Red Figure Caylx-Krater

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.

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

The Herakles and the Erymanthian Boar is a neck amphora. Neck amphorae were characterized as storage jars with necks narrower than the body. They were used for storing and transporting wine and oil. (Encyclopedia Britannica) At the top of the amphorae were circular openings, or mouths, in which the wine or oil was poured or drained. Herakles and the Erymanthian Boar is a terracotta jar with a black circular mouth which leads to the neck. On the neck, there is a repetitive black floral design which stands out well against the color of the reddish terracotta background.

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

Standing at a height of twelve inches tall, this Vessel was one of many Aztec artifacts form 1300 A.D. It is made from brown earthenware clay and is painted with red with intricate details in black. It was used to represent death and the power in it, through the red and black paint. This piece is highly polished to show the black and red color contrast. This vessel was from The Aztec who was inspired by the horror of blood and death. On this piece, as well as of the other pieces in this collection, there is a stamp of the horror of death, to express that there is no higher brutality than the deceased. This stamp signifies the religious and cultural significances of the Aztec barbarians since it displays the warrior of a cruel God and that they

Bowls and rarer jars and effigy vessels are made by rolling out clay rope and coiling them to form vessel and side are scraped and sometimes polished smooth, which they did not use potter’s wheels.

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.

to time, or casting technique.  The Gui bronze does appear to have been cast from clay, as it takes

It looks like its made out of very strong clay, and done nicely to give it a long useful life.To make this vessel, the potter worked from the bottom, beginning with small coils of clay and adding successively larger ones as he or she moved to the waist. From there, the coils decreased in size to the neck.The coils were probably fused by hand on a slow-turning wheel to form this shape.The jar was then fired at a very high temperature, painted, and finally polished into a shiny finish. In daily use, it may have been carried with a rope strung through the pair of handles. Jars like this one have also been excavated from burial

The sculpture that I had the privilege to see was A Totem For Big Jit crafted by Richard Ward at the Hampton University Museum. The median was dryvit on concrete measuring 49 inches in height, 38 inches in width, and 18 inches in diameter. Observing the sculpture it appeared to have a crescent like shape on the top with a dual zig zag pattern intertwining with each other, finishing off on a triangle shaped base, placed on a white rectangular base, accenting it as a whole. There was not a specific color pattern but the colors gray, dark pink, green, and brown were used throughout. On the crescent a 3D sandy green triangle pattern was shown on the end, the middle, and the along the outer regions of it, with a light brown sandy texture dressing the outskirts of the pattern.

Derived from the Greek word for water, the hydria was a clay jar used for the collection and storage of water during the advanced construction of aqueducts and fountain houses in Athens, rather than wells. Similar to others of its time, our hydria is made with terracotta and black paint. Terracotta, Italian for “baked earth,” is a ceramic (glazed or unglazed) where the body is fired and porous. While not watertight, surface-burnishing and paint or glaze can decrease its porousness and seal the material to become impermeable. The earliest vessels typically have a wide body and broadly rounded shoulder. Our hydria is approximately 17.5 inches tall (to rim) and 16 inches wide (diameter with handles). It has three handles consisting of two different shapes: A large vertical handle on the back for carrying the hydria when empty and for dipping and

This is another way that this vase relates to that of Euphronios’ vase Death of Sarpedon. The process of creating such a manipulation to the clay is simply the opposite of the black figure vase technique. Instead of using slip to define figures it is used to cover the background and then the details are applied with a slip and brush. This method was very common especially among Kalpis/Hydria vases during the time. This is one major difference between the Terracotta Kalpis/Hydria (Water Jar) with Achilles and Penthesilea and the Terracotta Neck Amphora with the Battle between Herakles and the Centaur Nessos; one is red figure and the other is black figure. The red figure design of the Terracotta Kalpis/Hydria (Water Jar) with Achilles and Penthesilea created a more active and fluid movement that allowed for enhanced narrative. Likewise, there seems to be a lot less texture in this piece than the Terracotta Neck Amphora with the Battle between Herakles and the Centaur Nessos because there was a larger emphasis on the story and the characters. This is reflective of the shift between the Orientalizing and Archaic periods and their differing values and

The use of the krater vase design is indicative of the fact that this particular piece was used as a centerpiece for large room or banquet. The krater design was used for the mixture of wine and water. Since a filled krater would be impractical to move, the diluted wine would be transferred via other vessels for individual distribution. This made the elaborate decorations on the outsides of krater highly popular. The interiors of kraters were highly visible and would also be glazed for decoration, as well as to make the vase more impervious to the leakage of water and wine. The use of color and the vase’s immense size are modest compared to other Apulian vases. However, it is suggestive of the southern Italian taste for elaborate and grandiose works. If you look closely, you will see that the painter has decorated not only the middle of the vase, but also its handles, and its upper rim. There are three horizontal bands that divide the main visual space of the vase into two distinct parts. Two of the bands

As a potter myself I have always been fascinated with the herculean effort and particularities of the production of the Terracotta warriors. Each figure is life sized, not made using a mold and utterly unique from figure to figure. Further more not just any clay would do, because the statue would be so heavy due to its size the clay itself would have to be uncharacteristically strong as well as dense to stand up on its own power and also not to explode in the hand bricked kilns used at the time. The clay used to make these 8,000 life sized figures can only be found in one place which is located only 18 kilometers away from the Terracotta warriors grave.

          There is a finial from the 14th century Northern Iran, perhaps from Mazanderan (Los Angeles County Museum of Art, 2005). This piece is intricately carved from wood and possesses traces of paint (Los Angeles County Museum of Art, 2005). It measures 14 inches tall and 6 inches in diameter at its widest point. It is wide at its base and tapers off, not completely to a point, at the top. It is a very solid as well as very patterned piece of art, or architecture. Like the previous items discussed or examined, it seems to have a very symmetrical feel to it, as there is not necessarily a picture to be seen, but a repetitive element that is seen throughout the piece, or all around the piece in this case. The carving appears to be open carving in that there are holes in the finial where there is no wood as part of the carved out design. This piece can be viewed at the following website: