Showing posts with label Paquimé. Show all posts
Showing posts with label Paquimé. Show all posts

Friday, May 13, 2022

MEXICO'S MYSTERY OF PAQUIMÉ—THE WORLD HERITAGE SITE RUINS IN NORTHERN CHIHUAHUA


Paquimé Building Complex (By DesertUSA)

Paquimé, also known as Casas Grandes, an archeological zone in northern Mexico's dusty terrain, stood at an intersection—where the Puebloan people from the north and the Mesoamerican peoples from the south and southwest met. It's the largest archeological zone representing the peoples and cultures of the Chihuahua Desert. To date, only half the site has been excavated. As new technologies have been introduced, multiple theories about it have evolved, and it's become somewhat of a mystery that has yet to be solved.

Paquimé Site (By Viator.com)

Declared a World Heritage site in 1997, leading archeologists theorize that the northern Chihuahua site was occupied for thousands of years after finding crude stone hammers and scrapers commonly used by hunter-gatherers before agriculture began. Fortified hilltop terraces or cerros de trincheras were used as home and farming sites from as early as 1000 BC to 500 AD.

But when southwestern archeolgists gather at conferences to discuss Paquimé, the more they try to unravel its mysteries, the less clear their findings become.


PIT HOUSES

Early on, partially underground pit houses were constructed, eventually leading to one-story adobe homes and finally multi-story pueblos as in the Four Corners area in the US southwest. Though slow to start, its real development evolved between 700, and in 1300 AD, it emerged from shadowy origins and became the most culturally complex settlement in northern Mexico, the southwest, and the great Mesoamerican cultures of southern Mexico and Central America. It reached its height in the 14th and 15th centuries, when it served as a cultural beacon for pre-historic peoples within a 30,000 square mile area. 

Pit House (From Worldhistory.org)

Then, around a century before the arrival of the Spanish who first spoke of it in 1560, things seemed to fall apart.


LOCATION LOCATION LOCATION

Established on the west bank of the Casas Grandes River, the people who lived there raised several clusters of multi-story terraced buildings and a number of religious monuments. This was shortly after a 1340 fire that destroyed Paquimé. Did it rise from the ashes? Apparently so. Excavated buildings had mud-adobe walls and were smoothed in the suavé technique, including curved corners. Collectively, the buildings housed around 1600 rooms and the largest building covered nearly an acre. 

Chihuahua Desert 

With this in mind, Paquimé marked an epoch in the development of human settlement in a vast region of Mexico and illustrated an outstanding example of the organization of space in architecture.

The site bears testimony to an important element in the cultural evolution of North America and in particular to pre-Hispanic commercial and cultural institutions. People began to congregate in small nearby settlements to take advantage of the wide fertile Paquimé valley with its rivers, raw materials, and the practicality of its major trade route between north and south. Because of its location, merchant traders became an important component of the city. 

Scarlet Macaw

The people of Paquimé raised corn, beans, squash. They hunted buffalo, antelope, and deer, harvested agave, nuts, prickly pear cactus, and wild plants. They raised and domesticated scarlet macaws, an oddity being so far from any type of jungle. But macaws were a necessary item for rituals and there is evidence Paquimé was the source for the macaw trade and likely controlled macaw production and distribution. Along with their agricultural leanings, they created high quality ceramics (Mata Ortiz pottery is very popular), wove textiles, created exquisite jewelry, and apparently well maintained their inspired trade network.


Mata Ortiz Pottery

Though the natives knew no written language, by relying on artifacts, archeologists have pieced together this much of the Paquimé story. At its height, several thousand people lived there and from archeological findings, they were deeply spiritual and that influence spread across the hundreds of pueblos that lay within their cultural sphere.

Evidence also showed the complexity of an infrastructure complete with underground drain systems, reservoirs, channels for water to reach homes, and a sewage system. After the 1340 fire, Paquimé was rebuilt and archeologists believe this disaster may have spurred on the golden age that was to come, bringing with it Mesoamerican ball courts, stone-faced platforms, effigy mounds, and a market area.

