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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[Kevin D]

the identical rectangular warrior emblems on the chest of the Crow war shirt example given above from the Dyker collection show a balance in all four of the cardinal directions , together symbols of protected space, and as a rectangle may be interpreted of the four directions. A pair of green rectangles which oppose one another are the dividers between upper and lower segments of these emblems.

Similarly, the pattern in each of the six segments on the jar show balance in the same four directions w/a pair of opposing triangular peaks at the center, evenly dividing the left and right sides.

Triangular shapes can mean mountains, w/ these peaks placed at the center and lying within the border lines, between the pairings of warrior symbols, giving the impression these mountain grounds were sacred to the native tribe. A region which by the symbolism w/ the orange wash to the exterior was so important to the culture, there was a willingness to die in battle to protect it, as the color orange can be interpreted.

The Black Hills is one such area, dominated by the Lakota Sioux after forcing the Cheyenne out in 1777. This special region referred to as the Black Mountains in the Lakota culture, and more commonly as the Black Hills has been regarded as sacred ground by native cultures for thousands of years. Central to the Lakota culture is the peak referred to as the "Six Grandfathers" (Mount Rushmore) representing the six sacred directions, as we know the four cardinal directions with the addition of the directions of above and below

 

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[monsterrack]

This is my bowl from the S.W.

 

[Kevin D]

Very interesting old one - thank you for posting - great example from that region w/its loose curvilinear pattern-an important characteristic of wares from the SW

 

[Kevin D]

adding further detail,
it would seem that a very discreet mark appears on the interior of the jar at the base, unrecognizable in the 1st set of photos w/ a close-up provided here. And, rather than a random configuration from how the jar was made, it appears to be a deliberate one left by the maker. I would describe the unusual mark as having the face of a bird w/ two large round " eyes" above the bird’s “bill”

 

[Kevin D]

Hi All,
adding further detail, thank you

Complex geometric patterns w/ principal elements of symmetry in a repeating pattern, four cardinal directions- symbolized by triangles surrounding a sacred center can also be found in the use of the very powerful Plains pattern of the crossed circle. The circle segmented this way then forms the design element of four separate triangles, one for each of the cardinal directions and which point to the center of their universe.

On view in the Met Museum's current Native exhibit in Manhattan is this blanket strip given in the link. The strip is composed of four adjoining crossed circles. By the art notes, such a pattern is one of the most powerful motifs in Plains art . As noted in the exhibit "it symbolizes the circle of the world, the four directions and the sacred center."

https://www.metmuseum.org/art/collection/search/751511


the blanket w/ this type of strip would have been wrapped around the body for the ends to "meet" forming a closed ended circle. A Plains ledger illustration of warriors wrapped in blankets w/ a similar type of crossed circle pattern is given in this next link .

https://plainsledgerart.org/plates/view/2838/5224


similarly, the symmetrical six rectangular repeating pattern of the jar has as its principal elements the triangular depictions in yellow of the cardinal directions, and a sacred center where the triangles in black meet. the pattern forms a closed ended circle of the six adjoining segments as w/ the blankets when wrapped around the body

if anyone can make it in , the Met's exhibit of Native culture is well worth seeing

 

[Kevin D]

It's worth noting that some may have held that the orange color of the clay body by itself, setting aside the details of the painting to be from the Southwest, however, as many may already be aware there are large red clay deposits of this type in the Lakota home of the Black Hills. More large deposits are also found in Wyoming where the Arapaho, Bannock, Cheyenne, Comanche, Crow, Dakota, Kiowa, Pawnee, Shoshone and the Ute camped.

The orange color had special meaning in Native culture as many are aware for ceremonial purposes.The clays of this color also have a more practical use in the application of paint than dark colored clay, and as we see of the Sioux pottery(without a white slip coat) it provides a better ground color for painting. The darker clays would have muted these colors rather than compliment them as we see here

 

[DaveSmith]

Kevin, thanks for taking the time to present detailed information for everyone. Knowledge is one of the few things someone can take from you!

