Native American History: Maria Martinez Wedding Vase

Transcription

1 Native American History: Maria Martinez Wedding Vase GRADE / AGE 4th grade TEACHING GOALS/OBJECTIVES Show the historical, cultural context and purpose of functional objects; explore the roll of women as artist. Demonstrate traditional Pueblo pottery making techniques through use of pinch pots. TECHNIQUES / SKILLS Pinch pots; join multiple clay parts into one form. MATERIALS See daily lessons below. BACKGROUND Maria Martinez's is a San IIdefonso Pueblo artist known for her black on black pottery. The artist applies a fine-particle slip to the leather hard pot and then burnishes the surface with a smooth stone to bring out the shine that creates the gloss surfaces. Then a matte slip is applied in various traditional designs with a brush, creating the matte/gloss designs. Traditional pueblo potters had used a cactus needle chewed at the end for a brush for the fine lined designs. Local clays were red, so the pot was pit fired in a heavily reduced atmosphere using brush and cow dung, creating smoke from the reduction atmosphere so carbon blackened the clay. The geometric and organic designs have traditional meaning among pueblo potters.

2 The form, function and ritual traditions of the wedding vessel Before a couple is married, the groom's parents build the wedding vessel out of found clay and ceremoniously collected from a local riverbed. The vessel's design is an integral part of its meaning. The two spouts represent the bride and groom. The parentʼs give the young couple advice, and the wedding vessel is filled with a special beverage. Each will then drink from the opposite side of the wedding vessel. It is believed that if they manage to drink together without spilling a drop then they will always have a strong, cooperative relationship. The rounded base and shared reservoir of the vessel represents the couple's now shared lives. The looped handle connecting the two spouts is a visual representation of their union, much like a wedding band is a visual reminder of the spiritual connection between husband and wife. The handle creates a circle in the center of the vessel that represents the circle of life. LESSON DESCRIPTION Day 1 175# terra cotta clay plastic (to wrap work in progress) cutting wire canvases Introduction to artist, Maria Martinez, black pottery and the wedding vase tradition. Students make two pinch pots with the same diameter at the rim from two balls of clay about the size of a cue ball to small orange. Don't let them put the pots on the table to form. They must keep them in their hands to retain a round bottom. Clay wall should be no thinner than 1/4, and about 1/4 at the rim. Tap pot rims gently on table to flatten. Label with names on Inside of pots, and store on their rims under plastic until next class. Day 2 175# terra cotta clay slip cutting wire canvases forks paddles / wood spoons dowels If pot rims need work; add clay to thin spots or cut rim with knife to reveal softer clay and flatten. Slip and score rims, attach pinch pots rim to rim to form a closed ball, compress rim with wooden tool, add a thin, flattened coil over seam and smooth. Paddle form if needed with hand or with wooden spoon to achieve an egg shape. Establish a bottom by gently tapping on table. Make two short cigar shapes of equal size, about 3" long. Insert a thin dowel or pencil into center of the length of the cigar. And gently roll the Cigar on the table holding the ends of the dowel or pencil. This should make the hole wider, and the wall thinner. Make two holes in the shoulder of the pot where the necks will sit, slip score and attach with a coil. If time is tight, save pieces under plastic.

3 At this point you can go to the beginning of the next lesson and finish the pots, or allow them to set up under plastic again if they have gotten large. Their shape is challenging to move, so they will travel better if you wait another day anyway. Day 3 175# terra cotta clay slip forks brushes black underglaze Attach necks if not done the previous class. Refine shape with clay bits, ribs and paddling. Slip and score tops of necks, add coils to necks and pinch to create a spout shape, attach a thick coil for a handle between spouts, using traditional shape as a guide. If time allows, apply a thin coat of black slip. Fire pots. Day 4 brushes black underglaze pencil ruler masking tape paper sponges clear glaze Cover the bisque-fired pots with two layers of black under glaze, one if one was applied before firing. Allow drying really well. (Bring hair dryer). While pots are drying, give short lesson on pueblo symbolism. With a pencil, ruler, masking tape or rubber bands as a guide, layout design on under glazed surface. Using thin brushes and fine sponges cut into small geometric shapes, apply two coats of clear glaze in traditional patterns. By putting a small, 2" diameter puddle of glaze on a plate, and dipping sponge into it, and tapping off extra on clean part of plate, pressing LIGHTLY on the pot, a crisp shape can be stamped. Fire. LINKS WHICH VISUAL ARTS CONTENT STANDARDS (VACS) AND BENCHMARKS (B) WILL BE ADDRESSED IN THIS LESSON AND HOW? 915 ABCHJK- Pinch pots, traditional design, new vocabulary, safe and proper use of tools and materials 925 AE- Historical and cultural context and purpose of functional object CATEGORIES History, Native American Culture, Woman Artists

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