Contemporary Pottery Research Articles

Characterization of Traditional Pottery Artifacts from Yucatán Peninsula, México: Implications for Manufacturing Process Based on Elemental Analyses

The present work is focused on developing and implementing a minimally invasive methodology for material characterization of traditional pottery from Yucatan, México. The developed methodology, which combines elemental (X-ray fluorescence spectroscopy (XRF), inductively coupled plasma-optical emission spectroscopy (ICP-OES), and Laser-Induced Breakdown Spectroscopy (LIBS)) and molecular (fiber optic reflectance spectroscopy (FORS)) spectroscopic analytical techniques, allowed for the characterization of contemporary pottery objects manufactured following traditional recipes in the town of Uayma, Yucatán, México and raw materials associated with the pottery manufacturing process. The results allowed us to detect and estimate the number of selected elements and helped to infer the presence of complex materials such as iron oxides, aluminosilicates, and calcium carbonate. Additionally, the analysis indicated two pottery groups separated by their elemental and molecular composition, corresponding to the sources of raw materials employed by the potters. It confirmed the absence of toxic compounds in ceramic objects, a significant concern for potters, as some objects are intended for domestic use. The research findings provide reassurance about the safety of these products.

Pre-Mamom Pottery Producers in the Heart of the Yucatan Peninsula

Recent research in the Maya Lowlands has revealed substantial new evidence for the first pottery producers at about 1000-600 bc, during the early Middle Preclassic period. This comparatively late adoption is a special case in Mesoamerica, where pottery appeared elsewhere up to a millennium earlier. Although archaic lifeways had long been established in the region, and pottery technology was likely known to some archaic communities, these new data reveal the complex set of circumstances that prompted the shift to ceramic production across the Yucatan Peninsula, Peten, and Belize. This article reviews these data from the perspective of the upland region of central and southern Yucatan, known as the Elevated Interior Region (EIR). Its rather complex early settlement links the EIR to contemporary pottery industries throughout the peninsula, suggesting well-established exchange systems were in place even as the first populations chose to settle more permanently on the landscape. Most significant among these cultural shifts was the increasing dependence on maize foodways as a primary subsistence strategy. Intensive maize agriculture has not been documented in Mesoamerica much before 1000 BC, yet ceramic technology was adopted independent of its use in other areas. Current evidence suggests, however, that the two were linked in the Maya Lowlands, where a relatively rapid transition took place as horticultural communities became more dependent on maize crops, followed waterways to settle more permanently on the landscape, and began producing pottery locally.

Cultural continuity and change through ceramic ethnoarchaeology: A comparative analysis of Rang Mahal and contemporary pottery in Nohar, Hanumangarh district, Rajasthan

This paper explores the cultural continuity of ceramics in Nohar, Hanumangarh District, Rajasthan. The study employs qualitative research methods and comparative analysis to analyze the collected data. The data was obtained through documentation methods, archival research, and historical documents. The study reveals through the comparative analysis that Rang Mahal pottery and contemporary pottery show a remarkable continuity of the Rang Mahal culture, also recognized as Kushan pottery, within the contemporary context. The implications of these findings are significant for understanding the cultural continuity and change in human societies and for preserving the traditional knowledge and practices of pottery-making.

Preliminary results of excavations of the Early Bronze Age settlement in Lernakert (Armenia)

In 2019 an Early Bronze Age settlement was recorded within the territory of Lernakert village of Shirak. It occupied the territory of the Early Iron Age fortress of Vari Berd and its surrounding area, reaching the south-western limits of the village. The homogenous and contemporary pottery fragments of the Karnut-Shengavit group associated with the second stage of the Early Bronze Age were unearthed in three test trenches. The assemblage mainly included rim fragments of pithoi, pots, deep bowls, as well as lids, handles, andiron-pedestals etc. These objects represent mainly kitchen ware and objects of everyday use. Some of them, however, bear geometrical patterns, bird and animal decorations and incised ornaments. A bronze crescent-shaped artifact was found within the territory of the site, which is one of the rare examples found in Armenia typical of this period. The mentioned findings reveal a relatively developed level of Early Bronze Age culture in Lernakert.

