Woman pot with hand to breast, Mississippi County, eastern Missouri, circa 1000 - 1600 CE. It's a masterpiece, but that's all the information I've got.

Another from Missouri, with no other information whatsoever. She is seated on the bowl.

Motherpot from Illinois, probably around 1000-1100 CE. Hard to see that these are pots, but that's what they say.

Mississippian woman vessel from Arkansas/Tennessee area. Sorry for poor quality, but these are very hard to find.

Painted woman vessel from Paquimé, also known as Casas Grandes, in northern Chihuahua. More body paint! and the zigzag patterns on her lower legs are identical to one of the Naqada icons in the Kemetic show, one of those seated and leaning back.

Above is another woman-pot from Paquimé, reflecting a very ancient and widespread symbolism of pot / belly / womb.

This one apparently has a double face, one on the other side, also from Paquimé. The zigzag lines down the cheeks (and another very widespread pattern, painted lines or tattoos on the chin, which women used in many parts of the world: California, Alaska, and many countries of the Pacific Rim, as well as Bedouins in SW Asia and North Africa, to name a few.

Teenik (Huastec) womanpot with body painting, from Veracruz, eastern Mexico. Maybe 900-1200 CE. The Teenik speak a language related to Maya but split off from them around 2000 bce and have a very different culture.

These Huastec female effigy vessels come in a variety of styles, but usually have the flat double-pointed headdress and face or body paint. This one from the Museo Amparo, Puebla.

A playful Huastec woman-vessel, Veracruz.

The belly-bowl made explicit, in this figure from Costa Rica, circa 300 bce. In other terms, the timeframe of the early Han dynasty, the rise of Roman power and the Ptolemies, and of Maya kingdoms.

A Redware Linear Decorated Style woman-pot from Costa Rica, 300-800 CE. She has both a bulging belly and navel.

This medieval (800-1200 CE) woman vessel from Costa Rica is reminiscent of a sheela-na-gig, with her hands on drawn-up knees and prominent, protruding vulva.

In Colombia we start to enter the South American realm of the ceremonial stirrup pots, with spouts for pouring. This one from the Calima culture dates to around 250 CE.

Another Calima woman-pot, in the same style.

Funerary urn from the mouth of the Oyapock River, Guiana.

This urn from the Cunani culture on the borders of Guyana and Brazil closely resembles (at least in the face) the one in the previous post (Icons of the Matrix) from the Diaguitas culture, though they are nearly on opposite sides of South America. Same joined brow, snub nose, a possible crying eye pattern on this one, too.

Several woman-urns from the Marajoara culture at the mouth of the Amazon river in Brazil. A variety of styles existed in this matrilineal mound-building society.

The Marajoara woman-urns tend to be both painted and incised with elaborate patterns. This one dates to 1000-1250 CE. Again the unibrow, but the eyes double as animals with long tails. Her tiny legs are vestigial , and her enlarged vulva emphasizes her as progenitor.

Husky woman-pot from the Chorrera culture, Ecuador, circa 200 CE. The pattern in her belly is sometimes called Seed-in-Field. It shows up in kolam / rangoli ground paintings of India.

Another, earlier Chorrera vessel, circa 900-300 bce. She is female with a belly-bowl, but the proportions are those of a baby.

Nazca mother-pot with stirrup spouts.

Fierce woman-pot of the Nazca, circa 200 bce to 600 ce, southern Peru.

Peruvian motherpot, from Erich Neumann's The Great Mother, which doesn't identify which culture she comes from.

Shipibo woman-pot, from the Amazon side of Peru. 20th century: a living tradition

Fuente Quemado, Santamariana culture, northern Argentina. Their highly stylized faces show the crying eye motif so common over much of South America and beyond.

The Argentinian songwriter Atahualpa Yupanqui had a song, Vasija de Barro, that runs, "When I die, I want to be buried like my ancestors, in the clean dark belly of a clay pot..."

"From thee was I born, and to thee I will return, Clay, earthen vessel. With my death, here shall I lie within you And your passionate dust."

Story of how the song came to be: https://mudcat.org/thread.cfm?threadid=158637  

Modern metawe, ceremonial vessels used by the machi (female shamans) of the Mapuche people, southern Chile. Made by Nidia Epuyao.

One more from Arizona, this amazing Salado Red Ware / Tonto Polychrome, dated to 1350–1450 CE.