Pottery-making is a 2000 year old tradition in New Mexico. The most distinctive New Mexico pottery is Mimbres black-on-white from Southwestern New Mexico, A.D. 1000-1200. Precisely drawn and painted animals, birds, and mythical figures were centered inside wide, painted-rim bowls. Many Mimbres pieces have been found with a hole broken through the bottom at burial sites.
Of all the arts practiced by the Pueblo Indians of today, pottery has the most direct cultural and historical ancestral connections. Pueblo Indian silversmithing, weaving, sculpture, and easel painting have been introduced or adapted in many ways through Hispanic and Anglo influences, but pottery traditions are prehistoric. Hundreds of Pueblos were producing and trading pottery when the Spanish first arrived in the area. From the 16th to the 20th century, many Pueblos developed and continue to evolve recognizable decorative traditions.
The availability of industrial goods made possible by the arrival of the railroad replaced the manufacture of pottery for domestic use in the Pueblos. Yet the railroad also created a new market for decorative and art pottery produced for tourists, dealers, and collectors.
Aesthetic characteristics of the pottery revival were influenced by anthropologists, art collectors, artists, and museum personnel who were concerned with perfection of technique and execution of design rather than function and made available to potters the design traditions of prehistoric pieces.
Until Maria and Julian Martinez began signing their works in the 1920s, Pueblo potters had been largely anonymous. Respect and recognition for the Pueblo artist increased competition among both potters and patrons, reinforced specialization of design for potter-producing Pueblos, and established aesthetic and critical guidelines while simultaneously providing opportunities for economic and artistic success.
Many prehistoric pottery traditions are still practiced. Pueblo pottery was traditionally made by women, though a number of men now make pottery. About half the time necessary to make a pot is spent just gathering and processing the natural materials used. Sources of clay and minerals are closely guarded secrets in each pueblo and the use of materials found in and around each Pueblo led to the natural development of aesthetic characteristics of each Pueblo.
Traditional pueblo potters pray before collecting clay and leave an offering of cornmeal to Mother Earth. The clay is made from the carefully selected and prepared natural materials, and then shaped by coiling and/or hand building. Surface designs such as painting or carving are applied before firing, and wood or horse or cattle dung is used in the final step of firing. Though many Pueblo potters have adopted contemporary methods of forming and firing pottery, others still follow the path of their ancestors.
During SchoolArts/CRIZMAC's Celebrating Pueblo Art and Culture in Santa Fe, July 3-7, 2013, participants will work with a Pueblo potter using clay prepared by the artist and have the chance to participate in a firing on Pueblo lands. We will also meet other Native American artists and teachers and visit museums and other cultural sites. Teachers can also receive continuing education credit. To learn more and register, please click here to go to CRIZMAC's website.
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