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Show (Santa Clara and San Idelfonso Pueblo) is fired at lower temperatures which permits the released carbon from the manure to turn die pot black during die slow and low temperature firing. THOSE PUEBLOS whidi produce most of the present-da- y pottery are shown on the accompanying diagram. Although not drawn ti scale, the diagram illustrates die relative location of die Rio Grande Valley Pueblos. All are readily accessible by automobile. Most Pueblos have a governor and a permit must be obtained from die Governor before trading at the Pueblo. Most Pueblos have a restriction against taking photographs and, again, a permit must be obtained from die Governor. The Pueblos are educated in the ways of the white mans culture. Through centuries of contact with the Spaniard and his religion, they have learned to live in harmony with the white man, but in their traditional manner and practice they continue their working and trading in the surrounding towns of Taos, Espanola, Los Alamos, Santa Fe and Albuquerque. Pottery may be purchased from museum shops, Indian traders or directiy from the Pueblo. There are distinct advantages of buying from each of these sources. Museum shops are generally higher in price, but you are assured that the item is of good quality and authentic. Most traders operating from trading posts on die reservation and shop owners near the Pueblos are honest and knowledgeable, but here you must have some prior information as to the type of pottery and prices. Otherwise, you may be mistaken for a tourist who often is satisfied with an Indian pot whidi may reflect poor artistry and craftsmandiip and you may pay a relatively high price. If one buys from traders or shops, he should go to those shops which specialize in Indian crafts and avoid die souvenir type Eusebia Shiles pottery was shown in the May 1974 issue of Arizona Highways. Zia Pueblo pottery usually hm birds painted on die sides. There is meaning in die design but only die artist can interpret the symbolism. shops. Hieae exam pies of blackware are from Santa Clan Pueblo. From left to rights turtle; bowl by Celestina Nannjo; carved bowl by Stella Chavarria; wedding vase by Virginia Ebelacher; beaver by Flora Naranjo; and bowl by Fidel Archuleta. Pueblo Pottery-A- n Ancient Art . By John W. Barry Art expressions of the native American are becoming recognized and appreciated today throughout America ami Europe. Hiis recent interest was certain to emerge and is destined to leave a lasting impact upon American art and upon American heritage. If this country is in the post industrial revolution, as has been suggested, then we should expect an appreciation and even a recreation of art in the form of handicrafts, particularly those which are American in origin. This includes die art of die American Indian, whether it be creations through weaving, beading, basketmaking, silver smithing, or ceramics. These forms of traditional Indian art is in general demand and is being recognized for its artistic value and for what it represents - an expression of a proud people who have maintained a culture against great odds and pressures to conform to a strange and often an inimical society. THE RIO Grande Valley in the vicinity of Santa Fe and Albuquerque, New Mexico is the ancestral home of the modem day Pueblo Indian. Pottery is one of the main crafts of several Rio Grande Pueblos being produced at 19 pueblos by an estimated 250 potters (1974V This number is on the increase as sens and daughters learn this ancient craft from mother and grandmother. The prehistoric Pueblo began to replace baskets during the period from 200 to 300 A.D. Containers for water storage, seed collecting, and cooking were made of fibers prior to this period. As pottery replaced baskets, the standard of living improved and more time was available for the expression of art. Most pots or pieces of pottery which are found in the vicinity of village sites have some form of art, either carving or painting. This is true for ancient and most contemporary pottery. The designs and painting are a free expression conforming to the availability of clays and natural paint whidi nature has provided in the surrounding area. THE INDIAN potter recycled his pottery even in prehistoric days. Temper in the form of ground up pieces of broken pottery was added to the clay to strengthen the finished pot. Waste was unknown to these people both through necessity and respect for his environment. This practice is carried' through to the present day. Here lies the excitement of contemporary pottery. We have available to us an ancient art which differes only slightly from that of the original American potters. The method of preparing the day and forming, polishing, carving, painting and firing the pottery differ only by the generation of potters and by some of the comforts of the contemporary potters pueblo which in many cases is only slight The most famous potter, Maria Martinez, at the age of 25, rediscovered the method of making the blade matt and polished pottery known as blackware. This pottery had been known only to archeologists prior to her rediscovery in 1909. Today the fortunate visitor to San Idelfonso pueblo may see Maria strolling with her sister, Clara Montoya, in the shadow of the ktva. No longer does Maria create her famous pottery due to her age and failing eyesight. Pride of achievement and happiness can be seen in Marias eyes. She is a great inspiration to other potters of the pueblo such as Clara Montoya, Tony Da, and Blue Com. Most potters are women, however, there are several men producing excellent pieces. A TRIP to the Rio Grande Valley from Salt Lake City can be accomplished during a three-daweekend, although at least 5 days are recommended. The diagram shows the route consisting of a loop connecting at Cortez, Colorado. If your trip permits, stops at Mesa Verde National Park; Aztec Ruins National Monument at Aztec, New Mexico; and Salomon Ruins at Bloomfield, New Mexico will be very rewarding and will provide you with background information on the pueblo. Each site has a museum with displays of old pottery. There are numerous collectors who are interested only in old or pottery. This is to be respected; however, many fine sites