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NATIVE AMERICAN POTTERY
STYLES & PURCHASING GUIDE
The Old - Three ancient tribes lay the foundation for the Indian pottery created today.
As far back as B.C. 300, the Hohokam (HO-ho-kawm)
people who populated what is now southern Arizona were learning pottery
skills from Mexican potters to the south. Many pieces of the
red-on-gray or red-on-beige pottery with geometric designs has been
found on Hohokam archeological sites. The descendents of the Hohokam -
the Pima (PEE-ma) and Tohono O'Odham (TO-na O TA-hm) - aren't known for
the fine pottery of their ancestors, however. Both Pima and Tohono
O'Odham people are known as master basket makers.
The ancient Mogollon (MUGGY-own) lived in the higher
areas along the Arizona/New Mexico border, and the pottery of these
people included brown and red ware with geometric designs to
red-on-white and black-on-white pieces bearing images of fish, deer,
birds, insects and rabbits. Eventually the Mogollon drifted north
toward the lands of the Ancient Puebloan Culture (formerly referred to
as the Anasazi) and were assimilated into other groups.
The Ancient Pueblo Culture people of northern New
Mexico, southwestern Colorado and southeastern Utah began as basket
makers and evolved into potters around the 5th century AD. The rough
and thoroughly original early examples of these pots unearthed in
recent times suggest these potters were self-taught and not influenced
by the techniques of either the Hohokam or Mogollon. Over the years the
potters produced pieces of black-on-white, white ware and polychrome.
While pottery from Old World Europe was created with
the use of a wheel, kiln and glazes, Indian pottery of old was baked in
fires in the earth and covered with rich clay slips rather than glazes.
The New - The Four Corners region of the
United States and the pueblos of New Mexico offer the most abundant
sources of American Indian pottery today. Much of it still reflect the
ancient pieces of the Hohokam, Mogollon and Ancient Pueblo Culture, in
tribute to the mothers, aunts and grandmothers who were not only
artists, but teachers. The pottery of Jemez Pueblo potters today uses
the ancient techniques of the Pecos Pueblo and old Mimbreno designs are
found in many pieces of contemporary Acoma Pueblo pottery. It is fairly
obvious that the potters of today realize what they create will be part
of the history of Indian pottery tomorrow.
Much of today's pottery is made the same way it has
been for generations: the clay is dug from the earth; dried on sheets
of tin; soaked in a tub for two to four days; broken down in the water
to a soupy mixture; and strained on a large screen, keeping only what
passes through the screen. Water is then added to the sifted clay until
it reaches the consistency of a milk shake. The "tempering sand" or
"tuff" is a very important part of the pottery too, with some potters
traveling 100 miles or more to find just what they are looking for. The
tuff is passed through a sieve until it reaches a state of fine powder.
The clay and the tuff are then mixed until the desired texture for a
piece is reached. In anticipation of the high tourist season, many
potters will prepare clay for many pieces at a time.
Pots are then formed on a lap board or table, many
using natural old shaping tools and spoons made from gourds or shell.
Most pieces are then pit fired in the earth in manure-smothered fires.
The end result of the firing is always a surprise.
Styles of Indian Pottery:
Taos and Picuris Pueblos
The Taos (TAH-ohs) and Picuris (Pee-CUR-is) pueblos of Northern New
Mexico are famous for their micaceous, unpainted pottery. Though very
simple in design, the mica in the clay makes the pieces appear to
shimmer. Taos produces plain pots that appear golden in color with no
design or a single design. Picuris pots are generally brown or reddish
orange in color. Shapes vary.
Tewa Pueblos
- San Juan - The potters of the
San Juan Pueblo combine old and new pottery styles. Many feature a
middle band placed on a polished red rim copied from sherds of ancient
pots. A slip of micacecous clay makes it shimmer. Some pots are the
reverse, with the middle band being plain and unpolished sandwiched
between reds with polychrome designs. Shapes vary.
- Santa Clara
- It is said that long ago, during a tremendous drought, the people
were dying of thirst when a bear appeared and led them to water. To
honor that bear the Santa Clara potters place his paw print on their
pots along with other symbols and designs such as: the water serpent to
reflect water sources such as streams and rain; the kiva steps to
represent the ceremonial pit; feathers as respect for the birds; rain
and rainbows for the strong winds that bring storms. Santa Clara
potters create in earth tones of yellow, beige, red, white, gray and
matte black on high polished blackware. Blackware was created by the
Santa Clara and San Ildefonso potters more than 300 years ago. The
earth firing gives it the high-polished jet black finish. Shapes vary,
but many double-spouted "wedding vases" come from Santa Clara. Pottery
is pivotal to the economic and social structure of the pueblo.
