Journal articles: 'Pottery Pottery industry'

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Nortey, S., and E. Asiamoaso. "The Effect of the Decline on Pottery in Ghana and Socio-Economic Implications on Potters." Ghana Journal of Science 60, no. 2 (December 31, 2019): 42–54. http://dx.doi.org/10.4314/gjs.v60i2.5.

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Demand for pottery in Ghana is declining according to empirical studies and this has socio-economic implications on the potters. The perpetuation of the potter’s trade is vital to maintaining and preserving humankind’s culture and livelihood. This paper used qualitative and quantitative approaches to discuss the effect of the decline in pottery and its socio-economic implications on potters. The study sampled 500 practising potters from four centres in Ashanti and Bono regions of Ghana; Appiadu, Pankrono, Afari and Tanoso. Findings showed that there has been a decline on pottery in Ghana which inadvertently has socio-economic implications on the potters. The study established that there has been a decline in pottery activities. Analyses revealed that there is an appreciable socio-economic variance between potters who solely depended on pottery as opposed to others who combined it with other jobs. Location was a highly influential factor in determining the potters’ economic condition (p≤0.05). The effect of the declining demand on retention was highly significant in terms of potter’s willingness to quit or remain in the industry (p<0.05). The paper recommends teaching artists must intervene in developing the skills of these potters, a development of traditional in-depth design exploration through workshops. Keywords: Pottery, socio-economic effect, pottery centres, potters, clay

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Perry, Gareth J. "SITUATION VACANT: POTTER REQUIRED IN THE NEWLY FOUNDED LATE SAXON BURH OF NEWARK-ON-TRENT, NOTTINGHAMSHIRE." Antiquaries Journal 99 (July 23, 2019): 33–61. http://dx.doi.org/10.1017/s0003581519000040.

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The potters’ wheel was reintroduced to England in the late ninth century. It spread rapidly throughout eastern England, yet little is known about the mechanisms that facilitated its dissemination and success. This article presents the results of multidisciplinary research into the diffusion of this technology. Focusing on pottery production in late Saxon Newark, Nottinghamshire, an industry thought to have been founded by a potter(s) who had relocated from Torksey, Lincolnshire, this study offers a rare opportunity to examine the movements and craft practices of an individual artisan(s). By considering their manufacturing choices in the context of pottery distribution networks and the contemporary political, social and economic climate, it is demonstrated that the supply of pottery to Newark from regional production centres was restricted, creating a gap in the market and providing an incentive for a potter to relocate, encouraging the spread of the potters’ wheel throughout eastern England.

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Naser, Kamal Abdul, and Rahmanelli . "the profile and distribution tembikar industri in nan sabaris district, padang pariaman regency." JURNAL BUANA 3, no. 2 (March 31, 2019): 242. http://dx.doi.org/10.24036/student.v3i2.313.

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Profil dan Persebaran Industri Tembikar di Kecamatan Nan Sabaris Kabupaten Padang Pariaman Kamal Abdul Naser , Rahmanelli Program Studi Geografi Fakultas Ilmu Sosial Universitas Negeri Padang Email kamalabdulnaser69@gmail.com Abstrak Tujuan Penelitian ini untuk 1) Mendeskripsikan profil industri tembikar di Kecamatan Nan Sabaris Kabupaten Padang Pariaman 2) Mengetahui persebaran industri tembikar di Kecamatan Nan Sabaris Kabupaten Padang Pariaman. Jenis penelitian ini merupakan penelitian deskriptif kuantitatif . Populasi penelitian ini adalah seluruh pemilik industri tembikar di Kecamatan Nan Sabaris. Berdasarkan data yang didapatkan melalui observasi, diketahui jumlah pemilik industri tembikar keseluruhan di Kecamatan Nan Sabaris sebanyak 21 industri, yaitu di Kenagarian Kapalo Koto terdapat 14 industri tembikar dan di Kenagarian Padang Bintungan terdapat 7 industri tembikar. Teknik pengambilan sampel dalam penelitian ini adalah total sampling. Berdasarkann hasil dari penelitian didapatkan 1) Jumlah tenaga kerja yang dimiliki industri tembikar di Kecamatan Nan Sabaris rata-rata 1 - 4 orang, modal yang diperlukan berkisar antara Rp.400.000 – Rp.949.000. Tembikar yang dihasilkan dalam satu kali proses pembakaran rata-rata 3000 tembikar. Pemasaran tembikar jangkauannya yaitu Jakarta, Medan dan Jambi. 2) Persebaran industri tembikar di Kecamatan Nan Sabaris dengan pola persebaran acak atau Random dengan nilai T 0,848358. Kata Kunci : Tembikar, Profil, Persebaran Abstract The purpose of this research is to 1) Describes industrial pottery profiles in district of Nan Sabaris Padang Pariaman 2) know the spread of the pottery industry in the Nan Sabaris Padang Pariaman. Type of this research is quantitative descriptive research. The population of this research is the whole owner of the pottery industry in the Nan Sabaris. Based on data obtained through observation, note the number of the owner of the pottery industry overall in Nan Sabaris as much as 21 industries, namely in Kenagarian Kapalo Koto pottery industry and there are 14 in the Kenagarian Desert Bintungan There are 7 pottery industry. Sampling techniques in the study are the total sampling. Berdasarkann the results of the research obtained 1) total labour force industry-owned pottery in Nan Sabaris average 1-4 persons, the necessary capital ranging between Rp. 400,000 – Rp. 949.000. Pottery produced in one process Burning an average of 3000 pottery. Marketing its range of pottery, namely Jakarta, Medan and Jambi. 2) Distribution of industrial pottery in Nan Sabaris with random or Random distribution pattern with a value of T 0.848358. Keywords: Pottery, Profiles, Distribution

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Simpson, Pamela H., Cheryl Buckley, Gillian Elinor, Su Richardson, Sue Scott, Angharad Thomas, and Kate Walker. "Potters and Paintresses: Women Designers in the Pottery Industry 1870-1955." Woman's Art Journal 13, no. 2 (1992): 47. http://dx.doi.org/10.2307/1358156.

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BEDDOE, S. "Potters and Paintresses. Women Designers in the Pottery Industry 1870 1955." Journal of Design History 3, no. 2-3 (January 1, 1990): 197–98. http://dx.doi.org/10.1093/jdh/3.2-3.197.

