To see the other types of publications on this topic, follow the link: Art pottery.
Journal articles on the topic 'Art pottery'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Art pottery.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Lykova, Oksana. "The Formation of the Personal Collection of Ivan Bilyk at the National Museum of Pottery." Ethnic History of European Nations, no. 73 (2024): 127–32. http://dx.doi.org/10.17721/2518-1270.2024.73.16.
Full textAbstract:
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.
2
Espenshade, Christopher T. "Mimbres Pottery, Births, and Gender: A Reconsideration." American Antiquity 62, no. 4 (October 1997): 733–36. http://dx.doi.org/10.2307/281893.
Full textAbstract:
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.
3
Tharu, Manoj Kumar. "Kohar, the Potters of Terai: An Ethnicity Sustaining the Art of Pottery." East African Journal of Traditions, Culture and Religion 7, no. 1 (February 18, 2024): 1–13. http://dx.doi.org/10.37284/eajtcr.7.1.1761.
Full textAbstract:
Potters are artists, and pottery is an ancient art of making artifacts from clay. The earthenware mainly includes items like lamps, pots, idols, etc., which are baked in fire and have been used in day-to-day activities, including cooking, decorations, and religious functions since the earliest date of human civilization. This paper is based on the descriptive method and aims to assess the traditional lifestyle of Kohar, the potter community in the Terai of Nepal. The direct interview was conducted with active pot makers residents of Rupandehi district, Nepal, to know they utilize what raw materials and equipment, what procedures for making a typical pottery are, what kinds of general earthenware are being produced, and what current difficulties affecting their tradition and culture. This cross-sectional study was conducted on the occasion of Dipawali, a Hindu festival in November 2023, and leads to the conclusion that the Kohar community of Nepal is encountering issues like shortage of quality soil, lack of market, and decreased interest of new generation in the pottery
4
Tsoumas, Johannis. "Traditional Japanese pottery and its influence on the American mid 20th century ceramic art." Matèria. Revista internacional d'Art, no. 18-19 (September 16, 2021): 139–53. http://dx.doi.org/10.1344/materia2021.18-19.6.
Full textAbstract:
The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Japanese pottery, believed that they should disseminate the philosophy of traditional Japanese pottery around the world and especially in the post-war U.S.A. where it found a significant response from great American potters and clay artists, but also from the educational system of the country. This article aims to focus precisely on the significant influence that postwar American ceramic art received from traditional Japanese pottery ideals. The author in order to document the reasons for this new order of things, will study and analyze the work of important American potters and ceramic artists of the time, and will highlight the social, philosophical and cultural context of the time in which the whole endeavor took place.
5
Lykova, Oksana. "Сlay «Horses» by Mykhailo Kytrysh." Ethnic History of European Nations, no. 65 (2021): 36–40. http://dx.doi.org/10.17721/2518-1270.2021.65.04.
Full textAbstract:
The outstanding Opishne potter Mykhailo Kytrysh devoted his whole life to the production of pottery. His work has been awarded numerous prizes, diplomas, certificates, medals. The potter paid considerable attention to the creation of zoomorphic sculpture, in particular «horses». This is a favorite work of the potter, which he reproduced throughout his career. Emphasis is placed on changing the proportions and decor of these products (glued and the use of colored glazes). For analysis, a personal collection of potter’s pottery from the funds of the National Museum of Ukrainian Pottery in Opishne and a private collection of pottery of the Kytrysh family were taken. For comparison, photos of Mykhailo Kytrysh’s products from private archives and various publications were used. The article traces the transformation of Mykhailo Kytrysh’s «horses». The image of the “horse” runs through all the works of the author. The potter turned to him not by chance. When he came to work at the Art Ceramics Factory, Mykhailo Kytrysh first carried clay on a horse, which became a true friend to his husband and was remembered for a lifetime. The first known zoomorphic sculpture «horse» dates back to 1962, the last – 2007. Since Mychailo Kytrysh did not specialize in decorating products with engobes, and horses decorated with paintings, in his legacy is not found. The master focused on the glued decor and color glazes. The development of Mykhailo Kytrysh’s creative handwriting was influenced by several factors. In 1971, an art-experimental creative laboratory was established at the Art Ceramics Factory. Mykhaylo Kytrysh became one of her creative masters. In his free time he worked at home, so he could experiment with molds, glazes, without worrying about factory norms and standards. In addition, the potter constantly participated in various exhibitions, which required a variety of forms. All this contributed to the improvement and diversification of the image of the «horse», as well as other products
6
Lykova, Oksana. "Development of individual creative style of potter Mykhailo Kytrysh." Ethnic History of European Nations, no. 67 (2022): 98–102. http://dx.doi.org/10.17721/2518-1270.2022.67.12.
Full textAbstract:
The outstanding Opishnia potter Mykhailo Kytrysh devoted his whole life to the production of pottery. His work has been awarded numerous prizes, diplomas, certificates, medals. For many years, Mykhailo Kytrysh worked at the Art Ceramics Factory as a creative master of the art-experimental creative laboratory, which was founded thanks to the efforts of Petro Ganzha in 1971. Working in the laboratory gave more time for creativity. The master had the opportunity to conduct various experiments with the form and decor of products. However, there were rules and plans for the manufacture of products, as in all others. Mykhailo Kytrysh is one of the few local potters who has had his own workshop at home since the 1970s. At the same time, with the help of local potter Joseph Sulym, he built a kiln for firing pottery. This to some extent contributed to the formation of the individual style of the master. In his free time he worked at home, so he could experiment with forms, glazes, without worrying about factory norms and standards. According to the potter, he has not missed a single exhibition since he had kiln, which has helped to popularize his art. One of the reasons for appearance of the workshop and the kiln by Mykhailo Kytrysh was the fact that he was overlooked when the first Opishnia’s potters were admitted to the Union of Artists of Ukraine. One of the reasons for the appearance of the horn by Mykhailo Kytrysh was the fact that it was overlooked when the first Opishnia potters were admitted to the Union of Artists of Ukraine. Mykhailo Kytrysh was admitted to the Union for the second time in 1971. The potter decided that he would work independently and would not depend on anyone in the future. Thanks to the opportunity to work at home without the guidance of management, Mykhailo Kytrysh developed his own creative style in the art of ceramics. His works are unique due to a unique way of decorating – a combination of different color glazes.
7
Peters, Edem Etim, and Ruth Mataba Gadzama. "Influence of British Pottery on Pottery Practice in Nigeria." European Journal of Engineering Research and Science 4, no. 6 (June 12, 2019): 19–24. http://dx.doi.org/10.24018/ejers.2019.4.6.1254.
