A polychrome classic Zuni owl figure made by Unknown of Zuni
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Unknown, Zuni, A polychrome classic Zuni owl figure
Unknown
Zuni
$ 550
bfzu6g230
A polychrome classic Zuni owl figure
6.5 in L by 6 in W by 6.25 in H
Condition: Excellent




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Artists Formerly Known

All Pueblos

Several hundred years ago, during the times of the great Southwest migrations, communal feasting developed as a means of meet-and-greet for integrating or rejecting newcomers into established villages. That's about the same time large open serving bowls came into existence. Families would prepare their specialty dish and bring it to share at the feast in their own bowls. When the feast was over, they retrieved their bowls and went back home until next time. They found ways to differentiate each family's bowls from the others, making them easy to recognize and retrieve. Those innovations have, in some cases, carried forward almost to today. Some were in the actual construction of the pots while others were in the execution of the decorations on them.

For instance, Nampeyo was known to have added an extra coil to the rims of her pieces, as she was aware of that being a breakage point should the piece actually be put into some kind of use. Today, "use" is not a consideration and rims have consequently become very thin. Nampeyo was also known for decorations that were slightly off balance, not quite direct copies of anything else on the piece.

Florentino Montoya, of San Ildefonso, was known for particular off-balance flourishes in his designs, used today to identify his pieces as he never signed any. He and his wife, Martina Vigil, were making pottery in the late 1800's. It was they who got Maria Martinez started when she was a young girl.

In general, most pieces of pottery made before the early 1950's were unsigned, their creators, for the most part, now unknown. Only a very few potters, ones who had become convinced of the monetary value of their name on the bottom of a piece, signed anything.

Maria Martinez of San Ildefonso was one of the very first, beginning in 1922. That caused a problem as the outside world then came looking for her in particular, as someone they really wanted to do business with. Then, in 1926, she added her husband's name to the signature as he was doing all the decorating for her. That caused another upheaval among the pueblos as the making of pottery was long considered to be "women's work."

Nampeyo, at Hopi, was also getting established as a potter of note around the same time, but she never learned English, never learned to read or write. As Nampeyo went blind and other members of her family began painting for her, some would sign pieces with her name and theirs, as in "Nampeyo Fannie," on a pot made by Nampeyo and painted by her daughter Fannie. Nampeyo's niece Daisy painted some, too, usually signing some version of "Nampeyo Daisy" or "Nampeyo DHN". Nampeyo's daughter, Annie Healing, worked side by side with Nampeyo for years, doing a lot of her decorating, but Annie never signed either name to anything. At this point in time, we know what to look for to attribute the making and decorating of a pot to Nampeyo but with pieces made after about 1920, it's essentially impossible to tell what was done by Nampeyo and what was done by Annie.

As the outside world began to learn of Nampeyo's art and the art being produced by others on the Hopi mesas, some of the traders, dealers and archaeologists who went to Hopi found that most potters had a hard time reading and writing English. They also didn't recognize the English names that had been given to them. Knowing the value of being able to attribute a particularly well-done piece to a particular potter, the dealers and traders began putting effort into getting the potters to develop "hallmarks," icons to use as identifiers. Marcia Rickey, with her "Flying Ant" avatar was one of the first of those. Sadie Adams with her five-petaled flower was another. Others developed over the years include "Frogwoman" (Navasie family), "Featherwoman" (Naha family), "Carried in Beauty" (Preston Duwyenie), "Antelope Woman" (Zella Cheeda) and more. In the early 1950's that developed into more full-scale signatures, although many continued adding family and clan hallmarks, some just adding small indicators of their own (such as: a distinct "Featherwoman" feather with an "S", meaning Sylvia Naha).

The 1950's saw a renaissance in pottery making among virtually all the pueblos, and with that came full signatures almost everywhere, some with hallmarks and some without. And some potters still use only hallmarks...

Zuni Pueblo

A view of Dowa Yalanne and the Zuni Buttes
The Zuni Buttes and Dowa Yalanne

As a tribe, the Zunis seem to have come together between the 13th and 15th centuries CE. It has been speculated that the original source population was of an Ancestral Puebloan lineage out of the environs of Acoma. It has been speculated that they spoke a merged Keres/Tanoan. Then came the migrations out of the White Mountains and eastern Arizona as those areas were abandoned. The newcomers may have brought "Zuni" into the world as they merged into the villages already in place along the Zuni River. They also brought with them artifacts of a desert culture, speculated to have been from a divergent California Penutian source.

In the early 1500s, various Spanish shipwreck survivors and explorers made their way around the southern part of what is now the United States, looking for a way to get back home. While spreading their diseases everywhere they went, they also picked up stories to tell, if and when they got back home. Many of those stories revolved around the "gold" and other "riches" they saw in their travels. Those stories provided the impetus for the Spanish authorities to send out larger militarized forces to explore, conquer and loot.

