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Dissertations / Theses on the topic 'Clay pottery'
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Dugan, Moi. "Narratives on clay /." Online version of thesis, 1993. http://hdl.handle.net/1850/11769.
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Combs, Jasen Paul-Robert. "Altered clay vessels." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1233190.
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The focus of the creative project was the artist exploration of altered forms and ash glaze techniques, as well as developing a new aesthetic of breaking free of old approaches, thus allowing him to express his emotions through the ceramic vessels. He developed and refined his technique of surface treatment on the vessels as he progressed through this project. His exploration into this new world of freedom helped him grow as an artist and emotionally.The artist desired to become a utilitarian potter at the beginning of his undergraduate studies but when he was introduced to the works of Paul Soldner, Peter Volkos, and Robert Piepenburg his interest in their works fueled his desire to expand his style of work. This lead to his exploration into altered vessels.Department of Art
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Taylor, Glenda. "A study of clay handles on ceramic vessel forms." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/16048.
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Gallagher, James B. "Chemical analysis of pottery and clay from Carthage." Thesis, University of Ottawa (Canada), 1987. http://hdl.handle.net/10393/5482.
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Miller, Lisa M. "Making a living in clay a practical guide to starting and building a business in ceramics /." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5352.
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Thesis (M.F.A.)--West Virginia University, 2007.Title from document title page. Document formatted into pages; contains viii, 41 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 40).
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Harrad, Lucy. "The production and trade of prehistoric ceramics in Cornwall." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289013.
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Oladipo, M. O. A. "Trace element analysis of Corinthian pottery and related clays." Thesis, University of Manchester, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233057.
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Dauber, Kenneth Wayne. "Shaping the clay: Pueblo pottery, cultural sponsorship and regional identity in New Mexico." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186155.
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Taste--an appreciation for some things, a disdain for others--is usually understood by sociologists as playing a key role in struggles for position within closed, hierarchical status systems. Yet taste that reaches across cultural and social boundaries is a common phenomenon in a world of mobility and falling barriers to travel and access. This study argues that this expression of taste also has a political dimension, through an examination of the sponsorship of traditional Pueblo Indian pottery by Anglo newcomers to northern New Mexico in the 1920s and 1930s. The organization that these newcomers founded, the Indian Arts Fund, played an important role in building a differentiated market for Pueblo pottery, supported by an increasingly complex body of knowledge and evaluation. This intervention into the market for pottery, and into the definition of Pueblo culture, served to insert the Indian Arts Fund's members into regional society, against the resistance of older, more established elites. A visible association with Pueblo pottery linked newcomers to the transformation of the regional economy by tourism, which had shifted the source of value in northern New Mexico from natural resources to the marketing of particularity and difference. An examination of the role of pottery production, and income from pottery, in Pueblo communities reveals that the relationship between pottery and Pueblo culture was more complex, and more tangential, than the image that was being constructed in the context of the market.
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Patrick, Thomas R. "Jars of clay : The use of protocorinthian pottery in Corinthian and Syracusan society." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527367.
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Williams, Kaylea N. "Archetypes in Clay." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/400.
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The artist discusses the background, ideas, and work entitled Archetypes in Clay, for the completion of her Bachelor of Arts Degree and undergraduate research for the Fine and Performing Arts Scholar program at East Tennessee State University. The artist used this development of work to explore personality types, and how they can be portrayed through clay vessels. In particular, the artist shows her work, how she created the vessels, the testing involved, and the struggles she faced. Archetypes is the focus behind the concept of this project. Her work includes four ceramic vessels, created with clay and finished with glaze. The artist cites Carl Jung, Isabel Briggs-Myers, and NERIS Analytics Limited as important research in this project.
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De, Muro Theodore Edward. "Making a case for clay in art education /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130215x.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).
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Sihapoompichit, Supawan. "Flood : An investigation in clay." Thesis, Konstfack, Keramik & Glas, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3685.
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Pottery is a kind of craft which requires retentive training. The only way to achieve each technique is to practice in repetition till the skill has been absorbed into the hands and body of the practitioner. The most obvious problematic achievement in pottery skill is ‘wheel throwing’ technique. With the long history in straight forward training, one needs to free the mind and allow oneself be a ‘copy machine’ in order to learn the technique properly. The paradox of traditional practice of having mastered the skill, but could not break through, is one of typical obstruction to many crafters. ‘Flood’ as theme for investigation in clay was an attempt to set up a method in order to find the ‘breaking through’ in term of ‘thinking’ and ‘making’ for traditional pottery practitioner to be relevant in the pace of contemporary surrounding. The investigation was planned to de‐familiarize my perception over my tradition and practice, and it was an eye‐opening to how I positioned myself personally and professionally to the discipline, the society and the world.
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Schiavo, Lícia da Silva Alves. "Efeito da umidade no comportamento viscoelástico de misturas argila-rocha." reponame:Repositório Institucional da UCS, 2016. https://repositorio.ucs.br/handle/11338/1295.
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Uma das etapas mais críticas no processo de conformação de uma peça cerâmica é a etapa de secagem. Nela podem aparecer defeitos como trincas e empenamentos na peça. Uma forma de minimizar esses defeitos é diminuir a quantidade de água utilizada na formação do corpo cerâmico. No entanto esta ação interfere diretamente na etapa de conformação. Este trabalho tem como objetivo avaliar o comportamento mecânico de peças cerâmicas à verde, para que se possa entender a interação de misturas argila-ar-água, e como o corpo cerâmico úmido se comporta mediante a adição de pó de rocha e surfactante. Para isso foram realizados tanto ensaios de compressão uniaxial quanto de fluência e relaxação. Através das curvas tensão vs. deformação geradas no ensaio de compressão foi possível avaliar a variação do comportamento plástico da argila mediante a variação do teor de umidade e da introdução de pó de rocha. Foram produzidas curvas de trabalhabilidade através do produto das tensões limites de escoamento e das deformações máximas. Os ensaios mostraram que o pó de rocha foi capaz de reduzir a umidade de trabalhabilidade máxima de 18,0% para 13,7%. A variação das densidades de empacotamento do corpo verde em função da umidade de conformação se correlaciona diretamente com o comportamento à compressão, especificamente com a tensão limite de escoamento. Isso tornou possível quantificar a coesão dos corpos cerâmicos produzidos. A adição de pó de rocha na argila diminuiu a coesão do corpo cerâmico verde. Foi possível identificar a existência de diferentes estados de hidratação/saturação do corpo verde: o estado pendular, funicular com porosidade aberta, funicular com porosidade fechada e capilar. Os ensaios de fluência e relaxação mostraram que a argila apresenta um comportamento viscoelástico, independentemente do teor de água do corpo verde. Também foi mostrado que o uso de 1, 5% em massa de surfactante em relação a massa de argila pode reduzir o consumo de água de processamento sem afetar seu comportamento mecânico, pois é capaz de fazer com que uma argila com 18,3% de umidade flua da mesma forma que uma argila com aproximadamente 24,5% de umidade.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-08-29T13:36:45Z No. of bitstreams: 1 Dissertacao Licia da Silva Alves Schiavo.pdf: 4296423 bytes, checksum: 240b028f046bdd959b5e54aaeee6ae63 (MD5)
Made available in DSpace on 2016-08-29T13:36:45Z (GMT). No. of bitstreams: 1 Dissertacao Licia da Silva Alves Schiavo.pdf: 4296423 bytes, checksum: 240b028f046bdd959b5e54aaeee6ae63 (MD5) Previous issue date: 2016-08-29
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES.
