Art of ceramics is an art made of ceramic material, including clay. May take forms including art ware, tiles, sculptures, sculptures, and cutlery. Ceramic art is one of art, especially art. This is one of the plastic arts. While some ceramics are considered fine art, as pottery or sculpture, some are regarded as decorative, industrial or applied art objects. Ceramics can also be considered as artifacts in archeology. Ceramic art can be made by one person or by a group of people. At a pottery or ceramics factory, a group of people design, produce and decorate art supplies. The products of pottery are sometimes referred to as "pottery art". In a pottery studio, pottery or pottery produces studio pottery.
The word "ceramic" comes from the Greek keramikos (?????????), which means "pottery", which in turn comes from keramos (?? ?????) which means "clay pottery". Most traditional ceramic products are made of clay (or clay mixed with other materials), molded and subjected to heat, and decorative tableware and ceramics are generally still made in this way. In the use of modern ceramic techniques, ceramics is the art and science of making objects of inorganic, non-metal material by heat action. This does not include glass and mosaics made of glass tesserae .
There is a long history of ceramic art in almost all cultures developed, and often ceramic objects are the artistic items left over from missing cultures, such as the Nok culture in Africa over 2,000 years ago. Cultures that are especially noted for ceramics include Chinese culture, Crete, Greek, Persian, Maya, Japanese, and Korean, as well as modern Western culture.
Ceramic art elements, where different levels of emphasis are placed at different times, are the shape of the object, its decoration with paintings, carvings and other methods, and glass found in most ceramics.
Video Ceramic art
Materials
Various types of clay, when used with various mining and mineral conditions, are used to produce pottery, stoneware, porcelain, and bone china (fine porcelain).
- Pottery is a pottery that has not been fired into vitrification and thus can be watered. Many types of pottery have been made from it since the earliest times, and until the 18th century it was the most common type of pottery outside the Far East. Earthenware is often made from clay, quartz and feldspar. Terracotta, a kind of pottery, is a clay-based ceramic based on clay, where the body is fired porous. Its uses include vessels (mainly flower pots), water and waste water pipes, bricks, and surface ornaments in building construction. Terracotta has become a common medium for ceramic art (see below).
- Stoneware is a vitreous or semi-vitreous ceramic made primarily of clay stoneware or non-refractory fi ber clay. Stoneware is turned on at high temperatures. Colored or not, it is not porous; it may or may not be glazed. One of the widely recognized definitions is the Combined Nomenclature of the European Community, a European industry standard states "Stoneware, which, though dense, watertight and hard enough to withstand scratches by steel points, differs from porcelain because it is more opaque, and usually only partial vitrified, may be vitreous or semi-vitreous, usually gray or brownish due to dirt in the clay used for its manufacture, and usually coated.
- Porcelain is a ceramic material made with heating materials, generally including kaolin, in kilns with temperatures between 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 the vitrification and formation of mullite minerals in the body at this high temperature. The properties associated with porcelain include low permeability and elasticity; strength, hardness, toughness, whiteness, translucency and resonance are considerable; and high resistance to chemical attack and thermal shock. Porcelain has been described as "fully vitrified, hard, impermeable (even before glass), white or artificially colored, translucent (unless the thickness is large enough), and resonant". However, the term porcelain has no universal definition and has been "very systematically applied to substances of various types that have only the same particular surface quality".
- Bone china (fine porcelain) is a kind of soft-paste porcelain composed of bone ash, feldspathic material, and kaolin. It has been defined as ware with translucent body containing at least 30% phosphate derived from animal bones and calcium phosphate calculated. Developed by the British pottery Josiah Spode, bone china is known for its high whiteness and transparency, and high mechanical strength and chip resistance. Its high strength allows it to be produced in thinner sections than other porcelain types. Such a pot is vitrification, but translucent because of the properties of different minerals. From early developments and to the end of the 20th century, bone china is almost exclusively British, with effectively localized production at Stoke-on-Trent. Most of the major UK companies are made or are still making it, including Mintons, Coalport, Spode, Royal Crown Derby, Royal Doulton, Wedgwood and Worcester. In the United Kingdom, references to "porcelain" or "porcelain" may refer to bone china, and "British porcelain" has been used as a term for it, both in England and around the world. Fine china is not necessarily bone china, and is a term used to refer to ware that does not contain bone ash.