Full textAbstract:
The pottery narratives of Nigeria majorly linked with the activities of a great British potter Michael Cardew who Established pottery centres in Nigeria, and trained many Nigerians in Pottery. Cardew studied under Bernard Leach (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan VI in Japan and returned to England in 1920 to establish his own pottery at St. Ives with Shoji Hamada. The impact in pottery created by Cardew in Nigeria from 1950 is a direct British Pottery influence imparted to him by leach at St. Ives. A British potter and artist, Kenneth C. Murray studied pottery under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray produced pottery wares from the Kiln he built at Uyo and took his students to exhibit the ware along with other art works at Zwember gallery (Britain) in 1937. Chief Adam Joshua Udo Ema also studied pottery in 1949 in Britain and later returned to work as a pottery officer at Okigwe Pottery centre as well as established three pottery centres in Nigeria Namely; Ikot Abasi Pottery centre at Etinan, Pottery centre at Mbiafun Ikono, and pottery centre at Ikot Ntot in Abak. Many other Nigerian studied pottery in Nigeria. Lady Kwalii pottery experience was influenced by Michael Cardew. Her pottery influence seen pottery products exhibited in various parts of the world depicted a coordination of Niger and British Pottery influences. A case study design is considered for methodological approach. Data were taken from primary and secondary sources and analyzed respectively. British influence on Nigeria is indeed outstanding.
8
Peters, Edem Etim, and Ruth Mataba Gadzama. "Influence of British Pottery on Pottery Practice in Nigeria." European Journal of Engineering and Technology Research 4, no. 6 (June 12, 2019): 19–24. http://dx.doi.org/10.24018/ejeng.2019.4.6.1254.
Full textAbstract:
The pottery narratives of Nigeria majorly linked with the activities of a great British potter Michael Cardew who Established pottery centres in Nigeria, and trained many Nigerians in Pottery. Cardew studied under Bernard Leach (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan VI in Japan and returned to England in 1920 to establish his own pottery at St. Ives with Shoji Hamada. The impact in pottery created by Cardew in Nigeria from 1950 is a direct British Pottery influence imparted to him by leach at St. Ives. A British potter and artist, Kenneth C. Murray studied pottery under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray produced pottery wares from the Kiln he built at Uyo and took his students to exhibit the ware along with other art works at Zwember gallery (Britain) in 1937. Chief Adam Joshua Udo Ema also studied pottery in 1949 in Britain and later returned to work as a pottery officer at Okigwe Pottery centre as well as established three pottery centres in Nigeria Namely; Ikot Abasi Pottery centre at Etinan, Pottery centre at Mbiafun Ikono, and pottery centre at Ikot Ntot in Abak. Many other Nigerian studied pottery in Nigeria. Lady Kwalii pottery experience was influenced by Michael Cardew. Her pottery influence seen pottery products exhibited in various parts of the world depicted a coordination of Niger and British Pottery influences. A case study design is considered for methodological approach. Data were taken from primary and secondary sources and analyzed respectively. British influence on Nigeria is indeed outstanding.
9
Rakhno, Kostiantyn. "Small Genres of Pottery Folklore in the Published Works of the Institute of Art Studies, Folklore and Ethnography in the 1950s – Early 1960s." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 167–74. http://dx.doi.org/10.15407/mue2021.20.167.
Full textAbstract:
Extermination of a whole range of academicians together with a number of specialized institutions and organizations, practice of suppression of their achievements and science submission to the ideology could not help but be affected negatively the state of ceramological studies. After World War II, the Ukrainian Soviet science has been dominated solely by the Art Studies approach to the pottery research with its inherent interpretation of the spiritual culture as something secondary, inconsequential and contrasted to artistic, technological, social, economic, biographical aspects primarily. It has caused the loss of scientific traditions started by several generations of ethnologists, folklorists, mythologists and culturologists. The specialists in Art Studies and Ceramology only occasionally have paid attention to craftsmen folklore, subsequently losing numerous possibilities to study it when handicraft production and memories on it starts to disappear. Still, compilation and publication of folklore works about potters, pottery traders, wirers and earthenware have been continued in spite of all the obstacles. Due to the Institute of Art Studies, Folklore and Ethnography of the Academy of Sciences of the Ukrainian Soviet Socialist Republic chaired by Maksym Rylskyi, the head of the Writers’ Union of the Ukrainian SSR, a neoclassical poet, an academician of the AS of the Ukrainian SSR, a circle of folklore collectors has been formed uniting professional folklorists, educational specialists, figures of culture and art, writers. The emergence of the academic book series Ukrainian Folk Art and a popular series Library of the Ukrainian Oral Folklore is considered as an important success introducing new or previously unpublished archive texts about potters, pottery traders, wirers, earthenware. They have enriched greatly the source base of ceramological studies. Valentyna Bobkova, Fedir Lavrov, Halyna Sukhobrus, Yosyp and Alla Bahmut, Ivan Berezovskyi have paid attention to small forms of folklore such as proverbs, sayings, riddles about potters and pottery craft. These editions of phraseologisms and riddles manifesting richness and inexhaustibility of the folk language have influenced significantly the development of the Ukrainian literature of that time, in particular the genre of bizarre prose.
10
Maistruk, N. "EDUCATIONAL AND PROFESSIONAL POTENTIAL OF POTTERY CENTERS AND SCHOOLS IN UKRAINE." Ukrainian professional education, no. 9-10 (September 7, 2021): 122–29. http://dx.doi.org/10.33989/2519-8254.2021.9-10.263617.
Full textAbstract:
Based on historical material, the article examines the current issue of researching the educational and professional potential of pottery centers and schools in Ukraine in the context of the problems of training specialists in decorative and applied art in educational institutions of our country in the 80s of the 20th century – at the beginning of the 21st century. Based on the study of a complex of diverse sources, it was found that traditional pottery centers were formed in the following regions: Kyiv Oblast, Kharkiv Oblast, Poltava Oblast, Chernihiv Oblast, Podillia, Kherson Oblast, Volyn, Halychyna, Hutsul Oblast, Transcarpathia. Each of these centers had unique signs of technology techniques, decoration, design, name, and shape of products. At the same time, the long-standing leading educational and professional trend in the formation and development of folk pottery in Ukraine was training masters of decorative and applied art directly by well-known potters. Workshop schools, art and industrial schools, vocational and technical schools, artillery schools, workshops of folk art, art schools, etc., were founded later at the end of the 19th – at the beginning of the 20th century. Those institutions, i. e., Poltava Pottery School-Workshop, Myrhorod Ceramic Technical School, Opishne Vocational Technical School - Opishne Factory «Artistic Ceramics,» Mezhehirsk Ceramic School-Workshop – Technological Institute of Ceramics and Glass, Kyiv Central Experimental Workshop of Folk Art at the State Museum of Ukrainian Art, Kyiv Art and Industrial Technical School, accumulated rich experience in training high-quality ceramic artists. It was found that in the 80s of the 20th century, the training of decorative and applied art specialists was started by culture colleges.
11
Maistruk, N. "POTTERY CENTERSAND SCHOOLS IN UKRAINE: EDUCATIONAL AND PROFESSIONAL POTENTIAL." Ukrainian professional education, no. 14 (December 29, 2023): 65–72. http://dx.doi.org/10.33989/2519-8254.2023.14.300218.