Drying is one of the most critical forming steps in the ceramic tile production. Usually defects such as cracks and surface distortion are produced in this processing step. One way to minimize these defects is to reduce the amount of water used to shape the ceramic body. However this water reduction directly interferes in the forming process. This work aims to evaluate the mechanical behavior of ceramic green bodies in order to understand the interactions of clay-air-water mixtures, and how it behaves when rock powder and surfactant are added. For that, uniaxial compression and creep and relaxation tests were performed. They allowed, through the stress-strain curve, to assess the clay plastic response to the variation of moisture contents and rock powder addition. Workability curves were produced by the product of the yield stress and maximum deformation. The tests showed that the rock powder was able to reduce moisture of maximum workability of 18.0% to 13.7%. The green body packing density variation as a function of the forming moisture directly correlates with its compressive behavior, specifically with the yield stress. It turns possible to quantify the cohesion of the produced ceramic bodies. The addition of rock powder to the clay decreased the cohesion of the ceramic green body. The existence of different green body hydration/saturation states were identified namely the pendulous, funicular with open porosity, funicular with closed porosity and capillary states. Creep and relaxation tests were performed which showed that the clay body has a viscoelastic behavior, i.e. deformation is a function of time, independently of the green body water content. It was also shown that the use of surfactant can reduces the processing water consumption without affecting its mechanical behavior, because it can cause a clay with 18.3% moisture to flow in the same way that a clay with about 24.5% moisture.
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Calderbank, Daniel. "Moulding clay to model sealand society : pottery production and function at Tell Khaiber, Southern Iraq." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/moulding-clay-to-model-sealand-society-pottery-production-and-function-at-tell-khaiber-southern-iraq(76331926-b5ec-484c-ba0e-fcc4ecbdc90e).html.
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The mid 2nd millennium BC in Mesopotamia is defined by the ebb and flow of power politics, with the Old Babylonian state, the Kassite state, and the kings of the Sealand, vying for power over the southern alluvial plains. Although widespread sociopolitical instability is acknowledged during this period, the scarcity of archaeological and textual evidence has often seen it labelled as a âDark Ageâ in Mesopotamian history. Recent excavation at the site of Tell Khaiber (2013-2017), southern Iraq, provides the first material to be reliably associated with this Dark Age, and more specifically to the period of Sealand control. This thesis attends to the pottery assemblage from Tell Khaiber as a means of assessing the everyday lives of a community adapting to this upheaval. This research examines the pottery assemblage on multiple analytical levels, synthesising a vast body of textual, archaeological, scientific, and material data. Firstly, a comprehensive Sealand period typology is subjected to stylistic comparison on both a local and (inter)regional level, in order to assess the shifting networks of interaction at play during this period. The thesis then turns to a detailed analysis of pottery production, focusing particularly on production techniques, the standardisation of the product, and the scale of the industry. Finally, various pottery use-contexts are established, and the distribution of these activities are mapped onto Tell Khaiberâs public building. Since these multi-faceted pottery engagements articulated with the (re)production of Sealand society and economy, this research provides unparalleled insights into the everyday workings of this poorly understood state system.
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Gluckman, Amie. "Minoan Barbotine Ware: Styles, Shapes, and A Characterization of the Clay Fabric." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/337064.
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Art HistoryM.A.
This paper examines the styles, shapes, and chemical composition, and ceramic fabric of Minoan Barbotine Ware. During the Middle Minoan period, Barbotine Ware exemplifies the creative ingenuity of the Minoan potter. The vessels’ elaborate decorative motifs play an integral part in the development of Minoan pottery. Barbotine Ware remains an ill-defined tradition. This paper will analyze the styles and shapes of Barbotine Ware vessels, as well as provide a chemical and petrographic study of Barbotine Ware from Kommos. The ultimate goal is to provide a thorough study of all aspects of the Ware in the hopes that future scholars may better understand its place within Minoan pottery and appreciate how it exemplifies the spirit of experimentation during the Middle Bronze Age on Crete.
Temple University--Theses
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Pihulic, Michael P. (Michael Phillip) 1982. "An analysis of the production and manufacture of the modified clay pot at the Oriang Women's Pottery Group, the Amilo-Rangwe Pottery Group, and the Kinda E Teko Pottery Group in Nyanza Province, Kenya." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/31128.
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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Civil and Environmental Engineering, 2005.Includes bibliographical references (p. 127).
In response to the growing demands for safe water supplies and the absence of a central infrastructure capable of meeting those demands, CARE-Kenya has implemented a safe water storage program at the household level. Central to this program is the modified clay pot, a hybrid of traditional Kenyan pottery and safe water storage principles. The modified clay pot exhibits a flat base for stability, a narrow neck to prevent access and thus reducing the chances of contamination, a standardized size in order to be compatible with chlorine dosing standards, and a tap at the base to provide safe access to the water within. The goal of this thesis is to analyze and record the production and manufacturing methods used by three local pottery groups in rural eastern Kenya using a combination of video, photography and written text. The primary focus of this work is to examine the ways in which the production processes could be improved and refined in order to increase both the efficiency of production, thus reducing the cost, and increase the scale of production, in order to increase availability of the modified clay pot to people within the Nyanza Province of Kenya.
by Michael P. Pihulic
M.Eng.
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Wulff, Krabbenhöft Rikke. "Symbols in Clay : A Study of Early Bronze IV Potter's Marks from the Amman-Zarqa Region in Transjordan." Thesis, Uppsala universitet, Arkeologi, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-144601.
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The present work examines the taxonomy and function of potters’ marks applied to pottery in the Amman-Zarqa region during the last phase of the Early Bronze Age, the so-called EB IV ca. 2350/2300–2000 BC. The study is anchored in a small data set gathered from 12 archaeological sites, in which 24 different mark types have been identified. These mark types - together with their associated vessel classes, circumstances of deposition, and geographical distribution - comprise the background against which previous suggestions regarding potters’ marks are evaluated. Evidence from ethno-archaeological sources concerning traditional potters’ rationales for marking vessels today is also included as part of the interpretive framework. The mode and scale of production is discussed on the basis of the ceramic evidence, the size and character of settlements located within the region, and the socio-economic setting of the EB IV period in general.
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Jones, Grace. "Sourcing the clay : Iron Age pottery production around Poole Harbour and the Isle of Purbeck, Dorset, UK." Thesis, Bournemouth University, 2017. http://eprints.bournemouth.ac.uk/29885/.
