Zuni fetishes is a small carving made of various materials by Zuni people. These engravings traditionally serve ceremonial purposes for their creators and depict animals and icons that are inseparable from their culture. As a contemporary American Native art form, they are sold with secular intentions to collectors around the world.
Video Zuni fetishes
Deskripsi tradisional
The main source for academic information about Zuni fetishes is the Second Annual Bureau of Ethnology submitted in 1881 by Frank Hamilton Cushing and posthumously published as Zuni Fetishes in 1966, with some reprints then. Cushing reports that Zuni divides the world into six regions or directions: north, west, south, east, top, and bottom. In the center of each region is a large mountain peak which is a very sacred place. Yellow mountain to the north, blue mountain to the west, red mountain to the south, white mountains to the east, colorful mountains above, and black mountains below.
Each direction is represented by Prey God , or a guardian animal, and is listed by Cushing as follows:
- north - yellow mountain lion,
- west - black bear (represented by blue),
- south - red fox,
- east - white wolf,
- above or multi-color eagle,
- below or below ground - black mole.
Every god of prey is the "keeper and lord" of their territory, with the yellow mountain lion being the sister of all the animals and the lord and keeper of all the regions. Each of these territories contains the command of all guard animals, but the "keeper and master" of a certain area is the oldest brother to all the animals in the region. These guards are considered to have protective and healing powers. They are held by priests from drugs orders as if "in captivity" and act as mediators between the priests and the animals they represent.
The second group of fetish, the God of Predator of Hunting , belonging to the Order of the Hunter, or Society, is given in "prayer songs of Sa-ni-a-kia-kwe" These guard animals are identical to the native area with the exception of the coyote, which replaces the bears, and the wild cat (or the forest cat), replacing the red fox (Cushing, 1994: 20). Sa-ni-a-kia is the rise of the amulet and then the hunter's power (Cushing, 1994: 15).
In addition to the above-mentioned animals, typical Zuni fetishes depict animals such as wolves, badgers, bears, mountain lions, eagles, moles, frogs, deer, rams, and others. Modern sculptors produce images of non-traditional subjects - dinosaurs, for example - or some traditional but more integral insects and reptiles with petroglyphs, symbolism, and design patterns in pottery, dragonflies, butterflies, water spiders and lizards for example (see Bunzel, 1929; Young, 1988). Other animals, like horses, are carved in the past especially for trade. Zuni is not a horse culture, but their horse carving is considered by the culture of horses in the north as having great power to protect their livestock (Cushing, 1994, Introduction to Bahti).
Maps Zuni fetishes
Materials
Traditionally, the materials used by sculptors often originate from the area or are obtained through trade. The most important of these materials is the turquoise that Zuni considered a sacred stone. Jet, shell (especially mother-of-pearl), and corals are also often used. These materials and their associated colors are the principle under Zuni sun, a cultural symbol that is present in Zuni jewelry and fetish and represents their sun father. Other materials used are travertine or "Zuni rock", fishrock, jasper, pipestone, marble, or organic items such as ivory fossils, bones, and deer or horn deer. Even artificial substances such as slag glass are used. But historically the most commonly used stone is serpentine, a local soft rock found abundantly in the Zuni Mountains and also in Arizona. In recent years Zuni carvings, or amulets, have become a popular collection and Zuni craftsmen have familiarized themselves with the materials available from all parts of the world to serve the aesthetic taste of collectors.
Sacredness
In tradition, every animal is believed to have an inherent strength or quality that can help its owner. The Navajo, for example, is valuable and barter for horse numbers, sheep, cattle or goats to protect their flocks from disease and to ensure fertility (Cushing, 1994, Introduction to Bahti). The Zuni Hunter, or "brother of Prey," is asked to have his fetish (Preyed Hunting Prayer) with "Guard" and practice a worship ceremony when getting a favorite or proper charm to help in successful hunting. In a hunting ceremony, Keepers present clay pots containing fetishes to hunters. Facing in the direction corresponding to the chosen talisman, the pot was sprinkled with medicine and prayer was read. The charm is placed in a deer skin bag and carried by the hunter above his heart (Cushing, 1994: 33). The fetish aids are in pursuit and represent the "animal roar" and are also fed blood from the killed prey.