Full textAbstract:
Based on historical material, the article examines the current issue of researching the educational and professional potential of pottery centers and schools in Ukraine in the context of the problems of training specialists in decorative and applied art in educational institutions of our country in the 80s of the 20th century – at the beginning of the 21st century. Based on the study of a complex of diverse sources, it was found that traditional pottery centers were formed in the following regions: Kyiv Oblast, Kharkiv Oblast, Poltava Oblast, Chernihiv Oblast, Podillia, Kherson Oblast, Volyn, Halychyna, Hutsul Oblast, Transcarpathia. Each of these centers had unique signs of technology techniques, decoration, design, name, and shape of products. At the same time, the long-standing leading educational and professional trend in the formation and development of folk pottery in Ukraine was training masters of decorative and applied art directly by well-known potters. Workshop schools, art and industrial schools, vocational and technical schools, artillery schools, workshops of folk art, art schools, etc., were founded later at the end of the 19th – at the beginning of the 20th century. Those institutions, i. e., Poltava Pottery School-Workshop, Myrhorod Ceramic Technical School, Opishne Vocational Technical School – Opishne Factory «Artistic Ceramics», Mezhehirsk Ceramic School-Workshop – Technological Institute of Ceramics and Glass, Kyiv Central Experimental Workshop of Folk Art at the State Museum of Ukrainian Art, Kyiv Art and Industrial Technical School, accumulated rich experience in training high-quality ceramic artists. It was found that in the 80s of the 20th century, the training of decorative and applied art specialists was started by culture colleges.
12
Ebrahimi, Fereshteh, and Khalil Ebrahimi. "Study of White and Blue Pottery in the Safavid Period." Jami Scientific Research Quarterly Journal 8, no. 1 (March 1, 2023): 91–112. http://dx.doi.org/10.61438/jsrqj.v8i1.21.
Full textAbstract:
Art and the craft of pottery have always held a significant place in addressing human needs. Throughout different eras and societies, we have witnessed the growth, development, and significant influences of pottery on the richness and prosperity of culture and the general economy. This art and craft have endured and evolved over time. The continuation and evolution of blue and white pottery during the Safavid period highlight the importance of this pottery style. The transformative developments and support from the Safavid kings, especially Shah Abbas, led to the exquisite production of blue and white pottery during this period. In reality, the distinctive characteristics and quality in the creation of this type of pottery, along with the high demand in global markets, contributed to its mass production. The aim of this study is to elucidate the method of creating blue and white pottery during the Safavid period, introduce the influential factors in enhancing this type of pottery, and recognize its specific features.
The research methodology employed in this study is descriptive-analytical, and the data collection method is primarily documentary (library-based). The examination and analysis of blue and white pottery demonstrate that Iranian potters during the Safavid period, drawing upon their experiences in creating pottery from the previous Timurid era, imitated and combined these techniques with Ming Chinese examples and familiarized themselves with Ottoman pottery specimens. This resulted in a new style of blue and white pottery with distinct Iranian characteristics. The colors of this pottery typically feature a white body with blue patterns. Decorative motifs were tailored to the vessel's form, where primary designs such as animals, human figures, and plant patterns adorned the center of the vessel, while abstract patterns, calligraphy, and natural elements embellished the vessel's margins. These vessels were primarily utilized for storing liquids, serving food, and as decorative ceramics.
13
Lu, Ching-Lin, Tai-shen Huang, and Fang-Lin. "The Intersection of Potters and Environmental Sustainability - Pottery Glaze Cases." E3S Web of Conferences 93 (2019): 02006. http://dx.doi.org/10.1051/e3sconf/20199302006.
Full textAbstract:
Ceramics is a comprehensive expression of art and science. The ultimate goal of artistic creators is to create new presentations based on specific materials and superb techniques. Beside the bright and vivid presentation of ceramic art, we cannot ignore the process of glazing and ceramic firing, which is a process of high energy consumption and high carbon dioxide emission. We use life cycle assessment to calculate the environmental impact of the production phase. The impact at the manufacturing stage is different for different firing approach. The amount of CO2 emission in material and processing phase of design-2 is much more than that of Design-1. We need qualitatively and quantitatively explored to complement the lack of knowledge on the relationship between art creation materials and the impact on the environment.
14
Ergasheva, Sayora A. "POTTERY ART OF SURKHAN OASISIN 1950-80s." JOURNAL OF LOOK TO THE PAST 4, no. 6 (June 30, 2021): 77–82. http://dx.doi.org/10.26739/2181-9599-2021-6-11.
Full textAbstract:
The article tells about the history of ceramics and its features, which is one of the types of crafts in Surkhandarya. A scientific analysis of the social and spiritual basis for the development of crafts in Uzbekistan in the traditional national context and the thousand-year experience of folk crafts are given. Pottery is one of the national handicraft traditions of the Uzbek people, which has long been valued as one of the crafts. At the beginning of the twentieth century, various techniques and mechanisms began to be used in the production of handicrafts. This has had a significant negative impact on the quality of art production. By the 1950s and 1980s, ceramics had made many items disappear. Nevertheless, the oasis potters continued their work, remaining true to the tradition of the master apprentice
15
ÖNEY, Dicle. "IMJIN SAVAŞI SONRASI KORELİ ÇÖMLEKÇİLERİN JAPON SERAMİK KÜLTÜRÜNE ETKİLERİ." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (September 15, 2022): 43–56. http://dx.doi.org/10.31567/ssd.734.
Full textAbstract:
The Imjin War was fought between Japan and Korea between 1592 and 1598. The process that started with Japan's invasion of Korea resulted in the capture of skilled Korean craftsmen and about 800 Korean potters, among them, after the war. Captive Korean potters were settled in areas of western and southern Japan ruled by the Lords of the time. Korean potters, who have a deep-rooted ceramic tradition, developed ceramic production techniques in the Japanese regions where they were placed and became the creators of products such as Satsuma-yaki, Hagi and Karatsu ceramics, and Arita porcelain, which are known today as Japanese ceramics. As a result of the effects of Korean potters captured as a kind of war booty on Japanese ceramic art and culture, the Imjin War in the literature of ceramic art history; is called the “Tea Bowl War”, “The Pottery War” and the “Ceramic War”. In this study, a brief history of the Imjin War is given, the Korean ceramic tradition and culture, which reached its peak during the pre-war Joseon Dynasty, is evaluated through examples, and finally, technical and formal transformations and new formations in post-war Japanese ceramic production are examined. Keywords: Imjin War, Tea Bowl War, Pottery War, Korean Ceramics, Japanese Ceramics
16
Motyl, Romana. "The Traditional Ceramics of Bukovyna of the XIXth–XXth Centuries: Historical, Cultural and Artistic Features." JOURNAL OF ETHNOLOGY AND CULTUROLOGY 31 (2022): 22–29. http://dx.doi.org/10.52603/rec.2022.31.03.