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One of the most ubiquitous types of Romano-British coarseware pottery, Black- burnished ware 1 (BB1), was produced around the shores of Poole Harbour, in South East Dorset. Previous researchers have shown that this industry was already well- established by the 1st century BC, while reports documenting excavations at earlier Iron Age sites in Dorset indicate that its roots can be traced back to around 700 BC. However, little is known about the production and circulation of wares during these formative phases of the industry, a topic that is addressed by the research presented here with a specific focus on the clays selected by potters working between 700 BC and 100 BC. A typology of Iron Age Poole Harbour wares has been compiled, drawing together the range of forms found on sites across Dorset. A programme of fieldwork revealed that the landscape of Poole Harbour and the Isle of Purbeck offered a range of clays and sands to the potters. Petrological analysis of 255 sherds of pottery illustrated that the Poole Harbour ware fabrics are characterised by the presence of elongated argillaceous inclusions and a low incidence of silt-sized quartz, with variability in the range of larger quartz grains. Thin sections of 105 clay samples revealed the silt content of the clays is greater than that of the pottery, suggesting potters levigated the raw clay rather than simply utilising a naturally sandy clay. Examination of the elongated argillaceous inclusions in the pottery, using petrology and a scanning electron microscope with energy dispersive X-ray spectroscopy, indicated they are a component of the clay rather than shale fragments added as temper. Compositional analysis of 100 samples of pottery and clay, using inductively coupled plasma spectrometry, demonstrated the potters selected the iron-rich, red- firing clays, rather than the malleable white-firing clays. It also revealed that during the earlier Iron Age the potters utilised the Wealden Clay deposits from the southern side of the Purbeck Ridge, but exploited the Poole Formation clays to the north during the later Iron Age. The wider cultural context of this change is considered and it is suggested that shifting settlement patterns may have influenced the location of the expanding production sites and their ties to communication networks.
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Busby, Jim Burton Carson. "Intrinsic motivation." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/1298.
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Art, for all its apparent simplicity is anything but straightforward. I admire and strive to make work that, when first introduced is both comfortable and exciting. I aim for work that is true to its medium. I want my work to be approachable, inviting, though questioning and introspective just the same. I think art should make the world a better place. I admire the technicality that is inherent to minimalism. I think at the least, an acceptable piece of art should be an insight into the world of the viewer.
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Harrison, Steve. "An examination of the geological resources of the Southern Highlands of NSW as raw materials for studio ceramics." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/31721.
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Thesis (Ph.D.)--University of Western Sydney, 2007."A thesis submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy from University of Western Sydney, College of Arts, Centre for Cultural Research." Includes bibliography.
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Nostrom, Rachel. "Portable X-ray Fluorescence Analysis of Pottery at the Bayshore Homes Site in Pinellas County, Florida." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5285.
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The Bayshore Homes site was occupied intermittently over a period of approximately twelve hundred years, with the two main occupation periods being CE 150-550 and CE 900-1350. During those lengthy occupations a substantial amount of plain and decorated pottery was discarded at the site. A portable X-ray fluorescence (pXRF) spectrometer was utilized to analyze the elemental composition of 133 sherds, both decorated and plain. The resulting elemental composition data were then analyzed using multivariate statistics in an attempt to discern discrete clay sources that may have been exploited by inhabitants of the Bayshore Homes site. Principal component analysis (PCA) and discriminant function analysis (DA) were employed to identify three discrete clay sources exploited in the production of pottery. The results of the statistical analyses were then used to answer two basic, yet pertinent, questions about the Bayshore pottery: 1) Were the same clay sources exploited during both occupation periods? 2) Were the same clay sources exploited for both decorated and plain pottery?
The results of the statistical analyses indicate that the same clay sources were exploited for both occupation periods, though evidence suggests that the dominant clay source in use did change over time. The results also imply that the same clay sources were utilized in the production of plain and decorated pottery, which suggests that at least some portion of the decorated pottery excavated from the Bayshore site was produced locally, and not obtained through trade. Finally, the results of this research demonstrate that pXRF is a useful tool for preliminary differentiation of clay sources in Florida.
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Lopes, Diorges Carlos. "ESTUDO DA VIABILIDADE DE ADIÇÃO DE RESÍDUO DE PÓ DE FUMO À MASSA CERÂMICA." Universidade Federal de Santa Maria, 2005. http://repositorio.ufsm.br/handle/1/7672.
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This research comprehends the study of the viability of adding residues from the tobacco industry (tobacco dust) in the ceramics mass for the production of pottery. It aims the incorporation of this residue in the mixture (with proper destination) as a partial substitute of the main substance (clay economy). For this research it has been used three samples of argillaceous ground from hillfield and a sample of residues from the tobacco industry. The argillaceous ground samples (raw materials) were prepared and characterized according to the ABNT techniques and a number of testing mouldings were produced according to the procedures recommended by the Fundação de Ciência e Tecnologia of the Rio Grande do Sul State - CIENTEC. The residue was added to the ceramic mass with percentages of 5, 10, 15, and 20% of the volume of clay in dust form, as collected in the industry, also in the same percentages the addition of the tobacco dust ash was studied. The analysis of the results indicates the viability of the use of the additions of ash or residue in the manufacture of massive bricks, blocks and roofing tiles. The chemical analysis of the residue and ash samples, and the leaching assays made with a moulding sample with 15% of residue added plus another one with 10%, both indicate values in accordance to bands of acceptance indicated by the NBR 10004.Essa pesquisa compreende o estudo da viabilidade de adição de resíduo da indústria fumageira (pó de fumo) à massa cerâmica utilizada para a fabricação de produtos cerâmicos. Dessa forma, objetiva a incorporação desse resíduo na mistura (destinação adequada) em substituição parcial da matéria-prima (economia de argila). Para essa pesquisa foram utilizadas três amostras de solos argilosos provenientes de jazida de morro e um resíduo da indústria fumageira. As amostras de solos argilosos (matérias-primas) foram preparadas e caracterizadas segundo as normas técnicas da ABNT e as moldagens de séries de corpos de prova seguiram procedimentos recomendados pela Fundação de Ciência e Tecnologia do Estado do Rio Grande do Sul CIENTEC. Á massa cerâmica, o resíduo foi adicionado com percentagens de 5, 10, 15, e 20% do volume de argila em forma de pó, conforme coletado na indústria. Também foi estudada a adição (na mesma percentagem acima citada) de cinza de pós de fumo à massa cerâmica. A análise dos resultados indica a viabilidade do uso das adições de cinza ou de resíduo para a fabricação de tijolos maciços, blocos e telhas. As análises químicas das amostras de resíduo e cinza,juntamente com os ensaios de lixiviação realizados com um copo de prova contendo 15% de adição de resíduo e outro contendo 10%, indicam valores dentro das faixas de aceitação indicadas pela NBR 10004.
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Yoon, Hyun Kyung. "Indeterminate Lines." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1147.
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My thesis work is about flow. Indeterminate lines symbolize the developing plant form and explore the perception of space by experimenting with the subject's proportion and shape. Movement is also a vital factor of space, a notion found in the early forms of cursive script (grass script) of Far Eastern calligraphy. My individual plant pieces work as dots and lines of cursive script. An installation's ceramic pieces illustrate similar flow and movement when viewed as a whole.
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Lewis-Nash, Robert J. "Old Fields and New Fields: Ceramics and the Expanded Field of Sculpture." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin150695125608167.
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Patton, Paul E. "A PROCESSUAL APPROACH TO HOCKING VALLEY, OHIO, PREHISTORIC CERAMICS USING EDX AND XRD ANALYSIS." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1180051803.
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Gray, Jessica M. "Rhythmic Relations." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1286447395.
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Coulon, Jean. "Le four de Sévrier en Haute-Savoie à l’âge du Bronze : Reprise des données et nouvelles perspectives." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20096.
