ADVANCED POTTERY and SCULPTURE Description: There Are an Infinite Number of Ideas That Can Be Pursued in Creating Meaningful and Expressive Pottery and Sculptures
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7 Great Pottery Projects
ceramic artsdaily.org 7 great pottery projects | Second Edition | tips on making complex pottery forms using basic throwing and handbuilding skills This special report is brought to you with the support of Atlantic Pottery Supply Inc. 7 Great Pottery Projects Tips on Making Complex Pottery Forms Using Basic Throwing and Handbuilding Skills There’s nothing more fun than putting your hands in clay, but when you get into the studio do you know what you want to make? With clay, there are so many projects to do, it’s hard to focus on which ones to do first. So, for those who may wany some step-by-step direction, here are 7 great pottery projects you can take on. The projects selected here are easy even though some may look complicated. But with our easy-to-follow format, you’ll be able to duplicate what some of these talented potters have described. These projects can be made with almost any type of ceramic clay and fired at the recommended temperature for that clay. You can also decorate the surfaces of these projects in any style you choose—just be sure to use food-safe glazes for any pots that will be used for food. Need some variation? Just combine different ideas with those of your own and create all- new projects. With the pottery techniques in this book, there are enough possibilities to last a lifetime! The Stilted Bucket Covered Jar Set by Jake Allee by Steve Davis-Rosenbaum As a college ceramics instructor, Jake enjoys a good The next time you make jars, why not make two and time just like anybody else and it shows with this bucket connect them. -
A Short History of Georgian Architecture
A SHORT HISTORY OF GEORGIAN ARCHITECTURE Georgia is situated on the isthmus between the Black Sea and the Caspian Sea. In the north it is bounded by the Main Caucasian Range, forming the frontier with Russia, Azerbaijan to the east and in the south by Armenia and Turkey. Geographically Georgia is the meeting place of the European and Asian continents and is located at the crossroads of western and eastern cultures. In classical sources eastern Georgia is called Iberia or Caucasian Iberia, while western Georgia was known to Greeks and Romans as Colchis. Georgia has an elongated form from east to west. Approximately in the centre in the Great Caucasian range extends downwards to the south Surami range, bisecting the country into western and eastern parts. Although this range is not high, it produces different climates on its western and eastern sides. In the western part the climate is milder and on the sea coast sub-tropical with frequent rains, while the eastern part is typically dry. Figure 1 Map of Georgia Georgian vernacular architecture The different climates in western and eastern Georgia, together with distinct local building materials and various cultural differences creates a diverse range of vernacular architectural styles. In western Georgia, because the climate is mild and the region has abundance of timber, vernacular architecture is characterised by timber buildings. Surrounding the timber houses are lawns and decorative trees, which rarely found in the rest of the country. The population and hamlets scattered in the landscape. In eastern Georgia, vernacular architecture is typified by Darbazi, a type of masonry building partially cut into ground and roofed by timber or stone (rarely) constructions known as Darbazi, from which the type derives its name. -
Pottery Pieces Designed & Handmade in Our Ceramic Studios and Fired in Our Kilns