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Ilyushina, Virnjria Vladimirovna. "THE TECHNOLOGY OF POTTERY PRODUCTION OF THE POPULATION OF THE ALAKUL CULTURE OF THE SETTLEMENT NIJNEINGALSKOE-3 IN THE LOWER TOBOL REGION." Samara Journal of Science 4, no. 4 (December 1, 2015): 47–59. http://dx.doi.org/10.17816/snv20154205.

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The article is devoted to the analysis of the technology of pottery production of the population of alakul culture of the settlement nijneingalskoe-3 in the lower tobol region. the analysis is made within the framework of historical and cultural approach and the structure of the pottery industry, developed by a.a. Bobrinsky. as a result of the study of the pottery revealed that the potters of alakul culture selected natural iron- enriched clay and silty clay containing natural admixture of rivers shell. during compiling of molding masses most often the potters used a fire clay and various organic additives, rarely they used a gruss and calcified bone. in the collection there are just 3 of the bottom part of the vessels, which gave information on the construction aseed-body. they were made from clay patches in accordance with the bottom-capacitive program. the hollow body of the 10 vessels was made with clay patches too. the surface of vessels were treated with wooden and bone spatulas, stamps and cloth or fingers of potters. after smoothing the surface, and in some cases the inner surface of the vessels was glossing on the dry basis. Firing of finished products was manufactured in a simple piles or hearths. Following the results of the comparative analysis of the pottery traditions of the settlements citizens, their mixed characters in selecting the plastic raw material and composing the molding masses havebeen discovered. the comparison of the data with the technological information about ceramics assemblages from the neighboring regions showed that the citizens of the alakul culture are considered to be aliens on the territory of the lower tobol region.

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Winarno, Tri. "Perbandingan Karakteristik Lempung Kasongan dan Godean Sebagai Bahan Baku Industri Gerabah Kasongan." Teknik 37, no. 1 (July 30, 2016): 41. http://dx.doi.org/10.14710/teknik.v37i1.10087.

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Kasongan adalah salah satu sentra industri keramik dan gerabah di Yogyakarta yang terletak di Desa Bangunjiwo, Kecamatan Kasihan, Kabupaten Bantul. Pada saat ini industri keramik dan gerabah Kasongan mengalami kesulitan bahan baku lempung dikarenakan cadangan lempung di Desa Bangunjiwo yang selama ini digunakan semakin berkurang jumlahnya. Berdasarkan studi pustaka diketahui bahwa di Godean terdapat cadangan lempung, sehingga perlu diteliti apakah bisa digunakan sebagai bahan baku dalam industri keramik dan gerabah. Metode yang digunakan untuk menguji karakteristik lempung tersebut adalah dengan analisis XRD, XRF, analisis tingkat kecerahan, analisis ukuran butir dan pengujian pembuatan gerabah dari lempung tersebut. Hasil penelitian menunjukkan mineral lempung penyusun lempung Bangunjiwo adalah kaolinit dan haloisit, sedangkan di Godean terususun atas kaolinit, haloisit dan smektit. Dalam pengujian pembuatan gerabah dengan lempung dari kedua daerah tersebut menunjukkan perbedaan hasil, dimana lempung dari Godean menghasilkan gerabah yang tidak menyerupai ciri khas gerabah Kasongan yang berwarna merah terang. Dengan demikian lempung dari Godean tidak bisa digunakan sebagai pengganti bahan baku industri gerabah Kasongan. [Title: The Characteristic Comparison of Kasongan Clay and Godean Clay as Raw Material in Kasongan pottery Industry] Kasongan is the center of ceramics and pottery industry in Yogyakarta,located in Bangunjiwo village, Kasihan District, Bantul Regency. Nowadays, the ceramics and pottery industry is difficult to find the raw material because of the decrease of the Bangunjiwo clay deposit. Based on literature review, there are clay deposits found in Godean which can be observed their characteristics as basic commodity in the ceramics and pottery industry. The methods apllied in this research are XRD and XRF analysis,brightness analysis, grain size analysis and making pottery from those clays.The result of the research shows that the clay in Bangunjiwo consists of kaolinite and halloysite, while clay in Godean consists of kaolinite, halloysite and smectite. The pottery products made from those clays show different characteristics. The clay from Godean does not show bright red colour as the Kasongan clay. So the clay from Godean can not be used as the alternative raw material for the Kasongan pottery industry.

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Hamidah, Siti Nurul, Uzieka Arsiya Rosadha, Abdul Hafidz Sufiyana, Ari Alfiansyah, and Mutamimatussifah Mutamimatussifah. "PEMBERDAYAAN MASYARAKAT MELALUI PROGRAM E-MARKETPLACE PADA PENGRAJIN GERABAH DESA BUMI JAYA SERANG BANTEN." Lembaran Masyarakat: Jurnal Pengembangan Masyarakat Islam 6, no. 2 (December 28, 2020): 137. http://dx.doi.org/10.32678/lbrmasy.v6i2.4272.

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Pottery is a traditional product that is still being made and developed. But the existence of pottery today has begun to diminish its interest because it has to compete with modern products. Therefore, the need for empowerment of Small and Medium Industries, especially the pottery industry to be able to compete in the modern market. This paper aims to: (1) know the potential of proper local empowerment in Kampung Gerabah Bumi Jaya Serang Banten, (2) identify the right model of economic development and empowerment, (3) Analyze the usefulness and benefits of technology in the economy of the pottery industry through E-Martketplace on pottery craftsmen in Kampung Gerabah Desa Bumi Jaya Serang Banten. The method used is a descriptive qualitative approach to obtain relevant data in community empowerment, especially empowerment in pottery craftsmen in Kampung Gerabah Bumi Jaya Serang Banten. The results showed that empowerment through e-Marketplace can be done on pottery craftsmen in Bumi Jaya Village. Pottery sales through e-marketplaces have a high opportunity if developed well and continuously and there are innovations in pottery products.

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Shrestha, Prakash. "Challenges and Scopes of Pottery Industry." Pravaha 24, no. 1 (June 12, 2018): 147–58. http://dx.doi.org/10.3126/pravaha.v24i1.20234.

