Bibliografías temáticas / Pottery

Literatura académica sobre el tema "Pottery"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Pottery"

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Lykova, Oksana. "The Formation of the Personal Collection of Ivan Bilyk at the National Museum of Pottery". Ethnic History of European Nations, n.º 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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2

Nortey, S. y E. Asiamoaso. "The Effect of the Decline on Pottery in Ghana and Socio-Economic Implications on Potters". Ghana Journal of Science 60, n.º 2 (31 de diciembre de 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 y Pavel R. Kholoshin. "New Data on Traditional Pottery in India (Pune, Maharashtra)". Archaeology and Ethnography 20, n.º 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 (23 de julio de 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, n.º 2 (30 de diciembre de 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 y Sanjay K. Manjul. "Crafting Heritage: Exploring the Socio-Economic Dynamics of Pottery-Making in Nohar, Rajasthan". Scientific Temper 14, n.º 04 (29 de diciembre de 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, n.º 4 (octubre de 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, n.º 34 (4 de mayo de 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, n.º 4 (1 de diciembre de 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, n.º 2 (30 de diciembre de 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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Tesis sobre el tema "Pottery"

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Lehman, Mark Ammon. "The life and work of the contemporary professional potter /". Access Digital Full Text version, 1994. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11587039.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1994.
Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: William Mahoney. Includes bibliographical references (leaves 209-215).
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Durocher, Frances Morgan. "Late Nasca pottery". Thesis, University of East Anglia, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687610.

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Lunt, Sara Wendy. "Inca and pre-Inca pottery pottery from Cusichaca, Department of Cuzco, Peru /". Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1987. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.284041.

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Moore, Fergus P. "Pottery art as relationship /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4294.

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Thesis (M.F.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Vita. Includes bibliographical references.
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Ballard, Daniel Isaiah. "Traditional Pottery in Ghana". Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/19.

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Stumpf, Jonathan Lee. "Pottery In Everyday Life". Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1272910473.

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Pfeil, Nicklaus Charles. "Poor Traits: Pottery City". Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1493148806091519.

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Coutts, Catherine M. "Pottery and emporia : imported pottery in Middle Saxon England with particular reference to Ipswich". Thesis, University of Sheffield, 1991. http://etheses.whiterose.ac.uk/1867/.

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This thesis looks at the problems of trade and exchange in the Middle Saxon period (AD 650- 850), using, as a case study, the imported pottery excavated in Ipswich over the past 20 years. Richard Hodges' study of the imported pottery from Hamwic was taken as the starting point, although his work deals almost exclusively with pottery from France. Much more of the Ipswich material originated in the Rhineland, and it is postulated that these two emporia were operating under different trade diasporas. The context of the trade in pottery and other imported goods is discussed with reference to anthropological research into long distance trade and exchange. The social position of the traders and who they were is discussed. Part II deals with the trading settlements themselves. The roles of the four major English emporia of Ipswich, Hamwic, London and York are examined, and their chronology, archaeological evidence and imported ceramics are considered. The relationship between the English emporia and their continental counterparts is discussed, and four of the major continental emporia are described. Part III describes the methodology used for analysing the ceramics, and gives detailed descriptions of the main types recovered at Ipswich. The macroscopic and thin-section analyses are described, and the problems of the various ceramic types, in particular the northern French Black wares and Tating ware, are discussed. The appendices give details of the thin-section analysis undertaken. In Part IV the implications of the sequence and origins of imported pottery are discussed for England in general, and for Ipswich and East Anglia in particular. The changing roles of the emporia within their societies are discussed The problems of coinage, gift-exchange and the development of markets and a monetary economy are examined in Chapter 7, looking at the problems of using ceramics as a means of understanding social and economic development.
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Thompson, James Paul Hanlon Heather. "Raku sixteenth century Japan--twentieth century America /". Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8806869.

