The story of Mata Ortiz Casa Grande Pottery is a testament to human ingenuity, cultural revival, and the enduring power of art. It’s a story rooted in the arid landscapes of Chihuahua, Mexico, where the rediscovery of an ancient pottery tradition transformed a struggling village into a thriving center for artistic expression. This article delves into the fascinating history, techniques, and artistry behind this remarkable ceramic tradition, exploring its connection to the ancient city of Paquimé (Casa Grande) and the visionary individual who sparked its revival.
A Serendipitous Discovery:
The seeds of the Mata Ortiz pottery renaissance were sown in the youthful curiosity of Juan Quezada. As a young boy of twelve, while gathering firewood in the mountains near his village, Quezada encountered fragments of intricately decorated pottery scattered across the ground. These shards were remnants of a long-lost ceramic tradition associated with the ancient city of Paquimé, also known as Casa Grande, a significant archaeological site representing the Mogollon culture.
Intrigued by the beauty and mystery of these fragments, Quezada embarked on a personal quest to understand and recreate the pottery of his ancestors. With no formal training or prior knowledge of ceramics, he dedicated himself to deciphering the secrets of the ancient potters. His journey was one of experimentation, observation, and relentless determination.
Reconstructing a Lost Art:
Guided by the pottery shards he had collected, Quezada meticulously analyzed the materials, forms, and decorative techniques employed by the ancient artisans. He experimented with different types of clay, carefully studying their properties and the effects of various firing methods. Through trial and error, he gradually unraveled the processes involved in creating pottery that mirrored the look and feel of the original Casa Grande pieces.
One of the defining characteristics of Mata Ortiz Casa Grande Pottery is the absence of the traditional potter’s wheel. Instead, potters employ a hand-building technique, meticulously shaping the clay by pinching and coiling. This method allows for the creation of incredibly thin-walled vessels, a hallmark of the Mata Ortiz style.
A Village Transformed:
As Juan Quezada mastered the techniques of the ancient potters, he began sharing his knowledge with others in his village. He taught family members and neighbors, fostering a spirit of collaboration and artistic growth. The revival of pottery making provided a much-needed source of income for the community, which had been struggling with poverty.
Today, the village of Mata Ortiz is home to approximately 300 potters, each contributing to the vibrant artistic landscape. The pottery produced in Mata Ortiz has gained international recognition, with collectors and museums around the world recognizing its exceptional quality and artistic merit. The once-impoverished village has been transformed into a thriving center for art and culture, a testament to the power of human creativity and community collaboration.
Techniques and Materials:
The creation of Mata Ortiz Casa Grande Pottery involves a combination of traditional techniques and individual artistic expression. While the shaping of the clay remains largely faithful to the original Paquimé methods, each potter brings their unique style and creativity to the process.
The materials used in Mata Ortiz pottery are sourced locally, reflecting the close connection between the art form and the natural environment. The clay is typically gray, yellow, orange, red, or white, depending on its mineral composition. These clays are carefully prepared and mixed to achieve the desired consistency and workability.
The paints used for decorating the pottery are also derived from natural sources. Clay-based pigments and crushed minerals, such as manganese, are ground and mixed to create a range of colors. The potters often use brushes made from clippings of children’s hair, tied to a stick, allowing for the creation of fine, delicate lines.
The Hand-Building Process:
The formation of a Mata Ortiz vessel is a labor-intensive process that requires skill, patience, and a deep understanding of the materials. The potter begins by pressing a ball of clay into a flat, round shape known as a "tortilla." This tortilla serves as the base of the vessel.
The potter then adds coils of clay to the edge of the tortilla, pressing them together to form the walls of the vessel. As the coils are added, the potter carefully rotates the piece, ensuring that the walls are even and consistent in thickness. This coiling technique, combined with pinching and shaping, allows for the creation of the characteristic thin walls of Mata Ortiz pottery.
Once the vessel has been formed, the potter uses a hacksaw blade to scrape and smooth the surface, a process called "segueteando." This process refines the shape and removes any imperfections. If the vessel is to have a lip, an extra coil of clay is added and integrated into the design.
After the vessel has been shaped and smoothed, it is set aside to dry completely. Once dry, the surface is sanded using a stone or deer bone, with a small amount of vegetable oil used as a lubricant. This sanding process creates a smooth, polished surface that is ready for painting.