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Découvert dans les années 1970 sur le site palafitte aujourd’hui immergé du Crêt de Châtillon (lac d’Annecy, Haute-Savoie, France), le four de Sévrier, daté de l’âge du Bronze, est considéré comme un des plus anciens fours de potier d’Europe occidentale. Il incarne l’arrivée d’une nouvelle technologie qui marquera la disparition progressive des modes de cuisson en fosse ou en meule en usage depuis l’invention de la poterie. En cette fin de l’âge du Bronze l’acmé de l’art céramique, représenté par les productions de poteries fines, pouvait donc être lié à l’utilisation d’un tel dispositif. Le caractère unique de cette construction en argile, de dimensions modestes et à parois étonnamment minces, réside dans sa conception modulaire et portable. La découverte publiée en 1975 (Bocquet et Couren 1975) recueille aussitôt un échoeuropéen et près de quarante ans après, elle reste pratiquement sans équivalent. L’utilisation de fours de potier à l’âge du Bronze, dans un contexte occidental, demeure pourtant une question ouverte et depuis les années 80, l’interprétation avancée pour le four de Sévrier alimente régulièrement ce débat. L’objectif de cette thèse de doctorat est de porter un nouveau regard sur cet objet de référence quelque peu voilé par sa célébrité et réexaminer les hypothèses fonctionnelles non encore étudiées. Après une présentation du contexte et de l’historique de la découverte, un premier volet aborde différents aspects de l’objet archéologique: sa morphologie, sa conception, sa restauration, son comportement lors d’expérimentations de cuissons de céramiques, ses traits singuliers qui le rapprochent ou le distinguent des fours de potiers plus tardifs ou des structures d’argile à parois fines diversement interprétées. Notre analyse du four de Sévrier comporte trois volets : a) l’inventaire du matériel découvert sur le Crêt de Châtillon et l’intégration éventuelle d’éléments non pris en compte dans la reconstruction, b) une analyse archéométrique (minéralogie des argiles) portant sur les tessons du four et sur des argiles des gisements situés à proximité du Crêt de Châtillon. Une analyse des changements de phases des argiles cuites en fonction de l’intensité de la température, c) l’évaluation de la température minimale et maximale subie par le four afin de confirmer ou exclure certaines utilisations. L’analyse fonctionnelle du four aborde, en premier lieu, l’hypothèse privilégiée, celle consacrée à la cuisson des poteries. Une méthode expérimentale comparative permet de préciser les avantages et inconvénients de différents procédés de cuisson de poteries noires et cherche à évaluer l’apport technologique supposé avoir été introduit par le four de Sévrier. D’autres alternatives sont abordées, en particulier la fonction culinaire. Cette interprétation est confortée par la découverte d’inédits indices d’usages observés lors de cette étude sur des matériels similaires de même époque et provenance. L’inventaire des structures comparables constitue un autre volet de cette recherche. Elle témoigne de l’usage courant des structures de cuisson en argile de faible épaisseur aux âges du Bronze et du Fer. Leur diffusion géographique s’étend des Balkans à l’Espagne et de la Grande Bretagne à la Grèce. Le recensement d’une famille large et multiforme de dispositifs portables en argile à vocation domestique nous permet de poser les bases d’une typologie et de proposer un scénario d’évolution et d’influences entre des régions parfois très éloignéesThis study focuses on a unique archaeological finding from the Crêt de Châtillon, a late Bronze Age lacustrine village situated on a now submerged island in Lake Annecy (Haute-Savoie, France). The Sévrier kiln is considered to be one of the oldest pottery kiln in Western Europe. Over the years it has become internationally known and still forms the basis of research projects and experiments relating to Bronze Age ceramic technology. It embodies the arrival of a new technology that would mark the gradual disappearance of the open fire or pit firing modes that had been used since the invention of pottery. As such, the acme of ceramic art which marks the end of the Bronze Age, may therefore be related to the use of such a device. The uniqueness of this clay building of modest proportions and surprisingly thin walls, lies in it modular and portable design. The discovery, published in 1975 (Bocquet and Couren 1975) soon received a valuable feedback in Europe and nearly forty years later remains virtually unparalleled. However, the use of pottery kilns in the Bronze Age in a Western context remains an open question. Since the 1980s, several arguments will gradually undermine this interpretation. The purpose of this study is to take a fresh look at this inescapable object, somewhat veiled by its celebrity and review functional hypotheses hitherto not studied. After describing the background and the history of the discovery, we discuss various aspects of the archaeological kiln: morphology, design, restoration, use, experimentations and singular features that approximate or distinguish this furnace from later pottery kilns or thin-walled clay structures wich have been variously interpreted. This analysis of the kiln of Sévrier has been threefolds: (a) an inventory of the findings from the Crêt de Châtillon and a discussion about the integration of many components excluded from the reconstruction ; (b) archaeometric analysis (clay mineralogy) of the kiln and the clay deposits located near the site and (c) identification of the changing phases in clays, subjected to high temperatures and determination of the temperature experienced by the furnace. The functional analysis, reviews different hypotheses : (a) pottery firing : a comparative experimental method that aims to highlight the benefits and disadvantages of different processes to produce black pottery. The purpose is to underscore the technological contribution assumed to have been introduced by the Sévrier kiln. (b) Other functional alternatives will be discussed, especially the culinary function. This interpretation is supported by the discovery of unprecedented indices discovered during this study. The inventory of comparable structures is another aspect of this research. The relatively widespread use of such thin-walled clay structures during the Bronze and Iron ages is highlighted. Their geographical distribution extends from the Balkans to Spain and from Great Britain to Greece. The census of a multiform family of domestic portable clay ovens allows us to propose a new typology and a scenario of diffusion between regions sometimes very remote, completes this new outlook and draw new perspectives for the research
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Andrade, Felipe Lira Formiga. "Estudo da formula??o de massas cer?micas provenientes da regi?o do Serid?-RN para fabrica??o de telhas." Universidade Federal do Rio Grande do Norte, 2009. http://repositorio.ufrn.br:8080/jspui/handle/123456789/15569.
