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Journal articles on the topic 'Clay craft'
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1
Amboro, J. L., A. Purwasito, and Warto. "The characteristics of teapots made of plastic and clay: what are their designs, functions, and impacts on the environment?" IOP Conference Series: Earth and Environmental Science 1114, no. 1 (December 1, 2022): 012110. http://dx.doi.org/10.1088/1755-1315/1114/1/012110.
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Abstract Currently, people are starting to reduce the use of traditional products and switch to ready-to-use products made from plastic, such as teapots. Nevertheless, clay crafts still maintain their existence in the widespread use of plastic products. Bayat is one of the subdistricts in Klaten Regency, Central Java, which is famous for its ceramics and pottery craft centres. Most artisans in the Bayat make crafts with clay as raw materials. This research focused on the advantages of Bayat pottery over other plastic products. This study aimed to increase public awareness to reduce plastic products’ use in daily life. This study used the descriptive qualitative method. The research was conducted in Bayat, Klaten, from March – June 2022. The results showed that clay crafts were considered more eco-friendly than plastic products. The development of Bayat pottery from clay has implications for design, function, usability, and environmental aspects. In the design aspect, the Bayat teapot can increase the aesthetic value of the craft. In terms of function and usability, the clay teapot functions as a water storage container as well as interior decoration. Meanwhile, in the environmental aspect, raw clay materials are easier to decompose, while plastic products are difficult to decompose.
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Groth, Camilla, Veikko Jousmäki, Veli-Matti Saarinen, and Riitta Hari. "Craft sciences meet neuroscience." Craft Research 13, no. 2 (September 1, 2022): 261–83. http://dx.doi.org/10.1386/crre_00079_1.
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Collaboration between disciplines is necessary when research questions cannot be answered within a single discipline. Joining of forces can produce results that neither discipline could provide alone. Here we exemplify collaboration between a ceramic craft researcher and three neuroscientists working in the field of human brain imaging. In our case study of clay throwing, the researcher‐practitioner’s eye gaze, muscular activity and hand acceleration were recorded online, synchronized with video and thermal-camera recordings. We describe the experimental setting and discuss, besides the possible future interests in this kind of research, also the different levels of collaborative work between disciplines. We found that the monitoring methods worked well in the naturalistic setting in a ceramic studio, providing some new perspectives into the craft practice. For neuroscientists, clay throwing ‐ involving accurate sensorimotor hand control, haptics and eye‐hand coordination ‐ provides an attractive setup to extend previous neuroscientific and behavioural findings in strictly controlled laboratory experiments into naturalistic situations. The applied monitoring devices might allow practitioner‐researchers in crafts to become aware of unconscious steps in the making process. The applied methods could also help to accumulate general craft-making knowledge and build related theory.
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Joyce, Rosemary A., Julia A. Hendon, and Jeanne Lopiparo. "WORKING WITH CLAY." Ancient Mesoamerica 25, no. 2 (2014): 411–20. http://dx.doi.org/10.1017/s0956536114000303.
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AbstractEvidence from sites in the lower Ulua valley of north-central Honduras, occupied betweena.d.500 and 1000, provides new insight into the connections between households, craft production, and the role of objects in maintaining social relations within and across households. Production of pottery vessels, figurines, and other items in a household context has been documented at several sites in the valley, including Cerro Palenque, Travesía, Campo Dos, and Campo Pineda. Differences in raw materials, in what was made, and in the size and design of firing facilities allow us to explore how crafting with clay created communities of practice made up of people with varying levels of knowledge, experience, and skill. We argue that focusing on the specific features of a particular craft and the crafter's perspective gives us insight into the ways that crafting contributed to the reproduction of social identities, local histories, and connections among members of communities of practice who comprised multicrafting households.
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Liu, Tianchi. "Features of the development of clay toys based on folk crafts in modern Russia." Философия и культура, no. 8 (August 2022): 9–23. http://dx.doi.org/10.7256/2454-0757.2022.8.38489.
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The current situation in the manufacture and positioning of clay toys in Russia — a country with rich traditions of the existence of large and small crafts of this kind — is ambiguous, but has positive dynamics. The appeal to the activities of individual toy makers, both amateur and professional artists, provides the basis for understanding the current state of the craft. Of interest is the analysis of the search by craftsmen from different parts of the country for new artistic solutions both in terms of the shape of products and their decoration, in conditions of following the principles of craftsmen of the past. Currently, there is a surge of interest in clay toys in the works of modern masters from Russian researchers. However, a comprehensive study of its existence in various villages and cities of Russia has not been conducted. This determines the need to establish "hotbeds" of craft development, identify the most prominent representatives, establish links between modern creative activity and the traditions of the past, as well as identify new things that artists offer in their activities. The study also includes those crafts that have emerged recently and are not the result of continuity, but have a rather distinctive form and use elements of the artistic language of other crafts.
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DAS, MANIMALA. "CLAY, CRAFT, MUSIC AND SCIENCE: PURNIMA SINHA’S LIFE." Science and Culture 87, no. 1-2 (February 15, 2021): 62–64. http://dx.doi.org/10.36094/sc.v87.2021.purnima_sinha.book_review.das.62.
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Oentoro, Kristian. "Pengembangan desain teko set gerabah kontemporer berbasis budaya lokal di Kabupaten Bojonegoro." Productum: Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) 3, no. 6 (July 15, 2019): 189–96. http://dx.doi.org/10.24821/productum.v3i6.2431.
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Pottery is a type of traditional craft that has taken root in the history of art and culture of the Indonesian society. This fact is supported by various forms of ancient earthenware crafts which discovered since prehistoric times and the emergence of pottery craft centers in various parts of Indonesia, including in Rendeng Village, Malo District, Bojonegoro Regency. The changing of market needs and tastes today are a common problem faced by the traditional craft industry, including pottery crafts. Local wealth inside the traditional handicraft design which increasingly disappearing is one of the common concerns. The development of this contemporary pottery design aims to revive the skills of pottery craftsmen and the local culture of the Bojonegoro society in a modern design style. The research and development produced three sets of earthenware teapots, namely a turtle-shaped teapot set, a white combination of turtle-shaped teapot and teapot set inspired by Bojonegoro local coffee. Design research uses action research methods which consist of three design cycles. The application of this research method is useful to improve the capabilities and creativity of pottery craftmen in designing craft designs. Each design development cycle has four stages, namely planning, observation, action and reflection. The results of the study show that the color of the local clay Bojonegoro can characterize contemporary designs with a blend of colors and materials. The local way of drinking coffee as an inspiration for ‘kothok’ coffee teapots set has the potential to commercialize products and new experiences in drinking coffee.Key words: teapot, pottery, contemporary, Bojonegoro
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CHOUDHURY, TANUSHREE, and NIRENDRA M. MISRA. "Role of clay as catalyst in Friedel–Craft alkylation." Bulletin of Materials Science 34, no. 6 (October 2011): 1273–79. http://dx.doi.org/10.1007/s12034-011-0167-4.
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Chen, Li Ling, Yi Zhang, and Jun Xuan Chen. "The Modern Tableware Design Based on Fengxiang Clay Sculpture Art Research." Advanced Materials Research 849 (November 2013): 332–36. http://dx.doi.org/10.4028/www.scientific.net/amr.849.332.
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The development of modern industrial design has a great influence on the product design, not only on the function and structure of products, but also on the combination between these elements and culture. As one famous folk craft of Shaanxi Guanzhong Xifu, Fengxiang sculpture consists of lot totems, pattern, shape, color and craft elements which could be used in design. Tableware design combined with traditional culture can reflect the functions; at the same time improve the artistic quality of products and rich the interest. Products are endowed with the traditional culture elements, in this way, the product is not only a product, but the new soil of the traditional culture.
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Bebber, Michelle R., and Metin I. Eren. "Temper and temperament of prehistoric craft: Temper type evolution and clay body 'workability'." Craft Research 10, no. 2 (September 1, 2019): 237–59. http://dx.doi.org/10.1386/crre_00004_1.
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Abstract Temper is an additive incorporated into clay during the formation of a ceramic vessel, and may consist of various materials. In a number of previous experiments over the past several decades, archaeologists have experimentally demonstrated that tempers used by prehistoric craftspeople would have imparted important post-firing use-life properties to ceramic vessels. However, although widely touted, the notion that prehistoric temper types would have aided in pre-firing vessel formation has never been systematically tested. Here, we experimentally assess whether calcium carbonate-based tempers, like limestone and burnt shell, would have made clay bodies more workable relative to silicate-based grit temper, as has been previously proposed. In this study, participants were asked to build five simple and challenging three-dimensional forms using grit-, limestone- and shell-tempered clay bodies, and then rank these conditions in terms of workability. Our statistical and qualitative assessments of these data were unambiguous: contrary to claims in the scientific literature, the calcium carbonate tempers did not make clay bodies more workable, and were consistently, sometimes significantly, ranked lower than silicate grit-tempered clay bodies in terms of workability. Our results have several implications for temper selection and evolution in prehistory, specifically during the widespread silicate grit to calcium carbonate transition during the Late Woodland period (AD 500‐1400) of the North American Midwest.