Indigenous tradition, change, and uncertainty in western Honduras: how Lenca potters maintain craft production livelihoods in the face of socioeconomic development

ABSTRACT For the indigenous Lenca people of western Honduras, pottery production represents an economically and spiritually important tradition. Historically exchanged in regional trade networks, pottery is still produced today. However, this tradition is changing due to socioeconomic and political development. Lenca pottery has shifted from utilitarian wares to more aesthetic pieces favored by tourists – a change encouraged by state constructions of national identity. Promotion of what are considered ‘marketable’ indigenous crafts and attractions in the tourism industry has resulted in misconceptions among domestic and international tourists regarding distinct indigenous tradition – like Lenca pottery. Drawing on nine months of fieldwork in the Lenca community of La Campa, Lempira, this research note examines how contemporary pottery tradition may be shaped by state constructions of indigenous heritage and identity, which are reproduced through the national tourism industry. Through the application of neoliberal multiculturalism, this work explores how these political processes restrict Lenca craft producers from benefitting from tourism. To conclude, this article presents empirical evidence suggesting that despite these obstacles, Lenca artisans in La Campa maintain pottery production as a livelihood through innovative choices in altering selling and production methods.

IDENTIFICATION OF LAYERS PRESENT IN A CONTEMPORARY CERAMIC USING LASER-INDUCED PLASMA SPECTROSCOPY

In this work, laser-induced plasma spectroscopy was used to identify the elemental composition, at different depths, of a commercial Peruvian ceramic. The IVEA MobiLIBS system and IUMTEK TX1000 system were used, under environmental conditions and 5.6 mJ of energy, forming craters of approximately 60 μm in diameter. To improve accuracy, repetitions of the impact points were performed, accumulating the signals at the same depth. The blue and white pigments that covered it, as well as the matrix paste, were characterized, making different levels of penetration in the material, obtaining their respective elemental composition. This allowed finding the difference between stratigraphic layers, based mainly on the variation of the intensities of Copper, Titanium, Carbon and other characteristic elements of the clays that make up the matrix paste. Contemporary pottery was found to have sequential layers of decoration, engobe and matrix paste.

Pengembangan desain teko set gerabah kontemporer berbasis budaya lokal di Kabupaten Bojonegoro

Pottery is a type of traditional craft that has taken root in the history of art and culture of the Indonesian society. This fact is supported by various forms of ancient earthenware crafts which discovered since prehistoric times and the emergence of pottery craft centers in various parts of Indonesia, including in Rendeng Village, Malo District, Bojonegoro Regency. The changing of market needs and tastes today are a common problem faced by the traditional craft industry, including pottery crafts. Local wealth inside the traditional handicraft design which increasingly disappearing is one of the common concerns. The development of this contemporary pottery design aims to revive the skills of pottery craftsmen and the local culture of the Bojonegoro society in a modern design style. The research and development produced three sets of earthenware teapots, namely a turtle-shaped teapot set, a white combination of turtle-shaped teapot and teapot set inspired by Bojonegoro local coffee. Design research uses action research methods which consist of three design cycles. The application of this research method is useful to improve the capabilities and creativity of pottery craftmen in designing craft designs. Each design development cycle has four stages, namely planning, observation, action and reflection. The results of the study show that the color of the local clay Bojonegoro can characterize contemporary designs with a blend of colors and materials. The local way of drinking coffee as an inspiration for ‘kothok’ coffee teapots set has the potential to commercialize products and new experiences in drinking coffee.Key words: teapot, pottery, contemporary, Bojonegoro

Salt Making and Pottery Production: Community Craft Specialization in Alburquerque, Bohol, Philippines

ABSTRACTThis ethnoarchaeological study examines contemporary salt and earthenware pottery production in Alburquerque, Bohol, Central Philippines. It highlights the intersection of these two craft industries through the use of locally made earthenware pots for salt making, serving both as brine boiling containers, as well as standard units of measurement for trade. It examines the spatial distribution of production activities and related material culture, from the procurement of resources through the stages of production, to distribution, and the resulting archaeological correlates to serve as a framework for interpreting prehistoric salt sites with pottery remains. Moreover, this research contributes to research on household-based production activities, demonstrating that households can be active and integral participants in inter-community and regional markets and long-distance exchange.

