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Home / Varitety Through Use of Different Art Elements in Ceramics

Varitety Through Use of Different Art Elements in Ceramics

Decorative objects made from clay and other raw materials by the process of pottery

Etruscan: Diomedes and Polyxena, from the Etruscan amphora of the Pontic group, c.  540–530BCE – From Vulci

16th century Turkish Iznik tiles, which would accept originally formed role of a much larger group

Ceramic art is art made from ceramic materials, including clay. Information technology may take forms including creative pottery, including tableware, tiles, figurines and other sculpture. As one of the plastic arts, ceramic art is 1 of the visual arts. While some ceramics are considered fine art, such equally pottery or sculpture, most are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artefacts in archaeology. Ceramic art can exist fabricated by ane person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery.

The word "ceramics" comes from the Greek keramikos (κεραμεικός), meaning "pottery", which in turn comes from keramos (κέραμος) meaning "potter's clay".[2] Nearly traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to oestrus, and tableware and decorative ceramics are mostly still made this style. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials past the action of estrus. Information technology excludes drinking glass and mosaic made from drinking glass tesserae.

In that location is a long history of ceramic art in almost all developed cultures, and ofttimes ceramic objects are all the creative evidence left from vanished cultures, like that of the Nok in Africa over 2,000 years ago. Cultures peculiarly noted for ceramics include the Chinese, Cretan, Greek, Persian, Mayan, Japanese, and Korean cultures, likewise equally the modern Western cultures.

Elements of ceramic fine art, upon which different degrees of emphasis take been placed at dissimilar times, are the shape of the object, its decoration past painting, etching and other methods, and the glazing establish on about ceramics.

Materials [edit]

Different types of dirt, when used with different minerals and firing conditions, are used to produce earthenware, stoneware, porcelain and bone communist china (fine china).

  • Earthenware is pottery that has non been fired to vitrification and is thus permeable to water.[3] Many types of pottery have been made from information technology from the primeval times, and until the 18th century it was the well-nigh common blazon of pottery outside the far Due east. Earthenware is often fabricated from dirt, quartz and feldspar. Terra cotta, a blazon of earthenware, is a clay-based unglazed or glazed ceramic,[4] where the fired body is porous.[5] [half dozen] [7] [8] Its uses include vessels (notably flower pots), water and waste h2o pipes, bricks, and surface embellishment in building construction. Terracotta has been a mutual medium for ceramic art (see below).
  • Stoneware is a vitreous or semi-vitreous ceramic made primarily from stoneware dirt or non-refractory burn down clay.[9] Stoneware is fired at high temperatures.[ten] Vitrified or non, it is nonporous;[xi] it may or may not be glazed.[12] One widely recognised definition is from the Combined Classification of the European Communities, a European industry standard states "Stoneware, which, though dense, impermeable and difficult plenty to resist scratching by a steel point, differs from porcelain because it is more than opaque, and usually only partially vitrified. It may exist vitreous or semi-vitreous. It is usually coloured grey or dark-brown because of impurities in the clay used for its manufacture, and is usually glazed."[xi]
  • Porcelain is a ceramic material fabricated by heating materials, generally including kaolin, in a kiln to temperatures betwixt 1,200 and 1,400 °C (2,200 and 2,600 °F). The toughness, strength and translucence of porcelain, relative to other types of pottery, arises mainly from vitrification and the formation of the mineral mullite within the body at these high temperatures. Properties associated with porcelain include low permeability and elasticity; considerable strength, hardness, toughness, whiteness, translucency and resonance; and a high resistance to chemic attack and thermal shock. Porcelain has been described equally being "completely vitrified, difficult, impermeable (even earlier glazing), white or artificially coloured, translucent (except when of considerable thickness), and resonant". However, the term porcelain lacks a universal definition and has "been practical in a very unsystematic fashion to substances of diverse kinds which have only sure surface-qualities in common".[13]
  • Os mainland china (fine people's republic of china) is a type of soft-paste porcelain that is composed of bone ash, feldspathic textile, and kaolin. It has been defined every bit ware with a translucent body containing a minimum of xxx% of phosphate derived from animal os and calculated calcium phosphate.[11] [ clarification needed ] Developed past English potter Josiah Spode, bone red china is known for its high levels of whiteness and translucency,[14] and very high mechanical forcefulness and bit resistance.[fifteen] Its high strength allows it to be produced in thinner cantankerous-sections than other types of porcelain.[14] Like stoneware it is vitrified, but is translucent due to differing mineral properties.[sixteen] From its initial evolution and upwards to the after role of the twentieth century, os china was well-nigh exclusively an English product, with production beingness effectively localised in Stoke-on-Trent.[15] Nigh major English firms made or yet brand it, including Mintons, Coalport, Spode, Regal Crown Derby, Royal Doulton, Wedgwood and Worcester. In the UK, references to "red china" or "porcelain" tin refer to bone people's republic of china, and "English porcelain" has been used as a term for information technology, both in the U.k. and around the earth.[17] Fine china is not necessarily bone people's republic of china, and is a term used to refer to ware which does not contain bone ash.[11]

Surface treatments [edit]

Painting [edit]

China painting, or porcelain painting is the decoration of glazed porcelain objects such equally plates, bowls, vases or statues. The body of the object may be hard-paste porcelain, developed in China in the 7th or 8th century, or soft-paste porcelain (often bone communist china), adult in 18th-century Europe. The holonym ceramic painting includes painted decoration on lead-glazed earthenware such as creamware or tin-glazed pottery such every bit maiolica or faience. Typically the body is first fired in a kiln to convert it into a difficult porous biscuit. Underglaze decoration may then be applied, followed by ceramic coat, which is fired so it bonds to the body. The glazed porcelain may then exist decorated with overglaze painting and fired once more at a lower temperature to bond the pigment with the glaze. Ornament may be practical by brush or by stenciling, transfer printing, lithography and screen printing.[18]

