第55章 CHAPTER XVIII(1)

Pueblo And Navaho Pottery And Silverware Primitive Processes. The primitive industries of a primitive people are always interesting to the student. They are more; they often reveal more than appears at first sight. We, with our present knowledge of improved mechanical methods, stand and watch an Indian silversmith or potter, and we laugh at the crudity of the methods employed, naturally comparing them with our own. But this is not the proper way to look upon the work of the aborigine. Rather let the gazer imagine himself without any of his advanced knowledge. Let him project himself into past ages, and find himself groping his way out of the darkness of primitive ignorance. He will find himself seeking for many centuries, ere he invents and discovers even the rude processes used today by the Indian. As an inventor, the aborigine has laid us under great obligation, for he discovered the first steps of mechanical progress, without which all later steps would have been impossible.

Hopi Pottery. In the Hopi House, the processes of making pottery and silverware by primitive methods may be seen in active operation, though in the manufacture of silver, some modern appliances have taken the place of the ancient ones. In the pottery, however, everything is exactly as it used to be before the white race appeared on the American continent. The Hopi woman brings her clay with her from some pit or quarry in Hopiland, where experience has demonstrated a good pottery clay is found.

After thoroughly washing, pulverizing and crushing, it is ready to be worked up into domestic and other utensils. Squatted upon the ground, the potter places in her lap a small basket, wood, or pottery base, upon which she places a "dab" of clay. This she thumbs and pats, until it forms the basis of the new vessel. Then another piece of clay is rapidly rolled between her hands, until it is in the form of along rope. This rope is then coiled around the edge of the base already made, pressed well into it and then smoothed down. After four or five coils of clay are thus added, the potter takes a small "spat," generally a piece of dried gourd skin, dips it into water, and proceeds to smooth out and make thin the clay coils. As quickly and dexterously as can be, her hands and the spat manipulate the vessel, until it has the desired shape. More coils of clay are then added, and the shaping continues until the vessel is complete. Now it is put out into the sun to dry, and when reasonably solid, it is ready for the painting and decoration. With a rude brush made of horsehair or yucca fibre, and paints gathered and ground by herself, she works out the design that her imagination has already created and pictured upon her piece of work. Some of these designs represent conventionalized objects of nature--birds, clouds, mountains, rain, corn, lightning, tadpoles, dragon-flies, horned toads, serpents and the like; others are purely geometrical, and the variety and extent of them are more wonderful than any except the experts realize. In a monograph upon the ancient pottery of these people, Dr. Fewkes pictures every known geometrical figure of ancient and modern times, all of which were copied by him from vessels that have been excavated from ancient ruins and graves.

The Pottery of Nampeyo. Every village has its own style of pottery. Among the Hopis, the finest potter is a resident of Tewa or Hano, Nampeyo by name. Her ware is characterized by beauty of shape, perfection of form, dignity and character in design, and a general appearance that is pleasing and artistic. Zuni pottery is of a superior quality to that of Acoma, Laguna, and the other villages near by, and often contains in its designs the deer, with its peculiar red line of throat leading to the heart.

Black Pottery. At Santa Domingo and Santa Clara, pueblos on the Rio Grande, a black ware is produced that is effective and strongly decorative in certain pieces.