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Пуголовок, Юрій. "Технологічні особливості гончарства роменської культури: сировина й матеріали." Scientific journal "Archaeological ceramology", no. 1-2 (January 31, 2022): 99–110. http://dx.doi.org/10.52213/archaeologicalceramology.vi1-2.64.
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Здійснено огляд сировини й матеріалів, які використовували гончарі роменської культури.Археологічні джерела свідчать, що, обираючи місце для своїх городищ, сіверяни звертали увагуй на запаси глини в околицях, яку застосовували не тільки як сировину для гончарства, а й убудівельній справі. Для виготовлення посуду сіверяни використовували глини з кількома видамидомішок, додавання яких було необхідним, оскільки покращувало пластичність, запобігало усадці,поліпшувало сушіння, випалювання та експлуатаційні показники глиняного посуду. Найбільшпоширеною домішкою був шамот. Окрім нього, сіверяни додавали жорству й пісок, але їхконцентрація була менша порівняно з шамотом. Також у формувальній масі кераміки роменськоїкультури відомі органічні домішки – мушлі й залишки рослин.
The article reviews the raw materials used by the Romny culture potters. Archaeological sourcesindicate that choosing a place for their settlements, the Siverians paid attention to the clay reserves inthe area. Clay was used not only as a raw material for pottery, but also in building craft. The Siverianspotters were at a stage marked by the use of clay as the main ascending raw material, and the amount ofnon-plastic impurities decreased. The addition of impurities was necessary, as prepared for the formationof pure clay is quite oily and has a large shrinkage. Impurities improved ductility, prevented shrinkage,improved drying, firing and performance of pottery. This fully applies to sand, hardness and fireclay.The most common impurity used by Siverians was grog. These were mostly coarse-grained impurities.They often contributed to the formation of cracks in the walls of the vessel. In addition to grog, there arecases of adding grus and sand, but their concentration is lower compared to grog. Organic impurities arealso known in the molding mass of Romny vessels. There are shells and plant remain. Clays with organicimpurities were used in building craft and during the construction/repair of kilns. Flours, grains or stalksof cereals got into household pottery by accident.
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Mariah, Mariah, and Siti Ruhana Dara. "PENGARUH INOVASI PRODUK, SOCIAL MEDIA MARKETING DAN CITRA MEREK TERHADAP MINAT BERKUNJUNG WISATAWAN DAN DAMPAKNYA TERHADAP IMPULSIVE BUYING PADA SEKTOR UMKM KERAJINAN TANAH LIAT DI DESA WISATA GERABAH KASONGAN YOGYAKARTA." JURNAL LENTERA BISNIS 9, no. 2 (November 26, 2020): 73. http://dx.doi.org/10.34127/jrlab.v9i2.375.
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<p>This study aims to analyze the effect of product innovation, social media marketing and brand image on the interest of tourist visits and its impact on impulsive buying in the clay craft UMKM sector in the village of Kerabah Kasongan, Yogyakarta. This research has a type of quantitative research with 100 respondents who are consumers. clay crafts. The sampling method was purposive sampling. This study uses quantitative research methods by conducting surveys, the results of validity and reliability tests using SPSS v 20.0, and hypothesis testing is carried out using multiple linear regression methods. The results showed that product innovation had no effect on visiting interest, social media marketing had an effect on visiting interest, brand image had an effect on visiting interest and visiting interest had an effect on impulsive buying.</p><p><strong>Keywords: </strong> product innovation, social media marketing, brand image, impulsive buying, interest in visiting.</p>
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Katu, Mardhathillah Ayu, Abd Aziz Ahmad, and Benny Subiantoro. "LEARNING MATERIALS HAND CRAFT OF CLAY POWDER FOR CLASS VIII SMPN 3 ANGGERAJA ENREKANG." TANRA: Jurnal Desain Komunikasi Visual Fakultas Seni dan Desain Universitas Negeri Makassar 6, no. 2 (December 1, 2019): 24. http://dx.doi.org/10.26858/tanra.v6i2.11308.
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This research is a survey research with a qualitative descriptive level, which aims to describe the learning of handicrafts from clay flour for students of class VIII SMP 3 Anggeraja. The objective of this research is learning handicrafts from clay flour, the source of the data in this study are teachers and students of class VIII. Data collection techniques in this study through observation, interviews, and documentation. Data analysis techniques in this study used qualitative descriptive analysis techniques. Based on the results of research on handicraft learning from clay flour for eighth grade students of SMP 3 Anggeraja through several stages, namely the learning planning stage at this stage the teacher prepares learning tools (RPP), learning materials, products and craft drawings from flour clay, as well as tools and the material that will be used by the teacher during the learning, then the implementation stage of learning carried out in class VIII-B with 3 meetings, the first meeting of material giving, the second meeting of the practice of making clay flour, the third meeting, the finishing stage and the suggestion, as a whole has been in accordance with the RPP made by the teacher. The next stage is the assessment stage, at this stage the teacher assesses student performance results based on 4 aspects, namely preparation of tools and materials with a weight of 30%, ideas/ideas with a weight of 20%, creativity with a weight of 30%, and finishing with a weight of 20%. Based on the overall assessment results of grade VIII-B students, it has been declared successful in carrying out the learning process because it has reached the value of the predetermined KKM standard, which is 78.
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Ifdahalul Afni, Delsy, and Jupriani Jupriani. "KARAKTER DOODLE DALAM KARYA KERAJINAN KERAMIK." Serupa The Journal of Art Education 10, no. 4 (December 28, 2021): 282. http://dx.doi.org/10.24036/sr.v9i3.112253.
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The purpose of creating works is to create ceramic craft products that have aesthetic value or beauty as well as a certain function. Of the various materials or craft-making techniques, ceramics are an interesting medium, because the processing can be done by hand or with simple tools. Crafts also use ornaments. Ornaments on crafts can add uniqueness and aesthetic value. The ornament used in this work is the Doodle character, where Doodle itself has the meaning of spontaneous scribbles and is also a popular modern art work from all circles almost all over the world.The method of creating works of art uses five stages, namely preparation for elaboration, synthesis, concept realization, and completion. Hold an exhibition of ceramic works, in the creation of works, using clay materials with printing techniques, pinching (massage) and using original colors after burning. Eleven iii works are made in accordance with the form of works, namely in the form of animals and cartoons with doodle characters as ornaments. With the following title: fish with doodle ornaments, one type of repeating flower motif. Turtles with doodle ornaments are one type of repeating floral motif. Turtle with floral doodle ornament with floral pattern. Frog with repeating floral doodle ornament floral motif. A whalewith a doodle ornament and several floral motifs combined. Larvae with doodle ornaments and several repeating flower motifs. Owl child with a doodle ornament, one type of separate flower motif. Owl with doodle ornaments and several kinds of mixed motifs. Pig with doodle ornaments and some floral motifs. Rabbit with doodle ornament and one repeating flower motif. Angry bird with doodle ornaments and one type of repeating flower motif.Key words: ceramics, ornament, doodle.
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Zhang, Yi, Li Ling Chen, and Meng Cheng Wang. "Fengxiang Clay Sculpture in the Design of the Product of Contemporary Opportunity." Applied Mechanics and Materials 496-500 (January 2014): 2607–10. http://dx.doi.org/10.4028/www.scientific.net/amm.496-500.2607.
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The purpose of the modern product design is to provide users with a good living environment, making a great combination between art and life then conferred it practical function, is to design in a relationship. We should design in a relationship. Fengxiang clay sculpture has novel shape, fine craft, contrast color , so it is very valuable to study traditional culture. So that the local design have been given a form of traditional culture and symbolic semantics, thus product is not only a product, but the new soil of traditional culture.The combination of traditional culture and modern products, not only can enhance the artistic quality of the product, also can make the traditional culture to get the most convenient, the cheapest and most convenient route of transmission.
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Trilsbeck, Matthew, Nicole Gardner, Alessandra Fabbri, Matthias Hank Haeusler, Yannis Zavoleas, and Mitchell Page. "Meeting in the middle: Hybrid clay three-dimensional fabrication processes for bio-reef structures." International Journal of Architectural Computing 17, no. 2 (May 16, 2019): 148–65. http://dx.doi.org/10.1177/1478077119849655.
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Despite the relative accessibility of clay, its low cost and reputation as a robust and sustainable building material, clay three-dimensional printing remains an under-utilized digital fabrication technique in the production of architectural artefacts. Given this, numerous research projects have sought to extend the viability of clay three-dimensional digital fabrication by streamlining and automating workflows through computational methods and robotic technologies in ways that afford agency to the digital and machinic processes over human bodily skill. Three-dimensional printed clay has also gained prominence as a resilient material well suited to the design and fabrication of artificial reef and habitat-enhancing seawall structures for coastal marine environments depleted and disrupted by human activity, climate change and pollution. Still, these projects face similar challenges when three-dimensional printing complex forms from the highly plastic and somewhat unpredictable feed material of clay. In response, this article outlines a research project that seeks to improve the translation of complex geometries into physical clay artefacts through additive three-dimensional printing processes by drawing on the notion of digital craft and giving focus to human–machine interaction as a collaborative practice. Through the case study of the 1:1 scale fabrication of a computationally generated bio-reef structure using clay as a feed material and a readily available Delta Potterbot XLS-2 ceramic printer, the research project documents how, by exploiting the human ability to intuitively handle clay and adapt, and the machine’s ability to work efficiently and with precision, humans and machines can fabricate together. With the urgent need to develop more sustainable building practices and materials, this research contributes valuable knowledge of hybrid fabrication processes towards extending the accessibility and viability of clay three-dimensional printing as a resilient material and fabrication system.