Slipware [edit]

Slipware is a type of pottery identified past its primary decorating procedure where skid is placed onto the leather-hard clay body surface before firing past dipping, painting or splashing. Slip is an aqueous interruption of a clay body, which is a mixture of clays and other minerals such as quartz, feldspar and mica. A coating of white or coloured slip, known as an engobe, can be applied to the commodity to improve its appearance, to give a smoother surface to a crude body, mask an junior colour or for decorative upshot. Slips or engobes can also be applied by painting techniques, in isolation or in several layers and colours. Sgraffito involves scratching through a layer of coloured skid to reveal a dissimilar color or the base body underneath. Several layers of slip and/or sgraffito can be done while the pot is however in an unfired state. One colour of slip can be fired, before a second is applied, and prior to the scratching or incising ornament. This is peculiarly useful if the base body is not of the desired colour or texture.[19]

Terra sigillata [edit]

In sharp dissimilarity to the archaeological usage, in which the term terra sigillata refers to a whole class of pottery, in gimmicky ceramic art, 'terra sigillata' describes only a watery refined skid used to facilitate the burnishing of raw clay surfaces and used to promote carbon smoke furnishings, in both primitive low temperature firing techniques and unglazed alternative western-style Raku firing techniques. Terra sigillata is also used as a brushable decorative colourant medium in higher temperature glazed ceramic techniques.[20]

Forms [edit]

Studio pottery [edit]

Studio pottery is pottery made by amateur or professional person artists or artisans working lone or in small groups, making unique items or short runs. Typically, all stages of industry are carried out by the artists themselves.[21] Studio pottery includes functional wares such equally tableware, cookware and not-functional wares such as sculpture. Studio potters can be referred to as ceramic artists, ceramists, ceramicists or as an artist who uses clay as a medium. Much studio pottery is tableware or cookware but an increasing number of studio potters produce non-functional or sculptural items. Some studio potters now adopt to call themselves ceramic artists, ceramists or but artists. Studio pottery is represented by potters all over the world.

Tile [edit]

Chief article: Tile

Tile, Hopi Pueblo (Native American), belatedly 19th–early 20th century

A tile is a manufactured piece of hard-wearing cloth such as ceramic, stone, metallic, or even glass, generally used for covering roofs, floors, walls, showers, or other objects such as tabletops. Alternatively, tile can sometimes refer to like units made from lightweight materials such every bit perlite, woods, and mineral wool, typically used for wall and ceiling applications. In another sense, a "tile" is a structure tile or like object, such every bit rectangular counters used in playing games (meet tile-based game). The word is derived from the French word tuile, which is, in plough, from the Latin word tegula, meaning a roof tile composed of fired clay.

Tiles are ofttimes used to form wall murals and floor coverings, and can range from simple foursquare tiles to complex mosaics. Tiles are most oftentimes made of ceramic, typically glazed for internal uses and unglazed for roofing, but other materials are likewise commonly used, such as glass, cork, concrete and other blended materials, and stone. Tiling stone is typically marble, onyx, granite or slate. Thinner tiles can be used on walls than on floors, which require more durable surfaces that volition resist impacts.

Figurines [edit]

A figurine (a diminutive class of the discussion figure) is a statuette that represents a human, deity, legendary creature, or animal. Figurines may be realistic or iconic, depending on the skill and intention of the creator. The primeval were made of stone or clay. In ancient Greece, many figurines were made from terracotta (see Greek terracotta figurines). Modern versions are made of ceramic, metallic, glass, wood and plastic. Figurines and miniatures are sometimes used in lath games, such as chess, and tabletop function playing games. Quondam figurines have been used to discount some historical theories, such as the origins of chess.

Tableware [edit]

Tableware is the dishes or dishware used for setting a table, serving nutrient and dining. It includes cutlery, glassware, serving dishes and other useful items for practical likewise every bit decorative purposes.[22] [23] Dishes, bowls and cups may be made of ceramic, while cutlery is typically made from metal, and glassware is often made from glass or other not-ceramic materials. The quality, nature, diverseness and number of objects varies co-ordinate to civilisation, religion, number of diners, cuisine and occasion. For instance, Middle Eastern, Indian or Polynesian food culture and cuisine sometimes limits tableware to serving dishes, using staff of life or leaves every bit individual plates. Special occasions are usually reflected in college quality tableware.[23]

Terracotta (artworks) [edit]

In addition to being a cloth, "terracotta" also refers to items made out of this material. In archæology and art history, "terracotta" is often used to describe objects such as statures, and figurines not made on a potter's bicycle. A prime number case is the Terracotta Army, a collection of homo-sized terracotta sculptures depicting the armies of Qin Shi Huang, the first Emperor of China. It is a form of funerary art buried with the emperor in 210–209BCE and whose purpose was to protect the emperor in his afterlife.[24]

French sculptor Albert-Ernest Carrier-Belleuse made many terra cotta pieces, simply perchance the most famous is The Abduction of Hippodameia depicting the Greek mythological scene of a centaur kidnapping Hippodameia on her wedding day. American architect Louis Sullivan is well known for his elaborate glazed terracotta ornament, designs that would have been incommunicable to execute in whatsoever other medium. Terra cotta and tile were used extensively in the town buildings of Victorian Birmingham, England.

History [edit]

There is a long history of ceramic fine art in almost all developed cultures, and often ceramic objects are all the artistic prove left from vanished cultures, like that of the Nok in Africa over 3,000 years agone.[25] Cultures especially noted for ceramics include the Chinese, Cretan, Greek, Farsi, Mayan, Japanese, and Korean cultures, too as the mod Western cultures. In that location is bear witness that pottery was independently invented in several regions of the earth, including East asia, Sub-Saharan Africa, the Near East, and the Americas.

