Hopi Pueblo Crow Mother Katsina Doll in the Manifestation of Crow Bride

This exquisite Crow Bride Katsina doll, created in 1997 by master Hopi artist Ronald Honyouti, is a jewel of wood and paint. It is an all-wood, one-piece carving executed with the finest detail.

The figure stands in a posture of dignified composure, looking straight forward as she cradles a basket of corn sprouts with both hands. Honyouti's attention to texture is remarkable: the Crow Bride's manta is exquisitely textured and painted, complementing the fine-line designs on the neck and hem of her beautiful cape, which is wrapped gracefully around her shoulders.

Further details include the magnificent evergreen ruff around her neck, the beautifully carved white woven sash hanging along her left side, and her petite feet covered in traditional white deerskin moccasins. Her characteristic crow wings are rendered as beautifully shaped wooden feathers. The pedestal on which she stands is equally detailed, carved with symbols of clouds and a rising sun over the mesa landscape.

The Hopi consider Angwusnasomtaqa (Crow Mother) to be a Katsina Mother. She is presented as a stately personage, moving slowly and singing quietly. It is she who initiates the young boys into the Katsina beliefs and culture. In this function, she is more forceful to gain the attention of the boys and deliver her message of the importance of the Katsina culture.

There are two functions for which she is known — one is as Crow Mother and the other as Crow Bride. We offer the following explanations of the dual options.

As Crow Bride, (Angwushahai-i) she performs a role quite apart from her appearance as the Crow Mother. There is a legend that relates her journey as a bride and her return as a married woman. As the Crow Bride she appears at second dawning to the east of the village and moves slowly toward the town bearing in her hands a large tray of corn sprouts. Entering the village, she pauses and begins to sing in a subdued voice. Completing the song, she moves sedately forward to another point and again pauses to repeat the performance. At each pause women come forward to take one of the corn sprouts from her tray and to cast cornmeal upon her. Her slow progress eventually brings her at full dawn to the Chief Kiva where the kiva chiefs await her. In some villages, she is joined by Eototo and Aholi to whom she gives prayer feathers and cornmeal. She then makes her dignified way out of the village and disappears toward her home in the San Francisco Peaks. [Wright, 1973:23]

As Crow Mother, (Angwusnasomtaka) she appears on all three mesas, usually in connection with the initiation of the children, although she also appears on other occasions. At the initiation rites, she descends into the kiva bearing many yucca blades bound together at the base. She takes a position at one corner of the large sand painting on the floor of the kiva, with one of her "sons" on either side of her. As the candidate is brought to the sand painting, she hands a whip to one of the Hú Katsinas who gives the child four healthy strokes with the yucca blade. When the yucca becomes worn it is handed back to the Crow Mother who then supplies a new one. When the initiatory whipping is over, she raises her skirts and receives the same treatment accorded the children. They are then given prayer feathers and cornmeal and leave the kiva. [Wright, 1973:66]

What is a Katsina?

Condition: excellent condition

Provenance: this Hopi Pueblo Crow Mother Katsina Doll in the Manifestation of Crow Bride is from the estate of a family to whom we sold this in 1997.

Reference: Wright, Barton. Kachinas: a Hopi Artist's Documentary with original paintings by Cliff Bahnimptewa.

TAGS:  Hopi Pueblo, Katsina Dolls, Brian Honyouti, Lauren Honyouti, Ronald Honyouti