Maps Ceramic art
Surface treatment
Chinese Painting
Chinese paintings, or porcelain paintings are ornate porcelain objects such as plates, bowls, vases or sculptures. It may be hard-stained porcelain, developed in China in the 7th or 8th century, or often-often-porcelain bone (often bone china), developed in 18th-century Europe. Ceramic paintings with broader terms include decorations painted on tin-coated pottery such as cream or tin pottery such as maiolika or faience. Usually the body is first fired in a kiln to turn it into a hard porous bisque. Decorative glazes may then be applied, followed by glazes, which are fired so that it binds to the body. The shiny porcelain can then be decorated with overglaze painting and fired again to bind paint with glaze. Decorations can be applied with a brush or with stencils, transfer printing, lithography and screen printing.
Slipware
Slipware is a type of pottery that is identified by its main decorating process where slippage is placed onto the hard surface of the clay-skin body before being fired by dipping, painting or splashing. Slip is an aqueous suspension of the clay body, which is a mixture of clays and other minerals such as quartz, feldspar and mica. A white or colored slip layer, known as a engobe, can be applied to articles to enhance its appearance, to provide a smoother surface to the rough body, disguising inferior colors or for decorative effects. Slips or engobes can also be applied by painting techniques, in isolation or in multiple layers and colors. Sgraffito involves scratches through a colored slip layer to reveal a different color or underlying base body. Several layers of slip and/or sgraffito can be done when the pot is still not stale. One color slip can be fired, before one second is applied, and before the decoration scratch or scratch. This is especially useful if the basic body does not have the desired color or texture.
Terra sigillata
In stark contrast to the use of archeology, in which the term terra sigillata refers to the whole class of pottery, in contemporary ceramic art, 'terra sigillata' only describes the aqueous smooth sheath used to facilitate polishing of crude clay surfaces and is used to promote the effects of carbon smoke, both in primitive low-temperature combustion techniques as well as the unpolluted Western-style firing technique. Terra sigillata is also used as a decorative dye medium which is brushed in high temperature glass ceramic techniques.
Form
Pottery Studio
Studio pottery is a pottery made by amateur or professional artists or craftsmen who work alone or in small groups, make unique or short-lived items. Typically, all stages of making are done by the artist himself. Pottery studios include functional items such as tableware, cookware and non-functional items such as sculptures. Studio craftsmen can be referred to as ceramic artists, ceramists, ceramicists or as artists who use clay as a medium. Many studio pots are tableware or cookware, but more and more studio craftsmen produce non-functional items or sculptures. Some studio artisans now prefer to call themselves ceramic artists, ceramists or just artists. Pottery studios are represented by pottery around the world.
Tile
Tiles are parts manufactured from hard materials such as ceramics, stones, metal, or even glass, commonly used to cover roofs, floors, walls, bathrooms, or other objects such as tables. In addition, tiles can sometimes refer to similar units made of lightweight materials such as pearlite, wood, and mineral wool, typically used for wall and ceiling applications. In other words, "tiles" are construction tiles or similar objects, such as rectangular counters used in game play (see tile based game). This word is derived from the French word tuile , which, in turn, of the Latin word tegula , which means a tile consisting of a fired clay.
Tiles are often used to form mural walls and floor coverings, and can range from simple square tiles to intricate mosaics. Tiles are most often made of ceramics, usually coated for internal and non-glaze use for the roof, but other materials are also commonly used, such as glass, cork, concrete and other composite materials, and stones. Stone tiles are usually marble, onyx, granite or slate. Thin tiles can be used on the wall rather than on the floor, requiring a more durable surface that will withstand collisions.
Figurines
A figurine (small form of the word figure ) is a statue representing a human, a god, a mythical creature, or an animal. The sculptures may be realistic or iconic, depending on the skill and intentions of the creator. The earliest is made of stone or clay. In ancient Greece, many statues were made of terracotta (see Greek terracotta statue). The modern version is made of ceramics, metal, glass, wood and plastic.
The sculptures and miniatures are sometimes used in board games, such as chess, and role table games. Ancient sculptures have been used to discount some historical theories, such as the origins of chess.
Tableware
Tableware is a plate or dish used to set the table, serving food and eating. These include cutlery, glassware, serving plates and other useful items for practical and decorative purposes. Plates, bowls and cups can be made of ceramics, while tableware is usually made of metal, and glasses are often made of glass or other non-ceramic materials. The quality, nature, variety and number of objects vary according to culture, religion, number of visitors, dishes, and events. For example, food culture and Middle Eastern, Indian or Polynesian cuisines sometimes restrict eating utensils to serving dishes, using bread or leaves as individual dishes. Special occasions are usually reflected in high quality tableware.
In addition to being materials, "terracotta" also refers to items made of this material. In archeology and art history, "terracotta" is often used to describe objects such as statures, and statues that are not made on pottery wheels. The main example is the Terracotta Army, a collection of human-sized terracotta statues depicting the army of Qin Shi Huang, the first Chinese Emperor. This is a burial form of art buried with the emperor in 210-209 BC and whose purpose is to protect the emperor in the afterlife.
