Dissertations / Theses: 'Art pottery'

1

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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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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Anthony, Janice C. "The challenge of functional art /." Online version of thesis, 1986. http://hdl.handle.net/1850/8843.

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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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Davis, Emily Elizabeth. "The pottery notebook of Maude Robinson a woman's contribution to art pottery manufacture, 1903-1909 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 155 p, 2007. http://proquest.umi.com/pqdweb?did=1397899441&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Thesis (M.A.)--University of Delaware, 2007.
Principal faculty advisors: J. Ritchie Garrison and Ronald W. Fuchs, II, Winterthur Program in Early American Culture. Includes bibliographical references.

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Waite, Sally Ann. "Representing gender on Athenian painted pottery." Thesis, University of Newcastle Upon Tyne, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327231.

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Bothamley, Ryan J. "Pottery, the multi-sensual medium /." Online version of thesis, 2010. http://hdl.handle.net/1850/11887.

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Atkins, Ashley. "Pamunkey Pottery and Cultural Persistence." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539626585.

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9

Ifejika-Obukwelu, Kate Omuluzua. "Igbo pottery in Nigeria : issues of form, style and technique /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10939362.

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10

Fadorsen, Stephanie Alexandra. "American Art Pottery: Ohio's Influence on Transforming a Local Craft into a World Renowned Fine Art." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342890450.

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11

Bonga, Lily A. "Late Neolithic pottery from mainland Greece, ca. 5,300--4,300 B.C." Thesis, Temple University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564797.

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The Late Neolithic (defined here as the LN I of Sampson1993 and Coleman 1992) is both the culmination and the turning point of Greek Neolithic culture from the preceding phases. It lasts some 1,000 years, from approximately 5,300 to 4,300 B.C. The ceramic repertoire of the Late Neolithic period in Greece is a tremendously diverse body of material. Alongside this diversity, other aspects of the ceramic assemblage, such as Matt-painted and Black-burnished pottery, share broad similarities throughout regions, constituting a " koine." The commanlities, however, are most apparent during the earlier part of the Late Neolithic (LN Ia); in the later phase (LN Ib) phase, more regional variations proliferate than before.

In the Late Neolithic, all categories of pottery—monochrome, decorated, and undecorated—are at their technological and stylistic acme in comparison with earlier periods. While some of the pottery types demonstrate unbroken continuity and development from the preceding Early and Middle Neolithic phases, new specialized shapes and painting techniques are embraced.

For the first time in the Neolithic, shapes appear that are typically thought of by archaeologists as being for food processing (strainers and "cheese-pots"), cooking (tripod cooking pots and baking pans), and storing (pithoi ). More recent research, however, has demonstrated that these "utilitarian" vessels were more often than not used for purposes other than their hypothesized function. These new "utilitarian" vessels were to dominate the next and last phase of the Neolithic, the Final Neolithic (also called the Chalcolithic, Eneolithic, or LN II) when painted pottery disappears from most Greek assemblages just before the beginning of the Bronze Age.

During the past two decades, there has been much research into Late Neolithic Greece, particularly in Northern Greece (Macedonia). This dissertation incorporates the most up-to-date information from these recent excavations with the older material from sites in Thessaly, Central Greece, and Southern Greece. Since this study draws solely upon published material, both old and new, there are certain limitations to the type of analysis that can be performed. The approach, then, is more of an art-historical and historiographical overview than a rigorous archaeological analysis. It provides an overview of the major classes of pottery (decorated, monochrome, and undecorated) and their primary shapes, motifs, and technological aspects. While it emphasizes commonalities, regional and chronological variations are also highlighted. The technological means of production of vessels, their use, circulation, and deposition are also considered.

The structure of this paper is that each pottery chapter is devoted to a broad class (such as Matt-painted), which is broadly defined and then more closely examined at the regional level for chronological and stylistic variations. Likewise, a sub-section then discusses the technology of a particular class and its regional and or chronological similarities and differences. When necessary, outdated scholarship is addressed and rectified.

