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Pottery
 In northern Arizona, there are three mesas rich with the Hopi culture. This 2,439.40-square-mile reservation has been the land of Hopi Indians for hundreds of years. Hopi pottery from First Mesa potters are some of the finest detailed pottery available to the collector and novice alike.
Due to the pressures from the Spaniards, Apaches, and Navajos, Hopi pottery was nearly abolished by the 1800s as a means of trade. The revitalization of this Hopi art surfaced again in the late 1890s by (Nampeyo) who is the great grandmother or grandmother of most of the potters found on this Web site. She is credited with translating her forefathers’ (Sikyatki) pottery symbols and designs. Then Nampeyo incorporated these symbols into her own pottery, which embarked her on her journey to her destiny of bringing Hopi pottery back to the forefront of her homeland.
Nampeyo had three daughters. Fannie Nampeyo is the one credited for bringing Hopi pottery into popularity today. Subsequently, I have become an avid collector of pottery created by two of Fannie’s offspring, Thomas Polacca Nampeyo and Iris Youvella Nampeyo. They both belong to the Corn Clan, which are the substructures of the Hopi tribe. Thomas and Iris both have offspring who are potters. My favorite is Gary Polacca Nampeyo (Thomas’ eldest son).
 Thomas Polacca Nampeyo (1935–2003) Thomas’ pottery is known for its symmetrically perfect sphere shapes. Tom launched his career in pottery in 1974 when he introduced a new process of pottery making, which consisted of the traditional Hopi way of pottery making with several additional steps. First, he used hand-dug color-pigment-enhanced clays, which are indigenous to the Hopi Reservation. Then, he hand-coiled each row and systematically blending it into the next row until a work of art was created. It is at this point that Mr. Polacca added his unique contemporary flare to his pottery, thus breaking the traditional (Sikyatki) method that most Hopi potters have used for hundreds of years and are still using today. (Sgrafitto) is the name of this intricate style that Tom created, which is carving kachinas, birds, and Hopi spiritual symbols with his knife into the pottery piece. After he carved his murals into the clay, he sanded the pottery and added natural pigment colors to the pottery. Next, the piece was fired in the traditional method in an outdoor oven made of sheep dung and metal plating.
In Tom’s later years, he added a satin finish to his pottery, which also added a new dimension to his art. Each and every pot made by Tom Polacca not only was perfectly and meticulously constructed, but it told an inspirational and religious story like no other. Each pot that he made was deeply thought out with the depictions of his homeland and religious beliefs incorporated within the design. They are works of art in clay instead of on canvas. I will miss buying Thomas’ pottery because each piece is so unique, but I will never stop searching and trying to find his finest pieces to enjoy and share with other loyal Hopi pottery collectors around the world on this gallery.
Will any of Tom’s offspring carry on his legacy? I feel his eldest son Gary Polacca is the one to uphold his father’s renowned reputation. Gary is from the Snow Clan. He has within the same spiritual force and inspiration as his father. In honor of his father, Gary Polacca has incorporated the two letters of their first names together in his hallmark signature as of 2003. He is a very talented artist and a professional person. This artist only makes a few pots per year, which I have obtained through a well-known friend in Keams Canyon, Arizona, in order to share them with other collectors worldwide on this Web site.
Kachina
 To understand the nature of the Hopi kachinas is to understand the importance of earth, sun, and water, and the intricate role they play throughout the three Hopi mesas. My understanding and inspiration for this unique work of art is due, in part, to my mentor, Robert Lewis of Lewis Traders in Holbrook, Arizona. He introduced me to this most desirable art form.
One must understand that the Hopi Indians are very spiritual people. Earth, clouds, and water are the building blocks of Indian tribes. The cottonwood root, which is the only wood used by the Hopi carvers to create kachinas, is hand-dug out of the earth where the roots absorb sunlight and water, thus ensuring its embodiment of all of the essence of nature within. Kachinas are spiritual beings that are looked upon in high regard throughout the Hopi nation, as they are representatives of the earth, sun (dawa), and all animals of nature.
 The guardians of these spirits are said to reside in the high cliffs of northern Arizona from August through February. At certain times, they descend from the cliffs into the various villages to spread hope, peace, good health, rain, and to administer punishment to those who are not of good heart and soul. Eototo, the chief, and his lieutenant, Aholi, appear together in the Hopi villages in their elaborate costumes. All kachinas join in song and dance to start the season of ceremonies, which are the bean dance, home dance, and snake or sometimes called flute dance. These ceremonies are spread out from the end of February to the end of July, after which the spirits are said to return to the cliffs of Arizona to look down upon the villages until the beginning of the next season.
Hopi Roots is honored to bring you some of the most well-known and accomplished kachina carvers from the three Hopi mesas, such as Loren Phillips, Cecil Calnimptewa, Alvin Navasie, and Ivan Wytewa. I hope that after viewing my Web site, you will gain an appreciation and desire to learn more about this unique art form of the Hopi people.
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