Journal articles on the topic 'Pottery'
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1
Lykova, Oksana. "The Formation of the Personal Collection of Ivan Bilyk at the National Museum of Pottery." Ethnic History of European Nations, no. 73 (2024): 127–32. http://dx.doi.org/10.17721/2518-1270.2024.73.16.
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The outstanding Opishnia potter Ivan Bilyk devoted his whole life to the production of pottery. His work has been awarded numerous prizes, diplomas, certificates, medals. He is one of the three potters from Opishnia whose work was awarded the Taras Shevchenko State Prize of Ukraine in 1999. Ivan Bilyk was born in the family of a shoemaker, although his grandfather was a potter. The boy went through a long way of learning the pottery craft – in other potters, in educational institutions, at the enterprise. The master’s personal life also seemed difficult (illnesses, injuries during the Second World War, which caused disability). For many years, Ivan Bilyk worked at the «Art Ceramics» plant as a creative master of the artistic and experimental creative laboratory. He produced everything that local`s potters created – various tableware, zoomorphic sculpture, plates, vases for the floor, children’s toys, etc. The image of a lion became a favorite image in Ivan Bilyk’s creative works. The master repeatedly claimed that he was the author of the zoomorphic sculpture «Lion». It was this image that brought the potter world recognition at the international biennial in Faenza (Italy). In Ivan Bilyk’s personal collection of ceramics in the National Museum of Pottery, lion sculptures make up a third of all available zoomorphic sculptures in the collection. Today, most of Ivan Bilyk’s products are concentrated in the National Museum-Reserve of Ukrainian Pottery in Opishnia. This collection has about 300 storage units. The personal collection illustrates all the creative diversity of the potter. In the article, against the background of Ivan Bilyk’s biographical facts, the main events that influenced the formation of his personal collection in the National Museum of Pottery are determined. The time frames for the production of the existing products are outlined. Separate form-forming and decorative changes in the potter’s works have been traced.
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Nortey, S., and E. Asiamoaso. "The Effect of the Decline on Pottery in Ghana and Socio-Economic Implications on Potters." Ghana Journal of Science 60, no. 2 (December 31, 2019): 42–54. http://dx.doi.org/10.4314/gjs.v60i2.5.
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Demand for pottery in Ghana is declining according to empirical studies and this has socio-economic implications on the potters. The perpetuation of the potter’s trade is vital to maintaining and preserving humankind’s culture and livelihood. This paper used qualitative and quantitative approaches to discuss the effect of the decline in pottery and its socio-economic implications on potters. The study sampled 500 practising potters from four centres in Ashanti and Bono regions of Ghana; Appiadu, Pankrono, Afari and Tanoso. Findings showed that there has been a decline on pottery in Ghana which inadvertently has socio-economic implications on the potters. The study established that there has been a decline in pottery activities. Analyses revealed that there is an appreciable socio-economic variance between potters who solely depended on pottery as opposed to others who combined it with other jobs. Location was a highly influential factor in determining the potters’ economic condition (p≤0.05). The effect of the declining demand on retention was highly significant in terms of potter’s willingness to quit or remain in the industry (p<0.05). The paper recommends teaching artists must intervene in developing the skills of these potters, a development of traditional in-depth design exploration through workshops.
Keywords: Pottery, socio-economic effect, pottery centres, potters, clay
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Sharma, Shikha, and Pavel R. Kholoshin. "New Data on Traditional Pottery in India (Pune, Maharashtra)." Archaeology and Ethnography 20, no. 5 (2021): 154–65. http://dx.doi.org/10.25205/1818-7919-2021-20-5-154-165.
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Purpose. A brief survey of the pottery community in the Mundhwa area was conducted in March 2019 and February 2020 as part of the Russian-Indian anthropological expedition organized by the Paleoethnology Research Center, State Museum of Biology (Moscow, Russia) and Savitribai Phule Pune University (Pune, India). The purpose of the study was to provide an initial insight into how traditional pottery functions in these urbanized environments. Results. Various forms of pottery production have been identified. The most widespread was men’s pottery using a potter’s wheel. Only men are engaged in the manufacture of pottery here – Hinduism forbids women from working on a potter’s wheel. All craftsmen work almost all year round, reducing production during the rainy season. With the rapid urbanization and concentration of the population, the demand for pottery has increased. Potters buy practically all raw materials. The clay is brought by peasants from villages within a radius of 80 km by trucks several times a year. The preparation of raw materials, as well as kneading the clay paste, is carried out by most potters by hand. All potters use an electric potter’s wheel to create the vessels. The surface treatment of products by potters is carried out by smoothing using fingers or scrapers while the wheel is rotating. Firing is carried out in square ovens made of bricks. The firing of products begins in the evening, active combustion lasts two to three hours, after which the oven is left to cool until the morning, when the finished vessels are removed. One firing requires about 150 kg of wood. Potters who migrated here from Uttar Pradesh use open firing for their vessels. Conclusion. The authors found that: the traditional nature of the craft is preserved in the community: knowledge and skills are passed down through the family line, the potters use traditional raw materials, building techniques and firing devices; resettled potters demonstrate mixed skills in different levels of pottery production, for example using a mixture of different natural clays; under the pressure of economic conditions, the electric pottery wheel is spreading, the way firing is organized has slightly changed.
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Perry, Gareth J. "SITUATION VACANT: POTTER REQUIRED IN THE NEWLY FOUNDED LATE SAXON BURH OF NEWARK-ON-TRENT, NOTTINGHAMSHIRE." Antiquaries Journal 99 (July 23, 2019): 33–61. http://dx.doi.org/10.1017/s0003581519000040.
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The potters’ wheel was reintroduced to England in the late ninth century. It spread rapidly throughout eastern England, yet little is known about the mechanisms that facilitated its dissemination and success. This article presents the results of multidisciplinary research into the diffusion of this technology. Focusing on pottery production in late Saxon Newark, Nottinghamshire, an industry thought to have been founded by a potter(s) who had relocated from Torksey, Lincolnshire, this study offers a rare opportunity to examine the movements and craft practices of an individual artisan(s). By considering their manufacturing choices in the context of pottery distribution networks and the contemporary political, social and economic climate, it is demonstrated that the supply of pottery to Newark from regional production centres was restricted, creating a gap in the market and providing an incentive for a potter to relocate, encouraging the spread of the potters’ wheel throughout eastern England.
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Doherty, Sarah K. "The Introduction of the Potter’s Wheel to Ancient Sudan." Interdisciplinaria Archaeologica Natural Sciences in Archaeology XII, no. 2 (December 30, 2021): 299–309. http://dx.doi.org/10.24916/iansa.2021.2.14.
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Doherty (2015) has previously investigated the origins of the potter’s wheel in Egypt in depth. However, how the potter’s wheel came to be used in Sudan has not yet been properly analysed. This paper will present the author’s initial investigations into the pottery industry of Sudan and the manufacturing techniques employed by Sudanese potters. Evidence seems to suggest that rather than being an indigenous invention, the potter’s wheel came to Sudan as part of the colonisation of Sudan by Egypt during the Middle-Late Bronze Age. Throughout this period, various Egyptian towns were founded along the river Nile. One such town was Amara West (inhabited c. 1306–1290 BC). By the Middle Bronze Age, Sudanese potters had well-developed pottery techniques, principally coil- and slab-building. Amara West and other Egyptian colonies used the by then well-established wheel-throwing and coiling techniques (RKE) to manufacture their pottery, principally imported from Egypt. However, these colony towns contained both Sudanese and Egyptian vessels, sometimes in the same contexts, and occasionally with blended manufacture techniques and decoration. This paper will endeavour to postulate upon the effect and legacy of the imposed technology of the potter’s wheel on the Sudanese pottery industry.
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Sharma, Alok, Roumi Deb, and Sanjay K. Manjul. "Crafting Heritage: Exploring the Socio-Economic Dynamics of Pottery-Making in Nohar, Rajasthan." Scientific Temper 14, no. 04 (December 29, 2023): 1465–73. http://dx.doi.org/10.58414/scientifictemper.2023.14.4.60.
