Ceramic Art Research Articles

Enactychism: Enacting chance in creative material engagement

This paper reflects on the meaning of chance and the impact that the occurrence of ‘accidents’ have in the creative process. I draw insights from two main sources: material engagement theory and the art of ceramics. In particular, based on observations from my comparative anthropological study of creativity in pottery making I present a process-oriented enactivist vision of chance as a meaningful coincidence where flow and form diverge from the norm and give rise to creative gesture. First, I introduce the notion of enactychism (blending ‘enactivism’ and the Peircean concept of ‘tychism’ from the Greek word ‘tyche’ for ‘chance’) as a means to conceptualise the relationship between chance, agency and materiality. Then, I explore the relationship between chance and creative gesture and propose ways for tracking the operation of chance in action.

Bowl: Anyam Technique on Ceramic

Adding value to works of art is the subject of many discussions, and finding a new aesthetic can be accomplished by innovation and experimenting with the medium and techniques employed. This research attempts to make ceramics utilizing various embodied approaches similar to other manufactured materials. Specifically, bowl-shaped ceramics are formed using a woven technique similar to bamboo and then arranged in an interlocking pattern to resemble woven bamboo. The final result of this application technique is in the form of artistic bowls that have afresh aesthetic value for the development of ceramic art. These bowls are hollow due to the woven fabric and contain many values built-in to ceramic form, including material efficiency, organic form, and artistic form, which was previously unexpected. This serves as an accelerator for future application development of various shaping approaches. This confirms that the creative possibilities for plastic clay are virtually endless.

CONTEMPORARY ARABIC CERAMICS (METHODS AND TECHNIQUES), CONCEPTUAL WORK IN CONTEMPORARY ARABIC PORCELAIN

Ceramic art was associated with the advent of ancient man, since he used it in his daily life to store food and bury the dead. He did not care about the aesthetic side. Ceramics art evolved with the evolution of man and became competing in importance for the art of painting and sculpture. The migration of some potters out of the country and travel to study the evolution of ceramic art and its clear reflection on Arabic porcelain provides for the identification of Arabic porcelain in Iraq, Egypt, Jordan and Lebanon.

Transformasi Estetik Keramik Kasongan, Bantul, Yogyakarta

Kasongan ceramics experience aesthetic transformation over time. Changes in the art of Kasongan ceramics were initially limited to household items with designs limited to circles, rounds, and cylinders, changing into animal shapes with pasting decoration techniques, jars with paint finishing techniques or glass mosaics, and Loroblonyo sculptures with glaze finishing techniques. The manufacturing technique, which was initially limited to traditional techniques, has evolved over time in terms of tool preparation, embodiment, and finishing. This is evident in the work produced, which range from traditional techniques to temple techniques and finishing techniques using paint, glass, and glaze. The ceramic design that was originally intended to fulfill daily needs has undergone a design shift, namely toward a ceramic design that is not only functional (traditional), but also more oriented toward art product design (decoration) or practical art (functional decoration). External and internal factors that exist in the wider community influence the variety of products produced by ceramic artisans in Kasongan.

1991년부터 2020년까지 서울시립미술관 해외작가 소장품에 대한 시대별 변화 및 특징 연구

The purpose of this paper is to study the changes in and characteristics of SeMA’s acquisitions of non-Korean artists from 1991 to 2020 through a periodical perspective. In the 1990s, SeMA's collections of non-Korean artists developed around crafts and ceramic art, and artists from Western and select Asian countries were emphasized. In the 2000s, printworks related to the Seoul Olympics made by important global artists comprised the highest proportion of the museum's non-Korean acquisitions, and a wider variety of genres were collected, emphasizing painting and photography. Also, similar to the 1990s, in this period Western and Asian artists dominated the museum’s collection, though non-Western artists increasingly helped to diversify it. In the 2010s, SeMA showed even greater diversification in the artistic genres it collected, including painting, photography, installation, and new media, and emerging global artists were collected. As for the artists’ nationalities, there was a tendency in this period to collect works by multinational artists, including those from the Middle East. In addition, increasing emphasis was placed on ‘Korea’ and Korea-born foreign artists, a trend that had continued from the 2000s. Developing a discourse of globalization centered on local government art museums, this study examines the characteristics of non-Korean artists acquired by SeMA’s from the perspective of time.

