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Color-packed volume brings to stunning life 1,000-year-old Native American ceramic pottery. 163 illustrations.

To Touch the Past: The Painted Pottery of the Mimbres People

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The A-shi-wi, or Zunis, suppose the sun, moon, and stars, the sky, earth, and sea, in all their phenomena and elements; and all inanimate objects, as well as plants, animals, and men, to belong to one great system of all-conscious and interrelated life, in which the degrees of relationship seem to be determined largely, if not wholly, by the degrees of resemblance. In this system of life the starting point is man, the most finished, yet the lowest organism; at least, the lowest because most dependent and least mysterious. In just so far as an organism, actual or imaginary, resembles his, is it believed to be related to him and correspondingly mortal; in just so far as it is mysterious, is it considered removed from him, further advanced, powerful, and immortal. It thus happens that the animals, because alike mortal and endowed with similar physical functions and organs, are considered more nearly related to man than are the gods; more nearly related to the gods than is man, because more mysterious, and characterized by specific instincts and powers which man does not of himself possess. Again, the elements and phenomena of nature, because more mysterious, powerful and immortal, seem more closely related to the higher gods than are the animals; more closely related to the animals than are the higher gods, because their manifestations often resemble the operations of the former.

In consequence of this, and through the confusion of the subjective with the objective, any element or phenomenon in nature, which is believed to possess a personal existence, is endowed with a personality analogous to that of the animal whose operations most resemble its manifestation. For instance, lightning is often given the form of a serpent, with or without an arrow-pointed tongue, because its course through the sky is serpentine, its stroke instantaneous and destructive; yet it is named Wi-lo-lo-a-ne, a word derived not from the name of the serpent itself, but from that of its most obvious trait, its gliding, zigzag motion. For this reason, the serpent is supposed to be more nearly related to lightning than to man; more nearly related to man than is lightning, because mortal and less mysterious. As further illustrative of the interminable relationships which are established on resemblances fancied or actual, the flint arrow-point may be cited. Although fashioned by man, it is regarded as originally the gift or “flesh” of lightning, as made by the power of lightning, and rendered more effective by these connections with the dread element; pursuant of which idea, the zigzag or lightning marks are added to the shafts of arrows. A chapter might be written concerning this idea, which may possibly help to explain the Celtic, Scandinavian, and Japanese beliefs concerning “elf-shafts,” and “thunder-stones,” and “bolts.”

In like manner, the supernatural beings of man’s fancy–the “master existences”–are supposed to be more nearly related to the personalities with which the elements and phenomena of nature are endowed than to either animals or men; because, like those elements and phenomena, and unlike men and animals, they are connected with remote tradition in a manner identical with their supposed existence to-day, and therefore are considered immortal.

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Zuni Fetiches – Frank Hamilton Cushing

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Indian Pottery

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Formatted for Kindle.
Linked Contents, footnotes, and Index.
Illustrations.

CONTENTS
Introductory
Ceramic groups
Middle Mississippi province
Distribution
How found
Age
Use
Construction
Material
Color
Form
Finish
Ornament
Modification of shape
Relief ornament
Intaglio designs
Designs in color
Classification of forms
Origin of form
Bowls
Form
Ornament
Illustrations
Ordinary forms
Eccentric forms
Life forms
Pot-shaped vessels
Material
Form
Handles
Origin of handles
Ornament
Illustrations
Wide-mouthed bottles or jars
Form
Ornament
Illustrations
Ordinary forms
Eccentric forms
Life forms
High-necked bottles
Form
Ornament
Illustrations
Ordinary forms
Eccentric forms
Life forms
Upper Mississippi province
Gulf province
Résumé

Ancient Pottery of the Mississippi Valley

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Penetrating study of Pueblo ceramic art—materials, methods, decorative elements, use of color, etc.—plus ideas, feelings and attitudes toward craft. 38 full-page plates. 14 plates in red, white and black.

The Pueblo Potter

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The authors examine fine and rare examples of pots – many of which are from private collections – in terms of forms and ensigns from the ancient antecedents of Zuni pottery to the contemporary work being produced today. The definitive treatment of the extraordinarily popular Zuni Pueblo’s long and complex ceramic tradition, this book sets the gold standard and will be an indispensable reference for researchers, collectors, native arts enthusiasts, archaeologists, and visitors to the Southwest.