Paleolithic pottery (c. 20,000 BP) [edit]

20,000-10,000 year old pottery with re-construction repairs found in the Xianrendong cavern, China.[26] [27] [28]

Although pottery figurines are found from earlier periods in Europe, the oldest pottery vessels come up from Eastern asia, with finds in Cathay and Japan, then yet linked past a state bridge, and some in what is now the Russian Far East, providing several from 20,000–x,000BCE, although the vessels were simple commonsensical objects.[29] [thirty] Xianrendong Cavern in Jiangxi province contained pottery fragments that appointment back to xx,000 years ago.[31] [32] These early pottery containers were fabricated well before the invention of agriculture, by mobile foragers who hunted and gathered their nutrient during the Belatedly Glacial Maximum.[27] Many of the pottery fragments had scorch marks, suggesting that the pottery was used for cooking.[27]

Before Neolithic pottery: rock containers (12,000–6,000 BC) [edit]

Many remarkable containers were fabricated from stone before the invention of pottery in Western asia (which occurred around vii,000 BC), and before the invention of agriculture. The Natufian culture created elegant stone mortars during the period between 12,000 and nine,500 BC. Around 8000 BC, several early on settlements became experts in crafting beautiful and highly sophisticated containers from stone, using materials such as alabaster or granite, and employing sand to shape and smoothen. Artisans used the veins in the material to maximize visual effect. Such object have been found in abundance on the upper Euphrates river, in what is today eastern Syria, especially at the site of Bouqras.[33] These form the early stages of the evolution of the Art of Mesopotamia.

  • Stone mortar from Eynan, Natufian period, 12,500-9,500 BC

  • Calcite tripod vase, mid-Euphrates, probably from Tell Buqras, vi,000 BC, Louvre Museum AO 31551

  • Alabaster pot Mid-Euphrates region, 6,500 BC, Louvre Museum

  • Alabaster pot, Mid-Euphrates region, vi,500 BC, Louvre Museum

Neolithic pottery (6,500–3,500 BC) [edit]

Early pots were made by what is known equally the "coiling" method, which worked the dirt into a long string that wound to course a shape that later fabricated smooth walls. The potter's wheel was probably invented in Mesopotamia by the 4th millennium BCE, merely spread beyond nearly all Eurasia and much of Africa, though it remained unknown in the New World until the inflow of Europeans. Decoration of the clay by incising and painting is found very widely, and was initially geometric, simply ofttimes included figurative designs from very early on.

And so important is pottery to the archaeology of prehistoric cultures that many are known by names taken from their distinctive, and frequently very fine, pottery, such every bit the Linear Pottery civilisation, Beaker culture, Globular Amphora civilization, Corded Ware civilisation and Funnelbeaker culture, to take examples merely from Neolithic Europe (approximately 7000–1800BCE).

Ceramic fine art has generated many styles from its own tradition, simply is ofttimes closely related to contemporary sculpture and metalwork. Many times in its history styles from the usually more than prestigious and expensive art of metalworking accept been copied in ceramics. This can exist seen in early Chinese ceramics, such every bit pottery and ceramic-wares of the Shang Dynasty, in Ancient Roman and Iranian pottery, and Rococo European styles, copying contemporary silverware shapes. A common utilize of ceramics is for "pots" - containers such as bowls, vases and amphorae, likewise as other tableware, merely figurines accept been very widely fabricated.

Ceramics as wall decoration [edit]

The primeval evidence of glazed brick is the discovery of glazed bricks in the Elamite Temple at Chogha Zanbil, dated to the 13th century BCE. Glazed and coloured bricks were used to brand low reliefs in Aboriginal Mesopotamia, most famously the Ishtar Gate of Babylon (c.  575BCE), now partly reconstructed in Berlin, with sections elsewhere. Mesopotamian craftsmen were imported for the palaces of the Farsi Empire such as Persepolis. The tradition continued, and after the Islamic conquest of Persia coloured and frequently painted glazed bricks or tiles became an important element in Persian architecture, and from there spread to much of the Islamic earth, notably the İznik pottery of Turkey under the Ottoman Empire in the 16th and 17th centuries.

Using the lusterware technology, one of the finest examples of medieval Islamic employ of ceramics as wall ornamentation tin exist seen in the Mosque of Uqba besides known equally the Smashing Mosque of kairouan (in Tunisia), the upper office of the mihrab wall is adorned with polychrome and monochrome lusterware tiles; dating from 862 to 863, these tiles were most probably imported from Mesopotamia.[34] [35]

Transmitted via Islamic Spain, a new tradition of Azulejos adult in Spain and especially Portugal, which by the Baroque period produced extremely large painted scenes on tiles, unremarkably in blueish and white. Delftware tiles, typically with a painted blueprint covering only i (rather small) tile, were ubiquitous in the Netherlands and widely exported over Northern Europe from the 16th century on. Several 18th-century royal palaces had porcelain rooms with the walls entirely covered in porcelain. Surviving examples include ones at Capodimonte, Naples, the Royal Palace of Madrid and the nearby Royal Palace of Aranjuez.[36] Elaborate cocklestoves were a feature of rooms of the middle and upper-classes in Northern Europe from the 17th to 19th centuries.

There are several other types of traditional tiles that remain in manufacture, for example, the small, nigh mosaic, brightly coloured zellige tiles of Morocco. With exceptions, notably the Porcelain Tower of Nanjing, tiles or glazed bricks practise not feature largely in Eastward Asian ceramics.

