seen　four　bahos　or　prayer　sticks；　composed　of　two　short　sticks；　a　turkey　feather；　two　kinds　of　herbs；　and　corn…husk　pocket　containing　sacred　meal　and　honey。　The　object　to　the　right；　and　in　front　of　the　ridge；　is　the　tipone　or　sacred　badge　of　the　society。　It　usually　consists　of　an　ear　of　corn；　wound　with　cotton　twine；　and　having　on　its　top　feathers　of　different　birds；　to　its　sides　are　tied　sundry　pieces　of　shell；　turquoise；　and　other　objects。

In　front　of　the　altar　stands　a　medicine　bowl；　which　is　surrounded　by　six　ears　of　corn；a　yellow　one　on　the　north　side；　a　dark　bluish　one　on　the　west　side；　a　red　one　south；　a　white　one　east；　a　black　one　on　the　northeast　（representing　above）；　and　sweet　corn　ear　on　the　southwest　（representing　below）。　From　this　bowl；　sacred　water　is　asperged；　and　from　a　meal　tray　sacred　meal　is　sprinkled　on　the　altar　during　ceremonies。

Powamu　Altar。　In　the　centre　of　the　Powamu　Altar　is　the　framework。　The　four　scenic　circles　on　and　over　the　head…piece　represent　clouds；　and　the　symbol　on　the　uprights　blossoms；　clouds；　falling　rain；　etc。　The　larger　of　the　idols　within　the　framework　represents　Chowilawn；　the　God　of　Germination　and　Growth；　the　smaller　one；　Sotukonangwun；　the　God　of　Thunder；　and　the　small；　black　figurine　to　the　left　of　the　framework　is　the　representation　of　Pookong；　the　God　of　War。　Between　these　idols　stand　numerous　slabs；　the　zigzag　formed　representing　lightning；　the　straight　ones　stalks　of　corn；　etc。　On　each　side　of　the　altar　proper　stands　a　large　wooden　tablet；　on　which　is　drawn　a　picture　of　the　Hiv　Katchina；　a　personage　that　figures　conspicuously　in　the　ceremony　on　the　sixth　day；　in　which　children　are　initiated　into　the　Katchina　order。　On　this　occasion　masked　and　gorgeously　dressed　men；　who　are　supposed　to　be　represented　by　these　pictures；　flog　these　small　candidates　for　initiation。

In　front　of　the　altar　may　be　seen　a　square；　sand　picture；　containing　cloud　symbols；　prayer　offerings；　blossoms；　etc。　Between　this　sand　mosaic　and　the　altar　proper　are　rattles；　a　medicine　bowl；　ears　of　corn；　meal　trays；　eagle　feathers；　and　other　objects。

The　large　object　at　the　extreme　left；　consisting　of　a　terraced　tablet　at　the　top；　several　zigzag　sticks；　and　a　stand　at　the　bottom；　represents　clouds　and　lightning。　The　tablet　and　also　the　drawing　in　the　upper　part　of　it　represent　clouds；　the　crooked　sticks　lightning；　and　the　two　circular　drawings；　in　the　lower　part　of　the　tablet；　symbolize　blossoms。　The　small　idol　between　two　of　the　sticks　is　a　figurine　of　Chowilawn。

The　symbol　to　the　right　of　the　altar　on　the　back　wall；　consisting　of　several　semicircles；　is　that　of　towering　rain　clouds；　with　two　rays　of　lightning　emanating　upward　from　it。　The　small；　black　lines　on　the　lower　border　represent　rain。　To　the　left　of　the　altar；　on　the　same　wall；　appears　the　typical　Hopi　sun　symbol；　and　on　the　left　side　wall　that　of　the　mythical　water　serpent；　Balolookang。　All　of　these　wall　pictures；　however；　are　not　an　essential　part　of　the　altar。

This　altar；　like　the　one　of　the　Tao　Society；　was　reproduced　by　Mr。　Voth。　One　of　the　subjects　of　his　study　was　this　altar　and　the　various　ceremonies　connected　with　it；　and　while　he　was　making　these　studies　he　succeeded　in　obtaining　the　photographs；　drawings；　measurements；　notes；　etc。；　from　which　he　reproduced　this　elaborate　piece　of　sacred　Hopi　ceremonial　paraphernalia。