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12

Chen, Suifeng. "Cultural Exchange Centre & Chinese Ceramics Museum in Shenzhen." Click to view the E-thesis via HKUTO, 1997. http://sunzi.lib.hku.hk/hkuto/record/B31983236.

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Thesis (M.Arch.)--University of Hong Kong, 1997.
Title also in Chinese : Zhong Guo Shenzhen : Wen Hua Jiao Liu Zhong Xin Ji, Zhong Guo Tao Ci Bo Wu Guan. Includes special report study entitled : Lighting for museum & courtyard space. Includes bibliographical references. Also available in print.

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Ming, Mei. "The evolution of Buddhism and the development of ceramic art in China." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38574718.

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14

Mills, Lori. "Floralware /." Online version of thesis, 1989. http://hdl.handle.net/1850/10924.

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Lyons, Mark W. "American dreams /." Online version of thesis, 1990. http://hdl.handle.net/1850/11237.

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16

Mantzourani, Eleni. "Pictorial pottery of the LMIA period on Crete and Thera." Thesis, Royal Holloway, University of London, 1985. http://repository.royalholloway.ac.uk/items/7d1f0181-591e-4778-89ee-0482fc7b890d/1/.

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The present study examines the pictorial style of pottery made in Thera and Crete in the LCI/LMIA period. The work is in two volumes. Volume I is divided into three parts. Part I comprises the introductory chapter in which there is a summary of previous research on the subject and the aims of the thesis are set out. Chapter II the context of the pictorial style of pottery is examined. Chapter III contains analysis of the forms of vases with pictorial decoration. Part II includes three chapters dealing with the Analysis of Motifs. The plants are analysed in Chapter IV, the living creatures in Chapter V and the sacred symbols in Chapter VI. Part III comprises the Synthesis. In Chapter VII an attempt is made to identify pottery workshops specializing in different vase forms and decoration. Chapter VIII examines the origin and character of the pictorial style of pottery in the Cyclades and Crete. Finally in the last Chapter IX, conclusions regarding the character, context, forms and motifs, workshops and development of the pictorial style pottery are presented. A possible ritual function of the pottery is discussed. Interrelations and influences between the cultures Of Thera and Crete on various Levels are demonstrated. Volume II contains a Catalogue Of the available pottery, presented in two groups: the first from Thera and the second from Crete. The illustrations — figures and photographic plates — come at the end of Volume II.

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Peterson, Sarah Elizabeth. "Selected Diagnostic Pottery From Destruction Deposits on the Citadel of Mycenae: Building Kappa." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/120399.

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Art History
M.A.
This study presents a preliminary examination of the pottery from Building Kappa, a recently excavated building on the citadel of Mycenae. Resulting from a formal detailed analysis of a portion of the recovered ceramic assemblage, this research corrects several errors recorded in notebooks at the time of excavation before the pottery was washed and studied. The excavated area of Building Kappa contained three different levels: Stratum 4/6, a deposit associated with the structure that shows it went out of use in the LH IIIB period; Level 3, a deposit consisting of baulks left unexcavated by early expeditions in the 1890's, which consists of an LH IIIC level from habitation near this area after the building went out of use; and Deposit 2beta, a modern backfill containing both Bronze Age and Hellenistic pottery that was spread across the site in modern times. The importance of the study is that it clarifies the stratigraphy of the area of Building Kappa and allows preliminary observations about the nature of the occupation at this location. More importantly, this research indicates the need for a more detailed examination of the remainder of the unstudied ceramic assemblage.
Temple University--Theses

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18

Champagne, Eva Lys. "Animal vegetable mineral." Diss., [Missoula, Mont.] : The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-06012009-204704.

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Wheeler, Joseph M. "Fetish and the object." Thesis, The University of Sydney, 2009. https://hdl.handle.net/2123/28924.

