Experience Grounded in Clay: The Spirit of Pueblo Pottery in person at the Vilcek Foundation.
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© 2023 Vilcek Foundation.
All rights reserved
© 2023 Vilcek Foundation.
All rights reserved
From birth until death, pottery plays an integral role in the life journey of a Pueblo person. Clay Mother nurtures and sustains the cultural path of an individual.
Since time immemorial, Pueblo people have utilized pottery to gather and store water, to prepare and store food, to commemorate significant occurrences in the life of an individual and community, and for ceremony. It is important to note the utilitarian uses of pottery and the connection of clay to the expansive natural environment. The clay itself is also nurtured by natural elements like rain, snow, wind, and the sun. This interconnectedness provides nourishment not only for the clay but for the users of the pottery. Animal life also plays a role in this process. Big and small game animals that are harvested throughout the year also contribute to the spiritual and nurturing essence of cooking pots and storage jars. Pueblo people believe that the contents of pottery are inextricably part of the life-giving process.
At some Pueblos, certain types of clay are gathered for a specific use, most often to make items for ceremony. Many examples of historic Pueblo pottery in private and museum collections reveal signs that they were made for ceremonial use. For example, Acoma water jars that feature line breaks at the rim, base, or mid-section are likely to have been used in ceremony. Although most Pueblos do not divulge details about their cultural practices, it is important to acknowledge the extreme importance of pottery to the continuance of Pueblo culture.
This three-color Zuni polychrome olla (water jar) features white slip with black and red painted decoration. This vessel includes three classic motifs from the village, all present on the neck and body of the jar. Above the double framing lines on the shoulder are hachured strips with vertical and slanting rain lines. The layout of the body consists of two black and red eight-petal rosettes opposite each other. In between the flowers are deer in the feather house design with a horizontal band of water birds.
This four-color Acoma polychrome water jar features white slip with black, red, and orange painted decoration. The focal points of this multi-paneled jar are the large circular design panels that decorate two sides. Within each circular pattern is a band of three birds, and each orange bird had a billowing tail, inspired by Zuni Pueblo stylized bird designs. Above and below the band of birds are clouds, crosshatchings, and other rain elements that are also similar to designs seen on Zuni Pueblo pottery.
This three-color Zuni polychrome olla (water jar) features white slip with black and red painted decoration. Throughout the neck and body is an expansive rain bird design. On the neck is a repeating pattern comprised of a rain bird spiral that slightly expands outward into crosshatched (rain lines) bands. The much larger rain bird motif present on the body is also referred to as the “eye of the storm.” The so-called storm begins with the rain bird’s spiraled beak; as it grows into large bands of hachures, the rain lines become more horizontal possibly to signify wind. Additionally, red triangles are dispersed throughout the body and may signify clouds.
This three-color Zuni polychrome olla (water jar) features white slip with black and red painted decoration. The all-over-designed vessel is laced with intersecting crosshatched (rain lines) bands that form a pinwheel-like design. Viewed from above, the hachured bands create a star-like design. In between the points of the star are stacked triangles, some of which may form feathers. The wear of the rim could indicate that the water jar was utilized for its original purpose before being purchased as an art object.
This burnished Zia water jar features black and red painted decoration. The all-over-designed jar opens at the top with a small mouth, then slowly billows outward in its body and comes to an elegant and narrow close at its base. The focal decoration is the black deer that is grazing among the red flowers and leaves. Additionally, fire clouds cover the lower portion of the pot.
This three-color Powhogeh polychrome storage jar features white slip with black and red painted decoration. This jar stands in its large globular shape with a medium-sized mouth opening. The surface decoration consists of three horizontal bands, framing lines, and a high red base. The top band is an oval-shaped black contoured pattern that may symbolize open leaf and/or bead motifs. The body band includes a variety of designs that purposefully cover the large surface of the jar. These designs are sizeable triangles that include a stacked black triangle pattern inside and are attached to a winding four-leaf motif. Other elements are feather and cloud symbolism.
This three-color Cochiti polychrome olla features white slip with black and red painted decoration. This great oval-shaped water jar is comprised of a high red base, neck pattern, and multiple panels of decoration. The main panel of discussion is a design that includes cloud, rain, lightning, and water bird motifs. Throughout the landscape are cloud banks, with two of them sprouting above plant stems. Underneath the center cloud bank are rain lines (hachures) and crisscrossing rain lines to indicate lightning or rainstorms. A water bird, or possibly a parrot, stands to the right.
This four-color Acoma polychrome storage jar features white slip with black, red, and orange painted decoration. The design consists of two bands of decoration. The neck has a remarkable checkerboard pattern. The clean lines of the upper design are colored squares that are both red and orange. The alternating blank squares hold a split line in their centers similar to the split leaf design. The body of the jar holds two distinct interchanging diagonal strips that contain rain, cloud, and mountain symbolism. Strip one is a hachured (crosshatched) band with crisscrossing rain lines with small checkerboard squares spaced throughout. Black triangles frame the bands and may symbolize clouds and mountains. The second strip is a connected checkerboard pattern with eyed cloud motifs.