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Thesis (Ed. D.)--Illinois State University, 1987.
Title from title page screen, viewed September 1, 2005. Dissertation Committee: Heather Hanlon (chair), Paul J. Baker, Barbara Heyl, Thomas E. Malone, Thomas W. Nelson. Includes bibliographical references (leaves 118-120) and abstract. Also available in print.
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Pierce, Christopher. "Explaining corrugated pottery in the American Southwest : an evolutionary approach /". Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6458.

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Libros sobre el tema "Pottery"

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Potter, Tony. Pottery. Tulsa, Okla: EDC, 1991.

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Potter, Tony. Pottery. Tulsa, Okla: EDC, 1986.

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Copland-Griffiths, Penny. Pottery. Wimborne: Dovecote, 1998.

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America, Boy Scouts of. Pottery. 2a ed. Irving, Tex: The Scouts, 2002.

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Potter, Tony. Pottery. Tulsa, Okla: EDC, 1991.

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Nuffield Working with Science Project. Pottery. York: Published for the Nuffield-Chelsea Curriculum Trust by Longman Resources Unit, 1986.

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Gordon, Lang, Miller Judith y Miller Martin, eds. Pottery. London: Miller's, 1995.

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Emert, Phyllis Raybin. Pottery. Detroit: Lucent Books, 2009.

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Gordon, Lang, Miller Judith y Miller Martin, eds. Pottery. London: Miller's, 2000.

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Gale, John. Pottery. Lincolnwood, Ill: Contemporary Books, 2001.

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Capítulos de libros sobre el tema "Pottery"

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Bhattacharya, Saswati. "Pottery, Potters and Mritshilpis". En Potters without a Wheel, 19–39. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003296041-2.

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Mallinson, Jonathan. "Introduction: William Moorcroft, Potter". En William Moorcroft, Potter, 1–6. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.16.

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This sketches the distinctive individuality of William Moorcroft, one of the most celebrated and original potters of the early twentieth century. An active designer, ceramic chemist and manufacturer, he is seen to be different from contemporary ‘art potters’ who tended to be either decorators or chemists, but not both. From the start of his career he was recognised as a potter like no other, but this distinctiveness has been eroded in modern assessments which present him as a manufacturer rather than an artist, and his pottery as a trading commodity rather than as personal expression. This book seeks to recover that very individual potter.
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Mallinson, Jonathan. "Conclusion: Individuality by Design". En William Moorcroft, Potter, 357–68. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.15.

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If Moorcroft is rarely considered in books on twentieth-century pottery, it is largely because he falls outside the categories of ‘studio potter’ or ‘ceramic designer’ as commonly conceived. It is significant that he was described in one obituary as a ‘post-Morrisite’. If Morris’s legacy was being sensed both in industrial modernism (by Pevsner) and in the revival of craft (by Leach), Moorcroft was seen by some as another variant on that legacy, bringing together individualised craft and serial production in ways which even Morris did not achieve, and creating well-designed, hand-made objects for more than a privileged few. Although he was clearly not responsible for all aspects of production (like the single craftsman), his practice of divided labour, in which he himself was actively involved as both designer and chemist, brought pottery closer to a performance art than a production line. Design for Moorcroft was not a rigid template, but open to his own (frequent) modifications in line or colour, just as each enactment was subject to the inevitable variations of ware made by hand and fired in a kiln; each piece was individual, and none definitive. Moorcroft is characterised by his individuality, not just because his practice was different, but because his pottery was personal. His designs, so often singled out for their harmony of form, ornament and colour were the conception of a single mind, informed by a potter’s skill – which is why some described him at the time as a studio potter. But they were informed, too, by his sense of vocation. His writings, both private and published, reveal that he did not aspire to be a pioneer, but simply to be himself, and to share with others his sensitivity to the beauty of the natural world. This is the source of the expressiveness, authenticity or ‘soulfulness’ so often identified in his work, and which make of it, as one contemporary noted, ‘no ordinary pottery’.
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Pipili, Maria. "Laconian Pottery". En A Companion to Sparta, 124–53. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781119072379.ch5.