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Dissertation: The dissertation has evolved from an interest about the various nuances of the term fetish. It is a term, which can cause embarrassment, or a ‘giggle’. This I believe is because the idea of the sexual fetishist holds a certain curiosity to a wide cross section of society. The word usually conjures up images of people clad in studded, leather outfits in dimly lit cellars. It is a term however that has entered into the modern vernacular. It is a concept, which seems highly applicable to hand crafted objects and to their makers. I have sought with this research to find reasons why certain objects seem to hold such importance in my life in general, and as a maker of objects. As began to question my choice of imagery, I came to see the link between masculinity and the fetish. Studio Work: I have been interested in what I call decorative ceramics. I suppose I have been more concerned more with the surface appearance or my work. I feel that printing on ceramics has been marginalised for most of the twentieth century. To a large extent this is a hangover from modernism and the strong influence of the Japanese aesthetic. I have continued to use the vessel as a vehicle for narrative. These forms have become more ornate and moved further away from the functional object. I have been influenced by exhibits of art objects in European collections from the eighteenth and nineteenth centuries during my exchange to Germany in 2009. In particular, objects at the Victoria and Albert Museum and the Schloss (Palace) of the former kings of Saxony, in Dresden. I visited small and large-scale (Meissen) factories, where they are still using a variety of decorative techniques such as decals, on glaze enamels and modelling on ceramics.

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Peterson, Sarah Elizabeth. "Late Helladic IIIC Pottery at Mycenae: Production Trends after the Collapse of Palatial Administration." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/442089.

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Art History
Ph.D.
This dissertation examines trends in the production of pottery at Mycenae in the Late Helladic (LH) IIIC period (ca. 1200–1125 B.C.E) through the analysis of published ceramic material from the site. It includes my own study of select unpublished material from recent excavations on the Citadel (Building Kappa) and in the Lower Town. The LH IIIC period, considered the beginning of the Dark Ages in Greece, immediately followed the end of the Mycenaean palatial system, a phenomenon referred to as the Collapse. The Collapse is characterized by the complete destruction of many sites, possible loss of population, and a decrease in the number of occupied areas, and the subsequent LH IIIC period is associated with socioeconomic, demographic, and artistic decline. There are, however, notable indications of continued activity at many Greek mainland sites, a notable sign being the proliferation of elaborate vase painting. Through an examination of how certain pottery shapes and decorative styles were manufactured and utilized at LH IIIC Mycenae, key trends and developments can be discerned, and the changing preferences of the market for which these objects were produced can be understood. I conclude that these developments can be characterized as intentional responses of potters to the crisis that followed the demise of the palatial administration. Potters in LH IIIC were able to create and exploit a sustainable market, one that both reflected and influenced shifting political and social realities of communities now operating outside of a palace-dominated system; their advances would influence pottery production in Greece for centuries to come.
Temple University--Theses

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21

Bonga, Lily Alexandra. "Late Neolithic Pottery from Mainland Greece, ca. 5,300-4,300 B.C." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236215.