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Pottery is unique art of making artifacts from clay. It produces different kinds of clay and ceramics items such as flowerpots, water and grain storage jars, large vessels for distilling rice spirits called rakshi, cooking pots, tableware, stoneware cups, bowls, and plates, stoneware pitcher and mug, etc. This research aims to examine challenges faced by the pottery industries and to examine scopes of the pottery industries in Nepal. This research is based on the descriptive method. The results show that there is good scope in the this industry but the people involved in this industry are facing different kinds of challenges or problems like shortage of raw materials, manpower, and lack of space to dry the formed pottery, firing pottery, to store the finished goods along with the different raw materials. The sales of the product in the national and international markets are being increased. This industry is being affected by the change in lifestyle and different substitute products. The intermediaries get good profits but they face the problem of getting the products damaged, demand dependent on the festive occasion, problem of transportation, etc. Study shows that there is a huge demand for Nepali handmade ceramic products in the international market due to their improved quality. Buyers are willing to pay a premium for handmade goods, which are propelling exports. Pravaha Vol. 24, No. 1, 2018, Page: 147-158

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Xiaoqi, Li, Zhao Aili, Jia Mengshi, Yan Zhenxing, Yang Liangliang, and Wang Weijie. "Research on the Present Condition and Product Design of Suiling Black Pottery in Heilongjiang Province." MATEC Web of Conferences 176 (2018): 02024. http://dx.doi.org/10.1051/matecconf/201817602024.

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The paper surveys and analyzes the basic present condition of Suiling black pottery in Heilongjiang Province, and innovates and designs black pottery products. This paper combines traditional technologies with modern design methods to enrich the categories of black pottery products, expands the industry chain, and promotes the economic development of Suiling. The rapid development of modern industry led to the decline of handicraft, and the development of Suiling black pottery has stagnated. Handicrafts should be designed and transformed to ensure the inheritance of traditional culture and skills.

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VINCENT, STEPHANIE. "“A Bull in Our China Shop:” Japanese Imports and the American Pottery Industry." Enterprise & Society 19, no. 2 (March 9, 2018): 430–68. http://dx.doi.org/10.1017/eso.2017.66.

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From its beginning, the American pottery industry had to contend with the presence of imports. At first, manufacturers coped by promoting their own products and striving to improve design and quality. However, when Japan began importing china in greater quantities, American potters faced a challenge unlike any before. Initial attempts to attack imports outright through boycotts met with limited success through World War II. Following the peace, Cold War economic policy designed to reintroduce Japan to the global market led to another round of increasing importation. U.S. potters decried the poor quality and low wages connected to Japanese china, yet could not agree on a strategy to overcome the growing number of imports. Some filed lawsuits over copied designs while others hoped to contract with the Japanese to import on their own terms. The failure of these manufacturers to unify in response to Japan proved one of the most damaging blows to this small industry.

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OMORI, Kazuhiro. "The Development of the Pottery Industry." Japanese Research in Business History 21 (2004): 51–73. http://dx.doi.org/10.5029/jrbh.21.51.

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Sarsby, Jacqueline. "Sexual Segregation in the Pottery Industry." Feminist Review, no. 21 (1985): 67. http://dx.doi.org/10.2307/1394840.

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Sarsby, Jacqueline. "Sexual Segregation in the Pottery Industry." Feminist Review 21, no. 1 (January 1985): 67–93. http://dx.doi.org/10.1057/fr.1985.29.

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Schramm, Edward. "DUST ELIMINATION IN THE POTTERY INDUSTRY*." Journal of the American Ceramic Society 16, no. 1-12 (October 17, 2006): 205–13. http://dx.doi.org/10.1111/j.1151-2916.1933.tb19218.x.

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Wildinson, S. M., A. H. M. Heagerty and, and J. S. C. English. "Hand dermatitis in the pottery industry." Contact Dermatitis 26, no. 2 (February 1992): 91–94. http://dx.doi.org/10.1111/j.1600-0536.1992.tb00890.x.

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Nortey, S., R. Amoanyi, and A. Essuman. "The determinants of pottery demand in Ghana." Journal of Science and Technology (Ghana) 37, no. 1 (February 12, 2018): 75–84. http://dx.doi.org/10.4314/just.v37i1.7.

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The pottery industry in Ghana has been experiencing low demand for its products due to the influx of plastic products and other substitutes. Empirical studies reveal that consumers prefer these traditional products for their domestic and aesthetic uses. This paper examined the determinants of pottery demand in Ghana. Two pottery centres each in five regions in Ghana in addition to 1421 pottery consumers were randomly selected for the study. Using descriptive statistics under the qualitative and quantitative research designs, the study revealed that price of pottery products and their availability play a very significant role in determining demand. Results on quality and perceived purpose or function of pottery products are however mixed. Keywords: Pottery; demand; determinants; Ghana

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Akilandeeswari, S. V., and C. Pitchai. "PROSPEROUS OF POTTERY INDUSTRY AND THE ARTISANS OF MANAMADURAI." International Journal of Research -GRANTHAALAYAH 4, no. 5SE (May 31, 2016): 44–52. http://dx.doi.org/10.29121/granthaalayah.v4.i5se.2016.2723.

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In India, over 260 million live in poverty. Poverty is because of high level unemployment, underemployment, low level of income and increase in debt. Developing rural economy is a prime concerns for every developing country. Continuously efforts were made for improving the social and economic well-being of rural people. The Department of Rural Development within the Ministry of Rural Development has been organized for upliftment of the rural people. Many programmes and schemes have been implemented for the development of rural economy. The schemes aim at generating employment, eliminating poverty, developing infrastructure, social security to the rural mass. Pottery is one of the oldest industries which provide employment to rural people. This sector is characterized by low investment, operational flexibility, local resources and domestic and export opportunity. An object of art made of a composition of clay and sand and baked with earthen color, is Pottery. A cottage industrial society in Manamadurai, more than 120 families of artisans are producing pottery crafts. The economy of this village largely depends on pottery industry. So a study has been made in Manamadurai Pottery Workers Cooperative society to analyze the problem of artisans and rejuvenate the industry.

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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.

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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.