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Vasa, DitamulÜ. "Indigenous Pottery". En The Cultural Heritage of Nagaland, 285–300. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003362807-22.

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Herz, Norman y Ervan G. Garrison. "Ceramics". En Geological Methods for Archaeology. Oxford University Press, 1998. http://dx.doi.org/10.1093/oso/9780195090246.003.0019.

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Archaeological ceramics refers to products made primarily of clay and containing variable amounts of lithic and other materials as well. The term ceramic is derived from the Greek keramos, which has been translated as "earthenware" or "burned stuff." Ceramics include products that have been fired, primarily pottery but also brick, tile, glass, plaster, and cement as well. Since pottery is by far the most important archaeologically, and the methods of sampling and study are largely applicable to the others, this chapter is devoted primarily to pottery. Pottery then is the general term used here for artifacts made entirely or largely of clay and hardened by heat. Today, a distinction is sometimes made between pottery, applied to lower-quality ceramic wares, and the higher-grade product porcelain. No such distinction will be made here, so the term pottery alone will be used. Raw material that goes into the making of a pot includes primarily clay, but also varying amounts of temper, which is added to make the material more manageable and to help preserve the worked shape of the pot during firing. Of primary interest in ceramic studies are 1. the nature and the source of the raw materials—clays, temper, and slip (applied surface pigment)—and a reconstruction of the working methods of ancient potters; 2. the physical properties of the raw materials, from their preparation as a clay-temper body through their transformations during manufacture into a final ceramic product; 3. the nature of the chemical and mineral reactions that take place during firing as a clue to the technology available to the potter; and 4. the uses, provenance, and trade of the wares produced. Much of the information needed to answer these questions is available through standard geochemical and petrographic analysis of ceramic artifacts. Insight into the working methods of ancient potters also has been obtained through ethnographic studies of cultures where, because of isolation or conservative traditions or both, ancient methods have been preserved.
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"POTTERY". En Neolithic, 110–23. Routledge, 2012. http://dx.doi.org/10.4324/9780203015322-14.

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LESURE, RICHARD G. y ISABEL RODRÍGUEZ LÓPEZ. "Pottery". En Settlement and Subsistence in Early Formative Soconusco, 115–46. Cotsen Institute of Archaeology Press, 2010. http://dx.doi.org/10.2307/j.ctvdjrqf7.15.

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Lesure, Richard G., Isabel Rodríguez López, Aleksander Borejsza, Jennifer Carballo y David M. Carballo. "Pottery:". En Formative Lifeways in Central Tlaxcala, Volume 1, 183–258. Cotsen Institute of Archaeology Press, 2014. http://dx.doi.org/10.2307/j.ctvdjrrvg.14.

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"Pottery:". En Gournia, Vasiliki, and Other Prehistoric Sites on the Isthmus of Hierapetra, Crete, 41–42. INSTAP Academic Press (Institute for Aegean Prehistory), 2014. http://dx.doi.org/10.2307/j.ctt1287h17.15.

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Actas de conferencias sobre el tema "Pottery"

1

Бобринский, А. А. "Mechanisms of New Vessels’ Shapes Incorporation and Adaptation (From the book published in 1999)". En ФОРМЫ ГЛИНЯНЫХ СОСУДОВ КАК ОБЪЕКТ ИЗУЧЕНИЯ. Crossref, 2018. http://dx.doi.org/10.25681/iaras.2018.978-5-94375-254-4.60-62.

