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Nampeyo became increasingly interested in ancient pottery form and design, recognizing them as superior to Hopi pottery produced at the time. Lesou, her husband, was reputedly employed by the archaeologist J. Walter Fewkes at the excavation of the ancient ruins of the Hopi village Sikyátki on the First Mesa in the 1890s. Lesou helped Nampeyo ...
Prior to contact, pottery was usually open-air fired or pit fired; precontact Indigenous peoples of Mexico used kilns extensively. Today many Native American ceramic artists use kilns. In pit-firing, the pot is placed in a shallow pit dug into the earth along with other unfired pottery, covered with wood and brush, or dung, then set on fire ...
Elva Nampeyo was born 1926 in the Hopi-Tewa Corn Clan atop Hopi First Mesa, Arizona. [2] Her parents were Fannie Nampeyo and Vinton Polacca. [3] Her grandmother Nampeyo had led a revival of ancient traditional pottery and established a family tradition of pottery making. As a child Elva would watch her grandmother make pottery and later her ...
Dextra Quotskuyva Nampeyo (September 6, 1928 – February 2019) was a Native American potter and artist. She was in the fifth generation of a distinguished ancestral line of Hopi potters. In 1994 Dextra Quotskuyva was proclaimed an "Arizona Living Treasure," and in 1998 she received the first Arizona State Museum Lifetime Achievement Award. [1]
Paqua Naha (c. 1890–1955), also known as "Frog Woman", was a Hopi-Tewa potter. She worked in the "black-and-red on yellow" style of pottery, which Nampeyo popularized as Sikyátki revival ware. She became well known as a potter by the 1920s and started using a frog hallmark to sign her works.
Nampeyo, two birds design. Late pot, probably painted by Fannie circa 1920s. Woolaroc collection.. Fannie Nampeyo (1900–1987) (also known as Fannie Lesou Polacca and Fannie Nampeyo Polacca) was a modern and contemporary fine arts potter, who carried on the traditions of her famous mother, Nampeyo of Hano, the grand matriarch of modern Hopi pottery.