Traditional Pottery Research Articles

Aesthetic education integrating traditional culture into modern ceramic design on anxiety recipients

BackgroundWith the accelerated pace of life in modern society, people face increased psychological pressure, leading to a gradual increase in the incidence of psychological disorders such as anxiety. In recent years, the fusion of traditional culture and modern pottery design has shown a unique charm in aesthetic education. Subjects and Methods.200 subjects who had been diagnosed with anxiety disorders were selected.Subjects and MethodsThe experimental group received an aesthetic education course on integrating traditional culture into modern ceramic design, which lasted for three months, twice a week, for two hours each time. The study included learning the fundamentals of calligraphy, classical Chinese painting, and creating ceramic art inspired by ancient poems. The control group received only traditional pottery aesthetic education. The anxiety symptoms of the subjects before, during, and after the intervention were assessed using the SAS-S scale (Symptom Assessment Scale-adolescent).ResultsIt was found that the experimental group scored significantly lower anxiety symptoms on the SAS-S scale than the control group after receiving an education that integrated traditional culture. In addition, the audience in the experimental group generally reported feeling soothed and having a deeper understanding and identification with pottery.ConclusionsAesthetic education by integrating traditional cultural elements such as calligraphy, classical painting, and ancient poems into modern ceramic design has a significant psychotherapeutic effect on audiences suffering from anxiety disorders. This provides a new, non-pharmacological approach to treating anxiety disorders and further confirms the value of traditional culture in modern society.Acknowledgement2020 research project on the development of social sciences in Hebei Province (No. 20200401003).

The Uniqueness Form of Kendi from the Museum Collection

In Southeast Asia, the Kendi is regarded as a type of traditional pottery. It can also be found in other countries, such as Asia, and the Middle East, and some European nations. Despite this, its usage is strongly related to Southeast Asia's culture. According to the study, although Kendi is no longer used in society, it is still used for home decorating. Misunderstandings and confusion regarding its usage have been caused by the word Kendi. In addition, younger generations may not be familiar with the type of shape and use of Kendi due to various technological innovations, such as water filters. The research aims to classify and identify the various characteristics of Kendi. In order to collect in-depth information, qualitative research methods which include observation and interview, were used. As a result of this research, it has become clear that Kendi comes in many forms. The shape of the Kendi, which is not only focused on one shape such as the shape of the round body, makes it a unique artifact. This research helps the community understand the value of art and Kendi, and it is hoped that various parties can do further research on it. This is because the Kendi has a variety of unique shapes and looks to be studied. The museum can also use this discovery for future research and knowledge. It is intended that future academics examine the form of this Kendi in greater depth, not only on the motifs and forms but also on the art of carving and the manner of creating Kendi found in Malaysia in particular.

Pagelaran Smartland: Using Virtual Reality Media to Increase Hybrid Tourist Visits for the Pottery Industry

Pagelaran Village is a projected educational tourism village that focuses on the development of traditional pottery. However, with the number of visitors decreased during the pandemic, there are several difficulties to attract enthusiastic visitors and increase tourist visits. This causes higher turnover rates which is projected to increase significantly when the pandemic ends. The Pagelaran SmartLand design aims to provide a digital infrastructure for virtual tourist visits through virtual reality technology that can be accessed easily and is able to be integrated with the pottery craftsmen of Pagelaran Village. The media development method used an asset-based community development (ABCD) approach that focuses on integrating local assets with the latest technology through asset inventory. The media validity level was obtained through validity testing by material and media experts. The profitability growth rate of the Pagelaran Village pottery industry after the media implementation was measured through a paired t-test with guidelines based on the significance value (Sig). If Sig. (2 tailed) < 0.05, then H0is rejected and Hais accepted and if Sig. (2-tailed) > 0.05, then H0is accepted and Hais rejected. A practicality test was carried out to identify the media practicality which was obtained through obtained value/maximum score x 100%. In this regard, the Pagelaran SmartLand can accommodate an increase in hybrid tourism visits to the pottery industry in Pagelaran Village and has the potential to provide an increase in turnover for pottery craftsmen.
 Keywords: SmartLand, Pagelaran village, tourism, virtual reality