In addition to the predatory Gods of the Six Territories with their guardians and drug powers, and the Predator Gods of Hunting who assist in the pursuit, Cushing mentions three Immortals of the Bow Priest, a community in which he is a member, who helps Priest of the Bow while traveling in an area where it can be captured by the enemy. It is a mountain lion and a great white bear, which belongs to the "sky", as well as the prey of the god of the human form adorned with "pine and tail feathers". An arrow, "the symbol of Sa-wa-ni-kia", or "war drug", behind or beside one of these animals prevents a soldier from being shocked by his enemy, and an arrow in the abdomen or foot erases the trail of the carrier so they can not be followed by the enemy. Unlike the Predator Gods of Poaching, these amulets are never kept with guards, but like the Predator Gods of the Poaching they are fed the blood of the murdered and their ceremonies include the handover of the holy flour in four directions and recite the prayer, and like the Predator Gods of Their Six Territories protect carriers (Cushing, 1994: 40-43).
On the subject of feeding, it is believed from tradition that fetishes require corn meal and turquoise soil periodically. Fetish can be stored in clay pots because it is a tradition, though collectors usually want to store it somewhere where they can be admired. Any very fine talisman can be carried by the owner in a pocket, pocket or purse.
Religion as art
The artist's style is as unique as the artists themselves, and there are many works that are highly sought after by collectors. Some collectors prefer a more realistic figure in appearance, while others prefer a more traditional style that is intrinsic to Zuni's beliefs. The traditional belief of Zuni is that the fewest modifications of the original material retain, or enhance, the power of the fetish as "concrete natural" (Cushing, 1994: 12). Realism in carving style is a matter related to the beliefs of its owners, and realism in contemporary carving is the product of demand and demand of collectors and the intentions of Zuni sculptors to increase the level of their art form through participation in the contemporary world. art. Enigma, or a real paradox relevant to Zuni's beliefs and realism in art is solved in the sense that carvings are for sale and collections are produced without religious intentions. For this reason some sculptors prefer the term "engraving" rather than the term "fetishes" when referring to offers for collectors.
A talisman can be signed by the engraver, or not. Personalization by signing works traditionally violates Zuni's idea of ​​community goals, and the signing of works of art is a concept introduced to Zuni by Anglo collectors in the early 20th century (c.1915). Often, though, a Zuni craftsman feels that their own unique style is easily identifiable and the style of the amulet will be sufficient to identify the engraver just as surely as the other. Most sculptors are recipients of the family tradition and have learned their skills from parents, big parents, or siblings, and have passed the artwork for their own children as well.
In addition to being made of various stones and other materials (each material has its own unique properties), contemporary fetish can carry a smaller animal offering or a collection of prayers from arrows carved with small beads from heishe. It may be decorated with necklaces, feathers, etchings that represent ancient petroglyphs, or carved or inlaid liver lines. These small items, though colorful for the eyes, are meant to protect and feed the fetish itself.
Note
References
- Bunzel, Ruth L. (1929). The Pueblo Potter: Study of Creative Imagination in Ancient Art . ISBNÃ, 0-486-22875-4
- Cushing, Frank Hamilton (1994). Zuni Fetish . Tenth printing. Reprint of the Second Annual Report of the Ethnology Bureau, 1883. Introduction by Tom Bahti. ASIN B000TH8P4C
- Finkelstein, Harold (1994). Zuni Fetish Carving . ISBN: 0-9641042-0-2
- McManis, Kent (1998). Guide to Zuni Fetish & amp; Carving, Volume II, Materials and Engraver. ISBNÃ, 1-887896-11-2
- Young, M. Jane (1988). Signs of Ancestors: Symbolism of Zuni Culture and Perception in Stone Art. Albuquerque: University of New Mexico Press. ISBNÃ, 0-8263-1203-9
Further reading
- Cushing, Frank Hamilton, Mark Bahti (1999). Zuni Fetish . Reprint of the Second Annual Report of the Ethnology Bureau, 1883. Introduction by Tom Bahti. ISBNÃ, 0-88714-144-7..
- McManis, Kent (1995). Guide To Zuni Fetish & amp; Carving . ISBNÃ, 0-918080-77-0
- McManis, Kent (1998). Guide To Zuni Fetish & amp; Carving, Volume II, Materials and Engraver . ISBN: 1-887896-11-2.
- Riggs, David Austin, Darlene Meader Riggs (2008). ZUNI ROH: Portfolio Fine Zuni Fetish Carvings . Introduction by Zuni Governor, Norman Cooeyate.
Source of the article : Wikipedia
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