DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42067#0218
190
Art of the North Pacific Coast of North American
their middle parts. The pectoral fins are indicated by two broader
pieces of red cloth extending from the eyes outward and upward
toward the margin of the body of the fish, the dorsal fin by the long
slits along the back of the animal. The species is characterized by
the two spines which appear over the eyes.1
In facial paintings the sculpin is generally indicated by the two
spines which are painted just over the lips (fig. 164).
Figs. 165—168 represent the hawk which is symbolized by an
enormous hooked beak, curved backward so that its slender point
touches the chin. In many cases the face of the bird is that of a
human being, the nose being given the shape of the symbol of the
hawk. It is extended in the form of a beak, and drawn back into
the mouth, or merged into the face below the lower lip.
On the head-dress, fig. 165, the upper, larger face is that of the
hawk. The face in human; but the ears, which rise over the fore-
head, indicate that an animal is meant. The body is small, and is
hidden behind the face of a seamonster with bear’s head and flippers.
The wings of the hawk are grasped by the arms of the seamonster
whose flippers may be seen over the arms.
Fig. 166 is the handle of a spoon on which is represented the
head of a hawk, symbolized by its beak. The top of the spoon
represents a man who is holding a small animal with a segmented
body, which may represent the dragon-fly, although the head seems
rather smaller than usual. 2
In figs. 167 and 168 the same symbols of the hawk will be re-
cognized. It is worth remarking that in most of these specimens
the mouth is entirely separated from the beak and has the form
of the toothed mouth of a mammal. A characteristic form of the
hawk’s beak is shown in the facial painting fig. 169.
Fig. 170, the front of a head-dress representing the eagle, is quite
similar to the forms of preceding series; but it differs from them in
that the beak of the bird is not turned back so as to touch the face,
1 For additional representations of the sculpin see figs. 206, 219, 224, 262.
2 See also figs. 207, 243, 257.
Art of the North Pacific Coast of North American
their middle parts. The pectoral fins are indicated by two broader
pieces of red cloth extending from the eyes outward and upward
toward the margin of the body of the fish, the dorsal fin by the long
slits along the back of the animal. The species is characterized by
the two spines which appear over the eyes.1
In facial paintings the sculpin is generally indicated by the two
spines which are painted just over the lips (fig. 164).
Figs. 165—168 represent the hawk which is symbolized by an
enormous hooked beak, curved backward so that its slender point
touches the chin. In many cases the face of the bird is that of a
human being, the nose being given the shape of the symbol of the
hawk. It is extended in the form of a beak, and drawn back into
the mouth, or merged into the face below the lower lip.
On the head-dress, fig. 165, the upper, larger face is that of the
hawk. The face in human; but the ears, which rise over the fore-
head, indicate that an animal is meant. The body is small, and is
hidden behind the face of a seamonster with bear’s head and flippers.
The wings of the hawk are grasped by the arms of the seamonster
whose flippers may be seen over the arms.
Fig. 166 is the handle of a spoon on which is represented the
head of a hawk, symbolized by its beak. The top of the spoon
represents a man who is holding a small animal with a segmented
body, which may represent the dragon-fly, although the head seems
rather smaller than usual. 2
In figs. 167 and 168 the same symbols of the hawk will be re-
cognized. It is worth remarking that in most of these specimens
the mouth is entirely separated from the beak and has the form
of the toothed mouth of a mammal. A characteristic form of the
hawk’s beak is shown in the facial painting fig. 169.
Fig. 170, the front of a head-dress representing the eagle, is quite
similar to the forms of preceding series; but it differs from them in
that the beak of the bird is not turned back so as to touch the face,
1 For additional representations of the sculpin see figs. 206, 219, 224, 262.
2 See also figs. 207, 243, 257.