When theory meets practice: Bringing authentic material to the clay classroom

Within the Ghanaian clay and artistic discourse, traditional practice and formal academia training have been windows for producing ceramic works. However, despite their contributions to the cultural heritage of Ghana and beyond, they seem to be on a parallel practice, with limited synergies and inclusiveness. This study, therefore, looks at what the two seemingly disparate extremes, albeit bound by a common material, “clay”, can learn from each other. To what means would the notion of collaborations become a strong tool for strengthening the traditional and contemporary practice and getting younger practitioners to take over from the ones that are ageing? The study discussed the possibilities of traditional pottery practices and academia collaborations and the effect on expanding the clay material and artistic productions. In sum, and their exchange of knowledge with students foster creativity and a healthy relationship between academia and traditional practice. Artistic and curatorial practices can thrive better by identifying and developing such synergies. Both students and women potters moved from knowing to understanding clay practices.

Personal and behavioral characteristics in the control of toxic substances in handicraft businesses in Mexico

This study relied on the theory of planned behavior (TPB) to analyze the control of toxic substances based on schooling and ethnicity as personal variables and attitude and environmental knowledge as behavioral variables. The article contributes to the study of the direct relationships of these variables and the analysis of the control of toxic substances as a type of specific environmental behavior little evaluated in the scientific literature. The article also points out the health and safety problems that traditional pottery artisans face with the use of toxic substances in making their handcraft pieces and identifies strategies that minimize the occupational risks of artisans and provide them with social security. A model is empirically validated using the partial least squares approach to structural equation modeling (PLS-SEM) based on survey data of Mexican handicraft small businesses. The control of toxic substances was objectively measured through instantaneous lead detectors called “Lead Check Swabs”. The results suggest that the schooling, mostly artisans with complete primary up to bachelor's degrees, and the environmental knowledge, particularly the knowledge that the artisan has regarding the damage that toxic substances cause to his health and the natural environment, as well as his knowledge regarding the impact that his activity causes in the environment, all explain the control of toxic, harmful substances. However, ethnicity and environmental attitudes do not influence artisans’ decision to use or not this type of substance.

“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, scenic spots along with 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 really a creative application, has also achieved certain successes.

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.

Metabolomic fingerprinting based on network analysis of volatile aroma compounds during the forced aging of Huangjiu: Effects of dissolved oxygen and temperature.

Huangjiu is an important Chinese alcoholic beverage, usually prepared from rice. Although its unique flavor improves with prolonged storage in traditional pottery jars, knowledge of the aging mechanism, necessary for commercialization of an optimum product, remains unclear. Here, volatile aroma compounds from forced aged samples exposed to different temperatures and oxygen treatments were measured by GC/MS. After retention time alignment and normalization, the peak vectors were compared over storage time using Pearson's correlation, and a correlation network was established. Marker compounds, representative of traditionally aged Huangjiu, were then monitored and compared to similar compounds in the forced aged product. Correlation network analysis revealed the following: Temperature had little effect on most aroma compounds; alcohols, acids, and esters all increased with increasing dissolved oxygen, while polyphenols, lactones, and ketones were readily oxidized; aldehydes (e.g., furfural and benzaldehyde) were highly dependent on both temperature and dissolved oxygen. Dynamic changes in the targeted aging-markers showed that a higher initial oxygen concentration intensified the "aging-aroma" of Huangjiu in the early and middle stages of storage. Consequently, careful control of oxygen supplementation and storage temperature could be beneficial in controlling the desirable flavor of Huangjiu in the artificially aged product.

