Old Incised Great Plains Painted Pottery Jar

[Kevin D]

Dear Members,

Many of us are already aware of the problem of a lack of documentation of pottery of the Great Plains tribes including the Cheyenne. And, as many were nomadic people, pottery was probably not very useful due to the fragile nature of it . When the tribes moved to a new location in search of say buffalo, the pottery could simply break so it is rarely found today. And only as a matter of conjecture, most of any of the pottery would have been made for a special use.
The lack of documentation on the pottery of these people led me to make comparisons of the complex nature of the artwork of the present example to other disciplines of textile art of of the Great Plains tribes. For example, the blackened green stripes around the jar, can also be found in some parfleches. Below is such an example with a blackened green stripe on a Sioux parfleche as can similarly seen in blackened green bands of the jar
And, also as a matter of conjecture, the complex nature of the artwork would have been done in keeping with a complex and great Native Society

Cheyenne Warring Societies theme


The pottery of the Great Plains tribes was typically made from a lump of clay, rather than the coil method as had been used by other tribes. One can see that the interior was “scooped” out from the “lump” in the Great Plains manner, with possibly some influence showing in the shape as might have been learned from Mexican neighbors of the Cheyenne to the south

The complex geometric motif implementing the number 4 in the pattern with fine blackish lines is commonly found in the decorative arts of the Great Plains tribes
The value of the jar comes by a literal interpretation on all of the symbolism employed in the design arrangement- The military theme would be of a military nation origin, one that was concerned with maintaining balance with power in unity of its segments of people used to protect a life of harmony within its borders, a great Native American spiritual goal of the military unit

Symbolism:
The choice of geometric shapes, triangles and stripes and colors, in the repeating pattern, six sets in all shows a great deal of symbolism for interpretation in the context of a warring theme of a great Native American nation organized as a military unit with the central theme of maintaining balance and harmony for its people

The ceremonial jar was painted in both war paint colors, and in a color that was used to convey a message of harmony

The war paints yellow, orange and deep red with only traces of red remaining on the smaller stripes show ones willingness to fight fiercely till death in battle. Black is symbolic of strength and power but it can also mean victory as face paint rather than war paint
A Native American belief held that the wearer of triangles and stripes when drawn in war paints would have supernatural powers bestowed upon them in battle.

The greenish tone color of the neatly laid out borders to the north, south and between each set conveys a message of harmony with the power to maintain it as signified by the black tones

The 4 larger and smaller triangles, point in all directions. The number 4 also denotes completeness in all of the directions, having 8 in all would compound the strength in symbolism

The repeating pattern of sets forms a well drawn circle, each set represents 1 of the warrior societies of the Cheyenne Nation, such as the Dog Soldiers, and all segments were made exactly the same to show none were above or to be treated differently from the others. The six societies together complete the circle signifying unity among them in the struggle to maintain balance and harmony

H: approximately 7 1/2"

Condition: much of the burnishing has worn away, paint losses, slight cracking


Thank you for your comments

Kind regards

Kevin

 

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[robertk]

Observing carefully at the soot-covered base interior there is a second set of impressed marks which together resemble a circle and a band or a thick line

I don't see it.

 

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[Kevin D]

I don't see it.

Hi,
please tap on the thumbnail to bring up the photo, thanks

further, I just inserted a photo to make it easier to see

 

[robertk]

Hi,
please tap on the thumbnail to bring up the photo, thanks

I did. I still don't see anything inside there. I see some cracks, some spots, and a large shadow. Are you saying the shadow is the circle?

 

[Kevin D]

I did. I still don't see anything inside there. I see some cracks, some spots, and a large shadow. Are you saying the shadow is the circle?

the marks are to the left of the eyes of the bird, just as small but distinctive from the bottom cracks , and not part of any shadows. I added a new photo circling these impressions

 

[robertk]

the impressed marks are to the left of the eyes of the bird, just as small but distinctive from the bottom cracks , and not part of any shadows. I added a new photo circling these impressions

Thanks. I see what you're talking about but I don't think it's a significant or intentional feature. Compare it to the artwork on the outside which is very distinct, clear, and intentional. I just don't see anything like that on the inside. But I don't think that detracts from the piece in any way -- it's a beautiful piece.

 

[Kevin D]

Thanks. I see what you're talking about but I don't think it's a significant or intentional feature. Compare it to the artwork on the outside which is very distinct, clear, and intentional. I just don't see anything like that on the inside. But I don't think that detracts from the piece in any way -- it's a beautiful piece.

Hi Robert, thank you, very much appreciate having your comments!