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Egaña-Juricic, María Esperanza, Gastón Gutiérrez-Gamboa, and Yerko Moreno-Simunovic. "Making wine in Pañul’s craft pottery vessels: a first approach in the study of the dynamic of alcoholic fermentation and wine volatile composition." Ciência e Técnica Vitivinícola 37, no. 1 (2022): 29–38. http://dx.doi.org/10.1051/ctv/ctv20223701029.
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Traditional winemaking in amphora-like clay vessels is one of the oldest known methods of wine production. Currently, some wine producers have readopted traditional winemaking methods to generate unique attributes that differentiate their products raising regional wine typicity. The aim of this research was to study the dynamic of alcoholic fermentation and volatile composition of ‘Carignan’ wines fermented into Pañul’s clay vessels and comparing them with the wines vinified into stainless-steel tanks. Density curve of the musts contained in the Pañul’s pottery vessels followed a similar trend than in the samples contained in the stainless-steel tanks. The temperatures of the must and the cap during alcoholic fermentation were lower in the Pañul’s pottery vessels than in the stainless-steel tanks in most of the evaluated days. Thus, clay vessels may provide temperature-regulating properties beneficing wine fermentation compared to stainless-steel tanks. Pañul’s clay vessels produced wines with higher terpenes, β-ionone and 2-phenylethyl alcohol content, and lower values of some individual higher alcohols, isoamyl acetate, lactones, and pH than the stainless-steel tanks. Therefore, the results suggest that Pañul’s pottery vessels favored increasing the terpene alcohols and other volatile compounds concentrations, in addition to decreasing certain higher alcohols and acetate esters contents such as benzyl alcohol and iso-amyl acetate. These outcomes may be of interest to ceramic producers and wine producers since they open a range of economic opportunities to diversify their products.
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Darabi, Hojjat. "A social perspective on the Neolithic in western Iran." Documenta Praehistorica 43 (December 30, 2016): 283–300. http://dx.doi.org/10.4312/dp.43.14.
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While the Neolithic revolution caused gradual basic changes in different dimensions of human life, including social structure, western Iran has so far mostly received attention in terms of the emergence of domestication and sedentarisation. Generally speaking, some evidence, such as architectural elements, burial goods, clay tokens, and scarce artefacts such as obsidian pieces and marble objects not only determine an inter-regional interaction, but also suggest craft specialisation. It is believed that sedentary life and private food storage paved the way for property ownership and that a gradual change from egalitarian to non-egalitarian societies can be seen in the Neolithic of western Iran.
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Myronenko, Liudmyla, Anastasia Korokhina, and Volodymyr Belskyi. "The Ornamented Tile-Stove From the V. Kochubei’s House in Baturyn." Archaeology, no. 4 (December 14, 2020): 113–27. http://dx.doi.org/10.15407/archaeologyua2020.04.113.
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In 2015 during the archaeological excavations on the territory of “Kochubei” park in Baturyn a blockage of tiles was discovered in cultural layer. The blockage, besides tiles, contained broken bricks, yellow clay, and little fractures of lime. Discovered materials were remains from the tile-stove, located in the smallest room of the General Judge V. Kochubei’s house, which probably was a girls’ room. Found tiles fragments belonged to at least of 38 specimens. The tiles collection is represented by two varieties of panel and cornice tiles. All products are unglazed, have a relief floral motif and the traces of shoot inside. The surfaces of some items were covered by a layer of chalk. Based on constructional (a type of rim figuration) and decorative features there was noticed similarities between pairs panel—cornice tiles. Petrographic and elemental analyses have showed that all tiles were made of clay from one deposit and burnt at the same temperature within two similar or one cycle. Written sources about the organization of workshop craft, analysis, design, and decorative features of the products allowed assuming that two masters of the same craft association worked on the stove construction and the production of tiles for it. The tiles set attest to the two-tiers stove. The well-known Baturyn, Ukrainian and foreign analogies let us graphically recreate the appearance of the tile stove and its estimated size. The tile-stove was built between 1700 and 1708 when the house belonged to V. Kochubei, and later it was destroyed in the second half of the XVIII c., not earlier than in 1778. Accordingly, the tile stove from the girl’s room had existed in the house for 70—78 years, during which it had been whitewashed, possibly repeatedly, to hide traces of soot and dust on the surface.
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Shao, Qun, Hui Xu, Min Man Tong, and Sen Li. "The Technical Study on the Preparation of Lightweight Ceramsite Made from Sewage Sludge and Fly Ash." Advanced Materials Research 356-360 (October 2011): 1871–75. http://dx.doi.org/10.4028/www.scientific.net/amr.356-360.1871.
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In this paper, the Huainan No.1 Sewage treatment plant's dehydrated sewage sludge and the power plant fly ash have been taken as the main raw materials and clay as the cementing agent to prepare lightweight ceramsite. Using the single-factor experiment to screen roasting craft, the optimal conditions are obtained as follows: the clay content is approximately 15%, sludge content 35-40%, preheating temperature 350-400°C.The preheating time is 15-20mins, roasting temperature 1150-1200°C, roasting time 15-20mins. The product’s loose density is 710-750kg/m3, particle density 1305-1380kg/m3, compressive strength 13.2-15.2MPa, bibulous rate 12.4-18.1%, particle shape factor 1.3-1.4, specific surface area 5.68-6.01m2/g. The performance index can meet the national standard requirements for fly ash ceramsite in the light collection aggregate. This lightweight ceramsite may serve as the water treatment material, the building material and the thermal insulation material and so on. This research had not only solved the problems of contamination caused by sludge and solid wastes like fly ash, but also brought certain economic and environmental benefits.
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Pandey, Anjali. "THE CRAFTS OF MADHYA PRADESH - AN OVER VIEW." International Journal of Research -GRANTHAALAYAH 5, no. 1 (January 31, 2017): 291–94. http://dx.doi.org/10.29121/granthaalayah.v5.i1.2017.1903.
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In Indian art, the eternal presence of the cosmos remains associated through centuries. Tradition executes to maintain the relationship of man in specific style and technique. All creative activity enjoyed high appreciation and prestige when the hands of a craftsman are engaged in his craft. It is always a ceremonial.
“The aim of the artist is not to extract beauty from the nature but reveal the Life within life, the Noumenon within phenomenon, the reality within unreality and the soul within matter. When it is revealed, beauty reveals itself. It has been the constant endeavor the Indian artist to convey this idea in the words and wood, in the clay and stone, in brass and bronze, and even through music, and dance. The aim has always been the same- to incarnate the infinite in the finite.”1.
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Šarić, Kristina, Vesna Bikić, and Suzana Erić. "Microstructural, Mineralogical and Petrographical Characteristics of the Medieval Ceramics from the Studenica Monastery (UNESCO World Heritage Site): Implications on the Pottery Technology and Provenance of The Raw Material." Microscopy and Microanalysis 24, no. 6 (December 2018): 744–61. http://dx.doi.org/10.1017/s1431927618015349.
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AbstractOn the basis of optical microscopy, scanning electron microscopy with energy-dispersive spectrometry and X-ray powder diffraction analyses, we present detailed mineralogical and petrographical characteristics of 63 samples of cooking and tablewares, which originate from two Medieval horizons (S1 and S2) in the Studenica Monastery, as well as of three samples of clays regarded as possible pottery raw material. The composition of the ceramic matrix is compatible with the composition of local clay and clasts that reflect the geology of the Studenica’s surroundings. This indicates that almost all studied vessels are unequivocally made locally. However, four wares may represent imports because they show similarities with Byzantine sgraffito wares, and ceramics from the Peloponnese (13th century). In terms of technological and morphological characteristics, the studied pottery collection represents a standardized production. Firing temperatures, estimated according to the level of matrix crystallinity, mineral reactions, and the mode of the appearance of fracture surfaces, indicate that most of cooking wares were fired at 600–700°C. All glazed wares, including tablewares and cooking pots from both S1 and S2, were fired at minimum 800–900°C. Along with technological and morphological standardization the characteristics of the studied collection show knowledge of traditional skills as well as trends within the Byzantine artistic craft circle.
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Fioriello, Custode Silvio. "Ceramic production in Roman-age Apulia: lychnological contexts." Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 30, 2019): 181–215. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.12.
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Archaeological research in Apulia have given solid grounds for a historical characteristic of the region, specifying the nature of settlements and their socio-economic environment in the Roman age. But production centers, primarily pottery workshops, as well as commonly traded shapes, trade routes and consumer centers still are in need of comprehensive study. For this purpose a targeted examination of Apulia et Calabria has been launched, identifying places and modalities of pottery production from the 3rd century BC to the 3rd century AD on the grounds of both permanent installations and mobile finds. This contribution, which takes advantage of the documentation collected within the frame of this research, seeks to identify and contextualize sites where clay oil lamps were being produced, through the scopes of production continuity/discontinuity and the modalities of settlement, craft, economy and commerce.
