Legends Studios Fine Art Sculptures by Starlite Originals Pewter & Mixed Media. Western, American Indian, Wildlife and Contemporary Art Statuary. Also shown will be: Genesis Studios, Disney Editions & Kitty's Critters. Legends Studios Latest Releases.

Mill Creek Studios Wildlife Sculptures by Desiree Hajny.

Since 1984

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Mongwa Kachina Dancers, by Pardell
Koshari Kachina Dancers, by Pardell

Kachina Dancers Collection
Matched Number Set

12-pc. Matched Numbered Collection by Christopher Pardell

Kachina Dancers

"Koshari"  <---Kachina
  by Christopher Pardell, Legends Studios Fine Art Sculptures by Starlite Originals Pewter & Mixed Media. Western, American Indian, Wildlife and Contemporary Art Statuary.

"Mongwa"  Kachina--->
  by Christopher Pardell, Legends Studios Fine Art Sculptures by Starlite Originals Pewter & Mixed Media. Western, American Indian, Wildlife and Contemporary Art Statuary.

Koshari & Mongwa Kachinas by Christopher Pardell, Legends Kachina Dancers Native American Collection Limited to 2,500 pc's. Issued February 1993.

 10" heigh. 

Limited to:
2,500 pc's.

$$Value Coupons$$ will be issued against the purchase of this item.

9 1/2" heigh. 

Limited to:
2,500 pc's.

Color brochure with all the stories will accompany the collection.

Le Number # 66 / of 2500
Limited to: 2,500 pc's.

Le Number # 66 / of 2500
Limited to: 2,500 pc's.

A true symbol of the Hopi and Zuni spiritual life, Kachinas are believed to be supernatural beings with vast powers to confer prosperity in the form of abundant harvest. Living part of the year disembodied spirits in their own land, they leave their homes and travel to the world of mortals upon the arrival of the winter solstice. Taking up residence within the bodies of men, they remain there until the Niman Kachina festival in July.

Koshari, the colorful clown, and Mongwa, the Great Horned Owl - - two of the most enduring and important kachinas -- stand in balance with one another. Each symbolizes the contradictions of life, the opposition and balance between day and night, light and dark, life and death. The Owl knows the mysteries of the night, possesses the knowledge of good and evil in the world: Kpshari, like other clowns among the most sacred of figures, knows the mysteries of the human soul, of the good and evil within people. Together they define the eternal cycle of change, of life, death and rebirth.

For Hopi, as for many other Native American cultures, owls are the symbols of ambiguity, birds of contradiction, who call through the night when all other birds sleep. Albert in the world while humans are asleep, ever vigilant, this fierce warrior of the night guards the Hopi against their unseen enemies, protecting them from evil whether in the physical or spiritual worlds.

The Koshari clown is a figure that originated among the Rio Grande Pueblos, but is best known in its Hopi incarnations. The Hopi refer to it as the Hano or Tewa clown, and consider them to be the fathers of the kachinas. An important part of many different rituals, Koshari clowns are notable for exhibiting rambunctious behaviors which run counter to proper Hopi behavior: loud and boisterous talking, immoderate and mischievous actions, and uncontrollable gluttony. Their public displays of improper behavior are a source of great amusement and merriment, often hilariously funny whether earthy or sophisticated. Often, the Koshari make fun of contemporary events, linking the eternal rituals of creation to the trivial incidents of the present. With their antics, the Koshari remind people of the ironies of their existence: that life is funny even at its most serious, that life is serious even at its most absurd.

Mongwa, the enforcer of rules, wages an incessant war on the Koshari, silently coming into the plaza as the clowns perform their ribald antics. His deep voice gives remonstrance, his chastisement growing ever louder and more persistent until he calls his fellow warriors to attack the clowns, whipping them with willow switches or yucca blades, or pretending to shoot at them with bow and arrows.

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