Casting Pate De Verre Sculptures in Glass Kilns

Pate de verre, which means glass paste, is an ancient technique for casting glass in glass kilns to make sculptures, dishes, and other objects which are highly luminous, deep, and intriguing due to the manner in which light is reflected through them. The technique was used in ancient Egypt to create fabulous gems and amulets. In the last century the technique was rediscovered and underwent a popular revival. In pate de verre fine glass particles were made into a paste to form the castings. However, it is easier to use large pieces of glass (billets), or sheet glass pieces. Using large pieces rather than fine particles of glass produces a high satin gloss rather than a matte finish.

Start with a low relief sculpture of your choice, modeled in clay not more than 1 ½" thick (the relief should not be any thinner than 1" thick at its thinnest point). The finished glass will exactly reproduce the clay surface, so you can leave it rough or smooth it out as you prefer. In order to calculate the weight of glass pieces which will be needed, multiply the weight of the sculpture and multiply by 1.16. Make a mold from a cardboard box: cut out a piece of cardboard whose length is exactly the same as the perimeter or circumference of your sculpture; and whose height is 2" taller than the piece. Place the sculpture on a flat piece of glass, wood, or plastic and place the cardboard mold around it, sealing the bottom of the cardboard to the base with clay (so that casting mix doesn't seep out).

Next, make the casting mix to make the mold. This mold is a waste mold, which is used only one time (it is destroyed in the casting process). Two quarts of water are put in a two-gallon bucket, and silica casting mix is added (since silica is carcinogenic, a NIOSH mask must be worn during this process). The casting mix should be mixed slowly to avoid entrapping air bubbles. Then, the mix is poured into the mold at the sides (not directly over the sculpture, to avoid trapping air). When the mold is full, its sides are tapped to release air bubbles; and then it is left to cool overnight. The mold is disassembled and the clay original is removed (it may be necessary to break it). The mold is cleaned with a damp sponge and allowed to dry. It is a good idea to spray the dry mold with graphite film lubricant, which is available at auto supply stores, to make it easier to remove from the glass. Place a piece of plastic in the cavity of the mold and fill it with water to the thickness of the finished piece. Weigh this water, and multiply by 2 ½. The result is the weight of glass necessary to fill the mold to the correct thickness. Put a refactory shelf in the glass kiln on 1" posts. Put ½" of sand on the shelf and place the mold on this sand, using a level to insure that the mold is level in all directions.

Wash the glass pieces with soap and water, then with window cleaner and allow it to dry. Place the glass pieces on edge in the cavity of the mold, with taller pieces at the center and shorter ones outside. Don't permit glass pieces to touch the mold itself, and take care not to chip the mold. The firing should be done as follows: temperature rise at 250° per hour until 1250° is reached; then hold for ½ hour. Temperature rise at 250° per hour until 1450° is reached; then hold for 2 hours. Crash the cooling at 950° per hour and hold for 6 hours (to anneal the glass). Cool at 60° per hour until 500° is reached. Cool at 100° per hour until 200° is reached. Then let the kiln cool on its own to room temperature. It is easiest to regulate this firing using electronic kiln controls or kiln sitters. When cool open the kiln and let the glass cool down to room temperature. Remove the mold and soak it in water, which will facilitate removal of the mold. Grind off any sharp edges with a hand-held grinding stone. Voila!





The pate de verre technique is enjoying a modern revival, thanks to the availability of inexpensive glass kilns and modern technological improvements such as kiln sitters. Owning your own glass kiln opens the door to a new world of creativity.




The Art of China - Chou, an Era of Splendid Bronze Metal Work

The Chou Dynasty belonged to the Chinese Bronze Age and ranged from 1122 and 221 BC. During this 900-years rule, the Chinese culture saw several changes in its economy, politics, science, and society & traditions, especially art. The initial period of Chou Dynasty is called "Western Chou" (11th century BC to 771 BC) and the later half is referred to as "Eastern Chou" (770 BC - 221 BC). The Chou Art of China included mediums, such as bronzes, jades, ceramics, and textiles, embellished with varied designs.

The Chou Art witnessed improved artistry with the discovery of iron. Some of the ancient Western Chou Art works of China were the Bronze ritual vessels, used during Chinese ceremonies. These vessels were also used as decorated pots, wine jars, and water vessel. Most of these jars were modeled in animal shapes, like birds and dragons, while coated with the inscriptions of about 300 odd Chinese characters. These bronze vessels are testimonials to the ancient imperial attributes of Chinese culture and music. Later on, in the Eastern Chou Dynasty, these bronze jars and vessels moved away from having religious significance to becoming the social symbols of wealth and power. Bronze was also used to make bells, mirrors, belt-hooks, candelabras, and weapons. In addition, after 722 BC, the designs and the shapes of these bronze utensils got simpler with 'Abstract' patterns and minimal or no inscription.

During the Chou Dynasty, many meticulous techniques were used for making functionally purposeful potteries. The potter's wheel was rarely used; instead, the hard gray clay pieces were hand molded, leaving no sign of glaze on their surfaces. During the Chinese burials, these potteries were placed with the dead.

Under the Eastern Chou Art of China, several complicated jade ornaments & pendants were made with materials, like agate and glass. These ornaments had carved images of curling chih dragons, grain seeds, and also had cloud patterns on them. The jade ornaments were important objects in ceremonies and rituals and they also depicted a person's social stature. Eastern Chou Art forms of China also included lacquer craft, practiced in Southern China. Lacquer is a red colored sap of the lac tree. It was used to make lightweight boxes, dishes, and even small statuettes. In the last years of the Eastern Chou Dynasty, silk was used as a canvass on to which, the scenes of landscapes and people were painted.





Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art . Artists can join for free and their image upload is unlimited. Please visit the website at http://www.labedzki-art.com




Arrowhead Hunting and Rock Collecting

We weren't planning to go rock and arrowhead hunting in Arizona. My wife and I just liked that hotspring in the desert. It was agood place to escape the Michigan winter for a while.
Then we met Felix, an old Mayan Indian living in an old RV. After sharing meals and campfires for a week, he took us into the desert to show us ancient metates (grain-grinding stones) and arrowheads. We also found hundreds of beautiful rocks of every type, including Apache Tears, Fire Agate, and various quartzes.
Irina, a nineteen-year-old "rainbow kid," who had been living in her van for months, rode with Felix in his old pickup. We took our van. We spent two hours at the first stop. The recent rain had made the rocks and artifacts stand out, washing them clean. We were mostly just rock collecting.
Irina and my wife Ana found odd pieces that may have been arrowheads. We found old pottery pieces too, and Felix came back with half of a pot painted with an intricate design. It was probably hundreds of years old. Felix had been in the desert for years, and kept seeing things we missed.
Pony Express Ruins
At our second stop, Felix showed us ruins of an old Pony Express station. Unmarked and forgotten, the grass-and-mud-block walls were still partially standing. I realized we still hadn't seen a single other car. There are some isolated areas in Arizona, and this is one of them. We started arrowhead hunting around the ruins, because Felix insisted the building would have been fired upon by arrows.
Up the hill behind the ruins, Felix showed us rocks with six-inch wide holes a foot deep or more, and perfectly round. They were filled with water - their purpose, according to Felix. We like water with fewer bugs, but he and Irina drank the water collected in them. It was a peaceful spot, overlooking the valley below.
Arrowhead Hunting Success
Over the hill, we had some luck searching for rocks and arrowheads, but not like Felix. We saw hundreds of pieces of pottery, but all very plain looking. He found pottery that had beautiful designs on it, and metates. He found a tiny clear quartz arrowhead, perfectly made, that had probably been used to hunt small birds two hundred years earlier.
Each of us wandered a bit. Ana and I made it back to the van first, and when Irina and Felix returned, we cooked beans with instant rice on our camp stove. After the meal, we said goodbyes, and traded addresses. They went back to the hotsprings, while we headed the other way with bags of rocks, an antelope antler, and two broken arrowheads.
Notes:
For interesting rocks, go out after a rain and you can see Fire-agate and Apache Teardrops laying on the sand. For the best rock collecting, visit the designated rockhound areas in southeastern Arizona. As for arrowhead hunting, and ancient pottery, enjoy yourself, but it may be illegal to keep any artifacts now. The BLM office in Safford can give you directions and more information.
Steve Gillman hit the road at sixteen, and traveled the United States and Mexico alone at 17. Now 40, he travels with his wife Ana, whom he met in Ecuador. Read more stories, tips and travel information at: http://www.EverythingAboutTravel.com






Fraud - Museum of Civilization (?)

