Traditional Pottery Research Articles

Economic Influence of the Practice of Pottery on Local Progress: The Pottery Centers of the Lacs District of Central Côte d'Ivoire as a Case Study

Pottery is an activity that has its origins in the Neolithic period. It allows producers to find a way to live. This traditional activity is considered an income-generating activity. Traditional pottery is an economic activity practiced by women. The examines pottery art practices of the Lake district through examination of potters’ techniques and development of their production. The study show characteristics of the pottery production of two ethnic groups and the impacts of pottery production on local development. To better understand our subject we adopted both a qualitative and quantitative approach. The responses from this research show at first glance that there are two ethnic groups producing traditional pottery in the Lakes district: the Baoulés (81%) and the Mangoros (19%) with different characteristics in their production. Then, the potters of the said district are not organized into a cooperative or association. And finally, the revenues from the factories are used to improve the living conditions of households.

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.

Revitalization Of Balango: Local Ceramic Art and Products from Galogandang Luhak Nan Tuo, West Sumatra

Balango, a traditional pottery used as a cooking utensil in Minangkabau villages, has been transformed as an interior aesthetic support or aesthetic element, so that balango becomes more dynamic and has prospects as an art commodity. This research aims to examine the revitalization of pottery at Galogandang Pottery Hall in Luhan Nan Tuo, West Sumatra. This research uses a mixed method as a reference strategy for developing the potential of clay for the application of local pottery crafts in a sustainable manner through a creative approach supported by laboratory tests. Balango at Galogandang Pottery Hall, there is a development of local art product designs in the form of flower vases; pendil teapots, and kadhai whose clay raw materials are formulated from three types of soil with a clay fraction of 23% (sandy loam clay); kaolinite (21%), illite (41%), and quartz (38) minerals; oxide composition dominated by SiO2 (37%) and Fe2O3 (35%); burn shrinkage (19%); specific gravity (1.75 g cm-3), porosity (26.60%) and compressive strength (225.48 kg cm-2). This composition can be used to customize new ideas for other products by combining different forms (figurative and abstract), resulting in visually beautiful and functional utilitarian pottery for interiors with artistic quality and local flavor.

“Ceramic Road” – Seen from Village Communal House Carving Art

Inheriting the essence of traditional art has always been considered the fulcrum for the development of modern art. Pottery Road is the sketch for viewers of artworks re-enacting important historical events of the country, and scenic spots along the quintessence of traditional pottery villages. The image of “Ceramic Road” in close relationship with regions in the country is also simulated by a 100m-long ceramic painting piece, using ceramic coated with a colored glaze, fired at a temperature of 1,200 degrees Celsius, ensuring durability stands firm against time. The ceramic path with the application of traditional artistic elements, although not a creative application, has also achieved certain successes.

Mineralogical, Geotechnical, Thermal and Mechanical Characterizations of an Energy-Efficient Building Material: Clay Stabilized by Wood Ashes or Crushed Waste from Traditional Pottery

Mineralogical, Geotechnical, Thermal and Mechanical Characterizations of an Energy-Efficient Building Material: Clay Stabilized by Wood Ashes or Crushed Waste from Traditional Pottery

Pagelaran Pottery Village: Culture-Education Resin-Concrete Souvenir in Industrial Tourism

This implementation aims to develop resin-concrete souvenirs as a superior product for the pottery industry tourism in Pagelaran Village, with the aim of promoting cultural education and enhancing the visitor experience. Pagelaran Village, renowned for its heritage in pottery production and traditional cultural practices, faces challenges in preserving its cultural identity and attracting tourists amid changing consumer preferences. Consequently, this activity explores the concept of resin-concrete souvenirs as a method to convey the cultural identity of Pagelaran Village pottery according to tourist preferences. Implementation of this activity employed a mixed approach, combining qualitative interviews with local artisans and quantitative surveys of tourists, to gather insights into the village’s cultural heritage and visitor preferences. The resin-concrete souvenir prototype in the form of merchandise was designed by amalgamating traditional pottery motifs and cultural elements unique Pagelaran Village. Subsequently, it underwent user tests and feedback sessions to ensure their aesthetic appeal, durability, and ability to evoke cultural narratives. The resin-concrete souvenir prototype has significant potential as a superior product in industrial tourism. The integration of traditional pottery with modern materials enables the creation of products that are both visually appealing and culturally relevant. Additionally, tourist responses show high interest in souvenirs characterized by authentic and narrative cultural experiences. This implementation contributes to the development of souvenirs in the context of industrial tourism, emphasizing the significance of education and preservation of cultural heritage. Besides bolstering the economy of Pagelaran Village, resin-concrete souvenirs can educate visitors about the village’s cultural heritage, thereby encouraging sustainable tourism practices. Keywords: resin, concrete, souvenir, pottery, pagelaran