The Pottery of Zuni Pueblo

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Native American Pottery A. D. 900-1980

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It is conceded that the peculiarities of a culture-status are due chiefly to the necessities encountered during its development. In this sense the Pueblo phase of life was, like the Egyptian, the product of a desert environment. Given that a tribe or stock of people is weak, they will be encroached upon by neighboring stronger tribes, and driven to new surroundings if not subdued. Such we may believe was the influence which led the ancestors of the Pueblo tribes to adopt an almost waterless area for their habitat.

It is apparent at least that they entered the country wherein their remains occur while comparatively a rude people, and worked out there almost wholly their incipient civilization. Of this there is important linguistic evidence.

[Illustration: FIG. 490.--A Navajo hut.]

A Navajo hogan, or hut, is a beehive-shaped or conical structure (see Fig. 490) of sticks and turf or earth, sometimes even of stones chinked with mud. Yet its modern Zuni name is _ham’ pon ne_, from _ha we_, dried brush, sprigs or leaves; and _po an ne_, covering, shelter or roof (_po a_ to place over and _ne_ the nominal suffix); which, interpreted, signifies a “brush or leaf shelter.” This leads to the inference that the temporary shelter with which the Zunis were acquainted when they formulated the name here given, presumably in their earliest condition, was in shape like the Navajo hogan, but in _material_, of brush or like perishable substance.

The archaic name for a building or walled inclosure is _he sho ta_, a contraction of the now obsolete term, _he sho ta pon ne_, from _he sho_, gum, or resin-like; _sho tai e_, leaned or placed together convergingly; and _ta po an ne_, a roof of wood or a roof supported by wood.

[Illustration: FIG. 491.--Perspective view of earliest or Round-house structure of lava.]

The meaning of all this would be obscure did not the oldest remains of the Pueblos occur in the almost inaccessible lava wastes bordering the southwestern deserts and intersecting them and were not the houses of these ruins built on the plan of shelters, round (see Figs. 491, 492, 493), rather than rectangular. Furthermore, not only does the lava-rock of which their walls have been rudely constructed resemble natural asphaltum (_he sho_) and possess a cleavage exactly like that of pinon-gum and allied substances (also _he sho_), but some forms of lava are actually known as _a he sho_ or gum-rock. From these considerations inferring that the name _he sho ta pon ne_ derivatively signifies something like “a gum-rock shelter with roof supports of wood,” we may also infer that the Pueblos on their coming into the desert regions dispossessed earlier inhabitants or that they chose the lava-wastes the better to secure themselves from invasion; moreover that the oldest form of building known to them was therefore an inclosure of lava-stones, whence the application of the contraction _he sho ta_, and its restriction to mean a walled inclosure.

[Illustration: FIG. 492.--Plan of Pueblo structure of lava.]

[Illustration: FIG. 493.--Section of Pueblo structure of lava.]

RECTANGULAR FORMS DEVELOPED FROM CIRCULAR.

It may be well in this connection to cite a theory entertained by Mr. Victor Mindeleff, of the Bureau of Ethnology, whose wide experience among the southwestern ruins entitles his judgment to high consideration. In his opinion the rectangular form of architecture, which succeeds the type under discussion, must have been evolved from the circular form by the bringing together, within a limited area, of many houses. This would result in causing the wall of one circular structure to encroach upon that of another, suggesting the partition instead of the double wall. This partition would naturally be built straight as a twofold measure of economy.

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A Study Of Pueblo Pottery – Frank Hamilton Cushing

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he Pueblo of Zuni is situated in Western New Mexico on the Rio Zuni, a tributary of the Little Colorado River. The Zuni have resided in this region for several centuries. The peculiar geologic and geographic character of the country surrounding them, as well as its aridity, furnishes ample sources from which a barbarous people would derive legendary and mythologic history. A brief reference to these features is necessary to understand more fully the religious phases of Zuni child life.