French sculptor Albert-Ernest Carrier-Belleuse makes many terracotta pieces, but perhaps the most famous is the Hippodameia Abduction that depicts the Greek mythological scene of a centaur who abducted Hippodameia on his wedding day. American architect Louis Sullivan is famous for his elaborate shiny terracotta ornament, a design that is impossible to execute in other media. Terracotta and tiles are widely used in the buildings of the Victorian city of Birmingham, England.
History
There is a long history of ceramic art in almost all cultures developed, and often ceramic objects are the artistic items left over from missing cultures, such as the Nok culture in Africa over 2,000 years ago. Cultures that are especially noted for ceramics include Chinese culture, Crete, Greek, Persian, Maya, Japanese, and Korean, as well as modern Western culture.
Although the pottery sculptures were found from previous periods in Europe, the oldest pottery vessels originated from East Asia, with discoveries in China and Japan, which were then still connected by land bridges, and some in what is now Far Eastern Russia, providing some of the 20,000 - 10,000 SM, although the vessels are simple utilitarian objects. Xianrendong Cave in Jiangxi province contains fragments of pottery dating back 20,000 years.
Some experts believe that the first original porcelain was made in Zhejiang province in China during the Eastern Han period. Shard recovered from the Han Han East archaeological site estimated the firing temperature ranges from 1,260 to 1,300 Â ° C (2,300-2,370 Â ° F). As far back as 1000 BC, the so-called "porcelain items" or "proto-porcelain" are made using at least some kaolins fired at high temperatures. The dividing line between two and true porcelain items is not clear. Archaeological discoveries have pushed the date for as early as the Han Dynasty (206-BCEÃ,-2 220Template: NsbpCE).
Until the 16th century, a small number of expensive Chinese porcelains were imported into Europe. From the 16th century onwards attempts were made to imitate in Europe, including soft-paste and Medici porcelain made by Florence. Nothing worked out until the recipe for hard-paste porcelain was made at the Meissen factory in Dresden in 1710. Within a few years, porcelain factories had sprung up in Nymphenburg in Bavaria (1754) and Capodimonte in Naples (1743) and many other places, often financed by local rulers.
Prehistoric pottery
The initial pot is made by what is known as the "circular" method, which makes the clay into a long strand that wraps around a shape which then forms a smooth wall. Pottery wheels may be found in Mesopotamia in the 4th millennium BC, but are scattered in almost all Eurasia and most of Africa, though remain unknown in the New World until the arrival of Europeans. Decorations of clay with incised and painted are found to be very wide, and at first geometrical, but often include figurative designs from the beginning.
So important is the pottery for the prehistoric cultural archeology that is widely known by its name taken from their distinctive, and often very fine, pottery, such as Linear Pottery culture, Beaker culture, Globular Amphora culture, Corded Ware culture and Funnelbeaker culture, to take only example from Neolithic Europe (about 7000-1800 BCE).
The art of ceramics has produced many styles of its own tradition, but is often closely related to contemporary sculpture and metal. Many times in its historical style from the art of typically more expensive and expensive metalworking has been copied in ceramics. This can be seen early in Chinese ceramics, such as pottery and ceramics from the Shang Dynasty, in Ancient Roman pottery and Iran, and European Rococo style, copying contemporary silver shapes. The general use of ceramics is for "pots" - containers such as bowls, vases and amphorae, as well as other cutlery, but the statues have been made very widely.
Ceramics as wall hangings
The earliest evidence of glazed bricks is the invention of glistening bricks at the Elamite Temple in Chogha Zanbil, dated to the 13th century BC. Colored and glossy stones are used to make low reliefs in Ancient Mesopotamia, the most famous of which is the Ishtar Babel Gate ( c. 575 BCE ), now partly reconstructed in Berlin, with other parts. Mesopotamian craftsmen imported for the palace of the Persian Empire such as Persepolis. The tradition continued, and after the Islamic conquest of colored Persia and often depicted bricks or glazed tiles became an important element in Persian architecture, and from there it spread to many Islamic worlds, especially the Turkish pottery under the Ottoman Empire in the 16th and 17th centuries.
Using lusterware technology, one of the best examples of the use of medieval Islamic ceramics as wall hangings can be seen in the Uqba Mosque is also known as the Great Mosque of kairouan (in Tunisia), the top of the mihrab walls adorned with polychrome and monochrome lusterware tiles; derived from 862-863, this tile is most likely imported from Mesopotamia.