Regional developments [edit]

Although pottery figurines are found from earlier periods in Europe, the oldest pottery vessels come from Eastern asia, with finds in Communist china and Nihon, and so nonetheless linked past a land span, and some in what is now the Russian Far East, providing several from between 20,000 and 10,000 BCE, although the vessels were elementary utilitarian objects.[29] [30] Xianrendong Cave in Jiangxi province contained pottery fragments that date dorsum to 20,000 years ago.[31] [32]

Cambodia [edit]

Contempo archaeological excavations at Angkor Borei (in southern Cambodia) accept recovered a big number of ceramics, some of which probably date dorsum to the prehistoric menstruation. Most of the pottery, even so, dates to the pre-Angkorian period and consists mainly of pinkish terracotta pots which were either paw-fabricated or thrown on a bicycle, and so decorated with incised patterns.

Glazed wares beginning appear in the archaeological record at the end of the 9th century at the Roluos temple group in the Angkor region, where green-glazed pot shards accept been found. A brown glaze became popular at the beginning of the 11th century and brown-glazed wares have been found in abundance at Khmer sites in northeast Thailand. Decorating pottery with fauna forms was a popular way from the 11th to 13th century. Archaeological excavations in the Angkor region have revealed that towards the end of Angkor period production of ethnic pottery declined while there was a dramatic increase in Chinese ceramic imports.

Straight show of the shapes of vessels is provided by scenes depicted on bas-reliefs at Khmer temples, which too offer insight into domestic and ritualistic uses of the wares. The wide range of utilitarian shapes propose the Khmers used ceramics in their daily life for cooking, food preservation, carrying and storing liquids, as containers for medicinal herbs, perfumes and cosmetics.[37]

Prc [edit]

Chinese Longquan celadon, Song Dynasty, 13th century. Celadon was first made in China, and so exported to various parts of Asia and Europe. Celadon became a favourite of various kings and monarchs, such as the Ottoman Sultans, because of its pristine beauty, its resemblance to Chinese jade, and the belief that the celadon would change its color if the nutrient or vino were poisoned.[38]

There is Chinese porcelain from the belatedly Eastern Han menses (100–200CE), the Three Kingdoms catamenia (220–280CE), the 6 Dynasties menstruum (220–589CE), and thereafter. China in detail has had a continuous history of large-calibration product, with the Imperial factories usually producing the all-time work. The Tang Dynasty (618 to 906CE) is especially noted for grave goods figures of humans, animals and model houses, boats and other goods, excavated (ordinarily illegally) from graves in large numbers.

Some experts believe the first true porcelain was made in the province of Zhejiang in China during the Eastern Han menses. Shards recovered from archaeological Eastern Han kiln sites estimated firing temperature ranged from 1,260 to 1,300 °C (two,300 to 2,370 °F).[39] As far back as yard BCE, the so-called "porcelaneous wares" or "proto-porcelain wares" were made using at least some kaolin fired at loftier temperatures. The dividing line between the two and true porcelain wares is not a clear ane. Archaeological finds accept pushed the dates to as early as the Han Dynasty (206–BCE – 220CE).[40]

The Imperial porcelain of the Song Dynasty (960–1279), featuring very subtle decoration shallowly carved by knife in the dirt, is regarded by many authorities as the peak of Chinese ceramics, though the big and more than exuberantly painted ceramics of the Ming Dynasty (1368–1644) have a wider reputation.

Chinese emperors gave ceramics as diplomatic gifts on a lavish scale, and the presence of Chinese ceramics no doubt aided the development of related traditions of ceramics in Japan and Korea in particular.

Until the 16th century, small quantities of expensive Chinese porcelain were imported into Europe. From the 16th century onwards attempts were made to imitate it in Europe, including soft-paste and the Medici porcelain made in Florence. None was successful until a recipe for hard-paste porcelain was devised at the Meissen manufactory in Dresden in 1710. Within a few years, porcelain factories sprung up at Nymphenburg in Bavaria (1754) and Capodimonte in Naples (1743) and many other places, ofttimes financed past a local ruler.

Japan [edit]

Nabeshima plate with iii herons

A celadon incense burner from the Goryeo Dynasty with Korean kingfisher coat. National Treasure No.95 of South korea

The primeval Japanese pottery was made effectually the 11th millennium BCE. Jōmon ware emerged in the 6th millennium BCE and the plainer Yayoi fashion in about the 4th century BCE. This early on pottery was soft earthenware, fired at low temperatures. The potter's wheel and a kiln capable of reaching higher temperatures and firing stoneware appeared in the 3rd or 4th centuries CE, probably brought from Mainland china via the Korean peninsula.[41] In the 8th century, official kilns in Nihon produced simple, greenish pb-glazed earthenware. Unglazed stoneware was used as funerary jars, storage jars and kitchen pots upwards to the 17th century. Some of the kilns improved their methodsmil[ clarification needed ] From the 11th to the 16th century, Japan imported much porcelain from Mainland china and some from Korea. The Japanese overlord Toyotomi Hideyoshi's attempts to conquer China in the 1590s were dubbed the "Ceramic Wars";[ commendation needed ] the emigration of Korean potters appeared to be a major crusade. One of these potters, Yi Sam-pyeong, discovered the raw cloth of porcelain in Arita and produced first true porcelain in Japan.

In the 17th century, weather in China drove some of its potters into Japan, bringing with them the knowledge to make refined porcelain. From the mid-century, the Dutch Eastward Bharat Company began to import Japanese porcelain into Europe. At this time, Kakiemon wares were produced at the factories of Arita, which had much in common with the Chinese Famille Verte style. The superb quality of its enamel ornamentation was highly prized in the West and widely imitated by the major European porcelain manufacturers. In 1971 it was declared an important "intangible cultural treasure" by the Japanese regime.