GLAZES ACCESSORIES FOUNTAINS PLANTERS & URNS OIL JARS ORNAMENTAL PIECES BIRDBATHS INTRODUCTION TERY est. 1875 Gladding, McBean & Co. POT Over A Century Of Camanship In Clay INTRODUCTION artisan made This catalog shows the wide range of pottery pieces designed & handmade in our ceramic studios and fired in our kilns. These pieces are not only for the garden, but also for general use of decoration indoors and out. Gladding, McBean & Co. has been producing this pottery for 130 years. Its manufacture began in the earliest years of the company’s existence at a time when no other terra cotta plant on the Pacific Coast was attempting anything of the sort. Gladding, McBean & Co. therefore, has pioneered in pottery-making. The company feels that it has carried the art to an impressive height of excellence. In every detail but color the following photographs speak for themselves. Each piece is glazed in one of our beautiful proprietary glazes. A complete set of glaze samples can be seen at our retail showrooms. This pottery is on display at, and may be ordered from, any of the retail showrooms listed on our website at www.gladdingmcbean.com. In photographing the pieces, and in reproducing the photographs for this catalog, the strictist care was taken to make the pictures as faithful as possible to the objects themselves. We are confident that in every instance the pottery will be found lovelier than its picture. The poet might well have had this pottery in mind when he wrote: “A thing of beauty is a joy forever.” BIRDBATHS no. 1099 birdbath width: 15.5” height: 24.5” base: 10” Birdbath no. -
Sculpture Northwest Nov/Dec 2015 Ssociation a Nside: I “Conversations” Why Do You Carve? Barbara Davidson Bill Weissinger Doug Wiltshire Victor Picou Culptors
Sculpture NorthWest Nov/Dec 2015 ssociation A nside: I “Conversations” Why Do You Carve? Barbara Davidson Bill Weissinger Doug Wiltshire Victor Picou culptors S Stone Carving Videos “Threshold” Public Art by: Brian Goldbloom tone S est W t Brian Goldbloom: orth ‘Threshold’ (Detail, one of four Vine Maple column wraps), 8 feet high and 14 N inches thick, Granite Sculpture NorthWest is published every two months by NWSSA, NorthWest Stone Sculptors Association, a In This Issue Washington State Non-Profit Professional Organization. Letter From The President ... 3 CONTACT P.O. Box 27364 • Seattle, WA 98165-1864 FAX: (206) 523-9280 Letter From The Editors ... 3 Website: www.nwssa.org General e-mail: [email protected] “Conversations”: Why Do We Carve? ... 4 NWSSA BOARD OFFICERS Carl Nelson, President, (425) 252-6812 Ken Barnes, Vice President, (206) 328-5888 Michael Yeaman, Treasurer, (360) 376-7004 Verena Schwippert, Secretary, (360) 435-8849 NWSSA BOARD Pat Barton, (425) 643-0756 Rick Johnson, (360) 379-9498 Ben Mefford, (425) 943-0215 Steve Sandry, (425) 830-1552 Doug Wiltshire, (503) 890-0749 PRODUCTION STAFF Penelope Crittenden, Co-editor, (541) 324-8375 Lane Tompkins, Co-editor, (360) 320-8597 Stone Carving Videos ... 6 DESIGNER AND PRINTER Nannette Davis of QIVU Graphics, (425) 485-5570 WEBMASTER Carl Nelson [email protected] 425-252-6812 Membership...................................................$45/yr. Subscription (only)........................................$30/yr. ‘Threshold’, Public Art by Brian Goldbloom ... 10 Please Note: Only full memberships at $45/yr. include voting privileges and discounted member rates at symposia and workshops. MISSION STATEMENT The purpose of the NWSSA’s Sculpture NorthWest Journal is to promote, educate, and inform about stone sculpture, and to share experiences in the appreciation and execution of stone sculpture. -
Yoruba Art & Culture
Yoruba Art & Culture Phoebe A. Hearst Museum of Anthropology University of California, Berkeley Yoruba Art and Culture PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY Written and Designed by Nicole Mullen Editors Liberty Marie Winn Ira Jacknis Special thanks to Tokunbo Adeniji Aare, Oduduwa Heritage Organization. COPYRIGHT © 2004 PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY AND THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. ALL RIGHTS RESERVED. PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY ◆ UNIVERSITY OF CALIFORNIA AT BERKELEY BERKELEY, CA 94720-3712 ◆ 510-642-3682 ◆ HTTP://HEARSTMUSEUM.BERKELEY.EDU Table of Contents Vocabulary....................4 Western Spellings and Pronunciation of Yoruba Words....................5 Africa....................6 Nigeria....................7 Political Structure and Economy....................8 The Yoruba....................9, 10 Yoruba Kingdoms....................11 The Story of How the Yoruba Kingdoms Were Created....................12 The Colonization and Independence of Nigeria....................13 Food, Agriculture and Trade....................14 Sculpture....................15 Pottery....................16 Leather and Beadwork....................17 Blacksmiths and Calabash Carvers....................18 Woodcarving....................19 Textiles....................20 Religious Beliefs....................21, 23 Creation Myth....................22 Ifa Divination....................24, 25 Music and Dance....................26 Gelede Festivals and Egugun Ceremonies....................27 Yoruba Diaspora....................28 -
