Cycladic sculptures are thousands of years old and yet look eerily modern. A face with no facial features, except the nose, is not exactly how we think of ancient Greek art. Cycladic art came to prominence during the twentieth century. Unfortunately that started a period of looting, which destroyed the possibility of putting the sculptures in any kind of location or archeological context. To this day we know very little about Cycladic art. A measure of its growing importance is the existence of the Cycladic Museum located in the heart of Athens, Greece.
The Greek islands of the Cyclades are located to the South East of Greece and to the North of Crete in the Aegean Sea. There are more than two hundred islands approximating a circle around the most significant island Delos, the birthplace of Apollo, Greek God of music and light from Greek mythology and of Artemis, the huntress. The Greek name for the Cyclades is Kyklades, an obvious reference to a circle.
During the period between 3200 and 2000 B.C. the small Cycladic islands in the Aegean became home to a flourishing culture. The most prominent craft in Cycladic culture was stone-cutting, especially marble sculpture. The abundance of high quality white marble on the islands encouraged its use for the creation of a wide range of artifacts. Among these, Cycladic Figurines are the most distinctive Cycladic creation because of the style, the great numbers in which they are found, and the significance they held for their owners. The majority of Cycladic Figurines show women, nude with the arms folded over the belly and the long feet, soles sloping downwards. We do not know whether they were meant to show mortals or deities, but probably symbolized the worship of the 'Mother Goddess'. In this case, the figurines may have been conceived as representations of the Goddess, or companions to her. Many figurines have been discovered in relation to burials as the Cycladic civilization flourished and burials became more elaborate to reflect status.
There have been recent discoveries (in the last five years) of piles of buried and broken statues and pottery, as if the breaking of the statues was a feature of some unknown ancient ceremony. This ritualistic behavior appears to be centered on the island of Keros in the Cyclades. Also, hidden deposits of broken pottery and figurines have been found on islands around Keros, many fragments brought there from other locations. Why would the Cycladians do that? To what end? The mystery surrounding Keros, the Cycladians and their art deepens as archeologists sift through clues of human history and behavior. To this day Keros and surrounding islands are home mainly to archeologists attempting to explain one of those mysteries of human behavior and human art that drive us with a 'need to know'. Art, in all forms, leaves behind a legacy of a civilizations history, behavior, values and intrigue. Fortunately for us it also provides beauty that only human civilizations can produce.
Cycladic Sculptures
History of Mexican Talavera Pottery
Moors Contribution
During the 8th century, the Moors from Northern Africa conquered Spain. The Moors brought with them majolica pottery. Majolica is an art form that is known for its unique glazing process and exquisite design details. A major component of majolica is its glazing technique which contains tin as an ingredient. This technique for applying the glaze creates a creamy-white background that is perfect for applying colorful designs. The designs and use of mineral pigments originated from the Moors who conquered Spain and had tremendous influence on all the artistic expressions of Spain.
Egyptian Contribution
During the 8th century, the Arabs controlled Spain. The process of pottery making was first developed in ancient Egypt and was later refined by the Chinese. The production of pottery became very popular as a result of the Arab occupation of Spain. Muslim potters brought knowledge of using different materials and new techniques that radically changed pottery production in Spain. As a result, their influence was widespread. After the expulsion of the Muslims in the 16th and 17th centuries, many potters continued to use the intricate designs and vibrant colors such as copper green and manganese purple-black which were well known in Islamic pottery.
Chinese Contribution
In the late 16th century Spain opened trade with China by way of Mexico. As a result of the Chinese imports, the Mexicans began to incorporate the designs that were found on the Chinese porcelain. For example, the floral and feather motif to fill empty spaces on the blue and white Talavera exhibits Chinese influence. China contributed much of the motifs used today in Mexican talavera. The blue and white color, panel design, and even the barrel-shaped pottery were some of the Chinese influences that we still see today on modern pieces of talavera pottery.