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Pottery-making is one of the oldest crafts deeply rooted with India’s rich cultural heritage. Nohar, a town in Rajasthan and a rich pottery centre is renowned for unique pottery styles. With the objective of assessing the socio-economic status of potters in Nohar and understanding the awareness about government initiatives like KSY and PMAY among the potter community, 56 potters were selected through purposive and snowball sampling and were personally interviewed. The study concludes that the majority of participants fall under lower middle group in Kuppuswamy Socioeconomic Status (SES) scale emphasizing the importance of tailored policies for socio-economic development. The dual role of potters engaging in agricultural activities and the migration to semi-rural settings indicates the craft's adaptability to changing lifestyles while preserving its traditional essence. Low awareness about the schemes like KSY and the PMAY indicates the need to enhance awareness and understand potential gaps in implementation.
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Espenshade, Christopher T. "Mimbres Pottery, Births, and Gender: A Reconsideration." American Antiquity 62, no. 4 (October 1997): 733–36. http://dx.doi.org/10.2307/281893.
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In their 1996 article, Hegmon and Trevathan argue that the nature of birth scenes depicted on Mimbres pottery bowls provides insight into the gender of the pottery painters. Specifically, they argue that the birth position illustrated is extremely uncommon, suggesting that the potter(s) had not had exposure to birth episodes. Hegmon and Trevathan conclude that the potters were male. Their arguments are flawed by faulty premises and a severe misunderstanding of the nature of Mimbres art. A review of the evidence regarding birth-depiction bowls indicates that the images do not imply either male or female potters.
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TAKAOĞLU, Turan. "UNUTULMUŞ BİR ÇÖMLEKÇİLİK GELENEĞİNİN ARDINDAN: TRABZON ÇÖMLEKÇİ MAHALLESİ ÖRNEĞİ." Karadeniz İncelemeleri Dergisi 17, no. 34 (May 4, 2023): 327–46. http://dx.doi.org/10.18220/kid.1292219.
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The study of Ottoman pottery centres has lately become a growing field of interest within Ottoman archaeology. Two types of pottery centers could be identified for the Ottoman era, one producing for intra- and interregional markets and the other only for intra-regional trade and consumption. The Çömlekçi Quarter in Trabzon is one of the most common examples of the latter. However, our archaeological information on the potters’ workshops at Çömlekçi is completely lacking. This work examines the aspects of pottery production that once flourished in the Quarter of Çömlekçi in the light of Ottoman written sources and the narratives of Western travellers who visited the city during the 19th century. Available historiographical records help us to shed light on several aspects of pottery making at the Çömlekçi workshops, including the scale of production, the types of pots, how the pots were used, the architectural features of a potter’s workshop, the identity of potters, and the distribution of finished products.
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Tsetlin, Yuriy Borisovich. "POTTERY PRODUCTION IN THE MORDOVIA DISTRICT: ETHNOGRAPHIC STUDY." Samara Journal of Science 4, no. 4 (December 1, 2015): 96–105. http://dx.doi.org/10.17816/snv20154211.
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The paper tells about the results of systematization and analysis of ethnography data on pottery production in Mordovia district, collected by alexander a. Bobrinsky in the beginning of 1960th during complete questionnaire work. there are 75 messages as from the potters themselves (very rare) as from their younger relatives, local school-teachers, and others. then became clear that most of the local potters were russian migrants (not the Mordovians) lived here from 17-18th centuries. distribution the russian pottery traditions destroyed the local Mordovian ones preserved only in traces. But the russian potters in Mordovia had retained more archaic pottery traditions than the same potters resided in russia. Just these traditions have a lot of interest to study. the author investigates the Mordovian pottery production through the system of Historical-and-cultural approach according to the universal structure of pottery technology and the whole pottery production process as a field of the human culture.
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Caloi, Ilaria. "Identifying Wheel-Thrown Vases in Middle Minoan Crete? Preliminary Analysis of Experimental Replicas of Plain Handleless Conical Cups from Protopalatial Phaistos." Interdisciplinaria Archaeologica Natural Sciences in Archaeology XII, no. 2 (December 30, 2021): 201–16. http://dx.doi.org/10.24916/iansa.2021.2.7.
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Recent work in Middle Bronze Age Crete has revealed that most Protopalatial or First Palace period pottery is produced through the use of a combination of coil-building and the wheel, i.e., wheelcoiling. Experimental work conducted on pottery from Minoan sites of Northern and Eastern Crete (e.g., Knossos, Myrtos Pyrgos, Palaikastro) has indeed determined that Minoan potters did not develop the skills required to adopt the wheel-throwing technique. However, my recent technological study of Protopalatial ceramic material from Middle Minoan IIA (19th century BC) deposits from the First Palace at Phaistos, in Southern Crete, has revealed that though pottery was produced by the wheelcoiling techniques, yet other forming techniques were practised too. In this paper I present a preliminary analysis of experimental replicas of MM IIA Phaistian plain handleless conical cups, manufactured on the potter’s wheel using three different forming techniques: wheel-pinching, wheel-coiling, and throwing-off-the-hump. This analysis will proffer answers to several questions on the use of the potter’s wheel in Middle Bronze Age Crete and opens the possibility that at MM IIA Phaistos there co-existed potters who had developed skills to employ different forming techniques on the wheel, including possibly that of throwing-off-the-hump.
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Akinruli, I. J., Philips Olatunde Ogunode, and Temitope Sunday Olowe. "Exploring the Determinants of the Demand for Pottery Products in Nigeria for National Economic Advancement." International Journal of Business and Management Review 11, no. 8 (August 15, 2023): 46–53. http://dx.doi.org/10.37745/ijbmr.2013/vol11n84653.
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The obvious decline in the demand for pottery wares in Nigeria is worrisome as the trend is pushing many potters out of business. Meanwhile the nation needs to harness all its resources for economic growth, but the pottery, through which the resources could be exploited seem not to enjoy patronage. In this work, literatures were reviewed to fathom the determinant for the demand for pottery. It was discovered that the attributes of the pottery wares, price of alternative imported pottery wares, and that of vessels made of materials other than clay, effect of poor advertisement, taste, interest and orientation, and the income of the consumers are the major determinants for the demand for pottery wares. Homemade tiles, personalized pottery, and ceremonial wares are pots with unique selling points identified for the potters to engage in. The Nigerian potters needs to improve on the qualities of their products in order to compete favourably with imported wares and wares made of plastics and metals at the market.
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Winslow, Deborah. "Reinventing the Wheel: Perpetual Innovation in Sinhalese Potter Assemblages." Interdisciplinaria Archaeologica Natural Sciences in Archaeology XII, no. 2 (December 30, 2021): 257–65. http://dx.doi.org/10.24916/iansa.2021.2.11.
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This paper describes a linked series of potter’s wheel reinventions and abandonments from the mid-20th century through 2013. The wheel is analysed as one element in a complex and dynamic assemblage of people, resources, technologies, meanings, places, and time. Primary data come from ethnographic observations and interviews in a Sinhalese Sri Lankan potter community followed since 1974. As they shifted from one potter’s wheel to another, these potters have altered social and physical supporting technologies for procuring and preparing clay, acquiring fuel, organising labour, and marketing pottery. Some, having reached the limits of a wheel’s capabilities and their own bodies, have abandoned the wheel in favour of moulds and mechanical presses, setting off more cascades of change. Their experiences help to clarify the adaptive capacities and limitations of both potter’s wheels and their users. As this story unfolds in often unanticipated ways, it reveals the importance of attending to spatiotemporal scale. Locally, the wheel highlights the relatively fast-changing affordances and constraints with which individual potters, households, and communities engage. But the wheel also brings into focus the slower moving consequences of regional heterogeneities and paths laid down by national colonial and post-colonial policies decades ago.
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Okpoko, A. Ikechukwu. "Pottery-making in Igboland, Eastern Nigeria: An Ethnoarchaeological Study." Proceedings of the Prehistoric Society 53, no. 1 (1987): 445–55. http://dx.doi.org/10.1017/s0079497x00006332.