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Previous issue date: 2009-03-06Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico
This work has for objective study compared the characteristics and technological properties of ceramic bodies from the region of Serid?-RN. The region under study has identified 23 cities where they were 80 ceramics industries. To define the universe of search, there was a survey of pottery that are part of APL Serid? next to the IEL. The characteristics and operating conditions of ceramics industries of the region were identified through a socio-economic questionnaire applied locally, which addressed issues such as: profiles of companies, production process etc. The analysis of information collected from 24 companies identified in seven cities shows that the vast majority of industries is small, with family structure, obsolete equipment and labo, little qualified. Most of the pottery works with low technical knowledge, poor control of the production process and product technology. The raw collected were submitted to analysis of X ray diffraction, chemical composition, termical analysis, particle size distribution and plasticity. Then were produced five formulations and made by uniaxial pressure at 25 MPa for firing in temperatures varying from 850 to 1050 ?C. The firing technological properties evaluated were: mass loss to fire, lineal shrinkage, apparent density, apparent porosity, water absorption and flexural strength (3 points). The results indicated that the raw materials from the region have significant similarities in the composition chemical and mineralogical. Furthermore, it indicates the possibility of the use of cycles of firing faster and efficient than the current, limited to some clay mass burning of certain conditions
Este trabalho teve como objetivo estudar comparativamente as caracter?sticas e propriedades tecnol?gicas de massas cer?micas para telhas da regi?o do Serid?-RN. A Regi?o em estudo possui 23 munic?pios onde foram identificadas 80 ind?strias cer?micas. Para defini??o do universo da pesquisa, fez-se um levantamento das olarias que fazem parte da APL Serid? junto ao IEL do Estado. As caracter?sticas e condi??es de funcionamento das ind?strias cer?micas da regi?o foram identificadas atrav?s de um question?rio s?cio-econ?mico aplicado in loco, que abordava aspectos como: perfil das empresas, processo produtivo etc. A an?lise das informa??es coletadas em 23 empresas identificadas em sete munic?pios permite concluir que a grande maioria das ind?strias ? de pequeno porte, com estrutura familiar, equipamentos obsoletos e m?o-de-obra pouco qualificada. Grande parte das olarias opera com baixo conhecimento t?cnico, prec?rios controles do processo produtivo e tecnol?gico dos produtos. As mat?rias-primas coletadas foram submetidas a ensaios de difra??o de raios X, composi??o qu?mica, an?lise t?rmica, distribui??o de tamanho de part?culas e plasticidade. Em seguida foram produzidas cinco formula??es e confeccionados corpos-de-prova por prensagem uniaxial a 25 MPa para queima variando de 850 ?C a 1050?C. As propriedades tecnol?gicas de queima avaliadas foram: perda de massa ao fogo, retra??o linear, massa espec?fica aparente, porosidade aparente, absor??o de ?gua e carga de ruptura ? flex?o (3 pontos). Os resultados indicaram que as mat?rias-primas provenientes da regi?o apresentam significativas semelhan?as quanto ? composi??o qu?mica e mineral?gica. Al?m disso, indica-se a possibilidade da utiliza??o de ciclos de queima mais r?pidos e eficientes que os atuais, limitando algumas massas argilosas para certas condi??es de queima
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Solar, Velarde Nino Vadick del. "Contribution des sciences archéologiques à la connaissance des choix techniques Mochica et Cajamarca : étude des matériaux céramiques du site de San José de Moro (VIIIe-Xe s. apr. J.-C., Pérou)." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30067/document.
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Les sociétés Mochica ou Moché (IIe-IXe s. apr. J.-C.) ont laissé un nombre important de sites archéologiques sur la côte nord du Pérou qui conservent des objets céramiques d’un caractère exceptionnel d’un point de vue morphologique, décoratif et technique. Ces dernières années, les céramiques Mochica ont été étudiées d’un point de vue archéologique et ethnoarchéologique. Notre étude vise à les étudier en employant les méthodes et les techniques de l’archéométrie. Nous proposons ainsi une étude croisée de sciences appliquées, d'archéologie et d’ethnoarchéologie pour tenter de répondre à des problématiques archéologiques parfaitement définies dans le temps (VIIIe-Xe s. apr. J.-C.) et dans l’espace (site archéologique Mochica San José de Moro dans la partie basse de la vallée de Jequetepeque). Nous nous interrogeons sur l’exploitation des ressources naturelles, la production et la consommation de céramiques rituelles. L’objectif de notre recherche est de discuter et de définir des choix techniques céramiques (locaux et régionaux) en définissant leurs spécificités: technologies, matières premières, importations ou productions locales. Cet apport permet de participer à la connaissance de l'histoire de cette civilisation et des civilisations contemporaines et voisines, notamment Cajamarca et Huari. Pour y parvenir, les principaux sujets de recherche qui ont été développés concernent l’étude des typo-chronologies Moché, l’étude archéologique des productions Mochica et Cajamarca, l’étude archéologique de l’exploitation des ressources en matières premières à l’échelle locale ou régionale, l’étude des procédés techniques employés dans la fabrication de céramiques découvertes à San José de Moro. Une discussion théorique est également menée sur les styles techniques des céramiques de ce site. Les résultats de nos recherches ont permis d’établir que les céramiques Mochica sont issues de processus productifs homogènes, d’affirmer que les objets à décoration polychrome ont été produits avec les mêmes matières employées pour la production des objets Mochica bichrome, et de définir que les potiers Mochica et Cajamarca n'ont pas échangé de matières premières pour la fabrication des pâtes céramiques. Enfin, l’existence des parallèles technologiques concernant les décors des céramiques entre ces deux sociétés, a été démontréeMochica or Moche societies (2nd-9th c. A.D.) left a significant number of archaeological sites on the north coast of Peru which preserve ceramic objects of an exceptional character of a morphological, ornamental and technical point of view. In recent years, the Mochica ceramics have been studied by archaeological and ethnoarchaeological approaches. The first aim of our research is to study them thanks to the methods and the techniques of the archaeological sciences. In this context, we developed a crossed study of applied sciences (physico-chemical analyses of materials), archaeology and ethnoarchaeology approaches to try to answer archaeological problems perfectly defined in time (8th-10th c. A.D.) and space (archeological Mochica site of San José de Moro). The questions deal with the exploitation of raw material resources, the production, and in particular, the consumption of ritual ceramics. The major aim of our research is to discuss and define ceramic technical styles by defining technologies, raw materials, imports or local productions, in order to characterize and understand the history of this civilization and the history of contemporary and nearby civilizations (Cajamarca and Huari). The main subject in this research concerns the study of typo chronologies Moche, the archaeological study of the Mochica and Cajamarca productions, the archaeological study of the exploitation of the resources in raw materials at a local or a regional level, the study of the technical processes of ceramic productions discovered at San José of Moro. Then a theoretical discussion is carried out about the technical styles of ceramics preserved on the site. To conclude, our studies allowed, for example, to establish that Mochica ceramics were elaborated on homogeneous productive processes, to assert that Moche objects with poly-chrome decoration were produced with the same raw materials used for the production of Moche objects with bi-chrome decoration, and to define that Mochica and Cajamarca potters did not exchange raw materials for manufacturing ceramic bodies. Finally, the existence of technological parallels between these two societies, particularly as regards the decorations of ceramics, has been demostrated
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Limbaugh, James Michael. "Pressing hands to clay the phenomenological experience of the advisor as potter /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1385.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.Thesis research directed by: Education Policy, and Leadership. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Mendes, Francisca Raimunda Nogueira. "A LouÃa de Barro no CÃrrego de Areia: tradiÃÃo, saberes e itinerÃrios." Universidade Federal do CearÃ, 2009. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13803.