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Mączyńska, Agnieszka. "Re-Examination of Predynastic Pottery from Minshat Abu Omar (Nile Delta, Egypt)." Studies in Ancient Art and Civilisation 25 (December 19, 2021): 55–68. http://dx.doi.org/10.12797/saac.25.2021.25.03.
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A type of electromagnetic radiation known as X-rays has been known in ceramic research since the 1930s. X-radiography is applied mainly to investigate clay fabric and to identify manufacturing details. In clay fabric identification, the method could be used to determine size, proportions, type and even general mineralogy of inclusions or tempers. Moreover, it can be successfully applied to identify, verify or better understand primary forming techniques as well. The purpose of this paper is to investigate Egyptian Predynastic pottery production by means of X-radiography in order to determine the primary forming techniques used for making four small ceramic vessels: bag-shaped jars and lemon-shaped jar from the cemetery at Minshat Abu Omar in the Eastern Nile Delta. The vessels are now in the collection of the Poznań Archaeological Museum and X-radiography was chosen as the study method because of its non-destructive nature allowing to penetrate the walls of vessels from the museum collection. Two primary forming techniques (pinching and coil-building) were identified during the analysis. The studied vessels were made of two segments by hand. Pinching was used to build the belly, while the shoulder, neck and rim were made by coiling. The application of two different forming techniques as well as the effort invested in joining coils and vessel segments imply that their makers were fairly skilled in their craft. The vessels reveal these ‘secrets of the trade’ only when exposed to X-rays.
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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.
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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.
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Wirawan, I. Putu Satria, I. Nyoman Sukana Sabudi, and Ni Luh Gde Sri Sadjuni. "Pengaruh Consumption Value dalam meningkatkan purchase intention layanan online food delivery pada Clay Craft Restaurant di Renaissance Bali Uluwatu Resort & Spa." Jurnal Gastronomi Indonesia 9, no. 2 (December 17, 2021): 58–67. http://dx.doi.org/10.52352/jgi.v9i2.674.
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Purchase Intention mengacu pada kemungkinan konsumen untuk membeli produk. Salah satu aspek yang mempengaruhi purchase intention adalah sejauh mana consumption value mendorongnya. Penelitian ini dilakukan untuk mengetahui pengaruh consumption value (functional value, social value, conditional value dan epistemic value) dalam meningkatkan purchase intention layanan online food delivery saat pandemi COVID-19 pada Clay Craft Restaurant di Renaissance Bali Uluwatu Resort & Spa. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah kuesioner, wawancara, studi dokumentasi dan observasi. Responden dalam penelitian ini berjumlah 100 responden dengan menggunakan purposive sampling. Teknik analisa data dalam penelitian ini adalah regresi linear berganda, Uji t, Uji F, uji koefisien determinasi dan sumbangan efektif. Hasil dari penelitian ini menunjukkan bahwa consumption value (functional value, social value, conditional value dan epistemic value) secara simultan berpengaruh signifikan terhadap Purchase Intention. Berdasarkan hasil uji koefisien determinasi menunjukan bahwa Variabel pembentuk Consumption Value (Functional Value, Social Value, Conditional Value dan Epistemic Value) memiliki kontribusi sebesar 61,9% dalam mempengaruhi Purchase Intention, sedangkan sisanya 38,1% dipengaruhi oleh variabel lainnya yang tidak diteliti dalam penelitian ini.Kata Kunci: consumption value, purchase intention, online food delivery
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Valiulina, Svetlana I., and Alsou R. Nuretdinova. "Technical Ceramics from the Pottery Workshop at Sarai-Al-Jedid – Tsarevskoye Settlement." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 2, no. 36 (June 25, 2021): 79–92. http://dx.doi.org/10.24852/pa2021.2.36.79.92.
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Technical ceramics – special devices for firing glazed ware – is a necessary component of highly technological pottery production. Analysis of the wares in the context of all the materials of the complex let the authors establish the specialization of the workshop and solve the issues of the craft reconstruction, identifying the origins of the technological tradition and organization of the workshop. All these possibilities of technical ceramics are of particular importance in the study of the rapidly emerged pottery of the Golden Horde, which reached a high level of development in a short period of time (not full the 14th century). The article is the first to present a set of devices for firing glazed ware from a pottery workshop III in the south-eastern suburb of the second capital of the Golden Horde, Sarai-al-Jedid, known as Tsarevskoye settlement as well. In addition to the furnace supply, the technical ceramics include the “kalyps”– matrix forms and clay stamps for applying relief decoration on the surface of vessels.
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Madan-Soni, Roma. "Untitled, Work by Fadi Yazigi, curated by Myriam Jackiche Atelier, Damascus, Syria, 1 January–1 December 2019." Craft Research 11, no. 2 (September 1, 2020): 314–27. http://dx.doi.org/10.1386/crre_00032_5.
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Fadi Yazigi’s exhibition Untitled creatively examines the effects of historical and political instabilities in his homeland over the last decade. Yazigi’s audience stands in the centre of an array of crafted exhibits that range from medium- to large-size everlasting bronze sculptures and brittle clay reliefs to figurative paintings decorating the surfaces of friable rice-paper canvas and fragile daily baked bread. The exhibition’s title is metaphorical: it embodies the ambiguities, inequalities and uncertainties in the daily lives of ordinary people in war-struck Syria. The ‘everyday use’ materiality of Yazigi’s craft assumes a form that reflects the complexities, contradictions and negotiations in the ‘trope of the everyday’ in the region and on a global scale. Yazigi’s work centres on people and human emotions with a nostalgic feeling towards the beings he meets. Yazigi smears oil, ink and acrylics as he employs techniques of drawing, painting, sculpting and moulding, using earth-sourced materials like paper, bread, soil and metal presenting the lives of ordinary people and their humane emotions.
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Sharma, Shikha, and Pavel R. Kholoshin. "New Data on Traditional Pottery in India (Pune, Maharashtra)." Archaeology and Ethnography 20, no. 5 (2021): 154–65. http://dx.doi.org/10.25205/1818-7919-2021-20-5-154-165.
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Purpose. A brief survey of the pottery community in the Mundhwa area was conducted in March 2019 and February 2020 as part of the Russian-Indian anthropological expedition organized by the Paleoethnology Research Center, State Museum of Biology (Moscow, Russia) and Savitribai Phule Pune University (Pune, India). The purpose of the study was to provide an initial insight into how traditional pottery functions in these urbanized environments. Results. Various forms of pottery production have been identified. The most widespread was men’s pottery using a potter’s wheel. Only men are engaged in the manufacture of pottery here – Hinduism forbids women from working on a potter’s wheel. All craftsmen work almost all year round, reducing production during the rainy season. With the rapid urbanization and concentration of the population, the demand for pottery has increased. Potters buy practically all raw materials. The clay is brought by peasants from villages within a radius of 80 km by trucks several times a year. The preparation of raw materials, as well as kneading the clay paste, is carried out by most potters by hand. All potters use an electric potter’s wheel to create the vessels. The surface treatment of products by potters is carried out by smoothing using fingers or scrapers while the wheel is rotating. Firing is carried out in square ovens made of bricks. The firing of products begins in the evening, active combustion lasts two to three hours, after which the oven is left to cool until the morning, when the finished vessels are removed. One firing requires about 150 kg of wood. Potters who migrated here from Uttar Pradesh use open firing for their vessels. Conclusion. The authors found that: the traditional nature of the craft is preserved in the community: knowledge and skills are passed down through the family line, the potters use traditional raw materials, building techniques and firing devices; resettled potters demonstrate mixed skills in different levels of pottery production, for example using a mixture of different natural clays; under the pressure of economic conditions, the electric pottery wheel is spreading, the way firing is organized has slightly changed.
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Nurul Aisyah Othman, Salbiah Kindoyop, and Humin Jusilin. "KEARIFAN TRADISI ADIGURU DALAM PENGHASILAN TEMBIKAR KURON DI SABAH." Jurnal Gendang Alam (GA) 11, no. 2 (December 15, 2021): 179–94. http://dx.doi.org/10.51200/ga.v11i2.3637.
Full textAbstract:
Tembikar kuron dihasilkan oleh masyarakat Kadazandusun di Sabah tetapi hanya aktif dihasilkan oleh etnik Dusun Tindal yang tinggal di Kampung Malangkap Kapa, Kota Belud pada hari ini. Etnik Dusun Tindal menghasilkan tembikar kuron melalui kearifan tradisi yang dimanipulasikan untuk mencipta barang keperluan harian daripada medium tanah liat. Kearifan tradisi ini telah diwarisi diwarisi sejak turun-temurun secara tradisi lisan dari segi proses penghasilan, teknik, motif, bahan dan teknik pembakaran kuron. Tembikar kuron yang dihasilkan mempunyai fungsi yang sinonim dengan aktiviti harian etnik Dusun Tindal, sebagai alat memasak, peralatan mengangkut dan menyimpan barangan harian. Oleh itu, penghasilan tembikar kuron dipercayai kerana tuntutan keperluan hidup dan kearifan mereka sejak turun-temurun. Kajian ini akan memfokuskan kearifan tradisi penghasilan tembikar kuron oleh adiguru Puan Kantiam binti Setan yang merupakan anak kepada mendiang Adiguru Somotoi binti Lugu, iaitu seorang tokoh kraf etnik tembikar tradisional kuron.
