FROM THE HANDS OF THE MOTHERS AND GRANDMOTHERS: NATIVE POTTERY OF THE AMERICAN SOUTHWEST

The women of the Acoma Pueblo in New Mexico have been making pottery for a thousand years. Rose learned pottery from her mother and grandmother and passed on the learning to her daughter. Rose Chino Garcia (d.November 10, 2000, at the age of 72) holds a pot, before firing, with a rainbow and parrot design

The pot is shaped and painted as it has been for a thousand years in the family’s kitchen, where the making of pottery goes on among the activities of daily life.

The finished pot by Rose Chino Garcia, Acoma Pueblo, 1977 The finished pot by Rose Chino Garcia, Acoma Pueblo, 1977. Below are two polychrome pots from the Acoma Pueblo from 1900. Acoma pottery is noted for its thin wall and light weight. Decorated with geometric and curvilinear designs, and painted on a white slip, Acoma pottery can always be recognized.

Laguna polychrome jars, c Laguna polychrome jars, c. 1850-1890, are similar to the pottery of near-by Acoma Pueblo, the oldest continuously inhabited site in North America (since 1150). Large interlocking designs often encircle the vessel. Ramos polychrome pottery, c. 1300-1400, from Chihuahua (Casas Grandes), Mexico, is from the Mogollon culture, which ranged from northern Mexico to the “four corners.”

Left, Water Jar, from the San Ildefonso Pueblo, c Left, Water Jar, from the San Ildefonso Pueblo, c. 1600-1880, is decorated with feather and leaf motif, combined with volutes. Right, Water Jar, San Ildefonso, c. 1600-1880. The decorative arrangement of concentric bands, rain drops on the rim, and conventionalized plant forms all relate to symbols of fertility.

Although some Pueblo potters have now replaced the traditional outdoor kiln with an electric kiln, Maria Martinez of the San Ildefonso Pueblo brought an authentic process and designs to the pottery in the 1920’s.

Left, Maria Martinez, shown molding a pot at the San Ildefonso Pueblo in 1932, uses the age-old method of building the sides with coils of clay. Right, Black-on-black Storage Jar by Maria Martinez. In 1925 she became the first Pueblo potter to sign her work.

Black-on-black pottery from San Ildefonso Black-on-black pottery from San Ildefonso. Left, jar by Maria Martinez, c. 1940 (3 1/2” height); center, jar by Santana Martinez, c. 1930 (5 1/4” height); right, plate by Maria and Santana, c.. 1945 (14 3/4” diameter). The ‘black-on-black’ was developed by Maria Martinez around 1919.

Left, San Ildefonso water jar, c. 1600-1880 Left, San Ildefonso water jar, c. 1600-1880. The symbols of lightening, rain, clouds, and leaves were usually reserved for pottery used in ceremonies to produce rain. Right, San Ildefonso storage jar, c. 1890.

Left, storage jar from San Ildefonso, c Left, storage jar from San Ildefonso, c. 1600-1880 (21” diameter); on the neck are hummingbirds and terraced mountains. Right, water jar from San Ildeonso, c. 1600-1880 (11” diameter) shows cloud and leaf designs on the neck. Birds, terraced mountains, clouds and leaf forms are shown on both pots.

Left, From the “basketmaker period,” Arizona, 100-300 ce Left, From the “basketmaker period,” Arizona, 100-300 ce. This 18” diameter bowl is of unbaked clay mixed with fiber of shredded juniper bark. Right, “Sakaton Red-on-buff pottery,” Hohokam, c. 950-1150, from the Gila River, Arizona. The ‘hand-holding’ dancing figures are a typical human form on Hohokam pottery.

The Yellow-ware pottery below, c The Yellow-ware pottery below, c. 1325-1625, described as “Anasazi” or “early historic Hopi,” is from northeastern Arizona. Yellow-ware vessels, originally coal-fired, is still produced by the Hopi. The Hopi women make the pottery, prepare food, and carry water and are considered the great sustainers of village life.