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Pottery-making in parts of Igboland is discussed from an ethnoarchaeological perspective. In line with a long tradition of descriptive studies, the pottery manufacturing processes are here outlined, but emphasis is laid firstly on studying pottery decorations (techniques and motifs) prevalent in parts of Igboland within their socio-cultural and economic contexts; and secondly, on observing and studying how the Igbo people (potters and users of pots) classify pottery products (traditional pottery classification). A second set of observations concerns functions of pots, their distribution, consumption, life span and eventual disposal. Finally, the paper also looks at the social and cultural setting of pottery production — factors which still favour pottery production in Igboland and those that may lead to its eventual abandonment (including the status of potters in Igbo society and the learning process of pottery manufacture).
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Peters, Edem Etim, and Ruth Mataba Gadzama. "Influence of British Pottery on Pottery Practice in Nigeria." European Journal of Engineering Research and Science 4, no. 6 (June 12, 2019): 19–24. http://dx.doi.org/10.24018/ejers.2019.4.6.1254.
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The pottery narratives of Nigeria majorly linked with the activities of a great British potter Michael Cardew who Established pottery centres in Nigeria, and trained many Nigerians in Pottery. Cardew studied under Bernard Leach (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan VI in Japan and returned to England in 1920 to establish his own pottery at St. Ives with Shoji Hamada. The impact in pottery created by Cardew in Nigeria from 1950 is a direct British Pottery influence imparted to him by leach at St. Ives. A British potter and artist, Kenneth C. Murray studied pottery under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray produced pottery wares from the Kiln he built at Uyo and took his students to exhibit the ware along with other art works at Zwember gallery (Britain) in 1937. Chief Adam Joshua Udo Ema also studied pottery in 1949 in Britain and later returned to work as a pottery officer at Okigwe Pottery centre as well as established three pottery centres in Nigeria Namely; Ikot Abasi Pottery centre at Etinan, Pottery centre at Mbiafun Ikono, and pottery centre at Ikot Ntot in Abak. Many other Nigerian studied pottery in Nigeria. Lady Kwalii pottery experience was influenced by Michael Cardew. Her pottery influence seen pottery products exhibited in various parts of the world depicted a coordination of Niger and British Pottery influences. A case study design is considered for methodological approach. Data were taken from primary and secondary sources and analyzed respectively. British influence on Nigeria is indeed outstanding.
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Peters, Edem Etim, and Ruth Mataba Gadzama. "Influence of British Pottery on Pottery Practice in Nigeria." European Journal of Engineering and Technology Research 4, no. 6 (June 12, 2019): 19–24. http://dx.doi.org/10.24018/ejeng.2019.4.6.1254.
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The pottery narratives of Nigeria majorly linked with the activities of a great British potter Michael Cardew who Established pottery centres in Nigeria, and trained many Nigerians in Pottery. Cardew studied under Bernard Leach (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan VI in Japan and returned to England in 1920 to establish his own pottery at St. Ives with Shoji Hamada. The impact in pottery created by Cardew in Nigeria from 1950 is a direct British Pottery influence imparted to him by leach at St. Ives. A British potter and artist, Kenneth C. Murray studied pottery under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray produced pottery wares from the Kiln he built at Uyo and took his students to exhibit the ware along with other art works at Zwember gallery (Britain) in 1937. Chief Adam Joshua Udo Ema also studied pottery in 1949 in Britain and later returned to work as a pottery officer at Okigwe Pottery centre as well as established three pottery centres in Nigeria Namely; Ikot Abasi Pottery centre at Etinan, Pottery centre at Mbiafun Ikono, and pottery centre at Ikot Ntot in Abak. Many other Nigerian studied pottery in Nigeria. Lady Kwalii pottery experience was influenced by Michael Cardew. Her pottery influence seen pottery products exhibited in various parts of the world depicted a coordination of Niger and British Pottery influences. A case study design is considered for methodological approach. Data were taken from primary and secondary sources and analyzed respectively. British influence on Nigeria is indeed outstanding.
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Rosselló, Jaume García. "The Potter’s Wheel in the Chilean Central Valley: A Long-Term and Contextual Perspective on Technological Change." Interdisciplinaria Archaeologica Natural Sciences in Archaeology XII, no. 2 (December 30, 2021): 267–79. http://dx.doi.org/10.24916/iansa.2021.2.12.
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In this article the social and technological dynamics detected in the transition from hand-made pottery to wheel-thrown ware in a modern context is considered. The many different sources supplemented by fieldwork provide a long-term perspective and a depiction of its present consequences. It is specifically explained, how an indigenous, hand-made, domestic and female pottery-production system has turned into an essentially male, wheel-thrown and workshop activity. After a series of significant events, the Indian village of Pomaire gained a reputation as a potter’s village. The several changes underwent by its population as regards to pottery production makes it an interesting example to analyse the origin and development of a process of technological change which ended up with the displacement of women from pottery-making and the introduction of the means for mechanised production during the 1980s. Thus, the social and technical transformations which have taken place since colonial times (beginning of the 16th century), for the potters of Pomaire are explained, enlarged on their history in order to contribute to a general reflection.
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Tsoumas, Johannis. "Traditional Japanese pottery and its influence on the American mid 20th century ceramic art." Matèria. Revista internacional d'Art, no. 18-19 (September 16, 2021): 139–53. http://dx.doi.org/10.1344/materia2021.18-19.6.
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The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Japanese pottery, believed that they should disseminate the philosophy of traditional Japanese pottery around the world and especially in the post-war U.S.A. where it found a significant response from great American potters and clay artists, but also from the educational system of the country. This article aims to focus precisely on the significant influence that postwar American ceramic art received from traditional Japanese pottery ideals. The author in order to document the reasons for this new order of things, will study and analyze the work of important American potters and ceramic artists of the time, and will highlight the social, philosophical and cultural context of the time in which the whole endeavor took place.
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Espenshade, Christopher T., and Linda Kennedy. "Recognizing Individual Potters in Nineteenth-Century Colonoware." North American Archaeologist 23, no. 3 (July 2002): 209–40. http://dx.doi.org/10.2190/ykve-88ve-tpcy-3crc.
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The individual craftsperson is often lost in the broad patterns of normative analysis. Recent South Carolina research has attempted to refocus on the individual and how that individual interacts within and between communities. The technological and stylistic analysis of slave-made pottery from three contemporaneous, 19th-century slave settlements in Beaufort County, South Carolina, was aimed at recognizing individual potters. Suspected potter-level idiosyncracies allowed for the modeling of five potters, or one to two potters per community. The results also suggest that no ceramic exchange occurred between the slave rows, even though they were all in proximity and two were elements of a single plantation. The findings have implications for understanding the use context of late Colonoware, and for delineating potter-topotter variation within the well-entrenched tradition.
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Tharu, Manoj Kumar. "Kohar, the Potters of Terai: An Ethnicity Sustaining the Art of Pottery." East African Journal of Traditions, Culture and Religion 7, no. 1 (February 18, 2024): 1–13. http://dx.doi.org/10.37284/eajtcr.7.1.1761.
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Potters are artists, and pottery is an ancient art of making artifacts from clay. The earthenware mainly includes items like lamps, pots, idols, etc., which are baked in fire and have been used in day-to-day activities, including cooking, decorations, and religious functions since the earliest date of human civilization. This paper is based on the descriptive method and aims to assess the traditional lifestyle of Kohar, the potter community in the Terai of Nepal. The direct interview was conducted with active pot makers residents of Rupandehi district, Nepal, to know they utilize what raw materials and equipment, what procedures for making a typical pottery are, what kinds of general earthenware are being produced, and what current difficulties affecting their tradition and culture. This cross-sectional study was conducted on the occasion of Dipawali, a Hindu festival in November 2023, and leads to the conclusion that the Kohar community of Nepal is encountering issues like shortage of quality soil, lack of market, and decreased interest of new generation in the pottery
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Lykova, Oksana. "Сlay «Horses» by Mykhailo Kytrysh." Ethnic History of European Nations, no. 65 (2021): 36–40. http://dx.doi.org/10.17721/2518-1270.2021.65.04.