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This short text is devoted to presentation of preliminary results of the fundamental experiment carried out by A.A. Bobrinsky in the 1970s and the 1980s on the basis of traditional pottery trade. Altogether about 40 master potters of different ages and of different skill levels took part in this experiment in different years. The experiment consisted in artificial modeling of the situation that occurred permanently in the history of pottery. We mean cases when a potter produces vessel forms that are new for him and due to specific historical reasons became “fashionable” (or sought after) in a particular society. In the experiment course it was found out that a potter who performs such task experience a disruption of traditional system of physical efforts application a potter had developed in the course of long production of traditional (customary) vessel forms range. The disruption’s result is emergence of so called “hybrid” vessel forms that were widely spread in various historical epochs, from the Neolithic Age to the late Middle Age. These “hybrid” forms co-existed with traditional vessel forms. The discovered regularities widen considerably contemporary opportunities to study these phenomena on archeological pottery.
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2

Cabrillos, Edbert Jay M. y Rowena S. Cabrillos. "Pagdihon: The Art and Language of Pottery Making in Bari, Sibalom, Antique". En GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.8-1.

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Pottery is seen as creation of ornamentals, cooking and storing materials. Yet, while economic gains are often considered from producing these materials, the artistic and linguistic aspects have been ignored. This study discusses the factors influencing the culture of pottery, the processes of pottery making, and seeks to uncover the language used in processes of pottery making in Bari, Sibalom, Antique. A qualitative research employing ethnographic study with participant observation and face to face interviews using photo documentation, video recording and open-ended questions in gathering the data was employed. There were five manugdihon, or potters, purposively selected as key informants of the study. The study revealed that environmental factors influenced the culture of pottery making in the barangay. There were seven main processes in pottery making. These included gathering and preparing of materials, mixing the needed materials, cleaning the mixed clay, forming of desired shape, detaching, drying, and polishing and varnishing. Further findings indicate that, together the other processes, the language used in poterry making was archaic Kinaray-a, the language of the province. This language pattern suggests a specialized pottery making. Ultimately, the study suggest that the manugdihon should continue their artistic talents so that the language may be preserved. The educational institutions of the province may provide ways to include pottery making in the curriculum so that the art and language of pottery making will be preserved and promoted.
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3

Цетлин, Ю. Б. "HISTORICAL-AND-EVOLUTIONAL DIRECTION OF POTTERY PRODUCTION INVESTIGATION". En Вестник "История керамики". Crossref, 2020. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-316-9.33-52.

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В статье на основании этнографических, археологических и экспериментальных данных обобщены современные представления об эволюции некоторых сторон гончарного производства: 1 – форм сосудов, 2 – декора сосудов, 3 – глинистого сырья, 4 – составов формовочной массы, 5 – технологии конструирования сосудов, 6 – функций гончарного круга, 7 – приемов обжига сосудов и 8 – теплотехнических устройств для их обжига. Выделены закономерности этих процессов на уровне макроэволюции, мезоэволюции и микроэволюции. In the article the author regards modern data on the evolution of vessel shapes, their decoration, main plastic raw material, pottery paste, techniques of vessel construction, potter’s wheel functions, ways of pottery firing and devices for firing. The development of these sides of pottery can be seen on three qualitatively different levels: macroevolution, mesoevolution, and microevolution. The abovedescribed patterns of evolution in pottery production clearly demonstrate that its development is a complicated systematically organized process in the history of mankind. This doesn’t conflict with multiple specific pottery traditions of different nations in different epochs. On the contrary, through their variety trends and patterns in this sphere of human culture were revealed.
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Бобровский, А. А. "On the Method of Study Vessels’ Shapes From Archeological Excavations". En ФОРМЫ ГЛИНЯНЫХ СОСУДОВ КАК ОБЪЕКТ ИЗУЧЕНИЯ. Crossref, 2018. http://dx.doi.org/10.25681/iaras.2018.978-5-94375-254-4.11-25.