Ch. 4. NEOLITHIC PERIOD in JORDAN 25 4.1
Borsa di studio finanziata da: Ministero degli Affari Esteri di Italia Thanks all …………. I will be glad to give my theses with all my love to my father and mother, all my brothers for their helps since I came to Italy until I got this degree. I am glad because I am one of Dr. Ursula Thun Hohenstein students. I would like to thanks her to her help and support during my research. I would like to thanks Dr.. Maysoon AlNahar and the Museum of the University of Jordan stuff for their help during my work in Jordan. I would like to thank all of Prof. Perreto Carlo and Prof. Benedetto Sala, Dr. Arzarello Marta and all my professors in the University of Ferrara for their support and help during my Phd Research. During my study in Italy I met a lot of friends and specially my colleges in the University of Ferrara. I would like to thanks all for their help and support during these years. Finally I would like to thanks the Minister of Fournier of Italy, Embassy of Italy in Jordan and the University of Ferrara institute for higher studies (IUSS) to fund my PhD research. CONTENTS Ch. 1. INTRODUCTION 1 Ch. 2. AIMS OF THE RESEARCH 3 Ch. 3. NEOLITHIC PERIOD IN NEAR EAST 5 3.1. Pre-Pottery Neolithic A (PPNA) in Near east 5 3.2. Pre-pottery Neolithic B (PPNB) in Near east 10 3.2.A. Early PPNB 10 3.2.B. Middle PPNB 13 3.2.C. Late PPNB 15 3.3. -
Sculptors' Jewellery Offers an Experience of Sculpture at Quite the Opposite End of the Scale
SCULPTORS’ JEWELLERY PANGOLIN LONDON FOREWORD The gift of a piece of jewellery seems to have taken a special role in human ritual since Man’s earliest existence. In the most ancient of tombs, archaeologists invariably excavate metal or stone objects which seem to have been designed to be worn on the body. Despite the tiny scale of these precious objects, their ubiquity in all cultures would indicate that jewellery has always held great significance.Gold, silver, bronze, precious stone, ceramic and natural objects have been fashioned for millennia to decorate, embellish and adorn the human body. Jewellery has been worn as a signifier of prowess, status and wealth as well as a symbol of belonging or allegiance. Perhaps its most enduring function is as a token of love and it is mostly in this vein that a sculptor’s jewellery is made: a symbol of affection for a spouse, loved one or close friend. Over a period of several years, through trying my own hand at making rings, I have become aware of and fascinated by the jewellery of sculptors. This in turn has opened my eyes to the huge diversity of what are in effect, wearable, miniature sculptures. The materials used are generally precious in nature and the intimacy of being worn on the body marries well with the miniaturisation of form. For this exhibition Pangolin London has been fortunate in being able to collate a very special selection of works, ranging from the historical to the contemporary. To complement this, we have also actively commissioned a series of exciting new pieces from a broad spectrum of artists working today. -
A Comparative Study of the Swennes Woven Nettle Bag and Weaving Techniques