Transmitted through Spanish Islam, the new tradition of Azulejos was developed in Spain and especially Portugal, which in the Baroque period resulted in a very large painting scene on the tiles, usually in blue and white. Tiles delftware, usually with painted designs that cover only one tile (rather small), are everywhere in the Netherlands and are widely exported to Northern Europe from the 16th century. Some 18th-century royal palaces have porcelain chambers with walls entirely lined with porcelain. Sustained examples include Capodimonte, Naples, the Royal Palace of Madrid and the nearby Royal Aranjuez Palace. The elaborate tile stove is a feature of middle and upper class rooms in Northern Europe from the 17th to the 19th century.
There are several other types of traditional tiles that are still in the making, such as small mosaic tiles, almost mosaic, brightly colored. With the exception, in particular the Nanjing Porcelain Tower, glazed tiles or bricks are not much featured in East Asian ceramics.
East Asia
Although pottery sculptures were found from previous periods in Europe, the oldest pottery vessels originated from East Asia, with discoveries in China and Japan, which were then still connected by land bridges, and some in what is now Far Eastern Russia, providing some of the 20,000 and 10,000 BC, although the ship is a simple utilitarian object. Xianrendong Cave in Jiangxi province contains fragments of pottery dating back 20,000 years.
Cambodia
Recent archaeological excavations in Angkor Borei (in southern Cambodia) have restored a large number of ceramics, some of which may have been prehistoric. Most of the pottery, however, dates to the pre-Angkorian period and mainly consists of pink terracotta pots that are either handmade or thrown on wheels, and then decorated with a chalk pattern.
Glass items first appeared in archaeological records at the end of the 9th century in the group of Roluos temples in the Angkor region, where shards of green-glazed pots have been found. The chocolate glaze became popular in the early 11th century and chocolate-glaze items have been found in abundant quantities on the Khmer sites in northeastern Thailand. Decorating pottery with animal forms is a popular style from the 11th to the 13th century. Archaeological excavations in the Angkor region have revealed that near the end of the Angkor period the production of native pottery decreased while there was a dramatic increase in the importation of Chinese ceramics.
The direct evidence of the ships' forms is provided by scenes depicted in the relics of the Khmer temples, which also offer insights into the use of domestic and ritualistic merchandise. The various utilitarian forms show that the Khmer used ceramics in their daily life for cooking, preserving food, carrying and storing liquids, as containers for medicinal plants, perfumes and cosmetics.
China
There are Chinese porcelain from the late Eastern Han period (100-200 Ã, CE), the Three Kingdoms period (220-280 Ã, CE), the Six Dynasty period (220) 589 Ã, CE), and thereafter. China in particular has had a history of large-scale production, with Empire factories usually producing the best work. The Tang Dynasty (618 to 906 Ã, CE) is well known for human grave goods, animals and model houses, boats and other items, excavated (usually illegally) from large graves.
The Imperial Porcelain of the Song Dynasty (960-1279), featuring a very fine decoration carved with knives in clay, was regarded by many authorities as the top of Chinese ceramics, despite the vast and vigorously painted ceramics of the Ming Dynasty (1368- 1644) has a wider reputation.
The Chinese Emperor gave ceramics as diplomatic rewards on a luxurious scale, and the presence of Chinese ceramics undoubtedly helped the development of ceramic-related traditions in Japan and Korea in particular.
Japanese
The earliest Japanese pottery was made around the 11th millennium BC. J? Mon ware appeared in the 6th millennium BC and the more noble Yayoi style around the 4th century BC. These early pottery were soft pots, fired at low temperatures. Pottery wheels and burners that can reach higher temperatures and fireplaces appear in the 3rd or 4th century, probably brought from China through the Korean peninsula. In the 8th century, the official kiln in Japan produced simple and green lead vessels. Unimpeded stoneware was used as a funeral vessel, jars, and kitchen pots until the 17th century. Some kilns improve their methods. From the 11th to the 16th centuries, Japan imported many porcelain from China and some from Korea. Japan mastered Toyotomi Hideyoshi's attempts to conquer China in the 1590s dubbed the "Ceramic War." [Citation needed] The emigration of Korean pottery makers appears to be the main cause. One of these pottery, Yi Sam-pyeong, finds porcelain raw materials in Arita and produces the first original porcelain in Japan.
In the 17th century, conditions in China prompted some pottery craftsmen to Japan, bringing knowledge to make fine porcelain. From the Middle Ages, the Dutch East Indies Company began importing Japanese porcelain to Europe. At present, Kakiemon goods are manufactured in Arita factories, which have much in common with the Chinese Famille Famille Verte style. The exceptional quality of its enamel decor is greatly appreciated in the West and is widely imitated by Europe's major porcelain producers. In 1971 it was declared an "intangible treasure" important by the Japanese government.
