Marie Z. Chino
Acoma
Marie Zieu Chino (1907-1982) was one of the Matriarchs of Acoma Pueblo pottery. Marie and her friends Lucy M. Lewis and Jessie Garcia are recognized as the three most important Acoma potters during the 1950s.
Together the three friends led the revival of ancient pottery forms and designs from the Tularosa, Mimbres, Anasazi and other ancient cultures from the region in central New Mexico. This revival spread among other Acoma potters who also allowed the old styles to lead them to innovative designs and new variations of style and form.
Marie and Lucy were friends but they were also competitors. Occasionally they copied each other's designs. According to Betty Toulouse in her 1977 book, Pueblo Pottery of the New Mexico Indians, Lucy didn't start making black-on-white jars with fine line hatching based on ancient designs until several years after Marie first did.
The inspirations for many of the designs used on their pottery were found on old pot sherds that had been gathered to use to make temper in their clay mixture. There are stories from the 1930s, too, about a cave filled with prehistoric pottery that had been kept hidden for generations. Those who knew of it only visited when they wanted to learn new designs. It is said that it is from that treasure trove that the Tularosa spiral made its reemergence in modern times.
Marie became particularly well known for her amazingly uniform fine-line designs in black-on-white hand-coiled pottery. Her pots were distinctive in their complex geometric designs as well as the combination of life forms and abstract symbols. Some of her favorite designs included animals, spirals, kiva steps, parrots, rainbows, berries, leaves, rain, clouds, lightning bolts and fine line snowflakes.
Marie was the daughter of Santiago and Lueppe Tsieyounow. Among her siblings were Francisco (Frank White), Leuppe Santana, Pablita S., Helen (Patricio), Juanico Santiago and Santana Zieu Sanchez (Chino). Marie's husband was Lorenzo Chino.
As the head of the Chino family of potters, Marie mentored her family in the finer aspects of the ancient art of pottery making. She also worked with many students from outside her family. Her children and grandchildren are numerous and include daughters Grace Chino, Rose Chino Garcia and Carrie Chino Charlie.
Marie Z. Chino's pottery can be found in the book, "14 Families in Pueblo Pottery" along with numerous other publications.
In 1922, Marie won her first ribbon at the Santa Fe Indian Market. She was only fifteen. She didn't participate in Indian Market again for years, then went on to receive numerous awards in Santa Fe for her pottery from 1970-1982. In 1998 the Southwestern Association for Indian Arts recognized Marie with a "Lifetime Achievement Award."
Photo of Marie Z. Chino above is courtesy of Lynne Spivey.
100 West San Francisco Street, Santa Fe, New Mexico 87501
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Acoma Pueblo
Sky City
According to Acoma oral history, the sacred twins led their ancestors to "Ako," a magical mesa composed mostly of white rock, and instructed those ancestors to make that mesa their home. Acoma Pueblo is called "Sky City" because of its position atop the mesa. Acoma is located about 60 miles west of Albuquerque.
Acoma, Old Oraibi (at Hopi) and Taos all lay claim to being the oldest continuously inhabited community in the U.S. Those competing claims are hard to settle as each village can point to archaeological remnants close by to substantiate each village's claim. While the people of Acoma have an oral tradition that says they've been living in the same area for more than 2,000 years, archaeologists feel more that the present pueblo was established near the end of the major migrations of the 1300s. The location is essentially on the boundary between the Mimbres-Mogollon and Ancestral Puebloan cultures. Each of those cultures has had an impact on the styles and designs of Acoma pottery, especially since modern potters have been getting the inspiration for many of their designs from ancient pot shards they have found while walking on pueblo lands.
Francisco Vasquez de Coronado ascended the cliff to visit Acoma in 1540. He afterward wrote that he "repented having gone up to the place." But the Spanish came back later and kept coming back. In 1598 relations between the Spanish and the Acomas took a really bad turn with the arrival of Don Juan de Oñaté and the soldiers, settlers and Franciscan monks that accompanied him. After ascending to the mesa top, Oñaté decided to force the Acomas to swear loyalty to the King of Spain and to the Pope. When the Acomas realized what the Spanish meant by that, a group of Acoma warriors attacked a group of Spanish soldiers and killed 11 of them, including one of Oñaté's nephews. Don Juan de Oñaté retaliated by attacking the pueblo, burning most of it and killing more than 600 people. Another 500 people were imprisoned by the Spanish, males between the ages of 12 and 25 were sold into slavery and 24 men over the age of 25 had their right foot amputated. Many of the women over the age of 12 were also forced into slavery and were eventually parceled out among Catholic convents in Mexico City. Two Hopi men were also captured at Acoma and, after having one hand cut off, they were released and sent home to spread the word about Spain's resolve to subjugate the inhabitants of Nuevo Mexico.