CULTURAL CROSSROADS

But who exactly energized Paquimé in the 13th century, building it into a cultural crossroads? Some archeologists believe the Mesoamerican missionary traders had a hand in it while others suggest elite groups migrated to the area in the wake of failing pueblo cultures from more distant areas. And others credit Puebloan people of southwestern New Mexico. What no one can agree on was its essence—was it primarily a manufacturing and trade center, which could have certainly been the case with its skilled artisans and wealth of raw materials. Or was it merely a consumer of imported exotic goods due to a location that attracted traders with extravagant lifestyles? And then there's the question of the religious aspect—it may have been a draw for those searching for meaning, a staple supplied by the spiritual aspect of Paquimé, as evidenced by the number of religious artifacts found in various excavations. 


Effigy Vessel from Paquimé Used for Rituals

Archeologists believe the area of Paquimé itself was relatively small, but its network reached far, far away as evidenced by the extensive commercial networks that had been forged with Mesoamerica, including finds of bead making, copper bells, copper armlets, copper ceremonial axes, Pacific Coast seashells, spindle whorls, ceramic drums, and ceramic shards. In my previous blog on Mata Ortiz pottery, those shard fragments instigated the widely popular and distinctive ceramic pottery known and lauded today as Mata Ortiz, with a white reddish surface featuring elongated sharp-edged designs, and named after a present day town that lies within the Paquimé area. Paquimé products were no doubt distributed in the extensive trade network that stretched throughout northern Mexico and as far north as present-day Arizona and New Mexico.


RELGION

Not to be forgotten was the messianic draw of religion. Even at the far reaches of Paquimé territory, the prehistoric people felt the mystic winds of Mesoamerican religious beliefs and rituals. Numerous icons found in excavations validated Paquimé's religious status. Across the region touched by its base, Puebloan peoples created a gallery of religious art and connections to the spirit world, including plumed or horned serpent-like Quetzalcoatl figures, strange Tlaloc figures, step-sided rain pyramids, zigzag lightning symbols, and sacred macaws. Also in excavations, the presence of large numbers of monumental ritual architecture, which show patterns of social integration, suggest Paquimé was a religious center.


COLLAPSE

Scholars postulate the fall of Paquimé began in the 15th century possibly due to a warlike Mesoamerican empire, Tarascans, that cut through their trade routes. While commerce dwindled, a drought tip-toed in. Also possible could have been that cultural alliances in the US southwest and northern Mexico may have realigned or fallen apart, thus depleting the influence that Paquimé once wielded. Also there was the possibility of nomadic warriors from the north, who could have sacked the city, bringing an end to a two hundred year cultural phenomenon in the northern Mexico desert land.

Yet in spite of the vast evidence of this highly advanced civilization in northern Mexico, why has it not received more acclaim? From Expedition Magazine of the Penn Museum, an article by Paul Minnis and Michael Whalen states, "The image of the prehistoric southwest as a place where small kin groups lived in pastoral settings, unfettered by the trappings of "civilization," all generations part on an endless, unchanging, and millennia-long cultural tradition is common. However Casas Grandes, or Paquimé, was one of the largest and most influential communities of its day in the North American Southwest, covering 36 hectares and had over 2000 rooms, many ritual structures, a sophisticated water system and an accumulation of extravagant wealth, and evidence of mass production of goods."

Early Dig at Paquimé

Though their thoughts were never recorded because they had no written language, their deeds speak for themselves in the visible remains of massive multi-story adobe constructions along with artistic fragments of the innovative workings of an advanced society that held reign over an immense portion of the northern Chihuahua desert in the 14th and 15th centuries.

