Acoma Pueblo Historic Olla with Zuni Pueblo Designs [R]

Experimenting with new designs by pueblo potters is certainly as old as the time of the arrival of the Spaniards in the 1500s.  It is probable that the Acoma parrot design and Zia bird design were lifted from colcha-inspired designs from Spanish households.  Also, according to Dillingham, "designs appear on Acoma, Laguna, and Zia ceramics of the late 1800s that are almost identical to a type of Majolica pottery unearthed in Mexico City, called La Traza Polychrome, which exhibits designs found on trade cloth and other motifs that are clearly inspired by Spanish and Italian sources."

Inter-pueblo trading of designs is also prevalent since the 1800s.  A good example is the work of the famous potter, Arroh-ah-och, who originally had his home at Zuni, was trained in pottery making at Acoma, and eventually settled at Laguna.  His most famous designs on Laguna pottery are those from Zuni Pueblo.

This jar, by an unidentified potter, is from Acoma Pueblo but is fully decorated with designs from Zuni Pueblo.  For over a hundred years, Acoma potters have borrowed and reproduced Zuni designs verbatim. This trend seemed to be favorable in the 1890 to 1915 time period. Designs moved rather freely between Zuni and Acoma, no doubt due to their geographical proximity and probable historic connections.

Ruth Bunzel states that "Use of Zuni designs began at Acoma at the latter part of the 1800s, a time of increased tourism that probably stimulated Acoma potters to borrow and experiment to see what would be most marketable."

Use by one pueblo of another's design motifs has historical precedent.  Rick Dillingham states "...before the Pueblo Revolt of 1680 and the ultimate Reconquest of 1696, many design motifs were shared among the pueblos of the Rio Grande and Acoma-Zuni area, suggesting broad cultural connections. Following the Revolt, designs began to become more locally differentiated, perhaps in response to the decreased geographical mobility of Indians fearing Spanish reprisals."

So, we see a long-standing precedent for the use of Zuni designs on Acoma pottery.

Condition:  The jar appears to have had a lateral crack at mid-body that almost encircles the entire vessel.  UV light examination shows a single line of conservation and it does not appear that any plaster was necessary, only stabilizing the crack and some slight over-paint in the area.  Visually, the jar appears as in the original condition.

Provenance: ex. coll. Colorado collector