Sandpaintings

Sand is, obviously, the most important element of a sandpainting. Today it is common for an artist to purchase pre-prepared sand from shops in Northwest New Mexico. However, many continue to gather their own stone from different areas within the Navajo reservation. Different artists have different areas from which they gather colored stone, and often keep the location of these spots a close secret. After gathering the raw stone the artist breaks it up into smaller pieces and allows it to dry completely. Once dry the stone is pulverized using mortar and pestle or, in some cases, a coffee grinder. Increasingly artists are using more exotic stones - turquoise, lapis, malachite - in their paintings. A few use commercially dyed sands. However, the too-bright look of these deters many artists from using them.

A painting surface is prepared by spreading a thin layer of white glue and an even layer of background sand over a sheet of particle board. Once this has dried completely the actual "painting" begins. Nearly all sandpainters use a thin white glue as the adhesive for their paintings, drawing on the designs in glue and pouring colored sand over the glue. The painter must be careful that the glue doesn't dry too quickly, and thus will only work on a small section at a time before moving on. Likewise only one color of sand is worked with at a time to ensure that colors do not mix. Once finished the painter may lightly brush the painting to remove any buildup and create and even surface. Finally a thin layer of fixative of shellac is sprayed on to secure the sand.

The full title of this sandpainting is called The Buffalo Who Never Die. The ledged comes from a story of a man who married the daughter of the chief of the Buffalo People, the Ayani (more accurately known as bison). When the Buffalo People returned to their homes on the Plains, he was told not to follow. But of course he did. When the Buffalo People found him they decided to kill him. The Ye'ii had warned the man that this would happen and had armed him with special magic. When they came to attack he killed the Buffalo people instead. He revived the people in exchange for sacred ceremonial knowledge. In the creation story these figures are said to be the offspring of Buffalo Woman and Holy Man. The Shooting Way is the only ceremony where the Buffalo People appear with the exception of one lone Buffalo shown in the Plume Way.

Yeis are common figures in sand-paintings. According to Navajo belief a Yei is a powerful supernatural being who is unable to speak. Yei may be male or female and may or may not be kindly disposed toward people. In sand-paintings the male yei most always have round heads atop a black or white body with a red outline. The male typically holds a rattle and crooked lightning. All yei, male and female have stylized eagle down on top of their heads. Female yei have rectangular heads and white bodies outlined red. They usually hold rattles and evergreen boughs. Though these are all ceremonial characteristics of male and female yei, most sand-painters will change one or more of these factors to avoid making exact - and therefore dangerous - copies of ritual yei figures.

Thunder People are very powerful and therefore potentially very dangerous gods. They should not be confused with the Thunderbird, which plays no part in Navajo religion. Thunder is generally regarded as a dangerous being, although a thunder can also have the power to find missing objects. Thunder appears in as many as eight ways. Although Thunder is potentially dangerous it is also a sign of rain which is a necessity among the Navajo People.

According to Navajo tradition, after First Man and First Woman were created they lived for a period in their hogan without fire. Fortunately, First Coyote agreed to steal some from Black God and bring it back for the humans, which journey is depicted in the sand painted known as Coyote Stealing Fire.

The trail of embers marking Coyote's journey begins at the home of the slumbering Black God, from whom Coyote steals a firebrand. Black God is often shown holding a feather or the fire drill he uses to make fires, and with zigzags across his shoulders representing the Milky Way. When First Coyote stole fire from Black God he did so by tying a bundle of burning sticks to his tail. To this day Coyotes display black tips on their tails, a small souvenir from First Coyote's journey. Coyote then passes the home of the sun and its eagle guardian before passing by the home of the moon, usually in the upper right hand corner of the sand-painting. As Coyote travelled sparks and embers from the firebrand broke off and scatter across the sky, creating many of the stars seen today. The journey ends at the hogan of First Man and First Woman. However, the Navajo teach that Black God withheld fire because mankind was not prepared for it. In consequence the world now has many forest fires and fire-related disasters.

Because their great power and pervading importance, Father Sky and Mother Earth are included in several Navajo Ways, including the Shooting Way, the Mountain Way and the Blessing Way. Both characters are depicted facing forward, each having banded faces and horns, symbolic of their great power. Father Sky typically has a black body, in which are the faces of the sun and moon, important constellations and the Milky Way represented by crossing zigzag lines. He is outlined in white, the light of dawn. Artists usually make Mother Earth blue or yellow, but colors may vary. Within her body lie the four sacred plants - corn, beans, squash, and tobacco - and she is outlined in yellow, symbolic of pollen. As the earth and sky touch at the horizon, so do the arms and legs of Father Sky and Mother Earth.

There are several stories of Water Creature but the most told myth is of the monster Tsenahyeh (Traveling Rock) and used in several sandpaintings. Tsenahyeh was a fierce monster and would crush those who came near him. When monster Slayer came to destroy him he would hide on the bottom of the lake. Three times Monster Slayer came to destroy Tsenahyeh and three times he escaped. On the forth time, Monster Slayer spotted him under the water and struck him with his stone club and broke him into many pieces. That is how Water Creature came to be. The Water Creature was a helpful God; he was instructed to make the rivers flow and was put in charge of them.

Water Creature can be found in sandpaintings from the Water Way, Shooting Way, Beauty Way and Plume Way.

One of the most prevalent aspects of a sandpainting is the Rainbow Yei or protective garland. The side supposedly to the east, most holy of all directions, is left open. However, each other direction, being more susceptible to evil, requires the protection of some sort of garland. The Rainbow Yei is most famous. The body is usually made of red and green or blue stripes and stretches around the painting with the head and legs both found at the east opening. Other garlands include interconnected arrows, rainbow borders, and mirage garlands which are a series of multicolored dots.

Guardians are small figures usually found in pairs toward the entrance of the sandpainting, which give extra protection to a sandpainting. Most guardians are important characters from Navajo legends. For example Otter and Beaver, two common guardians, gave their skins to the Twin War Gods to protect them from lightning when they visited their father, the Sun. The most common guardians are the sun and moon, Big Fly, a medicine bag, Bat, a bow and arrow, Otter, Beaver, and Snake.