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he author puts forward an original procedure of earthenware shapes study. Presentment of the procedure is prefaced by a big review of procedures and methods of analytical study of vessel shapes that exist in the Russian and foreign science. Along with the review principal methods are not just described but efficiency of these methods is analyzed. In result, the author concludes that, within analytical approach to earthenware shapes study, rather stable opinions on the prospects of vessels and their separate parts comparison with geometrical bodies emerged. The common characteristic of all these methods is the approach to vessel shapes study from positions of formal analysis. The procedure put forward by the author is based on perception of vessel shapes as the materialized result of a certain system of a potter’s physical efforts (compression, extension and lifting of clay during pottery making) distribution. Analysis of this system of a potter’s physical efforts distribution allows distinguishing the natural earthenware shapes structure. Places where a potter applied the particular force are marked with points of the greatest local flexure. These points represent borders of functional parts of a vessel consisting of functional parts. Since all earthenware vessels have some asymmetry, methods of this asymmetry elimination by way of the average contour of a vessel drawing are specially discussed in the article. The suggested procedure of vessel shapes analysis differs from all earlier ones because it considers vessels not as certain geometry creations but as materialized results produced by labor physiology of particular potters’ labor. The author holds that procedures and methods of vessels production study as a peculiar source of historical information should rest on this informal ground.
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Холошин, П. Р. y Ш. Шарма. "WOMEN’S POTTERY IN THE MODERN INDIAN CITY". En Вестник "История керамики". Crossref, 2023. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-343-5.226-246.

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В статье излагаются результаты обследования женской мастерской по производству традиционных глиняных печей-тандуров в г. Пуна (Ин дия, штат Махараштра). Производство тандуров оказалось тесно связано с гончарством. У мастериц зафиксирован навык составления формовочной массы по рецепту «глина + конский навоз + зола». Конструирование производится жгутами или лентами по кольцу с последующим выбиванием. Мастерицы владеют навыком изготовления сосудов с донно-емкостным монолитным начином. Для формовки используется каменный поворотный столик с подвижной осью. Готовые изделия подвергаются очажному обжигу, типичному для местных гончарных традиций. В результате исследования был сделан вывод, что даже в условиях урбанизации женщины из касты гончаров сохраняют наиболее архаичные черты домашнего лепного гончарства. Однако зафиксированные навыки труда находятся в неустойчивом состоянии вследствие экономического давления и интенсивных культурных контактов. Некоторые навыки, такие как обжиг изделий, использование поворотного столика, формовочная масса с навозом, вероятно, были привнесены в производство тандуров из местных гончарных традиций. A survey of a women’s workshop for the production of traditional clay ovens (tandoor) was conducted in Pune, Maharashtra, India. Tandoor making was closely associated with pottery. The skill in making the pottery paste with the recipe “clay + horse manure + ash” was documented. The building was performed with coils or massive bands placed in a circle, with a subsequent beating. Female artisans preserved a skill in making proper vessels with the bottom to wall solid seed-body. A stone turntable with a rotating pivot was used both in tandoor and pottery making. The finished pieces were fired in an oven typical of the local pot tery tradition. A conclusion was made that, even in an urbanising world women of the caste of potters retained the most archaic traits of a domestic hand-building pottery. However, the skills recorded are in an unstable state due to economic pressure and intense cultural contacts. Some skills, such as the firing, the use of a turntable, and the usage of manure for paste, were probably transferred into tandoor-making from the local pottery traditions.
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6

Волкова, Е. В. y Ю. Б. Цетлин. "ON NEW CRITERIA FOR DEFINING BIRD MANUREAS A TEMPER IN POTTERY PASTEOF ANCIENT CERAMICS". En Вестник "История керамики". Crossref, 2023. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-343-5.32-61.