Comparative Study of Soil Profiles of Ceramic Stoves Production Clays of Sierra Leone: (Case Study of Four Traditional Pottery Communities)

Comparative Study of Soil Profiles of Ceramic Stoves Production Clays of Sierra Leone: (Case Study of Four Traditional Pottery Communities)

Mineralogical Characterization of Raw Clay from Rujište (Serbia) Used in Traditional Pottery Manufacture

The pottery produced from the Rujište deposit in Serbia has been protected under the guidance of UNESCO and the Sector for Intangible Cultural Heritage of Serbia since 2019. A study was conducted to evaluate the mineralogical characteristics of the raw clay from this deposit. This study used various techniques, such as X-ray diffraction (XRD), infrared (IR) spectroscopy, X-ray fluorescence (XRF), and differential thermal analysis (DTA) to characterize the clay. This study found that the clay contained mostly clay minerals (56.3%–41.9%), with illite, smectite, and chlorite as the predominant phases. Other phases identified were quartz, feldspars, carbonates, and iron-bearing minerals (43.8%–58.1%). The chemical analyses revealed a high abundance of silica (>52 wt.%) and alumina (~16 wt.%), with Fe2O3 (~6 wt.%), K2O (~2.8 wt.%), and a similar content of MgO as the main constituents. The physical features that were investigated included the granulometry (clay: ~31%–44%, silt: ~ 26%–23%, and sand: ~ 42%–32%), specific surface area (97 to 107 m2 g−1), cation exchange capacity (12.5–13.7 mmol 100 g−1), and color (yellowish to moderate brown). The preliminary results suggest that most of the raw clay from the Rujište deposit might be suitable for use in traditional pottery manufacture.

Correction to: Thermo‑physical characterizations and simulation study of an energy‑efficient building material: clay stabilized by wood ashes or crushed waste from traditional pottery

Correction to: Thermo‑physical characterizations and simulation study of an energy‑efficient building material: clay stabilized by wood ashes or crushed waste from traditional pottery

Regenerasi Pengrajin Gerabah Perempuan di Pundong, Kasongan, dan Bayat dalam Mempertahankan NilaiNilai Kearifan Lokal Budaya Jawa

This research discusses women traditional pottery craftsmen in Pundong, Kasongan, and Bayat who are guardians of local cultural traditions in the midst of a global cultural ecosystem that is changing rapidly. This study aims to analyze the role of women in maintaining the values of local wisdom and how they deal with the influence of globalization on their traditional pottery crafts in relation to regeneration. The method used is a qualitative method with an ethnographic approach model. Data collected included observations, interviews, and documentation in traditional pottery-making communities. Pottery craftsmen in Pundong, Kasongan, and Bayat play an important role as custodians of cultural knowledge, transmission of traditions, and innovation in pottery crafts. The expertise of traditional techniques, artistic expression, and cultural symbols is a testament to women's dedication in maintaining the values of local wisdom amid the pressures of the global cultural ecosystem. The results of this study contribute to a broader understanding of the importance of cultural preservation and regeneration efforts involving gender roles in learning the nation's character. Keywords: Women, Pottery Craftsman, Local Wisdom, Global

Investigation of debinding sintering strategy and analysis of different structure properties of printed ceramic clay materials based on liquid deposition molding technology

The emergence of additive manufacturing (AM) technology for ceramic clay materials has greatly impacted the traditional pottery manufacturing industry. However, there are still limitations in post-processing and structural design for ceramic clay materials in the current field. To address these challenges, in this study, we first used orthogonal experiments to investigate the impact of the heating rate during debinding, the final sintering point, and the insulation time at the sintering point on the performance of the fabricated parts. It was further concluded that the optimal debinding sintering strategy consisted of a debinding heating rate of 0.5 °C/min, a final sintering point of 1300 °C, and a sintering point insulation time of 3 h. Under these conditions, the compressive strength of the specimens reached a maximum of 38.75 ± 4.57 MPa. Herein, we accomplished the printing of two different structures based on liquid deposition molding (LDM) technology. Through comparative analysis of the experimental results, the research solved the buckling phenomenon of flexural specimens and concluded that the octet structure exhibited superior performance. Additionally, we successfully prepared various pottery specimens, further demonstrating this study's application prospects.

