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]

Hello,
Glad you found this of interest, and I am grateful for the informative post, many thanks

Kind regards

Kevin

 

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[Kevin D]

in summary,
this olla or jar is no ordinary find which some of its key elements can attest to:
Warrior paints and geometric symbols among them, the red splotches of paint on a flesh colored ground of the smaller stripes, a kind of blood oath for the warrior. The broad bands of black over green used in a similar manner to those that can be found on some 19th C parfleches

The anonymous Plains artist chose very carefully the many other symbolic design elements that make this piece very intriguing as a display of warrior strength in unity, capturing the spirit of the Great Plains warriors of the 19th C. Although not very old, it was made at a significant time in Plains history when these tribes struggled to protect a way of life against the invading Europeans. To date, there is no other Plains Indian object like it in its minimalist statement about a people's search to maintain balance and harmony in their way of life.

 

[unclemac]

we saw a jar that looked A LOT like that one on this forum a few years back...fellow said it was in a cave or shelter somewhere and took what he said were in-situ pix and supposedly left it where it was. the pix as i remember were called out as staged and the OP quit posting...anybody else recall that?

 

[Kevin D]

Interesting post - any photos? - please, they would certainly help for comparisons in what may otherwise be imperfect recollections, thank you

Also, very strange that someone would stage photos w/out and I am assuming considering any of the details to their jar, if actually alike, ie regarding such important factors as the use of the broad bands of black over green borders, the red splotches over flesh tones, etc, and what tribes used these decorative patterns on their textiles, the meaning of them, and where on the timeline they would fit in

Kevin

 

[joshuaream]

I looked for the post but couldn't find it. It was a more Mimbres style Southwest pot or urn that was stashed in a rock shelter. I remember being impressed by it, there are quite a few sites on private land that are very well preserved with pottery. (And motion detectors set up to protect them.)

 

[joshuaream]

Kevin,

Have you been able to pin down any more research on this piece?

As a side note, you should write the descriptions for Sotheby's or Christie's auction catalogs. There is an eloquent, evocative quality to the way you describe an artifact that makes it sound expensive.

Joshua

The anonymous Plains artist chose very carefully the many other symbolic design elements that make this piece very intriguing as a display of warrior strength in unity, capturing the spirit of the Great Plains warriors of the 19th C. Although not very old, it was made at a significant time in Plains history when these tribes struggled to protect a way of life against the invading Europeans. To date, there is no other Plains Indian object like it in its minimalist statement about a people's search to maintain balance and harmony in their way of life.

 

[Kevin D]

Joshua,
Hello,
Thank you for your posts!
on the side note- highlighting the significance and presenting a clear picture to others of the details to concepts is what i may be very well known for by some, and for doing so honestly, w/out trying to make anything more of something than what the evidence may show

The most productive research has come from empirical studies in the textile art of the Plains tribes , their habits and way of life. And, of course more research was done as given on the interpretation of the complex pattern w/its symbolism.

Best,

Kevin

(P.S. regrets, if I sounded as though I was describing an expensive piece in the summary- after all, I would maintain -that it's priceless )

 

[Kevin D]

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. And, in deference to some earlier questions on the origin, some of the decorated pottery found at this site as illustrated in the book exhibit similar design qualities to not only the jar w/its geometric patterning but then also to that of the Plains parfleches. it can also be said, that these two different examples of textile art are grouped together by their patterning and use of color specific borders

In the very broad terms, a two color scheme of the triangle inside of a triangle design feature is present in many of the Sikyatki wares that were found at the site, as w/ the jar and the parfleche pair. The design element of a completely enveloped geometric pattern is also evident in both of these latter examples by the use of the heavy black over green painted borders.

The 19th century Plains people preferring other means for storage like the parfleche, a type of rawhide bag with geometric patterns, were by reputation not the skilled potters as the reputation would hold for the Pueblo. The artist here chose a tightly controlled, and military specific theme by the shapes and colors in a minimalist message. the same cannot be said of the elaborate and neatly drawn Pueblo designs.

Unlike the pattern of the jar, the Pueblo wares may exhibit at least some well controlled spacing and gaps in their drawings as design elements, however, there is no spacing in this incised design w/one shape set adjacent to another in each of the repeating sets. Two warrior symbols, a triangle and a stripe, painted in warrior colors sit adjacent to one-another in each of the six segments.

For the 19th Pueblo potter, there was a clear and separate color choice for the decorative wares which might have included the use of black, white , orange and brown, and however, it can also be said, we will not find the red splotched flesh tone stripes as exhibited here. Use of red paint had a very specific meaning to the Plains warriors. We can also connect the color red spotting to their depictions of warriors in the ledger drawings. Rather than completely shading a face in red, the artists might have used red dots or splotches to cover larger areas in their illustrations

While the thinly potted wares of the Southwest may show the finesse of a centuries long practiced art form w/clay, the jar shape with its thick and protruding lip character and wide shoulder resembles some water jars of the Plains people, mostly of the Apache

The Project Gutenberg eBook of Archeological Expedition To Arizona In 1895, by Jesse Walter Fewkes.