- San Ildefonso
- Maria Martinez of San Ildefonso Pueblo is perhaps the most famous of
all Indian potters. She was a teacher as well, offering to share her
gifts with many who wished to study. Her matte black designs painted on
high-gloss black pottery are legendary. The water serpent, an image to
honor rain and thanksgiving for water given to dry lands, is a San
Ildefonso trademark. Sgraffito, two-tone red, polychrome, carved
pottery, matte black, and red and blackware are all created by San
Ildefonso potters. Shapes vary.
- Nambe and Pojoaque
- Although pottery for art and function died out among the Nambe
(Nam-BAY) at the turn of the 20th century, around 1980 a few new
potters moved from Nambe to Pojoaque (Po-WAH-key) and began generating
collectable figures like the storytellers of Cochiti Pueblo, wedding
vases and small jars.
- Tesuque -
The people of Tesuque Pueblo today create largely for the tourist
trade, creating storytellers in bright colors, "rain gods" and
polychrome vessels.
Middle Rio Grande Pueblos
Cochiti - The Cochiti
Pueblo is home to more than 200 potters, and of the 200 at least one
quarter produce pottery figures, most prominently the storyteller.
Helen Cordero made the very first storyteller in 1964 in memory of her
grandfather who would gather the children around him and tell stories.
Other figures include images such as a turtle taking children for a
ride upon its back.
Santo Domingo
- Birds, flowers and simple, bold geometrics are favored by the potters
of Santo Domingo. Here religious rules prohibit the depiction of human
figures or any sacred designs on pottery that is intended for sale.
While the Zia potters produce birds in motion, the Santo Domingo
artists portray birds in repose. Shapes vary.
Zia
- The potters of Zia Pueblo are unique in that they are the only ones
who temper their clay with the volcanic basalt rock to make a very hard
pot that is then stone polished and painted with black. Typical of Zia
designs are feathers, prayer sticks, spiderwebs, clouds, lightning and
birds. It is a bird similar in appearance to a roadrunner, that is the
Zia pottery hallmark. The state symbol of New Mexico is a stylized
image of the sun that was taken from an old Zia ceremonial pot. The
symbol is often simply referred to as a "Zia."
Jemez
- Jemez produces a lot of pottery for the tourist trade, and its soft
colors appeal to many. Often the designs depict the link between the
ancient Pecos people and the Jemez. Designs are painted on red clay
pots with lead-based paint that melts to a shiny glaze after firing.
Jars, bowls and figures, including nativity scenes, are most common.
Acoma/Laguna/Isleta Pueblos
Acoma - The Acoma, too,
create largely for the tourist trade. Acoma clay is dark, nearly as
dense as shale, and must be pulverized into a fine powder before being
mixed with temper. The pots are known for their thin, hard-fired walls,
stone polish and elaborate paint. Parrots appear frequently on Acoma
pottery, symbols of the sun, south or great ancestors. Other
Mimbres-style (Mimbres being people who lived in southwestern New
Mexico AD 950-1150) designs such as lizards, insects and animals have
become synonymous with Acoma pottery.
Laguna and Isleta
- Before 1830 the pottery of the Laguna resembled that of the Acoma,
but today's style of white-slipped polychrome adorned with bold paint
in simple design was created after that time. Gladys Paquin and Stella
Teller are two famous Laguna potters. Pottery Purchasing Guide:
The deep and true value of a pot fashioned by an American Indian potter
is the time, effort, energy and relationship to offered to that pot by
its creator. When choosing pottery for purchase, here are a few things
to look for:
The inside and outside of the pot should be smooth, even and balanced with no pits, lumps or bubbles.
Designs should be symmetrical and well spaced, with all large areas filled in and covered completely.
Carvings into the pottery should be the same depth throughout.
Black smudges should not appear on redware and beige spots should not appear on blackware.
A signature does not necessarily indicate high quality as some of the best potters choose not to sign their work.
Prices can range from $10 to thousands. Often a tiny
piece can be high in price because of the difficulty in working very
small is greater than a "regular" size piece. Like any investment, it's
best to look at a lot before selecting.
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