ECUADOREAN POTTERY OF JOMON, JAPANESE DESIGN AND STYLE: - We mentioned this briefly in the General Introduction. Jomon state is where the Ainu are to this day. There are few pure blood Ainu and one author says these people were the Shoguns. They are white people . Kennewick Man may be Ainu and that is another fraud with the same purpose in mind. The issue is one of deceit because the Canadian Museum of Civilization (sounds fishy to begin with) said in their handsome 1989 book ('Ancient America') that there was evidence of an indigenous local pottery industry that led to the unique designs and technology. Thus any reader would allow it might be a pure co-incidence; especially when they drove the point home by saying it was an anomaly and that any visitors would have been integrated into the native population such as others they could prove had been. They, of course, pointed out that much of that integration was as sacrificial victims to heathen gods. The net result being that if this was the best evidence of 'diffusion' and worldwide travel (which they said it was, and it isn't) clearly one should know they are right. The main position of academia is still - there was 'No Cultural Impact' even as the date of travel to the Americas has been pushed back at least 15,000 years before Clovis due to the work of Dillehay and others as reported in National Geographic and Scientific American in early 2001.

The real concern is that there was NO prior industry as reported in 'The Guardian', 'Scientist', 'Daily Mail', 'The National Post', 'Fortean Magazine', etc. Thus they lied! If there had been proof of an indigenous pottery industry it would still exist, wouldn't it? Eleven years later these publications made the point about NO other connection except Jomon, Japan. Some gave lots of other evidence of Chinese and Asian travels to the Americas by boat. So, why did they lie? How can you accept any academic caught in such a lie? Did the white man actually plan an invasion using biological warfare like the Mongols used against them? Did they know full well the paradise and citizens of North and South America would not accept their materialistic and devilish ways? Yes, they knew about the Americas for at least two thousand five hundred years - in some circles. There is lots of ancient authorship from credible sources. There never were any serious mariners who traveled far that bought the 'Flat Earth' theory.

You must start thinking about whether our nations have any leg to stand on when they sit at war crimes trials today. You must think about the situation that allows it to continue throughout the world. We will continue to give you lots of food for such thought. The science of engineers and art historians with forensic tools of today, was something Pope Alexander VI (Rodrigo Borgia) couldn't imagine when he decided to split the world in half in order to spread the Inquisition. Their success was well planned and they knew what they were doing. We will prove that, for sure.






MIKE SEDGE TALKS ABOUT HIS NEW BOOKTHE LOST SHIPS OF PISA

In April, 1999, Michael Sedge, Mediterranean Editor for Scientific American Discovering Archaeology magazine, received an invitation to view a new archaeological site, only 500 yards from the famed Leaning Tower of Pisa. What he found was a graveyard of ancient ships that Italian authorities now call โ€œthe Pompeii of maritime archaeology.โ€



โ€œAt that point,โ€ explains Sedge, โ€œarchaeologists had merely revealed the tip of the mystery. In subsequent years, additional research and digging would bring to light 16 Roman ships, hoards of cargoes, and both human and animal remains. It would also become a personal passion, as I followed the project, discovery-after-discovery, for three years. In THE LOST SHIPS OF PISA (published by ibooks on October 1, 2002), I take readers on the same exciting archaeological journey I experienced , while answering the questions: how, why, and what if?โ€



How was this so-called โ€œmaritime Pompeiiโ€ found?



It began in 1998 when the Italian state railroad, Ferrovie dello Stato, was digging the foundation for a new building that would house the command and control center for train movements along Italy's western coast. The work stopped abruptly when, to the astonishment of all, the haunting remains of a wooden, Roman ship came to light after being buried for 2000 years.



The ironic aspect of this is that the site had previously been declared free of historical remains. A team led by professor Stefano Bruni, who ultimately became the director of the Pisa archaeological project, had been called in to test the site, according to Italian law, only a few months before, and there probes had been within feet of this and other shipsโ€"but just far enough to prove negative.



What could have happened in Italy 2000 years ago to entomb an entire port, including 16 Roman ships?



There are several theories, but experts agree that it was probably a series of events, rather than a single disaster. For example, storms certainly accounted for some of the sinkingsโ€"particularly those that lost their cargoes. Others may have sunk after being abandoned in the ancient port.



Located only 500 yards from the Leaning Tower of Pisa, how did the city's ancient port simply disappear, and become forgotten?



Ancient Pisa was much different, geographically, thank it is today. It was constructed in a maze of canals and two major rivers: the Arno and the Auser. In this respect, it was more like modern-day Venice.



In his book, Istorie Pisane, sixteenth-century historian Raffaello Roncioni talks about a harbor known as the Porto delle Conche, that was formed by a secondary branch of the Auser River. In the vicinity of the Pisa dockyards, the description tells how the tributary turned to the right off the major artery, flowing into the Arno to create a small lake.



Researchers believe that archaeological discovery is, in fact, the ancient Porto delle Conche. Other historical records including maps by Leonardo da Vinci, support this theory.



The environment and geographical nature of the area in which the settlement of Etruscans and Romans Pisa was born and developed is now very different from what it was in ancient times. As a result of deposits accumulating in the Arno, the coast is now at a considerable distance, and the characteristics of the surrounding countryside have been significantly altered by the gradual expansion of marshland. The Auser River, for example, no longer exists. There were radical reclamation projects undertaken in the Middle Ages, at which time areas, such as the ancient port, were filled with construction materials, as buildings were demolished.



Satellite surveys, which allow researchers to track the city's ancient river-beds and waterways, provide support for the concept of a Venice-like Pisa that, ultimately, reduced the canals, lakes, and port area into a single river, the Arno. With time, and decrease in political importance of Pisa, the existence of a Porto delle Conche was forgotten.



Tell us about the ships. What were their use and condition?



So far, 16 vessels have been identified. Some still remain below the earth's surfaceโ€"to prevent decay once they are exposed to the atmosphere. Others are in various phases of preservation, awaiting removal, and still others have been excavated and taken to a nearby laboratory for final restoration. Ultimately, they will be displayed in the Ships of Pisa Museum, housed in the ancient dockyards established by the famed Medici family in the 1500s.



The ships, and vast array of relics, date from the end of the first century BC to the late fifth or early sixth century AD. Eight vessels are nearly fully intact. These include the remains of three cargo ships, three boats that were probably used on the river, one oared vessel, and the remains of one ship discovered in an upside-down position. Most of the other wrecks have been located by probes, but are not yet in the excavation stage.



The so-called Hellenistic Ship, was named based of early Greek remains foundโ€"pottery, lamps, glassware--found in its surroundings area. Ship โ€œAโ€ is a cargo ship of about 30 meters, still intact with planking and framing connected by wooden pegs, as well as bronze nails.



Each ship has a story to tell in the archaeological puzzle, as do the items found in and around them.




What are some of the items found?



When I first visited the site, in 1999, there was what appeared to be a river of amphorae and other artifacts. More than 1,000 large, plastic boxes were filled with artifacts, ranging from Greek and Roman pottery and coins to bones and jewelry. Clothing, shoes, and, naturally, shipboard instruments were all found. Ship B, another cargo ship, for example, contained amphorae that had carried walnuts, chestnuts, peaches, cherries, and plums for export throughout the Mediterranean. Vases, glass beakers, ropes, mats and leather products surrounded the 11.7 meter-long Ship C. Here too was found a coin, perhaps from the ancient mint at Bithynia.



You wrote an article recently for Archaeology Odyssey magazine in which you discuss the ancient Greek and Roman tradition of using amphorae as coffins for infants. Did this stem from your research in Pisa?



Yes. The remains of a newborn babyโ€"lacking pelvic girdle and lower limbsโ€"was found in an amphora. According researchers at the University of Pisa, it is assumed that the amphora was used as a small coffin for burial.



Afterwonderingabout how common this practice was, I contacted Dr. John Hall, a noted expert on burial practices in Greek and Roman times, at Otago University in New Zealand. He pointed out that this was a common occurrence in ancient times, since nearly 30 per cent of newborns died within five days. It was for reasons of practicality more than anything else โ€"they simply used what was on hand.



Archaeologists believe the amphora with the baby's remains was loaded on a ship ready to be taken to a nearby island-cemetery, when a storm ripped through the harbor, sending the body to a watery grave.



Is it true that researchers found 443 right shoulder bones from pigs, and only 59 left shoulder bones? If so, why the difference?



Yes. Even in ancient times, prosciutto-ham (made from the upper leg of pigs) was enjoyed by populations throughout the Mediterranean region. Because pigs traditionally rest on their left side, the meat of the right side was more tender and desired.



We understand there was a unique skeleton found. The so-called sailor and dog that has been widely discussed



An entire film could be developed around the find. Near the underside of the first-century ship labeled โ€œBโ€ was found the fully intact skeleton of a man. Within the outstretched arm of the so-called โ€œsailorโ€ was the skeleton of a small dog, which appeared to have been a bassethound.



Theory has it that, during a storm, the ship in which the sailor and his dog were aboard, overturned, tossing them into the rough waters. As the man rescued the animal, the vessel came down, pushing and trapping him and the dog to the bottom of the harbor; where they would remain for 2000 years.



What comes next: For the ships of Pisa, and you as a writer?



The ships of Pisa is an archaeological work-in-progress. Many pieces of the puzzle are still to be found, and many of the theories proven. What secrets will be revealed as the ships, one by one, are extracted, no one can say for sure. The archaeological site of ancient Pompeii took centuries to excavate, and brought forth vast artifacts of Greek and Roman life. When this โ€œmaritime Pompeiiโ€ will be fully explored is, at present, unknown.



