Fig. 272—Man-eagle
The body is ornamented in the same way in both figures. It is continued posteriorly on each side into triangular extensions, and the same is true of its anterior, which in one figure has three curved lines, and in the other a simple crook. There are three tail-feathers in each figure. I believe there can be no doubt that both these designs represent the same idea, and that a mythologic bird was intended in each instance.
The step in conventionalism from the last-mentioned figure of a bird to the next ([plate cxlvii], a) is even greater than in the former. The head in this picture is square or rectangular, and the wings likewise simple, ending in three incurved triangles without appendages. The tail has five feathers instead of three, in which, however, the same symbolic markings which distinguish tail-feathers are indicated.
The conventionalized wings of this figure are repeated again and again in ancient Tusayan pottery decorations, as one may see by an examination of the various birds shown in the plates. In many instances, however, all the other parts of the bird are lost and nothing but the triangular feathers remain; but as these have the same form, whatever organs are missing, the presumption is that their meaning has not changed.
In passing to the figure of the bird shown in [plate cxxxviii], b, we find features homologous with those already considered, but also detect considerable modification. The head is elongated, tipped with three parallel lines, but decorated with markings similar to those of the preceding figure. The outstretched wings have a crescentic form, on the anterior horn of which are round spots with parallel lines arising from them. This is a favorite figure in pottery decoration, and is found very abundantly on the exterior of food bowls; it represents highly conventionalized feathers, and should be so interpreted wherever found. The figure of the body of the bird depicted is simple, and the tail is continued into three tail-feathers, as is ordinarily the case in highly conventionalized bird figures.
The most instructive of all the appendages to the body are the club-shape bodies, one on each side, rising from the point of union of the wings and the breast. These are spatulate in form, with a terraced terminal marking. They, like other appendages, represent feathers, but that peculiar kind which is found under the wing is called the breath feather.[144] This feather is still used in certain ceremonials, and is tied to certain prayer offerings. Its ancient symbolism is very clearly indicated in this picture, and is markedly different from that of either the wing or tail feathers, which have a totally different ceremonial use at the present time.
For convenience of comparison, a number of pictures which undoubtedly refer to different birds in ancient interpretations will be grouped in a single series.
[Plate cxxxviii], d, represents a figure of a bird showing great relative modification of organs when compared with those previously discussed. The head is very much broadened, but the semicircular markings, which occur also on the heads of previously described bird figures, are well drawn. The wings are mere curved appendages, destitute of feather symbols, but are provided with lateral spurs and have knobs at their bases. The body is rectangular; the tail-feathers are numerous, with well-marked symbolism. Perhaps the most striking appendages to the body are the two well-defined extensions of parts of the body itself, which, although represented in other pictures of birds, nowhere reach such relatively large size.