Living art or souvenir? Perspectives on the interpretation of traditional pottery in Cambodia

AbstractCambodia is a country facing an unprecedented wave of development but also the delicate task of conservation of traditional heritage. Pottery is one of the crafts that the Khmer civilization had been able to produce in various forms, of which mainly two are found in the country today. One style, produced in the province of Kampong Chhnang, is utilitarian and has a fairly solid internal market due to the still predominant agricultural society of Cambodia. It is unglazed, and aesthetically unadorned, but nonetheless “traditional” in its simple features. Another ware, produced mainly in pottery studios related to the Royal University of Fine Arts in the capital Phnom Penh, is, quite bombastically, but not without a certain consciousness, retrieving and repeating in a modern key, the ancient royal pottery once produced at Angkor. The latter ware style is, ironically, mainly produced for the tourist business in present‐day Cambodia, and therefore, arguably superfluous for the country's living cultural heritage. This article investigates the two modes of production and attempts to elucidate why different practical and aesthetical approaches are selected for different purposes and markets by practitioners and retailers, according to certain cultural interpretations of what is supposed to be “traditional.”

EDUCATIONAL TOURISM OF LOCAL WISDOM PRODUCTS IN THAILAND

Management of local wisdom-based tourism products, development and packaging of globally competitive local products can be packaged through educational tourism. Educational Tourism is an effort to introduce local wisdom products of a country. One of Thailand's local wisdom products is traditional pottery. However, the existence of pottery in the era of modernization began to be less attractive to the younger generation. This international service was carried out with the aim of recognizing local culture and local wisdom products and participating in painting traditional Thai pottery. This activity is a community service activity that collaborates between the Faculty of Economics and Business of Swadaya Gunung Jati University Indonesia, Panca Sakti Tegal University Indonesia, Thai Globa Businnes Administration Technological College Thailand (TGBC Thailand), Suan Dusit University and Eastern Instutite for Integrated Learning in Management University India. Community service activities were carried out in Nong Nooch Thailand, with a total of 30 participants consisting of 10 students and 20 lecturers. Through this international service, it fosters a sense of love and preservation of cultural heritage and local wisdom products of a country.

Thermo-physical characterizations and simulation study of an energy-efficient building material: Clay stabilized by wood ashes or crushed waste from traditional pottery

Thermo-physical characterizations and simulation study of an energy-efficient building material: Clay stabilized by wood ashes or crushed waste from traditional pottery

Work-related musculoskeletal disorders among traditional pottery makers at selected places in Bengaluru – A cross-sectional study

Abstract: CONTEXT: Pottery is defined as clay that has been fashioned into the desired shape and then dried to reduce its water content before being fried or baked to fix its form. The artisans living in traditional societies are normally influenced by their environment as well as by their myths, legends, rituals, ceremonies, festivals, social organization, and cultural norms which are reflected in their creations. The poor environmental conditions and the lack of protective equipment in these pottery workshops are key contributing factors to the development of these occupational diseases. Most pottery industries are small- to medium-scale industries and have longer and irregular working hours, a higher percentage of elderly employees, limited opportunities for health education or health inspection, and insufficient health promotion facilities compared with large companies. These factors are considered to play an important part in the development of occupational diseases and some nonspecific diseases such as psychosomatic, cardiovascular, and locomotor diseases among pottery workers. Traditional pottery making has its unique method of potter-work where it demands prolonged squatting without back support for hours which can develop musculoskeletal disorders (MSDs). AIMS: The study aimed to estimate the prevalence of work-related musculoskeletal disorders (WRMD) among traditional pottery makers at selected places in Bengaluru. SETTINGS AND DESIGN: A cross-sectional study was conducted in two rural communities of Bengaluru. One hundred and ten traditional pottery makers were randomly selected. MATERIALS AND METHODS: Subjects were screened for work-related musculoskeletal disorders (WRMD) using the Nordic Musculoskeletal Questionnaire, following which the pottery makers who reported low back pain (LBP) were screened for the severity of disability using the Modified Oswestry LBP Disability Questionnaire (M-OSW). The results obtained were statistically analyzed using SPSS 25.0. RESULTS: The result showed the highest prevalence of MSDs in the lower back, the findings of this study confirmed the work-related stress on traditional pottery makers. In the present study, the highest prevalence of musculoskeletal disorder was found in the lower back, of which had trouble in the last 12 months, 56.36% were having trouble during the last 7 days, and 19.09% were prevented from doing normal activities during the last 12 months. The prevalence of MSDs during the last 12 months revealed that the maximum of them, i.e., 24.54%, were having pain in the lower back. The present study also found MSDs prevalent in the hip joint and knee joint due to the occupational need to complete the work on prolonged squatting. CONCLUSIONS: This study concluded that prolonged work exposure and awkward work postural demand increase the incidence of MSD among traditional pottery makers in Bengaluru.