Potters Kiln Bricks: Using Manual Brick Making Machine

Bricks production is of vital importance for the sustenance and development of Nigerian ceramic potteries, ceramic tiles, red bricks and glass industries. Ceramic brick is the unit of kiln construction which without, ceramic production is impossible. Despite the availability of raw materials for potters kiln brickmaking locally everywhere in this country, little has been done in terms of investigating and designing standard brickmaking processes in Nigeria. Right from the inception of soft mud brickmaking method which is the main method for local production of potters kiln bricks has been associated with some problems. The production of brick (handmade brick) is found to be very slow, time consuming and labour intensive. This method of production is associated with irregular shapes due to its poor compaction capacity which affect lifespan of the kiln and insolation performance as well. Hence, there is need to attempt to produce potters kiln bricks with manual brickmaking machine which will minimize these problems. These manual bricks making machine was made primarily to produce concrete cement brick. The successful completion of this research will therefore lead to replacement of the soft mud brickmaking process, and also substitute the high-tech motorized Compressed Earth Brick (CEB) machine, with locally constructed brickmaking machine it will also improve the quality of the thermal and mechanical properties of the brick in terms of shape and form using the standard compaction pressure which is equivalent to American Society for Testing and Materials (ASTM) stabilization standard. This will also help in reducing the cost of buying imported ceramic brick at a higher rate, as well as create self-employment opportunities and support the growth of contemporary pottery and ceramic entrepreneurship programme in Nigeria. Keywords : Kiln, brick, pottery, refractory DOI : 10.7176/JEP/10-11-04 Publication date : April 30 th 2019

Reflections on Pottery Art in the Oil Rich Niger Delta Region of Nigeria: A Study of Pottery Art in Akwa Ibom and Rivers States

Niger Delta region is very rich in oil and gas deposits, clay, agricultural land, fisheries, extensive forest and other resources. They are nine states which make the region namely, Abia, Akwa Ibom, Bayelsa, Cross River, Delta, Edo, Imo, Ondo and Rivers. The most oil producing communities among them are Akwa Ibom, Bayelsa, Edo, Delta and Rivers State. Clay is equally found in abundance in all the states like crude oil is found in Niger Delta communities. The available clay mineral in the region has the capacity to transform the nation’s economy if properly utilized. Clay is the basic material for pottery or ceramics production. It is also used to ease the penetration of pipes in drilling of crude oil. This paper looks at the practice of pottery in Niger Delta Area with a focus on pottery practice in both Akwa Ibom and Rivers States. Indigenous and contemporary pottery or ceramics practices in these communities indeed have played vital role in the economic, social religious and cultural ways of life of the people. Clay products such as dinnerware and sanitary wares and others are highly sought for and they have the capacity to boast the national economy as experienced in other nations such as Japan, Italy, Britain, United States of America, India and China among others. Data were collected from both primary and secondary sources and were subsequently assessed. The result shows that proper utilization of clay found in Niger Delta has the potential to create numerous job opportunities for the teaming population of youths in the region. The availability of abundant clay in the region, if well harnessed could adequately compete with crude oil exploitation for economic purposes in the region.