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Art History
Ph.D.
The Late Neolithic (defined here as the LN I of Sampson 1993 and Coleman 1992) is both the culmination and the turning point of Greek Neolithic culture from the preceding phases. It lasts some 1,000 years, from approximately 5,300 to 4,300 B.C. The ceramic repertoire of the Late Neolithic period in Greece is a tremendously diverse body of material. Alongside this diversity, other aspects of the ceramic assemblage, such as Matt-painted and Black-burnished pottery, share broad similarities throughout regions, constituting a "koine." The commonalities, however, are most apparent during the earlier part of the Late Neolithic (LN Ia); in the later phase (LN Ib) phase, more regional variations proliferate than before. In the Late Neolithic, all categories of pottery--monochrome, decorated, and undecorated--are at their technological and stylistic acme in comparison with earlier periods. While some of the pottery types demonstrate unbroken continuity and development from the preceding Early and Middle Neolithic phases, new specialized shapes and painting techniques are embraced. For the first time in the Neolithic, shapes appear that are typically thought of by archaeologists as being for food processing (strainers and "cheese-pots"), cooking (tripod cooking pots and baking pans), and storing (pithoi). More recent research, however, has demonstrated that these "utilitarian" vessels were more often than not used for purposes other than their hypothesized function. These new "utilitarian" vessels were to dominate the next and last phase of the Neolithic, the Final Neolithic (also called the Chalcolithic, Eneolithic, or LN II) when painted pottery disappears from most Greek assemblages just before the beginning of the Bronze Age. During the past two decades, there has been much research into Late Neolithic Greece, particularly in Northern Greece (Macedonia). This dissertation incorporates the most up-to-date information from these recent excavations with the older material from sites in Thessaly, Central Greece, and Southern Greece. Since this study draws solely upon published material, both old and new, there are certain limitations to the type of analysis that can be performed. The approach, then, is more of an art-historical and historiographical overview than a rigorous archaeological analysis. It provides an overview of the major classes of pottery (decorated, monochrome, and undecorated) and their primary shapes, motifs, and technological aspects. While it emphasizes commonalities, regional and chronological variations are also highlighted. The technological means of production of vessels, their use, circulation, and deposition are also considered. The structure of this paper is that each pottery chapter is devoted to a broad class (such as Matt-painted), which is broadly defined and then more closely examined at the regional level for chronological and stylistic variations. Likewise, a sub-section then discusses the technology of a particular class and its regional and or chronological similarities and differences. When necessary, outdated scholarship is addressed and rectified.
Temple University--Theses

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22

Campbell, Emily G. "Bracquemond, Ruskin, the Haviland-Hayes Service, and Rookwood: Japonisme and Permanence in Art Pottery." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3771.

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There are two principle arguments in this thesis. First, this thesis will show that Félix Bracquemond had a profound impact on late-nineteenth-century and early-twentieth-century ceramics in America. Second, this thesis will illustrate how John Ruskin’s principle that pottery is “more permanent than the Pyramids” encouraged reform of the ceramic arts and shaped the Art Pottery Movement of the late nineteenth century. After this thesis introduces Bracquemond as an innovator in ceramic decoration and the dissemination of Ruskin’s principle, the thesis will examine two instances in the American Art Pottery Movement in which Bracquemond’s and Ruskin’s influence can be detected. The first is Theodore Davis’s 1879 design for the Haviland-Hayes Service, the White House dinner service for Rutherford B. Hayes. The second case study is the Rookwood Pottery of Cincinnati, which represents the apex of Bracquemond’s influence in America and Ruskin’s principle of the permanence of pottery.

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Deakins, Lahla K. "Women, Art, and Community: A Proposal for a Non-Profit Pottery Program in Appalachia." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1997.

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Many Appalachian women are creative individuals who enjoy making and sharing quilts, songs, paintings, poetry, and other art. However, many women in rural areas of Central Appalachia lack access to basic resources because of poverty. While many agencies help poor women find shelter, clothing, and food, there are few that help them find their creative voices. I assert that women who are given the tools to practice creative expression can overcome the mental oppression of poverty to become self-assured individuals who benefit their communities. This thesis examines the socioeconomic condition of women in Central Appalachia and the positive impacts of pottery in the lives of women potters in the United States to make the case for a non-profit pottery program in Appalachia. The research covers the time period from the early 1900s to 2008 and employs scholarly journal articles, books, Web sites, and interviews to support the thesis.

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Worth, Janet. "The distinctive fish motif on a 14th century Iranian bowl in the Art Gallery of South Australia's William Bowmore Collection of Islamic ceramics /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmw932.pdf.

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De, Muro Theodore Edward. "Making a case for clay in art education /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130215x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).

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Kaha, Myra. "The vessel and the sacred." Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4791.