Kuron pottery is made by the Kadazandusun people in Sabah, however it is currently only actively made by the Dusun Tindal ethnic group, who dwell in Kampung Malangkap Kapa, Kota Belud. The Dusun Tindal ethnic group crafts kuron pottery using traditional knowledge that is utilised to manufacture daily necessities out of clay. The wisdom of this heritage has been passed down orally from generation to generation in terms of manufacturing procedures, techniques, motives, materials, and kuron burning techniques. Kuron pottery is connected with the Dusun Tindal ethnic group’s daily activities, serving as cooking tools, equipment for transporting and storing daily things. As a result, the manufacture of kuron pottery is thought to be a result of the demands of their living necessities and wisdom passed down from generation to generation. The knowledge of the heritage of manufacturing kuron pottery by adiguru Puan Kantiam binti Setan, the daughter of the late Adiguru Somotoi binti Lugu, a traditional kuron ceramic ethnic craft figure, will be the emphasis of this study.
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Ni Luh Putu Sri Sartika Wati, Lien Darlina, I Gusti Agung Mas Krisna Komala Sari, Ni Made Ernawati, Ni Made Rai Sukmawati, and Ni Wayan Wahyu Astuti. "Recreational Activities Program as a Complimentary to Hotel Guests." International Journal of Travel, Hospitality and Events 1, no. 2 (May 1, 2022): 121–39. http://dx.doi.org/10.56743/ijothe.v1i2.13.
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ABSTRACT
Purpose: The purpose of this study was to determine the interest of guests in the recreation activities program as a complimentary to guests staying at a 5-star hotel in Ungasan, Bali, Indonesia, and to find out which recreation activities were most in demand by guests at the hotel.
Research methods: Data collection methods used are observation, interviews, and documentation. The data analysis technique used is descriptive qualitative analysis technique and descriptive statistics.
Results and discussion: The study shows that the TTH (The Tree House) Activities that were most attractive to guests in 2019 were art & craft (5.48%), painting (5.40%), nature painting (4.68%), learning Balinese (4.46%), Balinese dance (4, 46%). The year 2020 is a temple tour (4.77%), hotel tour (4.72%), clay making (4.31%), painting and gardening (4.19% each), and music class (3.91 %).
Implication: The guests’ interest in the recreation activities program is very good, which can be seen in the percentage of guests participating in the recreation activities program of 35.8% of the total number of guests at the hotel in 2019 and 2020.
Keywords: recreation activities, interested activities, spa & recreation department.
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Serikov, Yuri Borisovich. "The waterfowl image in the art of the Neo-Eneolithic population of the Urals." Samara Journal of Science 8, no. 2 (April 1, 2019): 208–15. http://dx.doi.org/10.17816/snv201982216.
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The first generalizing work on waterfowl images in Neolithic art was presented by N.N. Gurina in 1972. Based on numerous findings the author defines their chronology and distribution area, characterizes the features of images and offers reconstruction of the overall picture of the world. At the same time Ural is the easternmost distribution area of waterfowl images marked by only a few finds. Nowadays the situation presented by N.N. Gurina has changed a lot. On the territory of Ural dozens of Neolithic and Eneolithic sculptural images of waterfowls made of stone, clay, bone, horn and wood were discovered. Even more known are the engraved images of birds on ceramic vessels. Practically all those vessels belong to the Eneolithic time. According to the Ural archeologists the image of the bird appeared in different symbolic meanings: the bird was considered to be the main character in the creation of the world; it could have been demiurge, ancestor and progenitor of the genus; the bird is associated with the development of craft cult; it could reflect the calendar symbols. The assumption of N.N. Gurina that the area of distribution of waterfowl images coincides with the area of residence of the population of the Finno-Ugric language group is confirmed.
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Bronnikova, Maria A., Julia O. Karpova, Veronika V. Murasheva, Anna F. Kochkina, Dmitry A. Stashenkov, Irina A. Arzhantseva, and Heinrich Härke. "Micromorphological features of medieval cultural layers formed in different environmental backgrounds." Boletín de la Sociedad Geológica Mexicana 74, no. 3 (December 13, 2022): A080822. http://dx.doi.org/10.18268/bsgm2022v74n3a080822.
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This research compares results of micromorphological case studies conducted on four early medieval archaeological sites with differentiated spatialization of human impacts and a varied craft production located in different background environments: humid climate, subzone of mixed forests, floodplain of the Dnieper River (Gnezdovo site); semi-humid climate, subzone of forest-steppe, Middle Volga region (Muromsky Gorodok and Malaya Ryazan’ sites); arid climate, cold desert of the Aral region, ancient delta-alluvial plain of the Syr-Darya River (Dzhankent site). Micromorphological studies of habitation deposits revealed clear geographical and geochemical regularities in the occurrence of geogenic (soil, sedimentary and post-sedimentary) features. Intrasoil migration and accumulation of clay and coarser silicate material in textural pedofeatures were described in cultural layers of sites located in forest and the forest-steppe zones. An anthropogenic input of phosphates provokes simultaneous migration and illuvial accumulation of phosphates and clay. In the habitation deposits in steppe landscapes with calcareous lithology, the key background soil process is redistribution and intrasoil accumulation of calcium carbonates. In the alluvial desert landscape, major soil processes are accumulation of gypsum and readily soluble salts. All layers are or were affected by at least some seasonal over-moisturizing that resulted in a variety of redoximorphic features depending on their palaeo- and/or contemporary water regime. The high variety of anthropogenic processes and corresponding microfeatures was grouped as follows: (1) input, output, turbation, compaction; (2) neoformation and migration; (3) pyrogenic processes (products); technological processes (products). The set of anthropogenic features records past human impact in the locality. The higher the variety of anthropogenic features and their general abundance is, the more intensive and variable the human impact which had occurred in the past. At the same time, the occurrence of certain anthropogenic features may indicate not only human-related processes of their formation (or input), but also a contemporary soil environment. This environment can be favorable, or, in the opposite, deteriorative for earlier formed anthropogenic features.
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Postgate, J. N. "The debris of government: Reconstructing the Middle Assyrian state apparatus from tablets and potsherds." Iraq 72 (2010): 19–37. http://dx.doi.org/10.1017/s0021088900000577.
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While a good deal of attention has been given by prehistorians to the process of “state formation” in the ancient Near East, less effort has been devoted to exploring the nature of historical states through their archaeology. This article endeavours to redress the balance a little, by looking at some of the documentary evidence for the process of government in Assyria in the late second millennium BC, in particular at its level of intervention in local economies, and by placing it alongside the archaeological evidence for the presence of Assyrian administration, as reflected in the ceramic repertoires of Tell Sheikh Hamad on the Habur and Sabi Abyad on the Balikh. Both the literate administration and the material evidence for craft production display a degree of conformity which would seem to reflect an ethos of centralized control. This invites comparison with the material evidence for other Late Bronze Age palace regimes, whether archives of Mycenaean clay tablets or the ceramic repertoire of the Hittite empire. Here too written instruments and material markers of state control could be taken to reflect a concept of the “state” (as opposed to “empire”) which does not agree well with some analyses of social evolution in this region, and prompts some concluding thoughts on the relationship between the material record and the ethos of government in state-run societies.
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., Alfan Hisbullah, Drs I. Nyoman Sila,M Hum ., and I. Nyoman Rediasa, S. Sn ,. M. Si . "KERAJINAN COR KUNINGAN DI DESA CINDOGO, KABUPATEN BONDOWOSO." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 2 (July 26, 2017): 97. http://dx.doi.org/10.23887/jjpsp.v7i2.11409.
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Penelitian ini bertujuan untuk mendeskripsikan (1) keberadaan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso, (2) alat dan bahan yang digunakan dalam pembuatan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso, (3 proses pembuatan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso. (4) Jenis kerajinan yang dihasilkan dari kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso. Penelitian ini adalah penelitian deskriptif kualitatif. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dokumentasi dan kepustakaan.
Hasil penelitian ini menujukkan (1) Keberadaan kerajinan cor kuningan yang merupakan kerajinan turun – temurun. Awal pembuatan kerajinan masih sangat sederhana dan pengerjaanya menggunakan alat tradisional. Pada tahun 1990 hingga sekarang perajin kuningan di Desa Cindogo Bondowoso mengalami kemajuan, alat yang digunakan sudah mengalami perubahan (modern), barang-barang yang dihasilkan semakin bervariasi.(2) alat dan bahan yang digunakan dalam pembuatan kerajinan cor kuningan antara lain: cetakan, penjepit, pengasah, saringan, tungku api, palu, gerinda, kowi, blower, kikir, pahat kuningan, spidol, mesin las listrik, mesin poles, mesin bor tangan, kompresor, kuas lukis, blender, tang, gunting kuningan, ampelas, lem kuning, batu hijau, gelput dan bahan yang digunakan adalah logam kuningan, malan, tanah liat, pasir halus, cat minyak, arang halus, serbuk brown, thinner, dan clear. (3) proses pembuatan kerajinan kuningan meliputi pembentukan cetakan, pelapisan, pemopokan, penjemuran, pembakaran dan peleburan, pengecoran, perbaikan, pengikiran, pembuatan motif (sketsa), mengukir, pemolesan, pewarnaan, dan finisihing. (4) jenis kerajinan kuningan yang dihasilkan antara lain: (fungsional) cetakan kue, nampan, kinangan (tempat menyirih), pot bunga, lampu tidur. (non fungsional), miniature kereta kencana, guci jumbo, vas india, garuda pancasila, hiasan dinding kepala kuda, patung ayam jago, patung angsa, patung harimau, patung bebek, patung burung merak dan patung rusa.
