Eric Serratella Sassy Pottery

The goal of this report was to bring awareness to the problems that Perfect Pottery has fallen victim to from the recent, drastic change of moving to the United States. This article is aimed at bringing ideas to the table that would solve many of the situations and difficulties that came with that recent transition.

When most people look at a piece of pottery the first thing that comes to mind is the significance of the symbols and the stories behind these symbols. There are some symbols of Hopi pottery that have stories behind them and some that are symbols of either lost significance or the story is unknown. Some of the symbols we think of as symbols, are really the potters own design. Most people make the mistake that symbols and designs are the same thing, but in fact they are very different. Hopi potters, mostly women, have been instrumental in both preserving and developing traditional symbols and innovating designs in response to changes in and challenges to their culture.

Both pots share a similar artistic style and depict Dionysus in a very comparable way. The slight differences that you do see between them could be because of the time difference between each work. Nevertheless both vessels depict Dionysus in the usual way. Both pots lack a mythical story behind it and seem to be a general scene. While the first pot looks like a worship to Dionysus, the second pot looks like a general depiction of Dionysus and the people/creatures

According to Isaacs, pottery was introduced to Hermannsburg in the late-twentieth century by Victor Jaensch. Jaensch “advised on sourcing local clay, and built a small kiln” and his Arrernte assistants, Nashasson Ungwanaka and Joseph Rontji, “began the tradition of making sculptures from clay” which were painted and sold at craft shops (Isaacs 2000:50). To many western critics and commentators of the time, the works of the original Potters did not appear as ethnographic or distinctively Aboriginal, as it was not like any of the traditional Aboriginal art forms produced at the time. However, today, Hermannsburg pottery produced by the current generation of women is flourishing. The Hermannsburg Potters webpage discusses the unique process by which these iconic sculptured terracotta pots are made. From clay, coils are rolled out and then each coil is a layered and pinched together. As the layers build, the clay is hand sculpted into a desired form. Once the moulding process is complete, the surface is further smoothed and shaped. Once dry, the pots are decorated with a ceramic based material or slips with pigment. Then lastly, the pots are

Wedgwood’s recipe of cream-coloured earthenware known as creamware was so popular in its time because at that moment in history there was a huge demand for Porcelain and a rush to create the prime recipe. Once porcelain was invented in Europe it was in high demand because of it rarity and its innovative, fresh style; it was also a luxurious, expensive item that only the upper class, wealthy could afford. In the popularity of porcelain, Josiah Wedgwood was clever as to bring creamware to the forefront. Creamware was the cheaper direction than porcelain. This clay acquires to being

This is a clay gourd that taken the shaped like a jug and have cinnamon color appearance and stand at 13 ¾ x 8 inches. This pottery were part of the Tonaltec pieces that have been a high recognition for a long time for the traveler and historians in the seventeenth century. The Tonaltec pottery is generally known in Mexico as “Guadalajara earthenware” which taken after a major city name nearest were it make. The Tonaltec pottery are make distinction between earthenware of water and earthenware of fire based on the differences in function and decoration the artist tried to make. The Tonaltec pottery is make of the burnished or greased clay and was fire once then is bathed in glaze and leave to be fire twice before it finish. The purpose of this

As a self-taught potter, I have been working with clay for nearly 2 years. I make primarily functional wares fired to cone 10(2345°f) using porcelain or stoneware clay. I obtained a degree in political science from Winona State University in 2015. I am highly influenced by my experiences as a production potter, other midwestern ceramic artists, and my rural/military upbringing.

In this essay, Native American ceramics have been selected to demonstrate how the classical forms have impressed our factual knowledge of Native Americans, moreover, how the classical forms have influenced the modern pottery that is produced today. Also, this essay will vaguely explore how the artist’s culture have shaped their ceramics.

It is common knowledge that cups have been used since the beginning of time. The earliest recorded cups were made of shells and stones. Special cups were fashioned for kings and queens especially in Aztec culture. They were seen as the only ones worthy of drinking out of these carefully created and fashioned instruments. These nicely crafted and decorated instruments showed their importance and impact, the same way their majestic homes did. A cup can also bare symbolic importance. The Chalice, with its gold exterior and magnificent formation is another prime example of a cup’s religious use. The

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

For centuries, men have used ceramics in about everything. One can find usage of ceramic for structures (bricks, floor and roof tiles…), decorations, mechanical and electrical properties and so on. In fact, ceramics is one of the most ancient industries on the planet. Once humans discovered that clay could be dug up and formed into objects by first mixing with water and then firing, the industry was born. Archeologists have found evidence of primitive ceramic manufacture dating back to around 24,000 B.C. These ceramics were found in Czechoslovakia and were in the form of animal and human figurines made from clay and other materials, and then fired in kilns (type of ovens) partially dug into the ground.

This piece can currently be found in at The Met Museum. It is called, “Jar with Dragon.” A description of the piece writes about this style pot, arguably, being one of the most “most important development in the global history of ceramics.” The description talks this pot being made for the court, dating back to the rule of the Xuande emperor, and the powerful dragon smoothly moving through a sky. They talk about the the monstrous faces on the neck of the jar originating from the “face of glory” that can be found in Indo-Himalayan imagery and became popular in china in the fifteenth century.” (Jar)

Chen Zongmao’s book supports the whole view of my research paper. It introduces the development of tea in different historic stages, and especially focuses on the culture of tea in different time. Moreover, it states Chinese tea from all the aspects such as tea’s category, how to drink tea, how to plant etc. This book is like a tea Encyclopedia that le

One of them is a leisure chair. Its legs and arms are made by the natural form of bending branches, entangled by climbing vines in the form of relief. Some relieves are shallow, and others are high relieves, forming a fine line around the bend. It connects with four legs just above the part near the ground, reinforcing the chair in this way. On each side of the part between chair and leg, a black boy holds the armrest with his shoulder. Small angel is lying on his side in the joint between armrest and the back of the chair. The chair seems natural, amusing and vivid (Fig. 18). It is supported by a single leg side table. Some people believed that it was originally a candle table, but later it was only used to display five Chinese vases. A muscular slave is the main body of the lower part, and he is bowing and holding a pillar to lift the tabletop that made of a large piece of boxwood. There are even several Chinese dragons with their heads high crawling beneath his feet. Sculptures of three black young men with chains around their necks are on the center of the tabletop, holding trays. Two old mountain deities are on both sides of the table, one embracing and the other lifting. The artwork was mainly made of boxwood, while three black young men are made of ebony. It shows the ingenuity and humor. It is suitable to display three Chinese vases

During the beginning of the ceremony, Tea Master Michael Fung, owner of “The Best Tea House Co.”, took many aged Pu 'er tea cakes for us to experiment and observe. Many students and I, saw many differences such as how it smells and how the colour changes over time. Tea Master Michael Fung also talked about the history and the origins of tea and why it is drank and how it is developed. He also mentioned that the waxing paper determines the tea 's quality. Pu 'er tea is an aged dark tea produced in Yunnan province of China under the process of fermentation and Tea Master Michael Fung showed us the difference between Sheng and Shu Cha and its health benefits. Since Pu 'er tea can be stored to mature, I observed that there was a year and the region of production on each packaging. There was also many shapes such as a