Full textAbstract:
The article is devoted to the traditional ceramics of Bukovyna – one of the ethnographical regions of Ukraine, where in the XIXth–XXth centuries the pottery of high-quality technology and high artistic level was developed. The historical and cultural processes, which occurred on this territory and influenced the development of handicraft are considered. The pottery centers are highlighted and the creative works of leading potters are analyzed. The peculiarities of manufacturing technology, the local names and the purpose of clay products are recorded. The characteristic features of the traditional pottery of Bukovyna are researched: the typology and the main shapes of wares, the artistic qualities of ceramics decoration, the dominant motifs of the ornaments, the characteristics of individual techniques and of expressive methods. On the basis of art-critical analysis, by comparing the pottery vessels from Bukovyna with the ones from neighboring ethnographic regions of Ukraine (Prykarpattia, Podillia), as well as with the pottery ware from foreign countries, the local peculiarities of traditional ceramics of Bukovyna are determined and common features with the samples of pottery ware from Moldova, Romania are found. Previously unknown artworks and names of craftsmen are introduced in the scientific circulation.
17
Marsh, Carrie. "RED WING ART POTTERY, INCLUDING POTTERY MADE FOR RUMRILL. Ray Reiss." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 1 (April 1997): 27–28. http://dx.doi.org/10.1086/adx.16.1.27948873.
Full text
18
Beittel, Kenneth R. "Zen and the Art of Pottery." Art Education 43, no. 2 (March 1990): 6. http://dx.doi.org/10.2307/3193201.
Full text
19
Cabrillos, Edbert Jay, and Weng Cabrillos. "Towards an Ethnography of Pagdihon: The Art and Language of Pottery Making in Antique Province, the Philippines." Journal on Asian Linguistic Anthropology 4, no. 4 (October 1, 2022): 20–38. http://dx.doi.org/10.47298/jala.v4-i4-a2.
Full textAbstract:
Pottery is a creation of ornamentals, cookware, or material storage devices. Yet, while economic gain is often considered when producing these materials, the artistic and linguistic aspects have been ignored. This study discusses factors influencing the culture, process and language of pottery making, in Bari, Antique, in the Philippines. The study documents the community of pottery makers in the region, and begins to record and expose the efficacy of the language intertwining with the pottery making culture. The ethnography included video and audio recording. The study reveals that environmental factors influence the culture of pottery making in the barangay, and as such, eight main processes emerge during the making of the pottery. Together the other processes, the language used in pottery making is an archaic form of Kinaray-a, the language of the province., suggesting a specialized pottery making.
20
Cheng, Lingyun. "Research on the Discrepancy and blending of Lacquer Ceramic Art." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 280–88. http://dx.doi.org/10.54097/ehss.v21i.14017.
Full textAbstract:
The rich historical use of lacquer in China and the enduring tradition of Oriental pottery have laid the foundation for preserving traditional handicrafts. This research seeks to uncover the cultural significance of lacquer items and innovative pottery, delving into their artistic elements to preserve their cultural essence. By examining the interaction between lacquer and pottery within an artistic framework and exploring the expert fusion of lacquer craftsmanship, this study provides valuable insights to foster the contemporary growth of traditional craft design. The research findings demonstrate that a precise integration of design elements inspired by the aesthetic qualities of lacquer artifacts into lacquer products effectively conveys cultural heritage in the present era. The design process for creative products evolves through the innovative amalgamation of lacquer and ceramic techniques, resulting in the creation of unique lacquer and ceramic pieces. The primary goal of this study is to inspire emerging designers to contribute to the ongoing innovative development of lacquer pottery products.
21
Hadley, Judith M., D. Homes-Fredericq, and H. J. Franken. "Pottery and Potters: Past and Present: 7000 Years of Ceramic Art in Jordan." Vetus Testamentum 40, no. 2 (April 1990): 243. http://dx.doi.org/10.2307/1519001.
Full text
22
Allsworth-Jones, P. "Continuity and Change in Yoruba Pottery." Bulletin of the School of Oriental and African Studies 59, no. 2 (June 1996): 312–22. http://dx.doi.org/10.1017/s0041977x00031591.
Full textAbstract:
Mrs. A.K. Fatunsin's Yoruba pottery (Lagos, 1992) is the outcome of a project funded by the Ford Foundation (grant no. 875–1066) as part of its continuing programme ‘to preserve and interpret diverse aspects of West Africa's cultural heritage’. The intention of the project as suggested to them in 1985 by this author was that it should ‘go beyond the mere collection of artefacts’. Emphasis was to be ‘placed on techniques of pottery manufacture, sources and types of raw material, methods of forming the pots, decoration and firing, as well as forms and functions including the designated names for the pots in the different parts of the Yoruba speaking area.’ Also investigated would be the uses to which the pots were put; and the organization, beliefs and customs of the potters themselves. The monograph resulting from the work would be designed to show pots ‘not just as art objects but as basic components of the entire economic, social, and religious life of the people’.
23
ABRAHAMS, SARAH. "The Potter's Eye: Art and Tradition in North Carolina Pottery:The Potter's Eye: Art and Tradition in North Carolina Pottery." Museum Anthropology 29, no. 1 (April 2006): 76–78. http://dx.doi.org/10.1525/mua.2006.29.1.76.1.
Full text
24
ABRAHAMS, SARAH. "The Potter's Eye: Art and Tradition in North Carolina Pottery:The Potter's Eye: Art and Tradition in North Carolina Pottery." Museum Anthropology 29, no. 1 (April 2006): 76–78. http://dx.doi.org/10.1525/mua.2006.29.1.76.2.
Full text
25
Cheng, Lingyun. "Study on the modeling expression and innovative practice in the creation of modern lacquer pottery." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 187–93. http://dx.doi.org/10.54097/ehss.v11i.7624.
Full textAbstract:
Modern lacquer pottery art has undergone a process from single to diversified, rough to refined, simple to complex, and practical to aesthetic with the change of history and the progress of technology, and from the initial simple coating and protection to the modern brilliant development of pure art form development process. This paper explores the origins and cultural genes of lacquer pottery, and elaborates the special aesthetics of the collision and fusion of lacquer and ceramics from multiple angles of the cultural embodiment characteristics of modern lacquer pottery, in order to provide reference and reference for the research in related fields.
26
Paul, Binoy. "POTTERY IS A TRADITIONAL ART FORM OF THE BARAK VALLEY IN ASSAM, INDIA: A STUDY." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (August 24, 2022): 172–75. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.46.
Full textAbstract:
Assam and Northeast, and Barak Valley, are known for their potteries, which are versatile and integral to their lifestyles and economies. My study was mainly based on historical background of pottery making in Barak Valley, in which people of Assam are credited with creating distinctive pottery products with distinctive styles. With an analysis and comparative appraisal of pottery making in Barak valley, as done by local people, I intend to evaluate pottery making in those districts. Throughout the Barak Valley, pottery manufacturing has become an integral part of the local culture. If we date back to history, we discover that Pottery forms tremendous tradition from Vedic, Indus Valley Civilization and one of man's earliest inventions. People utilized it when the civilization began. It created by combining grass with grass and interlocking leaves with the minimal equipment. Some facts may be stated from the manners of the commencing age of human civilization. It is thought that the people before civilization living in the forest used to utilize a cane in different manners to meet their necessities.