Kata Kunci : Kerajinan cor kuningan, jenis produk, fungsi. This study aims to describe (1) the presence of brass casting in Cindogo Village, Bondowoso Regency, (2) tools and materials used in the manufacture of brass casting in Cindogo Village, Bondowoso Regency, (3 processes of brass casting in Cindogo Village, Regency of Bondowoso (4) The type of craft produced from the brass casting in Cindogo Village, Bondowoso Regency This research is descriptive qualitative research The data collection technique used is observation, interview, documentation and bibliography.
The results of this study indicate (1) The existence of brass casting craft which is a handicraft hereditary. Early crafting is still very simple and the pengerjaanya using traditional tools. In 1990 until now the brass craftsmen in Cindogo Bondowoso Village progressed, the tools used have undergone a change (modern), the goods produced more varied, (2) tools and materials used in the manufacture of brass casting crafts, among others: mold, Clamps, sharpener, strainer, fireplace, hammer, grinder, kowi, blower, miser, brass chisel, marker, electric welding machine, polishing machine, hand drill machine, compressor, paintbrush, blender, pliers, brass scissors, Yellow, green stone, gelput and materials used are brass metal, malan, clay, fine sand, oil paint, fine charcoal, brown powder, thinner, and clear. (3) the process of making brass handicrafts including mold formation, coating, pitting, drying, burning and smelting, casting, repairing, thinking, making motifs (sketches), carving, polishing, coloring, and finisihing. (4) types of brass handicrafts produced, among others: (functional) cookie cake, tray, kinangan (place menyirih), flower pots, sleeping lights. (Non functional), miniature carriage, jumbo jar, vase india, garuda pancasila, horse head wall decoration, statue of rooster, goose statue, tiger statue, duck statue, peacock sculpture and deer statue.
keyword : Brass casting, product type, function.
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Li, Yu-Juan, Lü-Yun Zhu, Wen Xu, Wei Meng, Min Lin, Zhong Yang, and Run-Sheng Chen. "Stratigraphic Section and Geochronological Studies of the Shoushan Basin, Fujian Province, South China, and Its Implications for the Mineralization of Shoushan Stone." Minerals 12, no. 12 (November 30, 2022): 1542. http://dx.doi.org/10.3390/min12121542.
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As one of the most famous craft-carving stones in China, Shoushan stone commonly consists of clay minerals, including the kaolinite, pyrophyllite, or illite group, which is the product of hydrothermal alteration. In Fujian Province, the Xiaoxi Formation of the Early Cretaceous is a critical formation containing pyrophyllite deposits (including Shoushan stone). Here, we carry out a geological field investigation of a typical section in the Shoushan basin of southeastern China to identify lithology and volcanic sequences of the Xiaoxi Formation. The section included four lithofacies: eruption facies, flood lava facies, sedimentary facies, and volcanic channel facies. The petrogenesis of these lithofacies demonstrates the evolution of volcanism, which is critical for understanding the formation of the Shoushan-stone-associated hydrothermal system. For the geochronological study, the samples of unaltered rhyolitic tuff are collected from the layers topping and bottoming a pyrophyllite orebody. The zircon U-Pb dating results constrain the age of pyrophyllite alteration during the episodic eruption. Shoushan stone is formed in an epithermal hydrothermal environment, so we suggest that high-quality Shoushan stone is formed by the hydrothermal alterations in the interval time of the volcanic episode (135–131 Ma) and after volcanic activity (<131 Ma). Furthermore, the Shoushan basin’s stratigraphic section suggests that there have been large-scale hydrothermal systems in the volcanic basin during the Early Cretaceous volcanism. The stratigraphic correlation and geochemical results indicate that the Mesozoic basins in the Fu’an-Yongtai volcanic eruption belt have the potential for pyrophyllite deposit exploration.
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Lakshmy, M., B. M. Chandrasekhar, B. S. Jai Prakash, and Y. S. Bhat. "Zeolitic behaviour of paratoluenesulfonic acid-modified clay in Friedel-Crafts synthesis of raspberry ketone." Clay Minerals 50, no. 5 (December 2015): 573–81. http://dx.doi.org/10.1180/claymin.2015.050.5.02.
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AbstractDuring solventless alkylation of phenol with 4-hydroxy-2-butanone under microwave irradiation, paratoluenesulfonic acid (pTSA)-modified montmorillonite clays gave, regioselectively, 4-(4′-hydroxyphenyl)-2-butanone (raspberry ketone). The duration for this reaction under microwave irradiation is much shorter than that of the conventional method. A comparative study of the alkylation reaction over a montmorillonite clay sample treated with 0.5 M-pTSA (0.5 M-pTSA clay) with that of Al-exchanged montmorillonite (Al3+-Mont) and beta-zeolite (HB) was carried out. The results show that the reaction time to reach equilibrium and the product distribution pattern for the reaction over 0.5 M-pTSA clay were similar to those values for the HB. Micropores formed on the clay surface during the pTSA treatment were found to enhance the rate of formation of C-alkylation. Micropores appear to enable better access to the active sites during the course of reaction.
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Danilov, P. G. "The 18th century Tobolsk tiles from the Governor's Palace." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 3 (50) (August 28, 2020): 101–9. http://dx.doi.org/10.20874/2071-0437-2020-50-3-8.
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In Siberia, ceramic tile manufacturing should be dated to the 1670s–1680s, when the stone building in To-bolsk commenced. The source base for studying the tile craft in Siberia is provided by archaeological investiga-tions on Russian settlements. This paper aims at the typology of plots and graphical reconstruction of the appear-ance and color scheme of a collection of repousse polychromic tiles acquired in the course of archaeological in-vestigations of the Governor’s Palace in Tobolsk. The collection is dated to the first half of the 18th century. Most of the tiles were fragmented and had signs of burning. The discovered tile fragments belong to the repousse poly-chromic type. We consider them to be the stove decoration sets due to the traces of smut and soot on the back side and by the presence of a box-shaped rump with some space from the edge. The rump has holes on the sides made to fix the tiles onto a stove with wire. The tiles from the Governor’s Palace can be subdivided as follows: 1) wall tiles of ‘small hand’ and ‘large hand’; 2) corner wall tiles; 3) corner wall halves; 4) flat banded tiles; 5) cor-ner flat bands; 6) roller-band; 7) cornice belt; 8) valances; 9) legs and 10) gorodki (product made of clay with variations in size used for decoration of brick furnaces). Twenty themes have been reconstructed from the pre-served fragments. The stoves with such facework belong to the Renaissance type. In the tile manufacture, opaque, dull enamels were used: blue; turquoise green; white and yellow, as well as translucent glaze producing a glossy brown color on red clay. The study of the tile drawings and ornaments revealed that most of them were borrowed from other centers of tile manufacturing. A large part of the drawings either has stylistic similarity or is an accurate copy of the drawings on the tiles manufactured in Moscow in the 1670s–1680s. The drawings on five tiles do not have records in the earlier published works, and therefore they may have local origins. The tile orna-ment is mainly floral-geometrical, except for three tiles. Two of the latter have zoomorphic drawings of birds and the third one depicts a planter. Both plots are amongst the most popular themes in Russia.
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Putra, Arta Rusidarma, and S. Silfiana. "DEVELOPMENT STRATEGY OF POTENTIAL VILLAGE TO BE VILLAGE OF EDUCATION TOURISM IN BUMI JAYA VILLAGE (Case Study of Bumi Jaya Pottery Craft Center in Ciruas District, Serang Regency)." Jurnal Kebijakan Pembangunan Daerah 3, no. 1 (August 27, 2019): 13–32. http://dx.doi.org/10.37950/jkpd.v3i1.51.