In the twentieth century, the village potter's artistic interest was revived by the Mingei people movement led by Shoji Hamada pottery craftsmen, Kawai Kajiro, and others. They learn traditional methods of preserving genuine goods that are in danger of disappearing. The modern master uses the ancient method of bringing pottery and porcelain to new heights in Shiga, Iga, Karatsu, Hagi, and Bizen. Some extraordinary pottery is designated as a cultural treasure of life ( mukei bunkazai ?????). In the old capital of Kyoto, the Raku family continues to produce rough tea bowls that so delight the lovers. In Mino, artisans continue to reconstruct the classic formula of the Mino-style Seto-era kind of Momoyama, such as Oribe ware. In the 1990s many master craftsmen worked away from ancient kilns and made classic items throughout parts of Japan.
Korean
Korean pottery has had a continuous tradition since simple pottery from about 8000 BC. Style generally becomes a distinctive variant of Chinese development, and then Japan. The Goryeo Dynasty Ceramics (918-1392) and early Joseon white porcelain of the following dynasties are generally regarded as the best achievements.
Western Asia and Middle East
Islamic pottery
From the 8th to the 18th century, glazed ceramics were very important in Islamic art, usually in the form of intricate pottery, evolving in the strong pre-Islamic Persian and Egyptian traditions in particular. The tin-opactive glaze was developed by Islamic artisans, the first examples of which were found as blue-painted devices in Basra, dating from about the 8th century. The Islamic world has contacts with China, and is increasingly customizing many Chinese decorative motifs. Persian goods gradually loosened Islamic restrictions on figurative ornaments, and painting figurative scenes became very important.
Stoneware, originating from the 9th century Iraq, is also an important ingredient in Islamic pottery. Pottery was produced in Raqqa, Syria, in the 8th century. Other centers for innovative ceramics in the Islamic world are Fustat (near modern Cairo) from 975 to 1075, Damascus from 1100 to about 1600 and Tabriz from 1470 to 1550.
The form of albarello, a kind of maiolican clay jar originally designed to store pharmacist ointments and dried medicines, was first made in the Middle East of Islam. It was brought to Italy by Hispano-Moresque traders; the earliest Italian example was produced in Florence in the 15th century.
The Iznik pottery, made in western Anatolia, is a high-decoration ceramic whose heyday was the end of the 16th century under the Ottoman sultan. The Iznik ships were originally made by imitating Chinese porcelain, which is very valuable. Under SÃÆ'¼manman the Magnificent (1520-66), demand for Iznik goods increased. After the conquest of Constantinople in 1453, the Ottoman sultan began a development program, which used a large number of Iznik tiles. The Sultan Ahmed Mosque in Istanbul (built 1609-16) alone contains 20,000 tiles and the tiles are widely used in the Topkapi Palace (beginning in 1459). As a result of this demand, tiles dominate the output of Iznik ceramics.
Europe
Early sculptures
The earliest known ceramic object is the Gravettian statue of the Upper Paleolithic period, as found in DolnÃÆ' V? Stonice in modern Czech Republic. Venus of DolnÃÆ' V? Stonice (V? StonickÃÆ'¡ Venu? E in Czech) is a statue of a naked woman who comes from about 29,000-25,000 BC. It was made by printing and then firing a mixture of clay and bone powder. Similar objects in various media are found throughout Europe and Asia and originated from the Paleolithic Young period also called the Venus sculpture. Scholars disagree with the purpose or significance of their culture.
Ancient Mediterranean
The glossy Egyptian luxury begins in the third millennium BC), with painted but unsweetened pottery used even earlier during the predisitant Naqada culture. Faience became sophisticated and produced on a large scale, using molds as well as modeling, and then also throwing on wheels. Some glass methods are developed, but the color remains largely confined to the blue-green spectrum range.
On the Greek island of Santorini are some of the earliest inventions made by Minanoans dating to the third millennium BC, with the original settlements in Akrotiri dating to the fourth millennium BC; the excavation work continues at Akrotiri's main archaeological site. Some of the excavated houses contain large ceramic storage jars known as pithoi .
Ancient Greek Ceramics and Etruska are famous for their figurative paintings, especially in the style of black and red figures. The Greek terracotta sculptures formed, especially from Tanagra, are small figures, often religious but later including many figures of everyday genres, apparently used purely for decoration.