When word of the massacre and the punishments meted out got back to King Philip in Spain, he banished Don Juan de Oñaté from Nuevo Mexico. Some Acomas had escaped that fateful Spanish attack and returned to the mesa top in 1599 to begin rebuilding. In 1620 a Royal Decree was issued which established civil offices in each pueblo and Acoma had its first governor appointed. By 1680, the situation between the pueblos and the Spanish had deteriorated again to the point where the Acomas were extremely willing participants in the 1680 Pueblo Revolt.
After the successful Pueblo Revolt the Spanish retreated back to Mexico. Refugees from other pueblos began to arrive at Acoma, fearing an eventual Spanish return and reprisals. That strained the resources of Acoma until the Spanish actually did return. The residents of the pueblo had to make a hard decision. Many of the refugees chose to try a peaceful solution: they quickly relocated to the ancient Laguna area and made peace with the Spanish as soon as they appeared in the region.
Over the next 200 years, Acoma suffered from breakouts of smallpox and other European diseases to which they had no immunity. At first they sided with the Spanish against nomadic raiders from the Ute, Apache and Comanche tribes. Then New Mexico changed hands, the railroads arrived and Acoma became dependent on goods brought in from the outside world.
For many years the villagers had been content on the mesa top. Now most live in villages on the valley floor where water, electricity and other necessities are easily available. While a few families still make their permanent home on the mesa top, the old pueblo is used almost exclusively for ceremonies and celebrations these days.
It's the dense, slate-like clay, that allows Acoma pottery to be thin, lightweight and durable. After they form a pot, they paint it with a white slip. Once dry, black and red design motifs are added using mineral and plant derived paints. Fine lines, geometrics, parrots and old Mimbres designs are common motifs. The traditional paintbrush is chewed from the yucca leaf. Historically, Acoma was known for large, thin-walled "ollas," jars used for storing food and water. With the arrival of the railroad and tourists in the 1880s, Acoma potters adapted the size, shapes and styles of their pots in order to appeal to the new buyers.
Acoma potters felt it was an inappropriate display of ego to sign a pot up into the mid-1960s. Then Lucy Lewis, Jessie Garcia and Marie Z. Chino started signing their pots. The 1960s is also a time when the primary Acoma white clay vein passed through a layer of widely distributed impurities, impurities that passed through the clay filtering process and showed up only during and after the firing. The problem was so bad it affected virtually every Acoma potter and every pot they made. Thankfully, by the late 1960s they had dug through that layer of clay and into a deeper layer that didn't have the problem.
100 West San Francisco Street, Santa Fe, New Mexico 87501
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Chino Family Tree
Disclaimer: This "family tree" is a best effort on our part to determine who the potters are in this family and arrange them in a generational order. The general information available is questionable so we have tried to show each of these diagrams to living members of each family to get their input and approval, too. This diagram is subject to change should we get better info.
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Marie Zieu Chino (1907-1982)
- Carrie Chino Charlie (1925-2012)
- JoAnn Chino Garcia (1961-) & Lawrence Garcia
- Corinne Louis (1959-)
- Rose Chino Garcia (1928-2000)
- Tena Garcia (1964-)
- Grace Chino (1929-1994)
- Gloria Chino (1955-)
- Carol Chino (1971-)
- Vera Chino Ely (1943-)
- Gilbert Chino (1946-1999) Marie's other students:
- Emmalita Chino (daughter-in-law) (1931-) & Patrick Chino
- Brenda Charlie
- Monica C. Chino
- Patrick Patricio (1942-) & Doris Concho Patricio (1944-2019)
- Doug Patricio
- Israel Patricio
- Myron Patricio
- Robert Patricio (1976-) & Melanie Patricio
- Felisha Patricio (1997-)
- Kylie Patricio (1999-)
- Juanita Patricio (2001-)
- Stephanie M. Patricio (1970- ) & Curtis Nez
Some of the above info is drawn from Southern Pueblo Pottery, 2000 Artist Biographies, by Gregory Schaaf, © 2002, Center for Indigenous Arts & Studies
Other info is derived from personal contacts with family members and through interminable searches of the Internet and cross-examination of the data found.
(505) 986-1234 - www.andreafisherpottery.com - All Rights Reserved