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<p>[QUOTE="2manybooks, post: 9586813, member: 8267"]Your little pot is a miniature of a type of storage jar for liquids, called a "chomo". Shipibo-Conibo pottery is very thin walled, hard but brittle. Such small versions have been made for sale to tourists, being easier to transport with less risk of breakage.</p><p><br /></p><p>The market for Shipibo-Conibo pottery took off after the completion of a highway in 1943, connecting the Ucayali region to the rest of the country (Peru) and opening it up to tourists and collectors.</p><p><br /></p><p>Documented examples of Shipibo-Conibo pottery, with their distinctive painted geometric designs, occur in museum collections dating as far back as the 1860s-70s. Small changes in vessel shapes can be seen in the period between the 1860s and the 1940s, as well as innovations in the applied designs such as the introduction of incised lines and more curvilinear forms in the 1920s. More significant changes occur after the increased contact following the opening up of the region.</p><p><br /></p><p>Pots incorporating human faces and arms ("huníchomo") appear in the 1950s, an innovation credited to the potter Casimira. The style proved very popular with collectors, but had no precedent in traditional Shipibo-Conibo forms.</p><p><br /></p><p>As demand for their wares increased, potters responded by simplifying the painted designs. The traditional forms consist of heavier painted outlines, usually symmetrical in layout, filled with finer lines that are more meandering and asymmetrical. The more complex designs are esteemed in pottery made for their own use. But on wares made for sale the designs have become larger and less complex, often eliminating the fine interior lines completely.</p><p><br /></p><p>The change in the designs is not, however, a simple linear progression. Some of the earlier pottery in museum collections is decorated quite simply, with broad, bold patterns. Some of the most complex designs can be found on pottery dating from the early 20th century. Looking at some modern huníchomo online, I see that the potters are incorporating dense interior lines, but in place of the traditional meandering, fine linear lines they are using repeated wavy lines.</p><p><br /></p><p>On your little chomo, the potter chose to dispense with the work of adding fine interior lines. But she does appear to have taken the step of applying the traditional sealing coat of melted tree resin, which is what creates the yellowish glaze.</p><p><br /></p><p>Myers, Thomas. <b>Looking Inward: the Florescence of Conibo/Shipibo Art During the Rubber Boom</b>. <a href="https://www.researchgate.net/profile/Maria-Susana-Cipolletti/publication/339274230_Artifacts_and_Society_in_Amazonia_Artefactos_y_sociedad_en_la_Amazonia/links/5e46ea27458515072d9db550/Artifacts-and-Society-in-Amazonia-Artefactos-y-sociedad-en-la-Amazonia.pdf#page=131" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://www.researchgate.net/profile/Maria-Susana-Cipolletti/publication/339274230_Artifacts_and_Society_in_Amazonia_Artefactos_y_sociedad_en_la_Amazonia/links/5e46ea27458515072d9db550/Artifacts-and-Society-in-Amazonia-Artefactos-y-sociedad-en-la-Amazonia.pdf#page=131" rel="nofollow">https://www.researchgate.net/profile/Maria-Susana-Cipolletti/publication/339274230_Artifacts_and_Society_in_Amazonia_Artefactos_y_sociedad_en_la_Amazonia/links/5e46ea27458515072d9db550/Artifacts-and-Society-in-Amazonia-Artefactos-y-sociedad-en-la-Amazonia.pdf#page=131</a></p><p><br /></p><p><a href="https://lammuseum.wfu.edu/2023/10/shipibo-conibo-ceramic-vessel/" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://lammuseum.wfu.edu/2023/10/shipibo-conibo-ceramic-vessel/" rel="nofollow">https://lammuseum.wfu.edu/2023/10/shipibo-conibo-ceramic-vessel/</a></p><p><br /></p><p>Lathrap, Donald W. <b>Shipibo Tourist Art</b>. In: Ethnic and Tourist Arts: Cultural Expressions from the Fourth World. edited by Nelson H.H. Graburn, pp. 197-210. University of California Press, Berkeley, 1976.</p><p><br /></p><p><br /></p><p>My two small Shipibo-Conibo jars - </p><p><br /></p><p>[ATTACH=full]463466[/ATTACH][/QUOTE]</p><p><br /></p>
[QUOTE="2manybooks, post: 9586813, member: 8267"]Your little pot is a miniature of a type of storage jar for liquids, called a "chomo". Shipibo-Conibo pottery is very thin walled, hard but brittle. Such small versions have been made for sale to tourists, being easier to transport with less risk of breakage. The market for Shipibo-Conibo pottery took off after the completion of a highway in 1943, connecting the Ucayali region to the rest of the country (Peru) and opening it up to tourists and collectors. Documented examples of Shipibo-Conibo pottery, with their distinctive painted geometric designs, occur in museum collections dating as far back as the 1860s-70s. Small changes in vessel shapes can be seen in the period between the 1860s and the 1940s, as well as innovations in the applied designs such as the introduction of incised lines and more curvilinear forms in the 1920s. More significant changes occur after the increased contact following the opening up of the region. Pots incorporating human faces and arms ("huníchomo") appear in the 1950s, an innovation credited to the potter Casimira. The style proved very popular with collectors, but had no precedent in traditional Shipibo-Conibo forms. As demand for their wares increased, potters responded by simplifying the painted designs. The traditional forms consist of heavier painted outlines, usually symmetrical in layout, filled with finer lines that are more meandering and asymmetrical. The more complex designs are esteemed in pottery made for their own use. But on wares made for sale the designs have become larger and less complex, often eliminating the fine interior lines completely. The change in the designs is not, however, a simple linear progression. Some of the earlier pottery in museum collections is decorated quite simply, with broad, bold patterns. Some of the most complex designs can be found on pottery dating from the early 20th century. Looking at some modern huníchomo online, I see that the potters are incorporating dense interior lines, but in place of the traditional meandering, fine linear lines they are using repeated wavy lines. On your little chomo, the potter chose to dispense with the work of adding fine interior lines. But she does appear to have taken the step of applying the traditional sealing coat of melted tree resin, which is what creates the yellowish glaze. Myers, Thomas. [B]Looking Inward: the Florescence of Conibo/Shipibo Art During the Rubber Boom[/B]. [URL]https://www.researchgate.net/profile/Maria-Susana-Cipolletti/publication/339274230_Artifacts_and_Society_in_Amazonia_Artefactos_y_sociedad_en_la_Amazonia/links/5e46ea27458515072d9db550/Artifacts-and-Society-in-Amazonia-Artefactos-y-sociedad-en-la-Amazonia.pdf#page=131[/URL] [URL]https://lammuseum.wfu.edu/2023/10/shipibo-conibo-ceramic-vessel/[/URL] Lathrap, Donald W. [B]Shipibo Tourist Art[/B]. In: Ethnic and Tourist Arts: Cultural Expressions from the Fourth World. edited by Nelson H.H. Graburn, pp. 197-210. University of California Press, Berkeley, 1976. My two small Shipibo-Conibo jars - [ATTACH=full]463466[/ATTACH][/QUOTE]
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