27
Nawawi, Muhammad, Nurul Liza Maharani, Farisa Amelia, Soraya Habibah, Muhammad Arief Pratama, Fella Nurlela, and Rizqiana Zamsani. "Utilization of Pottery as Well as Shaping Art and Community Creativity Through Clay in Anyer Area, Serang Regency." MOVE: Journal of Community Service and Engagement 3, no. 3 (January 31, 2024): 52–56. http://dx.doi.org/10.54408/move.v3i3.294.
Full textAbstract:
Anyer is located on the west coast, Serang Regency, Banten. Anyer is famous for beach tourism. But apart from the famous Anyer Beach, the pottery village provides an extraordinary tourist experience. The grain making center in Anyer is precisely located in Bandulu Village. So the pottery from this area is called bandulu pottery. Bandulu pottery is very famous because it is marketed quite widely outside the Anyer tourist area. This Bandulu pottery prioritizes training its visitors rather than selling its products. Usually their target market is students from elementary to high school, university students and other general visitors.
28
Pandey, Anjali. "BLUE POTTERY OF JAIPUR." International Journal of Research -GRANTHAALAYAH 7, no. 3 (March 31, 2019): 249–55. http://dx.doi.org/10.29121/granthaalayah.v7.i3.2019.966.
Full textAbstract:
The chalcolithic potteries, like Terracotta potteries with cylindrical pots and surahies, indicate the influence of West Asia and Iran.7
The art of glazed pottery have indigenous forms, designs and vibrant blue colour. Jaipur is widely recognized for the blue pottery having the Terko-Persian influence.8 The objects of blue pottery are lamp sheds, crockery, Jewelry boxes, serving trays, flower vases, and bowls etc.
29
Li, Shaoqing. "A Comparative Study between Eastern Zhou and Early Ancient Greek Decorative Styles." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 106–12. http://dx.doi.org/10.54097/ehss.v5i.2889.
Full textAbstract:
Among creations at the peak of the arts and crafts realm, Chinese bronze vessels and ancient Greek pottery paintings have been key research subjects of art history. Their respective decorative styles have been studied comprehensively, but research is still lacking on Eastern Zhou pictorial bronze vessels and black-figure pottery, which are important stages in the development of Chinese bronze vessels and ancient Greek pottery paintings. To study the decorative styles of Eastern Zhou pictorial bronze vessels and black-figure pottery, this paper takes the Warring States Feast and War Pictorial Bronze Vessel and the Francois Vase as examples, compares their decorative styles, and explores the causes of their differences. The study finds that the decorative styles of Eastern Zhou pictorial bronze vessels and black-figure pottery are similar in terms of narratives and composition, reflecting features typical in the time and arts of an early-staged civilization. There are also great differences between the two in terms of contents of the decorations and art expression styles, revealing differences in craftsmanship, social environment, and artistic pursuit of the two cultures.
30
Pourmahmoud, Sadaf, Reza Afhami, and Mehdi Keshavarz Afshar. "Study of Sociological Components on the Evolution of Pottery in the Seljuk Period (5th to 6th Century AH)." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 666–81. http://dx.doi.org/10.21638/spbu15.2022.406.
Full textAbstract:
The Seljuks, with their important role in Islamic civilization, spent two periods in their lives, which paved the way for many changes and innovations in their art, especially pottery. The first period is the era of their authority, which appeared in the Islamic world as an empire, and the second period is the era of their disintegration, which paved the way for their downfall. The purpose of this study is to investigate the developments of Seljuk society and how the social structure influences the evolution of pottery in these two periods. With a sociological approach and basic research and based on the nature and method of historical and descriptive-analytical, this research discusses the general and comprehensive knowledge of the influential elements of society on the pottery art of Seljuk period by using historical data through the collection of library documents to enable the social conditions, innovations and trends of this art in the time frame. The result of the research shows that artistic developmen s are always related to their social environment. The results indicate that public access to art and the tendency to depict everyday and realistic subjects after the growth of the middle class and factors such as urbanization, trade, economic status, religious orientation of rulers, imposing their tastes on artists, and the emergence of realistic and popular art among the middle class is one of the most important factors influencing the development and evolution of pottery in the studied period.
31
Kuzmin, Yaroslav V. "The Neolithization of Siberia and the Russian Far East: Major Spatiotemporal Trends (the 2013 State-of-the-Art)." Radiocarbon 56, no. 2 (2014): 717–22. http://dx.doi.org/10.2458/56.16938.
Full textAbstract:
The updated chronology of the earliest pottery-containing complexes in Siberia and the Russian Far East is presented herein. The appearance of pottery (i.e. the process of Neolithization) in this vast region of Eurasia is discussed based on a model that represents a simple approximation of calendar ages between key sites as isolines. No clear spatiotemporal patterns for the origin and spread of pottery in northern Asia can be observed because pottery-making (unlike agriculture) could have emerged in different parts of the Old World at various times. Before modeling of pottery dispersal is conducted, careful evaluation of typology and technology of ceramics and stone artifacts should be done, in order to avoid the confusing situation when the results of modeling contradict the basic archaeological information.
32
Kuzmin, Yaroslav V. "The Neolithization of Siberia and the Russian Far East: Major Spatiotemporal Trends (the 2013 State-of-the-Art)." Radiocarbon 56, no. 02 (2014): 717–22. http://dx.doi.org/10.1017/s0033822200049754.
Full textAbstract:
The updated chronology of the earliest pottery-containing complexes in Siberia and the Russian Far East is presented herein. The appearance of pottery (i.e. the process of Neolithization) in this vast region of Eurasia is discussed based on a model that represents a simple approximation of calendar ages between key sites as isolines. No clear spatiotemporal patterns for the origin and spread of pottery in northern Asia can be observed because pottery-making (unlike agriculture) could have emerged in different parts of the Old World at various times. Before modeling of pottery dispersal is conducted, careful evaluation of typology and technology of ceramics and stone artifacts should be done, in order to avoid the confusing situation when the results of modeling contradict the basic archaeological information.
33
Atpile-Jugane, Ineta. "COLLECTION OF LATGALIAN CERAMICS IN A VIRTUAL MUSEUM." Via Latgalica, no. 6 (December 31, 2014): 209. http://dx.doi.org/10.17770/latg2014.6.1651.
