Historic Amazingly Exquisite Acoma Pueblo Polychrome OLLA [SOLD]

Potters hold a respected place in contemporary Pueblo culture and also in the culture of collectors worldwide.  Pueblo neighbors recognize the talent inherent in making pottery and the amount of labor involved in gathering clay, temper, and pigments as well as in the process of working it all together to end up with a completed vessel.  Collectors may not know such details but do recognize the talent involved in producing a finished product.

Another aspect of pottery making not necessarily known or understood by non-pueblo buyers is the spiritual aspects of pottery production.  Pueblo culture accepts the religious aspects of every facet of life and to all common objects and everyday activities. Potters say a prayer of thanks to Mother Earth for yielding up the clay they are taking.  They do not assume it is their right to take the clay but ask for permission and offer thanks. Every aspect of pottery production is treated with respect.

When a pottery vessel is complete and ready for the final procedure of firing, the potter has reached the most dangerous step in the process.  It is then that the pottery is subject to exploding or cracking. Uneven heat can cause stress and damage, as can wind or rain. I have never known a potter to express disappointment when an accident occurs during firing.  The general feeling by a potter is “it was not meant to be.” There never seems to be a feeling of disappointment in the loss, but only a feeling of acceptance of what happened.

It is with these understandings that one is pleased that a jar such as this one survived the rigors of creation and has continued to survive another 90 or so years of being handled by tourists and collectors.  It is such a magnificent jar that every past owner must have marvelled at its beauty. The potter created a magnificent vessel shape, then continued improving it with an extraordinary design applied with utmost precision and care.

The design concept was one of continuance without interruption in flow.  From the lower framing line to the rim, the potter integrated the designs.  There are many individual items of design— fine lines, stepped triangles, black outline triangles, eagle tail feathers, rain and black dots—but they flow and integrate.  The unusual aspect of the design is the lack of an orange underbody. The potter left the lower portion of the jar devoid of white slip or orange slip. The natural clay body of the jar is revealed, with only a thin line of orange slip attached to the framing line.

The eagle tail design has a strong resemblance to designs on pottery from the Hopi Mesas.  It is not a copy of Hopi-Tewa pottery, but most certainly reflects influence of such.

Condition: this Historic Amazingly Exquisite Acoma Pueblo Polychrome OLLA is in very good condition

Provenance: from the collection of a local resident

Recommended Reading: Acoma & Laguna Pottery by Rick Dillingham