Large lacquer tea bowl with intricate designs around perimeter. The object was donated with a maker’s card which describes its makers and place of origin. The designs around the perimeter were taken from reliefs in Bagan Temple, Burma. The central design is bordered on top and bottom by small patterns in orange-red and green against a black background. These borders depict small beings - such as deer, fish and elephants - within intricate frames. The central design features Buddha in various standing and sitting poses. There is also a large, reclining elephant depicted. The elephant wears a hat and a cloth over its back. In each pose, the Buddha’s hands and feet are in very specific positions. He wears a variety of clothing from one figure to the next but his elaborate head dress remains the same. The various positions include: sitting on his knees, pouring tea, receiving tea, sitting cross-legged, sitting on knees holding a bat, standing with palms pressed together and standing with one arm upraised. On the bottom of the bowl, orange-red lines form a circular border containing text written in green. This circle is open in a small section. There is a standing bird with a long tail within the border with text. The interior of the bowl is painted solid black.

Henry L. Batterman Fund and the Frank Sherman Benson Fund

Gift of Edna Ebling

Museum Expedition 1904, Museum Collection Fund

This back strap loom has a hole-and-slot heddle, a European invention that was used by Pueblo weavers around the turn of the 20th century but was discarded later in favor of the indigenous shed rod and string hoop heddle. The haft rope on one end would have been attached to a stationary object, while the woven red garter on the other end would have gone around the weaver's waist. On the loom, the Hopi style belt, with a red, green, and black warps and a black weft, is in progress.

Giant (Chaveyo) Kachina Doll. Artist probably Henry Shelton. This Kachina is one of the ogres in the white ogre family. Carved from one piece of cottonwood root and painted light beige, he stands with both feet on the ground, knees slightly bent, PR arm raised and PL arm lowered. He has a snarling, fanged mouth with red showing inside, goggle eyes, black face paint with white swirls on the cheeks, and very large red ears. He wears a fur ruff around his neck and has a rayed feathered headdress. He holds whipping sticks in raised PR hand and a large sword with a swirled, snakelike design and feather tuffs in lowered PL hand. His kilt and boots are carved on. He wears a hide cape and has hide fringe knees and on the top of his carved boots. Prior to the Angk'wa (February night dances) the Ogre family appears in the village demanding food and game in large quantities. For about a week they appear going from house to house insisting they give. If not enough food is forthcoming they hoot, snarl and terrify claiming they will eat the children. Children are terrified. Everyone looks to see what they have done wrong to deserve this. The Ogre's are the reminders that everyone’s behavior is not good enough to live up to the high Hopi standards. They are the reminders to live the spiritual life. Once ridicule and punishment are over the ogres give a blessing and a social dance is held for healing. The Ogre family is forcibly removed from the village.

This is a very special spoon that might be ceremonial but not for any specific ceremony.

Bequest of W.S. Morton Mead