ASM Occasional Electronic Papers No. 1: Homol'ovi IV

Chapter Eight:
Ceramics, cont.

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Jeddito Yellow Ware

Jeddito Yellow Ware was first described by Colton and Hargrave (1932), Colton (1956) and more recently by Smith (1971) and Hays (1991). Hays (1991:24) notes that much of the Jeddito Yellow Ware at the Homol'ovi sites was produced on the Antelope Mesa, perhaps from the site of Awat'ovi.

Although the ware name suggests that the sherds should be yellow, the predominate types found at Homol'ovi IV are orange pasted, orange/red slip over yellow paste, and white pasted. These Jeddito Yellow Ware sherds can be distinguished from all other orange and white wares by the texture of the paste. Similarly to the yellow types of Jeddito Yellow Ware, these sherds have a fine paste, little to no temper, and a very hard fracture.

Although temper is usually not evident, microscopic examination occasionally reveals fine quartz sand. Black mineral paint is present on all decorated types, and some types have a red slip, while polychrome varieties usually add a white paint. Surface treatment often includes polishing. At Homol'ovi IV, 59 % of the sherds of this ware are bowls, 31 % are jars, and nearly 5 % are ladles (see Table 8.4).

Classification of types within the Jeddito Yellow Ware relies on paste color, surface treatment, and occasionally temper. Huckovi types are orange pasted, and Kokop and Kwaituki types are orange/red slipped with yellow paste with Kwaituki having abundant sand temper. Bidahochi Polychrome is yellow pasted with black and white paint (Figures 8.6, 8.7 and 8.8).

Figure 8.6 Chavez Pass black on red and Kokop black on orange

Figure 8.7 Jeddito yellow ware, Black Axe polychrome, and Huckovi polychrome

Jeddito Yellow Ware comprises a mere 0.48% of the entire assemblage (see Table 8.1). Kokop Orange/Black-on-orange, and Huckovi Black-on-orange types are the most common Jeddito Yellow Ware types (Table 8.7).

Table  8.7 Jeddito Yellow Ware Type by Frequency by Percent

Type	Frequency	Percent
Indeterminate	2	2.50
Kokop Orange and Black-on-orange	24	30.00
Kokop Polychrome	1	1.25
Kwaituki Orange and Black-on-orange	8	10.00
Huckovi Orange	9	11.25
Huckovi Black-on-orange	24	30.00
Huckovi Polychrome	6	7.50
Bidahochi Polychrome	1	1.25
Jeddito Black-on-yellow	5	6.25
TOTAL	80	100.00

Hopi White Ware

Hopi White Ware, which is manufactured at villages on or near the Hopi Mesas, was defined and described by Colton (1955) and more recently in Smith (1971) as the Polacca Series of Tusayan White Ware. Hopi White Ware can be distinguished from other white wares by a finer paste, though perhaps not as fine a paste as Bidahochi Black-on-white, the latest type in this series and also the most common. Although temper is not evident with a hand lens, small amounts of quartz sand temper are evident with a binocular microscope. Black mineral paint is present, and surfaces are often polished. At Homol'ovi IV, 56 % of Hopi White Ware sherds are jars, 34 % are bowls, and 2 % are ladles (Table 8.8).

Table  8.8 Frequency of Decorated White Ware by Form

Ware	Vessel Form	Frequency	Percent
Hopi White	Jar	131	55.74
	Bowl	80	34.04
	Ladle	5	2.13
	Other	1	0.43
	Indeterminate	18	7.66
	Subtotal	235	100.00
Tusayan White	Jar	599	66.33
	Bowl	224	24.81
	Ladle	26	2.88
	Other	2	0.22
	Indeterminate	52	5.76
	Subtotal	903	100.00
Little Colorado White	Jar	97	60.25
	Bowl	45	27.95
	Ladle	4	2.48
	Indeterminate	15	9.32
	Subtotal	161	100.00
Cibola White	Jar	339	77.57
	Bowl	80	18.31
	Ladle	6	1.37
	Indeterminate	12	2.75
	Subtotal	437	100.00
	TOTAL	1736	100.00

Types within this ware are distinguished based on stylistic equivalents with the Tusayan White Ware series (discussed below). Kia-ko Black-on-white is thought of as roughly equivalent to Sosi Black-on-white. Polacca Black-on-white is described as similar to Dogoszhi Black-on-white, although Smith (1971) notes that there is more variability in designs attributed to Polacca. Hoyapi Black-on-white is described by Smith (1971) as similar to Tusayan and Kayenta Black-on-white, but less skill is seen in design execution (Figure 8.8).

Figure 8.8 Hopi white ware

Hopi White Ware comprises 1.86 % of the assemblage (see Table 8.1) with Polacca and Hoyapi Black-on-white as the prevalent typable sherds of this ware (Table 8.9).