 

[Kevin D]

Hi Dave, All
Adding only at this point that while generally, the Plains People were not known as potters, - Bear's Heart, Southern Cheyenne, learned his skills in painting and or making pottery while imprisoned, a time when new materials came available to Native Cultures through increased trade both between other tribes and the Europeans. And, the inspiration to the jar's form would probably not have come by way of following any pottery traditions from the Plains Region, rather the character might resemble other Native vessels of the day, and not necessarily by an influence of wares from within the same region. All Regions had an influence on one another in their art forms w/ many shared ideas exhibited in them by the late 19th C. The wide rolled lip, sloping shoulders, wide girth and narrow foot resemble Native basketry and water bottles from that same time period.

These other forms served a similar utility so the influence in its angular form might appear to be from wares with a similar purpose, rather than limiting the shape to other forms that were traditionally produced in clay

For example, in the link, a late 19th C Apache jar w/the some of the basic elements of shape - the wide girth, sloping shoulders and narrow base.

https://www.sothebys.com/en/buy/auc...ction-of-george-terasaki/apache-storage-jar-2
,
An interesting aspect of the puzzle to the patterning by virtue of the well balanced design, is that it was made for viewing in two different perspectives w/ each yielding the same result; one with the jar itself left standing upright on the base and the other when its tilted to empty the contents. Either way, the imagery of the geometric patterning remains the same for the viewer

Kevin

 

[Older The Better]

I didn’t want to hijack your thread but I’d love for you to take a peak at my new post I’d be interested in your interpretation.

 

[joshuaream]

adding further detail,
it would seem that a very discreet mark appears on the interior of the jar at the base, unrecognizable in the 1st set of photos w/ a close-up provided here. And, rather than a random configuration from how the jar was made, it appears to be a deliberate one left by the maker. I would describe the unusual mark as having the face of a bird w/ two large round " eyes" above the bird’s “bill”
View attachment 1915273View attachment 1915273

Kevin,

Are those drill marks and do they connect or go through to the other side? Or is there a raised spot on the outside where those spots are?

They look a lot like old repair marks. Drill on either side of the crack, and tie them together. Occasionally, if the crack happened when firing the pot, they'd fix it, and smooth over the outside so the repair is only visible from the inside.

Joshua

 

[Kevin D]

Kevin,

Are those drill marks and do they connect or go through to the other side? Or is there a raised spot on the outside where those spots are?

They look a lot like old repair marks. Drill on either side of the crack, and tie them together. Occasionally, if the crack happened when firing the pot, they'd fix it, and smooth over the outside so the repair is only visible from the inside.

Joshua

Hi Joshua,
grateful that you asked, thank you, but no not drill holes as two oblong marks for the eyes and a beak beneath. They were impressed into the clay when it was still wet by the ridges that formed around the edges from the force in making each impression. The marks have different depths.
they go deep into the body, but with no scarring on the outside surface, opposite the impressions.

Kevin

 

[Kevin D]

Hi Joshua,
grateful that you asked, thank you, but no not drill holes as two oblong marks for the eyes and a beak beneath. They were impressed into the clay when it was still wet by the ridges that formed around the edges from the force in making each impression. The marks have different depths.
they go deep into the body, but with no scarring on the outside surface, opposite the impressions.

Kevin

Regarding the use of the solitary mark of the face of a bird, and as with some other bird or animal figures that might appear in Plains art, the reason for the appearance of this one would be subject to conjecture. On the Bonhams auctions website, A very interesting, Native Indian painted muslin which will be coming up for auction later this month, depicts in the two main scenes, Lakota and Cheyenne warriors in battles with the Army. Over on the lower left is a rendering of a fleeing buffalo. In the catalogue notes to the lot, there are a couple suggestions as to what the lone buffalo represents which as noted would be subject to conjecture. As had been suggested, the buffalo may be an artist’ mark. A link to the auction is given below
and separately, it's also interesting I think to see an abundance of red splotches in the Indian depictions on the muslin, as a reminder and possible link of the splotchy red flesh toned stripes of the jar, representing warrior physical and spiritual strength

Bonhams : A Plains painted muslin

Probably Northern Tsitsistas/Suhtai (Cheyenne), depicting two distinct battle scenes between Northern Tsitsistas/Suhtai and Lakota warriors against United States Army troops set against a topographical background, the upper left quadrant likely an engagement during the Battle of Greasy...