EKSISTENSI KERAJINAN GERABAH TRADISIONAL DI DUSUN PRECET BLITAR MELALUI DESA WISATA EDUKASI KAMPUNG GERABAH

In contrast to other craftsmen who experienced a decline, the traditional pottery industry in Precet actually experienced an increase. The purpose of the study was to determine the strategy of the pottery craftsmen in Precet Hamlet in maintaining their culture so that traditional pottery crafts still exist. The research was conducted in Precet, Plumpungrejo, Kademangan, Blitar. Using this type of qualitative research with a case study approach. Determination of research subjects by purposive sampling method. Data collection techniques are interviews with five informants, observation, and documentation. as for the data validity technique using source triangulation and data analysis is carried out through the stages of Miles and Huberman. The results of this study are people who still maintain their culture from generation to generation, innovations that continue to be carried out according to market needs, and a supportive surrounding environment so that the traditional pottery industry survives. This research is examined using the theory of structural functionalism from Talcot Parson. Parson coined the famous scheme of functions known as the acronym AGIL. The existence of this research is expected to be used as a motivation to continue to innovate with modern technology that helps facilitate craftsmen in making pottery.

Making a Logo as Destination Branding: Case Study Kebon Jayanti Ceramic Centre

Bandung is a city known for its various local wisdom and diverse cultures. Continuing to preserve the value of intergenerational traditions in the current of modernization. Among the various creative industries that Bandung has, there are communities that are trying to maintain the traditional pottery culture. The Kebon Jayanti ceramic centre is a center for pottery craftsmen in Bandung, which was inaugurated in 1960 by the Bandung City Government as a tourist spot for shopping for ornamental pottery. Its products have been marketed to all regions in Indonesia. Since its inception, the products of the Kebon Jayanti ceramic centre have continued to change in terms of form, function, and style due to changes in business owners. This condition is vulnerable to the identity of the producer which is difficult to identify. So that the brand from Kebon Jayanti ceramic centre is less well known, and also has an impact on its existence. The method used in this research is qualitative approach, revealing identity through the history, purpose, and role of craftsmen in the Kebon Jayanti pottery industry and then translated into a visual identity. This research produces a visual identity in the form of a logo that can be used to build the image of the Kebon Jayanti ceramic centre. The logo that has been designed is also applied to the media for supporting the brand image. Starting from stationery design, packaging, merchandise, and signage that can introduce, strengthen, and expand the reach of the Kebon Jayanti ceramic centre brand. Through this visual identity design, it is hoped that consumers can easily remember and identify the Kebon Jayanti as a ceramic center that has unique culture and is interesting to visit.

IDENTIFIKASI FAKTOR-FAKTOR PENENTU STRATEGI PEMASARAN DESA WISATA BANYUMULEK

This research is aimed to identify determinant factors of Banyumulek rural tourism marketing strategy. This research was qualitative research that used descriptive techniques and SWOT analysis as its tools. The participants chosen by a purposive sampling method. The data was collected by using observation, interview, documentation, and library study. The result of the research showed that there were 13 internal factors and 8 external factors which became the determinant factors of Banyumulek rural area marketing strategy. These factors were divided into nine Strengths, four Weaknesses, four Opportunities, and four Threats. The main Strength of the village was the ability of village craftsmen to produce traditional pottery. The prime weakness of the rural tourism area was low tourism facility. Meanwhile the Banyumulek village main opportunity was market opportunity at home and abroad; and the prime threat to the Banyumulek Tourism Village is the decrease in the use of earthenware products due to the fading of cultural customs and local wisdom values.