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В классическом исследовании А.А. Бобринского «Гончарство Восточной Европы. Источники и методы изучения» (1978) был впервые выделен новый вид органической примеси в формовочной массе неолитической керамики – помет водоплавающих птиц и описаны признаки, по которым он может определяться. Одним из таких признаков является птичий пух и мелкие перышки, следы которых в изобилии присутствуют в волосовской керамике. Ряд исследователей отрицают использование птичьего помета в качестве искусственной примеси и утверждают, что древние гончары добавляли в формовочную массу птичий пух и перья в чистом виде. В статье изложены новые результаты специального исследования примеси птичьего помета в формовочной массе древней керамики. В качестве одного из основных признаков этой примеси рассматривается присутствие в керамике остатков и отпечатков хитинового экзоскелета насекомых, которые служат важным объектом питания птиц в период гнездования и выведения птенцов. A new type of organic temper, the aquatic bird manure, and its indicators in pottery paste of the Neolithic vessels was for the first time defined in the classic research by A.A. Bobrinsky “The Pottery of Eastern Europe. Sources and Methods of Study” (1978). One of such indicators is the down of birds and small feathers the traces of which are abundant in the Volosovo ceramics. A number of researchers deny the use of bird manure as an organic temper and claim that ancient potters added nothing else but the down of birds and small feathers to pottery paste.The article summarizes new results of a specific research on indicators of bird manure in pottery paste of ancient ceramics. The occurrence of remains and impressions in pottery paste of the chitin exoskeleton of insects, which were im portant source of food for birds in nesting and hatching season, is regarded as one of the main indicators of this type of temper.
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Цетлин, Ю. Б. "HISTORY OF STUDYING METHODS OF FIRING CLAY VESSELS". En Вестник "История керамики". Crossref, 2023. http://dx.doi.org/10.25681/iaras.2022.978-5-94375-369-5.52-83.

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В статье анализируется история развития знаний о приемах обжига древней глиняной посуды по археологическим данным в рамках эмоционально-описательного, формально-классификационного и историко-культурного подходов к изучению древнего гончарства. На основании анализа отечественной и зарубежной литературы делается вывод о том, что на современном этапе наиболее широкое распространение, особенно в зарубежной науке, получили естественно-научные методы изучения приемов термической обработки глиняной посуды. При этом основное внимание исследователями уделяется определению температуры и качества обжига сосудов. В отечественной науке в силу объективных причин применение естественно-научных методов получило более ограниченное развитие. Российские исследователи главным образом продолжают развивать историко-культурный подход к изучению обжига глиняной посуды, направленный на реконструкцию культурных традиций гончаров в этой области керамической технологии. The article analyzes the history of the development of knowledge about the methods of firing ancient pottery according to archaeological data within the framework of Emotional-and-Descriptive, Formal-and-Classication and Historical-and-Cultural approaches to the study of ancient pottery. Based on the analysis of domestic and foreign literature, it is concluded that natural sciences methods of studying the practices of heat treatment of pottery have becomethe most widespread at the present stage, especially in foreign science. At the same time, the researchers focus on analyzing the temperature and quality of firing vessels. The methods of natural sciences are not widely used in the science of our country due to objective reasons. Russian researchers mainly continue to develop a historical and cultural approach to the study of firing pottery, aimed at reconstructing the cultural traditions of potters in this field of ceramic technology.
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Kampel, M. y R. Sablatnig. "Profile-based Pottery Reconstruction". En 2003 Conference on Computer Vision and Pattern Recognition Workshop (CVPRW). IEEE, 2003. http://dx.doi.org/10.1109/cvprw.2003.10007.

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Chaudhury, Subhajit y Subhasis Chaudhuri. "Volume preserving haptic pottery". En 2014 IEEE Haptics Symposium (HAPTICS). IEEE, 2014. http://dx.doi.org/10.1109/haptics.2014.6775444.

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Seglins, Valdis. "EGYPTIAN PREHISTORIC POTTERY SHAPE ANALYSIS". En 16th International Multidisciplinary Scientific GeoConference SGEM2016. Stef92 Technology, 2016. http://dx.doi.org/10.5593/sgem2016/b11/s01.022.

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Informes sobre el tema "Pottery"

1

Laetsch, Joanne. A functional interpretation of pottery from Batan Island, Philippines. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.959.

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Torres, Joseph A. Structural analysis of an ancient pottery by using FT-IR technique. Office of Scientific and Technical Information (OSTI), marzo de 2013. http://dx.doi.org/10.2172/1068955.