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Plomp, Michiel C. "Leonaert Bramer (1596-1674) als ontwerper van decoratie op Delfts aardewerk." Oud Holland - Quarterly for Dutch Art History 113, no. 4 (1999): 197–216. http://dx.doi.org/10.1163/187501799x00373.

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AbstractThe Delft artist Leonaert Bramer (1596-1574) appears to have been intensively involved in the decoration of Delftware. Hitherto four separate examples were known, mostly dating from the 1650s and 1660s (figs.1, 2, 4, 6). The article presents ten (perhaps eleven) new examples of 'Bramer ware' (figs. 8, 9, 11, 13, 15, 17, 19, 21, 23(?), 26; see also note 19) produced between possibly as early as 1630 and 1670. Furthermore, eight of his designs have been found in the archives of the Koninklijke Tichelaar Makkum pottery; the compositions were 'pounced' onto the pottery, i.e. stencilled by dusting powder through a pricked paper pattern (figs. 24, 25, 27, 28, 29, 31, 32). Two early series of drawings by Bramer from the 1630s (most of them in London-scenes from the Old Testament-and Bremenscenes from the New Testament), or derivations from them, seem to have frequently served as patterns for pottery painters (figs. 3-21). Oddly, one of these compositions, Joseph cast into the well by his brothers (fig. 10), occurs on a dish decorated with grotesques which is often regarded as Haarlem work (fig. 11). The use of a Delft artist's composition, combined with the fact that Marion van Aken-Fehmers (Haags Gemeentemuseum, The Hague) has traced a similar grotesque dish bearing the mark of the Delft pottery 'De Porceleyne Bijl' (see note 18), clearly shows that I laarlem did not have a monopoly on grotesques. A total of ten pounces are kept at Makkum: four drawings by Bramer (figs. 24, 25, 27, 29; two pricked repeats of the composition Jacob's Dream: fig. 28) and four pricked stencils (figs. 31, 32). Stylistically, the drawings can be dated to the late 1650s. All ten are pricked along the outlines; the four original drawings are 'matrixes', the others were used as stencils. The composition of Judah and Tamar (fig. 25) is virtually identical with Bramer's version of twenty years earlier. The Judah and Tamar pounce was used until well into the 18th century, judging by a plate dated 1783 in Paris (fig. 26). The coarse manner of painting demonstrates that the use of a pricked paper pattern based on the design of a professional artist was no guarantee for the quality of the result, which depends enti rely on the pottery painter. This accounts for the frequently mediocre standard of the painting on most plates. Nevertheless, a few plates and dishes display painting of such high quality and a manner so similar to Bramer's that it is not unlikely that they were painted by the Delft artist himself (figs. 2, 6, 21). 'Bramer ware' is unmarked. However, on grounds of circumstantial evidence three potteries can be identified where Bramer ware might have been produced: 'De Porceleyne Fles', 'De Grieksche A' and 'De Dissel'. 'De Dissel', where Abraham de Cooge worked, is a likely candidate, in view of a large series of drawings which Bramer made for De Cooge in 1646 (see note 7). In the past, much surprise has been evinced at the gap between the artists of Delft and the potters and decorators of pottery. Despite the heyday of both painting and the pottery industry in Delft in the mid-17th century, and despite the fact that artists and potters were members of the same guild, they seem to have operated quite separately. The material assembled here has brought artists and potters a little closer to each other.

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Fithri, Diana Laily. "Analisa dan Perancangan Penjualan Gerabah Berbasis Web Sebagai Sentra Kerajinan Kabupaten Jepara." Jurnal Disprotek 10, no. 2 (July 6, 2019): 59–63. http://dx.doi.org/10.34001/jdpt.v10i2.711.

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Pottery craft in Jepara district precisely in Mayong area is a small-medium handicraft industry that has not received the government support in pebuh also do not have wide marketing area, because the average still use conventional system that only rely on the buyer come home to make a purchase and ordering the pottery. The results of pottery crafts include pitchers, plates, flower pots, etc. With the lack of sales promotion of pottery, then made gerabah-based sales system using waterfall-based and website-based development methods that can be accessed by the public at large, whose goal will be to increase revenue turnover for the craft.

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Suvittawat, Adisak. "Thai pottery industry economic innovation on the edge pottery purchasing decision factors Dan Kwian pottery village a case study (purchasing decision factors case study of Dan Kwian pottery village)." International Journal of Economic Policy in Emerging Economies 1, no. 1 (2020): 1. http://dx.doi.org/10.1504/ijepee.2020.10031660.

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Suvittawat, Adisak. "Thai pottery industry economic innovation on the edge pottery purchasing decision factors Dan Kwian pottery village - a case study (purchasing decision factors case study of Dan Kwian pottery village)." International Journal of Economic Policy in Emerging Economies 14, no. 2 (2021): 136. http://dx.doi.org/10.1504/ijepee.2021.113584.

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Imrie, R. F. "Industrial Restructuring, Labour, and Locality: The Case of the British Pottery Industry." Environment and Planning A: Economy and Space 21, no. 1 (January 1989): 3–26. http://dx.doi.org/10.1068/a210003.

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In this paper a case study of industrial restructuring in the pottery industry is presented as an illustration of wider changes in industrial organisation in the early 1980s. The background to crisis and restructuring in the pottery industry is considered, and some of the contradictory elements in the new model of production that now characterises the industry are outlined. In conclusion, the geographical effects of economic change in the industry are considered, particularly those on labour and the locality of Stoke on Trent, where the industry is located.

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Handique, Krishna Jyoti. "Rural Pottery Industry in Sivasagar District of Assam." Asian Journal of Research in Business Economics and Management 5, no. 12 (2015): 74. http://dx.doi.org/10.5958/2249-7307.2015.00204.2.

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Rowley, C. "The British Pottery Industry: A Comment on a Case of Industrial Restructuring, Labour, and Locality." Environment and Planning A: Economy and Space 24, no. 11 (November 1992): 1645–50. http://dx.doi.org/10.1068/a241645.

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In a paper in an earlier volume of Environment and Planning A Imrie argues that in the 1980s the British pottery industry was restructuring in various ways, not least towards some form of Fordism, post-Fordism, Japanese-style production, and internationalisation. In this paper it is argued that, first, developments are not new to the industry; second, the empirical basis of Imrie's argument is limited; third, some trends have actually been in contradictory directions. In sum, rather than an example of simple change, the pottery industry represents both continuity and change in many respects.

