Pueblo pottery making: a study at the village of San Ildefonso

by Carl E. Guthe

If the moulding is imperfect, that is, if the rolls are not carefully welded, a weak spot occurs at the junction, which probably contains a thin layer of air. When the vessel is fired, it cracks along this line and is ruined. Such accidents seem to occur most commonly at the bases of large vessels, either because the first roll was not sufficiently welded to the base, or because the pat itself was not pressed into the puki with sufficient force. Since flaws between the rolls cannot be discovered until the firing, they cannot be corrected as in the case of foreign bodies in the clay.

Bowls

From two to eight rolls may be used to form a bowl, according to its destined size and shape. When the building has been completed, the piece is in the form of a cylinder, with sides either vertical or very slightly flaring ([pl. 12], b, 2, and pl. 13, b). As a rule the fingerprints and the irregular horizontal junction-lines may be seen both on the interior and exterior. The next step is the finishing of the temporary rim. This is done with the right hand, the fingers of which assume much the same position that they would for holding a pencil ([pl. 14], a). The thumb is on the interior of the rim, the forefinger on the top, and the middle finger on the outer edge. The thumb and middle finger are used as guides to help keep the rim uniform in thickness. The forefinger removes the paste from the higher parts of the rim and transfers it to the hollows. The fingers do not move with respect to each other except to exert slight pressure. The play of the right hand during this process is a gliding backward-forward motion repeated many times, while at the same time the puki is usually kept revolving counterclockwise by the left hand, which also is generally but not always, used to steady the side of the vessel. Occasionally the same potter will turn the puki clockwise. In the former case the right hand is kept in the twelve-to-two-o’clock sector; in the latter in the six-to-eight-o’clock sector. If the rim is smoothed hastily, as it sometimes is at this stage, the puki may not be turned at all. This completes the building of the bowl, which is then set aside for a few minutes, while another is begun.

The next step is the shaping. This is done with a kajepe, or gourd spoon. The kajepe should always be damp when used, and for that reason is often kept in the water-pail. It is somewhat difficult to describe in detail the use of the kajepe, for no two potters work with it in exactly the same way. Often the same potter will show variations in her method of handling the tool.

Each woman has from four to a dozen kajepes beside her while she is moulding. These implements vary much both in size and shape ([pl. 11]). Most of them are circular or elliptical with all edges convex, although every potter has at least one with a concave edge. Generally the smaller, circular kajepes are used on the interior of bowls, the oval ones on the exterior, and the one with a concave edge on the exterior at the shoulder, where it would be difficult to use the other types. As a rule the larger kajepes serve for the larger vessels. A potter occasionally changes kajepes in the midst of her work, usually because of the edge, which may be rougher on one than on another. The kajepes are held at an angle of from thirty to sixty degrees to the tangent of the bowl at the point of contact, according to the curvature of the part of the vessel being worked upon.

The kajepe is always used first on the inside. This is done in order to press out the sides and to give the bowl something of its final shape before the paste becomes too dry. The work begins at the bottom of the vessel and slowly advances toward the top; the bowl gradually assumes a spherical shape, the sides being forced farthest out about half way between the base and the rim. During this process the outside surface, since it is being expanded, begins to show innumerable small cracks. The strokes of the kajepe on the interior are short and always nearly horizontal, the implement being pulled towards the body. During this first use of the kajepe all traces of the junction-lines between the rolls are removed from the inside of the vessel. The tool is always held in the right hand, and the left hand, which is constantly used on the exterior as a brace and stop, is placed directly opposite the spot on the inside which is being worked. One woman scrapes in the seven-to-ten-o’clock sector, turning the bowl clockwise; that is, working from the scraped to the unscraped surface. The vessel is turned through about sixty degrees at each change of position, and about a third of the surface just scraped is gone over again by the strokes on the new sector. Another works in the nine-to-twelve-o’clock sector, turning the bowl counterclockwise, that is, working from unscraped to scraped surface; in doing this she turns the puki five or six times through an angle of between sixty and eighty degrees for each turn, before the entire interior has been gone over.