Karoll UW-L Journal of Undergraduate Research XII (2009) A Comparative Study of the Swennes Woven Nettle Bag and Weaving Techniques Amy Karol Faculty Sponsors: Dr. Connie Arzigian and Dr. David Anderson, Department of Sociology and Archaeology ABSTRACT During recent years, the Mississippi Valley Archaeology Center (MVAC) has acquired permission to look at a beautifully preserved bag from 47Lc84, a rockshelter located in La Crosse County, Wisconsin. The bag is tentatively dated to the Oneota cultural tradition (A.D. 1250-1650) based on pottery sherds associated with it. Nothing of its kind has been found archaeologically in this region before, owing mostly to poor preservation conditions. Due to its uniqueness, there is nothing to compare it to within the Oneota tradition. Therefore, to gain a better understanding of this bag, a cross-cultural study was undertaken. This paper examines separate sites in the American Midwest, as well as textile impressions that are preserved on pottery, the ethnohistoric and early historic record, and modern hand-weaving techniques to determine the textile tradition from which the bag may have emerged as well as how it was constructed. INTRODUCTION Textiles in the archaeological record are poorly preserved in the American Midwest. Only in very few sites are they actually found, and in even fewer are the fragments large enough to be studied in depth. Detailed studies conducted on textiles are not numerous. Lacking in these studies is a cross-cultural comparison of types and materials from sites that do have better preserved textiles to try and determine similarities and differences in textile manufacture. -
The Vernacular in Church Architecture
Le Corbusier’s pilgrimage chapel at Ronchamp, France. Photo: Groucho / CC BY-NC-ND 2.0 / https://www.flickr. com/photos/grou- cho/13556662883 LIVING STONES The Vernacular in Church Architecture Alexis Vinogradov 1 Gregory Dix, The The liturgy of the Early Christian era the heart of worship that is ultimately Shape of the Lit- was about doing rather than saying. to be expressed and enhanced by both urgy (Westminster: Dacre Press, 1945), This distinction is borrowed from Dom art and architecture. Of course this con- 12–15. Kiprian Kern, Gregory Dix by Fr. Kyprian Kern, who sideration must include literature, mu- Евхаристия (Paris: was responsible for the first major Or- sic, and ritual movement and gesture. YMCA-Press, 1947). thodox investigation of the sources 2 and practices of the Christian eccle- Our earliest archaeological discover- Marcel Jousse, L’An- 1 thropologie du geste sia. The Jesuit scholar Marcel Jousse ies substantiate the nature of the “do- (Paris: Gallimard, reinforces this assertion in writing of ing” performed by the Church. The 2008). the early Christian practice and un- celebrants did not initially constitute derstanding of “eating and drinking” a distinct caste, for all who were gath- the word, rooted in a mimesis of ges- ered were involved in the rites. One tures passed on through generations.2 can therefore understand the emer- “Do this in remembrance of me,” says gence throughout Christian history of Christ at the last gathering with his anti-clerical movements, which have disciples (Lk. 22:19). pushed back against the progressive exclusion of the faithful from areas The present essay is about the ver- deemed “sacred” in relation to the nacular in church architecture. -
Outdoor Pottery Sculpture in Ife Art School
E-ISSN 2281-4612 Academic Journal of Interdisciplinary Studies Vol 4 No 3 ISSN 2281-3993 MCSER Publishing, Rome-Italy November 2015 Outdoor Pottery Sculpture in Ife Art School Moses Akintunde Akintonde1 Toyin Emmanuel Akinde2 Segun Oladapo Abiodun3 Michael Adeyinka Okunade4 1,2,3 Department of Fine and Applied Arts, Ladoke Akintola University of Technology, Ogbomoso, Nigeria 4Department of Fine Arts, Obafemi Awolowo University, Ile-Ife, Nigeria; [email protected] [email protected], [email protected], [email protected] Doi:10.5901/ajis.2015.v4n3p219 Abstract The rich public outdoor sculpture practice of the Southwest of Nigeria still lacks scientific and empirical experimentation of non- conventional material for the production of outdoor sculpture, particularly pottery images. Although scholarship on public outdoor sculpture in the Southwest of Nigeria is becoming steady in growth, yet a reconnaissance study of the pottery sculpture in art practice and historical perspective has not been made. A study of this type of art, erected in the garden of Ife art school is exigent and paramount now that many of the works are not being maintained. The study underscores the inherent values in the genre of the art; and examined pottery sculpture types, its uses in public sphere and its development in morphology, iconic thematic and stylistic expressions. The study observed that outdoor pottery sculptures are impressive, apparent in sculpture multiplicity of type and dynamics; it is rare in occurrence in Southwestern Nigeria. Keywords: Ife Art School; outdoor sculpture, pottery sculpture; handbuilt pottery; Yoruba pottery. 1. Introduction The praxes of outdoor sculpture in Nigeria, beginning from the first quarter of twentieth century presented different latitudes. -
