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pottery,the baked-clay wares of the entire ceramics field. For a description of the nature of the material, see clayclay,
common name for a number of fine-grained, earthy materials that become plastic when wet. Chemically, clays are hydrous aluminum silicates, ordinarily containing impurities, e.g., potassium, sodium, calcium, magnesium, or iron, in small amounts.
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Types of Pottery
It usually falls into three main classes—porous-bodied pottery, stonewarestoneware,
hard pottery made from siliceous paste, fired at high temperature to vitrify (make glassy) the body. Stoneware is heavier and more opaque than porcelain and differs from terra-cotta in being nonporous and nonabsorbent.
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[Ital. porcellana], white, hard, permanent, nonporous pottery having translucence which is resonant when struck. Porcelain was first made by the Chinese to withstand the great heat generated in certain parts of their kilns.
..... Click the link for more information. . Raw clay is transformed into a porous pottery when it is heated to a temperature of about 500°C;. This pottery, unlike sun-dried clay, retains a permanent shape and does not disintegrate in water. Stoneware is produced by raising the temperature, and porcelain is baked at still greater heat. In this process part of the clay becomes vitrified, or glassy, and the strength of the pottery is increased.
Methods of Production
Pottery is formed while clay is in its plastic form. Either a long piece of clay is coiled and then smoothed, or the clay is centered upon a potter's wheel (used in Egypt before 4000 B.C.) that spins the clay while it is being shaped by the hand, or thrown. Decoration may be incised, and the piece is allowed to dry to a state of leather hardness before firing it in a kilnkiln
, furnace for firing pottery and enamels, for making brick, charcoal, lime, and cement, for roasting ores, and for drying various substances (e.g., lumber, chemicals).
..... Click the link for more information. . The type of finish, depending on the kind or number of glazes, dictates the total number of firings. When slip and graffitograffito
. 1 Method of ornamenting architectural plaster surfaces. The designs are produced by scratching a topcoat of plaster to reveal an undercoat of contrasting and deeper color.
..... Click the link for more information. are used, they are applied before the first firing. There are two types of fires—reducing and oxidizing. The former removes oxygen while the latter, a smokeless fire, adds it. Reduction and oxidation change the color of the fired clay and gave early potters their palette of red, buff, and black.
Pottery is one of the most enduring materials known to humankind. In most places it is the oldest and most widespread art; primitive peoples the world over have fashioned pots and bowls of baked clay for their daily use. Prehistoric (sometimes Neolithic) remains of pottery, e.g., in Scandinavia, England, France, Italy, Greece, and North and South America, have proved of great importance in archaeology and have often supplied a means of dating and establishing an early chronology. Some of the oldest pottery has been found in Japan and China, dated to at least 16,000 and 20,000 years old respectively. Pottery has also been of value as historical and literary records; ancient Assyrian and Babylonian writings have been inscribed upon clay tablets. Simple geometric patterns in monochrome, polychrome, or incised work are common to pottery of prehistoric and primitive cultures.
Pottery of the Ancient Mediterranean
By 1500 B.C. the use of glazes, such as the famous greens and blues, was known in Egypt. Especially noteworthy is the early Aegean pottery of the Minoan and Mycenaean periods with its curvilinear, painted decoration. In Assyria and Neo-Babylonia, painted and glazed bricks were in common use. The Ishtar gate in Babylon, with its ceramic reliefs, is an early example of the majolicamajolica
[from Majorca], type of faience usually associated with wares produced in Spain, Italy, and Mexico. The process of making majolica consists of first firing a piece of earthenware, then applying a tin enamel that upon drying forms a white opaque
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The Greek vases (800–300 B.C.), famous for symmetry of form and beauty of decoration, include red, black, and varicolored examples. The last were for tombs only, as the colors were painted, unfired, and easily marred. The red ware is decorated with black figures, or the ground is black and the figures shown red. Water, oil, and wine jars were numerous. Of the Greco-Roman wares, the Arretine or Samian, also a red ware, was molded after first being turned on the wheel to the size of the mold, which carried the decoration in intaglio.