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Anglisano, Anna, Lluís Casas, Marc Anglisano, and Ignasi Queralt. "Application of Supervised Machine-Learning Methods for Attesting Provenance in Catalan Traditional Pottery Industry." Minerals 10, no. 1 (December 20, 2019): 8. http://dx.doi.org/10.3390/min10010008.

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The traditional pottery industry was an important activity in Catalonia (NE Spain) up to the 20th century. However, nowadays only few workshops persist in small villages were the activity is promoted as a touristic attraction. The preservation and promotion of traditional pottery in Catalonia is part of an ongoing strategy of tourism diversification that is revitalizing the sector. The production of authenticable local pottery handicrafts aims at attracting cultivated and high-purchasing power tourists. The present paper inspects several approaches to set up a scientific protocol based on the chemical composition of both raw materials and pottery. These could be used to develop a seal of quality and provenance to regulate the sector. Six Catalan villages with a renowned tradition of local pottery production have been selected. The chemical composition of their clays and the corresponding fired products has been obtained by Energy dispersive X-ray fluorescence (EDXRF). Using the obtained geochemical dataset, a number of unsupervised and supervised machine learning methods have been applied to test their applicability to define geochemical fingerprints that could allow inter-site discrimination. The unsupervised approach fails to distinguish samples from different provenances. These methods are only roughly able to divide the different provenances in two large groups defined by their different SiO2 and CaCO3 concentrations. In contrast, almost all the tested supervised methods allow inter-site discrimination with accuracy levels above 80%, and accuracies above 85% were obtained using a meta-model combining all the predictive supervised methods. The obtained results can be taken as encouraging and demonstrative of the potential of the supervised approach as a way to define geochemical fingerprints to track or attest the provenance of samples.

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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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Steel, Louise. "The social impact of Mycenaean imported pottery in Cyprus." Annual of the British School at Athens 93 (November 1998): 285–96. http://dx.doi.org/10.1017/s0068245400003464.

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Large quantities of imported Mycenaean pottery are found in Cyprus between the late fifteenth and mid-thirteenth centuries BC, usually in ceremonial or funerary contexts. This article examines the role and value of the Mycenaean imports in Late Cypriot contexts. It is suggested that the incorporation of certain elements of the Mycenaean ceramic repertoire within Late Cypriot funerary ritual had a dramatic impact on the indigenous pottery industry.

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Somrang, Parinya, Anucha Wannagon, Watcharee Sornlar, Pattarawan Choeycharoen, Sitthisak Prasanphan, and Witaya Shongkittikul. "Lampang Raw Material Characterization to Assess the Suitability for Ceramics Industry." Key Engineering Materials 690 (May 2016): 187–93. http://dx.doi.org/10.4028/www.scientific.net/kem.690.187.

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Lampang, a province in northern Thailand, is the important source of ceramics raw materials, such as kaolin, pottery stone, and ball clay. This study aims to investigate the new ceramics bodies by using these local raw materials. About 50 samples from 15 sources were collected to analyze the chemical composition, mineral composition, and physical properties. Kaolin samples principally consisted of quartz and kaolinite. Its greyish color after firing at 1200 °C made it suitable for stoneware product that does not require white body. The principal ball clay mineral is kaolinite, associated with illite and quartz. All ball clay samples are high strength, which are suitable for tableware production. Pottery stone which can be found at Kaolin deposit, showed a mixed mineralogy of quartz, albite, and muscovite, while some samples showed the presence of kaolinite. It showed significantly low on shrinkage. Pottery stone are widely used as flux in both ceramics body and glaze. These analyzed characteristics were put into the ceramics raw materials database which can be searched on-line. This data is useful for the researching of ceramics body compositions with mainly contained raw materials from Lampang.

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Hoskins, Stephen, and David Huson. "Underglaze Tissue Printing for Ceramic Artists, a Collaborative Project to Re-Appraise 19th Century Printing Skills." Key Engineering Materials 608 (April 2014): 335–40. http://dx.doi.org/10.4028/www.scientific.net/kem.608.335.

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Under-glaze tissue ceramic transfer printing first developed circa 1750 and involved engraved or etched copper plates, from which tissue was printed with cobalt blue oxides. Under-glaze tissue has a very distinctive, subtle quality - it is an integral part of both English ceramic history and the history of copperplate engraving. The process was common in the UK ceramics industry until the1980s. However from the 1950s it began to be supplemented by screen-printing, because underglaze tissue transfer was relatively slow and required skilled artisans to apply the transfers. The authors are collaborating with Burleigh Pottery in Stoke-on-Trent, the last remaining company to produce ceramic tableware decorated using the traditional printed under-glaze tissue method. The pottery was recently saved from closure by the HRH Prince Charles Regeneration Trust, who wish to maintain the traditional manufacturing skills for the next 25 years. The Centre for Fine Print Research (CFPR) in Bristol has been reappraising the use of these traditional 19th Century skills with modern materials and methods for producing engraved plates. The project seeks to demonstrate how those 19th Century methods can be applied by contemporary ceramic artists. The paper will explain the process of ink manufacture, heating the plate for printing, digital methods of making plates and the use of potters tissue.

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PILIČIAUSKAS, GYTIS, DALIA KISIELIENĖ, GIEDRĖ PILIČIAUSKIENĖ, LUKAS GAIŽAUSKAS, and ALGIRDAS KALINAUSKAS. "COMB WARE CULTURE IN LITHUANIA: NEW EVIDENCE FROM ŠVENTOJI 43." Lietuvos archeologija Lietuvos archeologija, T. 45 (December 16, 2019): 67–103. http://dx.doi.org/10.33918/25386514-045002.