"Conservation of Traditional Pottery Art as Geographical Indications (GIs): A Case Study of Bijaypur Pottery Village of Cumilla in Bangladesh"

Pottery communities devote their merits and efforts from one generation to the next generation to produce attractive and creative pottery that reflects their intellectual contributions and represents their community lifestyles. Present research focuses primarily on the prospects of establishing the pottery art of Bangladesh as a Geographical Indications (GI), as well as the conceptual structure of presenting it worldwide as a GI product. Earthenware can be safeguarded as GIs under international accords and local ordinances (enacted by 160 nations). Research shows that currently, this illustrious industry has several challenges, such as environmental hazards, outdated procedures, inadequate capital, inexperienced potters, lack of research initiatives, limited product diversification, inadequate marketing and promotion, responsible negligence, etc. This study uses a qualitative approach based on surveys, in-depth interviews (IDIs), and archival and documentary research strategies. Primary and secondary data were gathered using the research framework to understand the current situation. This study examines Bijaypur pottery village in Cumilla as a case study to examine the sociological, institutional, and potential issues of conserving the craft as GIs under international and national legal contexts.

POTTERY CENTERSAND SCHOOLS IN UKRAINE: EDUCATIONAL AND PROFESSIONAL POTENTIAL

Based on historical material, the article examines the current issue of researching the educational and professional potential of pottery centers and schools in Ukraine in the context of the problems of training specialists in decorative and applied art in educational institutions of our country in the 80s of the 20th century – at the beginning of the 21st century. Based on the study of a complex of diverse sources, it was found that traditional pottery centers were formed in the following regions: Kyiv Oblast, Kharkiv Oblast, Poltava Oblast, Chernihiv Oblast, Podillia, Kherson Oblast, Volyn, Halychyna, Hutsul Oblast, Transcarpathia. Each of these centers had unique signs of technology techniques, decoration, design, name, and shape of products. At the same time, the long-standing leading educational and professional trend in the formation and development of folk pottery in Ukraine was training masters of decorative and applied art directly by well-known potters. Workshop schools, art and industrial schools, vocational and technical schools, artillery schools, workshops of folk art, art schools, etc., were founded later at the end of the 19th – at the beginning of the 20th century. Those institutions, i. e., Poltava Pottery School-Workshop, Myrhorod Ceramic Technical School, Opishne Vocational Technical School – Opishne Factory «Artistic Ceramics», Mezhehirsk Ceramic School-Workshop – Technological Institute of Ceramics and Glass, Kyiv Central Experimental Workshop of Folk Art at the State Museum of Ukrainian Art, Kyiv Art and Industrial Technical School, accumulated rich experience in training high-quality ceramic artists. It was found that in the 80s of the 20th century, the training of decorative and applied art specialists was started by culture colleges.