Reflections on Pottery Art in the Oil Rich Niger Delta Region of Nigeria: A Study of Pottery Art in Akwa Ibom and Rivers States

Niger Delta region is very rich in oil and gas deposits, clay, agricultural land, fisheries, extensive forest and other resources. They are nine states which make the region namely, Abia, Akwa Ibom, Bayelsa, Cross River, Delta, Edo, Imo, Ondo and Rivers. The most oil producing communities among them are Akwa Ibom, Bayelsa, Edo, Delta and Rivers State. Clay is equally found in abundance in all the states like crude oil is found in Niger Delta communities. The available clay mineral in the region has the capacity to transform the nation’s economy if properly utilized. Clay is the basic material for pottery or ceramics production. It is also used to ease the penetration of pipes in drilling of crude oil. This paper looks at the practice of pottery in Niger Delta Area with a focus on pottery practice in both Akwa Ibom and Rivers States. Indigenous and contemporary pottery or ceramics practices in these communities indeed have played vital role in the economic, social religious and cultural ways of life of the people. Clay products such as dinnerware and sanitary wares and others are highly sought for and they have the capacity to boast the national economy as experienced in other nations such as Japan, Italy, Britain, United States of America, India and China among others. Data were collected from both primary and secondary sources and were subsequently assessed. The result shows that proper utilization of clay found in Niger Delta has the potential to create numerous job opportunities for the teaming population of youths in the region. The availability of abundant clay in the region, if well harnessed could adequately compete with crude oil exploitation for economic purposes in the region.

Production of Ceramic Wares with Idea Development from Shells to Promote Femininity in Ghanaian Pottery

Ghanaian pottery practices and their modern reintroduction have been rendered masculine especially in tertiary institutions. Feminine participation in contemporary Ghanaian pottery/ceramic practices is virtually non-existent. The study believed women’s participation had contributions to make to pottery practices, and hence advocated the employment of feminine subjectivities and traditional spaces as well as indigenous pottery trade strategies and other feminine idiom within contemporary studio practices as means to rescue the stagnating practices and involve womanhood in the evolution of ceramic art at tertiary levels. ‘Modelling’ and ‘throwing’ were the main studio forming methods employed to produce crockery in the study. Materials used included; Abonko and Mfensi clays, manganese and glaze. Again, the study explored means and bases for feminine inclusion, especially in contemporary and academic pottery practices as means of normalising an anomaly engendered by maternity. It concluded among others that, pottery practices in their modernist sense had been trapped in sculpture representations and it was only through the use of feminine idioms and subjectivities that they ought to be freed to their full meanings as art. It was recommended with others that, female students would be given the chance to develop concepts that would depict their inner values and beliefs in their wares.

Marginalized Potters and Ceramic Compositional Groups: Neutron Activation Analysis of Contemporary Pottery from Tigray, Northern Highland Ethiopia

The study presents the results of neutron activation analysis (NAA) of contemporary pottery from Tigray Regional State, northern highland Ethiopia. This is the first regional-scale study of ceramic composition of Tigray’s pottery and is part of an ethnoarchaeological study of the material and social contexts of pottery production and consumption in Tigray’s Eastern (Misraqawi), Central (Mehakelegnaw), and North-western (Semien Mi’irabawi) zones. The analysis identifies clear compositional groups with strong regional patterns, an encouraging result for the use of NAA to study Tigray’s ancient pottery trade. Significantly, the study further contributes to discussions of how mutually constituted social identities of potters and consumers affect compositional patterning in the distribution of pottery in market networks.

The Technical Treatment for Pottery Body by (Kintsugi) Technique in Japanese Pottery – Analytic Study

The aesthetic and technical expertise help in producing the artistic work and achieving results in aesthetic formulations that reflect the aesthetic and expressive dimensions and the reflective dimensions of the pottery, surpassing its traditions, asserting its active presence in life, cherishing it even when it breaks or get damaged by employing techniques that are originated from the Japanese environment. The research problem is to study how ( Kintsugi) technique and similar techniques are used to create new rebirths of pottery pieces after being exposed to external influences that cause them to break in addition to the presence of Japanese thought as a pressurizing incentive to maintain the permanence of the porcelain and cherishing it. The research is important as a reference to the technology of contemporary pottery, enriching the library, and as a source for the scholars and researchers in the field of Japanese pottery. The aim of the research is to identify how the (Kintsugi) technique was used in facing the stresses exerted on the ceramic pieces and the pressurizing thought that motivates it. The research is concerned with the Japanese porcelain products (which was subjected to stress that cause it to break) and treating it by the (Kintsugi) technique. The results showed how the (kintsugi) technique and the techniques derived from it worked in reconstructing the ceramic pieces and creating new entities to meet the pressure of the (wabi-sabi) philosophy, which accepts things with their defects after being subjected to the constant change of status as a characteristic of existence. It sees beauty in imperfection