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Šventoji 43 is one of eight Comb Ware culture sites known in Lithuania at present. The site was excavated in 2013 and 2014 and revealed a homogeneous pottery assemblage, which was classified as Comb Ware and was radiocarbon dated to 3900–3650 cal BC. As a result of this dating, it has been found that Comb Ware is the oldest pottery type to have been produced in coastal Lithuania. In fact, the pottery assemblage of Šventoji 43 also suggests that Comb Ware originates from a distinct phase in the pottery sequence of coastal Lithuania that both predates all other phases from Šventoji pottery bearing sites and has not been previously recognised in other assemblages. Zooarchaeological analysis has revealed that the site was occupied during the early spring and mostly used for fishing zander and pike in the lagoonal lake and for hunting seals and forest game. The unique character of the flint industry, which combined hard hammer percussion and bipolar knapping that resulted in the production of microliths on irregular blades, suggests that the local Šventoji 43 community had Mesolithic roots. Furthermore, this evidence supports the hypothesis that Comb Ware had reached Lithuania through intense contact between East Baltic hunter-gatherers rather than due to a mass migration of the population from the Northeastern Baltic. The much wider distribution of Finno-Ugric hydronyms, compared to that of Comb Ware sites gives an impression that some other Subneolithic pottery types in addition to Comb Ware might have been produced by Finno-Ugric speaking people. Keywords: Comb Ware, Šventoji 43, coastal Lithuania, beginning of pottery production, Finno-Ugric hydronyms

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McNally, Sheila, and Ivančica Schrunk. "The Impact of Rome on the Egyptian Pottery Industry." Journal of the American Research Center in Egypt 37 (2000): 91. http://dx.doi.org/10.2307/40000525.

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Kaczanowska, Małgorzata, Janusz K. Kozłowski, and Michał Wasilewski. "Linear Band Pottery Culture (LBK) lithic industry from Apc." Archaeologiai Értesítő 141, no. 1 (December 2016): 29–54. http://dx.doi.org/10.1556/0208.2016.141.2.

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Monaghan, Jason. "Crambeck Roman Pottery Industry. Edited by P. R. Wilson." Archaeological Journal 147, no. 1 (January 1990): 454. http://dx.doi.org/10.1080/00665983.1990.11077966.

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Blakely, Jeffrey A. "The Nineteenth Century Pottery Industry in Sebastian County, Arkansas." Arkansas Historical Quarterly 49, no. 1 (1990): 57. http://dx.doi.org/10.2307/40038160.

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Prakoso, Priaji Iman. "Peran Wanita dalam Industri Kerajinan Gerabah di Dusun Semampir, Bantul, Daerah Istimewa Yogyakarta." Jurnal Tata Kelola Seni 6, no. 2 (December 4, 2020): 99–113. http://dx.doi.org/10.24821/jtks.v6i2.4692.

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Penelitian ini bertujuan untuk menganalisis peran dan hal yang mendasari wanita Dusun Semampir untuk bekerja sebagai perajin gerabah tradisional. Dengan begitu, diharapkan dapat menjadi wacana bagi pemangku kepentingan atau pihak terkait untuk mengembangkan gerabah tradisi dan meningkatkan kesejahteraan perajin berdasarkan kondisi dan potensi yang ada. Penelitian ini menggunakan metode kualitatif dengan pendekatan deskriptif analitis. Hasil dari penelitian ini menunjukkan bahwa hampir seluruh proses pembuatan kerajinan gerabah tradisional dikerjakan oleh kaum wanita. Kaum wanita mampu menjalankan peran penting dalam keberlangsungan gerabah tradisional di samping menjalankan peran utamanya sebagai ibu rumah tangga, tanpa mengganggu waktu kerja antarperan. Hal tersebut didasari alasan dan motivasi yang kuat terhadap kebutuhan hidup yang semakin kompleks dan berat jika hanya ditopang oleh suami sebagai tulang punggung keluarga saja. Beberapa strategi pengembangan dirumuskan untuk menunjang perajin dan tradisi kerajinan gerabah Dusun Semampir. Women Roles in the Pottery Industry at Semampir Village, Bantul, Special Region of Yogyakarta ABSTRACT This study analyzes the roles and things that underlie the Semampir Village women to work as traditional pottery craftsmen. It is hoped that it can become a discourse for stakeholders or related parties to develop traditional pottery and improve craftsmen's welfare based on existing conditions and potential. This study uses a qualitative method with a descriptive-analytical approach. The results of this study indicate that women do almost all traditional pottery-making processes. Women can play an important role in traditional pottery sustainability besides playing their main role as housewives, without disturbing the working time between roles. This is based on strong reasons and motivation for the needs of life that are increasingly complex and heavy if only supported by the husband as the family's backbone. Several development strategies were formulated to support the craftsmen and the tradition of pottery in Semampir Village.

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Prakoso, Priaji Iman. "Peran Wanita dalam Industri Kerajinan Gerabah di Dusun Semampir, Bantul, Daerah Istimewa Yogyakarta." Jurnal Tata Kelola Seni 6, no. 2 (December 4, 2020): 99–113. http://dx.doi.org/10.24821/jtks.v6i2.4773.

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Penelitian ini bertujuan untuk menganalisis peran dan hal yang mendasari wanita Dusun Semampir untuk bekerja sebagai perajin gerabah tradisional. Dengan begitu, diharapkan dapat menjadi wacana bagi pemangku kepentingan atau pihak terkait untuk mengembangkan gerabah tradisi dan meningkatkan kesejahteraan perajin berdasarkan kondisi dan potensi yang ada. Penelitian ini menggunakan metode kualitatif dengan pendekatan deskriptif analitis. Hasil dari penelitian ini menunjukkan bahwa hampir seluruh proses pembuatan kerajinan gerabah tradisional dikerjakan oleh kaum wanita. Kaum wanita mampu menjalankan peran penting dalam keberlangsungan gerabah tradisional di samping menjalankan peran utamanya sebagai ibu rumah tangga, tanpa mengganggu waktu kerja antarperan. Hal tersebut didasari alasan dan motivasi yang kuat terhadap kebutuhan hidup yang semakin kompleks dan berat jika hanya ditopang oleh suami sebagai tulang punggung keluarga saja. Beberapa strategi pengembangan dirumuskan untuk menunjang perajin dan tradisi kerajinan gerabah Dusun Semampir.Women Roles in the Pottery Industry at Semampir Village, Bantul, Special Region of Yogyakarta ABSTRACT This study analyzes the roles and things that underlie the Semampir Village women to work as traditional pottery craftsmen. It is hoped that it can become a discourse for stakeholders or related parties to develop traditional pottery and improve craftsmen's welfare based on existing conditions and potential. This study uses a qualitative method with a descriptive-analytical approach. The results of this study indicate that women do almost all traditional pottery-making processes. Women can play an important role in traditional pottery sustainability besides playing their main role as housewives, without disturbing the working time between roles. This is based on strong reasons and motivation for the needs of life that are increasingly complex and heavy if only supported by the husband as the family's backbone. Several development strategies were formulated to support the craftsmen and the tradition of pottery in Semampir Village.