In 1540, the Zunis fought a major battle with the forces of Francisco Vasquez de Coronado. Coronado was new in the neighborhood and didn't know (or care about) the local customs. His expedition had been sent north from Chihuahua in 1539, expressly to get any gold they could find and bring it back for the king's treasury.

Coronado first approached Hawikuh (the main Zuni pueblo at the time) near the end of a four-day religious festival. The Zunis had spilled a line of corn meal across the ground in front of the main entrance to the pueblo, meant to signify that no one should cross the line and try to enter the village yet. Coronado seems to have interpreted that line of corn meal as an insult and a provocation. He immediately ordered his soldiers to attack.

To get into a pueblo in those days required climbing to the roof first, then climbing down a ladder through a hole in the roof to get inside. The Zunis started throwing rocks down from the roof and almost killed Coronado that way, but his soldiers protected him and they did finally prevail. As Coronado and his men came with horses, cows, sheep, goats and pigs, they were the first livestock the Zunis had ever seen. The "gold" the Spaniards had been told they'd find turned out to be yellow bowls and jars, clay gifts from the Hopis to the Zunis.

Coronado assaulted all seven of the Zuni villages of the time, stealing all their stores of food and destroying their crops while looking for loot. Then he demanded to be told where the gold was. The Zunis didn't know what he was talking about, gold was unknown to them. That's when the Zunis gave him a guide from the eastern Plains, someone who'd somehow made his way as a lone traveler to Hawikuh. While he was promoted as a guide to Coronado and his men, he was instructed by the Zunis to take Coronado far into the Plains and get him lost there. When Coronado finally realized that, more than a year later, he ordered the guide be strangled. Then he turned his men around and headed back to Zuni for supplies, and then he marched on back to Mexico.

When he passed by Zuni in 1542, he left three Mexican Indians and Esteban, a Moorish slave, behind. Esteban apparently shortly assaulted a woman in the village and was immediately killed. The Mexican Indians most likely informed the Zuni leaders of the extent of the Spanish domain in Mexico and the power they exercised there.

In their passage, Coronado and his men also left behind many European diseases, diseases which decimated whole villages across the Southwest. Except for a couple passing exploratory expeditions, though, Zuni was left alone until Don Juan de Oñe arrived at the gate in the 1620s. By that time, so many Zunis had died of Spanish diseases there were only two Zuni villages left. 1628 is when the Franciscan friars arrived. At first the Zunis were friendly with the priests but the forced labor requirements and forced religious conversions wore that welcome out quickly. They forced the people to construct a mission church at Hawikuh in 1629. Relations had changed drastically for the worse by the time of the Pueblo Revolt of 1680. That's when the Zunis killed the priests and burned the missions, but they preserved the relics and icons the priests had brought from Spain.

The tribe built a village near their fortress at Dowa Yalanne (atop a large mesa to the southeast) and prepared to defend their people and way of life against the return of the Spanish army. When Don Diego de Vargas arrived with troops in 1692, he attacked the fortress twice and failed. Then he entered into negotiations with the Zuni war chief and was allowed to climb to the top of Dowa Yalanne. In passing through the village there, he saw many relics from the destroyed missions. With that knowledge, he arranged a peace between the Spanish and the Zunis. Then, between 1693 and 1700, the Zunis consolidated all their small villages into what is now the Pueblo of Zuni.

The railroads arrived in New Mexico in the 1880s and right behind them came the first Anglo traders. Over the next 50 years Zuni pottery turned more and more to what the traders wanted. With the push into mass production, the quality fell off. The end result was the value of Zuni pottery fell way off and the potters tired of what they were doing. Pottery making dropped off in the 1940s until only ceremonial vessels were being made. Catalina Zunie was teaching pottery making at the Zuni Day School through this time period but the Zuni pottery revival didn't really begin until Daisy Hooee began teaching ceramics at Zuni High School in the 1960s and 1970s.

An accomplished Hopi-Tewa potter with an excellent pedigree, Daisy applied herself to learning about Zuni pottery and became a consummate Zuni potter. She retired from teaching at the high school in 1974. Jennie Laate, an Acoma woman who married into Zuni and learned the Zuni way from Daisy Hooee, took over teaching the classes. Many of today's well known Zuni potters thank Jennie Laate for her teaching and inspiration. She taught until 1990 when she turned the classes over to her student, Noreen Simplicio. Noreen taught the classes for 2 years, then Gabriel Paloma took over.

Josephine Nahohai brought traditional Zuni pottery designs back into the community in the 1980s. Les Namingha has also been using more traditional Zuni shapes and designs in his Zuni revival pottery. Today, because so many Zuni potters learned their craft at Zuni High School, they mostly also use electric kilns for firing their works. Other than that, they all use the same traditional methods of gathering and processing the clay, making their pottery and painting their designs, traditional processes that are practiced in virtually the same way in all the pueblos.

Zuni Pueblo location map
For more info:
at Wikipedia
official website
Photo courtesy of Ken Lund, Creative Commons Attribution-Share Alike License 2.0 Generic