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Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgicoA teia de relaÃÃes sociais que constitui a produÃÃo artesanal de louÃa de barro do CÃrrego de Areia, localidade no municÃpio de Limoeiro do Norte, CE revela a interaÃÃo das louceiras com instituiÃÃes como a Central de Artesanato do Cearà (Ceart), alÃm das feiras e dos compradores avulsos mostrando os vÃnculos que elas tÃm com os poderes socialmente estabelecidos, ficiais, mas principalmente aponta para as polifonias existentes no interior do prÃprio lugar, onde questÃes de gÃnero, conflitos entre as famÃlias e interferÃncias de instituiÃÃes ultrapassam a dimensÃo fÃsica dos objetos. Fazer louÃa de barro nÃo à uma atividade que possa ser entendida apenas do ponto de vista comercial. Um olhar mais atento sobre o cotidiano da produÃÃo apresenta as visÃes de mundo, o imaginÃrio, os arranjos sociais, enfim, a arte de quem a faz. Enquanto modelam seus objetos, os artesÃos moldam as prÃprias vidas, num processo constante de criaÃÃo e recriaÃÃo de seu universo cultural particular. O dia obedece a uma continuidade de afazeres que sÃo organizados a partir das necessidades dos artesÃos, nÃo estando seu tempo subordinado ao relÃgio, como ocorre na produÃÃo industrial urbana. Portanto, a produÃÃo artesanal sà pode ser entendida se a consideramos como um palco de disputas por recursos pÃblicos, pelos bens materiais e, sobretudo, como pelos bens simbÃlicos, caracterizando assim uma luta pelo poder que à expressa no desenrolar do prÃprio cotidiano das louceiras. Apesar de serem conhecidas dentro e fora do CÃrrego de Areia, como âas louceirasâ, essas mulheres nÃo podem ser pensadas como uma categoria sÃ, que denote unidade, pois tÃm histÃrias de vida, visÃes de mundo e interesses diversos, que as impedem de estabelecem uma identidade Ãnica. A observaÃÃo no cotidiano e as falas revelaram que diferentes identidades, guiadas por diferentes redes de sociabilidade descritas anteriormente, que orientam a aÃÃo social diÃria das louceiras.
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Motta, Lucie. "La céramique tardo-républicaine en Italie centro-tyrrhénienne : établissement et confrontation des faciès du Latium septentrional et d'Etrurie méridionale entre le IIe s. et le Ier s. av.n.è." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2005/document.
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La céramique n’est désormais plus à établir comme élément fondamental de nos connaissances des mondes anciens, que ce soit d’un point de vue chronologique, économique ou culturel puisqu’au-delà de son rôle d’élément datant auquel s’arrêtent encore bien trop d’études, elle est une des principales sources d’informations en étant un produit direct de la culture qui l’a produite. Sa quasi-omniprésence dans le mobilier archéologique et les fortes quantités excavées ne sont alors pas sans liens avec la solidité du matériau. En effet, bien que les objets ainsi réalisés soient aisément brisables, la matière constitutive – l’argile cuite – est particulièrement résistante et ne se détruit que difficilement, que ce soit par le sol et sa nature, le temps, l’action de l’homme ou la combinaison de ces divers facteurs. Elle n’est notamment pas recyclable comme peuvent l’être le verre ou les métaux, et encore moins périssable comme les matières organiques.Le choix d’orienter cette recherche sur l’Italie centro-tyrrhénienne tardo-républicaine n’est évidemment pas anodin et résulte de la constatation d’une lacune flagrante dans nos connaissances de sa céramique, bien qu’il s’agisse d’un ancrage, aussi bien chronologique que géographique, charnière de l’Histoire romaine. Ainsi, la ligne directrice de ce travail vise à constituer une première tentative de caractérisation du faciès céramique, aussi bien dans son uniformité que dans ses spécificités régionales et de déterminer son évolution interne, que ce soit en matière de classes, catégories, formes et types.Pour ce faire, une méthodologie rigoureuse a été mise en place afin de disposer d’un corpus composé d’éléments suffisamment similaires pour établir un raisonnement fiable. Trois axes ont notamment été au cœur de cette réflexion : la nature des contextes, la possibilité de disposer de l’intégralité du matériel céramique et la quantification.L’étude s’est alors concentrée sur deux aires géographiques bien précises – le Latium septentrional et l’Étrurie méridionale – pour lesquelles il a fallu établir les faciès respectifs et leurs évolutions en s’interrogeant sur les rapports des classes, catégories, formes, types et provenances à travers trois ères chronologiques – la première moitié du IIe s., la seconde moitiédu IIe s., et le Ier s. av. n.è. Des études macroscopiques ont également été réalisées sur les pâtes du matériel provenant des études de cas. Les groupes techniques mis en évidence ont alors été confrontés aux données déjà existantes afin de faire ressortir les zones d’approvisionnement, les questions d’échanges commerciaux, d’importations et de productions locales ou régionales.Plus modestement, cette étude a également tenté d’ouvrir le discours aux tendances et pratiques alimentaires en confrontant les résultats, notamment morphologiques et fonctionnels, obtenus lors de l’établissement du faciès avec les sources littéraires et les études déjà menées sur le sujet. Notons enfin que ce travail, loin d’être définitif, devra être nourri par d’autres recherches afin de s’amplifier pour confirmer ou infirmer les hypothèses proposéesPottery artifacts are now considered without any doubts as essential elements of our knowledge in ancient worlds in chronological, economical or cultural points of view. Indeed, beyond its use as a dating guide in which so many studies are limited, it's one of the most important source of information beeing a direct product of the society who made it. Itsomnipresence in the archaeological rests and the hight quantity of sherds are linked to the solididy of the material. Indeed, even if the objects are easily breakable, the material – the fired clay – is particularly resistant and destroyable only with difficulty, whether it is by the ground and its nature, the time, the human action or the combination of these various factors. Moreover,it's not recyclable as can be it the glass or the metals, and even less perishable as the organic matters.The choice to focus this research on Late republican centro-Tyrrhenian Italy is not obviously harmless and results from the observation of a blatant gap in our knowledge of its ceramic, although it is about an anchoring, so chronological as geographical, hinge of the Roman History. So, the guideline of this work aims at constituting a first attempt of characterization of the ceramic faciès, as well in its uniformity as in its regional specificities and to determine its internal evolution, whether it is regarding classes, categories, forms and types.To do it, a rigorous methodology was organized to have a corpus compound of enoughsimilar elements to establish a reliable argument. Three axes were in particular at the heart ofthis reflection : the nature of contexts, the possibility of having all the rests and thequantification.The present study focus on two very precise geographical areas - the northern Lazio and the southern Etruria - for which it was necessary to establish the respective faciès and their evolutions by questionning the reports of classes, categories, forms, types and proveniance, through three chronological erae - the first half of IIth s, the second half of IIth s, and Ier s B.C. Macroscopic studies were also realized on clays of the material from two case studies. The technical groups were then confronted with the already existing data to highlight the zones of supply, the questions of trade, imports and local or regional productions.More modestly, this study also tried to open the research to the food practices by confronting the results, in particular morphological and functional, obtained during the establishment of the faciès with the literary sources and the studies already led on the subject. Finally this work, far from being definitive, must be fed by other researches to increase to confirm or counter the proposed hypotheses
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Cavassa, Laëtitia. "La production céramique à Pompéi jusqu’en 79 ap. J.-C." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP066.