PAQUIMÉ CULTURAL CENTER

Located on the site is Paquimé Cultural Center showing the evolution of the site and the excavations that helped recognize it as a UNESCO World Heritage Site. My Mata Ortiz blog is here: https://jeaninekitchel.blogspot.com/2022/04/how-thrift-shop-find-revived-nearly.html


Paquimé Cultural Center

If you enjoyed this post, check out my other works, Where the Sky is Born: Living in the Land of the Maya. It's available on Amazon with tales of expat life and living within 100 miles of four major pyramid sites. Also check out my website at www.jeaninekitchel.com. Books one and two in my Mexico cartel trilogy, Wheels Up—A Novel of Drugs, Cartels and Survival, and Tulum Takedown, are available on Amazon where you can find my overview of the 2012 Maya calendar phenomenon, Maya 2012 Revealed—Demystifying the Prophecy.












Friday, April 15, 2022

HOW A THRIFT SHOP FIND REVIVED THE NEARLY FORGOTTEN MATA ORTIZ POTTERY OF MEXICO

 

Mata Ortiz Pot (by Stanford Magazine)

Three pots found in a thrift shop just north of the Mexican border in 1976 in Deming, New Mexico, by Spencer MacCallum proved to be the breakout moment for a unique pottery style known as Mata Ortiz.

In the dusty terrain of northern Chihuahua, the discovery of Mogollon pottery shards from a little-known archeological site, Casa Grandes or Paquimé, gave birth to the unique line. (Mogollon is an archaeological culture of Native American peoples from Southern New Mexico, Arizona, Northern Sonora, and Chihuahua). Named after the modern town of Mata Ortiz, the style was generated by Juan Quezada Celado. 


PAQUIMÉ

Mogollon-Mimbres Pottery

A sophisticated, pre-Columbian culture had revolved around Paquimé dominating the region from approximately 1200 to 1500 AD. Its multi-story ruins could rival those of Chaco Canyon National Park in northwestern New Mexico. Paquimé was famous for ceramics that featured geometric designs in red, black, yellow, and brown, which were traded throughout North America.


A young Juan Quezada, who had been forced to quit school after only two years of formal education to help his family survive, picked firewood in the surrounding areas and found ancient pottery fragments as he worked. The boy found shards even in his own back yard—both the Casas Grandes style and an older style still, Mimbres, characterized by bold black on white zoomorphic designs. (The Mimbres culture flourished from 200 to 500 AD). With his burro he eventually went farther into the mountains collecting firewood, picking up bright shards along the way. 


Paquimé's Massive Roomed Walls (By D. Phillips) 

Though no one knew about the people who made the pottery, everyone knew of the ruins 15 miles north, Paquimé, the center of the Casas Grandes culture. The mounds on the plains were the remains of the outlying communities that spread for miles around the site. At dusk by the light of his campfire, he'd examine his daily collection of shards, trying to figure out how they had been made. At home he dug clay from the arroyos, soaked it, and tried to make pots. They all cracked. Eventually Juan studied the broken pieces and realized that mixing in a little sand would prevent the cracking. His interest led him to the study of the pre-Hispanic pottery of the Mimbres and Casas Grandes cultures. In time, he figured out how to make round bottoms similar to the prehistoric pots by making a mold after finding some in the outlying mounds. 


LEARNING THE ROPES

Gradually he mastered the process. As a young man, without any instruction, he was making and decorating credible pots for his own pleasure. He had re-created the entire ceramic technology from clay preparation to firing, using only shards to guide him. Without help from ceramicists or specialists, he had worked out how the pots were made. But now, as a young married man, he needed to have a variety of jobs to keep food on the table for his family—from working as a cowboy to railroad worker, leaving less time to work with clay.


Mata Ortiz (By TravelThruHistory)
But pottery still enticed him. In 1974 he decided to concentrate on making pots. He could sell enough with local traders to risk leaving his job on the railroad; earnings from the sale of just one pot would outdo what he'd earn on repairing rail tracks. His modest success attracted the interest of his siblings and he began to teach them what he'd learned. He became known as the self-taught interpreter of Casas Grandes pottery, sometimes called New Casas Grandes or Mata Ortiz after the village where it originated. Now around 350 families from his small village produce this thin-walled, finely painted ceramic ware that can rival any handmade pottery in the world. Quezada had resurrected the style and ancient techniques of his ancestors' pottery.