In the 20th century, interest in the art of the hamlet potter was revived by the Mingei folk movement led by potters Shoji Hamada, Kawai Kajiro and others. They studied traditional methods in gild to preserve native wares that were in danger of disappearing. Modern masters use aboriginal methods to bring pottery and porcelain to new heights of achievement at Shiga, Iga, Karatsu, Hagi, and Bizen. A few outstanding potters were designated living cultural treasures (mukei bunkazai 無形文化財). In the old capital letter of Kyoto, the Raku family continued to produce the rough tea bowls that had and then delighted connoisseurs. At Mino, potters continued to reconstruct the archetype formulas of Momoyama-era Seto-type tea wares of Mino, such as Oribe ware. Past the 1990s many master potters worked away from ancient kilns and made classic wares in all parts of Japan.

Korea [edit]

Korean pottery has had a continuous tradition since simple earthenware from about 8000 BCE. Styles have generally been a distinctive variant of Chinese, and later Japanese, developments. The ceramics of the Goryeo Dynasty (918–1392) and early on Joseon white porcelain of the post-obit dynasty are generally regarded as the finest achievements.[42]

Western Asia and the Centre East [edit]

Islamic pottery [edit]

From the 8th to 18th centuries, glazed ceramics was of import in Islamic art, normally in the form of elaborate pottery,[43] developing on vigorous Farsi and Egyptian pre-Islamic traditions in particular. Can-opacified glazing was developed by the Islamic potters, the first examples constitute as blue-painted ware in Basra, dating from about the 8th century. The Islamic world had contact with Communist china, and increasingly adjusted many Chinese decorative motifs. Persian wares gradually relaxed Islamic restrictions on figurative ornament, and painted figuratives scenes became very important.

Ceramic basin decorated with skid below a transparent glaze, Gorgan, 9th century CE, Early on Islamic period, National Museum of Iran

Stoneware was also an important arts and crafts in Islamic pottery, produced throughout Republic of iraq and Syria past the 9th century.[44] Pottery was produced in Raqqa, Syria, in the 8th century.[45] Other centers for innovative ceramics in the Islamic world were Fustat (near modern Cairo) from 975 to 1075, Damascus from 1100 to around 1600 and Tabriz from 1470 to 1550.[46]

The albarello grade, a type of maiolica earthenware jar originally designed to agree apothecaries' ointments and dry out drugs, was starting time made in the Islamic Middle East. It was brought to Italy by Hispano-Moresque traders; the earliest Italian examples were produced in Florence in the 15th century.

Iznik pottery, made in western Anatolia, is highly decorated ceramics whose heyday was the belatedly 16th century under the Ottoman sultans. Iznik vessels were originally made in simulated of Chinese porcelain, which was highly prized. Nether Süleyman the Magnificent (1520–66), demand for Iznik wares increased. Later on the conquest of Constantinople in 1453, the Ottoman sultans started a programme of building, which used large quantities of Iznik tiles. The Sultan Ahmed Mosque in Istanbul (built 1609–sixteen) alone contains 20,000 tiles and tiles were used extensively in the Topkapi Palace (commenced 1459). As a effect of this demand, tiles dominated the output of the Iznik potteries.

Europe [edit]

Early figurines [edit]

The earliest known ceramic objects are the Gravettian figurines from the Upper Paleolithic menstruation, such as those discovered at Dolní Věstonice in the modern-twenty-four hours Czech Democracy. The Venus of Dolní Věstonice (Věstonická Venuše in Czech) is a statuette of a nude female effigy dating from some time from 29,000–25,000 BCE.[47] It was made by moulding and then firing a mixture of clay and powdered os.[48] Similar objects in diverse media found throughout Europe and Asia and dating from the Upper Paleolithic menses have too been chosen Venus figurines. Scholars are not agreed as to their purpose or cultural significance.

The aboriginal Mediterranean [edit]

Glazed Egyptian faience dates to the third millennium BCE), with painted but unglazed pottery used fifty-fifty earlier during the predynastic Naqada culture. Faience became sophisticated and produced on a large scale, using moulds as well modelling, and later also throwing on the bike. Several methods of glazing were developed, but colours remained largely limited to a range in the blue-green spectrum.

On the Greek isle of Santorini are some of the earliest finds created past the Minoans dating to the tertiary millennium BCE, with the original settlement at Akrotiri dating to the fourth millennium BCE;[49] excavation work continues at the principal archaeological site of Akrotiri. Some of the excavated homes incorporate huge ceramic storage jars known as pithoi.

Ancient Greek and Etruscan ceramics are renowned for their figurative painting, especially in the black-figure and carmine-figure styles. Moulded Greek terracotta figurines, specially those from Tanagra, were pocket-sized figures, oft religious but later including many of everyday genre figures, apparently used purely for ornament.

Ancient Roman pottery, such equally Samian ware, was rarely as fine, and largely copied shapes from metalwork, merely was produced in enormous quantities, and is found all over Europe and the Center East, and beyond. Monte Testaccio is a waste matter mound in Rome made almost entirely of broken amphorae used for transporting and storing liquids and other products. Few vessels of corking creative interest have survived, simply there are very many small figures, oft incorporated into oil lamps or like objects, and often with religious or erotic themes (or both together – a Roman speciality). The Romans generally did not go out grave goods, the all-time source of ancient pottery, but still they practice not seem to have had much in the way of luxury pottery, unlike Roman glass, which the elite used with golden or silvery tableware. The more expensive pottery tended to apply relief decoration, often moulded, rather than paint. Especially in the Eastern Empire, local traditions continued, hybridizing with Roman styles to varying extents.

