Faye Tso's Pottery Analysis

The Greeks took care of the dead by washing them, putting them in tombs, and bringing offerings to their grave. The women’s role was to wash and wrap the dead bodies in cloth. They also decorated them with flowers and herbs. The men dug the area in which the body was to be buried. On this first piece of pottery, it looks like people are walking as if they were in a funeral procession. Women are surrounding the dead person and men are following the women. The pottery has a top that looks like a funnel which comes down and narrows out into a long neck. At the bottom of the long neck it starts to get wider and forms a shape that looks like a vase. The vase sits on a very small pedestal. On the sides of the narrow neck there are two handles that look like very long and thin wings. On the neck of the pot, there is one women standing there. The design above her head looks like a wreath. She looks like she is crying over a body. She is on top of everything that is on the pottery which leads me to conclude that she is an important part of this piece. The dead person may have been her son or husband. At the bottom of the pottery there is a design that looks like black spikes. The pot is entirely black with the picture in gold paint. This pot was called a Loutrophoros. It was used for holding water to wash the dead body. After the body was buried, the Greeks put offerings on the graves of the people who have passed away. This next

Mexicans brought new ideas, designs, and techniques to the world of pottery dating back to the time of the Aztec Indians. Initially, Mexican pottery was developed for the needs of their culture and has changed throughout history. The glazing and decorative techniques separate them from other cultures showing unique styles. Mexican Pottery is mostly known by where it is from, and some of the more popular works come from Puebla, Oaxacan, and Mata Ortiz. Because pottery does not decay, ancient pieces have been found showing us a glimpse of Mexican art history.

A jug in the shape of a Siren comes from Italian Peninsula. The jug is made of terracotta and bucchero pesante. This artifact stands 29.1 cm tall and credited to Mr. Roger Fund in 1918; its accession number is 18. 145. 25 in The Metropolitan Museum of Art. The jug is relatively worn because of the white and intermittent silhouette of the Siren. Above the two round claws of the siren, it is the widest part of the jug, its body. There is an obscured pattern occupied the center of its bell, and feathers are orderly depicted on each side of the central part. At the back, there is a partial part of the tail. On its short neck, there are two strips of square decorations. The head of the Siren is nearly one-half tall of its body. The high-arched

There was once a man named George who wanted to compete in the Olympics. This was located in Olympia, a south-western city in Greece. The event took place every 4 years, and was used as a type of calendar. George had been training for years to be in these games, and finally he had his chance. He was going to compete in a pentathlon, or a group of five competitions: sprinting, long-jumping, hurling javelins, discus-throwing, and wrestling other Greeks.

I chose this piece of mayan pottery to make my cultures pot. I believe the function of the piece of pottery was used as a cup of some sort. I could not find the date this piece of pottery was made but by the looks of it, it's old. I really like this piece in the scene of the design on the top of the pot and the fluting done on the sides. Making this into a culture/combination pot i will throw a nice tall/wide cylinder, the i will flute it and put a foot on it. next i will add a handle and put coils in the top if it.

While visiting the Mint museum there was one partial piece that caught my eye. There was a glass display with three ceramics in it and they were all so beautiful. One of the ceramics was a vase. The vase was from Pisgah Forest Pottery, simply titled Vase, and was created by Walter B. Stephen. This vase was about 14 or 15 inches tall and 7 inches wide and was made in circa 1945. The art on the vase was more realistic than abstract or Non- objective and was made with stoneware clay with a crystalline glaze and had multiple layers of porcelain.

Margaret Beaufort lived in a time when the ceramics industry in London and the surrounding areas was just starting to take off (Kingston-type ware). She was born into a wealthy family and so she had many servants to take care of the cooking and cleaning (The Red Queen…, 2013). At this time, many beautifully glazed jugs and other pots were probably used in her home. However, most of these pots were probably glazed with a green or yellow glaze as that was the popular color at that time (Medieval Glazed Ware). Margaret Beaufort was an esteemed woman that probably had some of the best quality pottery and the some of the most asthetically pleasing decorative pieces. These pieces would have been Kingston-type wares as that composed a great majority of the pottery made in London in the 14th century.

Why and how has Mycenaean pottery been used as evidence for trade and exchange between the Aegean and the Central Mediterranean? What has been the most recent contribution to this work and why is it significant?