Spanish and Mexican Contributions
The indigenous people of Mexico, long acquainted with making items from clay, had their own distinct method of producing earthenware, one which did not involve glazing or the use of the potter's wheel. The indigenous people of Mexico had a rich and long history of producing pottery long before the arrival of the Spaniards. However, with the arrival of the Spaniards in the 1600s new techniques such as the wheel, tin based glazes, and new styles were introduced. The combination of the newly learned Spanish techniques and the techniques of the indigenous people of Mexico gave birth to a new form of pottery, talavera. The name talavera is derived from the city Talavera de La Reina, Spain. The Spaniards from this city brought their pottery craftsmanship to the new world and taught the indigenous people of Mexico the art. Mexico was very proud of their new found success in the production of high quality talavera. In order to prevent th talavera from losing its high quality craftsmanship, the Potter's Guild was formed in 1653. The Potter's Guild set forth ordinances regulating the production of talavera pottery. The Potter's Guild was replaced by the Talavera Regulating Council in 1993.
The Moors, Chinese, Egyptians, Spaniards, and Mexicans should all be credited for the creation of Mexican talavera pottery. After thier creation, the Potter's Guild and the Talavera Regulating Council have worked hard to keep talavera authentic and of high quality. The lovely pieces of Mexican talavera pottery are a multicultural, regulated art form that expresses centuries of dedication and gratitude for its heritage. So next time you think, "Mexican talavera pottery," you will actually be thinking, "Moor, Chinese, Egyptian, Spanish, and Mexican talavera pottery!"
During the 8th century, the Moors from Northern Africa conquered Spain. The Moors brought with them majolica pottery. Majolica is an art form that is known for its unique glazing process and exquisite design details. A major component of majolica is its glazing technique which contains tin as an ingredient. This technique for applying the glaze creates a creamy-white background that is perfect for applying colorful designs. The designs and use of mineral pigments originated from the Moors who conquered Spain and had tremendous influence on all the artistic expressions of Spain.
Egyptian Contribution
During the 8th century, the Arabs controlled Spain. The process of pottery making was first developed in ancient Egypt and was later refined by the Chinese. The production of pottery became very popular as a result of the Arab occupation of Spain. Muslim potters brought knowledge of using different materials and new techniques that radically changed pottery production in Spain. As a result, their influence was widespread. After the expulsion of the Muslims in the 16th and 17th centuries, many potters continued to use the intricate designs and vibrant colors such as copper green and manganese purple-black which were well known in Islamic pottery.
Chinese Contribution
In the late 16th century Spain opened trade with China by way of Mexico. As a result of the Chinese imports, the Mexicans began to incorporate the designs that were found on the Chinese porcelain. For example, the floral and feather motif to fill empty spaces on the blue and white Talavera exhibits Chinese influence. China contributed much of the motifs used today in Mexican talavera. The blue and white color, panel design, and even the barrel-shaped pottery were some of the Chinese influences that we still see today on modern pieces of talavera pottery.
Spanish and Mexican Contributions
The indigenous people of Mexico, long acquainted with making items from clay, had their own distinct method of producing earthenware, one which did not involve glazing or the use of the potter's wheel. The indigenous people of Mexico had a rich and long history of producing pottery long before the arrival of the Spaniards. However, with the arrival of the Spaniards in the 1600s new techniques such as the wheel, tin based glazes, and new styles were introduced. The combination of the newly learned Spanish techniques and the techniques of the indigenous people of Mexico gave birth to a new form of pottery, talavera. The name talavera is derived from the city Talavera de La Reina, Spain. The Spaniards from this city brought their pottery craftsmanship to the new world and taught the indigenous people of Mexico the art. Mexico was very proud of their new found success in the production of high quality talavera. In order to prevent th talavera from losing its high quality craftsmanship, the Potter's Guild was formed in 1653. The Potter's Guild set forth ordinances regulating the production of talavera pottery. The Potter's Guild was replaced by the Talavera Regulating Council in 1993.