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The outstanding Opishne potter Mykhailo Kytrysh devoted his whole life to the production of pottery. His work has been awarded numerous prizes, diplomas, certificates, medals. The potter paid considerable attention to the creation of zoomorphic sculpture, in particular «horses». This is a favorite work of the potter, which he reproduced throughout his career. Emphasis is placed on changing the proportions and decor of these products (glued and the use of colored glazes). For analysis, a personal collection of potter’s pottery from the funds of the National Museum of Ukrainian Pottery in Opishne and a private collection of pottery of the Kytrysh family were taken. For comparison, photos of Mykhailo Kytrysh’s products from private archives and various publications were used. The article traces the transformation of Mykhailo Kytrysh’s «horses». The image of the “horse” runs through all the works of the author. The potter turned to him not by chance. When he came to work at the Art Ceramics Factory, Mykhailo Kytrysh first carried clay on a horse, which became a true friend to his husband and was remembered for a lifetime. The first known zoomorphic sculpture «horse» dates back to 1962, the last – 2007. Since Mychailo Kytrysh did not specialize in decorating products with engobes, and horses decorated with paintings, in his legacy is not found. The master focused on the glued decor and color glazes. The development of Mykhailo Kytrysh’s creative handwriting was influenced by several factors. In 1971, an art-experimental creative laboratory was established at the Art Ceramics Factory. Mykhaylo Kytrysh became one of her creative masters. In his free time he worked at home, so he could experiment with molds, glazes, without worrying about factory norms and standards. In addition, the potter constantly participated in various exhibitions, which required a variety of forms. All this contributed to the improvement and diversification of the image of the «horse», as well as other products
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Prajapati, Ratna Shova, and Rameshwor Shrestha. "Engineering soil properties of Bhaktapur pottery." Journal of Science and Engineering 4 (April 3, 2017): 38–40. http://dx.doi.org/10.3126/jsce.v4i0.22379.
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Pottery is one of the historic occupations of people of Bhaktapur. The tradition has been handed over to many successors, and the culture is still alive. Pottery in Bhaktapur municipality is concentrated in two parts namely; Suryamadi and Pottery-Square. The pottery work is adopted by ethnic group Prajapati, only they produce ceramic products in Bhaktapur municipality. Potters collect soil from specific location of Bhaktapur; Kamalbinayak, Nangakhel, Sipadol, and Tathali, which is suitable soil for ceramic manufacture. The soil samples from pottery site Suryamadi and Pottery-Square were collected. Grain size analysis, liquid limit and plasticity limit were tested. From the analysis, the soil sample from Pottery-Square was found to be finer than that from Suryamadi. Clay content and moisture holding capacity of the Suryamadi pottery work are greater than that of Pottery-Square pottery work. It shows that the Suryamadi pottery work had high tendency to get cracks and crumbled.
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de Groot, Beatrijs G., Kamal Badreshany, Jesús F. Torres-Martínez, and Manuel Fernández-Götz. "Capturing technological crossovers between clay crafts: An archaeometric perspective on the emergence of workshop production in Late Iron Age northern Spain." PLOS ONE 18, no. 5 (May 5, 2023): e0283343. http://dx.doi.org/10.1371/journal.pone.0283343.
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In the Iberian Iron Age, the transition to workshop-based pottery production involved the use of innovative tools (the potter’s wheel and kiln) and dedicated workspace. This facilitated an intensification of production, with repercussions for consumption practices and the economy. Cross-craft comparison can contribute to understanding the transmission processes underpinning this transition, as well as its impact on local craft traditions. This paper discusses an archaeometric methodology to compare the technological procedures underpinning different clay crafts to reveal crossovers and divergences that are meaningful for understanding cross craft interaction and the spread of technological innovations. We use thin-section ceramic petrography, X-Ray Fluorescence, Inductively Coupled Plasma–Mass Spectrometry, and X-Ray Diffraction to analyse the mineralogical and geochemical compositions and levels of standardisation in hand-made pottery, wheel-made ceramics, and ceramic building materials from the Late Iron Age oppidum of Monte Bernorio (Aguilar de Campoo, Palencia) and the kiln site of El Cerrito (Cella, Teruel). The results demonstrate that wheel-made pottery was produced according to a highly uniform clay preparation and clay selection procedure, which spanned the northern Iberian Plateau and largely existed in isolation from local pottery traditions. At Monte Bernorio, wheel-made pottery was made on-site from non-local clays, suggesting that suitable clays were brought to the site, perhaps by itinerant potters working on a seasonal basis. Technological traditions were thus largely polarised, demonstrating that knowledge, skills, and markets relating to workshop-produced pottery were enacted by a segment of society operating as part of a closed technological system.
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Wei, Chuantao. "Mask R-CNN-Oriented Pottery Display and Identification System." Computational Intelligence and Neuroscience 2022 (June 13, 2022): 1–9. http://dx.doi.org/10.1155/2022/6288201.
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Traditional pottery identification methods are time consuming and costly. In order to cater to more pottery industry needs, we propose a Mask R-CNN-based pottery identification method to build an automatic pottery identification system. We first improve the loss function of Mask R-CNN by using generalized intersection over union loss function, through the pattern of migration learning, to compensate for the disadvantage of a small collective amount of pottery data. For different types of pottery, we use the mask algorithm to enhance the features of the outer contour of the pottery. In addition, we use the minimum external matrix algorithm to accurately extract the outer contour bit pose features of pottery to improve the model’s accuracy in recognizing the outer contour of pottery. To meet the testing conditions of pottery, with the support of potters and archaeologists, we make our pottery data set according to pottery categories. The experimental results prove that our method performs best in the comprehensive recognition accuracy of pottery, with the recognition accuracy above 90%. The recognition accuracy is also the best in pottery color decoration and grain decoration, and the grain recognition accuracy stays above 87%, which is better than other pottery recognition methods.
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Ahmad, K., and J. J. Mohamed. "Product Comparison between Local Product and Technology Aided Mambong Pottery." Journal of Tropical Resources and Sustainable Science (JTRSS) 4, no. 2 (August 13, 2021): 72–74. http://dx.doi.org/10.47253/jtrss.v4i2.608.
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There are various traditional Malay potteries such as Labu Sayong, Buyung and Terenang. Kelantan traditional pottery known as Mambong. The objectives of this research are to compare and characterize the density, strength, physical appearance and shrinkage of traditional and slip casted Mambong pottery. Traditional Mambong pottery has been brought from the potter at Mambnog village and slip casted Mambong pottery is made by using slip casting method. Density of sample is measured by using Archimedes principal. Traditional Mambong pottery show the higher value of density compared to slip casting Mambong pottery. The average value of density for traditional Mambong pottery was 1.763 g/cm3, while the average value of density for Mambong pottery that was fabricated via slip casting was 1.461 g/cm3. Due to the presence of iron in clay, the colour of Mambong pottery changes from brown to reddish-brown after firing process. Traditional Mambong pottery shows the higher percentage of dry shrinkage which was 9.76 % compared to slip casting Mambong pottery which was 5.72 %. Traditional Mambong pottery also shows the higher percentage of fired shrinkage which was 1 % compared to slip casting Mambong pottery which was 0.58 %. In conclusion, by using slip casting technique, density, physical appearance and shrinkage of pottery can be improved.
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Lykova, Oksana. "Development of individual creative style of potter Mykhailo Kytrysh." Ethnic History of European Nations, no. 67 (2022): 98–102. http://dx.doi.org/10.17721/2518-1270.2022.67.12.
