Dimensions | 6 × 6 × 5 in |
---|---|
Condition of Piece | Excellent |
Signature | Sammy Naranjo Santa Clara Pueblo |
Date Born | 2023 |
Sammy Naranjo, zzsc3a193, Black bowl with an avanyu design
$795.00
A black bowl with a sienna rim and spots, decorated with a sgraffito-and-carved avanyu, bear paw, and geometric design with an inlaid turquoise detail
In stock
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Naranjo, Sammy
Sammy Naranjo, (Okuwa Nae’ Khung Tsire, meaning: Dark Cloud Bird), was born into Santa Clara Pueblo in 1972. He is a member of the Tree Clan and is related to Barbara Martinez (birth mother), Flora Naranjo (mother), Glenda Naranjo (aunt), Vickie Martinez (sister) and Chris and Manuel Martinez (brothers).
Sammy tells us he was about twelve when his mother, Flora Naranjo, inspired him to create traditional carved pottery. Today, Sammy specializes in and is well known for his black and sienna jars decorated with finely executed sgraffito designs such as the avanyu (the mythic Tewa water serpent), feather patterns and bear paws.
Sammy gets his clay from a sacred place on Santa Clara Pueblo. He processes the clay himself, ridding it of impurities and preparing it for use. Then he builds a pot by hand coiling and shaping it, then by polishing it with stones. He fires his black pots the traditional way, outdoors with wood and horse manure.
In his words: "I enjoy making pottery because I like to come up with my own traditional designs. I also find that etching my pots is a challenging and rewarding experience. My pottery is unique in the way that no other pot is the same. It is like the pottery is alive. It wants to be a certain way and no matter what I do it won’t change the outcome of what the pot wants to look like."
Sammy has earned First and Second Place ribbons at the New Mexico State Fair, Eight Northern Indian Arts & Crafts Show and the Arizona State Museum.
He signs his work "Sammy Naranjo, Santa Clara Pueblo."
A Short History of Santa Clara Pueblo
Santa Clara Pueblo straddles the Rio Grande about 25 miles north of Santa Fe. Of all the pueblos, Santa Clara has the largest number of potters.
The ancestral roots of the Santa Clara people have been traced to ancient pueblos in the Mesa Verde region in southwestern Colorado. When the weather in that area began to get dry between about 1100 and 1300 CE, some of the people migrated to the Chama River Valley and constructed Poshuouinge (about 3 miles south of what is now Abiquiu on the edge of the mesa above the Chama River). Eventually reaching two and three stories high with up to 700 rooms on the ground floor, Poshuouinge was inhabited from about 1375 CE to about 1475 CE.
Drought then again forced the people to move. One group of the people went to the area of Puyé (along Santa Clara Canyon, cut into the eastern slopes of the Pajarito Plateau of the Jemez Mountains). Another group went south of there to what we now call Tsankawi. A third group went a bit to the north, following the Rio Chama down to where it met the Rio Grande and founded Ohkay Owingeh on the northwest side of that confluence.
Beginning around 1580, another drought forced the residents of the Puyé area to relocate closer to the Rio Grande. There, near the point where Santa Clara Creek merged into the Rio Grande, they founded what we now know as Santa Clara Pueblo. Ohkay Owingeh was to the north on the other side of the Rio Chama. That same dry spell forced the people down the hill from Tsankawi to the Rio Grande where they founded San Ildefonso Pueblo to the south of Santa Clara, on the other side of Black Mesa.
In 1598 Spanish colonists from nearby Yunqué (the seat of Spanish government near the renamed "San Juan de los Caballeros" Pueblo) brought the first missionaries to Santa Clara. That led to the first mission church being built around 1622. However, the Santa Clarans chafed under the weight of Spanish rule like the other pueblos did and were in the forefront of the Pueblo Revolt of 1680. One pueblo resident, a mixed black and Tewa man named Domingo Naranjo, was one of the rebellion's ringleaders.
When Don Diego de Vargas came back to the area in 1694, he found most of the Santa Clarans were set up on top of nearby Black Mesa (with the people of San Ildefonso, Pojoaque, Tesuque and Nambé). An extended siege didn't subdue them but eventually, the two sides negotiated a treaty and the people returned to their pueblos. However, successive invasions and occupations by northern Europeans took their toll on the pueblos over the next 250 years. The Spanish flu pandemic in 1918 almost wiped them out.
Today, Santa Clara Pueblo is home to as many as 2,600 people and they comprise probably the largest per capita number of artists of any North American tribe (estimates of the number of potters run as high as 1-in-4 residents).
For more info:Pueblos of the Rio Grande, Daniel Gibson, ISBN-13:978-1-887896-26-9, Rio Nuevo Publishers, 2001
Upper photo courtesy of Einar Kvaran, Creative Commons Attribution-Share Alike 3.0 Unported License
About Bowls
The bowl is a basic utilitarian shape, a round container more wide than deep with a rim that is easy to pour or sip from without spilling the contents. A jar, on the other hand, tends to be more tall and less wide with a smaller opening. That makes the jar better for cooking or storage than for eating from. Among the Ancestral Puebloans both shapes were among their most common forms of pottery.