Full textAbstract:
This article is result of project “The Virtual Past is a Keystone for the Future of Museums”(LLB-2-269). Latgale Culture and History Museum (LCHM) plays an important role in preservation and promotion of ceramics of Latgale (LCHM has had one of the largest and most purposefully developed collections of ceramics of Latgale in the museums of Latvia since 1960) and in the development of the collection of Latgale ceramics by researching and exhibiting collections of ceramic items, recording potters’ biographies, documenting pottery inheritance and processes of creating ceramics in many Latgalian ceramic masters’ workshops. A part of Latgalian ceramic collection items are exhibited in the regular exhibition of Latgalian ceramics “The wonder created by clay and fire transformations”, but the other part is available in a virtual museum (www.futureofmuseums.eu), where the gallery is represented by 500 objects of LCHM collection of Latgalian ceramics. It includes a relatively wide range of works and types of dishes, created by ceramic masters of Latgale (vases, jugs, whistles, plates, money-boxes etc.). Alongside the works, created by Latgale ceramic classics, there can be viewed experiments developed by contemporary ceramists of Latgale, which reveal the search for a new path that allows people to discern the development of ceramics of Latgale. To increase the interest in ceramics of Latgale and to get acquainted with the traditions, the virtual museum visitors are offered to participate in a creative educational game “Clay transformations”, during which anyone can be a virtual potter – a clay master, by experiencing clay transformation path from its preparation till the burned piece of art. Everyone may optionally either only create pottery, or parallel to the creation of the dish can learn many interesting facts about the potter’s work and its specifics. Virtual museum is still one of the options to ensure availability of collections to society and tell a wider audience (especially to young people) about the museum, its work, Latgale ceramics and traditions in a modern and interactive way.
34
Piri, Ali, and Mohammad Piri. "The Quintessential Features of Iranian Art in Saljuq Period." Modern Applied Science 10, no. 6 (May 27, 2016): 219. http://dx.doi.org/10.5539/mas.v10n6p219.
Full textAbstract:
The reign of Saljuqian in Iran is considered as a flourishing era of Islamic-Iranian culture. In the Saljuq period, Iran art has experienced and underwent some changes as long as the presence of these evolutions as keystone in Iranian traditional arts have played a significant role in arts such as architecture, painting, pottery and etc. Since the effect of the Saljuq art has been so impressive, even it is not considered as a renaissance period, it can be accounted as one of the significant period in Iranian art. The purpose of this study is to point out some features of the Saljuq art through using descriptive-analytical approach, and to examine some aspects of arts including architecture, pottery, and textile in this period. What is more, the outcomes of the present paper reveal that with regard to the Saljuq architecture, mosques have been formed by nave, dome, and four-porch courtyard derived from Khorasan architecture art. The eminent buildings of this period are Jameh Mosque of Isfahan, Jam Minareh, Sanjar monument in Marv city. Successes have been also achieved in pottery art such as making pottery dishes with over glaze, and under glaze painting and red dishes with white cover. In the field of discovered metal works, there is a variety of bowls, vases and golden, silver and bronze cups which have been carved, embossed and inlayed by picture of animals and plants as well as Kufic script. Moreover, the silk textile known as Ordaki has been one of the brilliant samples of textiles art in this period, decorated with blue Kufic script. In overall, Saljuq arts have paved the way for more development of arts in the subsequent years.
35
Spivey, Nigel. "Art and Archaeology." Greece and Rome 62, no. 2 (September 10, 2015): 241–43. http://dx.doi.org/10.1017/s0017383515000121.
Full textAbstract:
Poiesis is the simple title of the first book under review, and its front cover carries a view of that well-known Attic red-figure kylix in Berlin, ‘the Foundry Cup’, showing bronze sculptors at work. But librarians may wonder where exactly to classify Peter Acton's monograph on craftsmanship in classical Athens. The author himself is categorically unusual: a Classics graduate who became vice-president of a major global management consultancy firm before undertaking his doctoral dissertation, he clearly enjoys the transfer of intellectual property from academia to the world of commerce, and vice versa. ‘The ancient economy’ is probably where this belongs, though its most substantial case study is focused upon pottery production. Some of Acton's opening declarations are made over-confidently: that ‘craftsmen were well-regarded’ (7) is debatable, given the various literary instances of patent disregard for those engaged in ‘banausic’ activity (both concept and reality of the banausos are conspicuously avoided throughout). And there is carelessness in the presentation of details: the potter Cachrylion becomes ‘Cachsilion’ (281), for example, and the account of bronze and stone sculpture (215–25) is somewhat muddled. Nonetheless, Acton does well to insist upon a city of creators, not consumers. A famous passage in Plutarch concerning the multiple trades involved in building the Parthenon (Vit. Per. 12) implies as much, but our stereotypical image of Athens tends to exclude all workshop smoke and grime.
36
Ria, Wayan nanda. "GERABAH DI DESA BANYUMULEK KECAMATAN KEDIRI KABUPATEN LOMBOK BARAT." Jurnal Pendidikan Seni Rupa Undiksha 11, no. 2 (September 13, 2021): 91–102. http://dx.doi.org/10.23887/jjpsp.v11i2.40264.
Full textAbstract:
AbstrakPembuatan gerabah yang di dalamnya terkandung unsur seni terapan dipelajari bukan hanya sebagai seni tradisi yang diturunkan oleh nenek moyang, melainkan juga sebagai upaya untuk memahami keberadaan gerabah dalam tata kehidupan budaya masyarakat di daerah tersebut. Penelitian ini bertujuan untuk: (1) Mendiskripsikan jenis dan bentuk gerabah Desa Banyumulek, Kecamatan Kediri, Kabupaten Lombok Barat Nusa Tenggara Barat .(2). Mendiskripsikan jenis dan dekorasi Gerabah Banyumulek kecamatan Kediri kabupaten Lombok Barat Nusa Tenggara Barat. Jenis penelitian yang digunakan adalah penelitian deskriftif kualitatif. Objek penelitian ini adalah Kerajinan Gerabah di Desa Banyumulek, Kecamatan Kediri, Lombok Barat. Metode pengumpulan data yang dilakukan adalah menggunakan metode observasi, wawancara, dokumentasi.Hasil penelitian menunjukkan bahwa (1) Jenis dan bentuk Gerabah awal dibagi dalam bentuk kebutuhan makan dan minum bagi masyarakat Banyumulek (2) jenis gerabah pertengahan adalah merupakan jenis gerabah peralatan rumah tangga, (3) jenis dan bentuk gerabah modern adalah merupakan cindera mata atau souvenir bagi tamu yang datang ke Banyumulek.(4) jenis dan dekorasi gerabah Banyumulek diprose pada bentuk dan jenis gerabah gentong, botol , kendi , kerotok , spanyol, selao, dan pot hiasan meja.Kata kunci: Gerabah, Banyumulek, Lombok BaratAbstractPottery contained elemen of applied art is learned not only as at a traditional art, passed down by the ancestors ut also as an effort to understand This research aims to (1) describing the types and forms of pottery at Banyumulek Village, Kediri District, West Lombok, (2) describing the types and decoration pottery at Banyumulek Village, Kediri District, West Lombok. The type of research used is descriptive qualitative research. object of pottery craft at Banyumulek Village, Kediri District, West Lombok. Data collection method is to use the method of observation, interview, and documentation.The results of research showed that (1) types and forms of early pottery devide into the form of food and drink needs for Banyumulek people (2) medieval types and pottery are is a type of household utensil pottery , (3) types of forms modern pottery are is a souvenir for guests who come to Banyumulek, (4). Types and decoration of Banyumulek pottery processed in the form of on the type of pottery , barrel jug,bottle jug, spanis, purslane and table decoration pots. Key words : Art Crafts, Banyumulek, West Lombok
37
Kim, Ho Chung. "The Influences of Dow’s Anti-Classical Art Education on the Advent of American Art Pottery and Female Artist-Potters." Journal of Art Theory and Practice 25 (June 30, 2018): 75–103. http://dx.doi.org/10.15597/jksmi.25083538.2018.25.075.