What it will ultimately reveal is, similarly, a mystery that time will solve. I will continue to follow the developments and the research. No writer knows what projects awaits them. Perhaps, four or five years from now, I'll be working on a follow-up title. Perhaps something like โ€œThe Truth of The Lost Ships of Pisa.โ€



How can people order your book?



It is available in bookstores throughout the United States, UK, and Australia, or online from Amazon.com.






The Greek Vase - The Story of Ancient Greece Told in Clay

Withstanding the test of time, Greek Pottery has been a crucial element in the world's comprehension of the ancient Greek culture. Mostly found in the Etruscan Tombs, Greek Vases and Greek Pottery are canvases that paint a portrait of the world of ancient Greece. While much of ancient Greek art is forever lost, Greek pottery offers a glimpse into both the every day life and the mythology of ancient Greece.

Starting with the Minoan civilization that existed in Crete, the culture made remarkable contributions to the Greek way of life; especially, in the artisanship of pottery and vases. The Minoan potters designed pottery for food gathering and storage. A practical need became one of artistic expression with the potter looking to nature to influence the designs that transformed the pottery, creating art from what was once only a tool.

As time progressed, Minoan's created vases in forms that were used for specialized purposes. For example, the Amphora vase is a swollen vase with a wide mouth and two opposing handles. It was used to transport and store oil, wine and other liquids. Painted with grass and flowers, and marine scenes, the Minoan's set precedent for future designs.

During the Protogeometrical Period, Greek vases were decorated with simplistic designs that consisted mainly of circular patterns. The Geometric style followed with new motifs, building upon the latter with wavy lines and triangles. In the middle of the 11th Century, the first images of human figures were seen painted on the Greek vase, and by the end of the period, mythological figures became prominent images on much of the pottery of the era.

The Orientalizing Period came after trade-links with Syria and the Aegan World. The popularity of human depictions slowed during this time, and the artisan used the Greek vases for depicting lions, griffins and sphinx with lotuses as accents.

Through the Corinthian invention known as the black-figure process, artists used iron-rich clay that turned reddish-orange after firing. They then sketched their design in outline, and filled it with clay. The Greek vases would be kiln fired at a temperature of around 800 degress Celsius. The pottery would turn a reddish-orange color. Next, the temperature was raised to 950 degrees Celsius, and the vase would turn black. Finally, the kiln vents were opened to let in oxygen, and the pottery would turn back to the reddish-orange color, but the paint layer remained black.

The Corinthian used these vases to depict animal friezes. It was the Athenian painters who developed a narrative method, depicting mythological scenes of battle, gods and heroes.

Following the black-figure method, the red-figure method was introduced in Athens. At its core, the process is exactly the opposite of the black-figure method. Scenes were applied to the Greek vases, but to unfired pieces after they were dried. The Athenians drew outlines on the pottery or vase with a blunt scrapper. It was erased during the kiln process, but after the contours remained and were filled with a glossy clay slip.

The Greek methods for creating pottery resulted in Greek vases whose designs endure even today and left the world with a path to the past told in the distinct and varying images etched and painted on their sides.





Looking for a Greek Vase to decorate your home? Check out the these distinct Greek Vases from Your Museum Store. Rob Mabry is a former military journalist living in San Antonio. He writes about travel, technology, film and the video game industry. Rob operates http://www.yourmuseumstore.com along with his wife Sherry.




On The Nature Of The Nazca Lines

In my prior posting, entitled "Ancient Astronauts and Contemporary Skepticism," I challenged the skeptics (assuming they do not want to acknowledge that the Nazca Lines were made to be viewed by an ancient astronaut) to provide a credible explanation of those geoglyphs. I argued that the people of Nazca cannot be considered unique in human history and that the skeptics need to find parallels elsewhere. However, I imagine that, instead of trying to produce a mundane explanation of the Nazca Lines, the skeptics could simply argue that I have not proven the contrary case.

The basic facts of the Nazca desert are easy to comprehend. Those large geoglyphs cannot be grasped by humans from the ground; in most cases, the hills or mountains are too distant for anyone to even notice that they are there. The figures on the ground can only be recognized from the air. Since humans were unable to fly until relatively recent times, it is logical to consider extraterrestrials as a potential explanation. I have seen skeptics, in desperation, argue that the people of Nazca, in the sixth century, knew how to make air balloons, but I do not believe it for one second.

For whom or for what did the people of Nazca make those ground drawings? Surely, they made those geoglyphs to be viewed by someone or something. That is unquestionable; it is not rational to believe that mass insanity could last the more than one hundred years it took to complete the project. If they made the geoglyphs to be viewed by an ancient astronaut, then where are their drawings of the ancient astronaut? Such drawings do exist. I provide one of them on my website, in a footnote to Gersiane De Brito's "Tiwanaku Alien and Evolution" article. That picture is not a geoglyph, however; it comes from Nazca pottery, but the timing coincides. This makes sense. They likely thought it might be offensive to the alien to draw a picture of the alien on the ground so they only put it on the pottery, where the alien could not see it.

Beyond any doubt, the ancient astronaut depicted on the Nazca pottery is the same ancient astronaut depicted in the Tiwanaku engravings. In the Tiwanaku versions, the aquatic, alien nature of the creature is easier to spot. Also in Tiwanaku, with all that bird symbolism, it is apparent that this ancient astronaut could fly, freestyle, up and through the air.

Thus, the Nazca Lines have a viable explanation: the geoglyphs were made to be seen by an ancient astronaut that could fly like a bird with the aid of anti-gravity hand-held propulsion devices, without the use of aircraft or spacecraft of any kind. The people of Nazca drew diverse animal figures on the ground to attract the alien's attention and to entertain it, and they drew lines and directional arrows on the ground to lead the alien back to the people of Nazca.

I think it time for the world's scientists, archaeologists, anthropologists, psychologists, etcetera, to come to their senses and try to evaluate, objectively, the thinking behind the Nazca geoglyphs. The potential for uncovering an instance of genuine alien contact makes it a worthwhile endeavor.








Mosaic Patio Furniture - Ancient Designs Are Popular Once Again

Every year the manufacturers of outdoor furniture find new ways to bring something unique to market. They do this by growing their collections and/or maybe just borrowing ideas from history. When it comes to borrowing from history a case in point is the currently popular mosaic tiled furniture.

The art of mosaic dates back 4000 years and is done by creating images or design with small pieces of colored glass, pottery, stone or some other material. Mosaic floors have been found in the ruins of 4th century Roman dwellings as well as the wall of ancient chapels.

History Repeats Itself

Fast forward to 2009 where consumers can now choose from a highly varied selection of mosaic tiled outdoor furnishings. Look for more choices in patio dining tables, bistro table fire pits and bakers racks. These items are popular because each one is handcrafted and no two pieces are exactly the same. Mosaic pieces also make terrific focal points because of the unique patterning.

Beautiful Designs

For outdoor living, many of the mosaic table tops use glass and travertine tiles. The glass used is generally stained glass that gets molded to a smooth finish. Tumbled marble and stones are also used in mosaic tables. The exquisite surface designs and patterns vary greatly from geometric style patterning to themes such as: hummingbird, laurel leaf, dragonfly, jardin, Morocco and many more. Other patio items that include mosaic craftsmanship include kid's chairs, accent tables, umbrella bases, and fire pits.

Because mosaic tiled surfaces are crafted by hand they are compared to other materials, fragile. This is not to say that you can't feel comfortable using the surface freely but during the off-season, take precautions and store your furnishings indoors: especially in freezing winter weather.





Read more about the different styles of and uses for a Mosaic patio table at: http://www.everything-patio-furniture.com




Wine Producing Is An Ancient Art, A Modern Day Science And A Global Business

Wine producing has been carried out in one way or another for thousands of years now with pottery jars discovered in Persia (present day Iran) dating back to 5,500 BC displaying evidence of grapes use for winemaking. In addition, jars from Jiahu in China dated to somewhere between 6000 and 7000 BC have also been found containing wine made from wild grapes.

However whether we are considering ancient or modern wine production, many of the same conditions apply and similar techniques are used because the chemistry of the humble grape is an eternal quality.

With some exceptions the grapes used for producing wine grow only only between latitudes 30-50 degrees North and 30-45 degrees South of the equator. Unlike many other crops, grapes do not need a particularly fertile soil and it is interesting to note that a thinner soil normally results in a small crop but also normally produces grapes of a higher quality.

Surprisingly, soils which are rich in nitrogen and other nutrients (conditions which are usually highly beneficial for most plants) can produce grapes which are not suited to winemaking. These grapes are however often very good for eating, but lack the desired amounts of minerals, acids and sugars for winemaking.

Undoubtedly, the best wines are produced on soils which would be considered poor quality for other agricultural purposes. For example, the stellar wines from Bordeaux are made from grapes grown in gravelly soil, overlying a base of chalk or clay. The crop here is small, but the quality of the grapes produced is high. In this instance the pebbly earth permits good drainage, which is essential as vines have to have adequate but not excessive water, but these conditions force the roots to grow deep into the earth where they absorb a variety of complex minerals.

