The many decorative ceramic techniques include smoking, which produces a dark surface. This effect can occur unintentionally, because there is that chance during firing, although it should be emphasized that the experience and skill of master ceramists are crucial in controlling the various factors in the creative process according to the desired results.

To achieve smoking, once the pieces are fired (at this time they have a clear or medium tone) and the flames extinguished but the high temperature is maintained, the same constructed or open air kiln is used to generate smoke by covering the works with dry pulverized manure, dried leaves, sawdust or other organic materials. Closing the space generates a reducing atmosphere, in other words without ventilation or oxygen inputs.

In the Mesoamerican ceramic art this treatment predominates in works whose surface is entirely dark or black; no engobe or paint has been applied to them. In the case of the Western region, this is noted in the burial vessels of the early Capacha culture, mainly dating between 1500 and 800 B.C. Smoked black containers are also found in the shaft tomb cultures, dating from 300 B.C. to 600 A.D. Compared to Capacha, they have thinner walls and therefore, hypothetically, this piece may have originated from the most recent culture.

Our bowl exhibits a uniform smoky light finish, which in certain areas allows us to observe the lighter shade of the base surface. The monochrome and simplicity of the perfect hemispherical shape produce a beautiful object, which also shows in the exterior two pairs of thin parallel incised lines, one near the mouth and one in the middle of the body. The delicate decorative treatment does not conflict with practical functions, it shows traces of use as a container; as for its utility, there is no indication that it had been exposed to fire.

In the collection of the Amparo Museum there is another vessel with a similar treatment, with record number 52 22 MA FA 57PJ 1070. It is a finely-made, kidney-shaped bowl, also smoked, of similar size and with parallel incised lines. Not only do we need to question whether this pair of works come from the same specific context, but also if they are the product of the same workshop and perhaps the same artist. Centuries later, this lucky coincidence allows us to appreciate the repeated mastery of the potters of ancient Mexico.