It was amazing to experience the excitement of ceramics art at Los Angeles County Museum of Art and seeing the eyes of people who were staring at the ergonomically well designed Jomon pot that looked very difficult to design by hand. The size of the Jomon pottery was 22 inches in height and is nearly equivalent to a fish bucket and the shape of the Jomon was a wide cylinder that looked like it could store lots of amount of water and fish. The Jomon had a combination with variety types of clay that were shadow and tint colors. The following date this Jomon pot was created was during the middle age of the Jomon Culture which was (c. 3000-2000 B.C.). The artist that created this Jomon pot was named Hamada Shoji and the specific element of this Jomon pot had a meandering lines, loops and spirals produce a rich interplay of light and dark, and positive and negative space, which create an engaging work of sculpture.
The following Jomon pot is made with the technique of coil which is when wedge clay is formed into a long roll and then one coil is on top of another that can form different desired shapes. The following Jomon pot had no sorts of glazing but it had its original clay that was the mixture that seemingly looked to be dark and light colors. The Jomon pottery brings a very interested feeling that may be the mixture of happiness and hard work, since the Jomon body has the vertical spirals and horizontal lines and the loops in the middle that is wave like patterns and is small which then opens into a swelling shoulder area. The following Jomon image shows the open loops in the swelling shoulder area which might resemble happiness in the person art work of creativity.
...
... middle of paper ...
...top of another one. During this quarter of ceramics I learned ceramics is only fun if you make your artwork with fun if not you’ll wouldn’t like it and you work won't come out so great as you want it to be. The process of wedging clay is another important one because you want your clay to close in the molecules so that you wouldn’t be working with air bubbles inside the clay. Another important technique is called wet wipe work where you want your clay to sustain moisture so that the clay wouldn’t become thick as your working on your pot. The idea is that you want your pot to be thick enough so that when you fire your pottery it wouldn’t explode.
Works Cited
Douglas M. Kenrick, Jomon Of Japan: The World’s Oldest Pottery (London, UK: Taylor & Francis, Inc. 1995).
Junko Habu, Ancient Jomon of Japan: Case Studies in Early Societies (Cambridge University Press. 2004)
The ‘Teacup Ballet’ is one of the first and best artworks Olive Cotton has exhibited outside Australia. It was created in 1935, a Gelatin Silver, 37.3cm x 29.6cm, photograph. Six identical teacups are laid out precisely, they each have pointed, triangular handles and slender bodies. Each teacup is placed on a circular saucer. In the centre, background two teacups are placed diagonally to each other, their handles pointing in the same direction, on the left hand side. In the middle ground, three teacups are placed in a diagonal line, parallel to teacups in the background. This time the teacup handles all point to the right hand side. In the foreground, right hand corner, there stands alone one teacup, its handle facing towards the left, pushed a little more inward, than the others. In the background, there is a light shining through lighting up the teacups, and shadows are formed. A curved line is also shaped contrasting the light from dark.
I am a pottery maker for the king of Crete. I create very elaborate pottery for the king. Two of the types of pottery are known as Kamares ware and Marine Style. These two types of pottery are some of the best pottery that has ever been made in our time. Our pottery is created with a flowing, naturalistic shape and design. We pottery makers put images of animals, sea and plant life on our pottery.
Maria Martinez?s pottery remains of major collecting interest in the art world due to its supreme sophistication. It dispels the myth that primitive people were incapable of sophistication which may stand the test of time, glow with a maturity and fluidity of design, and reflects the earth philosophy which paraphrases that we as humans are also basically clay vessels capable of great beauty (West).
The Shang Dynasty invented and, over the years, perfected the technique of casting a bronze vessel from a clay mold assembly, which this wine vessel has also been made from using those techniques (Cantor). This mold was formed around a model of the vessel and was then cut into sections that were carved or impressed in the desired design, in this case the braided or grid design, on the inner or outer surfaces. The decorated clay piece-mold was then fired and reassembled around a clay core. Small bronze spacers were used to hold the piece-mold and the clay core apart. Then, molten bronze was poured into the mold. Using this piece-mold casting technique helped the bronze worker to achieve greater sharpness and definition in any intricate design
The Attic Black-Figure Ovoid Neck-Amphora is a pottery piece that one does not know a lot about. It was produced sometime between 600 to 400 B.C., and is now housed at the Joslyn Art Museum in Omaha, Nebraska. It was used to hold liquids and was often a source of trade for the Greek potters. In this paper, one will learn how the pottery was made, what the designs on the vase mean, history, and about the culture of the Greeks.