Vineyards are also frequently found along river valleys, with slopes that provide abundant sunshine. Vines in these circumstances are usually of the European species vitis vinifera, from which a number of well known wines are made, like Cabernet Sauvignon, Chardonnay, and Merlot.

Viticulture, the name used for the practice of grape growing for winemaking, is one of the most complex agricultural undertakings today. A master vintner (today, sometimes called an oenologist), has got to be an expert in a wide range of subjects including fermentation, soil chemistry, climatology and several other ancient arts and modern sciences.

In addition to categorization by variety, wines are also classified by vinification methods (still, sparkling, ros้, fortified, blush), by region (Alsace, Burgundy, Bordeaux etc.), by vintage and by a dozen other methods.

Once the farmer, chemist and manufacturer have finished their work, the businessman then takes over and wine today is very big business. Wine sales in the United States alone run to something like 600 million gallons, representing in excess of $20 billion in consumer spending. Perhaps not surprisingly France leads the world when it comes to exports with 22% of export volume, with Italy following close behind.

When all is said and done however, no matter how big a business wine making has become, it remains very much a matter of balancing art, science and business and winemaking is most certainly not a business venture to be undertaken by anybody of a timid disposition.








Ancient Sagalassos - Pride of Pisidia

The answer, of course, is a lifelike head of the famous emperor Hadrian, part of a nearly 5 meter high statue of the ruler, found at Sagalassos in 2007 and for several months the centerpiece of the British Museum's recent Hadrian Exhibition. Set high in the rocky Toros Mountains in South Turkey, 100 kilometers north of Antalya and 40 kilometers southwest of Isparta, the remains of the ancient town of Sagalassos have survived the region's unforgiving climate and not infrequent earthquakes remarkably well. According to Arrian, the Roman-era biographer of Alexander the Great, the soldiers of Sagalassos were "the boldest warriors of a warlike tribe," and continued, "The Pisidians are all fine soldiers, but the Sagalassians were conspicuous even among a nation of fighters." These words were written as a response to the great difficulties the mighty Alexander and his seasoned veterans faced when attempting to capture the town in 333 B.C.

When you visit Sagalassos, you have to wonder why Alexander bothered with the subjugation (for despite their heroics, the Pisidian defenders were eventually overcome) of this seemingly remote and obscure mountain town. The answer lies in its location. Controlling the crucial road linking the prosperous cities on the Mediterranean coast to the major trade artery running west-east across Anatolia (the Persian Royal Road) Alexander could not afford to leave his supply routes open to the depredations of marauding Pisidians.

Despite its capture, with Alexander himself leading the uphill assault, Sagalassos prospered under the rule of his successors. The inhabitants gradually adopted Greek language and culture, a process known as Hellenization. The town fared equally well in the Roman period. Emperor Augustus made it a free city, and added to its population by settling retired legionary soldiers there. After much reorganization, it became part of the province of Galatia. Many superbly crafted public buildings were erected and the town grew and prospered. Unfortunately it seems that the good citizens of Sagalassos were forced to abandon their beautiful town in the seventh century following Arab incursions and a devastating earthquake.

What is really surprising about Sagalassos is how little-known it is, given the grand scale on which it was built, the quality of its remains and its imposing mountain location. In 1706, a French traveler, Paul Lucas, became the first Westerner to see the ruins of this remote site, and reported back in amazement to his sponsor, Louis XIV. In the 19th century, William Hamilton declared the area to be the best preserved he had ever come across.

Remote and difficult to access, it wasn't until the 1980s that a British-Belgian team of archaeologists began to give Sagalassos the attention it deserved. In 1990, the site began to be excavated in a major way by the Catholic University of Leuven, Belgium. Since then, a team of hardworking and enthusiastic archaeologists, led by Marc Waelkens, have returned to this magnificent mountain site each summer. In 2002, Waelkens' efforts were recognized when he was awarded the Medallion for Outstanding Service, the most prestigious award Turkey can give to foreigners. The excavations are about far more than merely uncovering impressive buildings and artifacts (including the magnificent statue of Hadrian) for the delectation of casual visitors, and the multi-disciplinary team specializes in everything from structural geology and tectonics to the urbanization and Romanization of Asia Minor under the Flavian emperors.

Due to the hard work of the Belgians, we know that Sagalassos' prosperity was based on the production and export of grapes and olives, and a fine-quality pottery known as Sagalassos red slipware. This, plus its control of one of the major trade routes between the Mediterranean and central Anatolia, enabled its inhabitants to build the lavish monuments you can see today.

Clearly,within your Turkey vacation, Sagalassos is simply a must-see. So, what exactly is there to see? A good place to start is the theater dating from the second century, to the northeast of the town. The seats of the semi-circular auditorium are well-preserved, and afford wonderful views across the fertile valley below, the ongoing excavations of the site to the Southwest, and the magnificent backdrop of the over 2,200-meter-high Akdag (White Mountain in Turkish). Below it, the Doric Fountain House, partially cut from the natural slope of the hillside, is remarkable. The actual spring supplying the fountain house with water in ancient times was reused by the Belgian team in their reconstruction of the building, using only original materials, between 1990 and 1992, filling the troughs with crystal-clear water -- just as they were in Roman times.

Even more impressive than the Doric Fountain House is the Antonine Nymphaeum, built during the reign of Emperor Marcus Aurelius (A.D. 161-180). Facing the higher of the ancient city's twin agorae (market places), it is an impressive 28 meters long, composed of an elaborate façade with richly decorated pediments, intricately carved Corinthian capitals and a central semi-circular niche where a 4.5-meter-high cascade plunged into the basin below. Above this is a finely preserved Hellenistic heroon (a temple to a demigod or deified hero) with its beautifully worked frieze of dancing girls. In addition to these fine buildings are a 3,000-seat Odeon, a monumental Roman baths complex (originally standing three stories high) and a council room. The Neon-Library, named after its benefactor, Flavius Neon, has been dated to A.D. 120. Its rectangular niches once held a vast array of written documents, but of most interest to today's visitors is a later addition

Particularly in spring, the site and its environs are of great interest to botanists and birdwatchers. The main background vegetation for the site, which is just above the tree line, is Jerusalem sage, which flowers with yellow rosettes in late May. At this time the hillsides are covered with a variety of flowering plants as well, including aubrietia, various muscari, star of Bethlehem and types of purple vetch.

At the entrance to the site, a former guardian has planted walnut and fruit trees, and these host migrating warblers. You can sometimes see birds of prey, especially honey and long-legged buzzards over the site, çukar (a kind of partridge) and kestrels on the approach road. But the real delights in spring are the small passerines, each marking out his territory with birdsong. Corn bunting and black-headed bunting (with bright yellow chests) are the most vocal, but stonechat, rock sparrow, goldfinch and linnet are frequently seen and heard.

Sagalassos is undoubtedly off the beaten track -- certainly more so than in classical times. If you want to see a large, remarkably well-preserved and skillfully reconstructed classical site in a dramatic mountain environment (avoiding the hordes of tourists at coastal sites like Ephesus and Pergamum) Sagalassos is the place to choose. In spring, the hills are carpeted in wildflowers and birdsong rings across the peaks and valleys. For me the best season is winter, when the grey limestone seats of the theater are thrown into vivid relief by ribbons of drifting snow and Akdag rears its icy head above the market places, temples, bath houses and streets of this remarkable place.

--------------------------------------------------------------------------------

Fingertip facts How to get there:

Antalya is the largest nearby city. Turkish Airlines, Onur Air, Atlas Jet and Pegasus operate frequent daily flights from 0stanbul. There are also plentiful connections from Ankara. SunExpress connects Antalya directly to 0zmir.

There are plenty of rental car outlets in Antalya at the airport or, for a cheaper price, from Fevzi Çakmak Caddesi or Kaleiçi, both in the city center. Allow a couple of hours for the drive, heading north towards 0sparta and taking the signed (Burdur, Aglasun and Sagalassos) left, 15 kilometers south of Isparta, for the village of Aglasun, seven kilometers below the site.

Alternatively, minibuses run to Aglasun from Isparta's dolmus garage, but you'll have to take a cab from there to reach Sagalassos ruins.





Kerem Aldar




Not for Museums Only: More than 65 Quality Ancient Artifacts and Antiquities Available to Collectors in New Color Catalogue from Fragments of Time, Inc.

MEDFIELD, MA June 23, 2004 -- Fragments of Time, Inc., (http://www.fragmentsoftime.com) a leading international dealer in museum-quality ancient art, today announced availability of Art from the Ancient World XXXI, a full-color and authoritatively researched catalogue highlighting more than 65 provenanced ancient objects from its inventory.



For more than 10 years, company founder John Ambrose, who had previously spent 15 years as a private collector in Europe and the USA, has been one of the few American antiquities dealers publishing quarterly, fully researched and illustrated, fixed-price catalogues dedicated to fine antiquities. Fragments of Time enjoys an international reputation for quality antiquities, scholarly expertise, competitive prices, and unrivalled service.