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Thesis (M.F.A.)--West Virginia University, 2006.
Title from document title page. Document formatted into pages; contains v, 15 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 13).

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Stellaccio, Anthony E. "The Past is Open to the Future: Lithuanian Folk Pottery 1861 - Present." TopSCHOLAR®, 2016. http://digitalcommons.wku.edu/theses/1645.

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In 2011, following several years of in-country research, I published a book on Lithuanian folk pottery. I enrolled in the Folk Studies master’s program at Western Kentucky University (WKU) in 2014, well after my research and book had been completed. In the present study, I use my newly acquired knowledge of folklore In my previous work to revisit Lithuanian folk pottery. In my previous work, I had sought to create a picture of “authentic” Lithuanian folk pottery that was confined to the narrow temporal borders of 1861-1918. Here I deconstruct conventional ideas about authenticity, as well as culture and heritage, in order to expand my study to three additional periods: the interwar period of independence (1918-1940), the Soviet period (1940-1990), and the post-Soviet period (1990-present). Examining additional epochs of folk pottery production, I search for the commonalities and continuities binding together both objects and makers through seemingly disparate eras marked by dramatic political, social, and economic ruptures. To do this I examine the interconnected roles of political ideology, revised historical narratives, cultural policy, socio-economics, and concepts of cultural identity. Sifting through these various facets of national identity, I ultimately find that it is in the consistent nature of the adaptations that folk potters and artists make to the dramatically changing circumstances where consistent patterns are found. It is in these circumstances that people must survive, as individuals, a culture, and a nation. This study relies upon three central components: My previous research, texts related to folklore and cultural theory, and a wealth of new interviews conducted in Lithuania between September and November of 2015. Utilizing these tools, I move beyond my previous aim of reconstructing a period of history to engaging with art and culture as living, dynamic phenomena that are ever-changing and present but which possess roots in history and tradition.

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Ming, Mei, and 明梅. "The evolution of Buddhism and the development of ceramic art in China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38574718.

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Knowles, Jannette Marie Jelen. "Out of the hands of orators: Mary Louise McLaughlin, Adelaide Alsop Robineau, the American art pottery movement, and the art education of women." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250706319.

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Knowles, Janette Marie Jelen. "Out of the hands of orators : Mary Louise McLaughlin, Adelaide Alsop Robineau, The American Art Pottery Movement, and the art education of women." Connect to resource, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227549126.

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Mark-Ng, Elsa. "Public Art in Outdoor Space: How Environmental Art Can Influence Notions of Place." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1559347543553644.

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32

Murphy, Eric. "Five earthenware vessels with mixed media for reflection and contemplation." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941719.

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As humans and society have evolved, living has become more abstract and individualized. This report on the creative project discusses the artistic process and how each of the five works personalized or called attention to the abstractness of a beholder's existence. Each of the mixed-media works centered around a hand-built ceramic granary form which referenced the human drive to store resources. During exhibition at Ball State University, beholders would construct an association to storage by resolving the disparities caused by the mix of images and materials in each artwork.The artistic process was defined into three categories of experiences: personal investigation, experimentation and skill-building. A major component of personal investigation was the development of the Visual Vocabulary, a collection of devices, images and ideas from the artist's life experiences. The experimentation category occurred when the elements of the visual vocabulary were conceptualized into a scenario for an artwork. The physical work involved in making each artwork was part of the skill-building category. How each work was constructed and the exhibition was also discussed.
Department of Art

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Wagh, Vaishali D. "Assembling form and space : ceramics as an assemblage." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1355258.