I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
As a conclusion, Mingei and nationalism can be perceived as fundamentally interwoven through Japanese handicrafts. Throughout the first half of the 20th century, many factors came to play a part in bringing the Japanese spirit to the forefront of craftsmen minds, whether as reason to bring attention to themselves and their own work or as a way of providing necessary utensils to the average Japanese home. The efforts of the Mingei movement and the Japanese Traditional Crafts Exhibition cannot be ignored. Yanagi can be said to have foreseen this radical decline in traditional styles and if not for his and his fellow founders collecting and preserving crafts in the Japanese Folk Art Museum, many of the regional methods and styles could be lost today. After the destruction of the war and
A question with a more elusive answer might be: Where are the factories? Where does production ceramic ware come from? The answer: Until recently a small Ohio town.
Stepping into a museum, large or small, locating in east or west countries, as long as it exhibits ancient Asian artworks, one can hardly not find bronzes placed in the most prominent spot, shone by a beam of cold white light. Bronze Age is not as lackluster or icy-cold as this dark metallic alloy shown to us ostensibly; instead, it was full of creativity and innovation. It is amazing but not surprising that ancient Chinese are considered one of the most intelligent group of human-being, produced such remarkable amount of artifacts to either use in their daily life as necessities or decorations, or sacrifice their ancestors, or record important events. This paper will provide a specific description of two bronze vessels respectively from Shang and Zhou dynasties, giving interpretations of their production process and their roles in ritual performance.
Though the interiors he designed were created to be useful spaces, his focus was more on aesthetic than function . Within his individual objects of art such as chairs, tables, drawers, staircases and many others he focused more on the form of the object than on its intended use. Instead, Kuramata appeared to want the presence of the piece to surpass its function, something that is only possible when there is a symbolic value . One of the best examples of a work of art fitting these stipulations was his design of the Miss Blanche armchair (fig. 3) in 1988 . The chair is made of acrylic resin and embedded with artificial roses and aluminum . Kuramata’s title of the work, choice of materials, color contrast, process of creation and simple aesthetic combine to create a piece of work that forces the viewer to question whether or not it can even be considered a chair. This work of art allows the functionality to disapp...
In ancient Greece, art was a means of capturing and explaining the unexplainable. All throughout Greek vases, either ancient mythology was expressed or reality was shown in an idealistic form. The Bell Krater by a follower of the Niobid Painter, exhibited two pieces of art; one on either side of the vessel. Created during 460-450 B.C. side A depicts the myth of Theseus and his pursuit of Helen, while side B shows a maid bringing news to the Queen. This ceramic Krater used the same red-figure technique on both sides, however the they are seemingly painted by two different artists. The human figures appear in the flesh color of the original clay with the details and background painted using black slips. The contrasting sides not only have different
Shirane Haruo. et al. Early Modern Japanese Literature: An Anthology 1600-1900. New York: Colombia University Press, 2002. Print.
Rhodes, Daniel. Stoneware and Porcelain: The Art of High-Fired Pottery. New York: Chilton Company, 1959.
It is difficult to define or explain the artistic impulse, even today, and it is even more difficult to pinpoint the one point in history when human beings developed a desire for aesthetically pleasing objects. However, several trends that have endured for thousands of years, particularly the decoration of vessels, textiles, and jewelry, and the creation of drawings and sculpture even today when they are no longer the easiest way to tell a story, leads me to believe that there is something in the human spirit that has always sought out the beautiful, whether in concord or conflict with the practical. And although the role of art and artists has changed drastically in the past and will likely continue to do so in the future, there will always be an impulse, whether admired and supported or looked down upon by society, to make life just a little bit brighter.
Deal, William E. 2006. Handbook to Life in Medieval and Early Modern Japan. Facts on File, Inc., 2006. eBook