In addition to a variety of classical Greek, Roman, Hellenistic and Italic objects, Catalogue XXXI also includes a selection of antiquities from the Near East, Holyland, Cyprus and Byzantium.



The cover of Catalogue XXXI features a large and important Athenian red-figure lekythos, circa 480-470 BC, depicting a beautifully composed youthful female standing in a domestic setting that includes ancient furniture, weaving implements, and baskets containing fruit or flowers. The vase also has a 130-year documented provenance and has been extensively published. It was also exhibited in the mid 1940s at the London Royal Academy of Arts.



โ€œFine Attic red-figure pottery continues to be one of the most desirable areas for collectors of classical antiquities but demand sharply outstrips supply,โ€ said Ambrose. โ€œObjects, such as this lekythos, with long pedigree histories and well executed scenes are a superb addition to any serious collection.โ€



The catalogue features a variety of superb classical Greek objects including a fine Athenian drinking cup with a Dionysiac procession (ex-French 19th century collection), a wonderful standing Greek Kore in terracotta (ex-California collection), and a pristine molded Athenian โ€œHead Vaseโ€ circa 475-450 BC (ex-Canadian collection).



Collectors of Greek South Italian pottery and terracottas will fine an array of objects including an extremely interesting and rare 4th Century BC skyphos with an owl with outstretched wings on one side and a seated sphinx in profile on the reverse. This vase is a striking and artistically powerful departure from the standard but still pleasing โ€œowl cupโ€ representative of the goddess Athena.



In addition to a selection of Roman pottery, lamps and bronzes, Catalogue XXXI features a small group of fine Roman glass objects, circa 1st-5th Century AD, including an attractive โ€œgrape flask,โ€ a near colorless glass cup, pale green shallow glass dish, and a group of miniature glass juglets that were worn as jewelry by the ancients.



Egyptian collectors will find a selection of fine scarabs โ€" each fully attributed and described. In addition, the catalogue features an inscribed steatite obelisk amulet inscribed for the โ€œcontroller of the wine production of Ra,โ€ and an inscribed Shabti for Padi-Aset, and a pair of papyrus scepter amulets, among others.



The Importance of Catalogues



โ€œWith the importance of provenance and proliferation of forgeries on the web, buying from a dealer who invests time, energy, money and reputation in producing first-rate scholarly catalogues on a regular basis remains one of best ways for collectors of all levels to help protect their investments,โ€ said Ambrose. โ€œUnlike the web, catalogues are permanent documents that firmly establish additional indisputable provenance for each object when a collector decides to sell down the road. Plus, catalogues are an awesome reference and learning tool for collectors of all levels.โ€



Fragments of Time quarterly catalogues are consistently rated among the best in the antiquities field and are used by collectors, scholars and museums as reference works. A complimentary catalogue is available upon request at www.fragmentsoftime.com or by calling (508) 359-0090. An annual subscription is just $15 in the continental US and is free to clients who make at least one purchase per year.



For more information visit http://www.fragmentsoftime.com






Stunning Raku Pottery Will Enhance Any Decor

Raku pottery has become a popular interior design accessory that is becoming more popular as a technique with professional potters and hobby pottery enthusiasts and more widely used to enhance any décor because of the mutant color qualities that blend with existing decorating schemes.

Raku pottery takes its origin in Japan, where the family of Japanese potters from the16th Kyoto created the style and distinctive characteristics of low temperature and interrupted firing, because their firing was wood-fueled kilns, since there was no propane at the time.

While some lore believes that “smoking” gave Raku the name and characteristics, that myth comes from the fact that the pottery was allowed to air-cool after the traditional fire started to die down, and the smoke formed the variant color details.

It has become popular again in the last twenty-five years as the Raku pottery techniques involve drawing red hot pots from a kiln and the subsequent “smoking” of the pottery is done in sawdust for the effect. In fact, Hamada, the famous Japanese potter, once said he wanted to wait until the end of his life to learn how to make Raku pottery, because it was the most important and difficult technique to master.

Raku pottery techniques are done in various ways and originally earthenware was used, although any clay body can be used in the process, because it is the glazing and firing technique that makes it distinct. Much of the characteristics of this pottery come from the glaze that is used and it will cool with a “cracking” appearance, also called crazing, that gives the pottery vibrant color contrasts, which are mutable, and may have strong simple shapes and random crazing.

Because of these characteristics, they make a stunning collection of elegant pottery that can fit a wide range of interior decors and have colors that mutate to harmonize with the surroundings of a room. Pleasing to the eye, calming to the spirit and bringing joy and harmony to your heart and life are part of the Raku tradition. Traditionally, Japanese used Raku for their Japanese tea parties for these reasons in ancient centuries.

Today, Raku pottery comes in a variety of finishes and patterns. Bright colors like lapis, aqua, persimmon, red, coffee, amethyst, egg plant gray or gun metal blue are examples. Finishes turn out with different patterns that vary with the color of glaze used. Pottery that is Raku inspired is often inspired by primitive ritual and ceremonial ceramics from around the world. Examples would be a fetish pot, volcano seed pots or volcano bowls.

These unique pottery shapes, colors and finishes can turn a room into an artistically pleasing palette that features the aesthetic and relaxing Zen-like traits that make this type of pottery more than just another vase. If you have never seen Raku pottery, then you will certainly recognize it for the unique glazing patterns, vibrant colors and unusual shapes it can have. It is these characteristics that have made it so popular in decorating today.

The different look you achieve by using Raku pottery, versus normal ceramic pottery with standard glazes is dramatic, as the Raku pottery has an almost ancient pottery look that gives it an old world character, yet has shapes that are unique, edge techniques that are free formed or different patterned and can become the focal point of any room, regardless of other decorating styles in a room. You can enhance any décor when you use this pottery to compliment your interior design.



Come see this stunning Raku Pottery and hundreds of other items at MadeInAmericaDecor.com offering only American made décor accents and accessories for home, garden and gifts.


Etruscan Art - An Ancient Art of Greek Archaic Origin and Pre-Roman End

Etruscan Art is the 'figurative art' of Etruria, which geographically stretched from some parts of North Italy further Salerno to the Tiber River. The art of Etruria spans over four key periods (ninth to second century BC), the Villanovan & Orientalizing Era (800-650 BC), the Archaic Era (650-500 BC), the Classical Era (500-300 BC), culminating finally in the Hellenistic Era (300-100 BC), by when it became extinct. In effect, the Etruscan Civilization flourished between about 800 and 300 BC.

Similar to most other ancient civilizations, the Etruscans were also preoccupied with the mysteries of death and afterlife, though in negative parlance. This firm belief of Etruria was portrayed through art and therefore, largely Etruscan Art is 'Funerary Art.' This art quite lacked the elaboration and the finesse of 'Monumental Art,' which is directed at ennobling or immortalizing a culture's historical events or civic ceremonies such as in the Greek and Roman Civilizations. Certain Greek Archaic and the eastern world artistry considerably inspired the art of Etruria. Though, Etruscan Art is said to in turn, have a significant influence over the Roman art & architecture, however, as not much is known about Etruscans, it is difficult to point out all the artistic details and the dimensions of impact.

Amidst the several expressions of Etruscan Art, the forts, buildings, temples, and tombs, yield an insight into the architectural evolution of ancient Etruria over time. Etruscans used stones for foundations and employed light materials, such as wood, rubble, and unbaked bricks, for the rest of the building. Etruscans were also one of the very few ancient civilizations, which laid out cities, availing grid plans, a technique imitated later by the Romans.

Most of the Etruscan artifacts were created in the purview of their requirement and utility in their personal lives, or for religious purposes. The sculptures and statues of this region carry Greek influence and exhibit similar excitement and energy. Etruscan life-size sculpting was done mostly with clay & terracotta, such as "Sacrophagus of the Spouses" (sixth century BC), "Apollo of Veii" (520-50 BCE). Some sculptures, like "Chimera of Arezzo," (400 BC), "Capitoline Wolf" (500-480 BC), "Brutus," and "The Orator" (second century BC) however, were crafted out of bronze metal.

Etruscan Art proliferated to painting too, which is considered more "Pre-Roman" in essence. Several masterpieces were excavated from various tombs & graves of Etruria, especially the "Tomb of Lioness" at Tarquinia. The murals depicted settings from everyday life, mythology, and the funeral rites. They even covered occasional events and portrayed people, banqueting & dancing in bright and typically animated colors. The wall frescoes were generally painted in the two-dimensional style and several 'Realistic' terra-cotta portraits were found in tombs, carved out of soft volcanic rocks. The metal works were evidenced from the bronze engravings for mirror frames. The Etruscans were also adept at their "Black Bucchero Pottery," which included relief decorations. In fact, Etruscans were the masters of potter's wheel.

Etruscan Art does not reverberate any primary drift in the history of art. Though, most of the artifacts excavated, lack any kind of creative innovation, they however, do demonstrate their own motivation & spirit, an attribute most ancient civilizations shared.





Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art . Artists can join for free and their image upload is unlimited. Please visit the website at http://www.labedzki-art.com




ANCIENT EGYPTIAN CLOTHES

The ancient Egyptians made their own clothes from what their environment and nature gave them. Egypt has mostly a hot climate thus the use of clothes reflect material that is lightweight to suit this type of climate. The ancient Egyptians thus used clothes made of linen.
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The ancient Egyptians both men and women wore linen clothes all throughout the hot weather. The men wore short skirts around their waists called kilts, while the women wore straight fitting dresses with straps on their shoulders. The wealthy men wore pleated kilts, and the older men wore a longer kilt. When doing hard work, men wore a loin cloth, and women wore a short skirt. Children usually ran around nude during the summer months.
HOW LINEN WAS MADE
Linen is a fabric made from plant fibers. The plant fiber comes from flax plants that grow abundantly along the banks of the Nile. The flax plants are plants having small leaves, blue flowers and stems about two feet tall. Flax was pulled out of the ground, not cut. This work was done mostly by men. Half-ripe flax stems made the best thread. If the stems were too ripe, they were used for mats and rope. Flax stems were soaked for several days then fibers were separated. Then the fibers were beaten until soft. The resulting fibers are then spun into thread. The thread is woven into linen fabric from which the garments are made. Most Egyptians wore garments made from linen. This type of fabric is light, airy, and allows freedom of movement, which are important characteristics because of the hot and sometimes humid climate of Egypt.
In Ancient Egypt, women were predominately in charge of textile manufacturing and garment making. Garment making was a household chore, but woman also worked for aristocrats in spinning and weaving shops. Every garment from the decorative dresses of queens and the elaborate, pleated kilts of the pharaohs to the simpler kilts and aprons of the common people were handmade by woman.
The tools involved in garment making include knives and needles, both of these needed to be molded, shaped or craved. In predynastic times, knives were made out of stone and the needles were made from bones. However, during the Old Kingdom, they were both made out of copper. Then, in the Middle Kingdom, bronze replaced the copper. Knives and needles were molded. Surprisingly, the eyes of needles were not bored. They were "scratched out with a hard, pointed instrument, probably a stone." With these tools and linen, garments were fashioned to suit the needs of the people based on climate and the social status.
. All men, from the tomb worker to the pharaoh, wore a kind of kilt or apron that varied in length over the years, from halfway above the knee, to halfway below it. It was tied at the front, folded in at the side, or in two knots at the hips. A sleeved, shirt-like garment also became fashionable. Men were always clean-shaven, they used razors made from bronze to shave their beards and heads. Women wore straight, ankle-length dresses that usually had straps that tied at the neck or behind the shoulders. Some dresses had short sleeves or women wore short robes tied over their shoulders. Later fashions show that the linen was folded in many tiny vertical pleats and fringes were put at the edges.

The wealthy people both men and women wore long see-through robes that were pleated. Noblemen would sometimes wear a long robe over his kilt, while the women wore long pleated dresses with a shawl. Some kings and queens wore decorative ceremonial clothing with feathers. Wealthy people wore sandals made of leather that had straps across the instep and between the first and second toes.
Most people went barefoot, but wore sandals on special occasions. The king wore very elaborately decorated sandals, and sometimes decorative gloves on his hands. The sandals were sometimes made of palm fiber or braided papyrus together with leather sandals.

Clothing styles were chosen for comfort in the hot, dry climate of Egypt, while in the winter, wraps and cloaks were worn.
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Women did not dress without washing (rich people had a tiled area for washing). After washing, they rubbed themselves with scented oil then they placed a large rectangle of linen over their heads, gathered the loose corners up and tied them in a knot below the chest. The usual toilet articles were tweezers, razor and comb.
Priests washed several times a day and they had to remove all body hair to be pure enough to approach the god. They could not wear leather sandals or wool clothing (considered unclean). They wore a leopard robe when serving the god Amun.

The Egyptians cared about their appearance a great deal. The women spent a lot of time bathing, rubbing oils and perfumes into their skin, and using their many cosmetic implements to apply make-up and style their wigs. Using a highly-polished bronze hand mirror, a woman would apply khol, a black dye kept in a jar or pot, to line her eyes and eyebrows, using an "brush" or "pencil" made of a reed. Men wore this eye make-up as well, which was not only a fashion but also protected against the eye infections which were common in Egypt. They would use a dye called henna to redden their nails and lips. Wigs were worn by men and women. Wigs were made from human hair or wool. They wore curled wigs for special occasions.

Egyptians adorned themselves with as much jewelry as they could afford. Wealthy people wore broad collars made of gold and precious stones liked together, which fastened at the back of the neck. Pairs of bracelets were worn around the wrist or high on the arm, above the elbow. Rings and anklets were also worn. Women wore large round earrings and put bands around their heads or held their hair in place with ivory and metal hair pins. Ordinary people wore necklaces made of brightly colored pottery beads.






Top Resources For Pottery and Glass Making Lesson Plans

If you search the web these days, you are almost guaranteed to find an extensive library of free lesson plans and project ideas for schools, occupational therapy, and craft centers. Collections of lesson plans, Power Point presentations, and technique sheets offer a very wide range of art topics, and give art teachers and occupational therapists a terrific place to begin creating educational lessons which combine art history with hands on activities in the classroom. Here are some examples of the lesson plans you may find today.

A lesson especially designed with younger students in mind starts with commercially-made flower pots which are cleaned by firing and then given to the children to decorate as their imaginations will. This lesson familiarizes students with basic ceramic theory and terms, and gives them hands-on experience in decorating pots with underglazes and velvets. Underglaze pencils and crayons can be applied to create individualistic designs; younger children can use sponge painting with liquid underglazes before placing their work on the ware cart to be fired in the kiln.

Another lesson which can involve students of all ages is Ceramic Tile Wall Murals. This is an art history lesson which traces the development of this art form from the first millennium B.C.E. to the present. Copiously illustrated with examples from ancient Persia, Babylonia, Greece, and China, the story continues through Renaissance Majolica tile-making; up to contemporary uses of tile wall murals in modern art and architecture. This Power Point Presentation concludes with instructions on how a group tile wall mural project can be used to bring school students, their parents, and faculty members together to create a delightful all school experience.

In addition to ceramics there are also lessons devoted to the history and how-to of fused, slumped, and cast glass. Warm glass techniques date back to the second millennium B.C.E. in Mesopotamia, and were considered the equal of gold and silver in ancient Greece and Rome. The era of blown glass objects d'art eclipsed the warm glass technique, but it has been revived and become a popular medium for contemporary artists. These lessons show how to use glass stringers, frits and confetti to create fused glass plates, shaped vessels, and jewelry.

Other popular lesson plans cover such topics as sculpture in both history and how-to; lithography and other print-making techniques; paper-making and paper sculpture; working in Chinese-style bronze; making Japanese-style tea bowls and garden lanterns; and making Mexican-style skulls for the Day of the Dead. There are also special lessons on dinosaurs, insects, life in a coral reef; and prehistoric cave art.





AMACO ceramics is not just the world leader in ceramic and glass-making supplies, but is also a major educational resource. Whether you need a throwing wheel or ware cart; clays, molds, and glazes; or glass stringers, frits, and glass kilns; look to AMACO for the widest selection in the world.




Ancient Ceramics, Bringing The Past To Life

For hundreds of year's ceramics have been created to express emotions, reflect the period and attitude, and provide functional uses. As ceramics have evolved over these centuries and Arts and Crafts have evolved over the past century, most of the techniques and materials used to create ceramic pieces have changed very little.

Less than a decade ago, ancient ceramics and modern Arts and Crafts materials came together to provide some insight into centuries old craftsmanship. The ancient ceramics had been excavated from a mid-16th century ship found off the coast of the Bahamas. The ceramics consisted of six indented pieces in the form of earthenware balls, or, probably more accurately, "blobs." In each of these "blobs" is the clear impression of either a fingertip or thumb tip. After careful cleaning by a conservation lab, distinct fingerprint lines were found preserved in the clay. The conservation team felt the impressions were exciting enough, but were interested in somehow producing positive images from these molds. If castings could be made from them, then essentially parts of the very people who created the ancient piece could be recreated. Unlike ancient ceramic pottery, beads or jewelry, having a stamp or initial of the maker, these findings had the actual finger prints of the very people who played a part in their creation.

The question was what material could be used to safely create accurate castings and not cause any damage to the ancient ceramics.

The first attempts utilized a silicone rubber paste, but it proved to be too sticky. A thin layer of the ceramic surface adhered to it, and a stain was left on the remainder. This would damage the prints and was unacceptable. A local forensics laboratory was visited, and they provided a test of a high resolution molding compound, but it was difficult to apply evenly and unfortunately also stained the ceramic.

The answer came in the form of a modern Arts and Crafts material, Polymer Clay. It recovered the slightest details with no distortion, or damage to the ceramic. The clay can be baked during the molding process, and it hardens permanently, making it sturdy and safe to handle. The results from the castings were stunning. They found that the positive images from the castings looked just like the tips of peoples' fingers, and prints on them are clearly visible. Most importantly, the images can now be examined and analyzed in their original form for clues about the people who left them.

