ike other nomadic hunter-gatherers, pottery was not important in the Navajo culture beyond its production for utilitarian purposes. By the 1950's Navajo pottery was brown, rough, and shiny, an undecorated utility ware made by only a few families in the Shonto/Cow Springs area. Back then pieces were fillet-rim jars or pottery imitations of pieces normally made in metal, glass, or ceramic: perfectly serviceable frying pans, coffeepots, and the like. With the arrival of the trading posts, the Navajos were able to obtain better utensils made of metal and glass for their own consumption. Less obvious was the dampening effects of powerful tribal taboos and restrictions imposed on the potter by the traditionalists and medicine men. The potter was informed that she should not allow anyone to watch her at work, that she should not have bad thoughts about others, and that she should not make pottery if she were menstruating. The list was long and restrictive in nature with such warnings as: any pottery cracking or breakage was the consequence of her transgression; or that the errant potter may suffer illnesses or accidents. It is little wonder that domestic consumption declined tremendously. What appears to have preserved any pottery production at all was the increased demand for ceremonial pieces such as drum pots.

n spite of such pressures there are a number of excellent contemporary potters. Betty Manygoats of the Shonto/Crow Springs area pots both large and small pieces. Alice Williams Cling of Shonto produces pottery that is simple, yet graceful with fire clouds used to enhance the looks of her pottery. Since the family is the most important unit in Navajo society many wife and husband potters participate in the overall pottery-making procedure. Bertha and Silas Claw as well as Faye Tso and her husband Emmett create pieces of simple elegance and beautifully crafted appliqued and incised motifs. Some potters reflect Pueblo influences including Ida Sahmie, Nathan Begaye, Christine McHorse, and Lucy Leuppe McKelvey to cite a few. Lucy Leuppe McKelvey is recognized for her large vessels displaying elaborate geometric designs and life-form figures, such as the sacred Yeis and Yei-bi-chais. Though she has been criticized by some Navajos for using the Yei and Yei-bi-chai figures on her pottery, she states that her designs are authentic, and it is her wish that people know the Navajos are very much alive and growing. One has only to look upon the work of these potters to understand that a craft that was on the verge of extinction only forty to fifty years ago is vital, alive, and distinctly Navajo.

 

Item# 0096P Lucy Leuppe McKelvey, Navajo.

L. L. McKelvey is recognized for her large vessels displaying elaborate geometric designs and life form figures, such as the sacred Yeis and Yei-bi-chaqs. Her painting style and technique are considered magnificent. The design of this wedding vase is entitled, "Summer Thunders and Storm". Top crown of vase shows stair step cut into pottery and painted in storm pattern of grey-blue, mauve, rust, and pink colors. The body is decorated with a detailed sandpainting Thunder Figure with lighting coming from its wings in the same color pattern as the crown of the piece. Vase shows sparkly surface for which this artist is known. Won First Prize in the 1992 New Mexico State Fair.

Size: 19" high by 10-1/2" wide by 8-1/2" diameter.
Price: $6050. Mint Condition.
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Item# 0101P Laura Leuppe McKelvey, Navajo.

This unique pot has a large rounded base tapering into a vase like neck. Around the base of the neck is eleven Kachina masks, thereby, giving the pot the title of "Masked Gods of the Yei-bi-chi". Running around the top of the neck is a row of kiva steps and a double row of kiva steps around the base of the pot to the mask designs. The basic colors are deep sand red, lighter sand red, black and cream. The masks also have blue-gray and brown in some of them. There is a Spirit Line going from top to bottom on the pot.

Size: 11" high by 14-1/2" diameter.
Price: $7150. Mint Condition.
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