The Anasazi world had two cultural centers during it's heyday during the ninth to eleventh centuries which were Mesa Verde in the North and Chaco Canyon in the South. The bowl whose design I have chosen to copy is of the Red Mesa black-on-white tradition which was based in the southern part of the Anasazi world and is strongly associated with Chaco Canyon. This style of pottery can be recognized by its use of solid triangles, ticked parallel lines and interlocking scrolls. The insides of these pieces were coated in a white slip and then polished into a somewhat shiny finish. The black decorative pattern was painted onto the piece, in this case, using a mineral-based paint consisting of a naturally occurring mineral pigment that was mixed with a binder and would sinter during firing and bind with the pottery.
I was particularly attracted to the way this ancient artist used this geometric design to cover just three corners of the bowl in question, leaving the bulk of the bowl white. I thought this use of negative space would work nicely with the oval form that I have been working with. I must say that I am quite pleased with the final results of this fusion of ancient and new art. Unfortunately, true to most extant Anasazi pottery, my piece ended up as a pile of shards after I dropped it (Oops!). I will have to try another one, which, of course, will be even better than the first ;)
One final note on this piece. The Anasazi pieces were always coil built as the pottery wheel had not been introduced into the Americas at the time. Even today, their descendants, the Pueblo people, still do not use a wheel as using a machine to create pottery would result in a piece that does not have a soul. I'm not sure what their take is on slip-cast pieces, though I do know that many of the pieces produced for the tourist trade are slip cast, just as my piece was.