Abstract This paper will explore the development of the representation of the human figure on classical Greek ceramics. Given the sheer range and scope of the production in question, discussion will be focused on the tradition of the representation of human figures upon Athenian ceramics in particular. As will be seen, this limitation is not entirely arbitrary. While Greek pottery was dominated by Corinthian production for much of its early history, as Athens grew in commercial and political importance it began to dominate the market for ceramics in the Greek world. From about the sixth century BC onwards, it will be argued, the representation of the human figure upon Athenian pottery grew increasingly sophisticated in both technique and theme. As will be seen, gradually the rigid poses and mythological themes yielded to figures and scenes more reflective of the everyday life of the population. This increasing sophistication, to some extent, reflects the prosperity of the Athenian industry and its capacity to bring in artists from outside Athens whose talents were to transform Greek ceramics.
Abstract In this article, the writer notes that the creation of ceramics is a form of art that some describe as an art and some a craft, though how this is applied may depend on the nature of the work under discussion and the degree of artistry with which it has been designed. The writer discusses Brenda McMahon, a noted ceramic artist who works at her studio in Greenwich, New York. The writer points out that she is also noted as a teacher who guides others in how to express themselves through ceramics. The writer concludes that the works produced by McMahon are inventive and varied, with designs that are often created by the Saggar process itself rather than through the conscious action of the artist, though this does not make them any less artful. This paper includes color photographs of some of Brenda McMahon's works.
From the Paper " The study of art in different media is important to understanding the shaping of a specific craft like ceramics. For one thing, an understanding of a broad range of types and media of artistic expression helps develop an aesthetic sense that understands design and the relationship of one element in a design to others. It becomes possible then not only to see the parts and how they fit into the whole, it is also possible to see how the whole fits into broader traditions both historic and aesthetic. The individual can begin to see relationships extending outside the work of art itself, and these relationships also help to explain the work of art and link it to other expressions in other media."
Abstract This paper relates that Islamic ceramics and pottery have been traced to the 8th century, developing in key Middle Eastern civilization centers such as Iraq, Persia and Syria. The paper specifically looks at how the innovations of that period mark not only the development of the craft but give insights to how cultural and scientific development impact society together.
Outline:
Introduction
Islamic Ceramics and Pottery Traditions
Innovations
Conclusion
From the Paper "One of the key innovations in Islamic ceramics and pottery is in their glazing methods which allowed for greater utility for incorporation in architecture as well as amalgamation of other raw materials. This was also in part a reaction to the difficulties and variances in kilning requirements due to the more arid climate in Islamic centers of civilization. Innovations in glazing included methods which utilized tin to create opaque finishes and painting with metallic luster. This trend also reached Europe through Spain via the Moors. Islamic ceramists and potters are also credited for the development of stone-paste ceramics which were made from non-refactory fired clay which produced finer texture in earthenware that were in popular use (Fehervari, 2000). "
Abstract This paper discusses Alumina or Aluminum Oxide, the only oxide formed by the metal aluminum, which occurs in nature as the minerals corundum, diaspore, gibbsite and most commonly as bauxite, which is an impure form of gibbsite. The author submits that its industrial and commercial use in the modern times took off after the development of the Bayer process, which made possible the wide-scale, low cost production of the material.
Table of Contents
Introduction
Background Information: History of Alumina
Initial Manufacture of Alumina
Manufacture of Aluminum & the Bayer Process
New Natural Forms of Alumina
Properties of Alumina
Mechanical Properties
Thermal Properties
Electrical Properties
Structure of Crystalline Alumina
Alumina (Aluminum Oxide) Structure
Structure of Liquid Alumina
Applications of Alumina
Ceramics As an Insulating Material
Electronics
Mechanical Ceramics Military Uses
Bio Medical
Chemical Ceramics Enameling
Refractory Uses
Chemical Industry
Catalysts, Fillers, and the Glass industry
The Bayer Process
Grinding of Bauxite
Digestion of Bauxite
Settling and washing of Residues
Crystallization of Hydrates
Calcination of Hydrate
Conclusion
From the Paper "Fused alumina (the substance produced after being melted and re-crystallized) is identical in chemical and physical properties with natural corundum. It is a very hard material and its hardness is exceeded only by diamond and a few synthetic substances such as carborundum, and silicon carbide. This property of alumina lends itself for use as an abrasive material. Another useful property of the material is its high melting point, i.e., above 2000?C (3632?F), which makes it useful as a refractory and as linings of special furnaces. The mechanical, chemical, and electrical properties of Alumina (99.7% purity) often used in the ceramic industry are depicted in the following tables:..."
