Somewhere in the middle of the first millennium A.D., a new technique
method appeared,, which was continued by contact with other towns and people.
It is primarily a modelling technique in which the potter begins with an initial
mass of tempered clay that is shaped and drawn upward  manually.
     Additional pieces might be added to complete the pot. The exterior surface
was slapped with the texture paddles, undoubtedly against anvils held on the
inside of the pot in order to thin the walls and the draw the clay upwards.
     Some researchers have suggested that the shaping of the containers, in many
instances, may have taken place inside woven molds that left  distinctive textile
impressions. The initial pot would have been made using the coil  method but
later  paddling  would have obliterated evidence of this coils.
     The  production  of  ceramic vessels requires  detailed  knowledge of  the
physical  properties of different clays and   tempering  materials, as well as about
how  these  combine  and  react  under specific firing conditions.
     The  paddling  technique  is  used  in  different  parts  in  the world like in
Nepal, some regions  of Europe, Africa, Canada  even in  Latin America  like in
Chile, Ecuador and Mexico.
     In Peru used  in the  fifth century  (B.C.)  in Piura, Northern part of Peru  
and  used  by the Vicus Culture that characterizes by  its "Huacos" of  their
beautiful shapes, structure, also in its  designs, the positive and  negative in  
decoration,  the burnishing of his engobes, the  loudness that  present and
displays their whistles incorporated  in their interior, having a clear and clean  
sound using  for that a measurement of water  inside  and  with the  pressure  of
the  air makes it sound.
     Peru has and old well known  pottery  tradition  from  the pre-Columbian  
time  and right  now we found  many  towns  net  potters  in different  parts from
the  Peruvian territory as it is possible to  mention  between  the  Highlands  and
 the Coast: the  town of  Aco in the Valley of The Mantaro, Olleros in  Chilca,  
Morropon  in  Chiclayo,  Tarika  in  Ancash,  Simbila  or  Chulucanas  in  Piura,  
Sinsicap and  Mollepata  in La Libertad and Mangallpa in Cajamarca.
     The best wood paddle is that  made of  "Algarrobo"  tree  for it's   resistance  
to the wearing down and there are two types of  paddles depending in their use:
the thick wood paddle for thinning its walls; the other one is used tosmooth  the
shape and giving in the finishing touches. These vary in size depending on the
size of the pottery being shaped.
     The stones which are generally found in rivers, have smooth surfaces and are
convex. While working, the paddle and stone must be constantly whetted. The
stone in the left hand is for modelling from the inner side, and the paddle held
on the right cushions for the shape with even blows. In this way we work our way
around the bowl.
     This technique starts slapping out a conical shape to a bowl of clay. Then we
sit and place the bowl on our legs and make a hollow, while maintaining the
conical shape. It is done with blows with the fist from the center outwards. Then
both hands thin and even from the bottom outward and upwards. The exterior
thicker part must be whetted to maintaining humidity. This avoids cracking .
Depending on the size of the pottery, even the feet are used for bigger sizes such
as the "Chicheros" used for containing the traditional "Chicha de Jora", a corn
beverage from pre-Columbine times.
     It's left dry but not completely so that the walls may be smoothly thinned
out. The stone and paddle in our hands soon become harmonious instruments on
their way to creativity....
     The engobes I use are textured between the bright enamel glaze and the
rough of the Engobes.
     So many trials and errors gave given way to new types. The material used are
the white clay from Piura on the North Coast and the yellow and black clay of
the Forest near Pucallpa on the East of the Andes. The clays are soaked several
times, screened and mixed with various oxides and pigments.
     Working in this manner, the sound of the clay being shaped by the blows of
paddle and stone, takes us to even imagine the rhythms and beats of some
typical Peruvian dances. Then we realize how much we love our land of ancient
traditions.
Ceramic Technique Paddling