Hindistan’da Çay Kültürü ve Terakota Bhar Fincanları

Dünya’nın en köklü uygarlıklarına ev sahipliği yapan Hindistan, geçmişin izlerini nesilden nesile devam ettirerek geleneklerini etkili şekilde sürdüren önemli bir kültüre sahiptir. Kültürel miraslarına değer veren ülke, geleneksel çömlekçilik üretimini günümüzde halen devam ettirmektedir. Ülkede geleneksel pişmiş toprak üretimi oldukça eskilere dayanmakta olup, pek çok farklı bölgede yer alan doğal yataklardan çıkarılan killi topraklar; kullanım eşyalarına, zanaata ve sanata dönüşmektedir. En çok kullanılan terakota üretimlerden biri, tek kullanımlık çay fincanları olan Bhar’dır. Günümüzde ülke genelinde çay içmek için pişmiş toprak fincanlar, halk tarafından yoğun talep görmektedir. Köklü çay kültürüne sahip olan ve farklı damak tatlarını içeren Hint çayları; çoğunlukla tercihen geleneksel yöntemlerle çömlekçi tornasında şekillendirilen Bhar’larda içilmektedir. Düşük derecelerde geleneksel fırınlarda pişirilerek kullanıma hazır hale getirilen bu terakota fincanlar, çömlekçiler tarafından günlük üretilmektedir. Bu araştırmada, Hindistan’a özgü çay kültürü ile bu kültür içinde yer alan ve toplum tarafından kanıksanmış terakota Bhar fincanlar incelenmiştir. Bu bağlamda; terakota çay fincanlarının geleneksel üretim yöntemlerine ilişkin süreçleri, Bhar kullanımının kültürel ve geleneksel boyutu, çömlek üreticilerinin sosyo-ekonomik durumu, fincanların tek kullanımlık olması sebebiyle ortaya çıkan çevre faktörü ile ilgili konular ele alınmıştır.

PotteryVR: virtual reality pottery

Handcrafting ceramic pottery in the traditional method or virtual reality (VR) with intricate surface details is still challenging for the ceramic and graphic artist. Free-form pottery modeling can be efficiently geometrically modeled with the right tools with detailed 3D print outputs, yet challenging to be manufactured using traditional art. The new advanced pottery VR simulation is a promising method to recreate the traditional pottery simulation for a better experience with some barriers. The challenges that arise from surface detail in pottery are a tedious task accomplished by mesh blending and retopology. This paper focuses on refining the VP application’s performance by adding unique sound resonance as a more likely infinite geometric phenomenon textures, blending it into the basic shapes. This paper combines creativity and visual computing technologies such as VR, mesh blending, fixing errors, and 3D printing to bring the ceramic artist’s imagination to life. We have used sound resonance with virtual pottery (VP) systems refinements to demonstrate several standard pottery methods from free form deformed pottery, retopology, mesh blended for surface details, and 3D printed pottery with materials including polymer and ceramic resins.

Mask R-CNN-Oriented Pottery Display and Identification System.

Traditional pottery identification methods are time consuming and costly. In order to cater to more pottery industry needs, we propose a Mask R-CNN-based pottery identification method to build an automatic pottery identification system. We first improve the loss function of Mask R-CNN by using generalized intersection over union loss function, through the pattern of migration learning, to compensate for the disadvantage of a small collective amount of pottery data. For different types of pottery, we use the mask algorithm to enhance the features of the outer contour of the pottery. In addition, we use the minimum external matrix algorithm to accurately extract the outer contour bit pose features of pottery to improve the model's accuracy in recognizing the outer contour of pottery. To meet the testing conditions of pottery, with the support of potters and archaeologists, we make our pottery data set according to pottery categories. The experimental results prove that our method performs best in the comprehensive recognition accuracy of pottery, with the recognition accuracy above 90%. The recognition accuracy is also the best in pottery color decoration and grain decoration, and the grain recognition accuracy stays above 87%, which is better than other pottery recognition methods.

Tracing The Source And Origin Of Earthenware Stove In Kelantan State Museum By Means Of Geochemical And Mineralogical Methods

