Nampeyo Seed Jar, c. 1905
This is a Nampeyo seed jar, c. 1905; the dimensions are 1.75" x 7"; excellent condition.
The jar is attributed to Nampeyo for several reasons. First, the form, the distinctive flat top seed jar, in this case, molded so flat and thin, as to be discus shaped, is a clear sign of Nampeyo's molding. This form is featured in Barbara Kramer's book on Nampeyo as one of her forms. There are many other examples of this form that are credited to Nampeyo's hand.
Second, while Nampeyo's early work was done with Polacca crackly slips and white clay clips, this piece features her yellow clay as a slip which dates it to around 1905. It's an excellent example of her early yellow wares.
Of course, the painted design is clearly another indication of Nampeyo's work. Notice how she is combining the feather/bird motifs of prehistoric Sikyatki pottery with some of the fretted geometric designs of Kayenta and Mesa Verde style prehistoric wares. Rather than simply copying a prehistoric design, she is merging two prehistoric designs into her own original creation, so that the design actually resembles a bird in flight with both wings out when viewed straight on.
The two triangles on each side in the middle represent the bird's open beak. Also, the design fits on the unusual shape in a comfortable and successful manner, and is rendered in strong confident lines characteristic of Nampeyo's drawing.
I would also like to praise the firing marks on this piece which has wonderful blushes from the traditional out door firing. There are also some very minor "fire clouds" where the flames actually slightly burned the edge of the seed jar. Interestingly, you can see where Nampeyo placed another pot on top of this one as she fired so that parts of this piece were protected and fired ivory rather than yellow from the difference in the heat.
Of course, we must remember that in Hopi religion, birds and feathers are used as symbols of communication with the spirit world. In a real sense, the Hopis' emphasis upon birds and flights is an early celebration of man's imagination itself, which allows our spirits to fly and transcend the day to day world.
The jar is attributed to Nampeyo for several reasons. First, the form, the distinctive flat top seed jar, in this case, molded so flat and thin, as to be discus shaped, is a clear sign of Nampeyo's molding. This form is featured in Barbara Kramer's book on Nampeyo as one of her forms. There are many other examples of this form that are credited to Nampeyo's hand.
Second, while Nampeyo's early work was done with Polacca crackly slips and white clay clips, this piece features her yellow clay as a slip which dates it to around 1905. It's an excellent example of her early yellow wares.
Of course, the painted design is clearly another indication of Nampeyo's work. Notice how she is combining the feather/bird motifs of prehistoric Sikyatki pottery with some of the fretted geometric designs of Kayenta and Mesa Verde style prehistoric wares. Rather than simply copying a prehistoric design, she is merging two prehistoric designs into her own original creation, so that the design actually resembles a bird in flight with both wings out when viewed straight on.
The two triangles on each side in the middle represent the bird's open beak. Also, the design fits on the unusual shape in a comfortable and successful manner, and is rendered in strong confident lines characteristic of Nampeyo's drawing.
I would also like to praise the firing marks on this piece which has wonderful blushes from the traditional out door firing. There are also some very minor "fire clouds" where the flames actually slightly burned the edge of the seed jar. Interestingly, you can see where Nampeyo placed another pot on top of this one as she fired so that parts of this piece were protected and fired ivory rather than yellow from the difference in the heat.
Of course, we must remember that in Hopi religion, birds and feathers are used as symbols of communication with the spirit world. In a real sense, the Hopis' emphasis upon birds and flights is an early celebration of man's imagination itself, which allows our spirits to fly and transcend the day to day world.