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This project examines the relationship between form and the resultant space that it encloses, through a process of assembly. The process consists of assembling materials in Phase 1, and assembling parts cut-out from a homogenous ceramic form in Phase 2. Embedded in the act of assembly is the designer's ability to construct the object in multiple formal configurations. Manipulating the form (solid) results in mutation of the space (void) held within and in-between the solid, and vice-versa. Four formal concepts guide the process of assembly in this study: interplay of solid and void, manipulation of the material skin, dynamic visual motion, and light as a building materialThe research in this paper consists of literature survey, precedent studies on two ceramic artists, and analysis of art exhibits.The significance of this project lies in its ability to blur the boundaries between academic disciplines of metalsmithing and ceramics, art and architecture. Design resulting from the overlap between disciplines has vast potential and can lead to dynamic possibilities.
Department of Art

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Holden, Maxwell L. "Pandemonium and Succession." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595497411059288.

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Roper, Gary G. "A sense of Sp(Pl)ace." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1387.

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Thesis (M.F.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains iv, 27 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 21).

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McCreary, Kevin. "Chickenware." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1240153974.

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Thesis (M.F.A.)--Kent State University, 2009.
Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Kirk Mangus. Keywords: Chickenware, ceramics, craft, pottery, Kevin, McCreary. Includes bibliographical references (p. 15).

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Pena, Jose Luis. "Pottery Production during the Late Horizon in the Huancabamba Valley, Cajamarca - Peru." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4559.

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Elemental analysis of pottery sherds provided insights on the ceramic production in the Huancabamba Valley (northern highland-Peru) and the way in which the Incas administrate the provinces. The pottery sherds from six archaeological sites selected for elemental analysis indicated the use of similar clay sources in the manufacture of pottery. The production of ceramic vessels took place at the local level without the strict control of the Inca state. The Incas built administrative structures in the Huancabamba Valley in order to maintain control of their road system, which connected the north area of Peru to Ecuador. The ceramic assemblage recovered from Inca sites does not illustrate typical Inca pottery style or decoration from the heartland. The administrative centers built by the Incas throughout the Empire provided the means to support state activities such as pottery production of local wares. In addition, ethno-historic evidence suggests that during the Inca period coastal communities were relocated to highland settlements in order to serve as officers in state facilities, or to maintain the Inca road system. These coastal communities continue producing pottery following the traditional techniques from their homeland.

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Gluckman, Amie. "Minoan Barbotine Ware: Styles, Shapes, and A Characterization of the Clay Fabric." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/337064.

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Art History
M.A.
This paper examines the styles, shapes, and chemical composition, and ceramic fabric of Minoan Barbotine Ware. During the Middle Minoan period, Barbotine Ware exemplifies the creative ingenuity of the Minoan potter. The vessels’ elaborate decorative motifs play an integral part in the development of Minoan pottery. Barbotine Ware remains an ill-defined tradition. This paper will analyze the styles and shapes of Barbotine Ware vessels, as well as provide a chemical and petrographic study of Barbotine Ware from Kommos. The ultimate goal is to provide a thorough study of all aspects of the Ware in the hopes that future scholars may better understand its place within Minoan pottery and appreciate how it exemplifies the spirit of experimentation during the Middle Bronze Age on Crete.
Temple University--Theses

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Kemp, Kassie Christine. "Pottery Exchange and Interaction at the Crystal River Site (8CI1), Florida." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5971.

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The Crystal River site (8CI1) is a Woodland-period mound (ca. 1000 BC to AD 1050) complex located on the west-central Gulf coast of Florida. Links to the Hopewell Interaction Sphere suggest that the people of Crystal River had connections with a broad range of communities, yet little is known concerning the role the site played in local, regional, or long-distance exchange networks. Pottery traditions vary amongst different communities of practice, therefore the level of interaction at Crystal River can be measured by looking at variation in the ceramic assemblage. I combine type/attribute, vessel form and function, gross paste, and chemical analyses to determine the amount of variability present in the pottery assemblage. These analyses show that Crystal River has a high level of ceramic variation with some spatial and temporal patterning. To determine Crystal River’s membership in and potential role within a sphere of interaction, I compare these patterns to three community types with diverse social interfaces. This research suggests that Crystal River may have started out as a homogenous, residential community but through time began to interact with a number of diverse, regionally associated communities drawn to the site for special occasions.