Ancient Roman pottery, like Samian ware, is rarely as good as anything, and mostly mimics the shape of metal, but is produced in large quantities, and is found throughout Europe and the Middle East, and so on. Monte Testaccio is a mound of rubbish in Rome that is almost entirely made of damaged amphorae used to transport and store liquids and other products. Few ships have a strong artistic interest, but there are many small figures, often incorporated into oil lamps or similar objects, and often with religious or erotic themes (or both together - a Roman skill). The Romans in general did not leave valuables, the best source of ancient pottery, but nevertheless they did not seem to have many fancy pottery items, unlike Roman glass, used by elites with gold or silver tableware. More expensive pottery tends to use relief ornaments, often printed, not paint. Particularly in the Eastern Empire, local traditions continued, hybridizing in Roman style to various levels.
tin pottery
Tin pottery, or faience, originated in Iraq in the 9th century, from which it spread to Egypt, Persia and Spain before reaching Italy in the Renaissance, the Dutch in the 16th century and England, France and other European countries soon after. Important regional styles in Europe include: Hispano-Moresque, maiolica, Delftware, and English Delftware. In the High Middle Ages, Hispano-Moresque equipment from Al-Andaluz was the most sophisticated pottery produced in Europe, with intricate ornaments. It introduced tin-glass to Europe, which was developed in Renaissance Italy in maiolica. Tin-glazing pottery was taken in the Netherlands from the 16th century to the 18th century, craftsmen made households, decorative pieces and tiles in large quantities, usually with blue paintings on white soil. Dutch craftsmen took tin pottery to the British Isles, where it was made between about 1550 and 1800. In France, tin glaze began in 1690 at Quimper in Brittany, followed in Rouen, Strasbourg and LunÃÆ' Â © ville. The development of a white body, or almost white, shoots in Europe from the late 18th century, such as Creamware by Josiah Wedgwood and porcelain, reducing the demand for Delftware, Fayence and majolica. Currently, the use of tin oxide in glazes finds limited use in conjunction with other low-cost opacity agents, although it is generally restricted to low-temperature applications and used by studio artisans, including Picasso that produces pottery using tin glazes.
Porcelain
Until the 16th century, a small number of expensive Chinese porcelains were imported into Europe. From the 16th century onwards attempts were made to imitate in Europe, including soft-paste and Medici porcelain made by Florence. In 1712, many Chinese porcelain manufacturing secrets were revealed throughout Europe by the French Jesuit father Francois Xavier d'Entrecolles and soon published in Lettres ÃÆ' Â © difiantes et curieuses de Chine par des missionnaires jÃÆ' Â © suites After many experiments, recipes for hard-paste porcelain were made at the Meissen porcelain factory in Dresden shortly after 1710, and sold in 1713. Within decades, porcelain mills appeared in Nymphenburg in Bavaria (1754) and Capodimonte in Naples (1743) and many other places, often financed by local rulers.
Porcelain pastries were made in Rouen in the 1680s, but the first important production was at St.Cloud, letters given in 1702. Duc de Bourbon founded the soft-paste factory, Chantilly porcelain, at the base of ChÃÆ'Â ¢ teau de Chantilly in 1730; the soft-paste factory opened in Mennecy; and the Vincennes factory was founded by workers from Chantilly in 1740, moved to a larger place in SÃÆ'¨vres in 1756. The superior soft-paste made at SÃÆ'¨vres put it at the forefront of Europe in the second half of the 18th century. century. The first soft-paste in England was shown in 1742, apparently based on the Saint-Cloud formula. In 1749, a patent was taken in the first bone china, which was later refined by Josiah Spode. The main English porcelain makers in the 18th century were in Chelsea, Bow, St James, Bristol, Derby, and Lowestoft.
Porcelain ideally matches the energetic Rococo curve of the day. The products of the early decades of European porcelain are generally the most expensive, and expensive. Meissen Johann Joachim Kaendler and Franz Anton Bustelli of Nymphenburg probably the most famous ceramic artists of the time. Like other prominent modelers, they are trained as sculptors and produce models from where prints are taken.
By the end of the 18th century having porcelain fittings and decorative objects had become mandatory among the affluent middle class in Europe, and there were factories in many countries, many of them still in production. As well as cutlery, early European porcelain revives the flavor for pure or decorative human or animal figures, which is also a feature of some ancient cultures, often as a heavy item. It is still produced in China as a religious figure of Blanc de Chine, many of which have reached Europe. European figures are almost entirely secular, and soon painted brightly and brightly, often in groups with model backgrounds, and strong narrative elements (see figure).
Wedgwood and North Staffordshire Potteries
From the 17th century, Stoke-on-Trent in North Staffordshire emerged as a major center for pottery making. Important contributions to industry development are made by Wedgwood, Spode, Royal Doulton and Minton companies.