 

[Charl]

we saw a jar that looked A LOT like that one on this forum a few years back...fellow said it was in a cave or shelter somewhere and took what he said were in-situ pix and supposedly left it where it was. the pix as i remember were called out as staged and the OP quit posting...anybody else recall that?

I remember that thread, too. And I could not find it either. I don't remember feeling it was staged, however. Maybe because I know such examples exist, left where found. I thought it was a corrugated pot. Like the one seen near the start of this short clip by Dana Hollister. Dana takes the best short videos of the many ruins in the Bears Ears, Utah region. This one is not staged. He and his wife have visited it more then once. I highly recommend his videos....

 

[Hillbilly Prince]

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. And, in deference to some earlier questions on the origin, some of the decorated pottery found at this site as illustrated in the book exhibit similar design qualities to not only the jar w/its geometric patterning but then also to that of the Plains parfleches. it can also be said, that these two different examples of textile art are grouped together by their patterning and use of color specific borders

In the very broad terms, a two color scheme of the triangle inside of a triangle design feature is present in many of the Sikyatki wares that were found at the site, as w/ the jar and the parfleche pair. The design element of a completely enveloped geometric pattern is also evident in both of these latter examples by the use of the heavy black over green painted borders.

The 19th century Plains people preferring other means for storage like the parfleche, a type of rawhide bag with geometric patterns, were by reputation not the skilled potters as the reputation would hold for the Pueblo. The artist here chose a tightly controlled, and military specific theme by the shapes and colors in a minimalist message. the same cannot be said of the elaborate and neatly drawn Pueblo designs.

Unlike the pattern of the jar, the Pueblo wares may exhibit at least some well controlled spacing and gaps in their drawings as design elements, however, there is no spacing in this incised design w/one shape set adjacent to another in each of the repeating sets. Two warrior symbols, a triangle and a stripe, painted in warrior colors sit adjacent to one-another in each of the six segments.

For the 19th Pueblo potter, there was a clear and separate color choice for the decorative wares which might have included the use of black, white , orange and brown, and however, it can also be said, we will not find the red splotched flesh tone stripes as exhibited here. Use of red paint had a very specific meaning to the Plains warriors. We can also connect the color red spotting to their depictions of warriors in the ledger drawings. Rather than completely shading a face in red, the artists might have used red dots or splotches to cover larger areas in their illustrations

While the thinly potted wares of the Southwest may show the finesse of a centuries long practiced art form w/clay, the jar shape with its thick and protruding lip character and wide shoulder resembles some water jars of the Plains people, mostly of the Apache

The Project Gutenberg eBook of Archeological Expedition To Arizona In 1895, by Jesse Walter Fewkes.

Hi Kevin. I found this thread, may have glanced at it before, but it is great to see the discussion goes on.
I have some questions arising from this post, and hope you can understand I am ignorant about some things.
Since the Pueblo artists were not nomadic, would they have more sophisticated methods to produce pottery, which would be evident in comparision to Plains methods?
Would the groups have different sources for their coloring methods which would show distinctions?
Once the Plains people were moved to reservations did they produce pottery at all?
Is there any indication shamans had special or specific pottery?
I would think there would be many distinctive clues to indicate the culture which produced objects.
Thanks for the links!

 

[Kevin D]

Hi,
Very glad to see that you enjoy the thread! Hoping, I can give some helpful information on some of your questions, and maybe others can add more to this

Unfortunately, we may not be able to prove a specific tribe origin w/the limited clues available. What we have is the empirical data of the different art forms in Plains textiles. And, with the advent of a tremendous upheaval in the way of life of the different Plains people during the 19th C, what clues we may find might also look muddled among an infusion of culture between the tribes. Part of the change away from what may have provided us w/ tribe specific clues was an increase in trade w/ the French to meet their needs. For example, rather than sourcing clay and making pots, the French traders in time as we have learned supplied the durable metal wares to these nomadic people. Likewise, locally sourcing of paint pigments, essentially anything w/color that was available at the time such as as ground clay, minerals, roots, berries, flowers became less relevant, and the French became an important source for paints.