Tin-glazed pottery [edit]

A Hispano-Moresque dish, approx 32 cm (13 in) diameter, with Christian monogram "IHS", decorated in cobalt blueish and golden lustre. Valencia, c.  1430–1500. Burrell Collection

Tin-glazed pottery, or faience, originated in Iraq in the 9th century, from where it spread to Egypt, Persia and Spain before reaching Italia in the Renaissance, Holland in the 16th century and England, French republic and other European countries soon later. Important regional styles in Europe include: Hispano-Moresque, maiolica, Delftware, and English Delftware. Past the Loftier Heart Ages the Hispano-Moresque ware of Al-Andaluz was the most sophisticated pottery existence produced in Europe, with elaborate decoration. Information technology introduced tin can-glazing to Europe, which was adult in the Italian Renaissance in maiolica. Tin can-glazed pottery was taken upwardly in the netherlands from the 16th to the 18th centuries, the potters making household, decorative pieces and tiles in vast numbers,[50] usually with bluish painting on a white ground. Dutch potters took tin-glazed pottery to the British Isles, where it was made between most 1550 and 1800. In France, tin-glaze was begun in 1690 at Quimper in Brittany,[51] followed in Rouen, Strasbourg and Lunéville. The evolution of white, or near white, firing bodies in Europe from the late 18th century, such as Creamware by Josiah Wedgwood and porcelain, reduced the need for Delftware, faience and majolica. Today, can oxide usage in glazes finds limited use in conjunction with other, lower cost opacifying agents, although it is more often than not restricted to specialist low temperature applications and use by studio potters,[52] [53] including Picasso who produced pottery using tin glazes.

Porcelain [edit]

Until the 16th century, minor quantities of expensive Chinese porcelain were imported into Europe. From the 16th century onwards attempts were made to imitate it in Europe, including soft-paste and the Medici porcelain fabricated in Florence. In 1712, many of the elaborate Chinese porcelain manufacturing secrets were revealed throughout Europe by the French Jesuit father Francois Xavier d'Entrecolles and before long published in the Lettres édifiantes et curieuses de Chine par des missionnaires jésuites [54] Later much experimentation, a recipe for difficult-paste porcelain was devised at the Meissen porcelain factory in Dresden presently after 1710, and was on auction by 1713. Within a few decades, porcelain factories sprung up at Nymphenburg in Bavaria (1754) and Capodimonte in Naples (1743) and many other places, frequently financed by a local ruler.

Soft-paste porcelain was fabricated at Rouen in the 1680s, only the first important production was at St.Cloud, messages-patent being granted in 1702. The Duc de Bourbon established a soft-paste factory, the Chantilly porcelain, in the grounds of his Château de Chantilly in 1730; a soft-paste factory was opened at Mennecy; and the Vincennes manufacturing plant was ready up by workers from Chantilly in 1740, moving to larger bounds at Sèvres[55] [56] in 1756. The superior soft-paste fabricated at Sèvres put it in the leading position in Europe in the second half of the 18th century.[57] The start soft-paste in England was demonstrated in 1742, plainly based on the Saint-Cloud formula. In 1749 a patent was taken out on the first bone cathay, afterwards perfected by Josiah Spode. The primary English porcelain makers in the 18th century were at Chelsea, Bow, St James'southward, Bristol, Derby and Lowestoft.

Porcelain was ideally suited to the energetic Rococo curves of the day. The products of these early on decades of European porcelain are generally the most highly regarded, and expensive. The Meissen modeler Johann Joachim Kaendler and Franz Anton Bustelli of Nymphenburg are perhaps the nearly outstanding ceramic artists of the period. Like other leading modelers, they trained as sculptors and produced models from which moulds were taken.

By the stop of the 18th century owning porcelain tableware and decorative objects had become obligatory among the prosperous middle-classes of Europe, and at that place were factories in most countries, many of which are all the same producing. Equally well every bit tableware, early European porcelain revived the sense of taste for purely decorative figures of people or animals, which had also been a feature of several aboriginal cultures, often equally grave goods. These were still existence produced in China as blanc de Chine religious figures, many of which had reached Europe. European figures were nigh entirely secular, and before long brightly and brilliantly painted, often in groups with a modelled setting, and a strong narrative element (run across picture).

Wedgwood and the North Staffordshire Potteries [edit]

From the 17th century, Stoke-on-Trent in North Staffordshire emerged as a major middle of pottery making.[58] Important contributions to the development of the industry were made by the firms of Wedgwood, Spode, Royal Doulton and Minton.

The local presence of abundant supplies of coal and suitable clay for earthenware production led to the early but at first limited development of the local pottery industry. The construction of the Trent and Mersey Canal immune the piece of cake transportation of mainland china clay from Cornwall together with other materials and facilitated the production of creamware and bone china. Other production centres had a lead in the production of high quality wares but the preeminence of North Staffordshire was brought virtually by methodical and detailed research and a willingness to experiment carried out over many years, initially by one homo, Josiah Wedgwood. His lead was followed by other local potters, scientists and engineers.

Wedgwood is credited with the industrialization of the industry of pottery. His work was of very loftier quality: when visiting his workshop, if he saw an offending vessel that failed to meet with his standards, he would smash information technology with his stick, exclaiming, "This volition non exercise for Josiah Wedgwood!" He was keenly interested in the scientific advances of his 24-hour interval and it was this interest that underpinned his adoption of its approach and methods to revolutionize the quality of his pottery. His unique glazes began to distinguish his wares from anything else on the market. His matt finish jasperware in two colours was highly suitable for the Neoclassicism of the stop of the century, imitating the effects of Ancient Roman carved gemstone cameos like the Gemma Augustea, or the cameo glass Portland Vase, of which Wedgwood produced copies.