Firing Techniques:
The firing process is a crucial step in the creation of Mata Ortiz pottery, transforming the fragile clay vessel into a durable, finished piece. The potters employ a primitive firing technique, using open ground or pit ovens.
Small pots may be fired together, while larger pots are typically fired individually. The pot is placed on a pile of dried cow dung and wood, which is then set aflame. If the pot is to be fired in an open ground, it is covered with a large, overturned pot called a "saggar."
The firing process requires careful monitoring and precise timing. The potter must control the temperature and airflow to achieve the desired results. For polychrome pots, air is allowed to circulate inside the firing chamber, resulting in a vibrant array of colors.
For black pottery, the firing chamber is sealed to keep smoke in and air out. This process, pioneered by Lydia Quezada, creates a reduction atmosphere that causes the clay to turn black.
Decoration and Artistic Expression:
The decoration of Mata Ortiz pottery is where individual artistic expression truly shines. While some potters adhere to traditional geometric patterns and colors similar to those found on original Paquimé pottery, others have developed their own unique styles and motifs.
Newer painted designs often incorporate zoomorphic shapes, such as lizards, snakes, fish, and birds, reflecting the desert environment that surrounds the village. The most common decorative technique is burnishing, which gives the pottery a soft shine and highlights the fine lines painted in black and ochre.
Other decorative techniques include adding decorative elements in clay over the walls of the vessel and sgraffito, a technique in which the surface is scratched to reveal a contrasting color underneath. Incising the clay while it is still moist is another, less common, form of decoration.
Quality and Recognition:
Mata Ortiz potters place a strong emphasis on quality over quantity. This dedication to craftsmanship has earned the pottery international recognition and acclaim. While some potters produce simpler pieces with thicker walls and less intricate painting, others create truly exceptional works of art.
The top Mata Ortiz artists, including members of the Quezada and Ortiz families, as well as Taurina Baca and Hector and Graciella Gallegos, are known for their mastery of the techniques and their innovative designs. Nicolas Ortiz is particularly renowned for his sculptural pieces.
The finest pieces of Mata Ortiz Casa Grande Pottery are considered to be among the best handmade pottery in the world. These works of art are prized by collectors and museums for their beauty, craftsmanship, and cultural significance.
The Legacy of Paquimé:
The revival of Mata Ortiz pottery is inextricably linked to the archaeological site of Paquimé, or Casa Grandes. Paquimé was a major center of the Mogollon culture, which flourished in the northwest Mexico/southwest U.S. region between 1100 and 1450 AD.
Excavations of Paquimé, undertaken in the late 1950s and early 1960s, sparked local interest in the site and its rich cultural heritage. However, at the time of the pottery revival, Paquimé had not been as extensively studied as other desert cultures in the region.
Since then, the Museo de las Culturas del Norte was opened at Paquimé in 1997, and the site was declared a UNESCO World Heritage Site in 1998. These developments have helped to raise awareness of the importance of Paquimé and its connection to the pottery tradition of Mata Ortiz.
Paquimé pottery shares similarities with other Pueblo pottery traditions, exhibiting influences from Arizona, New Mexico, and central Mexico. However, it also possesses distinctive characteristics, including a nearly white ivory color, a reddish hue, and black. Paquimé pottery was widely traded throughout North America, indicating its significance as a cultural and economic commodity.
The Economic Impact:
The success of Mata Ortiz Casa Grande Pottery has had a profound economic impact on the village. The pottery is sold primarily for its aesthetic value, rather than its utilitarian function, and has brought the town of Mata Ortiz out of poverty. Most of the population now earns income from the industry, either directly or indirectly.
Mata Ortiz pottery is particularly popular in the southwestern United States and other parts of the country. The best pieces can sell for thousands of dollars, while good quality work can still be found for as little as five dollars. Medium-sized vessels can fetch up to $2,500 USD.
Most pieces are priced in dollars because the majority of the production is exported to the United States. The finest pieces, particularly those made with white clay and those created by Juan Quezada himself, command considerably higher prices.
In conclusion, the story of Mata Ortiz Casa Grande Pottery is a remarkable tale of cultural revival, artistic innovation, and economic transformation. From its humble beginnings in the curiosity of a young boy to its current status as a world-renowned art form, Mata Ortiz pottery stands as a testament to the enduring power of human creativity and the importance of preserving cultural heritage. The pottery continues to evolve, with new generations of artists building upon the foundations laid by Juan Quezada and the ancient potters of Paquimé, ensuring that this vibrant tradition will continue to thrive for years to come.