Very glad too I was able to make the right adjustments to the photo so you can see the imagery left by the circle and band impressions, while we also can disagree on their making or the intent then of the artist in putting them there in the clay.

 

[unclemac]

as a potter myself, who uses natural dug clays and forms bowls using "by hand" methods... I can state with some authority that what you are seeing are natural impurities that are exposed during the firing process. I hope this helps.

 

[Clay Diggins]

No offense but your pot looks just like a modern decorative Mexican Olla. You say you found this in a thrift shop. Does it have any provenance? Do you have a theory how the pot was fired or where the paints came from? Is there a proposed time period?

Interesting theory I hope it pans out for you. Best of luck on your research.

 

[Kevin D]

as a potter myself, who uses natural dug clays and forms bowls using "by hand" methods... I can state with some authority that what you are seeing are natural impurities that are exposed during the firing process. I hope this helps.

thank you for your insight!- glad to know you are a potter- (I'm a collector) -

The two sets of marks are impressions which were purposely placed in the clay by the artist before it dried- The impressions by the movement of the clay around them were made when the clay was still wet- we are seeing both sets of marks by design then, rather than by some coincidence or random occurrence, and not done in the firing process as you might have thought

And again, they resemble symbols already found in the 19th C artwork of the Kiowa and the closely associated Plains Apache, giving further evidence of a direct connection of these two cultures to the origin and of the jar.
.

 

[Clay Diggins]

Below is a link to an ebook titled the "ARCHEOLOGICAL EXPEDITION TO ARIZONA IN 1895" by Jese Fewkes. Scrolling through the book, there is an account of the Sikyatki dig that took place in a study of the Pueblo life in a prehistoric period.

I discount anything Fewkes wrote. Having lived and worked with the Hopi I learned that virtually everything he wrote about their culture and language was false and easily demonstrated as false. The dude made stuff up for a living.

 

[Kevin D]

No offense but your pot looks just like a modern decorative Mexican Olla. You say you found this in a thrift shop. Does it have any provenance? Do you have a theory how the pot was fired or where the paints came from? Is there a proposed time period?

Interesting theory I hope it pans out for you. Best of luck on your research.

Hi,
thank you, regrets, no it has too much age and Plains detail -by the colors chosen, the use of straight line geometric shapes and how these come together in the development of the rectangular pattern giving us context in its messaging or statement. the symbolism of the marks also play a role on that.
The general shape or form however, which I believe you might be referring too is more similar to some Apache vessels w/ perhaps some physical similarities that might be found in other vessels, as well for the late 19th C period .

The above should provide better detail in each of these aspects -and a Mexican jar origin, aside from their general physical characteristics, below however was discounted at the start.

for the benefit of those who might not know what a modern or studio olla should look like, one is given in the link below. the clay used in the present example , however, is rough and raw w/ some fossil shell impressions found in its composition

https://www.liveauctioneers.com/item/158621937_signed-mata-ortiz-pottery-olla-vessel

plain, no decorative patterning, a late 19th/ 20th "olla"

https://www.liveauctioneers.com/item/159684999_a-santa-clara-pueblo-pottery-olla

 

[Clay Diggins]

Hi,
thank you, regrets, no it has too much age and Plains detail, a Mexican jar origin was discounted at the start

So no provenance?

 

[Kevin D]

So no provenance?

not beyond what has been given, thank you

 

[Kevin D]

here is a second example of an "olla" from around 1900, much different in appearance by the design elements, not Plains at all, and the age character is different between them. we see in the links, examples which are maybe more refined in their making than what we see in the raw more natural elements of this example.

the above gives important and connecting detail on the likely origin and how the Plains people, in general, acquired their paint by the end of the 19th C, which is where in the timeline the jar belongs by its character and detailing around it, thank you!

Acoma 4 Color Olla, Bird Pictorials C. 1890 1900s

Acoma Four Color Polychrome Olla with Bird Pictorials, c. 1890-1900s, 11.5" x 12". Acquired from a private collection i

www.liveauctioneers.com

one more, early 20th C:

Zia Pueblo Polychrome Olla

early 20th century, with geometric decoration, concave base, 8-1/2 x 11 in. Provenance: Steve Elmore, Santa Fe, New Mex

www.liveauctioneers.com

 

[Kevin D]