www.bonhams.com

 

[Kevin D]

an important geometric symbol in the belief system of the Plains people consists of two adjoining triangles, one above and one below. Combined the two represent the sky and earth, and the connection at the center point would signify a special geographic place in their beliefs on where the two meet. These opposing pairs might commonly be found in the patterning on their textile work. A special term kapemni is given to the Lakota symbol w/ the sky and tepee viewed as cone shaped but reresented by the opposing set of triangles.

on view at the Museum of Natural History in Manhattan, there is an exhibit of Blackfoot lodge members. Looking closely at the patterns of the attire on one of the figures, the opposing triangles symbol is prominently featured in black and yellow in the rectangular patterning of the individual's shirt.

Color meanings as we've learned can be very similar among the different tribes, and each tribe has a special set of colors for their ceremonies.
To the Blackfoot of Montana, among the meanings of these two, yellow represents the power of the creator, and black for bravery.

The prominent colors of the two opposing triangles that merge together at the center of each of the rectangular patterns of the jar are of the same two color scheme for the black and yellow triangles at the center of the rectangles found on the shirt .

Both sets of triangles in these two examples can be viewed the same way if the pairs are turned around upside down or right side up, there's no difference. As w/ the two positions for the jar, the pattern remains the same for viewing in either position, one w/ the jar seated right side up, and then turned upside down to empty the contents.

So, the paired patterns of triangles are not only central to each example, as sacred points in Plains Culture but they are of the same color combination while both patterns, fully balanced can be changed around w/out altering the view.

 

[Kevin D]

the principle of the design elements illustrating a co-exitance of bravery in black and the power of the creator in yellow at the most central point of each rectangle, representing space were combined to show a force to protect what we know to be a sacred point in terms of territory. This is closely aligned to the principle of the chosen outer geometric elements from earlier discussions which fill out the space of each. Those are the flesh-toned stripes, dotted with red, symbolizing a warrior's willingness to shed blood in battle w/ the larger triangles in orange to the edges and yellow at the center, for supernatural strength. With these outer elements then, the entire territory of each rectangle becomes balanced in this co-existence of force , there to protect the center of cultural beliefs through warrior and supernatural strength in their native territory

 

[Kevin D]

in a footnote, if a picture is worth a 1000 words, can you imagine creating a minimalist one based on well-developed principles in design and one which incorporates many levels of symbolism in the choices of color and geometric shapes of the patterns to effectively explain a central system of beliefs to a culture? one that includes in the art a show of the goal from earlier discussions of the power to achieve w/in their borders a life of balance and harmony by the color choices of the black ( power and bravery) and green(nature, harmony) borders to each well-balanced rectangle(territory), a united front of military might and bravery of their warriors by the closed circle of the pattern around the circumference, supernatural and warrior strengths set to protect a sacred space central to their beliefs.

 

[Kevin D]

As testament to the Native spirit within the culture, if in its history the jar, burnished and roughly made ever passed from Native hands directly into those of “others”, it would have been handed over as a record of warrior might and important beliefs held within the culture much like the ledger drawings mentioned throughout this thread rather than as a mere token or remembrance of a special trip.

 

[Kevin D]

A unique color marker, in timeline or influence, is perhaps found in the reddish-purple, or oxblood colored splotches of the native flesh tone stripes. the limited color range of orange, yellow, green, black and black shading can be found in the ledger art drawings of the late 19th Plains warriors, 1870 and beyond as well as in the special case on the Sioux parfleche example above, we find those blackened green borders, as well. However, the marker that may be the most distinctive one, and thus give further support of Apache influence is the color choice given to these small irregular-shaped patches along the stripes. the color tones match well with the reddish-purple color found on a 19th century jar that is attributed to the Chiricahua, held at the Smithsonian, 1869-1886 w/a link given below. We might also recall from above the other jars and vessels of the Apache tribe w/ their tall necks, rolled rims, sloping shoulders, wide girth, and narrow base have a direct connection if not an inspiration to these same characteristics found in this example.