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The outstanding Opishnia potter Mykhailo Kytrysh devoted his whole life to the production of pottery. His work has been awarded numerous prizes, diplomas, certificates, medals. For many years, Mykhailo Kytrysh worked at the Art Ceramics Factory as a creative master of the art-experimental creative laboratory, which was founded thanks to the efforts of Petro Ganzha in 1971. Working in the laboratory gave more time for creativity. The master had the opportunity to conduct various experiments with the form and decor of products. However, there were rules and plans for the manufacture of products, as in all others. Mykhailo Kytrysh is one of the few local potters who has had his own workshop at home since the 1970s. At the same time, with the help of local potter Joseph Sulym, he built a kiln for firing pottery. This to some extent contributed to the formation of the individual style of the master. In his free time he worked at home, so he could experiment with forms, glazes, without worrying about factory norms and standards. According to the potter, he has not missed a single exhibition since he had kiln, which has helped to popularize his art. One of the reasons for appearance of the workshop and the kiln by Mykhailo Kytrysh was the fact that he was overlooked when the first Opishnia’s potters were admitted to the Union of Artists of Ukraine. One of the reasons for the appearance of the horn by Mykhailo Kytrysh was the fact that it was overlooked when the first Opishnia potters were admitted to the Union of Artists of Ukraine. Mykhailo Kytrysh was admitted to the Union for the second time in 1971. The potter decided that he would work independently and would not depend on anyone in the future. Thanks to the opportunity to work at home without the guidance of management, Mykhailo Kytrysh developed his own creative style in the art of ceramics. His works are unique due to a unique way of decorating – a combination of different color glazes.
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Williams, John, and David Jenkins. "A Petrographic Investigation of a Corpus of Bronze Age Cinerary Urns from the Isle of Anglesey." Proceedings of the Prehistoric Society 65 (1999): 189–230. http://dx.doi.org/10.1017/s0079497x00001997.
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The results are presented of a comprehensive petrographic study of 82 Bronze Age cinerary vessels from the Isle of Anglesey, Wales. Petrographic analysis is particularly appropriate when applied to this island location with its diverse and well defined geology. The pottery is characterised by a distinctive range of clasts, of which the most characteristic are varieties of igneous rocks and sandstone. The clasts can be matched to outcrops on the island with one exception which could have been derived from a known mainland source. The particular rock types seen in the pottery are not common in the island's alluvial and glacial sediments and it is therefore concluded that the potters showed a strong preference for specific dark coloured igneous rock types as added filler, in common with other Bronze Age potters in Britain. Although typology implies some extraneous influences, petrography indicates that the pottery was made on the island. However, despite the varied geology, the widespread distribution of many of the crucial rock types (dolerites, lithic sandstones) across the island means that individual production centres cannot be distinguished, a difficulty exacerbated by the lack of known habitation sites and associated domestic pottery. The question as to whether specifically designed pottery or redundant domestic pottery was used for burials is discussed, but remains unresolved.
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Gunarssonne, Alise, Baiba Dumpe, Vanda Visocka, and Artūrs Brēķis. "A Case for Coexistence of Different Potting Practices – Baltic Ware in Latvia." Interdisciplinaria Archaeologica Natural Sciences in Archaeology XII, no. 2 (December 30, 2021): 235–46. http://dx.doi.org/10.24916/iansa.2021.2.9.
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Latvia in the 11th–13th century poses a curious case for the coexistence of two different practices of Baltic ware production. The Baltic ware pots from lower reaches of the River Daugava and from the Courland region look not just stylistically, but also technologically different. Our paper assessed the production traces by using macro-observations, Reflectance Transformation Imaging (RTI) and extensive ethnographic material of Slavic pottery production of the 1900s, as well as using modern replicas as visual aids to assist in the identification of the principal coil attachment methods. The results showed that potters from the lower reaches of Daugava used the wheel’s rotation extensively during the shaping process of Baltic ware. The production of the pots required the potter to possess a level of technical skill which implied a level of professionalisation. Baltic ware from Courland was less technically complicated and used comparatively more of the methods of handmade pottery production.
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Qlichev, Ulug’bek A. "REVIVAL AND DEVELOPMENT OF TRADITIONAL URGUT POTTERY SCHOOL." Frontline Social Sciences and History Journal 4, no. 4 (April 1, 2024): 8–12. http://dx.doi.org/10.37547/social-fsshj-04-04-02.
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The article highlights the distinctive features of the Urgut pottery school, which are based on their inherent conditions for the preparation of pottery products. In addition, we are talking about the practical activities of the hereditary potter from Urgut Numon Oblokulov.
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Hofman, Corinne L., and Alistair J. Bright. "From Suazoid to folk pottery: pottery manufacturing traditions in a changing social and cultural environment on St. Lucia." New West Indian Guide / Nieuwe West-Indische Gids 78, no. 1-2 (January 1, 2004): 73–104. http://dx.doi.org/10.1163/13822373-90002518.
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Overview of pottery manufacturing traditions in St Lucia, placed within the island's cultural history from pre-Columbian times up to present Afro-Caribbean folk pottery. Authors focus on manufacturing processes in different cultural traditions through history, looking at raw materials used, the shaping and finishing, decoration, and firing process. First, they sketch St Lucia's habitation history since the first Amerindian settlers in 200 AD, and evidence of pottery, which climaxed in the later Suazoid period pottery since about 1150 AD, and discuss how later European colonization and arrival of Africans contributed to the decline of Amerindian traditions, replaced by European and West African pottery traditions, although some Amerindian traditions remained. The pottery manufacturing of 3 main cultural traditions are examined, discussing differences, as well as similarities due to cultural blending: Suazoid pottery, later Amerindian Island Carib pottery, with origins in the Guianas region, related to the Kar'ina, and current St Lucian, West African-influenced, "folk pottery". Authors conclude that all 3 traditions mainly use local clay, and include hand-built and low-fired pottery. Shaping techniques include coiling, and in today's pottery also fashioning with smaller lumps. Surfaces are smooth and polished in today's pottery, but more scraped and scratched in Suazoid vessels. Further, they find that decoration is uncommon in today's pottery, while Suazoid ceramics included decorations, and that vessel shapes tend to be simple in all 3 traditions. They also find that women have been the principal potters through time, although pottery was a male activity among the Island Caribs in the mid-17th c.
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Roper, Donna C., Richard L. Josephs, and Margaret E. Beck. "Determining Provenance of Shell-Tempered Pottery from the Central Plains Using Petrography and Oxidation Analysis." American Antiquity 75, no. 1 (January 2010): 134–57. http://dx.doi.org/10.7183/0002-7316.75.1.134.
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Late prehistoric sites on the Central Plains contain both grit/grog- (mineral-) tempered pottery and shell-tempered pottery. This appearance of shell-tempered pottery around cal A.D. 1000 has traditionally been explained as a colonization from the Mississippi River valley with further dispersal via trade. As a result, very little is known about the role of this material in the region. We report the results of a provenance analysis of shell-tempered pottery from seven sites extending from the Missouri River valley to north-central Kansas. We use petrography and oxidation analysis to compare the shell-tempered pottery across these localities and the shell-tempered to the mineral-tempered pottery from each locality, and we compare mineral inclusions and clay characteristics in all pottery with published geological and pedological information for each locality. The results demonstrate that shell-tempered pottery was locally produced throughout at least a portion of the Central Plains. Differences in firing technology are apparent across the study area and may play a role in the distribution of shell-tempered pottery. Two other results are the identification of composite temper in a notable proportion of the sherds studied, and indications of from where on the landscape Central Plains potters were procuring their raw materials.
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De La Fuente, Guillermo A. "Urns, Bowls, and Ollas: Pottery-Making Practices and Technical Identity in the Southern Andes During the Late Period (ca. A.D. 900—A.D. 1450) (Catamarca, Northwestern Argentine Region, Argentina)." Latin American Antiquity 22, no. 2 (June 2011): 224–52. http://dx.doi.org/10.7183/1045-6635.22.2.224.
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AbstractThis paper presents studies and discussions of pottery-making practices during the Late period (ca. A.D. 900—1450) in Northwestern Argentina. It stems from an extensive archaeological research project carried out in the middle sector of the Abaucán Valley, Province of Catamarca, Argentina. Pottery production during this period is evaluated through the study of technological choices and technical identity, as well as its relationship to the technical behaviors developed by potters. The analysis of a large sample of ceramic sherds, complete vessels, and overfired sherds indicates that the potters produced a very narrow repertoire of ceramic forms (bowls, urns, and ollas) using local raw materials and technology, the latter with a strong hold in the area. Pottery production during the Late period was carried out in household contexts, becoming increasingly intensified and concentrated with the appearance of Inkas in the region. Additionally, some ideas are discussed concerning the technological choices of ancient potters during this period, and the implications for technological studies in archaeological ceramics.