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La ville de Pompéi, ensevelie par l’éruption du Vésuve en 79 de notre ère, joue le rôle de témoin de la société romaine de la fin du Ier siècle ap. J.-C. : sa structure sociale, son cadre de vie, sa vie économique, agricole et artisanale. Parmi les activités artisanales, la production céramique est paradoxalement méconnue car les découvertes sont anciennes et mal documentées. Les objets en céramique, de par leur matière d’origine, l’argile (matériau non recyclable) constituent la majorité des découvertes faites lors des fouilles archéologiques. Ces objets, de différentes formes, avaient toutes sortes d’usage : vaisselle pour la préparation, la cuisson, le service et la consommation des denrées liquides et solides ; vases de transport (amphores) ; vases religieux, instrumentum, matériaux de construction (tuiles, briques, tuyaux). Les indices de cette activité artisanale sont variés : fresques, graffites, structures de production et les produits eux-mêmes. Les recherches menées dans le cadre de ce doctorat visent à reprendre l’ensemble de la documentation disponible pour mieux cerner l’ensemble de ce secteur artisanal. La première partie est consacrée à l’étude critique de la documentation publiée. Les deuxième et troisième parties sont consacrées aux résultats des fouilles que j’ai récemment réalisées sur deux des ateliers de potiers en fonction au moment de l’éruption du Vésuve. La quatrième partie offre une synthèse des données permettant de reconstituer la chaîne opératoire de la production céramique à Pompéi en 79 ap. J.-C. Ce manuscrit est accompagné d’annexes dédiées aux analyses conduites en parallèle de cette rechercheThe city of Pompeii, destroyed by an eruption of the Vesuvius in AD 79, offers a picture of the Roman society towards the end of the first century AD: its social organization, its lifestyle, its economic, agricultural and industrial lives, etc. Among these activities, ceramic production is paradoxically poorly known because the discoveries are old and poorly documented. Ceramic objects, due to their non-recyclable material, i.e. clay, form the bulk of any archaeological discoveries. These objects, of various forms, were used for numerous purposes: dishes for the preparation, cooking, serving and consumption of liquid and solid foodstuffs; transport containers (amphorae); rituals objects, instrumentum, building materials (tiles, bricks, pipes). Remains of these craftsmanship activities are varied: frescoes, graffiti, production sites and products themselves. Research carried out in this Ph.D. aims to take up all the available documentation for a better understanding of the pottery making in the Vesuvian city. The first part is dedicated to a critical overview of the published bibliography. The second and third parts are dedicated to the results of the excavations I recently carried out on two potter’s workshops that were operating at the time of the eruption of Vesuvius. The fourth part provides a synthesis of the data allowing to reconstitute the “chaîne opératoire” of the ceramic production in AD 79 Pompeii. This manuscript is accompanied by appendices dedicated to chemical and petrographic analysis carried out in parallel with the archaeological research
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"Manipulations: Vessels in Porcelain." Tulane University, 2018.
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acase@tulane.eduIt is of paramount importance to me as a maker to marry art and craft within the confines of function. I make porcelain objects with specific physical uses in mind. I develop my work to address aspects of aesthetics and design simultaneously. The relationship we have with handmade pottery is unlike that of other art objects. It is personal, relational, and intimate. As such, I create sculptural vessels intended for physical use. I draw great inspiration from the natural world. My vessels are imbued with volume, and are reminiscent of organic life forms. I am fascinated with the plumpness of sea tunicates, flower ovaries and seed pods. I am intrigued by the ethereal depth of cloud formations. I heavily manipulate my wheel thrown forms by hand to incorporate a quality of pillowy fullness within an organized but imperfect formal structure. I stretch and push the clay into billows, and bind these structures with a criss-crossing of geometric lines to create convex swells within the walls of each vessel. I glaze each piece to accentuate the form, and have utilized colors from the natural world that complement the external curves of the vessels. As a functional artist, I strive for the vessels that I create to have a dual purpose. We fill our lives with objects; I want my contribution to our world to be simultaneously elegant and utilitarian.
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Danielle B. Inabinet
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HUANG, SHUN-CHIN, and 黃順金. "The Dialogue Between Glaze and Pottery Clay: A Social Worker's Self Drama." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6gy7x2.
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碩士南華大學
應用社會學系社會學碩士班
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The ability of narrative to verbalize and situate experience as text provides a resource for the display of self and identity. This narrative study focuses on the author's life stories about challenging issues in her personal identity, family, and work. Analysis of the language of the stories shows how they reveal aspects of the author's resistance, how she employs her father's love and model to cope life adversities, and how she utilize the love and strength to be a good social worker.
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，Chen-Ni, Ko, and 高珍妮. "The Dialogue Between Onion and Pottery Clay：“Self” and My Social Work Career." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/61371830886899287190.
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"The analysis of clay materials for use in a ceramic studio." Thesis, 2014. http://hdl.handle.net/10210/8844.
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M.Tech. (Industrial Design)The research project entitled: The Analysis of Clay Materials for use in a Ceramic Studio was undertaken in order to give a quantitative base to the understanding of clay materials and their role in clay bodies. The project consists of analysing the clay materials as they are supplied, using technically sophisticated equipment. A set of data for each of the nine chosen clays was assembled and then correlated for easier comparison. The clay materials were then mixed into clay bodies using a set proportion in order that a comparison of the nine clay bodies could be made and related to the data assembled for the clay materials. The data collected, as well as the ceramic calculations used in the research project were entered into the "Insight" Ceramic software programme for use in the studio. This data base will be the foundation for ongoing research into ceramic materials.
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Shiow-ling, Juaung, and 莊秀玲. "A Critique on exhibition of “ Pottery of Poetry, a new start for functional clay works”." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/x2wjsd.
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碩士臺南藝術學院
藝術史與藝術評論研究所
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The purpose of this paper is to criticize the content and value of some modern ceramics in terms of practical use, including works in the exhibition of Pottery of Poetry: A New Start for Functional Clay Works. This exhibition was planned by Prof. Liou Chen-chou, and organized by the Yingko Ceramics Museum of Taipei County. The first part of this paper dwells on the subjects, concepts and displayed categories of the exhibition. It is noticeable that the exhibition not only tries to present the styles of the so-called “practical ceramics” in Taiwan, but also seeks to define the significance of “practical ceramics”. First of all, practical ceramics are regarded as the individual creations of both practicality and beauty. With the emphasis on the creator’s personal style, practical ceramics, like sculpture, are categorized as “Modern Ceramic.” However, it seems that the planner of the exhibition adopts an over-general definition of “Modern Ceramic” and “practical ceramics.” In addition, the works displayed are categorized in terms of form analysis, which fails to perfectly convey the meaning and value of the works. As a result, according to the purposes of creation and the forms of the works, this paper attempts to re-define the works in four categories, including pottery, expressive pottery, vessels as art and sculpture. The purpose of such an attempt is to see “Modern Ceramic” in Taiwan in a different perspective, and to analyze and interpret works of “vessels as art.” Before the criticism, the paper traces back to the creations with the shapes of vessels in the histories of the contemporary art and the American ceramic. There are two methods to perceive such works: formalism and symbolism. Stylistically, these works adhere to the contemporary theories of art or emphasize the form of the pottery materials. This is the basis to further examine the works in the exhibition. For “vessel as art,” the works of formalism are mostly outdated, old-fashioned or invariable. A good work of art should be the presentation of the creator’s perfect control over the materials and of balanced arrangement in material and form used. The ultimate goal is to achieve “a meaningful form” declared by the formalist Clive Bell. Such a work should be appealing to the viewers and able to help viewers think about the meanings that lie underneath. Such works in this exhibition include Sun Chao’s Flying over Time and Space, Wu Water’s Out-of- Beat Jar, Shen Tong-ning’s Landscape Series and Hsia Chia-heng’s Spring. For works of “symbolism,” the themes include the reflections of issues such as history and culture, capitalized merchandise and humanity, and the focus is traditions and simplicity. It is essential that the creator shows his passions for the society in his works and uses his works as tools to convey information and to inspire various interpretations. Such works in this exhibition include Yang Winni’s Colored Pot Container with Engraved Lines, Lee Chin-pi’s Expedition, Lai Tarng-ia’s Bird Master, Lin Jui-jane’s Fish Basket and Liang Kuan-yin’s Container.