Basket jar/water vessel | National Museum of the American Indian

americanindian.si.edu

 

[Kevin D]

Hi all,

a feather case, Kiowa, 19th century which is in the collection at the Smithsonian Museum.

Feather Case | Smithsonian Institution

www.si.edu

as w/ the Blackfoot shirt pattern w/its pairing of black and yellow opposing triangles at its center, the case is being added as a further reference of a Plains Culture interpretation and attribution to this example by use of the same color choices between them of orange, black and yellow for the straight-lined triangle forms, and w/ the case also having a set of six blackened green rectangle shapes at the center.

while interpretations of the complex messaging found in the artwork on Plains textiles are almost completely unknown, they offer great stories waiting to be told by deciphering the symbolism found in their designs. Confidently, most of which has been deciphered by what is known and available to us all of the warrior symbolism employed here. while the form as we know has the appearance of some Apache water jars , possibly developed through intermarriage, as a result of w/a mix of Plains and Apache character, the complex interpretation lends itself to a great message of a system of Native beliefs, one that is eternal. there are a few possible Plains tribe attributions for the time period from which it comes to us, and the symbolism inside the framework of each rectangle should exclude others. A rectangle to the Sioux, for example, represented protected territory. Warrior symbolism as we see here would have been unnecessary in this sense. However, a now-extinct branch of a tribe is arguably a possibility

As a special note, the opposing triangle sets at the ends of the feather case are opposites in their coloration. the larger one in the middle on the left is marked in black, orange and yellow like the smaller one at each side. while the larger middle triangle on the opposite end is blank, as are the two smaller adjacent ones. like pieces of a puzzle, if we match the colored sets from both ends, a different pattern emerges. At the midsection then, the large triangle would converge w/another equally large triangle on each of the two sides. And like the pattern at the midsection of each rectangle on this example, each pairing would have a small triangle at the end.

 

[Kevin D]

Hi All,

The specially impressed face of a bird plainly drawn at the inside base of the pot is as we can see in the photo (above) characterized by two round holes for the eyes and a beak that begins wide and narrows to a point. For comparison of this detail, a pipe tomahawk held at the National Museum of the Native American Indian in the link.

Pipe tomahawk | National Museum of the American Indian

americanindian.si.edu

Once a personal possession of Kicking Bird (Tene-angop'te, "The Kicking Bird", "Eagle Who Strikes with his Talons", or "Striking Eagle") Kiowa, 1835-1875.

On the weapon's head, here again, we see the plain unembellished and flat two-dimensional depiction of the face of a bird. The face is made up minimally of two round holes for the eyes above and a beak that narrows to a point . However, in this example, the weapon's striking blade or beak runs straight down beneath the two eyes, rather than at an angle



A Wiki link below giving a brief history of Kicking Bird, with some detail of his battle skill

Kicking Bird - Wikipedia

en.wikipedia.org

Great Plains culture, painted and incised, the pot or jar is likely Kiowa, Apache influenced by its shape, including a rolled lip(Above) and the use of oxblood red(most notably found in the art of the Chiricahua, above) given the weight of these last two references, both from this same tribe. The feather case for its displayed color choices, including the blackened green rectangle outlines (eight total rather than six that we can see), small and large triangle pairings, and geometric pattern shapes. And then by this latest reference, the similar minimally drawn bird face

 

[Kevin D]

Hi All,
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 below w/a photo of the detail added here. These deliberate marks were impressed together into the wet clay like the eye and beak features of the bird face nearby. And, while it's a matter of conjecture as to the intent of the artist in making these impressions, we can see similar line and circle shapes in the painted details on some Kiowa shields w/ an example of a shield cover given in the first link. The second of these is another one from the Kiowa tribe showing a distinction between them in their details.


Record Taime Shield | Collections Search Center, Smithsonian Institution (si.edu)

Native American Indian artifact from the Fenn collection - Kiowa Shield

The circle theme is also commonly found among different Native Indian shields at the focal point with some examples given below. However, the distinction here w/ that of other examples is the presence of the thickly laid line. Similarly, a Plains Apache shield w/a peace pipe, rather than a band accompanying the circle in the first:

Buffalo Shield | Smithsonian Institution

www.si.edu

Shield | Smithsonian Institution

www.si.edu