Jesse Walter Fewkes

Jesse Walter Fewkes

Summary

Portrait of Jesse Walter Fewkes Jesse Walter Fewkes Archeology of the lower Mimbres valley… (1914)

Ceremonially, every piece of pottery is supposed by the Hopi to be a living being, and when placed in the grave of the owner, it was broken or killed to let the spirit escape to join the spirit of the dead in its future home. There is no evidence that the Sikyatki mortuary pottery was purposely broken when deposited in the grave, and probably no need of perforating it to allow free exit of the spirit, for the broken encircling line, "life gateway," absent in Mimbres pottery, but almost universally present in ancient Hopi pottery, answered the same purpose, in their conception.
Source: Gutenberg

Portrait of Jesse Walter Fewkes Jesse Walter Fewkes Archeology of the lower Mimbres valley… (1914)

The purest form of the Mimbres prehistoric culture is found in the lower or southern part of this plain, but it extends into the hills far up the Mimbres almost to its source.
The plateau on which the prehistoric Mimbres culture developed is geographically well marked, and distinguished from other regions of the Southwest geographically and biologically, facts reflected in human culture. The cultural gateway is open to migrations from the south rather than from the east, north, or west.
Source: Gutenberg

Portrait of Jesse Walter Fewkes Jesse Walter Fewkes Archeology of the lower Mimbres valley… (1914)

The geometric designs on the bodies of life-figures vary with the animal depicted, but the same genus of animals does not always have the geometric figure, although almost identical designs occur on the bodies of different genera. It is recognized that a comparison of designs on Southwestern pottery shows a general uniformity in geometrical pattern which renders it very difficult to distinguish different local areas of development, and may be the result of more extensive interchange of ideas and a greater uniformity of cultural conditions.
Source: Gutenberg

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