The local presence of supply of coal and clay suitable for the production of pottery caused the beginning but initially the development of local pottery industry was limited. The Trent and Mersey Canal development enables easy transport of Chinese clay from Cornwall along with other materials and facilitates the production of cream and bone china. Other production centers have an advantage in the production of high quality goods but North Staffordshire's excellence is brought about by methodical and detailed research and a willingness to experiment conducted over the years, initially by one person, Josiah Wedgwood. Its leader is followed by other local craftsmen, scientists and engineers.
Wedgwood is credited with industrialization of pottery making. His work is highly qualified: when visiting his workshop, if he sees an offending ship failing to meet his standards, he will destroy it with his wand, exclaiming, "This will not be done for Josiah Wedgwood!" He was very interested in the scientific progress of his day and it was this interest that supported the adoption of approaches and methods to revolutionize the quality of his pottery. Her unique glaze began to differentiate her merchandise from the rest of the market. Its two-color Jasperware matts are perfect for Neoclassicism by the end of the century, mimicking the effects of ancient Roman gemstone acts carved like Gemma Augustea, or the Portland Vase cameo glass, of which Wedgwood produces copies.
He is also credited with refining print-transfers, first developed in the UK around 1750. By the end of the century most have replaced hand painting for intricate designs, except at the fancy end of the market, and most of the world of pottery ornaments using technical versions to date. Improved printing of lower layer transfers is widely credited to the first Josiah Spode. This process has been used as the development of the processes used in book printing, and the quality of the initial paper makes very fine detail in designs that are unable to reproduce, so the initial print pattern is somewhat lacking in tonal tonal variations. The development of the machine making the thin print paper of around 1804 enabled the engravers to use a wider variety of tonal techniques that became capable of being reproduced on the device, much more successfully.
Far from perfecting the underground print Wedgwood was persuaded by the painter not to apply underground printing until it became clear that Mr. Spode took his business through competitive pricing for a much more decorated high quality product.
The supremacy of Stoke-on-Trent in making pottery cultivates and attracts a large number of ceramic artists including Clarice Cliff, Susie Cooper, Lorna Bailey, Charlotte Rhead, Frederick Hurten Rhead, and Jabez Vodrey.
Pottery Studio in England
Studio pottery is made by artists who work alone or in small groups, producing unique or short-term items, usually with all stages of making done by one individual. Represented by pottery around the world but has strong roots in England, with pottery like Bernard Leach, William Staite Murray, Dora Billington, Lucie Rie and Hans Coper. Bernard Leach (1887-1979) determined the style of pottery that was influenced by the form of Far Eastern and Medieval English. After experimenting with pottery, he switched to a pot that was fired at high temperatures in an oil or wood burning kiln. This style dominated the pottery of English studios in the mid-20th century. Austrian refugee Lucie Rie (1902-1995) is basically regarded as a modernist experimenting with new glaze effects on often brightly colored bowls and bottles. Hans Coper (1920-1981) produces non-functional, sculptured and non-glazed pieces. After the Second World War, studio pottery in Britain was driven by a ban on war on the artificial pottery and the spirit of the modernist British Festival. Simple and functional design incised a modernist ethos. Several potteries were formed in response to this fifties boom, and the pottery style of the studio remained popular in the nineteen seventies. Elizabeth Fritsch (1940-) took a ceramic work under Hans Coper at the Royal College of Art (1968-1971). Fritsch was one of a group of eminent ceramics that emerged from the Royal College of Art at that time. Fritschs' ceramic vessels broke away from traditional methods and he developed a hand-made flat-coil technique on a smashed and refined bowl into accurately profiled shapes. They are then hand painted with dry matt slip, in unusual colors for ceramics.
Pottery in Germany
The German pottery is rooted in an alchemical laboratory looking for gold production.
- Royal Porcelain Factory, Berlin
- Meissen porcelain
- Nymphenburg porcelain
- Hutschenreuther
Pottery in Austria
In 1718 a pottery was erected in Vienna.
Pottery in Russia
Based on parallel (independent of the discovery BÃÆ'¶ttgers discovery 1708, Dresden) porcelain by D. I. Winogradow in St. Petersburg porcelain manufacture was established in 1744..
Americas
Native American pottery
People in the continent of North, Central, and South America have a variety of pottery traditions before the Europeans arrived. The oldest known ceramic in America -? Made from 5,000 to 6,000 years ago? -? Found in the Andean region, along the Pacific coast of Ecuador in Valdivia and Puerto Hormiga, and in the San Jacinto Valley of Colombia; objects from 3,800 to 4,000 years have been found in Peru. Some archaeologists believe that the knowledge of ceramics find its way through the sea to Mesoamerica, the great birthplace of both civilizations in America.