It would seem unlikely that a modern Arts and Crafts material would help provide answers about ancient ceramic creators and techniques, but yes, Polymer Clay has many applications and now archaeological conservation can be added to that list.






Ancient Egyptian Writing

The ancient egyptians had a special language called hieroglyphics. This language used ancient egyptian alphabet and other words, sentences or ideas all composed of pictures and symbol.


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The ancient Egyptian writing which is called hieroglyphics were composed of pictures and drawings. The hieroglyphic alphabets is composed of drawings to symbolize the ancient Egyptian letters. The anciet Egyptians were very cultured and civilized that is why they cherished learning and cherished their history and invented this method of writing to keep their civilization recorded on walls of temples and tombs.

The hieroglyphics alphabet is made up of drawings representing the sound of the letter, thus they were all constant letters. Also ancient egyptian writing used small pictures for representing whole words, ideas or actions.

HIEROGLYPHICSThere is about 700 letters in the ancient egyptian writing system. The ancient Egyptians considered this type of writing as sacred and religious writings and most were placed and carved on tombs or wall of temples.The Egyptian writings were considered the "words of the Gods". The ibis-headed god Thoth was considered to be the patron deity of writing and scribes. Hieroglyphs were primarily used for religious and formal secular purposes. Early in the historical period, a simpler cursive script was developed, in which each character was a simplified version of a hieroglyph. This script is today known as hieratic and was widely used until about 800 BCE for business, literary and religious texts. By about 700 BCE another script today called demotic had evolved from the hieratic. Business, legal and literary inscriptions were written in demotic.

Hieratic

Hieratic is an adaptation of the hieroglyphic script, the signs being simplified to make their writing quicker. Hieratic was the administrative and business script throughout most of its history, and recorded documents of a literary, scientific and religious nature. It was most often used on papyrus rolls or sheets, or on bits of pottery or stone.

Hieroglyphs were written with a reed brush and ink on papyrus, leather or wood, and on those surfaces it was harder to attain the crisp quality and detail of the signs as carved on stone. So cursive hieroglyphic was merely a simpler form of each hieroglyphic sign. A hieratic sign was not always as clear a counterpart to its hieroglyphic sign as was cursive hieroglyphic.Hieratic should not be confused with cursive hieroglyphic script, though the two resemble each other. Cursive hieroglyphic script is usually written from right to left in columns, though just as with hieroglyphic it could vary, and is found almost exclusively in religious texts such as the Book of the Dead. Hieratic could be written in columns or horizontal lines, but it always read from right to left. It also sometimes contained punctuation in the form of a small dot to separate units of thought.

DemoticThe word "Demotic" comes once again from Greek, meaning "popular script." By the Hellenistic period of the Ptolemies, demotic was the only native script in general daily use. It is a very cursive script, having been derived directly from hieratic, making it difficult to read and almost impossible to transcribe into any hieroglyphic counterpart.Demotic texts were generally administrative, legal and commercial, though there are a few literary compositions as well as scientific and religious texts. The Rosetta Stone contains a section inscribed in demotic along with hieroglyphic and Greek.



ABOUT THE AUTHOR


Dr. Sherin Elkhawaga, Female, 31 Years Oldradiologist.Beholds Masters Degreein Radiology. Interested In Egyptology.






ANCIENT EGYPTIAN WRITING.

THE ANCIENT EGYPTIANS HAD A SPECIAL LANGUAGE CALLED HIEROGLYPHICS. THIS LANGUAGE USED ANCIENT EGYPTIAN ALPHABET AND OTHER WORDS, SENTENCES OR IDEAS ALL COMPOSED OF PICTURES AND SYMBOL.

This article courtesy of http://www.kingtutshop.com, the handmade gifts and
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The ancient Egyptian writing which is called hieroglyphics were composed of pictures and drawings. The hieroglyphic alphabets is composed of drawings to symbolize the ancient Egyptian letters. The anciet Egyptians were very cultured and civilized that is why they cherished learning and cherished their history and invented this method of writing to keep their civilization recorded on walls of temples and tombs.
The hieroglyphics alphabet is made up of drawings representing the sound of the letter, thus they were all constant letters. Also ancient egyptian writing used small pictures for representing whole words, ideas or actions.
HIEROGLYPHICS
There is about 700 letters in the ancient egyptian writing system. The ancient Egyptians considered this type of writing as sacred and religious writings and most were placed and carved on tombs or wall of temples.The Egyptian writings were considered the "words of the Gods". The ibis-headed god Thoth was considered to be the patron deity of writing and scribes.
Hieroglyphs were primarily used for religious and formal secular purposes. Early in the historical period, a simpler cursive script was developed, in which each character was a simplified version of a hieroglyph. This script is today known as hieratic and was widely used until about 800 BCE for business, literary and religious texts. By about 700 BCE another script today called demotic had evolved from the hieratic. Business, legal and literary inscriptions were written in demotic.

Hieratic

Hieratic is an adaptation of the hieroglyphic script, the signs being simplified to make their writing quicker. Hieratic was the administrative and business script throughout most of its history, and recorded documents of a literary, scientific and religious nature. It was most often used on papyrus rolls or sheets, or on bits of pottery or stone.
Hieroglyphs were written with a reed brush and ink on papyrus, leather or wood, and on those surfaces it was harder to attain the crisp quality and detail of the signs as carved on stone. So cursive hieroglyphic was merely a simpler form of each hieroglyphic sign. A hieratic sign was not always as clear a counterpart to its hieroglyphic sign as was cursive hieroglyphic.
Hieratic should not be confused with cursive hieroglyphic script, though the two resemble each other. Cursive hieroglyphic script is usually written from right to left in columns, though just as with hieroglyphic it could vary, and is found almost exclusively in religious texts such as the Book of the Dead. Hieratic could be written in columns or horizontal lines, but it always read from right to left. It also sometimes contained punctuation in the form of a small dot to separate units of thought.

Demotic
The word "Demotic" comes once again from Greek, meaning "popular script." By the Hellenistic period of the Ptolemies, demotic was the only native script in general daily use. It is a very cursive script, having been derived directly from hieratic, making it difficult to read and almost impossible to transcribe into any hieroglyphic counterpart.
Demotic texts were generally administrative, legal and commercial, though there are a few literary compositions as well as scientific and religious texts. The Rosetta Stone contains a section inscribed in demotic along with hieroglyphic and Greek.






Ancient Egyptian Boats

Egyptians pioneered the development of river craft and there were many different types built for various uses. Agricultural produce, troops, cattle, stone and funeral processions were all carried on the Nile and its canals. These boats were made of bundles of bound papyrus reeds. Papyrus is different from paper because papyrus is a laminated material made from thinly cut strips from the stalk of Cyprus Papyrus plant. It was believed to be first used about 4000 B.C., and became Egypt's major exports.
There were many types of boats that Egyptians used. Papyrus boats were used by Egyptians. Papyrus boats were built with bundles of papyrus. They were steered with oars. Sailboats were used a lot by Egyptians. Sailboats were steered by two oars. Sailboats usually only had one square sail. Funeral boats carried dead people down river. They were used to carry the dead across the Nile River. The funeral boats were very elaborate.
The earliest record of a ship under sail is depicted on an Egyptian pot dating back to 3200BC. These Egyptian boats were made of either native woods or conifers from Lebanon.
Papyrus boats were useful for hunting or crossing short stretches of water, using a paddle or a pole. These boats were made of bundles of bound papyrus reeds, and were lashed together into a long thin hull form in the style of a slight crescent. This lifted the ends out of the water. The bundle was made as wide as possible for stability, and an extra bundle was put on top so that the cargo and crew were kept reasonable dry. ( Reed vessels like these of Ancient Egypt are till in use in Peru today.)
Cedar was very important to the Egyptians as a boat building material. These boats were built of relatively short blocks of timber, and were braced and secured with rope lashings very much in the same style that was used in papyrus boats. This wooden model of the funery boats found at Thebes, with its two pointed ends rising out of the water, is a good example.
All the cities and towns were easily accessible by boat, and the Nile provided the perfect means of transport, since it was cheap and quick. The necessary water power was provided by the current and the wind.
Officials went up and down the Nile with stone for building projects or grain for the kings stores, and merchants carried wares for sale. Every corner of civilized Egypt could be easily could be easily reached and Egyptian traders sailed to ports in the Eastern Mediterranean and the Red Sea.

Funeral boats were very elegant and took the pharaoh to the grave. The funeral boats were buried with the pharaoh. The Egyptians only used chisels to cut boats from wood. It took them a very long time to make a boat. Khufuํs boat was 141 feet long and didnot even have a nail in it. The Egyptians had a hard time making and sailing boats. There were papyrus and sailing boats too.