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Busby, Jim Burton Carson. "Intrinsic motivation." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/1298.

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Art, for all its apparent simplicity is anything but straightforward. I admire and strive to make work that, when first introduced is both comfortable and exciting. I aim for work that is true to its medium. I want my work to be approachable, inviting, though questioning and introspective just the same. I think art should make the world a better place. I admire the technicality that is inherent to minimalism. I think at the least, an acceptable piece of art should be an insight into the world of the viewer.

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Gerleigner, Georg Simon. "Writing on archaic Athenian pottery : studies on the relationship between images and inscriptions on Greek vases." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610545.

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Åkerman-Engström, Linus. "A palette of cultural traces : A sample study of Predynastic animal depictions on palettes and D-ware pottery." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-354742.

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There are no written sources are available from the Predynastic period, but an array of art decorated artefacts has been found. This essay will take a closer look at one type of these artefact; the animal shaped stone palette to see what art of this artefact can tell us about the culture that made them. I will do so by looking at the animal depictions found on the palettes, to allow comparison I will include D-wear, a decorated Predynastic pottery type. I have put together two data sets for the respective artefact that forms the base for this study. My theoretical perspective is that the art depictions of artefact as traces of the culture that made them. The palettes show a variety of patterns that can be seen as such traces in which type of animals are most common, how the animals can be connected by habitat and which animal depiction gets decorated features. My look at the D-ware data set is only brief but shows that animals are quite rare on the pottery and includes only three different kinds of animals. These still correlates with the animal palettes by both artefacts having birds as the most common. The bovids has an almost equal occurrence on the palettes and D-ware in my data sets. Other than this the animal depictions differ notably between the two artefacts. As the traces of culture does not provide any details, this study has given new questions that can be studied further in greater depth.

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Lewis-Nash, Robert J. "Old Fields and New Fields: Ceramics and the Expanded Field of Sculpture." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin150695125608167.

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Nostrom, Rachel. "Portable X-ray Fluorescence Analysis of Pottery at the Bayshore Homes Site in Pinellas County, Florida." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5285.

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The Bayshore Homes site was occupied intermittently over a period of approximately twelve hundred years, with the two main occupation periods being CE 150-550 and CE 900-1350. During those lengthy occupations a substantial amount of plain and decorated pottery was discarded at the site. A portable X-ray fluorescence (pXRF) spectrometer was utilized to analyze the elemental composition of 133 sherds, both decorated and plain. The resulting elemental composition data were then analyzed using multivariate statistics in an attempt to discern discrete clay sources that may have been exploited by inhabitants of the Bayshore Homes site. Principal component analysis (PCA) and discriminant function analysis (DA) were employed to identify three discrete clay sources exploited in the production of pottery. The results of the statistical analyses were then used to answer two basic, yet pertinent, questions about the Bayshore pottery: 1) Were the same clay sources exploited during both occupation periods? 2) Were the same clay sources exploited for both decorated and plain pottery? The results of the statistical analyses indicate that the same clay sources were exploited for both occupation periods, though evidence suggests that the dominant clay source in use did change over time. The results also imply that the same clay sources were utilized in the production of plain and decorated pottery, which suggests that at least some portion of the decorated pottery excavated from the Bayshore site was produced locally, and not obtained through trade. Finally, the results of this research demonstrate that pXRF is a useful tool for preliminary differentiation of clay sources in Florida.

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Kettunen, Harri J. "Nasal motifs in Maya iconography." Diss., Helsinki : Helsinki University Printing House, 2005. http://ethesis.helsinki.fi/julkaisut/hum/renva/vk/kettunen/.

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Laforge, Travis. "Specialization in Small-Scale Societies: The Organization of Pottery Production at Kolomoki (9ER1), Early County, Georgia." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4115.