Full text
38
Belko, Oleh. "Formation of a network of credit organizations as forms of support and development of pottery production in the Poltava region (1894–1914)." Ethnic History of European Nations, no. 60 (2020): 44–54. http://dx.doi.org/10.17721/2518-1270.2020.60.05.
Full textAbstract:
The article focuses on the creation of credit organizations network by the Poltava provincial local council to support and develop handicrafts, in particular pottery, and the production of ceramic refractories. The article looks at several ways of obtaining funds for the development of handicraft industry, especially the pottery industry which was distinguished by the Poltava provincial local council in a separate category, and for raising its production and artistic level. Here belongs the bank industrial loan which was allocated by the state bank, although not all manufacturers could use it. The second way is a well-established mechanism of state financing of pottery educational institutions, in particular the Opishnenskaia, Postavmutskaia workshops, the Mirhorod Art and Industrial School named after Mykola Hohol, as well as provincial tile workshops and tile-and-brick factories, whose network was increasing with each passing year. One more way was formation of mutual benefit funds, credit societies. Their active growth was observed in Romenskyi, Kostyantynohradskyi, Hadyatskyi, Zinkovskyi and Mirhorodskyi counties. Such forms of financial support solved the production problems of most potters of the province. Credit societies were regarded by the zemstvo not only as financial mutual assistance but also as a guarantor of their members’ activity. Poltava provincial zemstvo could act as a guarantor of fulfillment by its member of obligations to organizations-manufacturers of tools for artisanal production. The positive thing was also the fact that financial capability of the credit societies were not limited to their own funds. They could borrow from banks under a contractual arrangement or get the State Bank loans for development of handicraft business. The formation of the credit organizations network by the zemstvo contributed to the development of handicrafts, pottery in particular, as well as to the intensive production of environmentally friendly ceramic refractory materials and to an increase in the economic potential of the province.
39
Messili, Lamia, Jean-François Saliège, Jean Broutin, Erwan Messager, Christine Hatté, and Antoine Zazzo. "Direct14C Dating of Early and Mid-Holocene Saharan Pottery." Radiocarbon 55, no. 3 (2013): 1391–402. http://dx.doi.org/10.1017/s0033822200048323.
Full textAbstract:
The aim of this study is to directly radiocarbon date pottery from prehistoric rock-art shelters in the Tassili n'Ajjer (central Sahara). We used a combined geochemical and microscopic approach to determine plant material in the pottery prior to direct14C dating. The ages obtained range from 5270 ± 35 BP (6276–5948 cal BP) to 8160 ± 45 BP (9190–9015 cal BP), and correlate with the chronology derived from pottery typology. Our results document the transition from pre-Pastoral to Pastoral contexts, dated to the early-mid Holocene transition, and confirm that vegetal temper in pottery can provide reliable14C ages within Saharan contexts.
40
ICHIHARA, Takeshi, Kota MARUYA, and Sampei YAMASHITA. "412 Modernization of traditional pottery art and kilns." Proceedings of Conference of Kyushu Branch 2013.66 (2013): 135–36. http://dx.doi.org/10.1299/jsmekyushu.2013.66.135.
Full text
41
Adams, E. Charles, J. J. Brody, Catherine J. Scott, and Steven A. LeBlanc. "Mimbres Pottery: Ancient Art of the American Southwest." American Indian Quarterly 11, no. 2 (1987): 177. http://dx.doi.org/10.2307/1183716.
Full text
42
Campbell, Kenneth F., and Stephen Trimble. "Talking with Clay: The Art of Pueblo Pottery." American Indian Quarterly 13, no. 1 (1989): 100. http://dx.doi.org/10.2307/1184106.
Full text
43
Willis, Steve. "Acoma Pottery: First-hand Experiences for Art Educators." Teaching Artist Journal 1, no. 4 (November 2003): 228–33. http://dx.doi.org/10.1207/s1541180xtaj01-4_07.
Full text
44
Rathore, Sumati, Usha Thakur, and Sarla Shashni. "POTTERY: A UNIQUE TRADITIONAL CRAFT IN INNER SIRAJ VALLEY OF NORTHWESTERN HIMALAYAN DISTRICT OF KULLU, HIMACHAL PRADESH." International Journal of Advanced Research 8, no. 9 (September 30, 2020): 1106–11. http://dx.doi.org/10.21474/ijar01/11766.
Full textAbstract:
Pottery is a century old craft used by human and is one of the most tangible and iconic elements of Indian art. This craft system shows the lifestyle of native communities, their belief, faith, customs and tradition through their craft. This paper documents the traditional pottery art of the Sirajicommunity living in the inner Siraj Valley of Kullu district in Himachal Pradesh. The uniqueness of the art is wheels are not used for making different pots as in other parts of the country. Paper also documents the procedures involved in making the pots and its current status. Study revealed that this traditional craft system will not survive if some urgent measures are not be taken in near future.
45
Sinaga, Sartika Yani, Heri Soeprayogi, and Mesra Amiruddin. "Eksperimen Pengembangan Ragam Hias Keramik di Usaha Tembikar Lestari Deli Serdang." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 2 (December 2, 2020): 586–93. http://dx.doi.org/10.34007/jehss.v3i2.367.
Full textAbstract:
This study aims to develop a variety of decoration in the business of pottery business from the indicators of the principles of fine art that are carried out in Sustainable Pottery ceramics crafts on Jalan Medan Tanjung Morawa, Deli Serdang Regency. This research uses a development method. Data collection methods used are observation and documentation. The results of this study show the results of the development of ornamental variations on 10 samples of pottery produced by craftsmen, the authors made 10 decorative designs to develop decorative designs before, as a tangible result in this study an experimental action was carried out by researchers assisted by craftsmen by applying directly to pottery, The researcher chose 2 out of 10 development results and applied them directly to the pottery as a result of this study.
46
Chernova, Anna Viktorovna. "Ceramic art of Russian Primorye." Культура и искусство, no. 3 (March 2020): 70–82. http://dx.doi.org/10.7256/2454-0625.2020.3.30669.