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Iserlis, M. "Insight into Ceramic Technologies at the Maikop Site of Ust-Dzheguta, Karachay-Cherkessia." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 2 (June 26, 2019): 13–23. http://dx.doi.org/10.17746/1563-0110.2019.47.2.013-023.
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The Maikop culture of the 4th millennium BC has long been recognized as one of the most intriguing phenomena in the archaeology and history of Eurasia. A pottery assemblage of Ust-Dzheguta, located on the northern slope of the Greater Caucasus, should provide an insight into Maikop society and its technological and social choices. The article provides information on geographical location and geological settings of the Maikop site. Based on optical mineralogy analysis, potential raw materials and geological maps, fabrics and their possible geological sources were defi ned. The pottery assemblage exhibits technical and technological heterogeneity, including the use of a variety of raw materials and techniques. Correlation between types of vessels and fabrics is traced. Three Maikop pottery industries have been identifi ed. Most of massive and sophisticated basins and pithoi were produced by highly skilled and specialized potters. The majority of vessels were manufactured by part-time potters. Cooking vessels were made as part of household production. The conclusion is provided about the established specialization in the pottery manufacture and preservation of household production.
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Kovalenko, Oksana, Liudmyla Babenko, and Roman Lugovy. "Pottery Kilns of the end 17 – early 18 Century From the Town of Reshetylivka (Poltava Region)." Eminak, no. 2(42) (August 15, 2023): 167–206. http://dx.doi.org/10.33782/eminak2023.2(42).647.
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The purpose of the paper is to reconstruct the process of firing pottery in the Hetmanate for the Early modern time, for example the materials from the rescue archaeological researches of two pottery kilns, carried out in 2006 in the former centurion town of Reshetylivka, Poltava regiment.
The scientific novelty lies in that for the first time it is considered and described in detail of these pottery kilns construction, the characteristic feature of which was the use of kiln boxtype tiles to strengthen these thermo-technical facilities. For strengthening of the pottery kilns were used boxtype tiles. Such constructive specification sometimes was use in pottery kilns construction of Cossack Hetmanate pottery centers, but the peculiarity of these kilns is compilation of kiln’s central pillars completely of tiles. Was held the analysis of found in their filling materials, in particular, kitchenware, tiles (‘kahli’), candlesticks and other items.
Conclusions. Found pottery kilns were built by one potter at his own estate in late 17 – early 18 centuries. Their forms of the kilns are typical for pottery kilns widespread on the territory of Ukraine at that time. All of tiles according to the place in a stove are divided into wall, corner and cornice. All of them are boxtype, rectangular with a small walls. According to the decor, the wall's boxytipe tiles are divided into seven types: with heraldic image of a two-headed eagle; with the heraldic image of the fight between the griffon and the lion; with rectangular center net with encircled thin branches; with crosses; with plant-geometric ornament; with the crossed stems of six three-petal ‘lilies’; with volute-styled elements. The analysis of the tiles’ decor showed that among the Reshetylivka’s tiles a special proficiency and high décor relief is peculiar for a part of tiles with crosses. Sometimes these are tiles with similar patterns, which show the durability of life of certain décor types.
For long enough in Hetmanate were popular ‘carpet’ tiles with rhombic patterns, ‘tiles with crosses’ and tiles with volutes. Having entered into fashion at the beginning of 18 century such tiles were used practically during all the century on a wide territory. The majority of found in Reshetylivka tiles are similar to the findings from Poltava and are also correlated with the corresponding plots and decor of products of Middle Naddniprjanshchyna (Middle Dnieper territory). The analysis of the kitchenware (pots) showed that in Reshetylivka was produced smoked ceramics decorated with texturized ornament (mainly performed by graving with a stick (‘rytuvannia’) and stamping with roller). In 18 century became popular products decorated with painted ornament, which had replaced the previous ones in the assortment of potters. Judging from the characteristic features of kitchenware the abovementioned pottery kilns can be attributed to Poltava pottery region.
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Burrow, Steve. "The Ronaldsway Pottery of the Isle of Man: a Study of Production, Decoration, and Use." Proceedings of the Prehistoric Society 65 (1999): 125–43. http://dx.doi.org/10.1017/s0079497x00001961.
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The Late Neolithic pottery of the Isle of Man falls into two types: Ronaldsway and Grooved Ware. This paper focuses on the former style which is markedly different from other contemporaneous pottery styles in use in Britain and Ireland. The discussion draws upon the biographical history of Ronaldsway vessels from the choice of raw materials to the deposition of the finished pots. At each stage in this biographical history the approach adopted by Manx potters and pottery users is compared with that employed in surrounding parts of the British Isles.
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Cosma, Călin. "Fast Wheel Gravel-tempered Coarse Ware Found in 7th–10th-Century Cemeteries from Western Romania." Ephemeris Napocensis 31 (February 10, 2022): 283–302. http://dx.doi.org/10.33993/ephnap.2021.31.283.
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Sometime in the 7th century, pottery made with a potter’s wheel reaching a medium rotation speed appeared in the Carpathian Basin. This particular pottery, generically referred to as “Danubian-type pottery”, evolved in different ways from one region to another until it was generalized in the 8th century as a specific type that characterizes large areas in central and south-eastern Europe. Owing to the technical innovations that led to the improvement of the potter’s wheel, pottery also began to be produced on the fast-rotating wheel. However, 7th–10th-century fast wheel pottery from Transylvania should not be regarded as an ethnic attribute. Early Medieval wheel-thrown pottery is recorded not only in settlements but also in inhumation and bi-ritual cemeteries from Transylvania, north-western Romania and Crișana (centralwestern Romania), constantly appearing from the Middle Avar period (AD 650/670) until the end of the 10th century (Tab. 1–2). The list of finds thus demonstrates that all population groups archaeologically attested in Transylvania by material evidence and, especially, spiritual activities knew fast wheel pottery. These are mainly Avar and Slavic populations, represented in the group of Avar cemeteries at the Mureș river bend in central Transylvania and the Mediaș Group, which can be attributed to the Slavic and Slavo-Avar populations of the Transylvanian Plateau.
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Keding, Birgit. "Middle Holocene Fisher-Hunter-Gatherers of Lake Turkana in Kenya and Their Cultural Connections with the North: The Pottery." Journal of African Archaeology 15, no. 1 (December 7, 2017): 42–76. http://dx.doi.org/10.1163/21915784-12340003.
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AbstractDuring the Early and Middle Holocene, large areas of today’s arid regions in North and East Africa were populated by fisher-hunter-gatherer communities who heavily relied on aquatic resources. In North Africa, Wavy Line pottery and harpoons are their most salient diagnostic features. Similar finds have also been made at sites in Kenya’s Lake Turkana region in East Africa but a clear classification of the pottery was previously not available. In order to elucidate the cultural connections between Lake Turkana’s first potters and North African groups, the pottery of the Koobi Fora region that was excavated by John Barthelme in the 1970/80s was re-assessed in detail. It was compared and contrasted – on a regional scale – with pottery from Lowasera and sites near Lothagam (Zu4, Zu6) and – on a supra-regional scale – with the pottery of the Central Nile Valley and eastern Sahara. The analyses reveal some significant points: Firstly, the early fisher pottery of Lake Turkana is clearly typologically affiliated with the Early Khartoum pottery and was thus part of the Wavy Line complex. Secondly, certain typological features of the Turkana assemblages, which include only a few Dotted Wavy Line patterns, tentatively hint to a date at least in the 7th millennium bp or earlier. Thirdly, the pottery features suggest that the East African fisher-hunter-gatherers adopted pottery from Northeast Africa.
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Suryaputra, Liony, and Paulina Tjandrawibawa. "PERANCANGAN BRAND CAMPAIGN DAN MEDIA PROMOSI UNTUK MENINGKATKAN AWARENESS VALUE BRAND ONY POTTERY." Jurnal VICIDI 11, no. 1 (June 30, 2021): 41–47. http://dx.doi.org/10.37715/vicidi.v11i1.1987.