삼각형점토대토기의 등장과 소멸, 무문토기의 종말

Triangular clay-stripe pottery is the last type of plain-pattern. In the Yeongnam region, it appeared at the end third century~middle second century B.C. Triangular clay stripes themselves were made in the process of pressing round ones to solidify the adherence of clay bands. Many different elements made complex appearances in the pottery that accompanied triangular clay-stripe pottery, the emergence of whose culture was related to the spread of the iron culture in the Yeongnam region. Pottery at the stage of triangular clay-stripe pottery became diverse in terms of type and size, which meant that the methods of occupation and cooking also became diverse based on the increased productive capacity. The increase of surplus products became the background of founding a “Kuk(國)”, and this social background was manifested in the diversification of pottery in type and size. In the first century B.C., grey pottery appeared and was buried in tombs. Triangular clay-stripe pottery was buried in tombs at the Daho-ri relic until the first century A.D. It was used at the living relics in the downstream section of the Nakdong River until the second century A.D. and replaced with reddish brown soft pottery. It meant that plain-pattern pottery was replaced with reddish brown soft pottery. The beginning of triangular clay-stripe pottery meant the beginning of the full-blown iron culture. Its end meant the end of plain-pattern pottery, which signified the end of the traditional production system that was home-based and non-full time. The end of triangular clay-stripe pottery and the appearance of soft pottery meant that even life pottery was made in the new ceramic art involving a pottery wheel and the beating technique. It means the end of an old era and the opening of a new era.

Effects of Clay Art Therapy on Emotion Regulation and Hair Cortisol Concentration for Youth With Emotional Problems

This novel study pushed forth current research by evaluating the effects of a clay art therapy (CAT) program on emotion regulation and the level of hair cortisol as a physiological response. Forty-one students aged 15–17 years with at least a mild form of emotional problems were randomized into a CAT group and a waitlist control (CON) group. The CAT group comprised six 2-h weekly sessions led by an experienced art therapist. Wilcoxon t-tests, Mann-Whitney U tests and a full regression model were employed to analyze the results. The study supports the positive effect of CAT on the emotion regulation ability of youth. The elevation of HCC after intervention may not be pathological but a sign of benefit to health.

Rhino application in ceramic packaging design teaching

Abstract Ceramic packaging design is the crystallisation of industrial design, ceramic art design and graphic design. Rhino software is used to design ceramic bottles to express the designer’s ideas accurately. Rhino is well suited to a market where new product development cycles continue to shrink. In order to solve the problem of lack of realistic feeling in the teaching of ceramic packaging design, Rhino is used in ceramic packaging design to realise the application of college teaching. In view of these problems, this paper proposes a complete set of Rhino applications in ceramic packaging design teaching. First, a ceramic packaging design process based on Rhino is proposed. PythonScript module supported by Rhino software is used to realise ceramic packaging design through program algorithm. Then, Rhino is employed as a tool for ceramic packaging design, which is very suitable for graphic design students because of its inherent characteristics. Rhino ceramic packaging design will be applied to teaching, making the course construction closely adhere to the local industry, which is conducive to expand the employment opportunities available to students. The experimental results show that Rhino ceramic packaging design can be applied to teaching, and this capability indicates that it is possible to endow future teaching activities with a basic innovation research direction.

Sexual violence related to terrorism: Psychological care for Yazidi women in Iraq

ObjectivesFrom 2018 to 2022, the Lebanese Association of Victims of Terrorism (AVT-L), in collaboration with the United Nations (UNODC, United Nations Office for Drug and Crime) and with the support of the government of the Netherlands, conducted a project to provide psychological care to victims of terrorism in Iraq. PatientsNinety Yezidi women participated in this program. Each participant had experienced sexual violence during the control of part of Iraqi territory by the jihadists of the Islamic State group (ISIS) between 2014 and 2018. After a semi-structured interview, these Yezidi women first participated in experience-sharing sessions for three consecutive days. Then, they benefited from an individual psychological follow-up for 6 months. Materials and methodsOver the last ten years, the association's team has developed a protocol that combines art therapy with group and individual psychotherapy. The care is regularly evaluated. From the first interview, the psychologist uses the results of the Traumaq. An evaluation tool that assesses trauma-related symptoms. Subsequently, the PCL5 scale is used to measure the evolution of the symptoms. A considerable support that is studied in resonance with the life story and the social, personal, and professional evolution of each person. ResultsAt the end of the psychological support sessions, significant changes were observed, particularly for criteria B and D of the DSM-5. We recorded a reduction in intrusive memories, as well as an improvement in emotional and physical reactions to these memories. Feelings of guilt had subsided and a significant improvement in sleep and concentration was noted. Participants experienced an improvement in their self-esteem, with a desire to pursue studies and active projects in their community. However, anger regarding injustice and lack of compensation remains palpable. This work culminated in supporting and accompanying these women in making their voices heard at the United Nations headquarters in New York. ConclusionsIn this paper, we will highlight the beneficial aspects of art therapy used in this program. We will emphasize the value of clay art therapy particular within this context.