Full textAbstract:
The goal of this work is determination of the development stages of ceramic art in Russian Primorye, as well as their specificity. It is established that the history of ceramic art of this region alongside its current stage are insufficiently studied. The evolution of ceramic art of Primorye is viewed in the context of its manufacture and production. The author examines the role of the three major factories – Vladivostok Porcelain Factory, Artemovsk Porcelain Factory, and Spassky Plant in development of ceramic art of Russian Primorye. The two main development stages of ceramic art in Primorye are determines. The first one includes the activity of porcelain factories in Vladivostok and Artem, as well as pottery plant in Spassk-Dalny, which resulted in the inflow of certified specialists in the area of decorative-applied arts and formation of a unique style of the regional ceramic art. The second one includes the forms of existence of ceramic art in Primorye after closing the factories and creation of private workshops that developed the ceramic branch of decorative-applied art, namely souvenirs, use of pottery and porcelain objects in landscape and interior design, as well as involvement of ceramics in inclusive education.
47
Peters, Edem Etim. "Reflections on Pottery Art in the Oil Rich Niger Delta Region of Nigeria: A Study of Pottery Art in Akwa Ibom and Rivers States." European Journal of Engineering Research and Science 4, no. 3 (March 24, 2019): 145–51. http://dx.doi.org/10.24018/ejers.2019.4.3.1093.
Full textAbstract:
Niger Delta region is very rich in oil and gas deposits, clay, agricultural land, fisheries, extensive forest and other resources. They are nine states which make the region namely, Abia, Akwa Ibom, Bayelsa, Cross River, Delta, Edo, Imo, Ondo and Rivers. The most oil producing communities among them are Akwa Ibom, Bayelsa, Edo, Delta and Rivers State. Clay is equally found in abundance in all the states like crude oil is found in Niger Delta communities. The available clay mineral in the region has the capacity to transform the nation’s economy if properly utilized. Clay is the basic material for pottery or ceramics production. It is also used to ease the penetration of pipes in drilling of crude oil. This paper looks at the practice of pottery in Niger Delta Area with a focus on pottery practice in both Akwa Ibom and Rivers States. Indigenous and contemporary pottery or ceramics practices in these communities indeed have played vital role in the economic, social religious and cultural ways of life of the people. Clay products such as dinnerware and sanitary wares and others are highly sought for and they have the capacity to boast the national economy as experienced in other nations such as Japan, Italy, Britain, United States of America, India and China among others. Data were collected from both primary and secondary sources and were subsequently assessed. The result shows that proper utilization of clay found in Niger Delta has the potential to create numerous job opportunities for the teaming population of youths in the region. The availability of abundant clay in the region, if well harnessed could adequately compete with crude oil exploitation for economic purposes in the region.
48
Peters, Edem Etim. "Reflections on Pottery Art in the Oil Rich Niger Delta Region of Nigeria: A Study of Pottery Art in Akwa Ibom and Rivers States." European Journal of Engineering and Technology Research 4, no. 3 (March 24, 2019): 145–51. http://dx.doi.org/10.24018/ejeng.2019.4.3.1093.
Full textAbstract:
Niger Delta region is very rich in oil and gas deposits, clay, agricultural land, fisheries, extensive forest and other resources. They are nine states which make the region namely, Abia, Akwa Ibom, Bayelsa, Cross River, Delta, Edo, Imo, Ondo and Rivers. The most oil producing communities among them are Akwa Ibom, Bayelsa, Edo, Delta and Rivers State. Clay is equally found in abundance in all the states like crude oil is found in Niger Delta communities. The available clay mineral in the region has the capacity to transform the nation’s economy if properly utilized. Clay is the basic material for pottery or ceramics production. It is also used to ease the penetration of pipes in drilling of crude oil. This paper looks at the practice of pottery in Niger Delta Area with a focus on pottery practice in both Akwa Ibom and Rivers States. Indigenous and contemporary pottery or ceramics practices in these communities indeed have played vital role in the economic, social religious and cultural ways of life of the people. Clay products such as dinnerware and sanitary wares and others are highly sought for and they have the capacity to boast the national economy as experienced in other nations such as Japan, Italy, Britain, United States of America, India and China among others. Data were collected from both primary and secondary sources and were subsequently assessed. The result shows that proper utilization of clay found in Niger Delta has the potential to create numerous job opportunities for the teaming population of youths in the region. The availability of abundant clay in the region, if well harnessed could adequately compete with crude oil exploitation for economic purposes in the region.
49
Purwanti, Titik, Agung N. Jati, Oki Kuntaryanto, Syarifah Aini, Zuyina Luklukaningsih, Anna F. Setianingtyas, Anis Marjukah, et al. "Inovasi Pelapisan Glasir Pada Gerabah Di Industri Kecil Dan Menengah." Pengmasku 3, no. 1 (January 28, 2023): 26–34. http://dx.doi.org/10.54957/pengmasku.v3i1.362.
Full textAbstract:
Melikan Village, Wedi District, Klaten Regency is an area that is 90% working as traditional pottery craftsmen with one of the rare ceramic-making techniques in the world, namely the tilt rotation technique. This technique turned out to be a feature that distinguished it from the art of printing pottery and ceramics from other regions with a plain brown, blackish color being its hallmark. The products of this craft have been exported to Switzerland and other countries. The purpose of this community service activity includes improving creative skills and innovating in making pottery and glaze crafts. The method applied in this community service activity is through lectures (counseling), mentoring, and the practice of making pottery with glaze. The existence of this community service activity is able to encourage craftsmen to produce pottery that has been coated with glaze so that it can improve the quality of pottery/ceramics so that it is more marketable in the modern market as it is today.
50
Jiang, Xiao Lan, and Ying Gao. "Study of Environment Pottery Based on Mechanics Analysis." Applied Mechanics and Materials 484-485 (January 2014): 467–70. http://dx.doi.org/10.4028/www.scientific.net/amm.484-485.467.
Full textAbstract:
The aesthetic is a need, the humanistic psychologist Maslow made his famous "Theory of Demand. In his view, physiological, safety, respect, aesthetic, self-actualization level from junior to senior development needs. Form of beauty, art and design epitomizes the spirit of this advanced form of aesthetic needs. Pottery as a traditional media people becoming more concerned about environmental consciousness and spiritual level, but also both involved in the environmental space in the case of modern consciousness, showing it is a form of the emerging field of environmental art, pottery design consistent with human on the environmental aesthetic needs of the development of results, its aesthetic value cannot be ignored. An art form as a visual language, environment pottery body language has a unique aesthetic value and characteristics, and continue to join in today's visual culture under the influence of cultural concerns, its aesthetic characteristics in terms of interpretation of the visual language also has the image era semantic features. An area designed as a public environmental art, Environmental Ceramic aesthetic environment and the environment of people closely related to the artistic life, the concept of the art of living also make work pay more attention to the reality of the workplace awareness and survival, the manifestation of the spiritual needs Therefore aesthetic inject a greater angle. The visual aesthetic activity comes from the sensory response, but limited to the spiritual feeling, which mobilized human emotion, imagination, understanding mental function. These aesthetic mental activities are affected by different environment, different populations, different era with different cultural backgrounds and Cultural Complex of the impact and role.