Aaron J. Fredericks
Ashes Kachina
(Qöchaf)
15" total
height
9 1/2" head
to toe
w/ 5" base
"Qöchaf Kachina
is one who occurs only on Second Mesa at the villages of Shungopavi
and Shipaulovi. Just as ashes are used to purify objects during
various ceremonies, the Ashes Kachina (Qöchaf) is used to
purify the village, everyone and all things.
"He appears on the last
day of Powamu and his arrival signals the beginning of the Bean
Dance Procession."
- Barton Wright, Kachinas: a Hopi
Artist's Documentary (25)
Aaron has done an excellent
job of portraying the Ashes Kachina as he actually appears on
the last day of Powamu. As Barton Wright observes, "The
mouth of the kachina is square .... In reality the lower arms
are blackened, the kilt of the old dress is adorned with cornhusk
stars and a fox fur hangs to the rear. Around his ankles he usually
wears embroidered anklets" (Ibid.)
Aaron told us that he had
been wanting to carve this kachina for some time but had never
actually attempted it. Much like the last piece we featured by
Aaron (the Tu-tuk Nung Mana), this is a first of a kind for him,
and we're extremely pleased to have the opportunity to show it
here.
Also like the Tu-tuk Nung
Mana that we had earlier in the Fall, this figure was created
after careful observation by the carver during the ceremonial
procession that took place in his traditional village of Shungopavi.
This is one of the great strengths
that shows through in Aaron's carving because he is directly
involved in the culture and is able to witness firsthand the
characteristics of the acutal kachina figures that he creates.
As with all of Aaron's kachinas,
this piece is masterfully detailed with superb painting and shading.
It has been carved primarily from one piece, except for the smallest
accent in the left hand.
It stands a total of 15"
tall and measures 9 1/2" from the feet to the top of the
head. The base has also been intricately detailed as the kachina
emerges from a kiva, grasping the rungs of the ladder with his
left hand.
One of the most appealing
aspects of Aaron's work is the detail he puts into the overall
carving. Not only is the kaching figure itself well carved, with
meticulous attention to the subtle textures and delicate painting,
but there is always additional symbolism and other meaningful
Hopi motifs depicted throughout.
This particular piece is no
exception, and in fact, may set the precedent as being one of
Aaron's best carvings. The realistic posture and motion of the
figure really brings this piece to life. Aaron's mastery of proportion
is second to none. The hands, feet, and nails are always depicted
clearly.
The base here not only features
a kiva and kiva ladder, but a procession of kachinas is illustrated
along the bottom. Appearing here are the Hilili, Crow Mother,
and Zuni Warrior (Sipikni) - all of whom arrive after the entrance
of the Ashes Kachina during Bean Dance.
In his hand are prayer feathers
(pahos) which are made up of turkey feathers, eagle feathers,
and two turquoise sticks - representing male and female life.
The male is differentiated by the small downy feather tied to
that stick. A small, pointed bundle is also attached to the sticks,
representing an offering.
On the one side is a sun face
in the traditional color patterns, while on the other side, a
more subdued color scheme has been used on the same motif - indicative
of the moon or Powamuyau.