The best developed styles found in the central and southern Andes are ceramics found near the ceremonial site at ChavÃÆ'n de HuÃÆ'¡ntar (800-400 Ã, BCE) and Cupisnique (1000-400 BCE). During the same period, another culture flourished on the southern coast of Peru, in an area called Paracas. Culture Paracas (600-100 BCE) produces outstanding works of embossed ceramics finished with thick oil applied after shooting. This colorful tradition in ceramics and textiles was followed by the Nazca culture (1-600 Ã, CE), which craftsmen developed improved techniques for preparing clay and for decorating objects, using a fine brush to paint sophisticated motifs. In the early stages of Nazca ceramics, pottery painted realistic characters and landscapes.
The Moche Culture (1-800 CE) that develops on the northern coast of modern Peru produces statues and clay figurines adorned with fine red stripes on a cream background. Their pottery stands out for a portrait vase of huacos, where the human face is displayed expressing different emotions? -? Happiness, sadness, anger, melancholy? -? Also for the intricate images of war, human sacrifice, and celebration.
The Maya is relatively late for ceramic development, as their ceramic art evolves in the Maya Classical Period, or the 2nd to 10th centuries. One of the important sites in southern Belize is known as Lubaantun, which offers very detailed and productive works. As proof of the extent to which these ceramic artworks are appreciated, many specimens traced to Lubaantun have been found at Maya sites in Honduras and Guatemala. In addition, the Maya Lubaantun people today continue to produce copies of many of the original designs found in Lubaantun.
In the United States, the oldest pottery date is up to 2500 SM. It has been found at Timucuan Ecology and Historical Preservation in Jacksonville, Florida, and some slightly older along the Savannah River in Georgia.
Hopi in Northern Arizona and several other Puebloan nations including the people of Taos, Acoma, and ZuÃÆ' Â ± i (all in the Southwest of the United States) are famous for their pottery painted in several different styles. Nampeyo and his relatives created pottery that became highly sought after it began in the early 20th century. The Pueblo tribe in the state of New Mexico has a distinctive style for each of the various pueblos (villages). They include Santa Clara Pueblo, Taos Pueblos, Hopi Pueblos, San Ildefonso Pueblo, Acoma Pueblo and Zuni Pueblo, among others. Some of the famous artists of Pueblo pottery include: Nampeyo, Elva Nampeyo, and Dextra Quotskuyva from Hopi; Leonidas Tapia from San Juan Pueblo; and Maria Martinez and Julian Martinez from San Ildefonso Pueblo. At the beginning of the 20th century, Martinez and her husband, Julian rediscovered the traditional pottery method of San Ildefonso Pueblo Black-on Black.
Mexican Ceramics
Mexican ceramics is an ancient tradition. Precolumbian planters build their wares by pinching, coiling or hammer-anvil methods and, instead of using glazes, contaminate their pots.
Pottery Studio in United States
There is a strong tradition of studio artists working on ceramics in the United States. It had a period of growth in 1960 and continues to be present times. Many art, crafts, and museums of contemporary art have pieces in their permanent collection. Beatrice Wood is an American potter artist and studio located in Ojai, California. He developed a unique form of glistar glistening technique, and was active from the 1930s until his death in 1998 at the age of 105 years. Robert Arneson created a larger sculpture, in the style of abstract representation. There is a ceramics art department in many colleges, universities, and art institutes in the United States.
Sub-Saharan Africa
Pottery in Sub-Saharan Africa is traditionally made in a circular way and fired at low temperatures. Ancient Nok culture sculptures, whose functions are still unclear, are examples of high-quality figural works, found in many cultures, such as Benin in Nigeria.
In the AÃÆ'§r Region of Niger (West Africa) (Haour 2003) the pottery dating from about 10,000 BC was excavated.
Ladi Kwali, a Nigerian craftsman working in the Gwari tradition, makes large pots emblazoned with iris patterns. His work is an interesting hybrid from traditional Africa with western studio pottery. Magdalene Odundo is a Kenyan-born English studio maker whose handmade and glazed ceramics.
Museum of ceramics and museum collections
The ceramic museum is a museum that is entirely or largely devoted to ceramics, usually ceramic artwork, whose collection may include glass and enamel as well, but will usually concentrate on pottery, including porcelain. Most of the national ceramic collections are in a more general museum covering all art, or just decorative arts, but there are a number of specialty ceramic museums, some concentrating on producing only one country, region or manufacturer. Others have international collections, which may concentrate on ceramics from Europe or East Asia, or have global coverage.
In Asian countries and Islamic countries, ceramics are usually a strong feature of public and national museums. Also the most specialized archaeological museum, in all countries, has a large collection of ceramics, because pottery is the most common type of archaeological artifact. Most are broken pieces.
Source of the article : Wikipedia
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