Abstract This paper discusses how Robert Arneson changed the way people looked at ceramics and sculpture. The paper shows how Arneson was different; he did not accept the established rules of different art forms and he never conformed to what others thought about his work. The paper asserts that Arneson's ability to create whimsical and yet touching works gives his work a spirituality and meaning that is far greater than most ceramic pieces can ever hope to accomplish.
From the Paper "Robert Arneson was born in Benicia, California in 1930, and was interested in art from a young age. His father encouraged him to draw, and later he became interested in ceramics. He studied art after high school and received an advanced degree in the arts, as well. One biographer notes, "Arneson became head of the ceramics department at the University of California at Davis in 1962 and became a full professor of art in 1973" ("The Art"). His view of ceramics was different, and he saw ceramics as a way to influence art, rather than just make cups and saucers and such. He had studied the expressionists as part of his art education and he enjoyed bringing new elements into his ceramic sculptures. The Editors continue, "Arneson was part of the dynamic group of irreverent California Pop artists whose work has come to be known as 'Funk Art'" ("The Art"). The artist died of liver cancer in 1992, but his work lives on in many art forms today."
Abstract The paper reviews the exhibition "Wit and Wine: A New Look at Ancient Iranian Ceramics" which ran at the McClung Museum and focused on the art of pottery in ancient Iran and had some 45 pieces on display. The author notes that Iranian pottery art is rarely ever mentioned in archeology journals and reports because this 5,000 year long tradition has been greatly overshadowed by more popular art civilizations.
From the Paper "The third most beautiful and rather humorous piece of pottery that I found truly fascinating was the Vessel with two feet. This piece was unearthed from ancient land in Northern Iran and is believed to have been designed and created sometime during the early first millennium. This was one of those pieces, which appeared to contain no animal influence. In fact it seems that this vessel was created to highlight the pomp ad arrogance of a member f the elite rulers. This is because when the vessel is studied from some distance, one can make out the entire form clearly. The hands are definitely the hands of such a person, while the swelled middle part represents the pompous man's body and feet also appear to be clad in expensive shoes. There are no holes or spouts on the surface and the only opening to pour out liquids is the neck of the vessel. "
Abstract The Panathenaic Prize Amphora (accession no. 50.193) on display in the collection of the Detroit Institute of Arts is dated to around 375-70 B.C. and stands 33 inches high. It is attributed to the Asteios group and is an example of the ceramic black-figure ware that was a principal industry of Athens.
From the Paper "The Panathenaic Prize Amphora (accession no. 50.193) on display in the collection of the Detroit Institute of Arts is dated to around 375-70 B.C. and stands 33 inches high. It is attributed to the Asteios group and is an example of the ceramic black-figure ware that was a principal industry of Athens. The amphora represents the goddess Athena on one side and four male runners on the other. The presence of the runners "indicat[es] that the prize was for the winner of a foot race" and the amphora features an inscription that specifically identifies it as a prize "From the games in Athens" ("Panathenaic").
The condition of the amphora appears to be very good. There are cracks on the side featuring the runners and abrasions on all the figures. The left thigh, and the groin and buttocks of one of the runner is orange-red rather than black. It appears that..."
Abstract This paper looks at the system used in how to make tiles and also what capital, and business requirements would be needed to set up a tile making company in the New Jersey region.
Abstract The paper looks at the life of Victor Schreckengost, a legendary artist and designer who has made a major impact on the art world through the mediums of clay, hand-painted ceramics, and sculpture, as well as drawing and painting. The paper describes his education and works in designer dinnerware, bicycles for adults and children, art pottery and small-scale and architectural sculptures. The paper relates that Schreckengost was named one of the ten National Medal of the Arts recipients and was honored by President George W. Bush and Mrs. Laura Bush in an oval office ceremony at the White House in November 2006.
From the Paper "Victor Schrechengost was born the first child to Warren and Adda Schreckengost in Sebring, Ohio. Artistic ability existed all through his family, his father Warren was a commercial potter for the French China Co, and two of his brothers are today well-known designers. It was is father who Victor learned the craft of sculpting from, often visiting and latter working at his fathers studio as a water carrier and doing other odd-jobs. He received no structured art classes through eighth grade, and in high school the only art-related course was mechanical drawing."
Abstract The Panathenaic Prize Amphora, on display in the collection of the Detroit Institute of Arts, is dated to around 375-70 B.C. and stands 33 inches high. It is attributed to the Asteios group and is an example of the ceramic black-figure ware that was a principal industry of Athens. This paper discusses the amphora and shows why its design and features are so typical of Athenian ceramic-ware production.
From the Paper "Various centers competed in the production and export of ceramic wares, but by the middle of the sixth century Athens had eliminated its principal rivals "and the many other wares that had flourished during the seventh and early sixth century had gradually disappeared, continuing only as local products" (Richter 315). Athens' dominance in the Mediterranean ceramics market extended from 550 to 400 B.C. and the Detroit example comes at the end of the city's reign. Black-figure technique also dominated production in the sixth century but was gradually overtaken in popularity by red-figure ware in the fifth century."