The Moors, Chinese, Egyptians, Spaniards, and Mexicans should all be credited for the creation of Mexican talavera pottery. After thier creation, the Potter's Guild and the Talavera Regulating Council have worked hard to keep talavera authentic and of high quality. The lovely pieces of Mexican talavera pottery are a multicultural, regulated art form that expresses centuries of dedication and gratitude for its heritage. So next time you think, "Mexican talavera pottery," you will actually be thinking, "Moor, Chinese, Egyptian, Spanish, and Mexican talavera pottery!"
Please visit our website http://www.LaCasaMexicana.us for a great selection of Mexican talavera pottery. At La Casa Mexicana.us we offer high-quality lead-free talavera made in the studio of Tomas Huerta in Puebla, Mexico
Hump Molds Make Textured Pottery Easy
Textured pottery reminiscent of ancient designs can be reproduced in art classes today to help students easily connect to the historic tradition of ceramics, but with the help of safe, modern materials and tools and technology such as mechanical slab rollers. Throughout human history, artisans from many civilizations and cultures have created works of ceramic art which were inspired by their beliefs, knowledge, and environment. Such artwork is a like a visual heirloom of a certain time and culture.
Students today can participate in a textured ceramic project which teaches them both ancient art history and aesthetics in a fun, hands-on project. Mexican pottery self-hardening clay is used, together with lead-free underglaze. A â…œ" slab is rolled out using a slab roller or a rolling pin together with wood slats. If using a rolling pin it is a good idea to rotate the slab ¼ turn between passes, to secure an even slab. Using a rectangular cardboard template, uniform pieces are cut out of the slab, saving enough remaining clay to create bottoms. The canvas texture can be smoothed out with a flexible clay rib.
Then the slabs are centered over textured hump molds, and the clay is gently tamped onto the molds with sandbags. The slab is gently rolled with a pony roller, to impress the entire texture into the clay and to keep it from moving. The fully-impressed slab is peeled from the mold, turned with its textured side down, and rolled around a cardboard tube with the same circumference as the mold is long. The cylinder is stood up and both of its edges are roughened to insure a good seal, then glued together with slip. It is necessary to press gently but firmly to make a tight seam. Then the top and bottom edges are smoothed out with a moist sponge. The cardboard tube is then slipped out of the cylinder, and the cylinder can be pressed into an oval or even square cross-section.
The piece is stood on the left-over clay slab, and then it is joined to its base with slip (pressing down to insure a good bond). The piece is cut away from the base slab leaving ¼" all around to form a stable foot. Excess clay is trimmed from the base, and a 45° back cut is made around the base to create an attractive shadow-effect under the piece. Lug handles can be fashioned from ¾" coils of clay bent into U-shape and attached to the piece with slip. The piece should be allowed to dry on a ware cart until it is no longer feels cool when touched. After bisque firing to cone 04, the piece can be painted with glaze before refiring.
Students today can participate in a textured ceramic project which teaches them both ancient art history and aesthetics in a fun, hands-on project. Mexican pottery self-hardening clay is used, together with lead-free underglaze. A â…œ" slab is rolled out using a slab roller or a rolling pin together with wood slats. If using a rolling pin it is a good idea to rotate the slab ¼ turn between passes, to secure an even slab. Using a rectangular cardboard template, uniform pieces are cut out of the slab, saving enough remaining clay to create bottoms. The canvas texture can be smoothed out with a flexible clay rib.
Then the slabs are centered over textured hump molds, and the clay is gently tamped onto the molds with sandbags. The slab is gently rolled with a pony roller, to impress the entire texture into the clay and to keep it from moving. The fully-impressed slab is peeled from the mold, turned with its textured side down, and rolled around a cardboard tube with the same circumference as the mold is long. The cylinder is stood up and both of its edges are roughened to insure a good seal, then glued together with slip. It is necessary to press gently but firmly to make a tight seam. Then the top and bottom edges are smoothed out with a moist sponge. The cardboard tube is then slipped out of the cylinder, and the cylinder can be pressed into an oval or even square cross-section.
