Microstylistic Changes in Mimbres Black-on-White Pottery: Examples from the Nan Ruin, Grant County, New Mexico

Shafer, Harry J.; Brewington, Robbie L.

doi:10.1080/00231940.1995.11758291

Cited by 35 publications

(30 citation statements)

References 7 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…A general, well-established chronology divides Mimbres Black-on-white pottery into Styles I, II, and III (sometimes called Boldface, Transitional, and Classic (see Scott, 1983)). Scott (1983) also recognized some finer distinctions within these styles, and recent work by Shafer and Brewington (1995) systematized those distinctions and established a finer chronology based on 'microstyles,' that is, details of designs that can be used to subdivide the three styles. Their original methodology emphasized details of rim bands and hachure, but also considered some aspects of the overall designs, including structure and layout.…”

Section: Database and Chronologymentioning

confidence: 97%

Painting as Agency, Style as Structure: Innovations in Mimbres Pottery Designs From Southwest New Mexico

Hegmon

Kulow

2005

J Archaeol Method Theory

View full text Add to dashboard Cite

The act of painting a design is a form of agency, and the overall style of that design in part can be conceptualized as a kind of structure. This perspective is used as a basis for analyzing chronological changes in designs on Mimbres Black-on-white pottery (ca. AD 750-1150) from Southwest New Mexico. Specific focus is on a methodology that can be used to detect innovations, that is, the introduction of novel designs that are incorporated into the design corpus and thus transform the structure. The conceptualization of a particular tradition (in this instance, pottery painting) as a form of structure analogous to general structure in Giddens' sense thus provides important insights into the recursive relationship between agency and structure.

show abstract

Section: Database and Chronologymentioning

confidence: 97%

Painting as Agency, Style as Structure: Innovations in Mimbres Pottery Designs From Southwest New Mexico

Hegmon

Kulow

2005

J Archaeol Method Theory

View full text Add to dashboard Cite

show abstract

“…Anyon andLinse 1999. Shafer 1981Burden 2001;Shafer 1981Burden 2001;Shafer 1981Burden 2001;Shafer 1981Burden 2001;Shafer 1981Burden 2001;Shafer 1981Burden 2001;Shafer 1981Burden 2001;Shafer 1981 Shafer , 1982 Shafer , 1983 Shafer , 1989Shafer , 1995 Shafer , 2003. …”

Section: Acknowledgmentsunclassified

“…Shafer (1995:40-41) has provided evidence that changes in hearth shape are largely temporal and linked to changes in subsistence strategies. Given the research conducted by Shafer (1995) and others (e.g., , I decided to look for patterns, or a lack thereof, in communal structure hearth shape. Specifically, I was interested in the ways in which 112 hearth shape could be related to issues of aggregation and integration.…”

Section: Communal Structure Hearth Shapementioning

confidence: 99%

“…Interestingly, each of the four NAN EP communal structures is associated with one of the four roomblocks excavated at the site (Burden 2001;Shafer 1990Shafer , 1995Shafer , 2003.…”

Section: Pueblo Period the Early Pueblo Period (Ad 1000 To 1150) Lmentioning

confidence: 99%

“…Decorated red wares also continued to be present in EP period ceramic assemblages (Cordell 1997:205-208). However, the addition of the truly spectacular Classic Mimbres Black-on-white ceramics also occurs at this time (Anyon and LeBlanc 1984;Cordell 1997:206-207;Crown 1994;LeBlanc 1983;Powell 2000;Shafer and Brewington 1995;Shafer and Taylor 1986). Cordell (1997:207-208) Black-on white, however, the designs associated with the EP period are far more elaborate and detailed than their earlier counterparts.…”

mentioning

confidence: 99%

See 2 more Smart Citations

Communal spaces: aggregation and integration in the Mogollon Region of the United States Southwest

Nisengard¹

2006

View full text Add to dashboard Cite

(LANL) provided me with the financial support and encouragement needed to complete this project. Hector Hinojosa from the Ecology group at LANL provided editorial advice and support. I would never have completed this thesis without the efforts of John Isaacson, Joyce Ortega-Tapia, and Christine Serrano, all of whom stressed the importance of finishing and made sure I had time to work on it. John was particularly helpful throughout this process, providing editing suggestions, asking difficult but provocative questions, and letting me talk through my ideas.The staff of Laboratory of Anthropology in Santa Fe, particularly Robyn Richards, Tim Seaman, Scott Geister, Dee Dee Snow, and Louanne Haecker, were very helpful in answering my questions and providing me with space to work with their files.Ricky Karl at the University of Arizona gave me access to AZSite and provided some additional information about several of the Arizona sites in my study. I look forward to working with Drs. Robert L. Brooks, Patricia A. Gilman, and Paul E. Minnis in the future. All three of them provided advice, guidance, and sometimes food. Their doors were open to me, and they were willing to listen to my ideas and to vi help me develop them. These professors provided opportunities for fieldwork, funding, and teaching that I would not have had at many universities and for this, I am grateful.Drs. Morris Foster and Robert Rundstrom participated in the final stages of this research and contributed some alternative perspectives on ways to consider my ideas. I also thank my ANTH 1113 students, as they challenged me to become a better instructor and reminded me why I was in graduate school.Dr. Marjy Duncan has provided unwavering support and has kept me on target in many of aspects of my life. I thank Dr. John Duncan who is always willing to engage me in philosophical talks about my research. I learned so much from John, and my dissertation would not be what it is, were it not for his thought provoking questions.Throughout the years, conversations with fellow graduate students and others have greatly improved this research. I cannot possibly thank all of them individually, but I hope they know how important they are to me. Special thanks to Aaron Gonzales, Debby Green, Dr. Valli Marti, Tim Martinez, Karin Rebnegger, Beau Schriever, Dr.Robert J. Stokes, and Steven J. Swanson for their questions, comments, and advice about this research. Steven was instrumental in providing access to environmental and location data for sites in my analysis. He helped coordinate some last minute data acquisition and created figures for me when I was at a loss! Steven also provided me with one last opportunity to excavate a communal structure as part of the Blue River Archaeological Project. It was a great experience and great fun to work with him again. Kari M. Schmidt is so many things to me it is difficult to know how to thank her.She is a friend, sister, roommate, co-worker, and traveling companion. She has always been there to listen, and to provide insight int...

show abstract

Ceramics: Mimbres Pottery

Hegmon¹

Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures

View full text Add to dashboard Cite

Microstylistic Changes in Mimbres Black-on-White Pottery: Examples from the Nan Ruin, Grant County, New Mexico

Cited by 35 publications

References 7 publications

Painting as Agency, Style as Structure: Innovations in Mimbres Pottery Designs From Southwest New Mexico

Painting as Agency, Style as Structure: Innovations in Mimbres Pottery Designs From Southwest New Mexico

Communal spaces: aggregation and integration in the Mogollon Region of the United States Southwest

Ceramics: Mimbres Pottery

Contact Info

Product

Resources

About