A look at the book "Painting the Maya Universe: Royal Ceramics of the Classic Period" which takes a comprehensive look at the Maya art of the Classic period.
1,600 words (approx. 6.4 pages), 5 sources, 2000, $ 52.95
From the Paper "Among the Classic Maya period from A.D. 250-850, painting was the primary expressive medium. The most common example of this painting is found on their polychrome pottery, which survived because of its durability and the protection afforded it by its being buried in the tombs of the elite. Because most sites have tombs the polychrome pottery also becomes an indicator of place, time, and group. This is especially important because the Classic period saw constant political fluctuations during which different sites became the centers of power. The sites being the focal point for social, religious, political, and economic strength and the pottery being the historical record."
Abstract This paper examines what is the existing connection between religion and art. The author provides an overview of Zen, Buddhism, Daoism and Taoism. Then, he describes what type of art emerged from these religions.
From the Paper "But, of course, in our multi-cultural society, it is not only Christianity that makes its way into business practices. This paper explores the connections between the religious system of Zen Buddhism and the practice of pottery, examining the intimate and intricate ways in which systems of thought have become married to systems of action. This idea is based on the fact that an acquaintance, which was raised as a Methodist, married a Buddhist man (raised in Japan) and decided to begin practicing Buddhism. She found that her job as a sixth-grade teacher, while rewarding in many ways, became increasingly out of tune with her new religious beliefs and so she quit and opened a pottery studio. She now teaches pottery and sells her own work, a business that she believes has brought her a deeper understanding of the essence of Buddhist practice and belied (Nakashima, personal communication)."
Tags: society teachers meditation arts and crafts ceramics painting calligraphy gardening architecture, tea drinking fencing archery
Abstract The paper discusses the works of Frank Lloyd Wright, the greatest and most influential architect in the history of American art and design who gave us some of the most beautiful and dazzling structures. The author explains how he is remembered mainly for his residential houses as he was the first architect to change the design of American houses to make them suitable for modern living although he gained fame international fame with his design of Imperial Hotel in Tokyo.
From the Paper "American should be proud of those who have given it the reputation of being the country with most talented people. It should praise those who have added a new dimension to its art, literature and architecture. The reason being that a country is known by the people who belong to it and some of these people by the power of sheer genius can take their country to new heights of fame and pride. America boasts of numerous highly talented people in various fields, but it has only very few well-known personalities in the field of architecture and design. This is not because the country does not provide encouraging and conducive environment, but it is because of the nature of the work itself. Ceramics, Architecture and lighting may appear to be rigid fields, which allow introduction of new techniques, and style only rarely but it all depends on the magnitude of creative genius residing within the one who enters this area. Very few people in these fields art, design and ceramic work can bring dramatic changes to previous styles and design and introduce better techniques and give the country its own architectural identity. One such person was the American architect and artist, Frank Lloyd Wright."
An examination of "The Cult of the Dead in Judah: Interpreting the Material Remains" by Elizabeth M. Bloch-Smith which claims that an ancient cult of the dead existed during biblical times.
Abstract "The Cult of the Dead in Judah: Interpreting the Material Remains" by Elizabeth M. Bloch-Smith is a discussion of the author's evidence of the aforementioned cult through biblical and archaeological records. The paper discusses Bloch-Smith's premise that the biblical and archaeology records corroborate each other and therefore provide proof of a cult of the dead. This report reviews the findings of Bloch-Smith's article, conclusions of the article, a critique of the findings and a response to the article's findings.
From the Paper "The author begins by looking at archeological burial sites to support the cult of the dead. She looks primarily at Judahite burial types in the Iron Age. Bloch-Smith attempts to show that the Judah cult had a distinctive burial practice separate from surrounding cultures. The primary Judah burial types were bench tomb and cave. In a bench tomb configuration, benches lined the walls of the tomb. The bodies were laid on the waist-high benches. A repository was also part of the tomb to accommodate new bodies. The cave configuration required the body to be placed in the center of the cave along with artifacts associated with the individual. If additional bodies were placed in the cave, then the bodies would be repositioned along the cave walls. Regardless of the configuration, similar artifacts are found in both. These artifacts included food, ceramic containers, jewelry, tools, personal items and more. The format used to bury the Judahite people appears to remain unchanged throughout the Iron Age."
Abstract This paper will discuss a piece of Greek ceramic pottery from the Art Institute of Chicago. By analyzing its origins, the style, materials, patron, function and the social context it had within the time period, we can see the history unfold about the Greek vase in its entirety. In revealing the nature of the object to be studied, there can be a well-rounded observation of the artifact and will tell us much about the life of the Greeks from this period.