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Sirilar, Pakawadee, Nakorn Srisukhumbowornchai, Purit Thanakijkasem, Somnuk Sirisoonthorn, and Gernot Klein. "Utilization of Pottery Stone as a Replacing Material for Vitreous Ceramic Sanitary Ware Production: A Case Study in Khon Kaen, Thailand." Key Engineering Materials 718 (November 2016): 143–47. http://dx.doi.org/10.4028/www.scientific.net/kem.718.143.

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The aim of this work was to determine the properties of vitreous ceramic sanitary ware bodies according to the production of Khon Kaen ceramic sanitary ware industry, Thailand. Pottery stone was used as a replacing material in the commercial ceramic sanitary ware body formulation. The cast slurry of seven formulations was prepared by wet milling. The rheological properties (density and torsion viscosity) were investigated before slip casting. The test pieces were fired at 1175, 1200 and 1225๐C and the physical-mechanical properties (firing shrinkage, flexural strength, and water absorption) were compared. As a result, pottery stone shows a possibility to replace quartz in the production. It could enhance all of the good properties at lower firing temperature. Using of pottery stone could reduce production cost in term of energy fuel by 4.45% when compared with commercial formulation.

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Fang, Man, and Fang Zhou. "Research on Derivative Products Design of Pottery and Cartoon." Applied Mechanics and Materials 312 (February 2013): 972–75. http://dx.doi.org/10.4028/www.scientific.net/amm.312.972.

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The animation gradually started to become a sunrise industry, the combination of ceramics and animation is a fusion of classical culture and modern culture try. Market situation determines the potters to move closer to the animation industry, the derivative products of animation ceramic is inevitable. Positioning in the market, combined with the feasibility of the above we have done some relevant analysis, drawing that the animation ceramics market prospect is broad, and have identified several possible design directions.

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Melzer, Adriana Cristina de Souza, and Aparecida Mari Iguti. "Working conditions and musculoskeletal pain among Brazilian pottery workers." Cadernos de Saúde Pública 26, no. 3 (March 2010): 492–502. http://dx.doi.org/10.1590/s0102-311x2010000300007.

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In the municipality of Pedreira in São Paulo State, Brazil, a large number of workers from the ceramic industry have left their jobs because of work related musculoskeletal disorders. The objectives of this study were to describe the work conditions pertaining to the ceramic industry, to determine the prevalence of musculoskeletal pain and to identify the associations between symptoms and organizational, biomechanical, psychosocial and individual variables. Nine ceramic manufacturers participated. The activities of 18 individuals were analyzed through direct observation. All workers answered a questionnaire about work and health (n = 235). The results found that the general working conditions in the pottery manufacturers were poor. A 38.5% prevalence of musculoskeletal pain was found. Repetition, tool use, lack of control over decisions, worries regarding work demands, relationship issues, work dissatisfaction and the wish to move on to another function were all associated with pain. We concluded that musculoskeletal pain is one of the outcomes of elevated human requirements resulting from working conditions and organization in the ceramic industry.

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Handique, Krishna Jyoti. "Pottery Industry: A Case Study in Sivasagar District of Assam." Asian Journal of Research in Banking and Finance 8, no. 3 (2018): 62. http://dx.doi.org/10.5958/2249-7323.2018.00019.6.

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Garfinkel, Yosef, and Liora R. Kolska Horwitz. "The Pre-Pottery Neolithic B Bone Industry from Yiftahel, Israel." Paléorient 14, no. 1 (1988): 73–86. http://dx.doi.org/10.3406/paleo.1988.4441.

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Beljak Pažinová, Noémi, and Tatiana Daráková. "The state of Early Linear Pottery Culture research in Slovakia." Documenta Praehistorica 46 (December 6, 2019): 184–202. http://dx.doi.org/10.4312/dp.46-12.

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The article focuses on the current state of research of the first Neolithic culture in Slovakia.So far around 70 sites are known from Slovakia dated to the Early Linear Pottery Culture and the Early Eastern Linear Pottery Culture. Most of the sites are known only from surface collections, and in only four cases have dwellings been documented. Settlement features/pits have been discovered at around half the sites. Finally, we know graves from only four (and possibly five) sites. In the article we deal also with the elaboration of the Early LPC/ELPC material culture. We discuss pottery from the point of view of typology and decoration and other types of findings, such as chipped stone industry, ground and polished stones, small clay artefacts, daub, animal bones etc., are not omitted either. The goal is to evaluate the research possibilities of the Early LPC/ELPC in Slovakia.

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Beljak Pažinová, Noémi, and Tatiana Daráková. "The state of Early Linear Pottery Culture research in Slovakia." Documenta Praehistorica 46 (December 6, 2019): 184–202. http://dx.doi.org/10.4312/dp.46.12.

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The article focuses on the current state of research of the first Neolithic culture in Slovakia.So far around 70 sites are known from Slovakia dated to the Early Linear Pottery Culture and the Early Eastern Linear Pottery Culture. Most of the sites are known only from surface collections, and in only four cases have dwellings been documented. Settlement features/pits have been discovered at around half the sites. Finally, we know graves from only four (and possibly five) sites. In the article we deal also with the elaboration of the Early LPC/ELPC material culture. We discuss pottery from the point of view of typology and decoration and other types of findings, such as chipped stone industry, ground and polished stones, small clay artefacts, daub, animal bones etc., are not omitted either. The goal is to evaluate the research possibilities of the Early LPC/ELPC in Slovakia.

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Soriano, Sylvain, and Eric Huysecom. "Lithic Industry as an Indicator of Ceramic Diffusion in the Early Neolithic of West Africa: A Case Study at Ounjougou." Journal of African Archaeology 10, no. 1 (October 25, 2012): 85–101. http://dx.doi.org/10.3213/2191-5784-10212.