Table  8.9 Hopi White Ware Type by Frequency by Percent

Type	Frequency	Percent
Indeterminate	193	61.86
Kia-ko Black-on-white	2	0.64
Polacca Black-on-white	26	8.33
Hoyapi Black-on-white	14	4.49
Bidahochi Black-on-white	77	24.68
TOTAL	312	100.00

Tusayan White Ware

Tusayan White Ware was described by Colton and Hargrave (1937), Colton (1955) and more recently by Smith (1971), Ambler (1985), and Goetze and Mills (1993). The probable production/distribution area for Tusayan White Ware is from the Kayenta region on the Arizona/Utah border to the Hopi Mesas. It is common as far south as Wupatki National Monument.

Tusayan White Ware can be distinguished from other white wares by its quartz sand temper and black organic paint. Surface treatment may include slipping and always involves polishing. Form proportions of Tusayan White ware at Homol'ovi IV are similar to those for Hopi White Ware. Jars comprise approximately 66 % of the assemblage, bowls 25 %, and ladles 3 % (see Table 8.8 and Figure 8.9).

Types within Tusayan White Ware are distinguished based on stylistic characteristics. Sosi Black-on-white consists of broad barbed and ser rated lines. Hatchure is the diagnostic characteristic of Dogoszhi Black-on-white. Descriptions of Flagstaff Black-on-white suggest a strong similarity to Sosi Black-on-white, however, the barbed and serrated lines of Flagstaff Black-on-white are composed of thin lines elaborated with small, closely spaced triangles, and small interlocking elements can be present. Tusayan and Kayenta Black-on-white designs are predominately negative. Repeated fine lines drawn across thick lines at a perpendicular angle is diagnostic of Kayenta Black-on-white. Betatakin Black-on-white is envisioned as precursor to Kayenta Black-on-white, although many analysts have not recognized this type (Goetze and Mills 1993, Smith 1971). Wupatki Black-on-white is considered very similar to Tusayan Black-on-white, and Goetze and Mills (1993) and Smith (1971) merge the two (Figure 8.9).

Figure 8.9 Tusayan white ware jar

Tusayan White Ware is the most common white ware at Homol'ovi IV comprising over 5 % of the assemblage (Table 8.1). Tusayan Black-on-white is most common with Flagstaff and Kayenta Black-on-white present in smaller amounts (Table 8.10). The remaining three types are represented by only a small number of sherds.

Table  8.10 Frequency of Tusayan White Ware types

Type	Frequency	Percent
Indeterminate	701	77.63
Sosi Black-on-white	4	0.44
Dogoszhi Black-on-white	12	1.33
Flagstaff Black-on-white	40	4.43
Tusayan Black-on-white	97	10.74
Kayenta Black-on-white	42	4.65
Betatakin Black-on-white	6	0.66
Wupatki Black-on-white	1	0.11
TOTAL	903	100.00

Little Colorado White Ware

Classified by Colton (1956), Little Colorado White Ware was studied extensively by Douglass (1987). Her work suggests a limited production area around the Hopi Buttes area focusing on areas to the north and east of the Homol'ovi sites.

This ware is easily distinguished from other white wares by the characteristic dark gray paste covered by a thick white slip. White sherd temper is easily seen in the paste, although in some later types temper fragments are very small. Black organic paint is used to decorate vessels, and the slip is usually polished. Similar to other white wares at Homol'ovi IV, jars compose roughly 60 % of the assemblage, bowls 28 %, and ladles 3% (Table 8.8).

Within the ware, types are distinguished based on stylistic criteria (Figure 8.10). Because these types have Tusayan White Ware stylistic equivalents that were discussed above, the reader is also referred to those descriptions. Pendant dots on triangles are diagnostic for Holbrook A Black-on-white, and checkerboards are also common. Holbrook B Black-on-white is similar to Sosi Black-on-white with broad serrated lines. Hatchure is diagnostic of Padre Black-on-white (equivalent to Dogoszhi Black-on-white). Walnut Black-on-white (similar to Flagstaff Black-on-white) usually employs closely opposed serrated lines. Leupp Black-on-white uses paint to create negative designs similar to Tusayan and kayenta Black-on-white.

Figure 8.10 Lino black on white, Medecine black on white, Dogozhi black on white, Pinedale, Tularosa black on white, Walnut black on white, Puerco black on white, Kayenta black on white

Little Colorado White Wares comprise less than 1 % of the total ceramic assemblage (see Table 8.1). Walnut Black-on-white was the most frequently identified type (Table 8.11).

Table  8.11 Frequency of Little Colorado White Ware types

Type	Frequency	Percent
Indeterminate	128	79.50
Holbrook A Black-on-white	3	1.86
Holbrook B Black-on-white	7	4.35
Padre Black-on-white	2	1.24
Walnut Black-on-white	20	12.4
Leupp Black-on-white	1	0.62
TOTAL	161	100.00

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