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ABSTRAKTujuan dari penelitian ini adalah untuk mengetahui strategi pengembangan potensi desa wisata edukasi Bumi Jaya yang terkenal dengan kerajinan gerabah dan keindahan alamnya. Kerajinan gerabah yang ada di Desa Bumi Jaya Kecamatan Ciruas Kabupaten Serang merupakan salah satu desa yang sangat berpotensi untuk pengembangan menjadi desa wisata edukasi. Selain dijadikan sebagai sentra kerajinan gerabah, desa ini memiliki sumber daya alam yang sangat mendukung terutama pada tersedianya bahan baku tanah liat yang mempunyai kualitas yang sangat baik dan juga sejarah kearifan lokal gerabah dari jaman kerajaan Banten serta keindahan alam persawahannya. Untuk lebih meningkatkan perekonomian masyarakat, maka dirasa perlu adanya pengembangan potensi desa menjadi desa wisata edukasi Bumi Jaya. Strategi pengembangan potensi desa wisata edukasi Bumi Jaya dengan perencanaan partisipatif dalam pengembangan pariwisata di desa wisata Bumi Jaya dan menerapkan Community Based Tourism sebagai pendekatan pengembangan pariwisata. Penelitian ini menggunakan metode deskriptif kualitatif. Berdasarkan hasil penelitian, pengembangan strategi wisata edukasi Bumi Jaya dapat dirumuskan dengan menggunakan SWOT dan strategi analisis SO, ST, WO, WT.
Kata Kunci : Strategi Pengembangan, Potensi, Desa Wisata Edukasi
ABSTRACTThe purpose of this study was to determine the potential development strategies of Bumi Jaya educational tourism villages that are famous for pottery crafts and their natural beauty. Pottery crafts in Bumi Jaya Village, Ciruas Subdistrict, Serang Regency are one of the villages that have the potential to develop into educational tourism villages. In addition to being used as a center for earthenware crafts, this village has natural resources that are very supportive especially in the availability of clay raw materials that have very good quality and also the history of the local wisdom of pottery from Banten's royal era and the natural beauty of its rice fields. To further improve the economy of the community, it is deemed necessary to develop the potential of the village to become an educational tourism village for Bumi Jaya. The strategy for developing the potential of educational tourism villages in Bumi Jaya with participatory planning in tourism development in the tourism village of Bumi Jaya and implementing Community Based Tourism as an approach to tourism development. This study used descriptive qualitative method. Based on the results of the research, the development of the Bumi Jaya educational tourism strategy can be formulated using SWOT and SO, ST, WO, WT analysis strategies.
Keywords: Development Strategy, Potential, Educational Tourism Village.
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Polshikova, N. V. "DEVELOPMENT AND FORMATION OF ARCHITECTURAL AND CONSTRUCTION TRADITIONS OF THE STEPPE AND FOREST-STEPPE ZONES OF EASTERN EUROPE FROM THE 5TH TO THE 7TH CENTURIES." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 188–95. http://dx.doi.org/10.31650/2519-4208-2020-20-188-195.
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This article is the fourth of the general topics«Development and formation of architectural and construction traditions of the steppe and forest-steppe zones of Ancient Russia. In the process of studying historical and archaeological facts, tere arefollowing:The main type of settlements of the early medieval period of the 5th-7th centuries in all territories of Slavs' residence –uninhibited villages along the banks of rivers and lakes on low floodplain terraces with an area of 0.25-1.0 ha, but in Moldova -up to 1.2 ha, in Podolia –up to 1.5 ha, inSmolensk –up to 7.0-8.0 ha. In the Upper Dniester and Upper Dnieper, the location of settlements is «nesting» with a distance between «nests» of 0.3-0.5 km. Layout –ordinary along the coast according to the terrain. Settlements of 3 types: tribal trade and craft centers, shelters and religious centers. Refuge settlements were built in the Upper Dnieper Left Bank, in the Upper reaches of the Western Dvina, in the borderland with Finno-Ugric and Germanic tribes, especially in the Upper Oka basin, where the main type of settlement settlements. They are trade and craft centers of permanent residence, asylum-fortifications were built separately.Placement of settlements -suburban protected areas, additional fortifications -ramparts and ditches, wooden walls with crates along the inner perimeter of the walls, their area is 0.2 -0.3 ha. Ancient settlements-cult centers inSmolensk region had similar fortifications.Dwellings –everywhere rectangular plans (or close to them, with gable roofs covered with a layer of clay or resin, rammed earthen floors.Space-planning decisions in all territories of Slavs' residence are of the same type, the differences are only in wall designs, which depended on climatic conditions, and in the placement of heating devices: among Slavs, stove-stoves and clay in the corner of dwellings, among neighbors of the Slavs (Balts and Finns) –foci in the middle of dwellings.So in the Southern region there are half-dugouts and ground pillars and log houses with a hearth in the center or a stove with a stove in the corner of the outbuilding.In the Northern region there are rectangular log cabins with astove in a corner. In the Western region, there are half-dugouts and terrestrial columnar and log-house constructions with centers in the center or a stove-heater in the corner.Definitely religious buildings –pagan luminaries. Found only in the Smolenskregion. They are round, rammed, a platform with a diameter of 6 m, along the edge of which is in the center of the site.The burial facilities of the early period of the Slovenian middle ages ubiquitous soil burial grounds and mounds are mainly accordingto the rite of incineration.Thus, the construction and architecture in all areas of the Slavs and their immediate neighbors to the VIII century –of the same type. This situation in the Steppe continued in the Middle Ages, when the Turkic-speaking Huns invaded the Steppe in the Middle of the 4th century wich is putting an end to the centuries-old domination of the Iranians and causing the grandiose movement of European peoples –«The Great Relocation».Development and formation of architectural and construction traditions of the steppe and forest-steppe zones of Eastern Europe from the 5th to the 7th centuries –The early stage of the early Slavic Middle Ages –is considered separately for the forest-steppe and steppe zones. The development of constructionin the steppe zone, through which the namada of the Hun circle moved west, is represented only by random mounds, often inlets, left in the Steppe from the previous time. All types of structures of the settled population of the forest-steppe zone that havedeveloped earlier were developed in this period. The early Slavs, the formation of whose ethnicity began in the III century. BC., to the V century. n. e. the main types of buildings have developed, which have had a special development since the 5th century. n. e.
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Puholovok, Yu A. "THE HEAT UNIT TYPES AND THE FIRING TEMPERATURE IN THE PEOPLE OF ROMNY CULTURE." Archaeology and Early History of Ukraine 43, no. 2 (June 30, 2022): 225–34. http://dx.doi.org/10.37445/adiu.2022.02.16.
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The paper deals with the firing process of Romny culture ceramics. One of the key operations in the manufacture of pottery is the thermal effect on it. Firing is the last stage in pottery production when ceramics acquire the necessary physical properties and become suitable for use in various household needs.
Analysis of the source and the results of interdisciplinary research allows us to identify the thermal facilities used for this process. It is also possible to determine the firing temperature of handmade pottery.
It can be argued that Siverians handmade pottery burned mainly in fires and kilns. Ordinary household stoves were not used for this purpose. The firing was carried out mainly without temperature exposure, for a short time, at low temperatures. This assumption is supported by the color of the shard at the break, as well as the presence of organic matter traces or unmelted prints of organic on ceramic. Despite the fact that clay products were burned at relatively low temperatures during the period under study they were used in everyday life. The firing temperature of Romny culture ceramics had limits between 450 and 550 °С, in some cases reaching 600—800 °С.
The use of pottery kilns had to be followed by a special firing regime. The time of their appearance probably lies within the 9th century, but this date needs to be clarified. Somewhat later, in the 10th century two-chamber kiln structures appeared on the Siverians settlements. The spread of such kilns is associated with the influence of the Khazar Khaganate population. The appearance of special kilns indicates a certain increase in economic and production potential, which leads to the beginning of the allocation of pottery in a separate branch of the craft.
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Klesner, Catherine, Jay A. Stephens, Emilio Rodriguez-Alvarez, and Pamela B. Vandiver. "Reconstructing the Firing and Pigment Processing Technologies of Corinthian Polychrome Ceramics, 8-6th Centuries B.C.E." MRS Advances 2, no. 35-36 (2017): 1889–909. http://dx.doi.org/10.1557/adv.2017.257.
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ABSTRACTDecorative, polychrome ceramics from Corinth, Greece, produced during the 8th-6th centuries B.C.E. were luxury goods widely traded throughout Greece and the Mediterranean. Corinthian pottery is the first 5-color polychrome ceramic technology, having slip-glazes in distinctive white, black, red, yellow, and purple colors, and in a variety of surface finishes from glossy, to semi-matte, to matte. The firing temperature range, 925-1075°C, was determined experimentally to be to be higher than previously reported, similar to the Corinthian amphorae and other ceramic products. This firing range is higher than that of the better known, more prestigious Athenian Black-figure and Red-figure ceramics. In this study three examples of Corinthian and one example of Athenian Black-figure ceramics from the Marie Farnsworth collection at the University of Arizona were tested and compared to thirteen clays from Corinth. Analytical techniques included Fourier-transform infrared spectroscopy (FTIR), scanning-electron microscopy with energy-dispersive spectroscopy (SEM-EDS), micro-Raman spectroscopy, and wavelength-dispersive electron microprobe (EPMA with BSE-SEM).Artisans in Corinthian workshops experimented to change the colors of the slips by varying the type and amount of iron-rich raw material, as well as the composition of the clay used as a binder and the amount of flux used as a sintering aid to promote glass formation. Corinthian artisans developed not only different recipes to produce the various colors, but also they were able to control raw-material particle size and composition to produce variations in surface luster (matte, semi-matte and glossy). This research suggests that Corinthian polychrome-slip technology was based on careful control of particle processing, of compositional control of raw materials and their admixtures, and of firing temperature. The behavior or practice of adding different ratios of pigments and glass-forming fluxes to form various optical effects implies a detailed knowledge of what happens when these are heated and fired. This is a process of experimentation focused on developing a distinctive craft practice, which produced a distinctive and highly valued material. The Corinthians developed a more complex, easily recognizable, and culturally distinctive ceramic technology that was intentionally established as a cultural brand, and probably as a luxury brand of high socio-economic value. This research deepens our understanding of the complex pigment processing and firing technologies employed in the production of Corinthian ceramics.