Examination of the Architecture Interactions and Visual
Cumhuriyet Üniversitesi Fen Fakültesi Cumhuriyet University Faculty of Science Fen Bilimleri Dergisi (CFD), Cilt:36, No: 3 Ozel Sayı (2015) Science Journal (CSJ), Vol. 36, No: 3 Special Issue (2015) ISSN: 1300-1949 ISSN: 1300-1949 Examination of the architecture interactions and visual arts (painting and sculpture) and their role in the persistence architecture (Case Study: City Theatre and the Museum of Contemporary Art) Mitra ESMAILZADEH1,*, Mahdis BASIRI2 1 MA in Architecture, Islamic Azad University, UAE 2 MA in Architecture, Islamic Azad University, Science and Research Branch, Professor in Islamic Azad University, Roodehen Branch Received: 01.02.2015; Accepted: 06.06.2015 ____________________________________________________________________________________________________ Abstract. Sustainability in architecture includes very extensive and different aspects. Environmental sustainability, the use of natural energies, etc., are factors that have been extensively studied, but what is less studied, is the effects of durability of a work in architecture. Architecture durability means building construction that one of the aesthetic aspects is durable building. Therefore, architecture interactions with painting and sculpture arts and how it will lead to the architecture durability, is examined. Revitalize architecture relationships with other Visual arts can explain the elements, which by benefiting from them we can obtain a model to achieve lasting and sustainable cities and communities. In this article, two lasting works on Iranian architecture, the City Theatre and the Museum of Contemporary Art, have been studied. Method used in this study is an analytical-descriptive method, which its data is collected by using the library method, citing references and documents in books, articles and related sites. Finally, to facilitate the use of research results, tables based on paper's aims (an aesthetic component and an environmental component) have been set. -
Prehistoric Art
PREHISTORIC ART THE BEGINNING Not until 25,000 years ago did out forebears invent art • The first art objects were created not to adorn the body or decorate the cavern--- But attempt to control or appease natural forces CAVE PAINTING • FIRST PAINTINGS WERE MADE ABOUT 15,000 YEARS • BEFORE THE DISCOVERY IN 1996 THE IMAGES AT LASCAUX, FRANCE WERE THE OLDEST KNOWN PAINTINGS IN EUROPE • PAINTINGS MOST REMOTE RECESSES OF THE CAVE—WHERE THERE WAS NO SUNLIGHT WHY DID THEY PAINT THESE IMAGES? • Maybe : • certain animals are symbolic • others represent mythical spirits • to contact spirits in another world • to track migration patterns • related to ritual occasions HORSE CAVE PAINTING 13,000 B.C. SCULPTURE OLDEST SURVIVING ART OBJECTS ARE SCULPTURES VENUS OF WILLENDORF • 25,000- 20,000 BC • ONE OT THE EARLIEST KNOWN HUMAN FIGURES • VENUS GODDNESS OF LOVE • FERTILITY IMAGE • CARRIED AROUND AS AN AMULET—GOOD LUCK CHARM • ONLY FEATURES SHOWING BELLY, BREASTS AND PUBIC AREA • ONLY 5 INCHES TALL • Paleolithic Period:::OLD STONE AGE • After 4000 years gave way to: • NEOLITHIC OR NEW STONE AGE • New stone tools---learned to farm—domesticate animals (cattle—goats –etc.)help with labor, food, milk and leather • Technology of pottery • Settled communities ---architecture of stone and wood were starting to be built ARCHITECTURE STONE HENGE 2,000 B.C. Certain conditions foster preservation of Art • Durable materials ( stone-metal-fired clay) • Local of environment not destructive to artworks • Stable population- • Putting artworks in places of limited or no