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Clelland, Sarah-Jane, M. A. Wilson, M. A. Carter, and Catherine M. Batt. "RHX Dating: measurement of the Activation Energy of Rehydroxylation for Fired-Clay Ceramics." 2014. http://hdl.handle.net/10454/10019.
Full textAbstract:
noIn rehydroxylation (RHX) dating, the activation energy of the rehydroxylation reaction is required first in the estimate of a material's effective lifetime temperature (ELT), and second to correct the RHX rate constant obtained at a given measurement temperature to that at the ELT. Measurement of the activation energy is thus integral to the RHX methodology. In this paper, we report a temperature-step method for the measurement of activation energy and develop fully the underlying theoretical basis. In contrast to obtaining the activation energy from a series of separate experiments (each of which requires the sample to be dehydroxylated prior to measuring the RHX rate constant), the temperature-step method not only requires a single dehydroxylation at 500°C but also eliminates repeated acquisition of Stage I data, which are not required for dating purposes. Since the first temperature step is set to correspond to the temperature at which a dating determination is carried out, the measurement of rate constants at higher temperatures simply becomes an extension of dating. Consequently, the logistics of obtaining the activation energy of rehydroxylation are greatly simplified.
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Harrison, Steve, University of Western Sydney, College of Arts, and Centre for Cultural Research. "An examination of the geological resources of the Southern Highlands of NSW as raw materials for studio ceramics." 2007. http://handle.uws.edu.au:8081/1959.7/29709.
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An investigation of the geological resources of the Southern Highlands was undertaken and over two hundred samples were collected and examined for possible use as stoneware ceramic ingredients. Thirty four of these samples were tested for possible use as clay body ingredients, while sixty five samples were selected for assessment as glaze ingredients. A wood fired kiln was built from firebricks produced from a local deposit of a white bauxite related material. Materials selected as a result of these tests were combined to create ceramic objects fired at stoneware temperatures. The most interesting result of the investigation was the discovery of a number of small weathered dykes and sills, samples from which were developed into workable ceramic clay bodies and glazes using a simple empirical testing procedure. A previously unknown excellent white translucent native porcelain stone or ‘bai tunze’ was discovered and developed into a workable porcelain body. Some iron stained porcelain bodies that ‘flashed’ red in the wood firing kiln were also developed. Exhibitions of the creative work produced were shown in the ‘Legge Gallery’, a Fine Art gallery in Sydney. Two critical reviews of those shows appeared in the magazine Craft Arts International, No. 64, 2005, pp 106-107 and The Journal of Australian Ceramics, Vol 46 #1 pp 21-24. Several papers were published detailing various aspects of the research: “The Search for Raw Materials in the Southern Highlands” in The Journal of Australian Ceramics, Vol 41#3, pp 22-23; “Flotation – A method of refining useful minerals”, in The Journal of Australian Ceramics, Vol 41#3, pp 24-25; “Magic Dirt” in The Journal of Australian Ceramics, Vol 46 #1 pp 76-79; “New work from an old landscape”, in Ceramics Technical, 24, 2007. pp 45-52;“From the ground up”, in Ceramic review, issue 222, 2006, pp 54-55. The research concludes that the Southern Highlands of New South Wales is geologically rich in suitable materials for the production of stoneware ceramics and that there are a few specific bai tunze like materials that are very interesting and have considerable aesthetic potential. The research determined that these bai tunze like materials are potentially capable of being developed into clay bodies and glazes of great beauty.Doctor of Philosophy (PhD)
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Boyum, Karin. "A study of clay bodies and glazes for the South African studio potter." Thesis, 2014. http://hdl.handle.net/10210/11757.
Full textAbstract:
M.Tech. (Ceramics)The research project attempts to fill a void by assembling data dealing with a comprehensive range of South African clay and glaze materials, suited to the needs of the studio potter, and recording test results. South African kaolins, ball clays, fireclays, miscellaneous clays, grogs, bentonites, felspathic materials, alkaline earths, silica, refractory materials (other than clays) and mineral pigments are dealt with. A limited selection of foreign materials, frequently referred to in studio-potter publications, was also used in comparative tests. The materials are recorded with reference to the ultimate analysis, seger formula, proximate analysis (where applicable), properties and results of trials using the materials in clay bodies and/or glazes. It was demonstrated that South African materials are largely of good quality e.g. kaolin, felspars and silica. Variability of clay supplies because of lack of stockpiling and blending practices, especially by small suppliers, is often a problem. When the composition of glaze materials and trials indicated that imported equivalents were superior because of variability of local supplies or poor grade material, then substitutes were tested using South African materials. Basic clay bodies and glazes covering a wide temperature range from Egyptian Paste, low-fired wares such as raku, terracotta-and-white-earthenwares, stoneware and soft-porcelain bodies and glazes are dealt with giving a brief outline of the requirements for each type. Suggestions of suitable South African materials for their composition are made. Trials and results are recorded. The knowledge gained of South African materials available and a study of the materials enables the studio potter to utilize local materials with awareness and confidence
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Mhamed, Moustafa Ahmed Hamza. "Entwicklung und Erprobung eines Computerprogramms zur Förderung töpferischer Fähigkeiten bei Grundschülern." Doctoral thesis, 2004. http://hdl.handle.net/11858/00-1735-0000-0006-AF16-E.
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Frisinger, Leanne April. "Paperclay in recent South African ceramics : continuity and change in studio works." Thesis, 2012. http://hdl.handle.net/10413/8727.
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This dissertation comprises the documentation and theoretical component of a practice-led Master of Arts in Fine Art. The illustrated text focuses in four chapters on a critical explication of contemporary South African ceramists namely, Juliet Armstrong, Betsy Nield, Liza Firer and Leanne Frisinger. The dissertation includes significant discoveries about the creative use of paperclay in contemporary South African ceramics and provides documentary record of the candidate’s materials and processes. A conclusion briefly compares productions referred to in the text.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.
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Žilincová, Lucia. "Osídlení Českého ráje v době lužických popelnicových polí." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-349679.
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Charles University in Prague, Faculty of arts Institute of Prehistory and Early History Lucia Žilincová SETTLEMENT OF BOHEMIAN PARADISE IN THE PERIOD OF LUSATIAN URN FIELDS Dissertation thesis Summary: The main aim of my dissertation thesis is to contribute to better understanding of the Bohemian Paradise settlement in the Lusatian urn fields period and its relation and contacts to the neighbouring areas. The basic source is archaeological material from seven cemeteries (Sovenice /bez. Mladá Boleslav/, Sovenice /bez. Nymburk/, Svijany, Svijanský Újezd, Koryta, Březina, Příšovice) and two settlements of the Lusatian culture (Turnov-Maškovy zahrady, Svijany). Its analysis is basis for enrichement knowledge of Lusatian material culture and its clue for completing of missing elements in chronological development. Inevitable part of this work is substitution of these localities to the Bomemian Paradise frame and classification in the wider space of this culture widespreading. On the base of acquired knowledge I will try to solve the question of possibility for comparation of the settlement and burial material of Lusatian culture. 2016