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Karavaiko, D. V. "PRELIMINARY INFORMATION ABOUT THE FOUNDRY OF THE RESIDENTS OF SHYRIAEVE HILLFORT." Archaeology and Early History of Ukraine 42, no. 1 (April 6, 2022): 155–62. http://dx.doi.org/10.37445/adiu.2022.01.12.
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The Shyriaeve hillfort has been permanently explored for 5 years. Сonsidering the excavations of the late 1940s and 1950s, the total excavation area reaches 556 m2. The period of existence of the fortified settlement covers the late 6th—4th centuries BC. As a result of recent work, three chronological horizons have been distinguished. The spectacular material is obtained which allows us to get closer to the characteristics of different aspects of life of ancient inhabitants.
One of the least studied cases is the degree of development of the bronze foundry. The information available today allows us to describe this craft in general terms and draw preliminary conclusions.
Copper and (or) bronze were imported goods. Finds of the fragments of amphorae, glass beads and cowrie shells should be included in the category of other imported items. Exchange links with the neighbors have been established but the extent of their intensity remains unclear.
The consequence of activities of local craftsmen are the findings of clay tapholes and crucibles. Other tools, including chisels, are made of iron. There is no complete certainty about its use by artisans — foundries, because such things were multifunctional.
Other finds include the bronze or copper bars which were commodity ingots, in the primary raw material for smelting various products. Craftsmen also used colored scrap metal in the form of various plates and fragments of objects.
Indisputable evidence of local production is its remnants in the form of splashes. The conducted analyzes with care allow to assume smelting of copper from ore directly within the settlement.
The ways of getting copper ore (bronze) and a number of other things to the Shyriaeve hillfort have not been clarified yet. It is possible to assume that the main importer was the hillfort of Basivka — the central point of the Sula river basin. To date there is little material for a full analysis of the foundry of the residents of the Shyriaeve hillfort. Its study has just begun.
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Frahm, Eckart. "Royal hermeneutics: Observations on the commentaries from Ashurbanipal's libraries at Nineveh." Iraq 66 (2004): 45–50. http://dx.doi.org/10.1017/s0021088900001613.
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The British excavations at Nineveh, initiated in 1845 by Austen Henry Layard, produced about 30,000 clay tablets or fragments of tablets, most of them coming from the citadel mound of Kuyunjik. This textual material can be divided into two main groups: on the one hand, library tablets, consisting of literary, lexical and historical texts, rituals, medical compendia, Sumerian prayers and above all omen texts, and on the other, archival documents, such as letters, contracts and administrative notes. The great, and rather unique, potential of the texts from Kuyunjik lies in the fact that they reveal to us, more than any other repository of cuneiform tablets ever found, how culture, represented by the first group of texts, and politics, represented by the second, were related to each other in ancient Mesopotamia.While the archival documents from Kuyunjik date to the reigns of several Assyrian rulers from the eighth and seventh centuries, the library texts seem to belong mostly, though not exclusively, to the reign of a single Assyrian king, Ashurbanipal (669 to about 630), a man deeply interested in the scribal arts of ancient Mesopotamia. His enthusiasm for reading and writing, which he seems to have shared with his wife, Libbāli-šarrat, can be traced back to his youth. From an autobiographical sketch about his intellectual socialization, we know that Ashurbanipal had received the education of a future scholar. In a passage somewhat reminiscent of the twelve-year-old Jesus in the temple, Ashurbanipal described the scribal training of his early years as follows:I learnt the craft of Adapa the sage, the hidden mystery of the scribal art. I used to watch the signs of heaven and earth and to study them in the assembly of the scholars. Together with the able experts in oil-divination, I deliberated upon (the tablet) “If the liver is a mirror of heaven”. … I looked at cuneiform signs on stones from before the flood.
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Supriadi, Adih, Vera Maria, and Eloh Bahiroh. "HAND CRAFTS MATERIALS OF CLAY (STUDY OF HOUSEHOLD IN BUMI JAYA VILLAGE CIRUAS DISTRICT SERANG)." Jurnal Manajemen dan Bisnis 9, no. 2 (December 31, 2020): 106–13. http://dx.doi.org/10.34006/jmbi.v9i2.195.
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The home industry is a home business that produces various commodity products that are processed manually or using simple production machines. One of the home industry centers in Serang Regency is clay handicrafts that have been around for a long time, mostly women. During their development, they still experience many problems, especially in terms of production and marketing. Based on this, the authors researched to analyze the production and marketing aspects of clay crafts. The population and samples taken were fifteen people, they were clay craftsmenin Bumi Jaya Village, Serang Regency. This is done to find out the various aspects of production and marketing they have been doing related to the clay crafts they are doing. The sampling was carried out through direct observation with the clay crafts actors. Based on the results of research that has been carried out, production and marketing can still be done, and it is just that what needs special attention is that marketing must be further improved and expanded, which so far only relies on consumer visits to show rooms and waiting for special orders from consumers.
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Littrell, Mary Ann, Rae Reilly, and JaneAnn Stout. "Consumer Profiles for Fiber, Clay, and Wood Crafts." Home Economics Research Journal 20, no. 4 (June 1992): 275–89. http://dx.doi.org/10.1177/1077727x9202000404.
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Dzhanfezova, Tanya. "Exploring the Broad Spectrum: Vegetal Inclusions in Early Neolithic Eastern Balkan Pottery." Open Archaeology 7, no. 1 (January 1, 2021): 1138–59. http://dx.doi.org/10.1515/opar-2020-0200.
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Abstract Why was “chaff temper” used in pottery production? The possible reasoning behind the practice of intentionally adding organic matter (various plant parts and plant-containing materials) to the clay paste when making pottery is explored by studying four Early Neolithic open settlements. Located in contrasting regions, northwest and southwest Bulgaria, they have contrasting geological settings, altitude, climate, and “pottery styles.” Ceramic fragments containing vegetal remains (charred, semi-charred parts, imprints, and phytoliths) found both on the surface of the vessels and within the body clay are studied in hand specimens, thin-sections and by using scanning electron microscopy. Whether the addition of “organic temper” was an actual functional prerequisite (e.g. caused by technological limitations of the local clays, the vessels’ use, etc.), and how to interpret the variable contents and types of vegetal remains within the clay fabrics, are the main questions discussed within a broader context. The observed variability raises awareness of a series of potential biases when interpreting vegetal remains in Early Neolithic Southeast European pottery. This study not only tackles the interrelation between two major Early Neolithic cycles – ceramic technology and agriculture – but also reveals the potential to examine the synergies between specifically technological, agricultural, and environmental study aspects. It demonstrates the intrinsically intertwined crafts and husbandry activities, technological landscapes, decision-making strategies, and subsistence patterns, all within site-specific environment. It also frames a debate on such inclusions’ strictly technological significance, their role as a cultural factor embodied in social behaviour, or completely accidental presence in the clay fabrics, and a whole spectrum in between.
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Cativiela, Carlos, JoséI García, María García-Matres, J. A. Mayoral, François Figueras, JoséMaria Fraile, Tivadar Cseri, and Bisch Chiche. "Clay-catalyzed Friedel-Crafts alkylation of anisole with dienes." Applied Catalysis A: General 123, no. 2 (March 1995): 273–87. http://dx.doi.org/10.1016/0926-860x(94)00240-1.
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Somaiah, K., M. Venkatanarayana, and B. Sathyanarayana. "Thermally Stimulated Luminescence of Montmorillonite Clay." Crystal Research and Technology 26, no. 3 (1991): 357–62. http://dx.doi.org/10.1002/crat.2170260320.
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Fiala, J. "D. R. Pevear, F. A. Mumpton (ed). Quantitative Mineral Analysis of Clays. The Clay Minerals Society, Evergreen, Colorado, 1989, 171 p, 54 figures, $ 14.00." Crystal Research and Technology 27, no. 5 (1992): 608. http://dx.doi.org/10.1002/crat.2170270506.
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Vickers, Michael. "Artful crafts: the influence of metalwork on Athenian painted pottery." Journal of Hellenic Studies 105 (November 1985): 108–28. http://dx.doi.org/10.2307/631525.
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Why did Athenian vase-painters choose the colours they did for the vases they decorated? Why did they choose black figures on red, or red figures on black; why were lekythoi often decorated on white ground? These are basic questions, but have rarely been asked. Many books and articles deal with the technical aspects of how these effects were achieved, but never seem to ask why. A few minutes' conversation with a modern potter will dispel any illusion that the colours so familiar from Attic pottery were the only ones compatible with the local clay. Even the orange of that clay was made more intense by the addition of a thin reddish slip, and white-ground can scarcely be accidental. It is legitimate to enquire why a particular range of colour schemes was adopted.