Visual Analysis Of The Vase

This jar have yei’ii design and is at 8 ¾ tall and 8” wide at the handle. This is one of the Faye Tso’s pottery that have won the Second Prize in 1993 during the Museum of Northern Arizona Navajo Artiests Exhibition. This pieces and with other large pieces of pottery like the vase with yei’iis and human figure and the water jar with horned toads. These clay sculpture were made by Myra Tso, Faye’s daughter and it was to honor her grandfather, who sang and prayed for her. The design of horned toads on the pottery are very special because the toads was use in a ritual for praying. All ritual and ceremonies are essential parts of the Navajo way as well as sand painting art that was inspired by those that created ceremony. The dust from gold, diamonds,

Through further research, I have learned that this vase “depicts the heroes Achilles and Ajax playing a board game” (Two-Handled Jar with Achilles and Ajax).

The first vessel is a ceramic mixing bowl (column-krater), which is about 20 inches in height. The handles on each side of the vessel connect the rim of the vessel to its shoulder and serve as supportive items. Since the vessel is a bowl used for mixing wine and water, these columns also make it easier for people to hold it in carrying and wine pouring. The decoration of the vessel is left in the red clay color and the background is painted black due to the red-figure technique used in the firing process. The figures, such as the

Making these jugs were a way for the African slaves to express themselves. They were used for religious reasons and held burial significance. Ceramics class was effective in exposing a completely new form of art to me that I had no previous knowledge about. From this assignment I was able to learn more about African-American culture, the significance of pottery in the lives of different people and how the meaning of face jugs have shifted. As a result of what I have learned I am more curious of the history behind the things that I see and use in everyday

At the base of the vase, it gradually curves in. There is a solid line going horizontally across the bottom of the vase. This line takes up half of the base. It is a more tan color because clay is pale and faded. At the top part of the base, it is hard to tell what was originally there. It looks like it was just a solid black color, but a lot of the ink has faded off. On the right, the ink is completely gone. The rest of the base has spots where the ink is fade.

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

2. The vase dated back to C. 3,200-3000 BC. Then it was rebuilt in 1933 due to finding it in fragments. The vase was found in a temple complex to the Sumerian goddess Inanna in the ancient city of Uruk.

The scene on the vase shows only a part of the woman present on the far right. Additionally, this woman is wearing a crown. The person who is holding the hammer seems to be moving his arm towards the woman. The person left of center is facing the man on the far left and it looks like they are conversing. On the basis of Hesiod’s text people depicted on this vase, from right to left, are Pandora, Hephaestus, Hermes and Zeus. There are numerous attributes that allow the identification of these characters. Pandora in Hesiod’s text is being made using mud, which might answer why only a part of the woman is shown on the vase. Furthermore, the woman depicted on the vase is wearing a crown and Hesiod’s text mentions “crowned her (Pandora) head with spring flowers,” (Hesiod) these two things allow me to identify this woman as

The painting appeared only on front and back side. It is also red-figure, but it has a subtle yellow undertone. There is only two color on this vase black and brown. It looks much smoother and shinier than the krater. The amphora looks elongated and elegant.

Often the culture relied on the blending of old and young. Having the death of a great soldier on one side and the entering of youth on the other, I believe this vase was meant to show a contrast of old and young, and of the death and birth of

There are three different colors on the jar: the natural color of the terracotta, the brown paint and the black paint. Since terracotta is a neutral color it provides an excellent background for the painting. Black is a very dark color and it makes the people and the designs stick out. People use black paint when they want their design to be important. Brown is a neutral color and it is used to show the not so prominent part of the image. The little bit of brown paint shows the ground the people are standing on. It also unifies the other places where it appears. Looking at the top there is a pattern painted with both the black and brown paint to show contrast. After contrast is seen unity is also seen with lines.

It is uncertain if the Etruscans prized the container as a luxury vase for the commodity that was shipped inside. Possibly they consumed the grain, wine or olive oil cleaned it and used as decoration (Martin 75-241). The amphora during the Classical and Hellenistic periods held about five gallons; however, they varied in size depending on the commodity being held. They were fabricated so they could be arranged upright on ships and horizontally by the end user. There was a plethora of amphora handles found in archeological sites, at least 130,000 in Athens and Alexandria. This quantity validates how ubiquitous they were in the ancient world, and how common in daily life they became (“Ancient” Garland). According to Stokstad and Cothren, to create a black-figure vase an artist follows this technique, “apply a slip to the surface of the pot and carefully manipulate the firing process in a kiln to control the amount of oxygen reaching the ceramics. This firing process involved three stages. In the first stage, oxygen was allowed into the kiln, which fixed the whole vessel in one overall shade of red depending on the composition of the clay. Then, in the reduction stage, the oxygen in the kiln was reduced to the minimum, turning the vessel black, and the temperature was raised to the point at which the slip partially became glasslike.

The piece is a red-figured, wine bowl that is attributed to the Niobid Painter. It was made in Athens, Greece around 460-450 BC, and found in Altamura. Puglia, Italy (British Museum). There are two scenes on top of one another that occur in the piece. The top scene is the creation of Pandora. She is standing rigid while five of the gods are standing around her. Athena is about to put a wreath on her head. The scene below displays a frieze of dancing and playing satyrs. Because the vase is round it isn’t possible to see all the figures in the piece. But looking at the piece from the front, six gods are portrayed in the top scene. The gods in the scene from left to right are: Zeus, Poseidon, Athena, Pandora, Ares, and Hermes. The gods in the piece are identifiable because of distinguishable traits that certain characters

This vase was Jingdezhen ware, porcelain with brownish-green glaze and modeled decoration in overgraze enamels and stands at 8 inches’ height. It has five peaches and five lingzhi fungi circle around the neck, which the motifs were symbols for longevity, including 5 and 9 were regarded as auspicious and betokened abundance. This vase was made during the Qing dynasty, which the Qianlong reign mark and period in 1736 -1795. The Qianlong emperor inherited the admirable perseverance, passion for learning and tremendous love and enthusiasm for work of art. He rules and enjoy the peace and prosperity and devote himself to the cultivation of art and literature and amassing collection of art and book that unsurpassed in the world as well as the history.

On the opposite side of the table is a small bronze vase. Upon first glance I deemed this to be a red clay vessel, but after further familiarizing myself with the artist’s work it became clear that this was bronze, based on comparable material use in other still life examples. Because of the Netherlands regional location within Europe, bronze was plentiful and valuable. In multiple examples of Jean-Michel Picart’s still lifes the bronze vase is used to display a full bouquet of flowers. Often, these vessels were detailed with unique patterns engraved on the exterior portion of the vase. In this example, the vase is decorated with natural motifs of vines and leaves which are mimicked in the floral arrangement it holds. At the time of production,