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Investigating the organization of production systems can reveal much about a society, in particular how resources and labor were allocated, and the influence that economic, political, social, and ceremonial institutions had on the production process. Interpreting the nature of specialized production is useful for understanding how production was organized. In turn, the degree of standardization exhibited by the goods being produced is used to determine the nature of specialization. While archaeological research regarding specialized production has expanded over time to incorporate a wide range of societies, such research is often focused on complex societies. The research presented here focuses on the small-scale, or non-stratified, community that once inhabited the Kolomoki site, a Middle to Late Woodland period site in Early county, Georgia. This thesis utilizes a three-dimensional laser scanner to document Weeden Island pottery from Kolomoki. The digital images created by the scanner were used to measure incising and punctation marks. The measurements were then analyzed in order to determine the extent of standardization among the decorative attributes. Results suggest that standardization varies among different subsamples of pottery. However, the overall degree of standardization is relatively low, thus suggesting that specialized production may not have existed, or was very limited, at Kolomoki. Despite the limited extent of standardization among the decorative attributes, the results of this research, especially in conjunction with previous research, suggest that some pottery may have been afforded special attention during the production process. In particular, pottery from mound proveniences, and socially valued goods, notably sacred and prestige items, demonstrate higher degrees of standardization. This leads to the conclusion that the production of Weeden Island pottery was likely influenced by ritual and ceremonial activity within the Kolomoki community. This thesis contributes to a greater understanding of specialization in non-stratified Woodland period societies in the southeastern United States.

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Scansani, Marco. "Giovanni De Fondulis : un protagonista dell’arte della terracotta nel Quattrocento tra Lombardia e Veneto." Doctoral thesis, Scuola Normale Superiore, 2020. http://hdl.handle.net/11384/85778.

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Simmons, John Daniel. "Newfangled." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1702.

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This thesis paper supports the Master of Fine Arts exhibition at the B. Carroll Reece Museum, East Tennessee State University, from March 9th through April 22nd, 2010. The exhibit is comprised of 62 unique ceramic pieces, which are presented on pedestals and wall mounted shelves. The exhibition presents the artist's exploration of form and surface used to create functional pottery. Topics discussed are the influences, concepts, techniques, and methods used to create the work. Included are process images, detail images, and images of selected works from the exhibition.

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Saccente, Julie Rogers. "Archaeology of the Early Eighteenth-Century Spanish Fort San José, Northwest Florida." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4572.

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The Spanish Fort San José, located on the St. Joseph Peninsula, was occupied from 1719 until 1723. This site is significant as it preserves key details on Spanish settlement, trade, and ethnic diversity on the northern Gulf Coast and relationships with aboriginal and other European peoples of the region. The first archaeological testing of this site was conducted in the 1960s, but limited information exists on this work, and the fort's structural remains are now gone. My research examines a recently discovered artifact collection from this site and combines the new data with information from extant collections from Florida State University and the University of West Florida. The research aims first, to document the large body of materials from the site, then to provide new insights on the nature of this remote and short-lived colonial outpost and how this settlement compares in material culture and inferred social and economic behavior with other contemporaneous aboriginal and Spanish settlements, including Santa Maria de Galve in Pensacola, approximately 225 km (140 mi) to the west, and Mission San Luis de Talimali in Tallahassee, approximately 127 km (79 mi) to the east. My artifact analysis, coupled with description from historical documents, resulted in the determination that Fort San José was not simply an outpost but is actually very similar to Santa Maria de Galve and Fort San Luis at the Mission San Luis de Talimali in both function and the artifacts that were left behind. Fort San José was intended to be a strong Spanish presence in the Gulf Coast, as evidenced by the number of individuals living here, the interactions they had with other colonial powers, and the remarkable footprint they left in just four short years.

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Schwartz, Rachel. "Edwin Atlee Barber collecting Pennsylvania, defining America /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 34 p, 2007. http://proquest.umi.com/pqdweb?did=1691249371&sid=7&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Dissertations / Theses on the topic 'Art pottery'

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