Sacred Art, Bloody Clay, and the Body of the Goddess

Sacred Art, Bloody Clay and the Body of the Goddess

Part Two

These modern scientific theories, as well as our early creation myths support the assumption that clay was originally a sacred material, the substance of the Great Goddess of Creation, an embodiment of the magical realm of the divine feminine. From these associations, clay became known as a feminine material, sacred to woman because it was their substance, the earth.9 With their intimate and divine connection to the earth and its fruits, women became the first potters.10 Pottery, "is one of the original symbols of womanhood, while the making and ornamenting of pottery are among the primordial functions of woman.11

Having a deep connection with the soil, they must have regarded clay as a divine gift from the Great Earth Mother, given to them to aid in their work of food preparation and storage.12 With these close associations to the Great Earth Mother and the divine feminine, pottery became regarded as a sacred process and directly associated with worship of the Goddess.13 In essence, clay and pottery were an integral part of the first religion of the earth.

This religion was based upon a feeling of oneness and gratitude for the gifts of the earth. Our ancient ancestors were aware of this connection and developed beliefs, rituals, and practices that honored the earth. Some of these continued among indigenous cultures all over the world. The Maya of South America called their oldest form of pottery Mamom, or the Grandmother.14 In Bolivia, women with special qualifications were the only ones entrusted to gather and procure suitable clay. Certain rituals were observed, such as not speaking during the gathering process, believing that if one word was spoken, all the pots would break in the firing.15 Among Pueblo potters in North America, clay was referred to as "Clay Woman" or "Mother Clay" and believed to have a soul or deity. When gathering clay, they had to ask for permission to remove the clay from her being 16 and there was a ritual for gathering it where sacred meal was scattered at the site.17

"The Guaranis of Brazil believed that a special magical force or virtue derived from the woman was communicated to the articles manufactured by her."18 In East Africa, among the Nandi culture, no man could watch a potter at work or go near her hut. If a man placed a woman's pot on the fire, he would surely die.19 The Zuni women of North America, making pitchers in the shapes of female breasts, would leave the nipple open until the piece was finished, sealing it "with the solemnity of a religious right, and with averted eyes. Unless this ritual was observed, the women would be barren or their children would die in infancy."20 "This turning away of the eyes from the completion of the creative woman's work, in which not the human being but the creative numen itself has 'the last word,' reveals the bond between the feminine and the essence of the creative process in which veiling and silence have a special mystery significance." 21

These rituals and practices were performed to ensure the sanctity and success of the ceramic process, as well as honor the spirits of the clay and of the earth that had the ultimate say in the final creation. The finished product, vessels made to hold food and liquids, or ritual objects made to honor the divine, were manifestations of the body of the Divine Mother. "At the center of the feminine elementary character in which the woman contains and protects, nourishes and gives birth, stands the vessel, which is both attribute and symbol of the feminine nature" and a symbol of the female deity.22

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