I agree by your point that the non nomadic way of life of the Pueblo, gave them the advantage in producing more sophisticated pottery than what may have been produced by the Plains potter. And, whereas, the clay pots were less important and even cumbersome in moving them around as something fragile, the metal wares acquired in trades meant the nomadic people had less need to develop their pottery skills.
Reservation life meant the Plains people had to learn new means for survival. Existing in a confined space of a reservation, made it impossible to maintain a way of life they once knew before reservation life. They were encouraged to learn farming, and rely less on hunting for food. Some were taught new skills, and they learned to make different types of goods, including pottery to sell. The first visitors to these reservations were military people and their families

Here is an interesting link that gives some information about the Native American Shaman, and interestingly, as the link shows this person was also the head warrior or war chief for the Cheyenne and Sioux tribes. Regrets, I cannot find any information for you on their pottery, and the link does give some detail of the equipment of the shaman.
https://www.warpaths2peacepipes.com/native-american-culture/shaman.htm

Best,

Kevin

 

[Hillbilly Prince]

Hi,
Very glad to see that you enjoy the thread! Hoping, I can give some helpful information on some of your questions, and maybe others can add more to this

Unfortunately, we may not be able to prove a specific tribe origin w/the limited clues available. What we have is the empirical data of the different art forms in Plains textiles. And, with the advent of a tremendous upheaval in the way of life of the different Plains people during the 19th C, what clues we may find might also look muddled among an infusion of culture between the tribes. Part of the change away from what may have provided us w/ tribe specific clues was an increase in trade w/ the French to meet their needs. For example, rather than sourcing clay and making pots, the French traders in time as we have learned supplied the durable metal wares to these nomadic people. Likewise, locally sourcing of paint pigments, essentially anything w/color that was available at the time such as as ground clay, minerals, roots, berries, flowers became less relevant, and the French became an important source for paints.


I agree by your point that the non nomadic way of life of the Pueblo, gave them the advantage in producing more sophisticated pottery than what may have been produced by the Plains potter. And, whereas, the clay pots were less important and even cumbersome in moving them around as something fragile, the metal wares acquired in trades meant the nomadic people had less need to develop their pottery skills.
Reservation life meant the Plains people had to learn new means for survival. Existing in a confined space of a reservation, made it impossible to maintain a way of life they once knew before reservation life. They were encouraged to learn farming, and rely less on hunting for food. Some were taught new skills, and they learned to make different types of goods, including pottery to sell. The first visitors to these reservations were military people and their families

Here is an interesting link that gives some information about the Native American Shaman, and interestingly, as the link shows this person was also the head warrior or war chief for the Cheyenne and Sioux tribes. Regrets, I cannot find any information for you on their pottery, and the link does give some detail of the equipment of the shaman.
https://www.warpaths2peacepipes.com/native-american-culture/shaman.htm

Best,

Kevin

Thanks! Very interesting information. I wasn't aware the shaman was the head warrior of those tribes.
Must have been quite a jarring transition for the Plains tribes. Particularly for the older members who had grown up in the previous way of life.

 

[A2coins]

Great post and relics love to have one on my shelf.

 

[Kevin D]

The different tribes w/in the Plains region, and more broadly along with the tribes of the Southwest included for consideration, as some of the links have demonstrated had an Influence on one another in terms of artistic expression with geometry in textile art. The summary in a reference given earlier titled "Geometry Of Native American Art" highlighted the effect of influence on this point among the tribes in the two regions. For convenience, a new link is provided below


https://www.math.tamu.edu/~don.allen/masters/american/parr.pdf

As with any unknown Native work found in a hunt of whatever kind, sorting out the details and clues to find the origin of the piece among the many possibilities, first required very careful and complete consideration of the vivid pattern and the symbolism employed. The symbolism gives us the context for interpretation of its statement. A more passive observation may only provide the eye with the similarities, rather than dissimilarities in pottery art that may be familiar to the observer, such as w/that of the Southwest wares.

However, we have also learned that the unique broad band border stripes displayed around the circle are also found on the Sioux parfleche example which also enclose the geometric pattern in that example. The artistic expression in their use, their makeup of the two color choices of paint have a very appropriate interpretation pertaining to Plains art,

The double triangles in war paints which lie adjacent to the smaller flesh toned stripes and their red splotches also have a very special meaning together in Plains art

The repeating pattern in six equal sets with its warrior symbolism form a circle at the shoulder. The circle represents unity and protection with all parts equal, as illustrated, and completed within the confines of the black and green borders.

The ceremonial jar with its incised and austere details combining with Native symbolism serves then as a very vivid and vibrant declaration of Plains warrior unity. The warriors at the time were caught in a battle to preserve a way of life based on the military spiritual goal to maintain balance and harmony w/in their culture

 

[Kevin D]

Adding an interesting article in the link below from the National Park service website on Fort Bent, 1833-1849. Then known as Fort William, after William Bent one of its founders, the post was built in a strategic location on the Arkansas River to take advantage as new commercial trade opportunities were developing along the Sante Fe Trail by the presence of settlers on the move to the western frontier. The article notes that the Upper Platte and Arkansas Indian Agency established its headquarters there in 1846. Several Plains tribes by the article were seen trading here, including the Kiowa, and Southern Cheyenne.
https://www.nps.gov/articles/bentsold.htm

 

[Kevin D]

Hi All,
offering a brief synopsis in a review of the key design elements and symbolism of the polychromed geometric band to what has been presented in the details of the text and photos found in the pages above, thank you

The complex minimalist theme of the painted and incised composition should speak to the complexity in the culture of origin w/ no other known work like it in its statement to date. Key markers in the composition give us the context for interpretation of the Plains symbolism. And, while the key elements w/their warrior nature point to the Great Plains people, the specific culture or cultures within the region is unknown at this time.



