Raku Ware was originally from Japan in the town of Kyoto and was named after the Raku family during the 16th Century. At this time, the Emperor Hideyoshi had conquered Korea and the native potters immigrated to Japan bringing with them pottery techniques and knowledge.The pots were produced for the Zan Buddhist tea ceremony and the decorating and firing of the pots were part of the tea ceremony. Bernard Leach introduced Raku into the west after living in Japan and China setting up pottery in St. Ives, England in 1920. It is still popular today, and made almost worldwide. Raku Ware is still produced today by the 14th generation, of the same Japanese family.Staffordshire was a large and important part of Britain for earthenware production.
The first known examples of Staffordshire slipware date back to early Seventeenth Century. Even though lead-glazed earthenware seemed to be established before this time, the market generally went beyond Staffordshire. Butter pots made in Staffordshire were well known for their quality by dairy farmers in England and surrounding areas. Slipwares are named for their decoration with liquid clays, usually poured or trailed onto the pot.
Although this was a highly developed technique in Staffordshire it was used in other surrounding areas such as London and Wrotham.Staffordshire slipware usually has three categories flatware which are plates, dishes and bowls, jugs and lidded pots are classified as hollow ware, and miscellaneous ware includes money boxes, cradles and candle sticks.Just as tea was important in the development of Raku Ware in Japan, so the Elers brothers who studied salt glazes in Europe and moved to Staffordshire in the 1690s, produced small tea pots, tea canisters, teacups and jugs. They used finely prepared red clay which was thrown on the wheel, and then lathed when leather hard. (Common salt is thrown into the kiln during firing 1200oc to produce a salt glaze)In Raku any clay that copes with the firing technique must be able to withstand heat shock without warping, distorting or cracking. The clay needs to have particles in it to allow water to escape quickly so calcinated China clay or clay with temper (grog, flint or shell) added to it, is successful. This clay occurred naturally in Japan.
Many contemporary potters have favourite clay recipes for their clay bodies when making Raku Ware.Staffordshire slipware clays usually have trouble withstanding higher temperatures without distorting and warping while stoneware can.
Lithologically the Kimmeridge Clay Formation can be subdivided into four units (Figure 2), despite of beds at the base of the succession are poorly exposed. However, in contrast, the units from mid-eudoxus Zone to the top of the formation that are well seen in the Formation. At the base of the formation until the eudoxus Zone, the strata are made up almost entirely of bioturbated shelly clays and in between beds, horizons of oil and bituminous are present. The upper part of the Eudoxus Zone until the upper Pectinatus Zone the composition is kerogen-rich mudstones and coccolith limestone.
...s Platter is made from Creamware, which was an invention of 18th century Staffordshire. Creamware was what eventually replaced the popular thin glazed products. Yasuda gave a new name to creamware. He was impressed with its "optimistic and visually liberating appearance."
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
George Ohr became interested in pottery as soon as he started. This article said, “…the life of a potter was the ideal life he had been seeking.” (“George Ohr Pottery Information and History”). When he started making clay he was nonstop producing ceramics and at one point had thousands of clay bowls,
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.
The object pictured above belongs to a group of artifacts known as incantation bowls, demon bowls, devil-trap bowls, or simply magic bowls. They were crafted by the first millennia Anno Domini people of Mesopotamia and are found, perhaps exclusively, in modern day Iraq. They can be dated as early as 3rd century AD and as late as 8th century. The majority date between 400AD and 700AD. Known pieces in public collections number around 2000 with several times that number likely to exist in private collections. (Saar 2) This report will expand on these statements as well as explore incantation bowls’ production, their function, and what little is known (or provided) of the particular bowl from the Kelsey museum. First, however, we’ll look at the historical setting of the location and era.
On the Warka Vase shown on register 4 naked men carry three types of pottery and at least three of these pottery pieces hold some objects, this implies that all three types of pottery are holding some object or objects, since the men are taking the pottery to the same location. One of these pottery pieces appears to be a piece made to pour, and hold, liquids. This pouring vessel is again seen in an image on another vase (20), this vase seem t...
Perhaps if I had the chance to observe these crafts in person and truly get a feel of their character I would have a better understanding of their nationalistic expression. As it is what has been translated and written in western academia is all that I, as an outsider looking in, can observe. It can be argued that Japan may have lost much of its cultural tradition if not for the American taste for it. On the other hand if not for the change in lifestyle due to America’s occupation, Japanese crafts might not have needed to change so drastically to suit modern life. There is no way of saying for certain ether way. It is my belief, that Japanese handicrafts have expressed nationalistic pride throughout its history, but it is after the introduction of western influences and concepts that the country has found a need to preserve and protect it. The Mingei movement most eminently expresses the Japanese Spirit and it is important to continue to apply its basic principles to
Once I sat down to make my pottery, I decided to make something I thought would have been useful to hunter-gatherer societies, to the individuals that first utilized pottery. I tried to imagine what sorts of vessels would have been a necessity to these people. I concluded that a larger container capable of carrying water over distances would have been more useful than a smaller bowl. I wanted to make a container large enough to transport water. It needed to be light enough to carry for long periods of time. And, it would have to be durable so as not to crack or spill water while being transported. With these thoughts in mind, I began molding my clay.
In this essay I will discuss the techniques of medieval enamel artist and the how and why a piece was made. In researching the subject of enamelling I became interested in both the Cloisonné and Champlevé techniques. Generally they were the major techniques used by the medieval goldsmith. But as I didn’t want this essay to read like a how to manual I wanted to elaborate on what type of pieces and the reasons why they were made.
A kettle bell is essentially a cast-iron cannonball with a handle. Its origins date back to ancient Greece. “Analysis of literature and museum archival material shows that kettlebells have been known as far back as ancient Greece. At the museum Olympia in Greece, it is possible to see a stone
Bat Trang is a traditional craft village located within the proximity of the Hanoi along the Red River delta in northern Vietnam, which it shares similar demographic composition in terms of work force, accessibility, policies and governance contexts. For centuries, the villagers have produced porcelain pottery such as bowls and cups for household uses in small producers’ cluster groups under a collectivized structure introduced by the government under the socialist system in the 1970s. The village administration is in charge of the production planning of the ceramics of each producers and sales to the state-owned shops all over Vietnam. Ceramics production was not lucrative as it provided stable, yet low income and caused environmental problems since charcoal fired kilns are used to make the potteries. This resulted in a polluted and poverty stricken village where respiratory diseases were widespread.
And there are many indications of workshops for bead makers and work centers for bangle making. Harappan were also practiced for boat making. Weavers wove cloths of wool and cotton from spindle whorls which used for spinning. Potter’s wheel were also used at earlier stages for pot
The ceramic technology has been discovered by Chinese potters in the bronze which is late second millennium BC and until the Tang dynasty (618-907), the main ceramic product of China was earthenware pottery. (Krahl & Harrison-hall,2009, p.9) As Yu (2018) mention, blue and white ceramics are found in Tang dynasty but still not as perfect as Yuan dynasty (1271-1368). Until Ming (1368-1644) and Qing (1644-1911) dynasties, blue and white ceramics (the white clay utilize blue colour formed cobalt oxide for conceive pattern in cleaned shape, a layer covered by transparent glaze and fire in a kiln at high temperature) are more important as it started trade in the international market and ordinary in daily routine such as dinner set
Third paragraph: What would be the best kinds of objects to make from your clay?