The piece is stood on the left-over clay slab, and then it is joined to its base with slip (pressing down to insure a good bond). The piece is cut away from the base slab leaving ¼" all around to form a stable foot. Excess clay is trimmed from the base, and a 45° back cut is made around the base to create an attractive shadow-effect under the piece. Lug handles can be fashioned from ¾" coils of clay bent into U-shape and attached to the piece with slip. The piece should be allowed to dry on a ware cart until it is no longer feels cool when touched. After bisque firing to cone 04, the piece can be painted with glaze before refiring.
Textured pottery in a variety of shapes and designs is easy to make with modern materials and tools such as slab rollers and textured hump molds. Students can be proud of the work on their ware cart and feel part of an ongoing ceramics history.
The Pottery Of Mata Ortiz: Juan Quezada Revives The Art Of The Ancients
High in the Sierras' Casas Grandes Valley of the northern state of Chihuahua, Mexico, lies the once sleepy village of Mata Ortiz. Sleeping no longer, thanks to the artist Juan Quezada, Mata Ortiz has exploded onto the modern art world as the Artistic Cultural Center of Mexico.
Over 40 years ago, while searching for firewood, the child Juan began collecting and studying prehistoric pueblo pottery shards he would find wile on his searches. The shards were remnants of the ancient civilization of Paquim้ Indians that had occupied the site 600 years earlier.
Intrigued by what he found, Juan spent many years experimenting with the local clays and minerals, developing his own style and techniques through nothing more than his own artistic intuition.
Unknowingly, Juan taught himself to recreate the techniques of the ancients, using nothing from today's world, building his ollas in traditional coil-method, using plants and minerals for color, hand-made human hair brushes for applying designs, and dried dung to fire his pots.
Providential intervention sent the anthropologist Spencer MacCallum into Bob's Swap Shop, Deming, Colorado, in 1976. There he discovered 3 pots that had been traded for used clothing.
Immediately recognizing the quality of the work, this launched MacCallum on a search for their creator. Ultimately, this search led him to the village of Mata Ortiz, and the doorstep of Juan Quezada.
A collaboration began, which continues today, of introducing this fine ceramic work to the world at large. Since that time, Juan has gone on to train family and village members in the ceramic techniques he uses. This has blossomed into a 400+ strong community of artists that are quickly leaving their mark on the art world.
Today, Mata Ortiz Pottery is recognized as some of the finest pottery produced anywhere in the world! Though pots are still produced in the "old" Casa Grandes style, each Potter has blossomed to develop his or her own, unique style, producing contemporary styles and designs.
One will still find traditional symbols on traditional shapes, especially the red clay with black iconic designs. But, this blossoming has produced pots of unparalleled beauty, with shapes, colors, and decorations the ancients never could have imagined.
The Mexican Government has awarded Juan Quezada the Premio Nacional de los Artes, the highest honor Mexico gives to living artists. His pots, of course, command the highest prices, often as much as $10,000 apiece.
This is a source of pride to his community members, who continue to strive for quality, not quantity, in their own work. The people of Mexico are so proud and inspired by this Native Son, that ballads have been written praising his good works and the inspiration he brings to a poor people.
The Pottery of Mata Ortiz can now, thanks to the efforts of this humble woodcutter, Juan, be found in museums from coast to coast in the United States, in Canada, and throughout Mexico, with European collectors quickly getting on board to honor the great artists this no-longer sleepy little Mexican Village has given the world.
Over 40 years ago, while searching for firewood, the child Juan began collecting and studying prehistoric pueblo pottery shards he would find wile on his searches. The shards were remnants of the ancient civilization of Paquim้ Indians that had occupied the site 600 years earlier.
Intrigued by what he found, Juan spent many years experimenting with the local clays and minerals, developing his own style and techniques through nothing more than his own artistic intuition.
Unknowingly, Juan taught himself to recreate the techniques of the ancients, using nothing from today's world, building his ollas in traditional coil-method, using plants and minerals for color, hand-made human hair brushes for applying designs, and dried dung to fire his pots.