Some of the key elements are:

*Paint colors which all match the colors of the 19th century ledger drawings of the Plains Indians



*Flesh toned stripes mixed with red paint to show native skin, sometimes appearing with splotches in small areas much as what can be found around the warrior faces in Cheyenne ledger depictions



*Border stripes, composed of black paint over green which envelop the geometric pattern that goes around the circumference. These were made and used in the same manner as those that can be found on some 19th C parfleches of the Plains tribes w/ a photo provided of a Sioux parfleche w/ these same closed end geometric borders



*The warrior color scheme combined with the chosen geometric symbols including the use of stripes, triangles and the greater circle going around the circumference have significance together in providing the context to its warrior interpretation:

The red splotches on flesh tones would signify a warrior who shed blood in battle

The triangles in war paints such as what may be seen here, orange and yellow afforded warriors with magical power in battle



* The protruding lip character around the mouth is similar to what can be found on some water jars of the 19th century Plains people.




*The symbolic minimalist band with its repeating pattern of six connecting sets of triangles and stripes within the black over green borders, forms a well drawn circle around the circumference. The circle itself highlights the spirit of equality and unity of the separate warrior groups joined side by side together in a common goal, such as six tribes or warrior societies joined together for strength. And, each unit of the circle having been afforded special powers for battle by the symbolism in shapes and colors. The common goal of the alliance would have been to maintain balance and harmony within their borders for all members of the culture, black for power or victory and green for harmony.



The anonymous Plains potter told a great story and chose very carefully to include these key elements and others in a symbolic show of warrior strength and unity during what had been a very tumultuous era for the embattled Plains people. And by the symbolism, the complex illustration captures the spirit of the Plains warriors w/ the greater Native American military spiritual goal to protect a way of life for all people of their culture

 

[Kevin D]

Hi All,
Adding further detail,
thank you
the well decorated war shirts of the Plains people were worn by warriors who held an elevated position in their culture. these shirts are frequently found to have segmented rectangular ground patches, equal in shape and dimension which might run the length of the sleeves and sometimes around the chest . Similar to the rectangular ground sections of the jar, these segments with their well defined linear borders running between them sometimes show a complex geometric pattern which might also incorporate stripes and triangles
A Crow war shirt example is provided in the link below. The shirt, part of the Dyker Native American Indian artifacts collection is available for viewing online through the Met Museum website



https://www.metmuseum.org/art/collection/search/751513

 

[Kevin D]

from the digital library site, a link is provided below to an article on the topic of Arapaho symbolism by Alfred Kroeber, dated 1900 w/ a wiki page link about the author.

http://digitallibrary.amnh.org/bits...d=03C66863618576A651096C36F4FB7604?sequence=1

https://en.wikipedia.org/wiki/A._L._Kroeber

from page 8:
"The earth conceived of as including and containing everything is represented either by a rectangle of solid color (Fig. 75), or by a hollow rectangle (Fig. 76), which is generally filled with other designs. The cosmic symbol more properly is a ring with four equidistant marks (Fig. 77), which are somiietimes coninected by lines (Fig. 78). The four marks are the four 'ends of the earth.'"


While employed in the same warrior context in the design elements of the jar and of the various examples of war shirts from the different Plains cultures, the rectangle symbol might otherwise mean different things generally to different cultures.
To Native cultures, the four corners of this special shape might represent the four cardinal directions in a depiction, but it can also represent protected ground- and in the context of warrior symbolism, it can serve as both as w/ the meaning behind the geometric band of the jar - militarily protected ground by the geometric shapes and colors chosen to fill each rectangularly shaped segment around the circumference, but each rectangle can also be interpreted to represent the four corners of their ground, combined as a whole by the presence of the groupings to form a circle

 

[Buckleberry]

Cool pot and info., something about that paint looks off.

 

[Kevin D]

Hi,
Thank you for your comments!
yes, a very different type of paint was used to produce the band than what we might expect to see on the highly refined clay pots of the SW for example of a similar age. These paints match with the European paints that were received in trades w/ the French fur traders in the 19th C. not meant for the application, and unlike the refined thin, flat paints that were used on ceramic wares by the warrior prisoners at Fort Marion, or of those on later ceramics. Raw natural pigments were used to produce wares from an earlier period.