A VIEW FROM THE COUNTRYSIDE: RADIOCARBON CHRONOLOGY FOR ZAOLINHETAN OF THE PRE-ZHOU CULTURE IN EARLY DYNASTIC CHINA

ABSTRACTThe conquest of the Shang Dynasty at Anyang around 1046 BCE by the Zhou is one of the major events for not only Chinese Bronze Age but also early interaction between the pastoralist groups from the Eurasian Steppes and agriculture ones in the Central Plains of China. It is well-known from historical texts that the pre-Zhou people lived in the ancient Bin region (豳), the exact location of which is unclear, but most likely in the Jing River valley. At some point the leader Gugong Danfu (古公亶父) moved from Bin to the capital Qi (Zhouyuan), which preceded the Zhou invasion of Anyang. We have produced a new high resolution radiocarbon chronology for Zaolinhetan, a small settlement in the pre-Zhou heartland. This shows not only an exceptionally long chronological span for the site, but also a different phasing compared to the traditional pottery typology, which raises new questions regarding the regional variation of pottery typologies. Intriguingly, the analysis also reveals a rapid abandonment of Zaolinhetan around 1100 BCE, at the same time many larger sites, such as Zhouyuan, which later became the capital of the Western Zhou dynasty, were significantly expanding. We argue that the drastic decline of Zaolinhetan as revealed by the substantial number of radiocarbon dates and probably also the movement of pre-Zhou political center from Bin to Qin, was part of bigger picture that involved a range of social and environmental factors.

Investigating fuel for firing pottery at the end of the 3rd mill. BCE: The case of Logardan, northern Iraq

Fieldwork carried out by the French Qara Dagh Archaeological Mission at the tell site of Logardan in northern Iraq, has revealed an extensive pottery workshop (levels 3a-b), characterised by hundreds of pottery kilns dated to the end of the 3rd millennium BCE. This paper presents the archaeobotanical results related to these firing structures and associated contexts. Despite the location of the site on the foothills of the Qara Dagh mountains where wood fuel is expected to be available, wood charcoal is present in small quantities and is poorly preserved making it difficult to assess its role. Instead, the charred plant remains recovered are dominated by numerous tiny grass seeds (<1mm) or seeds possessing a thick (hard) seed coat that characterise livestock dung. Multi-variate comparison of the kiln deposits with the other contexts leads us to conclude that dung was used as the primary fuel for firing pottery. Reasons for this selection are considered based on ethnographic accounts of traditional pottery manufacture.

Raw Materials Used in Traditional Pottery from Northern Morocco: Possible Alternative Material for a Sustainable Future in the Fran Ali Area

AbstractThe colluvium and saprolite deposits in the Fran Ali area (Oued Laou, northern Morocco) constitute the main source of raw materials used in traditional pottery. These materials are becoming scarce, however, so alternative materials with the same characteristics are needed; this would ensure the sustainability of pottery activities in the area. The objective of the present study was to examine ten representative samples of clayey materials extracted from the Fran Ali area, i.e. the Ikhadimene, Dar Haddoune, Ihadounene, Aqqbat Ajjoua, and Isalahene sites. The geological materials consist mainly of grayish to brownish phyllites, thin layers of yellowish clay, thicker intervals of reddish-yellow soils ranging in depth from 1 to 4 m, and reddish colluvium soils. The physical properties of these materials were determined using semi-wet sieving and Atterberg limit tests, while chemical, mineralogical, and thermal properties were obtained from the methylene blue test (MBT), the calcimetry test, X-ray fluorescence spectrometry (XRF), X-ray diffraction (XRD), and thermogravimetric and differential thermal (TGA/DTGA) analysis. The results suggest that the soils contain 21–35% clay, 28–34% silt, and 37–52% sand. They are moderately plastic, with methylene blue adsorption capacities ranging from 3 to 7% and minimal CaCO3 carbonate contents (1–4%). Samples are dominated by SiO2 (51–57%), Al2O3 (17–21%), and Fe2O3 (8–10%). Mineralogically, they are composed of illite (19–27%), chlorite (0–22%), kaolinite (5–9%), and quartz (29–32%). Thermal analysis showed a relatively large mass loss of ~10%. The samples are deemed to be moderately plastic. The results indicate that this raw material is acceptable for pottery fabrication, given the small proportion of irregular interlayer content and its average geotechnical properties. In addition, extraction of the colluvium material is not sustainable because of the relative scarcity of the material. Given the mineralogical similarity between the weathered layers (colluvium) and their parent rock (shales), the present results suggest that the latter is a suitable alternative to the former.