Providential intervention sent the anthropologist Spencer MacCallum into Bob's Swap Shop, Deming, Colorado, in 1976. There he discovered 3 pots that had been traded for used clothing.
Immediately recognizing the quality of the work, this launched MacCallum on a search for their creator. Ultimately, this search led him to the village of Mata Ortiz, and the doorstep of Juan Quezada.
A collaboration began, which continues today, of introducing this fine ceramic work to the world at large. Since that time, Juan has gone on to train family and village members in the ceramic techniques he uses. This has blossomed into a 400+ strong community of artists that are quickly leaving their mark on the art world.
Today, Mata Ortiz Pottery is recognized as some of the finest pottery produced anywhere in the world! Though pots are still produced in the "old" Casa Grandes style, each Potter has blossomed to develop his or her own, unique style, producing contemporary styles and designs.
One will still find traditional symbols on traditional shapes, especially the red clay with black iconic designs. But, this blossoming has produced pots of unparalleled beauty, with shapes, colors, and decorations the ancients never could have imagined.
The Mexican Government has awarded Juan Quezada the Premio Nacional de los Artes, the highest honor Mexico gives to living artists. His pots, of course, command the highest prices, often as much as $10,000 apiece.
This is a source of pride to his community members, who continue to strive for quality, not quantity, in their own work. The people of Mexico are so proud and inspired by this Native Son, that ballads have been written praising his good works and the inspiration he brings to a poor people.
The Pottery of Mata Ortiz can now, thanks to the efforts of this humble woodcutter, Juan, be found in museums from coast to coast in the United States, in Canada, and throughout Mexico, with European collectors quickly getting on board to honor the great artists this no-longer sleepy little Mexican Village has given the world.
American Indian Pottery: In The Past And In The Present
How American Indians arrived and when they arrived in the United States is a topic that has long been up for debate. There are conflicting reports and theories on when American Indians arrived here and how they did. In any culture, people and animals pass on and belongings become ruined. This tends to make it difficult to understand and study a particular culture. A popular tradition in the history of American Indians has made it easier for their history to be examined.
Pottery was a tradition that existed in the past and it continues to exist today. Pottery making has changed with time, but many American Indians have continued to carry on the tradition of making pottery in the same way that their ancestors did. In addition to being a longstanding tradition, pottery pieces have made it easier to understand the history of American Indians.
In today's society American Indian pottery is often made for the sole purpose of money. There are a large number of individuals who still do it for the love of pottery and the history of it, but Native American pottery is wanted by individuals all around the world. This popularity has led to the development of a large number of American Indian pottery stores.
In the past, American Indian pottery was made with the purpose of using it. Men, women, and children used pottery on a daily basis. Pottery was often used for cooking, storage, and transporting necessities. Art was often the last thing on the mind of a pottery maker. Despite the fact that American Indian pottery was made for the purpose of being used, there are many similarities between today's pottery and the pottery of the past.
Whether they intended it or not, may ancient pottery pieces are beautiful pieces of artwork. In fact, ancient pottery pieces are often valuable and considered a treasure. There are a large number of individuals and museums that pay a large amount of money to obtain older works of art. Whether it is for public display or personal possession, there is just something about owning a piece of history.
When American Indian pottery is made for commercial use, modern methods are often used to make the items. This modern way of making pottery has caused a small amount of controversy. There are many American Indians who wish to hold onto and celebrate their culture. This includes leaving traditions the way that they were. When many families teach their children how to make pottery, they often do so the way that their ancestors did. Many American Indians, to this day, still dig their own clay, mold it, and finish it with fire the way that it was done in the past.
Throughout the years, American Indians have had to alter their lives and traditions to fit into today's society. Keeping with their past beliefs and traditions is difficult to do in today's society. That is why pottery making continues to be an important tradition to American Indians. Pottery making has not only kept an important tradition alive, but it has helped to provide valuable financing to tribes and families that may be in desperate need of the money.
Pottery was a tradition that existed in the past and it continues to exist today. Pottery making has changed with time, but many American Indians have continued to carry on the tradition of making pottery in the same way that their ancestors did. In addition to being a longstanding tradition, pottery pieces have made it easier to understand the history of American Indians.