This study applies geochemical and mineralogical methods to determine the source and origin of the raw materials used to manufacture the earthenware stove in Kelantan State Museum, Kota Bharu. The stove is claimed to be the most unique pottery made in Kelantan but details regarding its place of manufacture and technology are missing due to the poor recording and cataloguing system used by the museum in the past. Three analytical methods employed in this study were X-Ray Diffraction (XRD), X-Ray Fluorescence (XRF) and Thermogravimetric (TGA) analyses. The results of the analyses were compared with the compositional data of raw clay samples obtained from Sungai Galas and Tumpat, two well-known traditional pottery manufacturing localities in Kelantan. In addition, clay samples from Ulu Kelantan were also included in this study to check whether the stove has any similarity with the chemical contents of prehistoric pottery found in the Nenggeri Valley of Kelantan. The results of the analyses showed that the composition of the earthenware stove has closer similarity with the clay samples extracted from Sungai Galas compared to the samples from Tumpat and Ulu Kelantan. Major minerals found between the earthenware stove and clay from Sungai Galas are quartz, albite, muscovite, microcline and cordierite. Furthermore, Thermogravimetric analysis confirmed that the stove was fired below 600 °C, corresponding to the traditional bonfire-firing technique employed by the Mambong potters in Sungai Galas. On the basis of geochemical and mineralogical results, this study concludes that the earthenware stove in the Kelantan State Museum is a product of Kampung Mambong made of clay sourced from Sungai Galas and fired at low temperatures between 400 – 600 °C, probably using the open-firing technique.

Cultural Heritage Folk Crafts Management: Contribution to the Welfare and Stability of Local Wisdom

The purpose of this study is to reveal the management of the variety and quality of pottery products as a cultural heritage that contributes to the welfare of craftsmen and the community as well as the stability of local wisdom. Continuity and changes are made by the craftsmen as a result of the flood of products with the same function made of manufactured plastic. This study employed a Participatory Rural Appraisal (PRA) approach, which used approaches and policies in Pagelaran Village, Malang Regency by involving the community as effectively as possible. The data mining technique is in the form of participatory mapping. The results showed that, to improve the welfare of craftsmen, they carried out a harmonious combination of adaptive behavior and adaptive strategies that were carried out explicitly or implicitly in response to various environmental conditions in order to promote the variety and quality of local traditional pottery products. The community implicitly carries out the process of adjusting the cultural heritage of pottery by maintaining the sustainability and continuity of local traditional pottery products. Meanwhile, the development of a variety of products is explicitly carried out which leads to a shift in the function of the pottery itself as an effect of socio-cultural changes.

Andean pre-Hispanic pottery forming 3D analysis: a pilot study from Quebrada de Humahuaca (Argentina) using digital methods

Digitization, three-dimensional (3D) documentation and visualization of archaeological materials are processes in increasing development that are used for the enhancement of heritage. These tools have multiple uses for the analysis and research of archaeological objects, although their use in pottery forming techniques studies is less explored. In this paper, diverse digital methods are explored in the study of pottery forming macro-traces, using the 3D model of an archaeological vessel from South-Central Andes. This case is proposed as a pilot study, aiming to reveal the potential of digital techniques for understanding pottery forming techniques. The particular case analysed corresponds to a globular pot of the Humahuaca Black-on-Red style, recovered at the Pucara de Volcán archaeological site, in Quebrada de Humahuaca (Jujuy, Argentina). Initial studies of macro-traces on the pot suggested the use of paddling as the forming technique. The workflow used to contrast this hypothesis included the generation of a 3D model by close-range photogrammetry; and the analysis of the resulting point-cloud and mesh using Morphological Residue Model (MRM) and Virtual Reflectance Transformation Imaging Visualization (V-RTI), with diverse open-source software packages, such as AliceVision Metashape and CloudCompare. These methods increased the micro-topography visibility of the pot surface. As a result, the presence of sub-circular depressions in the body of the pot -similar to percussion cupules-, horizontal pressure lines in the collar, and micro-pull-outs in the maximal diameter of the pot were described. These macro-traces were interpreted as corresponding to the paddling technique used for the elaboration of the pot body —a technique not previously identified in pre-Hispanic traditional pottery manufacturing in the north of Argentina—, and of coiling for manufacturing the collar. The digital methods explored have great potential in the study of pottery forming techniques, although their scope depends on the accuracy of the 3D model analysed.