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Ounjougou (Dogon Country, Mali) is now known for the discovery there of pottery dating to the first half of the 10th millennium cal BC, which is among the earliest evidence of the use of ceramics in Africa. While our understanding of early African ceramics is becoming well developed, certain other evidence associated with the first manifestations of the African Neolithic are still poorly understood, including notably the lithic industries. On the basis of technological and typological analyses of the lithic assemblage associated with the Ounjougou pottery, we will show that these materials also express profound behavioral changes within cultural groups of this period, and indeed they help clarify processes for the spread of ceramics. For these reasons lithics are extremely important for understanding this period of great cultural change and should not be neglected. Technological and typological data collected during the analysis have been used to propose an original taphonomic approach and to test in this way the coherence of the assemblage. Comparisons with Early Holocene industries in the Saharan zone (Temet, Tagalagal, Adrar Bous 10, etc.) provide new elements of consideration regarding the cultural context of the appearance of pottery, and enable us to propose a scenario for the adoption of technological innovations marking the beginning of the Holocene, from sub-Saharan West Africa toward the central Sahara. The lithic industries are seen as a valuable means of clarifying the cultural context and processes of the appearance and spread of pottery in this region from the first half of the 10th millennium cal BC to the middle of the 9th millennium cal BC.

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Tsvetkova, Nataliya Aleksandrovna. "The Mesolithic - Neolithic transition in the Upper Volga region resulted from the stone industry analyses." Samara Journal of Science 8, no. 3 (August 5, 2019): 119–31. http://dx.doi.org/10.17816/snv201983203.

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The paper deals with a phenomenon of neolithisation in the Upper Volga basin. The author studies the results of culture processes in the region based on: 1) the investigation of the stone assemblages from reference sites with non-ornamented ceramics or pottery with simple puncture impressions; 2) the tools types comparison over the final Mesolithic and initial Neolithic; 3) mapping of the non-ornamented/notch-ware pottery in European Russia. The transition to the Neolithic is associated with infiltrations of some puncture-ware pottery makers into the indigenous Mesolithic populations. It is most likely that the first vessels were imported into the region by migrants. The untraceable differences between the Final Mesolithic and the Early Neolithic stone industries may indicate a scarcely noticeable infiltration of newcomers from neighboring territories to the Upper Volga region. The manufacture tradition of the ceramics either non-ornamented or decorated by simple puncture impressions was formed in the regional culture environment. This event should be regarded as a particular transition time from the Mesolithic to the Neolithic. The later rise of the Neolithic was marked by shifts in the economy and by the local ceramic manufacture development accompanied by thin biface technique appearance in the stone assemblages. These changes give evidence of a transition to the Neolithic in the Upper Volga signalized by the progressive replacement of populations.

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Manurung, Elizabeth Tiur. "THE EFFECTIVENESS OF FINANCING MODEL TO SUPPORT COMPETITIVE ADVANTAGE IN CERAMIC INDUSTRY." Jurnal Riset Akuntansi Kontemporer 11, no. 2 (October 30, 2019): 48–53. http://dx.doi.org/10.23969/jrak.v11i2.2769.

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The Micro, Small, and Medium Enterprises (MSME) sector is not an easy sector to obtain credit from Bank/ Financial agent, because too many obstacles to a access Bank credit, such as: collateral, administrative aspect, company stability. The purpose of this study is to implement an effective financing model for ceramic craftsmen, in relating with achieving competitive advantage of pottery Plered craftsmen. By using descriptive method, research result shows The effectiveness of funding model for ceramic craftsmen that consist of 4 elemens, such as: local government of Plered, Ceramic craftsmen, Financial agency, and Deposit insurance agency; which is all elemens shoul be made a well-coordinated. The effectiveness of financing aspects in ceramics industry, encouraging the development of ceramics production and also craftsmen productivities. Company productivity will increase too. It means product sustainability of pottery industry will be achieved and competitive advantages of ceramic Plered will be increased.

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Freeman, Meghan. "NEWCOMB COLLEGE POTTERY, ARTS AND CRAFTS, AND THE NEW SOUTH." Journal of the Gilded Age and Progressive Era 17, no. 1 (January 2018): 121–44. http://dx.doi.org/10.1017/s1537781417000573.

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In the history of the American Arts and Crafts Movement, New Orleans's Newcomb College Pottery (founded in 1894) is often singled out as distinctive by virtue of its genesis as an experimental educational venture, all the more remarkable for emerging out of a small women's college located in the Deep South. Scholarship on NCP frequently rehearses the regionalist character of its diverse handicrafts and its adherence to the central tenets of Arts and Crafts. This article explores how Newcomb College Pottery was neither so strictly regionalist nor so pure an embodiment of the Arts and Crafts spirit as is often averred. Situating Newcomb College Pottery within contemporary cultural debates concerning the formation of a “New South,” I demonstrate how the architects and advocates of Newcomb, inspired by the 1884 Cotton Centennial, sought to craft a largely aspirational identity that marketed NCP as a model industry that heralded commercial and cultural development in the region. It was only later, I argue, as the Pottery developed from an educational experiment into a widely known and respected handicraft enterprise, that it embraced the anti-industrial rhetoric that animated the broader Arts and Crafts movement and adopted the more sentimental form of regionalism that traded on romantic evocations of the Old South, in repudiation of the socially and economically progressive energies that gave it birth.

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Stern, Marc J. "Industrial Structure and Occupational Health: The American Pottery Industry, 1897–1929." Business History Review 77, no. 3 (2003): 417–45. http://dx.doi.org/10.2307/30041185.

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Beginning in 1897, the American ceramics industry entered a period of stability and collaboration that emerged from an agreement by several leading firms to fix prices and discounts, exchange cost and price information, and begin close contractual relations with its workers' union, the National Brotherhood of Operative Potters. One issue, however, remained trouble-some: how to deal with occupational health issues in this disease-ridden trade. Should firms rely on state or private inspection? Should they be bound to one standard? Significantly, the companies and unions opted for private inspection systems that allowed them to maintain trade stability, even at the cost of health improvements. This arrangement remained in place until 1923, when federal antitrust actions shattered the trade association. Employers then faced a shift to state inspection and enacted a range of new schemes and private welfare plans to suit their designs.

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Journal articles on the topic 'Pottery Pottery industry'

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