Aesthetic vision and creative in Islamic ceramics and it’s impact on contemporary pottery works

Islamic ceramics is considered one of the most important arts that Muslims knew and controlled, although Ceramics as an industry and an art had originated since the dawn of history. However, Muslims have contributed greatly to The development of this art on several levels, at the level of manufacturing and colouring techniques, using chemicals. It was considered during that period one of the aesthetic and creative creations of the Islamic civilization, as is the Islamic ceramics It is one of the simplest of all and the most difficult of all at the same time, it is the simplest art because it is the most elementary, and most of the arts.

The Traditions of the Past in the Contemporary Pottery of Japan

The article presents the data on the contemporary Japanese art of pottery, collected by the author in June 2015. The study area is Shimane Prefecture on the West coast of the island of Honshu. The study objects are pot tery workshops and their production. The article consi ders the aspects of social organization, technical level and technological cycle of pottery, the stylistic features of ceramics production, and its role in daily life. The author discovers that there are many conservative traits, remaining in the organizational fi eld of pottery and its technological processes, which were typical for the ceramics industry of Japan in the 19th — fi rst half of the 20th century. The technical and technological methods and principles of ceramics production, developed over the centuries, determine its external features and artistic originality. The usage of modern technical equipment for pottery molding and fi ring does not change the pottery’s general trend of keeping the traditions. The pottery production of Shimane is mostly represented by iwá mi-yá ki style. Its main distinc tive feature is its specifi c decoration with colorful glazes. At the same time, there are some other styles in Shimane — for instance, hagi style. The pottery workshops offer both traditional forms and products of the European type. Currently, the most popular categories of ceramic production are tableware, including those for the tea ceremony, as well as interior and exterior design objects.

Pottery in Hellenistic tradition from ancient Bactria: The Kurganzol fortress (Uzbekistan, Central Asia)

Kurganzol is one of the fortresses founded in ancient Bactria during the conquest of Alexander the Great. An archaeometric characterisation was conducted on 20 pottery sherds recovered in the earliest settlement dated to the late-4th BC. The aim is to examine both the composition and variation of the raw materials used and the production technology involved in pottery manufacture. The sampling included plates, cup/bowls, basins, jars, containers, a colander, a bottle or flask and a cooking pot. The analytical program comprised X-ray Fluorescence, X-ray Diffraction, and thin section analysis as well as the study of the geological environment. The analysis of the surface treatment was performed on three sherds through scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDS). The results were compared with an analytical database that includes wares in Hellenistic tradition from coeval sites in the region (i.e. Kampyr Tepe and Termez). The analysis revealed that most of the tableware and common wares analysed correspond to a single local pottery production consisting of a very fine calcareous fabric. Composition and morphological characteristics of these wares enable distinguishing this fabric from other contemporary pottery productions. A regional origin was however assigned for a few wares confirming contacts among different sites. The only cooking pot examined consisted of a calcareous shelltempered fabric which is consistent with a regional technological tradition.

Geochemical Analysis of the Hittite‐Period Pottery from Tarsus‐Gözlükule, Turkey

Neutron activation analysis was conducted on Late Bronze IIA pottery from Tarsus‐Gözlükule and compared with archival data from contemporary sites in Cilicia and Cyprus. The results provide a model for the organization of pottery production at Tarsus‐Gözlükule when the settlement was under the rule of the Hittite Empire. It is proposed that multiple contemporary pottery workshops provided the community of Tarsus‐Gözlükule with both Hittite‐style pottery and other wares. It is further suggested that these workshops may have differed in the extent to which they were attached to the imperial administration.