Black-on-yellow polychrome jars, c. 1325-75 Black-on-yellow polychrome jars, c. 1325-75. The repeating geometric patterns are typical of the ancestral (Anasazi) Pueblo pottery. The tradition of making pottery is passed down through the generations by the female members of a family.

Left, “Jar,” c. 1200 (15” diameter), from New Mexico, displays a geometric design in black-on-white. Right, “Bowl,” c. 1000 (11” diameter), from Arizona, shows red and black geometric designs on buff slip. Pottery came to the southwest via the Hohokam, noted for their red-on-buff pots, from Mexico.

Hopi seed-jar, by Helen and Sylvia Featherwoman, 1970’s, is reminiscent of Anasazi ancestors of the Hopi. The large star radiating from the opening represents the “sipapu,” the place of origin of the Hopi people who ‘emerged from an opening in the earth.’ This pot represents a continuity of design across a thousand years from the Anasazi to the contemporary.

The recent Hopi pot to the left shows birds with similar geometric designs as the polychrome pot below from c. 1900. Painted with abstracted bird, feather, and cloud designs on an un-slipped surface, the pot to the right is believed to be the work of Nampeyo.

Above, Nampeyo photographed in 1885; right, in 1942, shortly before her death.

Polychrome jar with abstracted eagle motif was created by Nampeyo, Hopi-Gila Pueblo potter, c. 1900-1910. Nampeyo learned pottery from her mother and grandmothers, and passed the knowledge on to her daughter, Fannie.

Fannie Polacca Nampeyo, Tewa-Hopi potter, 1904-1987

Polychrome pot attributed to Nampeyo’s daughter, Fannie, c Polychrome pot attributed to Nampeyo’s daughter, Fannie, c. 1920, continues the classic ancient design. Variations are seen in the basic ‘eagle tail design.’

Detail of the ‘flying saucer’ shaped pot Detail of the ‘flying saucer’ shaped pot. This work may have been painted by her clan niece, Lena Charlie. Low polychrome jar by Nampeyo, c. 1934.

Polychrome jar by Nampeyo, c Polychrome jar by Nampeyo, c. 1930, with ‘migration’ design (the hatched background), referring to the paths taken by the Hopi clans. The jar may have been painted by daughter Annie or grand-daughter Rachel.

Large polychrome ‘olla’ (20” diameter) with Hopi migration design, by Nampeyo. c. 1930.

Above and right, red-slipped ware, c. 1926 Above and right, red-slipped ware, c. 1926. The stylized bird motif is common to late prehistoric Sikyatki wares. Left, Sikyatki polychrome jar, c. 1350-1625. “Sikyatki” is the name of an ancient Hopi village abandoned around 1500.

Sikyatki polychrome bowl, c. 1350-1625. The stylized bird motif is a common Hopi design, seen in pottery, prayer sticks, and other sacred objects. Traditionally, the ‘clan mother,’ keeps track of the clan’s sacred possessions.

Below, Mogollon knob-handled pitcher, c. 1000-1200 ce Below, Mogollon knob-handled pitcher, c. 1000-1200 ce. The Weatherhead Collection, Cleveland Museum of Natural History. Above, Mogollon red jar, c. 700 ce. The Weatherhead Collection, Cleveland Museum of Natural History.

Mogollon Mimbres Black-on-White Pottery (bat design), c Mogollon Mimbres Black-on-White Pottery (bat design), c. 1000-1150 ce, from Mimbres Valley, New Mexico. Classic Mimbres Black-on-White pottery is painted in geometric or figural decorative styles.

Mogollon Fourmile Polychrome pottery, c Mogollon Fourmile Polychrome pottery, c. 1325-1400, from the White Mountains, Arizona.

Both pots are early examples from the Picuris Pueblo.

Storage jar with lid is made of micaceous clay, c Storage jar with lid is made of micaceous clay, c. 1900-1933, from the Picuris Pueblo.

Above, Water Jar with polished red slip, 13” diameter; right, polished bowl, 18” diameter. Both are from the San Juan Pueblo, c. 1600-1880.

“Modern pottery” from the San Juan Pueblo, c “Modern pottery” from the San Juan Pueblo, c. 1930’s, showed incised designs and traditional red-on-tan format.