He besides is credited with perfecting transfer-press, first developed in England about 1750. By the stop of the century this had largely replaced hand-painting for complex designs, except at the luxury cease of the market, and the vast majority of the world's decorated pottery uses versions of the technique to the present twenty-four hours. The perfecting of underglaze transfer press is widely credited to Josiah Spode the commencement. The procedure had been used as a development from the processes used in book printing, and early paper quality made a very refined detail in the design incapable of reproduction, so early on print patterns were rather lacking in subtlety of tonal variation. The development of machine made thinner press papers around 1804 immune the engravers to use a much wider diverseness of tonal techniques which became capable of being reproduced on the ware, much more successfully.

Far from perfecting underglaze print Wedgwood was persuaded by his painters not to adopt underglaze printing until it became axiomatic that Mr Spode was taking away his concern through competitive pricing for a much more heavily decorated high quality product.

Stoke-on-Trent's supremacy in pottery manufacture nurtured and attracted a large number of ceramic artists including Clarice Cliff, Susie Cooper, Lorna Bailey, Charlotte Rhead, Frederick Hurten Rhead and Jabez Vodrey.

Studio pottery in Britain [edit]

Studio pottery is made past artists working solitary or in minor groups, producing unique items or short runs, typically with all stages of manufacture carried out by one individual.[21] Information technology is represented by potters all over the world but has stiff roots in Britain, with potters such as Bernard Leach, William Staite Murray, Dora Billington, Lucie Rie and Hans Coper. Bernard Leach (1887–1979) established a manner of pottery influenced by Far-Eastern and medieval English forms. Later on briefly experimenting with earthenware, he turned to stoneware fired to high temperatures in big oil- or wood-burning kilns. This style dominated British studio pottery in the mid-20th-century. The Austrian refugee Lucie Rie (1902–1995) has been regarded as essentially a modernist who experimented with new coat furnishings on often brightly coloured bowls and bottles. Hans Coper (1920–1981) produced non-functional, sculptural and unglazed pieces. Later the Second World War, studio pottery in Britain was encouraged past the wartime ban on decorating manufactured pottery and the modernist spirit of the Festival of Britain. The elementary, functional designs chimed in with the modernist ethos. Several potteries were formed in response to this fifties smash, and this fashion of studio pottery remained popular into the nineteen-seventies.[59] Elizabeth Fritsch (1940-) took up ceramics working under Hans Coper at the Royal College of Art (1968–1971). Fritsch was ane of a group of outstanding ceramicists who emerged from the Royal College of Art at that fourth dimension. Fritschs' ceramic vessels broke away from traditional methods and she developed a hand built flattened coil technique in stoneware smoothed and refined into accurately profiled forms. They are then mitt painted with dry matt slips, in colours unusual for ceramics.

Pottery in Germany [edit]

German pottery has its roots in the alchemistry laboratories searching for gold product.

  • Purple Porcelain Factory, Berlin
  • Meissen porcelain
  • Nymphenburg porcelain[60]
  • Hutschenreuther

Pottery in Austria [edit]

In 1718 a pottery was founded in Vienna.[61]

Pottery in Russia [edit]

The Imperial Porcelain Manufacture was founded in 1744 in Oranienbaum, Russia.[62] It was based on the invention of porcelain by D. I. Winogradow (contained from Böttgers invention 1708, Dresden). An important collection of antiquarian porcelain is preserved in the Russian Museum of Ceramics.

The Americas [edit]

Anasazi mugs from the Four Corners surface area, Southwestern Usa. Note the T-shaped cut-out in the left mug'south handle. Ancestral Puebloan doorways often have this same shape.

Native American pottery [edit]

The people in North, Central, and South America continents had a wide diverseness of pottery traditions earlier Europeans arrived. The oldest ceramics known in the Americas‍—‌made from 5,000 to 6,000 years ago‍—‌are plant in the Andean region, along the Pacific coast of Ecuador at Valdivia and Puerto Hormiga, and in the San Jacinto Valley of Colombia; objects from iii,800 to four,000 years old have been discovered in Peru. Some archaeologists believe that ceramics know-how constitute its way by body of water to Mesoamerica, the second corking cradle of civilization in the Americas.[63]

The all-time-adult styles found in the central and southern Andes are the ceramics constitute near the ceremonial site at Chavín de Huántar (800–400BCE) and Cupisnique (yard–400BCE). During the same flow, another culture adult on the southern coast of Peru, in the area called Paracas. The Paracas culture (600–100BCE) produced marvelous works of embossed ceramic finished with a thick oil applied after firing. This colorful tradition in ceramics and textiles was followed by the Nazca culture (i–600CE), whose potters developed improved techniques for preparing dirt and for decorating objects, using fine brushes to paint sophisticated motifs. In the early phase of Nazca ceramics, potters painted realistic characters and landscapes.

The Moche cultures (1–800CE) that flourished on the northern coast of modern Peru produced modelled dirt sculptures and effigies decorated with fine lines of crimson on a beige background. Their pottery stands out for its huacos portrait vases, in which human faces are shown expressing unlike emotions‍—‌happiness, sadness, anger, melancholy‍—‌as well for its complicated drawings of wars, homo sacrifices, and celebrations.[64]

The Maya were relative latecomers to ceramic development, as their ceramic arts flourished in the Maya Classic Menstruum, or the second to 10th century. One important site in southern Belize is known every bit Lubaantun, that boasts especially detailed and prolific works. As evidence of the extent to which these ceramic art works were prized, many specimens traced to Lubaantun take been found at distant Maya sites in Republic of honduras and Guatemala.[65] Furthermore, the current Maya people of Lubaantun continue to mitt produce copies of many of the original designs institute at Lubaantun.