Most folks ate their meals as a broth with beans, squash, corn, whatever else might be in season and whatever meat was available. The whole village (or maybe just the family) might cook in common in a large ceramic jar, then serve the people in their individual bowls.
Bowls were such a central part of life back then that the people of the Classic Mimbres society even buried their dead with their individual bowls placed over their faces, with a "kill hole" in the bottom to let the spirit escape. Those bowls were almost always decorated on the interior (mostly black-on-white, color came into use a couple generations before the collapse of their society and abandonment of the area). They were seldom decorated on the exterior.
It has been conjectured that when the great migrations of the 11th, 12th, 13th and 14th centuries were happening, old societal structures had to change and communal feasting grew as a means to meet, greet, mingle with and merge newly arrived immigrants into an already established village. That process called for larger cooking vessels, larger serving vessels and larger eating bowls. It also brought about a convergence of techniques, styles, decorations and design palettes as the people in each locality adapted. Or didn't: the people in the Gallina Highlands were notorious for their refusal to adapt and modernize for several hundred years. They even enforced a No Man's Land between their territory and that of the Great Houses of Chaco Canyon, killing any and all foreign intruders. Eventually, they seem to have merged with the Towa as those people migrated from the Four Corners area to the southern Jemez Mountains.
Traditional bowls lost that societal importance when mass-produced cookware and dishware appeared. But, like most other Native American pottery in the last 150 years, market forces caused them to morph into artwork.
Bowls also have other uses. The Zias and the Santo Domingos are known for their large dough bowls, serving bowls, hair-washing bowls and smaller chili bowls. Historically, these utilitarian bowls have been decorated on their exteriors. More recently, they've been getting decorated on the interior, too.
The bowl has also morphed into other forms, like Marilyn Ray's Friendship Bowls with children, puppies, birds, lizards and turtles playing on and in them. Or Betty Manygoats' bowls encrusted with appliqués of horned toads or Reynaldo Quezada's large, glossy black corrugated bowls with custom ceramic black stands.
When it comes to low-shouldered but wide circumference ceramic pieces (such as many Sikyátki-Revival and Hawikuh-Revival pieces are), are those jars or bowls? Conjecture is that the shape allows two hands to hold the piece securely by the solid body while tipping it up to sip or eat from the narrower opening. That narrower opening, though, is what makes it a jar. The decorations on it indicate that it is more likely a serving vessel than a cooking vessel.
This is where our hindsight gets fuzzy. In the days of Sikyátki, those potters used lignite coal to fire their pieces. That coal made a hotter fire than wood or manure (which wasn't available until the Spanish brought it). That hotter fire required different formulations of temper-to-clay and mineral paints. Those pieces were perhaps more solid and liquid resistant than most modern Hopi pottery is: many Sikyátki pieces survived intact after being slowly buried in the sand and exposed to the desert elements for hundreds of years. Many others were broken but were relatively easy to reassemble as their constituent pieces were found all in one spot and they survived the elements. Today's pottery, made the traditional way, wouldn't survive like that. But that ancient pottery might have been solid enough to be used for cooking purposes, back in the day.
About Inlays
Inlays are a relatively recent development in the world of Native American pottery. To make an inlay, it is necessary to carve a close-fitting groove or notch on a piece in which to set the inlay. Then the piece is fired and once cooled, whatever the inlay material is, it is glued in place.
Often, the inlay is composed of a cabuchon of turquoise or other semi-precious stone, or perhaps a piece of coral. Sometimes it is a strand (or strands) of heishe beads. Sometimes it is a small piece of sculpted silver, like Preston Duwyenie's Shifting Sands designs.
Flora Naranjo Family Tree - Santa Clara Pueblo
Disclaimer: This "family tree" is a best effort on our part to determine who the potters are in this family and arrange them in a generational order. The general information available is questionable so we have tried to show each of these diagrams to living members of each family to get their input and approval, too. This diagram is subject to change should we get better info.
- Flora T. Naranjo & Ramon Naranjo
- Barbara Martinez
- Chris Martinez
- Vickie Martinez
- Sammy Naranjo & Adrianna Naranjo
- Sammy Naranjo & Melony Gutierrez
- Glenda Naranjo & Bruce Gibson
- Frances Naranjo Salazar & Jose H.R. Salazar
- Sophie Cata & Frank Cata (San Juan)
- Tricia Velarde
- Morgan Cata
- Pamela Cata
- Stacy Cata
- Angela Salazar
- Daniel Tafoya
- Keshia Tafoya
- Elaine Salazar
- Destiny Atkinson
- Monica Atkinson
- Jose Salazar
- Ronald Velarde
- Yolanda Velarde & James Moquino Sr.
- Keith Chavez
- Camille Moquino (1979-)
- Mario Thomas
- James Moquino Jr.
- Georgette Vigil
- Sophie Cata & Frank Cata (San Juan)