In today's society American Indian pottery is often made for the sole purpose of money. There are a large number of individuals who still do it for the love of pottery and the history of it, but Native American pottery is wanted by individuals all around the world. This popularity has led to the development of a large number of American Indian pottery stores.
In the past, American Indian pottery was made with the purpose of using it. Men, women, and children used pottery on a daily basis. Pottery was often used for cooking, storage, and transporting necessities. Art was often the last thing on the mind of a pottery maker. Despite the fact that American Indian pottery was made for the purpose of being used, there are many similarities between today's pottery and the pottery of the past.
Whether they intended it or not, may ancient pottery pieces are beautiful pieces of artwork. In fact, ancient pottery pieces are often valuable and considered a treasure. There are a large number of individuals and museums that pay a large amount of money to obtain older works of art. Whether it is for public display or personal possession, there is just something about owning a piece of history.
When American Indian pottery is made for commercial use, modern methods are often used to make the items. This modern way of making pottery has caused a small amount of controversy. There are many American Indians who wish to hold onto and celebrate their culture. This includes leaving traditions the way that they were. When many families teach their children how to make pottery, they often do so the way that their ancestors did. Many American Indians, to this day, still dig their own clay, mold it, and finish it with fire the way that it was done in the past.
Throughout the years, American Indians have had to alter their lives and traditions to fit into today's society. Keeping with their past beliefs and traditions is difficult to do in today's society. That is why pottery making continues to be an important tradition to American Indians. Pottery making has not only kept an important tradition alive, but it has helped to provide valuable financing to tribes and families that may be in desperate need of the money.
Today’s Wall Vases Continue the Tradition of Ancient Greeks’ Vases
History does not have to remain in history books. For instance, today a wide variety of wall vases is available in various materials, shapes, and sizes. However, ancient Greek vases have significantly influenced the wall vases of today. In fact, without the innovations that the Greeks made to pottery, perhaps today’s wall vases would not exist. The Greeks improved many aspects of pottery.
BATTLE OF THE VASES
What makes Greek vases distinct among all decorated pottery? Both the methods and subjects that the ancient Greeks used on their pottery, has resulted in the very creation of the term “vase painting.” From the second millennium B.C. until nearly the conclusion of the first century B.C., Greek pottery, including its vases, thrived. This phenomenon happened throughout the Greek world. At first, several different local styles boomed during this period.
However, by the middle of the sixth century B.C., that situation had changed. Attica, including its capital Athens, began producing more and superior vases than its neighbor Corinth. Both areas had competed for the profitable foreign markets for vases. Attic reigned supreme for 1.5 centuries, which included much political turmoil and wars. Their ancient vases have even influenced some of today’s wall vases.
However, then the Peloponnesian War ended in 404 B.C. As one result, Athens lost its lucrative markets in the Western world. Slowly yet gradually, the pottery business in Attica declined. In fact, by the middle of the fourth century B.C., the Atticans were creating no noteworthy vases. However, the art of Greek vase-painting was not dead in the Greek world.
THE BIRTH OF GREEK VASES
Ancient Greek vases evolved greatly throughout the centuries. The first Greek vases were nothing to write home about. Their shape and decorations differed little from vases that other nations produced. Human figures first appeared on pottery during the eighth century B.C. The depictures were primarily abstract, using a type of minimalism. The vase painters used lines and curves to reveal only the basic outlines of objects. This is the style that Atticans used to earn prominence in the world of ancient pottery.
The next era of Greek vase painting revealed Asia’s impact on their works. Objects that influenced Greek vase painting included:
• beasts
• flowers
• monsters
RED, WHITE, AND BLACK-FIGURE
However, while the Greeks used many of the themes of Asian art, their artwork was more ornate. Instead of using rigid lines and curves, the Greeks made their vase painting more ornamental. We can see this influence on Greek vases, in some of today’s wall vases. During this period, the Corinthians created the black-figure technique. They reverted to the use of silhouettes; however, there were some new developments. They added the colors red and white to the designs. Also, the artists cut lines into the vases, in order to highlight particular parts in the artwork. Within time, the black-figure method spread to Athens. Also, artists began placing their signatures on vases.