This three-color Zia storage jar features white slip with black and red painted decoration. The surface decoration of this rotund jar is set into two bands. The neck decoration includes connected patterns of red triangles and capped black triangles with either cloud motifs or rain lines. The body is separated by a black framing line and includes a bold red double rainbow band. The rainbow band, large hachures, upright black triangles, and zigzagging patterns of triangles possibly signify rain. Below the rainbow band rests a Zia-style bird with its talons on the stems of berry plants.
This large four-color Acoma polychrome water jar features white slip with black, red, and orange painted decoration. The all-over-designed jar centers on a continuous patterned band of open black and red rectangles connected to elaborate floral motifs. The motifs are capped at the top and bottom with black half circles that may symbolize clouds. Placed below the unlined rim are four parrots depicted in orange alongside flower forms. The lower portion consists of split black leaves parallel to red fret bands, which represent rainbow bands.
This three-color Cochiti polychrome storage jar features white slip with black and red painted decoration. The surface decoration centers on three patterns that include plant formations, bird motifs, and large arches. The neck decoration is a band of double triangles connecting at the peak with a row of connected scallops underneath.
This three-color Cochiti Kiua storage jar features white slip with black and red painted decoration. Much of the exterior surface of the jar is undecorated, with a few isolated motifs. The neckband consists of a zigzagging pattern of triangles and within the body band are two designs that include a double spiral motif and a single circle with a four-leaf plant inside.
This three-color San Ildefonso Pueblo polychrome storage jar features white slip with black and red painted decoration. The oval-like shape of this grandiose jar opens with a small and chipped rim. Below the red rim are two framing lines that can also be found on the shoulder and base of the jar. The surface decoration contains a variety of motifs illustrated in black. Some designs include wavering lines, multiple leaf-like formations, and patterns of triangles.
This three-color Powhogeh polychrome storage jar features white slip with black and red painted decoration. This jar stands in its large globular shape with a medium-sized mouth opening. The surface decoration consists of three horizontal bands, framing lines, and a high red base. The top band is an oval-shaped black contoured pattern that may symbolize open leaf and/or bead motifs. The body band includes a variety of designs that purposefully cover the large surface of the jar. These designs are sizeable triangles that include a stacked black triangle pattern inside and are attached to a winding four-leaf motif. Other elements are feather and cloud symbolism.
This three-color Zuni polychrome olla (water jar) features white slip with black and red painted decoration. This vessel includes three classic motifs from the village, all present on the neck and body of the jar. Above the double framing lines on the shoulder are hachured strips with vertical and slanting rain lines. The layout of the body consists of two black and red eight-petal rosettes opposite each other. In between the flowers are deer in the feather house design with a horizontal band of water birds.
This Hopi Revival polychrome bowl features white slip with black and red painted decoration. This disk-like bowl has an interior band of repeating motifs consisting of triangles, bands, and other shapes. Attached to the red-painted rim is a Pueblo clown. This figurine is visible from its shoulders and above, and the horizontal black stripes on its originally white surface add to the depiction of the clown. This bowl is associated with the “Revival” age of Pueblo (especially Hopi) pottery because it was created during the early 20th century when pottery was revamped for tourism purposes.
This vessel was made by layering clay coils and then smoothing them with a scraping tool to create the bulbous form. The black pigment paint on white polished slip reveals what scholars call the Tularosa swirl design, which represents clouds, rain, and lightning. These were likely related to agricultural cycles and the summoning of rain clouds to nourish the natural vegetation and crops of corn. This type of Ancestral Pueblo jar served as a container for water and a storage container for seeds, dried plants, and dried wild game.
This water jar features a polished white slip with designs representing water, rain, and hills painted with a black pigment. The Pueblo of San Ildefonso, better known as Powhogeh Owingeh (“Where the water cuts through”), is an Indigenous nation located in northern New Mexico. The Pueblo residents of “San I” practice a vibrant and enduring culture through the honoring of their traditions, relationship to family, and linkage to the land. Many of the Pueblo artists carry on the artistic traditions of their ancestors, like pottery making, in the 21st century.
This three-color Cochiti polychrome olla features white slip with black and red painted decoration. This great oval-shaped water jar is comprised of a high red base, neck pattern, and multiple panels of decoration. The main panel of discussion is a design that includes cloud, rain, lightning, and water bird motifs. Throughout the landscape are cloud banks, with two of them sprouting above plant stems. Underneath the center cloud bank are rain lines (hachures) and crisscrossing rain lines to indicate lightning or rainstorms. A water bird, or possibly a parrot, stands to the right.
This three-color San Ildefonso polychrome pot features white slip with black and red painted decoration. The form of this San Ildefonso polychrome pot follows traditional 17th- and 18th-century Tewa pottery as the vessel consists of an outward rim, elongated neck, and bulging mid-body. There are two main bands of decoration with a middle band design consisting of black contoured circles with red dots. The neck band includes black and red triangular motifs that can represent feathers or leaves. The body decoration is red stepped patterns with possibly feather designs.
This four-color Acoma polychrome storage jar features white slip with black, red, and orange painted decoration. The design consists of two bands of decoration. The neck has a remarkable checkerboard pattern. The clean lines of the upper design are colored squares that are both red and orange. The alternating blank squares hold a split line in their centers similar to the split leaf design. The body of the jar holds two distinct interchanging diagonal strips that contain rain, cloud, and mountain symbolism. Strip one is a hachured (crosshatched) band with crisscrossing rain lines with small checkerboard squares spaced throughout. Black triangles frame the bands and may symbolize clouds and mountains. The second strip is a connected checkerboard pattern with eyed cloud motifs.
This three-color Zia storage jar features white slip with black and red painted decoration. The surface decoration of this rotund jar is set into two bands. The neck decoration includes connected patterns of red triangles and capped black triangles with either cloud motifs or rain lines. The body is separated by a black framing line and includes a bold red double rainbow band. The rainbow band, large hachures, upright black triangles, and zigzagging patterns of triangles possibly signify rain. Below the rainbow band rests a Zia-style bird with its talons on the stems of berry plants.
This large four-color Acoma polychrome water jar features white slip with black, red, and orange painted decoration. The all-over-designed jar centers on a continuous patterned band of open black and red rectangles connected to elaborate floral motifs. The motifs are capped at the top and bottom with black half circles that may symbolize clouds. Placed below the unlined rim are four parrots depicted in orange alongside flower forms. The lower portion consists of split black leaves parallel to red fret bands, which represent rainbow bands.
This four-color Acoma polychrome water jar features white slip with black, red, and orange painted decoration. The focal points of this multi-paneled jar are the large circular design panels that decorate two sides. Within each circular pattern is a band of three birds, and each orange bird had a billowing tail, inspired by Zuni Pueblo stylized bird designs. Above and below the band of birds are clouds, crosshatchings, and other rain elements that are also similar to designs seen on Zuni Pueblo pottery.
This three-color Cochiti polychrome storage jar features white slip with black and red painted decoration. The surface decoration centers on three patterns that include plant formations, bird motifs, and large arches. The neck decoration is a band of double triangles connecting at the peak with a row of connected scallops underneath.
This three-color Tesuque jar features white slip with black and red painted decoration. The design on the center band of this large globular jar includes multiple bird forms that are framed with cloud banks and leaf motifs. Above are five circulating patterns such as scallop-like clouds and zigzagging triangles. There are framing lines at the mouth and top of the base. Additionally, black fire clouds are visible on the base.
This three-color Zuni polychrome olla (water jar) features white slip with black and red painted decoration. Throughout the neck and body is an expansive rain bird design. On the neck is a repeating pattern comprised of a rain bird spiral that slightly expands outward into crosshatched (rain lines) bands. The much larger rain bird motif present on the body is also referred to as the “eye of the storm.” The so-called storm begins with the rain bird’s spiraled beak; as it grows into large bands of hachures, the rain lines become more horizontal possibly to signify wind. Additionally, red triangles are dispersed throughout the body and may signify clouds.
This San Ildefonso black-on-red lidded jar features red slip with black painted decoration and inscription. The jar centers on its impressive form and design. The vessel’s shape is rotund through its shoulders and body. The lid is dome-shaped with a small handle on top and sits on a ridge. Covering the red slip includes multiple black fire clouds from the original firing process. The decoration includes framing lines and scallop patterns on both the body and lid. The focal decoration is a pattern of five open elements that are framed with black-filled scallop design that may represent clouds. Each motif includes depictions of birds and other forms.
This three-color Cochiti Kiua storage jar features white slip with black and red painted decoration. Much of the exterior surface of the jar is undecorated, with a few isolated motifs. The neckband consists of a zigzagging pattern of triangles and within the body band are two designs that include a double spiral motif and a single circle with a four-leaf plant inside.
This three-color Zuni polychrome olla (water jar) features white slip with black and red painted decoration. The all-over-designed vessel is laced with intersecting crosshatched (rain lines) bands that form a pinwheel-like design. Viewed from above, the hachured bands create a star-like design. In between the points of the star are stacked triangles, some of which may form feathers. The wear of the rim could indicate that the water jar was utilized for its original purpose before being purchased as an art object.
This burnished Zia water jar features black and red painted decoration. The all-over-designed jar opens at the top with a small mouth, then slowly billows outward in its body and comes to an elegant and narrow close at its base. The focal decoration is the black deer that is grazing among the red flowers and leaves. Additionally, fire clouds cover the lower portion of the pot.
This three-color San Ildefonso Pueblo polychrome storage jar features white slip with black and red painted decoration. The oval-like shape of this grandiose jar opens with a small and chipped rim. Below the red rim are two framing lines that can also be found on the shoulder and base of the jar. The surface decoration contains a variety of motifs illustrated in black. Some designs include wavering lines, multiple leaf-like formations, and patterns of triangles.