and the elements out of which they are made are scattered.[354] They are nothing more than images—and temporary images at that—of the totem, and consequently it is on this ground, and on this ground alone, that they play a religious rôle.
So the churinga, the nurtunja and the waninga owe their religious nature solely to the fact that they bear the totemic emblem. It is the emblem that is sacred. It keeps this character, no matter where it may be represented. Sometimes it is painted upon rocks; these paintings are called churinga ilkinia, sacred drawings.[355] The decorations with which the officiants and assistants at the religious ceremonies adorn themselves have the same name: women and children may not see them.[356] In the course of certain rites, the totem is drawn upon the ground. The way in which this is done bears witness to the sentiments inspired by this design, and the high value attributed to it; it is traced upon a place that has been previously sprinkled, and saturated with human blood,[357] and we shall presently see that the blood is in itself a sacred liquid, serving for pious uses only. When the design has been made, the faithful remain seated on the ground before it, in an attitude of the purest devotion.[358] If we give the word a sense corresponding to the mentality of the primitive, we may say that they adore it. This enables us to understand how the totemic blazon has remained something very precious for the Indians of North America: it is always surrounded with a sort of religious halo.
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