Hopi　Door。　The　door　itself　leading　into　this　Altar　Room　is　an　interesting　antique。　It　is　a　real　Hopi　door；　brought　from　Oraibi；　and　supposed　to　be　not　less　than　one　hundred　and　fifty　years　old。　Its　quaint　method　of　swinging；　the　way　it　is　put　together　and　fastened　with　nothing　but　rawhide　thongs；　reveals；　as　few　things　could；　the　interesting　inventions　of　necessity。　Prior　to　their　knowledge　and　use　of　doors；　which　they　undoubtedly　gained　from　the　Mexicans；　their　doorways　were　closed　by　slabs　of　rock；　as　described　in　the　chapter　on　〃The　First　Discoverers　and　Inhabitants　of　the　Grand　Canyon。〃　Those　who　have　read　that　chapter　will　find　many　things　of　especial　interest　in　this　fascinating　house。

Value　of　Hopi　House。　The　Hopi　House　is　in　itself　a　liberal　education　in　the　customs；　arts；　history；　mythology；　religious　ceremonials；　and　industries　of　not　only　one；　but　many　tribes　of　Indians。　It　is　not　only　a　good　business　investment；　but　a　place　of　benefit　to　which　one　should　go　prepared　intelligently　to　study。　Such　an　one　will　come　away　with　a　keen　appreciation　of　the　incomparable　ethnological　advantages　this　building　affords　him；　and　he　will　not　grudge　any　purchase；　however　large；　the　attractiveness　of　the　display　has　led　him　to　indulge　in。

Dances　in　the　Hopi　House。　Every　evening　throughout　the　year；　when　a　sufficient　number　of　visitors　are　present　to　justify　it；　the　Indians　of　the　Hopi　House　give　a　few　brief　dances　and　songs；　which　faintly　suggest　the　style　of　some　of　their　more　elaborate　ceremonials。



CHAPTER　XVI。　Visiting　Indians　At　El　Tovar

It　is　seldom　that　the　traveler　will　find　less　than　three　Indian　tribes　of　distinct　family　represented　at　or　near　El　Tovar。　In　the　Hopi　House；　as　is　shown；　there　are　Hopis　and　Navahos；　and　in　their　camp　near　by；there　will　generally　be　found　a　band　of　Havasupais　from　Havasu　（Cataract）　Canyon；　making　baskets　or　dressing　buckskin。

To　most　people　an　Indian　is　an　Indian；　yet　there　is　such　a　wonderful　difference　between　these　three　peoples；　in　features；　language；　habits；　religion；　social　customs　and　life；　that　a　short　comparison　cannot　fail　to　be　of　interest　and　profit。

The　Hopi　Indian。　The　Hopis　belong　to　the　people　popularly　spoken　of　as　〃pueblos；〃　but　this　name　signifies　nothing　more　than　town　Indians；　as　distinguished　from　the　nomad　or　wandering　tribes。　They　belong　to　the　great　Shoshonean　family；　and　are　a　short；　stocky；　gentle　people；　given　to　agriculture；　sheep　raising；　basketry　and　pottery；　and　a　little　weaving　and　silver　work。

The　Navaho　Race。　The　Navahos；　on　the　other　hand；　are　of　Athabascan　stock；　coming　from　the　north；　and　are　blood　brothers　of　the　Tinnehs　of　Alaska；　and　the　fierce　and　warlike　Apaches　of　Southern　Arizona。　They　are　natural　horsemen；　raising　great　herds　of　their　wiry；　active；　hardy　ponies；　as　well　as　herds　of　sheep　and　goats。　These　are　the　chief　industries　of　their　men；　and　the　women　are　the　most　skilled　blanket…weavers　in　the　world。

The　Havasupais。　The　Havasupais　are　of　still　another　stock。　They　belong　to　the　Yuman　family；　and　are　kin　to　the　Wallapais；　the　Mohaves；　Yumas　and　Cocopahs　o