The kajepe is then applied to the exterior of the bowl ([pl. 14], b). The concave surface of the kajepe is preferred for the first of the exterior scraping, although the convex surface is not infrequently used. The strokes begin again at the base. At first, when the kajepe comes in contact with the puki, the strokes are very nearly vertical. A little higher on the bowl they become diagonal. Near the rim the strokes are almost horizontal, but still have a perceptible downward slant. The kajepe is always pulled toward the body. The stroke on the exterior is from four to five inches, generally a little longer than that on the interior. During this step one woman turns the puki counterclockwise, working in the two-to-four-o’clock sector; another turns it in the same direction, but works in the four-to-six-o’clock sector. In both cases the strokes are from the scraped to the unscraped surface. Although the larger portion of the actual shaping of the bowl is done from the interior, the drawing in of the upper part to form a constricted mouth is done with the kajepe on the exterior, when the step last described is nearing completion. As when working on the interior, the left hand again acts as a brace and a stop, but this time on the inside of the bowl.[32] Usually only the ends of the fingers rest against the side. Upon the completion of the use of the kajepe on the outside for the first time, all traces of the coil-marks and of the fine cracks developed during the interior scraping are removed, but the surface is still rather rough ([pl. 14], b; also 12, b, 3). After both surfaces have been gone over for the first time with the kajepe, the rim is once more trued up in the manner already described. Then, depending upon the stiffness of the paste, the piece may be set aside to harden a little or the work may continue without interruption.

The women hold the kajepe with fingers either slightly bent, or nearly fully flexed; in the latter position the tool is grasped between the thumb and bent forefinger. Just before using, the kajepe is dipped in water; and the edge is then drawn across the palm of the left hand to remove excess water before it is applied to the bowl. After perhaps a dozen strokes, the paste which has collected on the tool is removed by a dexterous motion: the inner side of the thumb of the left hand is run along the edge of the kajepe to collect the paste; then the inner side of the forefinger of the same hand is run from the base to the tip of the thumb. This brings the paste to the ends of the two fingers in the form of a pellet, which is thrown upon the mass on the canvas. Since the paste has a tendency to stick to the fingers, the potter must throw it with a jerk or snap.

When the kajepe has been used once over the entire surface, it is usually reversed so as to present its convex side to the bowl, made a little damper than for the previous scraping, and the whole process repeated in detail for both the interior and exterior. This results in better symmetry and a smoother surface. The rim is again finished in the manner already described. The walls of the bowl have by this time been thinned to about one-half or two-thirds of their original thickness, all major irregularities and rough spots have been removed, the vessel is fully shaped, and only the finishing touches are needed before it is ready to be sun-dried. The paste now has the consistency of soft thick leather.

The first step in the finishing sometimes consists in again going over both surfaces with a wet kajepe, to smooth them still more. Occasionally only the exterior is so treated. Then the bowl is turned repeatedly, while the potter touches small areas with the convex surface of the kajepe. At this point particular attention is given to the bottom of the interior; it may be retouched with the kajepe, or simply smoothed over with the ball of the thumb or forefinger. If the surface seems slightly uneven, small pellets of paste are rubbed into the bottom and then levelled down with the kajepe. The bowl on the puki is then placed upon the palm of the left hand, held at eye level, and revolved slowly, while the potter examines it for rough spots and slight irregularities of contour, which when found are smoothed over with the forefinger of the right hand. After being replaced upon the floor, the bowl may be gently pressed between the hands in order slightly to improve its symmetry. Finally the rim is smoothed for the last time, little pellets of paste being added, if necessary, to fill in shallow depressions, and great care is taken to make it as regular and smooth as possible. It is obviously impossible to describe in detail the exact procedure followed in this finishing process, for the method adopted is chosen according to the needs of the individual vessel. After all this is done, the piece is ready to be sun-dried. Its present appearance is very different from that which it had when the building was completed (compare pl. 12, b, 2, and b, 3).