First posted by C. Dean Wilson 2012

Mimbres Transitional or Style 2 Black-on-white refers to white wares that exhibit paste, slip, and paint characteristics that are very similar to those described for Mangas Black-on-white but with slightly different painted styles (LeBlanc 1983; Shafer 2003; Shafer and Brewington 1995). Mimbres Transitional as described here refers to Mimbres white ware forms exhibiting styles in black mineral paint that are intermediate between those noted in Mangas Black-on-white and Mimbres Classic Black-on-white. Pottery reflecting examples of Mimbres Transitional or Style 2 Black-on-white have been previously described and illustrated both as part of the continuum associated with decorated pottery previously attributed to Boldface Black-on-white (Cosgrove and Cosgrove 1932) and Magnus Black-on-white (Brody 1977; Haury 1936). Pottery exhibiting decorations described for Mimbres Transitional Black-on-white appear to have been produced from the late ninth to early eleventh century (Shafer 2003; Shafer and Brewington 1995).

Pastes are similar to those noted for brown ware types and tend to be soft and are brown to gray in color. Slips are usually white to pink and are often soft and chalky and easily flake and erode. Combinations of triangles and scroll elements continue as common designs often in combination with parallel lines and hatched elements. Thin straight hachure often framed by thick lines; replace the wavy lines found in Mangas Black-on-white. Hatching may exhibit either longitudinal or angular orientation and lines tend to be thin and evenly and closely spaced. Thicker lines are often border by small connecting or sawtooth triangles. Later examples of this type exhibit bands or horizontal borders as well the first consistent use of naturalistic motifs that are rarer and more limited in subject represented than in later periods. There is also a general refinement in the execution of designs from earlier black-on-white forms. Designs are often divided into two to four well organized opposing quadrant fields. Geometric bands that began just below the rim are also represented by late examples of this type. These bands may be framed by single or multiple framing lines and designs often fill much of the space between the thin bands sometimes creating negative designs. Forms are largely represented by bowls and designs are limited to interiors.

References:
Anyon, Roger and Steven A. LeBlanc
1984 The Galaz Ruin. University of New Mexico Press, Albuqurque.

Brody, J.J.
1977 Mimbres Painted Pottery. School of American Research, Santa Fe.

Cosgrove, Hattie S., and C. Burton Cosgrove
1932 The Swartz Ruin, A Typical Mimbres Site in Southwestern New Mexico. Papers of the Peabody Museum of American Archaeology and Ethnology, Vol 15, No. 1, Cambridge.

Haury, Emil W.
1936 The Mogollon Culture of Southwestern New Mexico. Gila Pueblo, Medallion Papers No. 29, Globe.

Shafer Harry J.
2003 Mimbres Archaeology at the Nan Ranch Ruin. University of New Mexico Press, Albuquerque.

Shafer, Harry J and Robbie L.Brewington
1995 Microstylistic Changes in Mimbres Black-on-white Pottery: Examples from the Nan Ruin, Grant County, New Mexico. Kiva 66(1)5-29.

Related Photos

Mimbres Black-on-white Transitional (Style II) Bowl

Mimbres Black-on-white Transitional (Style II) Bowl

Mimbres Black-on-white Transitional (Style II) Bowl

Mimbres Black-on-white Transitional (Style II) Bowl

Mimbres Black-on-white Transitional (Style II) Bowl

Mimbres Black-on-white Transitional (Style II) Bowl

Mimbres Black-on-white Transitional (Style II) Bowl