Southwestern pottery boasts a rich and fascinating history, with the ancestral Puebloans, often referred to as the Anasazi, laying the foundation for later Pueblo cultures like the Zuni. The evolution of this art form reflects not only the changing needs and beliefs of these societies but also their deep connection to the land and its resources. From utilitarian cooking pots to elaborate ceremonial vessels, pottery played a central role in the daily lives and spiritual practices of these communities.
Early Anasazi pottery, dating back to the Basketmaker III period (AD 500-750), emerged as agriculture, particularly maize cultivation, became increasingly important. Prior to this period, baskets were more prevalent, but pottery offered advantages in terms of durability, fuel efficiency, and versatility. The initial focus was on creating functional cooking pots, essential for boiling maize and other foods. The coil-and-scrape method was used, involving the creation of a clay “snake” coiled into a spiral to form the vessel’s base, with additional coils added to build the shape. These coils were then meticulously scraped together, erasing individual lines and creating a smooth surface. The environment of the Four Corners region, rich in fine marine clays, heavily influenced the development of grey and white pottery traditions, as detailed by this analysis of coil pottery.
The Diversification of Pottery
During the Pueblo I period (AD 750-950), pottery diversified in shape, finish, and decoration, and basketry became less common, which is covered in this Britannica article. The Anasazi are renowned for their black-on-white pottery, achieved using white clay and black paint derived from boiled plants, such as beeweed or tansy mustard, or crushed rock containing iron, like hematite. Brushes were crafted from yucca plant fibers, showcasing the resourcefulness of these artisans. By the Pueblo III period (AD 1150-1300), pottery craftsmanship reached its zenith, with intricate designs and sophisticated techniques, according to Britannica. Corrugated pottery, characterized by its textured surface created by leaving the coils unsmoothed, was particularly useful for cooking, as it proved more resistant to breakage from constant heating and cooling. Details about this can be found on this page. Ladles, both plain and elaborately painted, were common finds throughout Anasazi settlements, with some featuring hollow handles containing clay beads or stones to create a rattling sound. More information can be found here.
“Pottery played a significant role in Zuni rituals and daily life, with ceremonial pieces often commissioned by religious entities and carried on the heads of the Zuni Olla Maidens”
The Zuni people, descendants of the Ancestral Puebloans, continued and evolved the pottery traditions of their ancestors. While influenced by the Anasazi, Zuni pottery developed its own distinct characteristics, reflecting their unique cultural identity and environment. The Zuni, along with other Pueblo groups like the Acoma and Laguna, utilize a kaolin-rich clay that allows for the creation of strong, thin-walled vessels. This is explained further in this article. Traditional Zuni designs incorporate water symbols like tadpoles, frogs, dragonflies, and the Zuni “rain bird,” as well as flower rosettes and deer with heartlines. You can see examples of this on this page. The heartline deer motif, in particular, is a hallmark of Zuni pottery, representing the breath of life inherent in all living things, according to this source.
Zuni pottery served both functional and ceremonial purposes. Traditional forms include the stepped-edge cornmeal bowl, also known as cloud or prayer bowls, and bird effigies, which are on display here. Pottery plays a significant role in Zuni rituals and daily life, with ceremonial pieces often commissioned by religious entities and carried on the heads of the Zuni Olla Maidens. More details can be found on this page. The Zuni also have a preference for spare asymmetry in their designs, often divided by heavy black lines and incorporating the potter’s onane, or broken line, at the neck. Details can be found here. The Zuni love of color is reflected everywhere in their daily lives, as well as in their ceremonies, as explored by King Galleries. You can learn more about the techniques used in creating such pottery here. You can learn more about the firing of pottery, crucial to creating these works, here.
Environmental Influences
The environment and available resources profoundly shaped the pottery traditions of both the Anasazi and Zuni. The Anasazi, living on the Colorado Plateau, had access to fine marine clays that lent themselves to grey and white pottery. The impact of this is discussed in this article. They developed a unique plant-based paint, using Rocky Mountain Bee Plant to create carbon black designs, as discussed in this report. The Zuni, on the other hand, utilize kaolin-rich clay found in their region, allowing them to create strong, thin-walled vessels. This is detailed in this article. They also incorporate minerals and plants to produce a range of colors, reflecting their deep connection to the natural world, according to Arts in Context. Both cultures temper their clay with materials like sand or crushed pottery shards to reduce shrinkage during drying and firing, as described in this article. The firing process itself is a crucial step, often conducted in open pits or rudimentary kilns using wood or dried dung as fuel. Further details can be found here.
Examples of significant Anasazi pottery include the intricate black-on-white vessels found at Mesa Verde, characterized by tight geometric motifs and symmetrical patterns, as explained by Desert USA. Tularosa black on white pottery, made in the Cibola region near present-day Zuni Pueblo, is renowned for its intricate designs and mineral-based paint, described in this article. Kiva jars, unique for being the only truly lidded jars in the Southwest, are another notable example of Anasazi ceramic art. Examples are available on this page. Sikyatki Polychrome, from the Hopi villages, represents a high point in Anasazi ceramic arts, with its distinctive yellow color and durable construction due to coal firing, as per Ancient Pottery. Significant examples of Zuni pottery include vessels featuring the heartline deer motif, rain bird designs, and stepped-edge cornmeal bowls, which are highlighted by Keshi. The murals of Alex Seowtewa in the Mission Church of Nuestra Senora de Guadalupe in the Zuni Pueblo showcase the Zuni genius in the use of color and their deep cultural history, as can be seen on King Galleries.
The pottery traditions of the Anasazi profoundly influenced the later styles of the Zuni people. As descendants of the Anasazi, the Zuni inherited the coil-and-scrape method of construction, as well as the use of locally sourced clays and pigments. This is detailed by Britannica. While the Zuni developed their own unique motifs and designs, the foundation of their pottery tradition lies in the innovations and techniques of their Anasazi ancestors. The transition from black-on-white pottery to the polychrome styles seen in later Anasazi and Zuni pottery reflects a broader trend of cultural exchange and adaptation in the Southwest, according to Ancient Pottery. The ongoing legacy of these traditions is evident in contemporary Southwestern art, where potters continue to draw inspiration from the rich history and cultural significance of Anasazi and Zuni pottery, discussed further in this Britannica article.