Building and sailing for the Egyptians wasn't always easy. The Egyptians had a hard time sailing a boat. Rowing a boat was a hard job because the boats were so big and heavy. It was also a hard job because the oars the Egyptians steered with were very heavy. Egyptians had a hard time building boats too. Making a boat was a very long and hard job because the boats were big. Boats were hard to make because all the Egyptians had to cut the wood with was a chisel. Sailing was easy too. Sails just carried the Egyptians which ever way the wind was blowing. Which is up the Nile River, against the current.
In the pyramid of King Khufu, the worlds oldest boat was found. It's 1200 pieces were found stored unassembled, with matching hieratic signs, (which were a written version of hieroglyphics). These hieratic signs indicated to which quarter of the boat the parts belonged.
Khufu's barge measured 150 feet from long beam to stern. Different theories arose and to the intended use of the boat. Was it for Khufu's use in the afterlife? Or as some believe , was it part of the funeral cortege , which may have carried his body from Memphis to Giza.
vThe boat's 1,224 separate components included cedarwood planking and oars, ropes of halfa grass, wooden dowels and battens, and copper staples. Its near-perfect preservation allowed conservators to reconstruct the 144-foot-long craft, which is now housed in a white museum built over the pit where it was found. Modern ropes were used to lash it together, but its timbers are 95 percent original.
The Abydos ships.
In 1991 in the desert near the temple of Khentyamentiu, archaeologists uncovered the remains of 14 ships dating back to the early first dynasty (2950-2775 BC), possibly associated with King Aha, the first ruler of that dynasty. These 75 foot long ships are buried side by side and have wooden hulls, rough stone boulders which were used as anchors, and "sewn" wooden planks. Also found within their desert graves were remains of the woven straps that joined the planks, as well as reed bundles that were used to seal seams between planks. The Abydos ships have the honor of being the world's oldest planked boats.
The ancient Egyptians were creating ships with technological skills far beyond their time, well before the invention of the wheel. Egyptologists suspect that simple light rafts made from bundled papyrus reeds may have been made by hunter-gatherers who moved to the Nile Valley during the Upper Paleolithic period; of course, no specimens remain today. However, there is evidence of the presence of boats in the Naqada II culture, which immediately preceded the dynastic period. Archaeologists have unearthed red painted pottery with designs that include boat motifs as important symbols, and some interpretations stress the boats were used in a religious or ritual capacity. Further evidence for the early use of boats lies in tomb reliefs (ship building scenes were among the most popular motifs in tombs), paintings, and model boats dating from predynastic times through the New Kingdom.
Papyrus rafts appeared to gain a somewhat sacred significance as far back as the first dynasty because of their association with the sun god. The earliest depictions of the sun god show him travelling on a reed float made of bound papyrus, a portrayal so ancient that it predated Egyptian knowledge of wooden ships. It is because of this connection with the sun god that the papyrus raft gained its religious significance, and even though it was used for more practical purposes in Egyptian civilization, the sacred and royal association stuck.
Over time, ancient Egyptians created and utilized three types of boats, each with its own purpose. Simple reed rafts were used mostly for hunting in marshes and as time progressed, they were used less frequently on the Nile. Wooden boats generally replaced papyrus rafts for Nile travel, and, since they were faster and more stable than rafts, they were also used for transport. Eventually stronger wooden boats were used for lengthy ocean excursions as well as to transport boulder blocks weighing many tons and obelisks weighing hundreds of pounds from quarries to pyramid and temple building sites. The third type of boat was the papyriform boat, made technologically similar to wooden boats but with the shape of an elaborate papyrus raft in order to maintain the connection to royalty and gods. These ships appear to have been used as pleasure boats and transportation for royalty; they were also used as funerary boats and burial boats, as well as in religious events like pilgrimages and transporting the statue of a god.
The famous Royal Ship of King Cheops (fourth dynasty ruler of the Old Kingdom), more formally known as Khufu, is a perfect example of a papyriform boat. Discovered around 1954, the Royal Ship is still considered to be one of the world's most outstanding archaeological artifacts. The ancient boat had been dismantled into 651 separate parts, and its nearly perfectly preserved timbers were found in 13 scrupulously arranged layers that were buried in a sealed boat pit which was carved into the Giza plateau's limestone bedrock. It took years for the boat to be painstakingly reassembled, primarily by the Egyptian Department of Antiquities' chief restorer, Ahmed Youssef Moustafa (later known as Hag Ahmed Youssef). Once completed, the Royal Ship measured approximately 150 feet in length. The timbers were made of Lebanese cedar while the pegs and other small parts were made from native acacias, sycamores and sidders.
Cedar was not new to the Egypt of Cheops' time - it had been found in predynastic graves, indicating to modern archaeologists that trade had occurred with Lebanon at least as far back as the end of the fourth millennium BC. Egyptians had what has been termed as an "emotional need" for trade with Lebanon because of that country's large supply of the invaluable resinous woods and oils so necessary in Egyptian funerary customs. Trade with Lebanon had to be conducted over water, because the Egyptians had neither wheeled transportation nor heavy draft animals, and the brutal desert regions through which they would have had to travel hosted hostile tribes.
The supposition is that heavy ships and smaller trading ships were most likely constructed in the Nile Valley, then dismantled and carried piecemeal to Qoseir where they were reassembled and put in the sea. In general, sea-going boats were referred to by the ancient Egyptians as "Byblos boats" because the earliest seaworthy boats' initial trade was with the Lebanese port town of Byblos.
Transportation and trade were not the only reasons for seaworthy boats to be built in ancient Egypt. The pharaohs also recognized the need for a powerful navy.
Many pharaohs achieved incredible feats with their fleets, such as Queen Hatshepsut's voyage to Punt, but from the 20th dynasty on, they improved their ships even more by copying some of the more advanced models used by other cultures. Herodotus describes the Egyptians as having boats "in great numbers" and carrying "many thousands of talents' burden".
Papyriform boats were also used to transport images of important gods, but these vessels were never intended to be put in the water. The image of the god would be placed upon a gold encrusted papyriform barque studded with gems that was carried on the shoulders of priests who took it to its place of honor. If this journey included a trip on the Nile, the golden barque was put on a papyriform transport boat and taken to its destination.
From boat pits such as those of Cheops and at Abydos, we know that actual full-sized boats were buried with the dead to take them on their journey in the afterlife, but by the twelfth dynasty this practice became too expensive. So instead, models of boats were placed in the tombs, which would serve the same purpose as the full-sized vessels. In addition to models of boats, there were also miniature models of daily life, including bakeries, butcher shops, and potters' studios. These models have given archaeologists wonderful glimpses into ancient life.
While royal papyriform vessels remained relatively unchanged throughout the centuries, the hundreds of model boats found in private tombs show a tremendous variety of shapes. Unlike court artisans who were strictly held to tradition, private artists could customize their clients' models according to their wishes or they could produce models with their own creative touches, as long as they stayed within certain basic limits.
Even lighthouses were developed in ancient Egypt under Ptolemy Soter (circa 290-270 BC). The Pharos lighthouse of Alexandria may have been the first Egyptian lighthouse, as there are no records describing earlier ones. The Pharos lighthouse was over 100 meters high and contained a mirror that reflected the sun during the day, while at night the light of a fire was used to warn incoming and passing vessels. The light could be seen at a distance of 50 kilometers.
For ancient Egyptians, the Nile could have been an obstacle that kept them pinned to one location. But with their seemingly endless creativity and resourcefulness, they turned their watery boundary into an open highway of opportunity.
This article is courtesy of www.kingtutshop.com ,home of handmade crafts and educational kits.






Ancient Greece Art - Cycladic Sculptures in the Greek Islands

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





Ancient Greece Art




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!"





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Pottery Classes - Promotional Tips

Pottery has existed since ancient times and is considered to be one of the oldest types of ceramic art. Pottery involves the shaping of a clay body into a specific shape and dried using a kiln until it hardens and sets. Pottery has been used as both functional and decorative items used in everyday rituals, celebrations, or even religious practices. Major types of pottery include earthenware, porcelain, and stoneware. Major groups of tools include shaping, rolling, cutting, and finishing tools. Pottery making techniques involve the human hand or use a potter's wheel. Lessons in wheel throwing, hand building, and kiln-drying are commonly given to individual or groups.

Local pottery lessons can be a challenge to market given limited marketing resources and commercial competition. One effective and affordable method that pottery teachers can use is printed marketing materials. Examples of these printed marketing materials include:

Brochures - Brochures are informative, illustrative, and handy tools for interested learners. Brochures, through a combination of text and graphic information can feature a list of classes, schedules, fees, instructors, and materials. They can be used to strengthen brand tools such as pottery class logos and taglines. Brochures can also feature a short history of the classes and a profile of its instructors. Bulk printing of brochures can be printed by convenient commercial online printing companies.

Flyers - Flyers can serve as quick, easy, and direct materials for spreading awareness about pottery classes. They can also feature information about pottery class schedules, fees, instructors, and pottery methods. Wholesale orders of full color flyers can also be printed using the services of online printing companies.

Posters - Poster printing can be used as affordable, high-impact marketing materials for a pottery class business. They can feature an entire collection of student-made or instructor-made designs along with model names, class schedules, dates, time, and venue. Pottery teachers can also print poster campaigns using a catchy tagline and a specific piece of pottery. These can be posted within the vicinity of the classes to create awareness for the pottery classes. Online printing companies offer wholesale or small quantity printing of posters at very reasonable prices.





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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.





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.