Caractérisation technique et culturelle de la céramique du site lacustre de Conjux 3 (lac du Bourget, Savoie) : le Néolithique final des avant-pays savoyards en question

Caractérisation technique et culturelle de la céramique du site lacustre de Conjux 3 (lac du Bourget, Savoie) : le Néolithique final des avant-pays savoyards en question

Intellectual Reflections of the Cubical Arts on the Iraqi Contemporary Pottery Art

يتناول البحث الحالي دراسة أحد أهم المدارس الفنية الحديثة ومدى تأثيرها على الفن العراقي المعاصر وخصوصا في فن الخزف كون هذا الفن ارتبط منذ الأزل بالوظيفة النفعية، لكننا في هذا البحث أثبتنا ان الخزف هو فن قائم بحد ذاته وقد تعدى بذلك حدود الوظيفة، وانطلقت منه مدارس فنية كبيرة واعمال فنية ذات عظمة مما أدى إلى تغير الرؤية الجوهرية لفن الخزف لذلك أصبح هذا الفن هدفا لتحقيق المفاهيم والأفكار والفلسفات والقيم التعبيرية من بين الفنون التشكيلية.ابرز ما تناوله البحث هو انعكاس الاتجاه التكعيبي على المدرسة الخزفية العراقية من خلال ابرز أعمال فنانيها المعاصرين أمثال ( سعد شاكر وشنيار عبد الله وطارق إبراهيم ) وهم من خيرة الخزافين واللذين كانت وما زالت لهم بصمة واضحة في تاريخ الفن العراقي المعاصر ، كما وان الفن التكعيبي في بلاد الرافدين هو ليس وليد اللحظة بل كان له تاريخ عريق وجذور عميقة تمتد منذ عصر أجدادنا السومريين حيث بدأت البصمة واضحة في هذا المجال وقد عرض الباحث أ نموذجا من خيرت الاعمال الخزفية السومرية كون هذه الحضارة زاخرة بالإنجازات الفنية والجمالية التي نفتخر نحن العراقيون بها بصفتنا جزء من هذا الارث.. وعليه فليس بالشيء الجديد علينا ان نجد خزافين معاصرين يكررون إنجازات أجدادهم الفنية لكن بأسلوب جديد ومعاصر، إذا هي رسالة مستمرة من جيل الى جيل على اختلاف أساليبها وإشكالها وطرحها.تناول الفصل الأول مشكلة البحث والأهمية والهدف والحدود وتحديد المصطلحات المتمثلة بـ التكعيبية، اما الفصل الثاني كانت وقفته مع المبحث الأول بـ (مقدمة عن التكعيبية) والمبحث الثاني (الاتجاه التكعيبي في فن الخزف العراقي المعاصر) .اما الفصل الثالث فتضمن الإجراءات والمنهج المستخدم ومجتمع البحث واختيار عينة البحث ومن ثم تحليل العينة .. اما الفصل الرابع فتمثلت بالاستنتاجات فكانت أهمها : •أظهرت الأعمال الفنية التي أنتجها الخزافين (سعد شاكر وشنيار عبد الله وطارق إبراهيم ) بأسلوب تكعيبي هندسي معاصر قائم على التجريد والاختزال في طرح موضوعاته وبصورة قصديه من قبل الخرافيين ليعطي في ذلك انتظام وانسجام كخصوصية فردية لكل منهم .•أظهرت الأعمال الفنية عن وجود عامل مشترك من حيث التكوين الخارجي لكنها تختلف من الفكرة ومدى تأثيرها وإيصالها في المتلقي من حيث ان العمل الفني يحمل وظيفة اجتماعية او نفعية او جمالية ، ومن ثم التوصيات وأخيرا قائمة المصادر .