Dear Members,

Many of us are already aware of the problem of a lack of documentation of pottery of the Great Plains tribes including the Cheyenne. And, as many were nomadic people, pottery was probably not very useful due to the fragile nature of it . When the tribes moved to a new location in search of say buffalo, the pottery could simply break so it is rarely found today. And only as a matter of conjecture, most of any of the pottery would have been made for a special use.
The lack of documentation on the pottery of these people led me to make comparisons of the complex nature of the artwork of the present example to other disciplines of textile art of of the Great Plains tribes. For example, the blackened green stripes around the jar, can also be found in some parfleches. Below is such an example with a blackened green stripe on a Sioux parfleche as can similarly seen in blackened green bands of the jar
And, also as a matter of conjecture, the complex nature of the artwork would have been done in keeping with a complex and great Native Society

Cheyenne Warring Societies theme


The pottery of the Great Plains tribes was typically made from a lump of clay, rather than the coil method as had been used by other tribes. One can see that the interior was “scooped” out from the “lump” in the Great Plains manner, with possibly some influence showing in the shape as might have been learned from Mexican neighbors of the Cheyenne to the south

The complex geometric motif implementing the number 4 in the pattern with fine blackish lines is commonly found in the decorative arts of the Great Plains tribes
The value of the jar comes by a literal interpretation on all of the symbolism employed in the design arrangement- The military theme would be of a military nation origin, one that was concerned with maintaining balance with power in unity of its segments of people used to protect a life of harmony within its borders, a great Native American spiritual goal of the military unit

Symbolism:
The choice of geometric shapes, triangles and stripes and colors, in the repeating pattern, six sets in all shows a great deal of symbolism for interpretation in the context of a warring theme of a great Native American nation organized as a military unit with the central theme of maintaining balance and harmony for its people

The ceremonial jar was painted in both war paint colors, and in a color that was used to convey a message of harmony

The war paints yellow, orange and deep red with only traces of red remaining on the smaller stripes show ones willingness to fight fiercely till death in battle. Black is symbolic of strength and power but it can also mean victory as face paint rather than war paint
A Native American belief held that the wearer of triangles and stripes when drawn in war paints would have supernatural powers bestowed upon them in battle.

The greenish tone color of the neatly laid out borders to the north, south and between each set conveys a message of harmony with the power to maintain it as signified by the black tones

The 4 larger and smaller triangles, point in all directions. The number 4 also denotes completeness in all of the directions, having 8 in all would compound the strength in symbolism

The repeating pattern of sets forms a well drawn circle, each set represents 1 of the warrior societies of the Cheyenne Nation, such as the Dog Soldiers, and all segments were made exactly the same to show none were above or to be treated differently from the others. The six societies together complete the circle signifying unity among them in the struggle to maintain balance and harmony

H: approximately 7 1/2"

Condition: much of the burnishing has worn away, paint losses, slight cracking


Thank you for your comments

Kind regards

Kevin


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Hi All,
Update -
adding a new photo taken with different lighting to better highlight the rough exterior character w/some evidence of hand scraping around the top surface, and the age character w/its brownish patina around the base
Thank you!

,

Briefly, for the benefit of those who have not read through the pages, some very specific details of the design elements, in terms of color choices and combinations of them, shapes and their placement set the context for an interpretation of the complex minimalist pattern within the Plains culture: Black and yellow placed together at the center of each rectangle in the circle, for example, would signify a sacred place to the tribe or culture, such as a sacred mountain top w/territory represented by each rectangle. While color can have different meanings depending how it's used, yellow at the sacred center, should be understood to mean the creator color and the surrounding black color for the power and strength derived from there by the tribe or culture, represented by the small triangle in black.

Native strength at the ends of the rectangles, represented by the flesh-toned stripes, splotched with oxblood red paint sit adjacent to the larger triangles at the edge, a combination designed as a show of warrior and supernatural strength together. Oxblood red splotches, similarly found in the red splotches of ledger drawings, signify a warrior who has shed blood in battle. However, this shade of red is readily found in the art of the Chiricahua Apache. The well-balanced pattern is reversible, and it should read the same w/ the jar positioned right side up or upside down


While some of the details which were developed early on in this project pointed to possible Cheyenne and Lakota connections, others on the other hand which came later will show a tenable one to the Kiowa, Plains or Kiowa Apache. On the ash covered interior base, two sets of marks were impressed into the clay while it was wet (by the way the displaced clay was pushed to form walls around them in making the impressions). The shapes of these match up w/ some imagery found in 19th century art of the Kiowa, and Plains Apache. It would be a matter of conjecture, as to whether these are distinctive signature marks of the artist or if they were put there for some greater significance in how the jar was meant to be used. However, as shown earlier, the shape of the jar w/ its rolled lip character, sloping shoulders, wide girth, and narrowing or conical base can be similarly found on some Apache jars from the period. it should also be noted that a sharply conical base might more likely be found on older 19th century jars, than generally anything later.