The ancient Greeks inspired many of today’s wall vases. Make history by selecting lovely wall decoration vases!
Article provided Jessica Ackerman of WallDecorandHomeAccents.com a site featuring wall vases and wall decorations.
BATTLE OF THE VASES
What makes Greek vases distinct among all decorated pottery? Both the methods and subjects that the ancient Greeks used on their pottery, has resulted in the very creation of the term “vase painting.” From the second millennium B.C. until nearly the conclusion of the first century B.C., Greek pottery, including its vases, thrived. This phenomenon happened throughout the Greek world. At first, several different local styles boomed during this period.
However, by the middle of the sixth century B.C., that situation had changed. Attica, including its capital Athens, began producing more and superior vases than its neighbor Corinth. Both areas had competed for the profitable foreign markets for vases. Attic reigned supreme for 1.5 centuries, which included much political turmoil and wars. Their ancient vases have even influenced some of today’s wall vases.
However, then the Peloponnesian War ended in 404 B.C. As one result, Athens lost its lucrative markets in the Western world. Slowly yet gradually, the pottery business in Attica declined. In fact, by the middle of the fourth century B.C., the Atticans were creating no noteworthy vases. However, the art of Greek vase-painting was not dead in the Greek world.
THE BIRTH OF GREEK VASES
Ancient Greek vases evolved greatly throughout the centuries. The first Greek vases were nothing to write home about. Their shape and decorations differed little from vases that other nations produced. Human figures first appeared on pottery during the eighth century B.C. The depictures were primarily abstract, using a type of minimalism. The vase painters used lines and curves to reveal only the basic outlines of objects. This is the style that Atticans used to earn prominence in the world of ancient pottery.
The next era of Greek vase painting revealed Asia’s impact on their works. Objects that influenced Greek vase painting included:
• beasts
• flowers
• monsters
RED, WHITE, AND BLACK-FIGURE
However, while the Greeks used many of the themes of Asian art, their artwork was more ornate. Instead of using rigid lines and curves, the Greeks made their vase painting more ornamental. We can see this influence on Greek vases, in some of today’s wall vases. During this period, the Corinthians created the black-figure technique. They reverted to the use of silhouettes; however, there were some new developments. They added the colors red and white to the designs. Also, the artists cut lines into the vases, in order to highlight particular parts in the artwork. Within time, the black-figure method spread to Athens. Also, artists began placing their signatures on vases.
The ancient Greeks inspired many of today’s wall vases. Make history by selecting lovely wall decoration vases!
Article provided Jessica Ackerman of WallDecorandHomeAccents.com a site featuring wall vases and wall decorations.
Pottery Is The Eyes Of The Beholder
In the days of ancient Egypt, when the pharaohs rule the Nile
and Osiris lorded over them, and before the age of the Maoist
communism in China way back in the age of great dynasties and
divided kingdoms there was one distinct craft that was
considered the toast of kings and queens.
In those times the streets are filled and lined up with all
sorts of creations by different master that acclaim for
themselves the right to be called "master potter."
>From days of long ago when the art of pottery was considered to
be the greatest career anyone could ever venture and the pottery
techniques are solely-owned by one family.
Just like martial arts in some parts of the Asian region where
they pass on to the next generation of the family lines the
secret technique that can be found in their martial arts,
potters have handed down from generation to generation the
secret to what makes their pots stand out from the other.
And from generation to generation the secret to pottery making
has been a closely guarded knowledge up until the time when
commercial pottery has taken over the good old hand made pots,
vases, jars and other products of pottery.
Today's way of life has taken off by leaps and bounds and the
way we see pottery has greatly deteriorated from the time of the
great kings. Potters nowadays rides a broomstick, waves his
magic wand, has an owl for a pet and plays an out of this world
game where you can literally die.
