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Native American Clipart - Kachina Doll

Tuma-uyi, Nata-aska, Patung, Mastop Kasina

Here are a few Kachina (Katsina) doll clipart images for your web pages.

IMPORTANT : If you are thinking of using these Kachina/Katsina clipart images, please read this. Thank you.

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White Chin Kachina (Tuma-uyi)

White Chin Kachina 01 White Chin Kachina 01

The White Chin Kachina (Tuma-uyi) is one of the oldest Kachinas of the Hopi. He has not performed in years, but when he did perform, he came to the dances in a group. He also would come during the Powamu ceremony, but he can be impersonated at any time. His Hopi name literally means "white chin" and seems to derive from the white clay (kaolin) used to coat Kachina dolls before they are painted.

His primary function is to bring rain, which would explain the long black hair in back, much like the Longhair Kachina.

His long black hair hangs loosely down his back, with bangs over the forehead. His mask has the distinguishing white chin, red cheeks above the mouth and black rectangular eyes over blue and yellow. He wears a white ceremonial kilt and a foxtail at the back. At his side is a white wedding sash and he wears real hanks of yellow yarn on his wrists and knees. He wears a carved turquoise & coral necklace with three jaclas. He carries a blue gourd rattle and a spruce sprig.

Nata-aska aka Black Ogre Kasina

Nata-aska aka Black Ogre Kasina 01 Nata-aska aka Black Ogre Kasina 01 Nata-aska aka Black Ogre Kasina 02 Nata-aska aka Black Ogre Kasina 02 Nata-aska aka Black Ogre Kasina 03 Nata-aska aka Black Ogre Kasina 03

Black Ogre Kachina (Nata-aska.) Accompanies Soyoko [Ogre Woman] on her trip collecting food from the children.

Patung aka Squash Kasina

Patung aka Squash Kasina 01 Patung aka Squash Kasina 01

The Squash or Patung kachina is a favorite among many collectors and appears primarily on First Mesa as a runner. It is thought that he may have derived from Zuni. He is sometimes depicted with flowers in both hands, but generally appears with a set of yucca whips in one hand.

As a "runner," the Patung belongs to a class of kachinas who are not dancers but rather run races with the men and boys of the village. "They come in the late spring, either as a group or as individuals, during a pause in a Mixed Dance or Plaza Dance.

Usually they will select one end of the Plaza and, assembling there, will endeavor to have an individual race them. If there are many runners, or Wawarus, there will be a great churning about with one or another racing down the length of the Plaza and other prancing up and down to ready themselves for the coming contest.

Quite often they will lure some unwary clown into racing and will immediately catch the hapless individual and perpetrate their peculiar form of punishment on him. They quickly tire of this and will gesture or hold up a reward to some young man in the crowd of bystanders.

If he accepts, they will allow him about ten feet of space in which he can move about as he pleases. But the minute he leaves the area he runs as if instant disaster were behind him, and it usually is, for some of the punishments are quite unpleasant.

Win or lose, he will receive payment with some kind of food from these racers. No one is safe from the oldest man to the youngest boy; all, including white members of the audience can receive the attention of these kachinas. The kachinas are expected to pay for whipping the young men, and this they do by sending water when it is needed for germinating the crops."

Mastop Kasina

Mastop Kasina 01 Mastop Kasina 01 Mastop Kasina 02 Mastop Kasina 02

"The Mastop Kachina is the second kachina to appear on Third Mesa. He is not present on Second or First Mesa. These kachinas always arrive in pairs and come bounding out of the northwest on the next to last day of Soyal.

"As they rush into the village they beat all the dogs that they encounter using the short black and white staff which they carry for that purpose. Leaping about with many antic gestures, they make their way to the Chief Kiva where they talk in disguised voices with the individuals inside and with each other.

"Then, as though suddenly becoming aware of the females in the audience, they dash madly into a cluster of women and grab their shoulders from behind and they give a series of small hops indicating copulation.

"Then they return to the kiva and converse for a while before again dashing over to another group of women, repeating the action until nearly every woman present from child to the very oldest has been approached. All women, even the shy ones, do not avoid this embrace as it is a serious fertility rite despite the antic touches, which are never directed toward the women."

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