Brian Honyouti
Scavenger
(Uhuhu)
14" H
with 3/4" base
This Kachina was carved by
Brian Honyouti, one of three famous Hopi brothers, who often
carve Kachinas together. The Honyoutis, Loren, Brian and Ronald
are originally from Bacavi, Arizona on the Hopi reservation.
The Honyoutis are featured in many books on Hopi carving including,
"Kachina Dolls" by Helga Tiewes and "The Art of
the Hopi" by Jerry and Lois Jacka. In Helga's book, Brian
is written about extensively. The Honyoutis are considered forerunners
in the art of realistic carvings and are in a class of their
own.
Brian was born in 1947 in
the village of Hotevilla, Arizona on the Hopi reservation. He
started carving Kachinas in the mid 1960's, and learned his carving
techniques from his father, who taught him how to make one-piece
carvings. He began using oil paints in 1978, and he is universally
credited with being the first carver to use wood preservatives
and varnish as a sealer, instead of the usual white undercoat.
Brian was also the first carver
to substitute wood preservatives instead of paint, leaving the
flesh areas unpainted and using the natural wood colors. He rarely
uses Dremel tools and wood burners, preferring to do all of his
carving with pocket knives, chisels, hack-saw blades and small
files.
He has signed the doll on
the back of the base: "BH"
The Scavenger kachina is a
rare figure who supposedly depicts a looter of the ruins of Awatovi.
Located on Antelope Mesa, Awatovi was destroyed by rival factions
from other villages who opposed the adoption of catholicism into
the tribe. Today, all that is left of the old village are bits
and pieces from the old stone dwellings and dug-outs which were
once used as kivas.
This particular piece is a
beautiful example of Brian's attention to detail. Each wicker
strand has been deliactely carved into the basket on back of
the figure. The cape, sashes, leather, and belt all have a look
of realism.
Maintaining his flair for
the natural, Brian has kept most of the colors muted, and then
contrasting sharply with a bright turquoise shield which really
brings this piece to life. Adding to the life-like aspect of
the figure is the fluid motion which it possesses.
The head is slightly arched
in a heavenward gaze while the feet are lifting rythmically off
the ground in traditional plaza fashion. The flowing robes, sash,
and fox tail complete the almost-human characterization of this
piece.