In the United States, the oldest pottery dates to 2500BCE. Information technology has been found in the Timucuan Ecological and Celebrated Preserve in Jacksonville, Florida, and some slightly older along the Savannah River in Georgia.[66]

The Hopi in Northern Arizona and several other Puebloan peoples including the Taos, Acoma, and Zuñi people (all in the Southwestern United States) are renowned for painted pottery in several different styles. Nampeyo[67] and her relatives created pottery that became highly sought after beginning in the early 20th century. Pueblo tribes in the state of New Mexico have styles distinctive to each of the various pueblos (villages). They include Santa Clara Pueblo, Taos Pueblo, Hopi Pueblos, San Ildefonso Pueblo, Acoma Pueblo and Zuni Pueblo, amidst others. Some of the renowned artists of Pueblo pottery include: Nampeyo, Elva Nampeyo, and Dextra Quotskuyva of the Hopi; Leonidas Tapia of San Juan Pueblo; and Maria Martinez and Julian Martinez of San Ildefonso Pueblo. In the early 20th century Martinez and her husband Julian rediscovered the method of creating traditional San Ildefonso Pueblo Black-on Black pottery.

Mexican ceramics [edit]

Mexican ceramics are an ancient tradition. Precolumbian potters built up their wares with pinching, coiling, or hammer-an-anvil methods and, instead of using glaze, burnished their pots.

Studio pottery in the United States [edit]

There is a stiff tradition of studio artists working in ceramics in the United States. It had a period of growth in the 1960s and continues to nowadays times. Many fine fine art, craft, and gimmicky art museums accept pieces in their permanent collections. Beatrice Wood was an American artist and studio potter located in Ojai, California. She adult a unique form of luster-glaze technique, and was active from the 1930s to her death in 1998 at 105 years onetime. Robert Arneson created larger sculptural work, in an abstracted representational style. In that location are ceramics arts departments at many colleges, universities, and fine arts institutes in the United States.

Sub-Saharan Africa [edit]

It appears that pottery was independently developed in Sub-Saharan Africa during the 10th millennium BC, with findings dating to at least 9,400 BC from central Republic of mali.[68] In Africa, the earliest pottery has been institute in the large mountain massifs of the Central Sahara, in the Eastern Sahara, and the Nile Valley, dating dorsum to between the ninth and tenth millennium. [69]

Pottery in Sub-Saharan Africa is traditionally fabricated by coiling and is fired at low temperature. The figurines of the ancient Nok culture, whose function remains unclear, are an instance of high-quality figural work, establish in many cultures, such as the Republic of benin of Nigeria.

In the Aïr Region of Niger (West Africa) (Haour 2003) pottery dating from around 10,000 BCE was excavated.[seventy]

Ladi Kwali, a Nigerian potter who worked in the Gwari tradition, made large pots decorated with incised patterns. Her work is an interesting hybrid of traditional African with western studio pottery. Magdalene Odundo is a Kenyan-built-in British studio potter whose ceramics are hand built and glassy.

Ceramics museums and museum collections [edit]

A ceramics museum is a museum wholly or largely devoted to ceramics, normally ceramic artworks, whose collections may include glass and enamel as well, but will usually concentrate on pottery, including porcelain. Most national ceramics collections are in a more than general museum roofing all the arts, or only the decorative arts, but there are a number of specialized ceramics museums, some concentrating on the product of just i country, region or manufacturer. Others accept international collections, which may concentrate on ceramics from Europe or East Asia, or accept global coverage.

In Asian and Islamic countries ceramics are ordinarily a strong feature of full general and national museums.[ citation needed ] Also almost specialist archaeological museums, in all countries, have big ceramics collections, as pottery is the commonest blazon of archaeological artifact.[71] Most of these are broken shards all the same.

Outstanding major ceramics collections in general museums include The Palace Museum, Beijing, with 340,000 pieces,[72] and the National Palace Museum in Taipei city, Taiwan (25,000 pieces);[73] both are mostly derived from the Chinese Imperial collection, and are almost entirely of pieces from China. In London, the Victoria and Albert Museum (over 75,000 pieces, by and large subsequently 1400 CE) and British Museum (mostly earlier 1400 CE) take very strong international collections. The Metropolitan Museum of Art in New York and Freer Gallery of Art in Washington DC (thousands, all Asian[74]) accept perhaps the all-time of the many fine collections in the large city museums of the U.s.a.. The Corning Museum of Glass, in Corning, New York, has more than 45,000 drinking glass objects.

  • 100 BCE – 250 CE

  • A funerary urn in the shape of a "bat god" or a jaguar, from Oaxaca, Mexico, dated to 300–650 CE. Height: 9.5 in (23 cm).

See also [edit]

  • American Museum of Ceramic Art
  • List of studio potters
  • Sculpture – Artworks that are three-dimensional objects
  • Visual arts – Art forms that create works that are primarily visual in nature

References [edit]

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Sources [edit]

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  • Dinsdale, Allen (1986). Pottery Scientific discipline. Ellis Horwood, Ltd. ISBN978-0-470-20276-0.
  • Dodd, Arthur (1994). Lexicon of Ceramics: Pottery, Drinking glass, Vitreous Enamels, Refractories, Clay Edifice Materials, Cement and Physical, Electroceramics, Special Ceramics. Maney Publishing. ISBN978-0-901716-56-9.
  • Levin, Elaine (1988). The History of American Ceramics: From Pipkins and Bean Pots to Contemporary Forms, 1607 to the nowadays. Harry N. Abrams. ISBN978-0-8109-1172-seven.
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External links [edit]

  • Ceramic from the Victoria & Albert Museum
  • Ceramic history for potters by Victor Bryant
  • Index to the Metropolitan Museum Timeline of Art History – see "ceramics" for many features
  • Minneapolis Institute of Arts: Ceramics – The Art of Asia* Potweb Online catalogue & more than from the Ashmolean Museum
  • Stoke-on-Trent Museums – Ceramics Online
  • Royal Dutch Ceramics
  • Britain Ceramics Information – British Ceramic Brands

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Source: https://en.wikipedia.org/wiki/Ceramic_art