A collection of pottery from the Santa Clara Pueblo, c A collection of pottery from the Santa Clara Pueblo, c. 1900-1933, typically made for tourists in the early 1900’s, retains elements of the ancient pottery.

Above, water jar with spiral fluted neck, 10” diameter; above right, water jar with shoulder band molded by pressure from within; below right, jar with depressed wavy band. From the Santa Clara Pueblo, c. 1600-1880.

Left, water jar features a ‘bear paw’ emblem because of the bear’s ability to locate water. The wide mid-section of the jar facilitates carrying. Right, the ‘double-necked’ wedding jar from Santa Clara symbolizes the union of the bride and groom.

Storage Jar from the Tesuque Pueblo (Hopi), c Storage Jar from the Tesuque Pueblo (Hopi), c. 1600-1880, displays sun disks, feathers, clouds and plant symbols. 11” diameter.

Water Jar from the Tesuque Pueblo (Hopi) with meander and leaf design c. 1600-1880. 18” diameter.

Tesuque Polychrome jar, c. 1880 Tesuque Polychrome jar, c. 1880. By the mid 1800’s, most Tesuque pottery was decoraged with complex motifs, painted in black on white slip.

Below, Powhoge Polychrome (Tesuque Variety) c. 1940. Above, Powhoge Polychrome (Tesuque Variety) c. 1830.

Right, bowl from the Cochiti Pueblo, c Right, bowl from the Cochiti Pueblo, c. 1600-1880, with clouds, leafs, mountains and other symbols. Left, bowl from the Cochiti Pueblo, c. 1600-1880, 20” diameter. Geometric designs are painted on the exterior, while the interior shows feathers, rain, and plants.

Right: a Cochiti Pueblo water jar, c Right: a Cochiti Pueblo water jar, c. 1900-1933, is decorated with a ‘path of the spirit’ outline on the neck. The body shows an irregular arrangement of fertility symbols. Left: Cochiti standing figure and polychrome jar by Virgil Ortiz, 1994. The free-standing human figure is unique to the Cochiti.

Pot dated c. 1810 may be either from the Cochiti or Santo Domingo Pueblo. Stepped figures leading to horizontal ‘stalks’ are shown.

Below: Santo Domingo bowl with geometric design, c Below: Santo Domingo bowl with geometric design, c. 1600-1880, 17”diameter. Above: Storage Jar from Santo Domingo, c. 1600-1880, 17” diameter, with geometric and volute designs.

Santo Domingo water jars, c Santo Domingo water jars, c. 1600-1880, display typical designs in red, partly outlined in black. The larger jar is 7” in diameter.

Santo Domingo polychrome bowl, c. 1880, 16” diameter

9” diameter Water Jar from Santo Domingo, c 9” diameter Water Jar from Santo Domingo, c. 1900-1933, is painted with bird and plant designs.

11” diameter Santo Domingo Water Jar, c. 1900-1933 11” diameter Santo Domingo Water Jar, c. 1900-1933. The unusual orange slip is painted with a geometric design.

Below, is a Santa Ana water jar, c Below, is a Santa Ana water jar, c. 1600-1880, with an unusually graceful decoration in black and red. Above, from the Santa Ana Pueblo, water jar, c. 1600-1880, 12” diameter. The jar is decorated with clouds, rain, leaf, and other symbols.

Zia Pueblo Jar, c.1880.

Below, a utilitarian pitcher from the Zia Pueblo, c. 1880. Above, Zia Pueblo canteen, c. 1880. This utilitarian water canteen represents pottery before the impact of the railroad.

Floral, bird, and animal designs decorate this Zia jar Floral, bird, and animal designs decorate this Zia jar. Zia potters used volcanic lava as a tempering agent, leaving their works ‘peppered’ with black flecks.

Zia jar, c.1900. Height is approximately 10”.

Zuni Pueblo pot from c. 1930 measures 20 and 1/2” in height Zuni Pueblo pot from c. 1930 measures 20 and 1/2” in height. Traditional Zuni pottery, in various bowl and jar forms, displays recognizable motifs of deer and squat birds with long flowing tails.