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This study aims to introduce Ony Pottery to consumers with a brand campaign and the use of social media as a promotional media. Ony Pottery is a ceramic brand based in Surabaya. The research method used in this research is descriptive qualitative. The subjects of this study were consumers and followers of Ony Pottery on social media. The use of social media as a promotional medium is the right thing in this Covid19 pandemic. Ony Pottery's brand value is still conveyed to consumers through social media. Modernism is a design style raised by Ony Pottery in terms of products, social media to promotional strategies. It is hoped that by using the increased awareness, the public will get to know the ceramic brand Ony Pottery.
Keywords: Authentic, Selfmade, Clay, Pottery, Brand Campaign
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Dorland, Steven G. H., Greg V. Braun, Daniel H. Kwan, and David G. Smith. "aʔkwaⁿdaʔtsǫⁿgyaʔ—We All Made Pottery: A Wendat Perspective to Ancestral Wendat Pottery Making." Midcontinental Journal of Archaeology 48, no. 2 (July 1, 2023): 91–119. http://dx.doi.org/10.5406/23274271.48.2.01.
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Abstract This article investigates ancestral Wendat pottery making in southern Ontario through the Wendat perspective of Sǫhahiyǫh, a Wendat potter. Our study is based on eyewitness accounts of Sǫhahiyǫh making pots, along with detailed photographs and his own artistic reflections on his gestures related to all stages of pottery making. To create a detailed description that sheds light on ancestral Wendat potting communities and their practices, we investigate the entanglement of material interactions, personalized embodied knowledge of a highly skilled potter, and Wendat practices and beliefs. Our research provides an enhanced understanding of ceramic traditions and demonstrates the opportunities that arise from building relationships with Indigenous community members and centering Indigenous perspectives to study past material practices in the Lower Great Lakes region.
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Žibrat Gašparič, Andreja, Manca Vinazza, and Matija Črešnar. "Characteristics of Early Iron Age pottery from northeastern Slovenia through the prism of ceramic technology and petrography." Documenta Praehistorica 45 (January 3, 2019): 180–202. http://dx.doi.org/10.4312/dp.45-14.
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Pottery technology in the Early Iron Age remains understudied in Slovenian archaeology, especially in the combined use of description on a macroscopic level with the addition of petrographic thin sections analysis. In this study we focused on pottery technology of vessels from two Early Iron Age sites in north-eastern Slovenia, Poštela near Maribor and Novine above Šentilj (NE Slovenia). We analysed the clay pastes, inclusions in the clay, as well as surface treatment, firing properties, vessels shape, and decoration techniques using macroscopic description and ceramic petrography. Within the sites we looked at the different contexts, comparing pottery from settlements, i.e. hillforts, to pottery found within the adjacent cemeteries. The results show that potters from the two contemporaneous sites produced similarly shaped vessels using different pottery recipes from locally available raw materials. The use of grog as a possible chronological marker in the Early Iron Age is also discussed.
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Žibrat Gašparič, Andreja, Manca Vinazza, and Matija Črešnar. "Characteristics of Early Iron Age pottery from northeastern Slovenia through the prism of ceramic technology and petrography." Documenta Praehistorica 45 (December 29, 2018): 180–202. http://dx.doi.org/10.4312/dp.45.14.
Full textAbstract:
Pottery technology in the Early Iron Age remains understudied in Slovenian archaeology, especially in the combined use of description on a macroscopic level with the addition of petrographic thin sections analysis. In this study we focused on pottery technology of vessels from two Early Iron Age sites in north-eastern Slovenia, Poštela near Maribor and Novine above Šentilj (NE Slovenia). We analysed the clay pastes, inclusions in the clay, as well as surface treatment, firing properties, vessels shape, and decoration techniques using macroscopic description and ceramic petrography. Within the sites we looked at the different contexts, comparing pottery from settlements, i.e. hillforts, to pottery found within the adjacent cemeteries. The results show that potters from the two contemporaneous sites produced similarly shaped vessels using different pottery recipes from locally available raw materials. The use of grog as a possible chronological marker in the Early Iron Age is also discussed.
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Ebrahimi, Fereshteh, and Khalil Ebrahimi. "Study of White and Blue Pottery in the Safavid Period." Jami Scientific Research Quarterly Journal 8, no. 1 (March 1, 2023): 91–112. http://dx.doi.org/10.61438/jsrqj.v8i1.21.
Full textAbstract:
Art and the craft of pottery have always held a significant place in addressing human needs. Throughout different eras and societies, we have witnessed the growth, development, and significant influences of pottery on the richness and prosperity of culture and the general economy. This art and craft have endured and evolved over time. The continuation and evolution of blue and white pottery during the Safavid period highlight the importance of this pottery style. The transformative developments and support from the Safavid kings, especially Shah Abbas, led to the exquisite production of blue and white pottery during this period. In reality, the distinctive characteristics and quality in the creation of this type of pottery, along with the high demand in global markets, contributed to its mass production. The aim of this study is to elucidate the method of creating blue and white pottery during the Safavid period, introduce the influential factors in enhancing this type of pottery, and recognize its specific features.
The research methodology employed in this study is descriptive-analytical, and the data collection method is primarily documentary (library-based). The examination and analysis of blue and white pottery demonstrate that Iranian potters during the Safavid period, drawing upon their experiences in creating pottery from the previous Timurid era, imitated and combined these techniques with Ming Chinese examples and familiarized themselves with Ottoman pottery specimens. This resulted in a new style of blue and white pottery with distinct Iranian characteristics. The colors of this pottery typically feature a white body with blue patterns. Decorative motifs were tailored to the vessel's form, where primary designs such as animals, human figures, and plant patterns adorned the center of the vessel, while abstract patterns, calligraphy, and natural elements embellished the vessel's margins. These vessels were primarily utilized for storing liquids, serving food, and as decorative ceramics.
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Okońska, Magdalena. "A case-study of the so-called “pottery depot” from Bessów, site 3, commune Bochnia, Małopolska Province. Archaeological material and functional re-interpretation." Recherches Archéologique Nouvelle Serie 9 (December 31, 2018): 349–77. http://dx.doi.org/10.33547/rechacrac.ns9.16.
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Site 3 in Bessów is one of the sites located on the lower reaches of the Raba River, in the micro-region associated with the Przeworsk culture, dated mostly to the Younger and Late Roman Periods. In the results of excavations in Bessów, a group of archaeological features described as a “pottery depot” were discovered. In its fill and in its closest vicinity, about 8.330 fragments of pottery were found. Almost all of them represent wheel made pottery, and about half are sherds with abradable surfaces. Apart from pottery and about 180 pieces of daub, other categories of finds did not occur. In older publications the so-called “pottery depot” was interpreted as a place where ready-made vessels were stored. The basis for this interpretation was mainly the presence of a huge amount of pottery in the fill of this feature, with a relatively low share of materials bearing traces of different types of damage at the same time. Reanalysis of pottery material and the stratigraphy allowed for a new interpretation of the “pottery depot” as a potter’s workspace or workshop. The paper focuses on the pottery material from the “pottery depot”. It is an example of a case study of an untypical archaeological feature and the difficulties connected with its interpretation.
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Lis, Bartłomiej, Evangelia Kiriatzi, Anthi Batziou, and Štěpán Rückl. "DEALING WITH THE CRISIS: MOBILITY OF AEGINETAN-TRADITION POTTERS AROUND 1200 BC." Annual of the British School at Athens 115 (September 25, 2020): 269–327. http://dx.doi.org/10.1017/s0068245420000052.