have been ruined by pot collectors who care little about archeology. This practice has caused the permanent loss of scientific knowledge of the early pueblos. What value Is a pot sitting on a shelf which the owner cannot relate to THE PRODUCTION of a pot involves several definite and orderly procedures which are simple but require skill and patience, and when accomplished as intended, die potter may be rewarded by ribbons and handsome cadi offers which may reach $1000. There is no commercially prepared clay, no mold, and no kiln. A few potters reportedly use commercially prepared materials and equipment, but they are the exception and this practice is to be discouraged. Clay is collected from secret locations near the Pueblo. After it is cleaned and dried, a temper is prepared and mixed with the fine clay and water to a consistency which is instinctively known or learned by trial and error. Most potters employ the coil method of building the pot. Ropelike clay coils are arranged or coiled to a diameter approximately the size of the finished product. The pot is then formed by scraping and by hand molding. It is then coated with a watery clay mixture. The next step is polishing with a smooth river pebble or piece of leather. The potter may decide to carve the inter or outer surface before painting. The final step is the firing process - a very critical step which may witness the total loss of her labor and creation. Again, through experience, she knows when the weather conditions are proper. According to Patrick Houlihan of the Heard Museum, firing in the crude outside kiln lasts for less than three hours and is performed at approximately 1500 degrees Fahrenheit. Cakes of dried animal manure are placed over the pots during firing. Blackware THE MOST exciting and challenging method is to buy directly from die Indian artist. The advantage here, of course, is meeting on a personal basis with die artist who created the pottery. Most of die Indian artists in the Rio Grande Valley are proud to show their pieces and to discuss in general terms their methods of creating pottery. The accomplished artist will show you the awards me has received at die recent shows perhaps in Gallup or Santa Fe. Further talk may reveal that die provides for her family as well as her daughters family by selling pottery, while the daughter learns to become a master at the art. In your approach, while at their home, is warm and sincere, you may meet die daughters, sons and grandmother. The men probably will be at work in the com fields or trading in town. The artist, as any artist, has placed a value on her piece of art. This price is not subject to bargaining and any attempt to bargain may be met with hostility. On the other hand, many will consider trading of other merchandise and if you are so inclined, you may find it an entertaining experience to test the skill of these people in trading. Some artist will wholesale if you are a dealer and can prove this to them. But again, they will expect a fair return for their skill and labors. This must be respected. There are several sources where information can be obtained cm Pueblo pottery. These can be grouped as follows: the artist at the numerous pueblos; museums; and libraries. . Depending upon the extent of your interest and available time, select the one which is die most appropriate to you. The most says For an introduction to contemporary Pueblo pottery, the lowing publications are recommended: Saving is w hey winBinBR andsatety.-Cmdftunte- members work, teen end haR sms mn Any protit -- not tor charity -but for mutual aorvice. fol- Arizona Highways - May 1974. Families in Pueblo Pottery - Maxwell Museum of Anthro-- pology. University of New Mexico, 1974. The Story erf Pueblo Pottery, H. M. Wormington and Arminta Neal, Denver Museum of Natural History, Denver, Colorado. These sources will provide you with hours of adventure and participation in the appreciation of this ancient art. Saving rofuro' Credit is a toy to Drfgwoy Uhion, lets the world go buy. UW'JMA K'LBLU MAIN SALT POTTERY PRODUCER OF THE RIO CRANOE FIRST PUEBLOS SECURITYjggi BankAmericard LAP! CITY 41b3 123 0 189 H5b 0 0 C fry Snwr Varke 04 And &,,, ALSUQUW'J MEMBER FOlC Tn avc ftf hi iv ww mr tC V-- . p, ay sumcstid B vVh- -. o,. j You pretty much have to face it. Christmas shopping for just the right gift for the people you love, or even like a lot, can take you all over town. Even into those unique ' specialty stores. The travel we can't do anything about, but First Security can make it easier once you get there. With BankAmericard. BankAmericard is one credit card that's good almost anywhere you go. For almost anything you want to buy. Whether you're after kinky clothes, those new light skis, handmade jewelry or leathercraft, toys, models, games or bowling balls, with BankAmericard, you've eot Christmas covered. & to nun yw save your hard earned mom) at your oedK union, N Dt pre-histor- ic location or time? The style, materials and method of decorating pottery varies from one pueblo to another. This variation, as seen on the photographs; is dictated in part by the clay types available in the vicinity of the pueblo, of course, local tradition. The surface form and color of the pot generally is the principal key to identifying the pueblo affiliation. Pueblo pottery can be grouped into four types which is independent of source. That is, one pueblo may produce all four types. Presently, pottery from the Pueblos of Acona, San Jan, Pojaque, Santa Clara, San Idelfonso, and Zia are in the greatest demand. Some collectors and certainly some artisUmay dispute this statement. The Credit Union Umbrella Man exciting, however, would be a visit to one erf the pueblos mentioned in this article. Extensive collections are available far public viewing at die Denver Museum erf Natural History, Denver, Colorado; Heard Museum, Phoenix, Arizona; and the Maxwell Museum of Anthropology, Albuquerque, New Mexico. y . The broken design lines are not mistakes, it is called a spirit line. When the artists complete a pot whidi pleases her, die leaves an opening. This permits the good spirits to escape and help her to create another good piece of pottery. The artist is Santana Melchor of Santo Domingo Pueblo. (Photo by R. Keck) Ike Fodrpl 522-25- 2 |