In the summer of 2016, recreational divers discovered fragments of pottery of the East coast of Crete near the Palace at Zakros. The fragments depicted artwork resembling that of ancient Minoan culture, specific to the Late Minoan IA-IB period. A team of archeologists returned to the location to start a week long search for any other Minoan artifacts. Divers were able to locate a shipwreck where the artifacts originated from.

The West has three distinct categories for working with pottery. All three types are working with ceramic material at various temperature, with a fire in a kiln. The three categories are earthenware (600°C- 1,000°C), stoneware (1,100°C-1,250°C), and porcelain (+1,300°C), in which depending on the type of material can be melt at various high temperatures. Each material has it’s own temperature that the kiln needs to be at, so the artisan can work with the material.

This vessel is a typical example of Geometric style pottery. It has many simple geometric patterns repeated on the surface. Except simple pattterns, it also has some animal figures painted on the main body. The color of this vessil is simple. Comparing to the Krater from the Dipylon Cemetery, Athens, many similarities can be noticed since they both are painted in Geometric style. They bothe have simple patterns such as ziazag, staight lines, triangles, and so on. These motifs forms many horizontal bands to decorate the vessil. The color that these two vessils used are similiar and simple.

Angel Pottery LLC (herein after referred to as Angel Pottery) is an organization that produces happiness and manufactures ceramics. It is physically located in western Massachusetts and consists of one potter’s wheel, a kiln, 25 lbs. bags of clay, pottery tools and accessories and is owned by its principle, David DeAngelis. The major channels of communication between the principle and Angel Pottery’s customers are two websites: AngelPottery.com and EastLongmeadowRealty.com. Angelpottery.com serves as a showcase for products and Eastlongmeadowrealty.com functions as a pricing mechanism defining what the market will bear. Angelpottery.com has been a channel of marketing for more than 11 years with a creation date of August 8,

The Warka Vase (Fig. 2-5. P.35) is the oldest known Sumerian narrative relief sculpture. The vase was found in the Inanna temple, located in Uruk, Iraq, which is modern day Warka. It is dated 3200-3000 BCE and currently resides in the National Museum of Iraq. The attributes of the vase include a narrow base, that supports the tall, beige structure. The vase is large, being over 3 feet tall and is made from the mineral Alabaster. The vase is in low relief because the subject projects slightly from its background. The subject of this relief is a religious festival that was held to honor the goddess of Uruk, Inanna. The vase is divided into three main registers that separate the different stories that are depicted in the narrative relief. At the top is the largest band that inhabits a woman in a headdress, some historians think it is Inanna, however others believe it to be a priestess. Next to the woman, on the left, is a naked man that is depositing offerings in the goddess’s shrine. To the right of the woman a clothed male figure is shown, which art historians believe to be the priest-king. These characters shown together symbolize the importance of their role to the Mesopotamian society and appear to represent marriage occurring between the two of them. The middle banner includes naked men that are circling the vase while holding overflowing baskets of votive offerings to Inanna. Like the man depicted in the top register, they too

The relief sculpture, a phenomenal archetype of ceramic art, produced purely through the usage of a human’s most basic machinery, fingers and thumbs, and through the most elemental material - wet earth, has a porous, coarse and rugged texture. Although the artwork does have a degree of heaviness to it, terra-cotta and clay do not have a high density as a result of the material’s porousness. The artwork is in a moderate hue of orange with a slight blend of tan, a pale tone of the color brown, a color typical to artifacts and relics made of clay and earthen materials. The sculpture is an example of a high relief, which is found throughout Hindu artworks, although not as frequently as mid reliefs/ mezzo-rilievo. The use of single material throughout the artwork and the singular color adds unity to the artwork. Although the artwork is not symmetrical it seems that the artwork would have looked solid, settled and balanced if it had not endured damage over time. The majorly similar halves with 2 devas/devis hovering, one at the bottom and one at the top, along with the giant deity right in the middle, seemed to have imparted balance to the artwork.

Mr. Julian who owns and manages a small company called Bentley Customs Ceramics Julian over a last four year manufacturing different ceramics items wants to expand his business. Over a year, he had used electric kilns but having observed that was less cost effective, he is planning to use gas kilns.