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This article investigates the final episodes of a long-lasting potting tradition that developed on Aegina during the Bronze Age. From c. 1400 bc, cooking pottery constituted the only class of that tradition that was still manufactured and exported in quantity. Detailed study of several settlement contexts from sites scattered along the Euboean and up to the Pagasetic Gulf dating to c. 1200 bc shows that pottery imported from Aegina became increasingly less available, whereas similar cooking pots produced in various non-Aeginetan fabrics appear at the same time. Macroscopic analysis of traces related to manufacture of such pots reveals that it followed the typical chaîne opératoire of the Aeginetan tradition, strongly suggesting that their appearance reflects technological transfer and, thus, could not be explained without taking mobility of potters into account. Following a comprehensive presentation of available evidence, we argue that potters trained in the context of the Aeginetan potting tradition produced cooking pottery in several locations along the Euboean Gulf and up to the modern city of Volos. By considering the socio-economic and political context of their activity, as well as the development of Aegina and its pottery production during the later stages of the Late Bronze Age, we are able to shed more light on potters’ motivations to move, as well as on the population and the time scale of this mobility phenomenon. It appears that it had two stages, characterised by itinerant activity followed by permanent relocation, and that it was relatively short-lived, as by c. 1150 bc Aeginetan-tradition potters become invisible in the archaeological record.
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Wilmsen, Edwin N., Anne Griffiths, David Killick, and Phenyo Thebe. "The Manaledi Clay Mine: a ca. 1500 Year-Long Record of Potting from a Single Clay Source in the Tswapong Hills, Eastern Botswana." Journal of African Archaeology 17, no. 2 (December 2, 2019): 121–49. http://dx.doi.org/10.1163/21915784-20190013.
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Abstract Current potters in Manaledi village in the Tswapong Hills of Botswana aver that they and their ancestors for five generations have made pottery exclusively with clay from nearby sources. We begin with an examination of Manaledi and its clay mine to uncover current dialectics between village, landscape, clay, potters, and ancestors. Archaeological sherds found around the village and clay sources document occupation by makers of Early Iron Age (ca. AD 500-750), Middle Iron Age (ca. AD 750-1050), Late Iron Age (ca. AD 1420-1800), and 18th-20th century wares related to current Manaledi pottery. The proximity of archaeological deposits, clay sources, and village made it possible to conduct simultaneously what might otherwise be considered three separate projects. As a consequence, we are able to document that Manaledi clays have been used to make pottery for some 1500 years and to consider long-standing constraints on potting this implies.
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Nezer, Orly. "Intersecting Ideologies: Understanding the Interpretation of Hedvig Grossman-Lehmann's Work in 1932–1952 as the Product of an Intersection Between "Modern Studio Pottery" and Zionist Ideologies." Moreshet Israel 21, no. 2 (2023): 189–213. http://dx.doi.org/10.26351/mi/21-2/3.
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The discourse on the history of Israeli ceramics attributes to potter Hedwig Grossman-Lehmann the establishment of a unique local school of pottery, an antithesis to the styles she knew in Europe before her arrival in the Land of Israel. However, when we examine Grossman-Lehmann’s work through a modernist lens, there is evidence of a deep commitment to the ideology of “Modern Studio Pottery,” developed in Europe within the context of modernism. Moreover, her pottery ware echoes typical European pottery styles in those years. The contradiction between these two interpretations is not unique to the field of pottery; indeed, it has characterized many elements of Hebrew culture that developed during the settlement period. At the same time, the lack of research in this field eventually led to the establishment of a false narrative of the history of Israeli ceramics. This article proposes an addition to the current scholarly understanding of the development of Israeli ceramics.
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Ersoy, Ufuk. "The fictive quality of glass." Architectural Research Quarterly 11, no. 3-4 (December 2007): 237–43. http://dx.doi.org/10.1017/s1359135500000737.
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‘The fire is burning. Is it burning for me or against me? Will it give tangible shape to my dreams, or will it eat them up? I know pottery traditions going back thousands of years; all the potters’ tricks I know, I have used them all. But we have not yet reached the end. The spirit of the material has not yet been overcome.’(Adolf Loos, ‘Pottery’)
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Motyl, Romana. "The Traditional Ceramics of Bukovyna of the XIXth–XXth Centuries: Historical, Cultural and Artistic Features." JOURNAL OF ETHNOLOGY AND CULTUROLOGY 31 (2022): 22–29. http://dx.doi.org/10.52603/rec.2022.31.03.
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The article is devoted to the traditional ceramics of Bukovyna – one of the ethnographical regions of Ukraine, where in the XIXth–XXth centuries the pottery of high-quality technology and high artistic level was developed. The historical and cultural processes, which occurred on this territory and influenced the development of handicraft are considered. The pottery centers are highlighted and the creative works of leading potters are analyzed. The peculiarities of manufacturing technology, the local names and the purpose of clay products are recorded. The characteristic features of the traditional pottery of Bukovyna are researched: the typology and the main shapes of wares, the artistic qualities of ceramics decoration, the dominant motifs of the ornaments, the characteristics of individual techniques and of expressive methods. On the basis of art-critical analysis, by comparing the pottery vessels from Bukovyna with the ones from neighboring ethnographic regions of Ukraine (Prykarpattia, Podillia), as well as with the pottery ware from foreign countries, the local peculiarities of traditional ceramics of Bukovyna are determined and common features with the samples of pottery ware from Moldova, Romania are found. Previously unknown artworks and names of craftsmen are introduced in the scientific circulation.
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Cristescu, Cătălin. "Tradition and infl uence in the Dacian pottery discovered at Sarmizegetusa Regia." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 5 (2014): 37–53. http://dx.doi.org/10.47950/caieteara.2014.5.03.
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Dacians, Sarmizegetusa Regia, painted pottery, stamped decoration, cooking ware. Abstract: This paper aims to identify the Mediterranean and Celtic influences in the Dacian pottery from Sarmizegetusa Regia. The imitated or influenced vessels correspond mainly to tableware and storage jars, while cooking ware tends to belong to a local cultural layer, in regards to morphology and technology. Late Hellenistic and Roman technical influences used by the Dacian craftsmen are: slip, painting and stamped decoration. Laboratory analyses showed that both in the cases of tableware and kitchen pottery, the “recipes” used by the potters working in the ceramic workshops on the Grădişte Hill were practically identical.
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Narayanen, Suresh, and Stephen Chia. "Traditional Iban pottery-making at Kampung Skarok, Lubok Antu, Sarawak." Sarawak Museum Journal LXXVIII, no. 99 (December 1, 2017): 1–22. http://dx.doi.org/10.61507/smj22-2017-j951-01.
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In May 2013, an ethnographic study of Iban pottery-making was carried out by the authors from the Centre for Global Archaeological Research (CGAR), Universiti Sains Malaysia, Penang, with technical assistance from the Sarawak Museum Department, Kuching, in the district of Lubok Antu, Sri Aman Division, Sarawak (Fig. 1). The main objective of the study was to locate the few former and active Iban potters in this area, in order to gather data and information on traditional pottery technology, types and functions. This study has provided some useful insights into the origin, history and production of traditional Iban pottery in the district of Lubok Antu, Sri Aman, Sarawak.
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Grigoriev, Stanislav A., and Natalia P. Salugina. "STUDY IN THE FYODOROVKA POTTERY FROM THE MOCHISHCHE SETTLEMENT IN THE SOUTHERN URALS." Rossiiskaia arkheologiia, no. 4 (October 1, 2023): 50–61. http://dx.doi.org/10.31857/s086960632303011x.
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The settlement of Mochishche contains materials from all the Bronze Age cultures of the Trans-Urals: Petrovka, Alakul, Fyodorovka, Cherkaskul, Mezhovka and Sargary ones. The study of Fyodorovka pottery showed that its forms and ornamentation could not be derived from the Alakul tradition. However, technological research yielded a different result: a significant part of clays and inclusions had parallels in the Alakul pottery of the settlement, but potters also started to use silty clay, which had been probably introduced by the Fyodorovka population of the Lower Tobol region. The number of polished ware decreased sharply, the use of grog increased to some extent, and there is no evidence of ware forming techniques with form-models characteristic of Alakul, but this may be due to the small number of items studied. Nevertheless, their vessels, like the Alakul ones, were formed with the spiral patching method following the bottom and lower part of wall formation on the model. Therefore, the pottery technology of the Fyodorovka population of Mochishche reflects the contacts of potters, bearers of two traditions: the local Alakul and Fyodorovka ones, probably from the Lower Tobol region. However, in the pottery shape and ornamentation, they were guided by Fyodorovka stereotypes, which began to dominate for some social reasons.