Brian Honyouti
Tunei-nili
13 1/2"
H with 2 1/2" 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"
"Tunei-nili is a Navajo-derived
kachina. He is is
the individual who looks after the "Navajo" or Tasap
Kachinas and is usually called a side dancer for them.
"However,
he may not always appear with the Tasap. He was inspired
by the Navajo Rain Gods, the Tone-nili, who appear on the sixth
day of the Navajo Yeibichei Ceremony.
"The
name Tunei-nili Bitzai means "little wash" or
"little river grandfather." He sometimes appears with
the Velvet Shirt Kachinas also."
- Barton Wright,
Kachinas: a Hopi Artists Documentary (177)
Maintaining his flair for
the natural, Brian has kept most of the colors muted, and then
contrasting sharply with bright turquoise and blue 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 turned
in a determined gaze while his hand reaches into the air. The
flowing kilt and fox tail complete the almost-human characterization
of this piece.
As always, Brian has done
an amazing job with the base of this piece, tying the details
back into the character of the Tunei-nili.