Financing Ceramic Artists and Fashion Designers in Small and Medium Scale Enterprises (SMEs) in Sekondi-Takoradi, Ghana

Small and Medium Scale Enterprises (SMEs) face numerous financial challenges in their contribution towards the socio-economic development in Ghana. As a result, most ceramic artists and fashion designers in SMEs often are confronted with global economic crisis and are unable to grow their businesses to become big firms. The general objective of the study was to investigate the funding challenges facing Ceramic Artists and Fashion designers who owned small and medium scale enterprises in Ghana as well as examined what could be done to help mitigate these challenges. The study adopted purposive sampling technique to select forty (40) respondents comprising twenty (20) ceramic artists and twenty (20) fashion designers who owned SMEs within Sekondi -Takoradi Metropolis. Questionnaires and interview schedules were developed and used to collect data from the sampled ceramic and fashion enterprises. Statistical techniques such as mean and percentages were used to analyze the data collected while descriptive analysis was used to generate graphs, charts and tables. It was established that some of the financial challenges facing ceramic artists and fashion designers in Sekondi-Takoradi metropolis included financial constraints such as raising capital in starting the business, lack of collateral, the fear of taking risk, high cost of lending, the demand for collateral by banks and micro finance as well as the delay in the processing of loans to access credit. The study concluded by recommending among others that, loan acquisition processes could be shorter and simple. Additionally, low interest and financial training could be given to the ceramic artists and fashion designers to aid them in keeping proper financial records so as to sustain their art businesses.

Intellectual And Artistic Concepts of The Cultural Context And Their Impact On Contemporary Ceramic Sculpture

The current specialized research tagged (intellectual and artistic concepts of the cultural context and their impact on contemporary ceramic sculpture) paves the way for the emergence of the context in ceramics active in life, so that this relationship will indicate the development and presence of ceramics or not and the volume of its circulation in the joints of the culture of the Arab recipient. As a result, the researcher collected scientific materials to serve the subject of the research in four chapters: Chapter One (General Methodological Framework) To clarify the problem of the research, the importance of the research to achieve benefit in higher education and education for scholars and teachers, while the research aims to reveal the development of cultural contexts and their impact on the production and circulation of contemporary Arab ceramic art. They are the Arab countries, then the search terms were identified and defined. As for the second chapter (theoretical framework), it included three axes: the first: meaning Context. The second axis: thinkers' views of the context in language and linguistics. The third axis: the emergence of the context as representations in the artistic form, and in the third chapter (research procedures) the researcher reviewed the presence of ceramics in the Arab reality through the analysis of ceramic sculptural patterns. The researcher aims to select a sample that represents the boundaries of the research, its aim, and the framework of society. - Research tool: In order to achieve the goal of the research and to identify (the intellectual and artistic concepts of the cultural context and their impact on contemporary ceramic sculpture The researcher adopted the indicators concluded by the theoretical framework, and the researcher concluded in the fourth chapter a number of results: 1- The Arab audience formed a presence represented in the demand for works with peripheral contents in favor of types of cultural and artistic reception in addition to the factional and media. 2- Formal behavior in art. The contemporary Arab, the Arab recipient voluntarily accepts the forms within the ceramic sculptural work and its abbreviations brought by the postmodern culture other than what we have seen, as it simulates the forms through their symbols and meanings on the one hand and preserves their contents on the other hand. In addition to the conclusions, recommendations and proposals.

The geometrization of maize and its landscape in Inca ceramic art

The geometrization of maize and its landscape in Inca ceramic art

Inovasi Pelapisan Glasir Pada Gerabah Di Industri Kecil Dan Menengah

Melikan Village, Wedi District, Klaten Regency is an area that is 90% working as traditional pottery craftsmen with one of the rare ceramic-making techniques in the world, namely the tilt rotation technique. This technique turned out to be a feature that distinguished it from the art of printing pottery and ceramics from other regions with a plain brown, blackish color being its hallmark. The products of this craft have been exported to Switzerland and other countries. The purpose of this community service activity includes improving creative skills and innovating in making pottery and glaze crafts. The method applied in this community service activity is through lectures (counseling), mentoring, and the practice of making pottery with glaze. The existence of this community service activity is able to encourage craftsmen to produce pottery that has been coated with glaze so that it can improve the quality of pottery/ceramics so that it is more marketable in the modern market as it is today.

Technologies of using colored clay in the manufacture of ceramic products

The article is devoted to the history and technology of using colored clay in the art of ceramics. The paper provides a classification and description of techniques for working with colored clays to create ceramic products.

