Persian Pottery Summary

Bowl with Arabic Inscription, “Blessing, prosperity, well-being, happiness” was crafted by an anonymous ceramicist in the late 10th - 11th century in Nishapur, Iran (present-day Uzbekistan, during the Samanid dynasty). The bowl is on display in Gallery 453 – Iran and Central Asia (9th – 13 th centuries) in the Metropolitan Museum of Art. It is 14 inches in diameter and stands 4 1/4 inches high. It is earthenware, a ceramic vessel fired from 900-1200° centigrade. It has been treated with a white and polychrome slip, a surface treatment that suspends the vessel in water while the clay is in the leather-hard stage. Most likely the slip was used to change the color of the brown or red earthenware clay to white, and also to seal the earthenware's

The Beaker with Ibex Motifs is a prehistoric pottery art work, found in near-perfect condition during a 1906-1908 excavation of a Susian necropolis in Susa, Iran. The Beaker with Ibex Motifs is a large vessel with dimensions at 28.90 x 16.40 cm. Used by the first inhabitants of Susa, this beaker is a the first example of a funerary item. The identity of artist is unknown, however, it is thought the beaker was created sometime between 4200 and 3500 B.C.E.

These pieces of work include carved wood and stone, manuscripts on stone tablets and reeds, illumination, calligraphy, enameled glass, inlaid metal work and glazed ceramics, preferably from the Turkish and Iranian regions. A common characteristic among Islamic artworks is their brilliant use of colors and the perfect balance between the design and form that they portray. These unique features make these pieces of art create an immediate visual impact to the observers.

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.

Porcelain has a reputation, and gets treated as one of the most fragile and expensive materials money could buy. Anything that is made of porcelain is a real piece of art especially to whoever owns it. While reading an excerpt from the Seattle art museum online I found that the exact time and place of the creation of the first Chinese porcelain has not been firmly established. It is reported as early as 600 AD is when the creation of high fired ceramic wares was producing white ceramic material that was known as porcelain. Porcelain can take the credit for what was considered cross-cultural encounters for many centuries. They used porcelain as a vehicle for designs and ornamental motifs between Asia and Europe. Those little works of art have also influenced traditions in other countries that have been witness to the amazing artistic features of porcelain design. Having a very nice set of china myself, I now understand the reasoning behind protecting such valuable property. I would like to be able to see firsthand some of the masterpieces that may be roaming throughout the great country of China.

In the section of ceramics form Israel’s Iron Age II, there were a lot of pots and vessels. A four-room house in the Halif settlement is where the Archeologists found the

The Mihrab (prayer niche) dated 12th century, the point of origin being the city of Isfahan located in Iran is the object that captured my attention. This piece is considered to be a ceramic design made of “polychrome glazed cut tiles on a stone paste body that was later set into mortar”. Madrasa Imami is a school, in which this piece in was created 1354, later it was sold to Arthur U. Pope in 1931.

It is made of stonepaste covered with copper-green glaze. The only decorations are patterns carved around the body of the plate instead of being painted. This piece closely resembles Chinese celadon wares from Longquan. The glaze was made from copper instead of iron that was normally used for celadon wares. Differed from traditional colorful Persian art, this plate only has one color. Its monochrome green color, the lack of decoration and short foot demonstrate its imitation of celadon wares. Safavid craftsmen did not stop at purely borrowing Chinese designs, but incorporated local traditions in different ways. The blue-and-white porcelain-like potteries with Persian shapes are one significant example. The Tulip Vase (Figure 3) has a baluster form body with three short nozzles. This stonepaste piece was painted in blue under transparent glaze, thus only has two basic colors: blue and white. On the wide flat rims of each nozzle, there are painted flower petals surrounding the center opening. On the neck of the vase, there are repeating decorative motifs including perhaps birds and clouds at the top, along with vertical flowers and leaves motifs closer to the body. The paintings on the top part of the body appear to have three identical birds and clouds in compartmentalized sections around the vase. Below the birds, there are bamboos, rocks, flowers and a peacock. At the lowest part, there are repeating decorations in geometric forms and vine motifs. The iconographies of swirly clouds, bamboos and rocks are very similar to common Chinese ones. The swirly clouds means fortune and heaven, while the bamboos represents longevity, resilience, flexibility, and strength. Judging from the blue and white color. Meanwhile, the birds, peacocks and patterns on the lower part of body could be seen in both Chinese and Islamic artworks. The most distinct part is the shape of this vase. It is often

The mimbres change pottery firing atmosphere from oxidizing to reducing that result in black paint color on white background that took place around A.D.750, the swart Ruin period.

Dale Chihuly Blue Persian with Crimson lip Wrap art work can be liken to Persians empire art of metalwork, just that Dale’s work is a blown glass artwork (H. Sayre, 2011, pp 56).

Production of oil in the land of Israel/Palestine created a need for storing the finished products. Huge pottery operations emerged in order to infiltrate foreign markets all over the Mediterranean basin with beautiful Greek artistry (Oxford Handbook of Engineering, “Ceramic Production”). The Greeks saw a cultural vacuum to influence Persian society and they ran with it.

Five thousand years ago there was a place the greeks would later name Mesopotamia. Literally translated as “land between two rivers”. These two rivers were the Tigris and the Euphrates. It was also called the fertile crescent or the cradle of civilization. It is very convenient for early civilizations to have access to clean water, as they obviously could not ship it in from elsewhere until the advent of aqueducts. So this land between two rivers was one of the most prosperous and active back in the time period. At different times, it was ruled by the Sumerians, the Akkadians, the Babylonians, the Assyrians, and the Persians. They lived close to the natural world, and so their depictions

One of the most memorable aesthetic experiences I had was at Archie Bray in Montana on May 2013. While visiting Montana had the opportunity to go to the Archie Bray Foundation. Artists like “Rudy Autio and Peter Voulkos who were the first resident managers of the Bray. The volume and quality of their work drew attention to the new program and attracted many talented and ambitious potters” (sic) (. Archie Bray foundation). These potters came together to create a standard in the ceramic world. Also, it is a place for residencies of other known and unknown ceramic artists to be able to take the time to make a body of work. While I was there looking at the artists and what they were working on, I came across a piece

The gourd-shaped wine ewer with inlaid grapevine is a ceramic piece that is currently on display at the Museum of Fine Arts in Boston, Massachusetts. This piece is from the Goryeo dynasty of 13th century Korea. It is made from stoneware that was coated with a celadon glaze. A piece like this would have typically had a lid, but like most similar pieces it was lost over time. The methods of making such pieces has changed and shifted over the years. Korean pottery has it’s own presence as well as having taken inspiration from other cultures and locations.

On a March day in 1926, a Daily Sketch newspaper reporter called on the Vyses at Cheyne Row. He wanted to interview Vyse for an article of general interest. The excellence of the Vyses’ high-fired stoneware, decorated with wood-ash glazes were subject to popular press examination in an article titled, The Secret the Chinese Kept.28 The article is of interest to students of ceramic history, in that it validates the Vyses’ commitment to stoneware pottery. Furthermore, it verifies the passionate research work carried out by the Vyses in tandem with their figure making output. The interview it appears, was copied down by the reporter verbatim, the following paragraphs are selection from the published article.