The good years of the art of pottery has taken a back seat to a
different kind of potter. Sad as it is children, even adults at
this time never really recognize the historical and cultural
impact of pottery in our society.
Besides being one of the oldest means of livelihood in the post
cavemen society, pottery speaks about the kind of life that an
early civilization has. Pottery in ancient China was one of the
major industries back then.
Palaces were adorned with all shapes, sizes and kinds of
pottery. Yet, unlike the crude concoction of mud and water baked
until golden brown or dried under done for a day, the Chinese
discovered the wonderful use of ceramic. Chinaware--which is
what it's commonly called nowadays--is the pioneer product of
the pottery world.
Chinaware is intricately designed with scenery and calligraphy.
Potteries during the age of the dynasties are abundant because
of the diverse cultural influence of the Chinese.
Unlike in the pottery in ancient Egypt, where everything was
either made from red clay or dyed red and then painted on
designs with the juice of berries and trees, Chinese pottery has
reached a certain level of sophistication when it comes to
production process.
Pottery are not just crudely placed on a rotating wheel, shaped
to a certain form, and afterwards baked in the sun. Pottery
making in china offered not just a view at the kinds of
industries they had but the kind of culture that they have
developed.
And way before the western colonizers ever set sail to the
Newfoundland, the Asian and the African side of the world have
set up a civilization based on camaraderie and progress. And
thanks to the presence of ancient pottery, these truths are
realized today to give us an idea what's it like to the pottery
in the eye of the beholder.
and Osiris lorded over them, and before the age of the Maoist
communism in China way back in the age of great dynasties and
divided kingdoms there was one distinct craft that was
considered the toast of kings and queens.
In those times the streets are filled and lined up with all
sorts of creations by different master that acclaim for
themselves the right to be called "master potter."
>From days of long ago when the art of pottery was considered to
be the greatest career anyone could ever venture and the pottery
techniques are solely-owned by one family.
Just like martial arts in some parts of the Asian region where
they pass on to the next generation of the family lines the
secret technique that can be found in their martial arts,
potters have handed down from generation to generation the
secret to what makes their pots stand out from the other.
And from generation to generation the secret to pottery making
has been a closely guarded knowledge up until the time when
commercial pottery has taken over the good old hand made pots,
vases, jars and other products of pottery.
Today's way of life has taken off by leaps and bounds and the
way we see pottery has greatly deteriorated from the time of the
great kings. Potters nowadays rides a broomstick, waves his
magic wand, has an owl for a pet and plays an out of this world
game where you can literally die.
The good years of the art of pottery has taken a back seat to a
different kind of potter. Sad as it is children, even adults at
this time never really recognize the historical and cultural
impact of pottery in our society.
Besides being one of the oldest means of livelihood in the post
cavemen society, pottery speaks about the kind of life that an
early civilization has. Pottery in ancient China was one of the
major industries back then.
Palaces were adorned with all shapes, sizes and kinds of
pottery. Yet, unlike the crude concoction of mud and water baked
until golden brown or dried under done for a day, the Chinese
discovered the wonderful use of ceramic. Chinaware--which is
what it's commonly called nowadays--is the pioneer product of
the pottery world.
Chinaware is intricately designed with scenery and calligraphy.
Potteries during the age of the dynasties are abundant because
of the diverse cultural influence of the Chinese.
Unlike in the pottery in ancient Egypt, where everything was
either made from red clay or dyed red and then painted on
designs with the juice of berries and trees, Chinese pottery has
reached a certain level of sophistication when it comes to
production process.
Pottery are not just crudely placed on a rotating wheel, shaped
to a certain form, and afterwards baked in the sun. Pottery
making in china offered not just a view at the kinds of
industries they had but the kind of culture that they have
developed.
And way before the western colonizers ever set sail to the
Newfoundland, the Asian and the African side of the world have
set up a civilization based on camaraderie and progress. And
thanks to the presence of ancient pottery, these truths are
realized today to give us an idea what's it like to the pottery
in the eye of the beholder.
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