Between Heaven and Earth! A Poem-Collage Pair About Hypatia of Alexandria

The poem-collage pair presented here is a work of collaboration between the mathematician and poet, Sarah Glaz, and the collage and ceramic artist, Mark Sanders. The piece is part of their larger joint poem-collage project involving the history of mathematics. Included as background is a brief discussion on the history and mathematics involved, and a reflection on several landmark locations and some of the relevant imagery appearing in the poem and the collage.

Reproduction of the Sacred Significance of the Ritual “Binocular” Plastic Arts of the Trypillia Culture

The article deals with the analysis of the religious component in the manifestations of ritual plastic arts of the Trypillia ethno-cultural community. The author brings into consideration one of the “visiting cards” of the Trypillia civilization—“binocular” (biconical) ceramic plastic arts, which became one of the most characteristic visual markers of the culture.

Social Communication in Conceptual Works of Contemporary Ceramics

Contemporary ceramic art and intellectual trends, where the ceramic form became interactive from society and mixed with the environment, and in conceptual art, the concept or meaning behind his work is more than his aesthetic function, this study forms four chapters. Its first chapter is concerned with the problem related to the research, its importance and limitations, and it defines the terms used. As for its second chapter, it is related to the framework of theoretical research and previous studies, and the concept of social communication is dealt with in its first axis, while its second axis deals with postmodern ceramics. In the third chapter, the procedures that were taken to implement the research are explained, where the research category of (15) potters was formed, the study sample and the tools used, the descriptive analytical approach was determined, and an analysis was conducted on a sample of the research consisting of (3) ceramic samples. As for its fourth chapter, it includes a review of the results, recommendations and conclusions.

The dragon motif in Far Eastern porcelain: Towards attribution problems

The article is devoted to the analysis of a typical Chinese figurative motif — a dragon, in porcelain objects of the Ming and Qing dynasties and in works of Japanese ceramic art of the Meiji era. The approach to the study of decorative and applied art from the point of view of the motive has been repeatedly tested by the author when compiling typological series of antique motifs in the decorative and applied art of Russian classicism. The novelty of this article is that for the first time more than fifty Chinese and Japanese objects with dragons dating from the 14th — early 20th centuries originating from the National Museum of Chine, the Shanghai and Nanjing Museums, the Metropolitan Museum of Art, the National Museum in Tokyo, the Victoria and Albert Museum, the State Hermitage Museum, as well as from several private collections. The following features were compared: posture, body position, color scheme, the nature of the background, as well as whether the dragon image is single or paired, the painting is made underglaze or overglaze, in the form of a flat or relief image. The early stage of the 14th–16th centuries it does not allow us to find prototypes of dragon images in the past, but still the author has collected certain information about cases of reflection of the dragon theme in Chinese cultural monuments. The objects of the 18th and, especially, the 19th centuries serve as a good material to find in the art of the bygone eras of the Celestial Empire the previous artistic interpretations of dragons. In the final part of the article, an overview of dragon images in Japanese ceramic art is presented, the reasons for the migration of this motif caused by the victory of Japan, as a competitor, in the Far Eastern porcelain market are substantiated.

‘Senior Citizen’: Ironic Depiction of West Africa’s Herder-Famer Crisis in a Conceptual Ceramics Exposition

This paper proffers an art-speech of the farmer-herder crisis in Nigeria from the standpoint of the conceptual ceramic’s exposition. Using the figurative construct of ‘senior citizen’ and the visual art form of conceptual ceramics, this paper creates a sort of metaphorized analogy that depicts an allegory of Nigeria’s perennial farmer-herder crisis scenario, where the wellbeing of the citizenry appears to have been subordinated to those of the herders and their herds. The uncommon ceramic art approach that negates traditional production methods has been explored in this study to interrogate the outlined concerns. This process includes the pinching of plastic clay, placing it in the palm, rolling the clay with both palms into a stick-like shape, placing the stick at the foot of the fingers, tightly compressing the clay by closing the fists, and finally releasing the clay to reveal the product. This style that has been termed fragmented clay palm press terracotta on canvas proved effective and fluid enough to achieve the essence of this study. The intriguing situation of Nigeria’s socio-political metaphor vis-à-vis the prevailing farmer-herder conundrum is explored in an attempt to foreground the existential irony that this awkward situation portends.

Development of Cultural Understanding Program in Elementary, Middle, and High School for Sustainability of Traditional Ceramic Arts

Development of Cultural Understanding Program in Elementary, Middle, and High School for Sustainability of Traditional Ceramic Arts