The Traditional Ceramics of Bukovyna of the XIXth–XXth Centuries: Historical, Cultural and Artistic Features

The article is devoted to the traditional ceramics of Bukovyna – one of the ethnographical regions of Ukraine, where in the XIXth–XXth centuries the pottery of high-quality technology and high artistic level was developed. The historical and cultural processes, which occurred on this territory and influenced the development of handicraft are considered. The pottery centers are highlighted and the creative works of leading potters are analyzed. The peculiarities of manufacturing technology, the local names and the purpose of clay products are recorded. The characteristic features of the traditional pottery of Bukovyna are researched: the typology and the main shapes of wares, the artistic qualities of ceramics decoration, the dominant motifs of the ornaments, the characteristics of individual techniques and of expressive methods. On the basis of art-critical analysis, by comparing the pottery vessels from Bukovyna with the ones from neighboring ethnographic regions of Ukraine (Prykarpattia, Podillia), as well as with the pottery ware from foreign countries, the local peculiarities of traditional ceramics of Bukovyna are determined and common features with the samples of pottery ware from Moldova, Romania are found. Previously unknown artworks and names of craftsmen are introduced in the scientific circulation.

ENVIRONMENTAL AND LIVELIHOOD ASSESSMENT OF HANDMADE CLAY TILES FROM KOLAROA UPAZILA FOR SUSTAINABLE DEVELOPMENT

Handmade clay tiles from the south-western part of Bangladesh initially found a new market in the European construction industry. Traditional pottery product has been integrated into the global construction industry with few local entrepreneurs and agents. This international integration has produced an immediate standard set of economic and social outcomes as increased income, reduced migration, and reduced decay of the culture of the potter communities. Recently, the development of more durable and cheaper mass-produced alternatives to traditional potteries has pushed the traditional pottery industry, the livelihood, and the potter communities' cultures almost to the brink of extinction of the potters of Bangladesh. This research aims to assess the environmental and livelihood aspect of the export-oriented handmade clay tiles of Kolaroa Upazila its significance in local economic development. For this purpose, the economic and social contributions of clay tiles toward the livelihood of the potter communities have been analysed and, in contrast, environmental issues of this industry are highlighted. The results explore the upgrading aspects for the sustainable development of the handmade clay tiles industry.

Modern Traditional Pottery of Ukraine: Utilitarian and Decorative Functions

Analyzing the changes, taking place in the development of Ukrainian pottery currently, the authoress affirms, that modern Ukrainian folk ceramics has become the more public system. It interacts actively with the other systems of modern culture, reacting sensitively upon the events of the outward things. These essentially regular processes have an influence on the production technology and artistic peculiarities of the wares and also their functional changes. Herewith both main functions of the ceramics – utilitarian and decorative – don’t disappear, but are only changed with the predominance of the latter. The ritual function has almost disappeared. At the same time the exhibition function becomes increasingly popular. The authoress is describing the works of Ukrainian potters of the early 21st century. It is shown that they create household stuff as well as decorative crockery, zoomorphic and anthropomorphic plastic figures, toys and others. Decorative goods intended for the interior decoration and the exposure prevail. Changes in the range of goods at present (as well as during the previous periods) are conditioned the most often with the customer requirements. New kinds of folk ceramics appear along with the traditional varieties. Decoration of pottery gets a lot of new versions concerning the use of the motifs and their interpretation. The craftsmen try often to modernize traditional assortment, combining things into the sets for milk, borscht, varenyky, cabbage rolls, etc. The earthenware of traditional forms for a certain centre are included almost into all sets of plates and dishes. We can see a peculiarly wide range in the sets of toy wares. The authoress is analyzing changes, those have happened in the use of such traditional for folk ceramics dishes as crock, makitra, jug, bowl and others. It is concluded, that modern potters continue to make traditional things – both utilitarian and decorative. Few folk potters follow ancient patterns. Many craftsmen with a special professional education try to work in the traditions of own centres. Nowadays there are also amateurs in this sphere. They are not descended from the potter’s centres and don’t have a special education. Their works also deserve scholars’ attention. Modern potters make quite a wide range of ceramics, which, despite the changes of functions, is demanded by the population. It should even if partly preserve traditions of ceramics of Ukrainians.