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Moreva, O. L. LATE NEOLITHIC POTTERY OF THE SETTLEMENT CHEREPAKHA-13 IN THE SOUTHERN PRIMORIYE. "Росток", 2018. http://dx.doi.org/10.18411/mor-2018-26.

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Duelks, Jonathan. Determining Initial Firing Temperatures of Thule Era (1000-250 ya) Pottery from Two Northwest Alaskan Archaeological Sites. Portland State University Library, enero de 2015. http://dx.doi.org/10.15760/honors.152.

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Travé Allepuz, Esther, María Dolores López y Karen Alvaro Rueda. Greyware Pottery from Sant Miquel de La Vall: some Thoughts about the Distribution and Exchange of Utilitarian Cooking Pots in Medieval Catalonia. Edicions de la Universitat de Lleida, 2017. http://dx.doi.org/10.21001/itma.2017.11.07.

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Gassner, Verena, Alexander Sokolicek y Maria Trapichler, eds. Von Hyele zu Velia, Katalog K 1– K 244. Verlag der Österreichischen Akademie der Wissenschaften, abril de 2024. http://dx.doi.org/10.1553/978oeaw87714_katalog.

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The urban development of a city is often closely linked to its fortifications. Comprehensive research, undertaken by a multidisciplinary team from the University of Vienna between 1974 and 2001 in the Lower town of Velia, studied the evolution of the city walls in relation to the urban development of the Phocaean polis on the Tyrrhenian coast and provided new information on the development of the city mainly between the 5th and the 2nd c. BC. The study focused on the architecture of the fortifications as well as on a detailed analysis of the complex stratigraphy and the geology. A major force for the dynamics of urban evolution was ecological factors, mainly due to the instability of the slopes on which the city was built, and due to recurring, destructive sea floods.The contextualization and processing of the finds from these excavations (pottery, small finds and coins) allows for a new, precise dating of the individual periods of the urban development, ultimately changing older approaches. The newly understood relations have implications for the interpretation of the fortifications in other historical and cultural settings, as previously assumed.
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Gassner, Verena, Alexander Sokolicek y Maria Trapichler, eds. Von Hyele zu Velia, Fundtafeln. Verlag der Österreichischen Akademie der Wissenschaften, abril de 2024. http://dx.doi.org/10.1553/978oeaw87714_tafeln.

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The urban development of a city is often closely linked to its fortifications. Comprehensive research, undertaken by a multidisciplinary team from the University of Vienna between 1974 and 2001 in the Lower town of Velia, studied the evolution of the city walls in relation to the urban development of the Phocaean polis on the Tyrrhenian coast and provided new information on the development of the city mainly between the 5th and the 2nd c. BC. The study focused on the architecture of the fortifications as well as on a detailed analysis of the complex stratigraphy and the geology. A major force for the dynamics of urban evolution was ecological factors, mainly due to the instability of the slopes on which the city was built, and due to recurring, destructive sea floods.The contextualization and processing of the finds from these excavations (pottery, small finds and coins) allows for a new, precise dating of the individual periods of the urban development, ultimately changing older approaches. The newly understood relations have implications for the interpretation of the fortifications in other historical and cultural settings, as previously assumed.
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8

Skalak, Jerry A., Joseph H. Waring, Thomas A. Kirkeeng, Joseph L. Slater, Ronald E. Pulcher, Patricia L. Risser, Eugene G. Rand, Joseph H. Ross y Clinton A. Beckert. Potters Marsh Rehabilitation Enhancement,. Fort Belvoir, VA: Defense Technical Information Center, abril de 1992. http://dx.doi.org/10.21236/ada262779.

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Maurer, M. A. Water-quality data for Potter Marsh, Anchorage, Alaska. Alaska Division of Geological & Geophysical Surveys, 1997. http://dx.doi.org/10.14509/1814.

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Groth, Karen. Louis de Potter and the Belgian Revolution of 1830. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.3128.

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