Quezada's Family Gallery in Mata Ortiz

In the process, he rescued a village on the cusp of obscurity and put it on a trajectory that has created a thriving pottery district known for production of this original, contemporary folk pottery. Though there was enough evidence from the ancient shards to intuit the spirit of the long lost native aesthetics of a formerly active pottery production center for trade in the 13th and 14th centuries, most of the potters in Mata Ortiz were young and not beholden to historical styles. They created something similar but new—a post modern adaptation of the traditional pottery.

Spencer MacCallum and Juan Quezada, 1976 

COURTING SUCCESS

Though Juan's initial attempts to sell his pots locally failed, he came to have success with border merchants who sold the pots on the US side where MacCallum discovered them in the thrift shop. An anthropologist and art collector, MacCallum tracked Quezada down and helped him break into the larger US market.

ENTER WALT PARKS                                                                                                                    

Another stroke of luck for Quezada and Mata Ortiz pottery came through Walt Parks, a financial analyst with a Stanford MBA and a love of pottery, who created an artistic and economic miracle in Mata Ortiz by peddling its pots. He'd met Juan in Palm Springs in 1984 where the potter was teaching a class at an art center. Between that first meeting and 2001, Parks took over 50 trips to Mata Ortiz. In 1993 he authored a book titled The Miracle of Mata Ortiz: Juan Quezada and the Potters of Northern Chihuahua. 


Parks called Mata Ortiz before Juan Quezada's pottery renaissance a village with a past but no future. Along with Juan, the former analyst nurtured its growth, bringing the villagers' pots to the US where he arranged exhibitions, classes and acted as an unpaid translator and advisor. When asked why, he responded, "If you'd had a chance to work with Pablo Picasso in a new art movement, wouldn't you have done it too?"

Now, thanks to a couple lucky breaks and the yearnings and talent of a young boy to re-create the beauty he found in ancient pottery shards as he picked firewood in the rugged state of Chihuahua, homeland to the Tarahumara and Apache Indians as well as Spanish, Chinese and Mormon immigrants, Juan Quezada, once a poor woodcutter, has become the Picasso of Mexican ceramics.


PREMIO NACIONAL DE LOS ARTES

Said Spencer MacCallum, Quezada has received the Premio Nacional de los Artes, the highest honor Mexico gives to living artists. "Quezada's life is like a fairy tale. And it doesn't hurt a fairy tale to be true, does it?"

One of Quezada's foremost potters, Jorge Quintana, said, "We owe it to Juan; he's the teacher. Without Juan, Mata Ortiz would have perished like all the other desert towns that relied on the timber industry."

Which is why the people in the area sing corridos—ballads—in honor of Quezada. "All Chihuahua wants to give you thanks," one song says. "To our great teacher, our friend, Juan Quezada."

Juan Quezada is 81 years old and father of eight children. He lives a rural life, having moved from the town of Mata Ortiz to a ranch nearby that overlooks the banks of the Palangalas River. He named the ranch Rancho Barro Blanco (White Clay Ranch) in honor of the pottery. 

Juan Quezada in Mata Ortiz

CALIFORNIA CONNECTION

In Santa Barbara, California, 10 West Gallery, an artist-owned cooperative founded by Jan Ziegler, sells Mata Ortiz pottery. The gallery owner makes regular trips south of the border to obtain new inventory and will have new pots this fall. The gallery is located at 10 West Anapamu Street.
10 West Gallery Mata Ortiz Pottery



10 West Gallery Mata Ortiz Pottery 





If you enjoyed this post, check out my other works, Where the Sky is Born: Living in the Land of the Maya. It's available on Amazon with tales of expat life and living within 100 miles of four major pyramid sites. Also check out my website at www.jeaninekitchel.com. Books one and two in my Mexico cartel trilogy, Wheels Up—A Novel of Drugs, Cartels and Survival, and Tulum Takedown, are available on Amazon where you can find my overview of the 2012 Maya calendar phenomenon, Maya 2012 Revealed—Demystifying the Prophecy.