Three miles east of the Pueblo of Zuni is a conspicuously beautiful mesa, of red and white sandstone, t[=o]-w[=a]-yael laen-ne (corn mountain). Upon this mesa are the remains of the old village of Zuni. The Zuni lived during a long period on this mesa, and it was here that Coronado found them in the sixteenth century. Tradition tells that they were driven by a great flood from the site they now occupy, which is in the valley below the mesa, and that they resorted to the mesa for protection from the rising waters. The waters rose to the very summit of the mesa, and to appease the aggressive element a human sacrifice was necessary. A youth and a maiden, son and daughter of two priests, were thrown into this ocean. Two great pinnacles, which have been carved from the main mesa by weathering influences, are looked upon by the Zuni as the actual youth and maiden converted into stone, and are appealed to as “father” and “mother.” Many of the Zuni legends and superstitions are associated with this mesa, while over its summit are spread the extensive ruins of the long ago deserted village. There are in many localities, around its precipitous sides and walls, shrines and groups of sacred objects which are constantly resorted to by different orders of the tribe. Some of the most interesting of these are the most inaccessible. When easy of approach they are in such secluded spots that a stranger might pass without dreaming of the treasures within his reach. On the western side of this mesa are several especially interesting shrines. About half way up the acclivity on the west side an overhanging rock forms the base of one of the pinnacles referred to. This rock is literally honeycombed with holes, from one-half to three-fourths of an inch in diameter. I visited the spot in the fall of 1884, with Professors E.B. Tylor and H.N. Moseley, of Oxford, England, and Mr. G.K. Gilbert, of the United States Geological Survey. These gentlemen could not determine whether the tiny excavations were originally made by human hands or by some other agency. The Indian’s only answer when questioned was, “They be long to the old; they were made by the gods.” Hundreds of these holes contain bits of cotton and wool from garments. In the side of this rock there are larger spaces, in which miniature vases, filled with sand, are placed. The sand is ground by rubbing stones from the same rock

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Religious Life Of The Zuni Child – MRS. Tilly E. Stevenson.

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Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Chapters: Talavera, Rio Grande Glaze Ware, Maria Martinez, Tree of Life, Native American Pottery, Maya Ceramics, Mata Ortiz, Fannie Nampeyo, Tammie Allen, Nampeyo, Huaco, Nathan Youngblood, Anthony Durand, Diego Romero, Gran Coclé, Dextra Quotskuyva, Blue Corn, Margaret Tafoya, Double Spout and Bridge Vessel, Rose Gonzales, Marie Z. Chino, Anita Louise Suazo, Aguilar Family, Juanita Suazo Dubray, Roxanne Swentzell, Elva Nampeyo, Cibola White Ware, Arthur and Hilda Coriz, Margaret and Luther Gutierrez, Lucy M. Lewis, Michael Kanteena, Leonidas Tapia, Nora Naranjo-Morse, Vera Chino, Joseph Lonewolf, Hopewell Pottery. Excerpt: The Aguilar Family is a family of Native American potters from Santo Domingo Pueblo , New Mexico , United States , consisting of three sisters, Felipita Aguilar Garcia, Asuncion Aguilar Cate and Mrs. Ramos Aguilar. In the early 1900s, pottery making at Santo Domingo Pueblo had experienced a significant decline. In 1910, Julius Seligman, who worked at the Bernalillo Mercantile Company near the pueblo, noticed the decline. At his suggestion, three sisters, Felipita Aguilar Garcia, Asuncion Aguilar Cate and Mrs. Ramos Aguilar, attempted to revive the dying art. The three women worked together making pottery and their work became known as “Aguilar pottery.” The Aguilar sisters made traditional polychrome ollas , jars and dough bowls with several different styles of decoration. The painting style for which they are best known was black paint on a white slip or black and red on a white slip, which almost totally obscured the white background. This style was unique compared to the typical geometric forms of Santo Domingo pottery where areas were usually left open of unpainted. This style has become known as “negative boldface” or reverse-painted Aguilar pottery. They also ma…

Native American Pottery: Talavera, Rio Grande Glaze Ware, Maria Martinez, Tree of Life, Native American Pottery, Maya Ceramics, Mata Ortiz

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