Pottery of Asia
Painted pottery of the Neolithic period has been found in China. By the 2d cent. B.C. the Early Han period had developed a green glaze which may have come from the Middle East. In the Sui period (A.D. 581–618) and the T'ang period (618–906), porcelain and porcelaneous ware (the envy of the Western world) began to be made and exported to Korea and Japan and to the Islamic world. Technical knowledge, however, was not exchanged, and Islam made no true porcelain.
Islamic pottery making was centered at Baghdad in the 10th cent. Blue and green clear glazes were used, and lusterwarelusterware,
kind of pottery with an overglaze finish containing copper and silver or other materials that give the effect of iridescence. The process may have been invented and was certainly first popularized by Islamic potters of the 9th cent.
..... Click the link for more information. was first employed as an overglaze. Lusterware was highly developed under the Fatimites in Egypt (969–1171), and the technique continued in use at major pottery centers over the centuries that followed. During the 13th cent. Mongol domination of Persia brought renewed Chinese influence to Islamic pottery making. Fine examples of Hispano-Moorish pottery date from the 14th cent. Islamic architecture in the 15th cent. utilized ceramic tile in immense quantities, as on the Blue Mosque at Tabriz.
Pottery of Europe
In Europe there was little pottery of great aesthetic importance before the 15th cent., except perhaps some German stonewares. Majolica was mainly developed in Italy and from there spread to Spain, France (where it was called faience), and to Holland (where it came to be known as delftwaredelftware.
The earliest delftware was a faience, a heavy, brown earthenware with opaque white glaze and polychrome decoration, made in the late 16th cent. Some of the earliest imitations of Chinese and Japanese porcelain were made at Delft in the 17th cent.
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Pottery of the Americas
Prehistoric pottery found in Peru, Mexico, and the SW United States reveals a high degree of skill in color, form, and decorative motifs. Baked-clay work by colonists in North America began in 1612 with the making of bricks and tiles in Virginia and Pennsylvania. In these states and among the Dutch settlers of New York, potteries were soon established. The first whiteware was made in 1684. A stoneware factory was opened in New York in 1735, and c.1750 the Jugtown pottery of North Carolina was first produced. Terra-cotta works were operating in Massachusetts and Pennsylvania after the middle of the 18th cent. Palatinate refugees produced slip-decorated and graffito earthenware, and their product formed the foundation of Shenandoah pottery.
In Philadelphia fine china was made (1769) for the first time in America. The potteries of Bennington, Vt., which opened in 1793, were known especially for their stoneware jugs; a variety of stoneware was also produced in several locations in New York state. East Liverpool, Ohio, since 1839 one of the foremost centers of the industry, produced the first American Rockingham ware. Also widely produced in the United States were redware, ironstone, and yellowware. Another center, begun in 1852 at Trenton, N.J., made fine Belleek or eggshell china. The Centennial Exposition of 1876 in Philadelphia and the World's Columbian Exposition of 1893 in Chicago did much to awaken native consciousness of pottery as a form of art.
American art pottery flourished in the first half of the 20th cent., with works created by a variety of artisans, many of whom were employed by companies such as the Rookwood Pottery and Cincinnati Art Pottery. Much collected in the decades that followed, this art pottery was created in such styles as art nouveau, arts and crafts, and art deco. In addition, many of the major artists of the 20th cent. created exquisite ceramic works. Especially notable are those by PicassoPicasso, Pablo
(Pablo Ruiz y Picasso) , 1881–1973, Spanish painter, sculptor, graphic artist, and ceramist, who worked in France. He is generally considered in his technical virtuosity, enormous versatility, and incredible originality and prolificity to have been the
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, 1869–1954, French painter, sculptor, and lithographer. Along with Picasso, Matisse is considered one of the two foremost artists of the modern period. His contribution to 20th-century art is inestimably great.
..... Click the link for more information. , and MiróMiró, Joan
, 1893–1983, Spanish surrealist painter. After studying in Barcelona, Miró went to Paris in 1919. In the 1920s he came into contact with cubism and surrealism.
..... Click the link for more information. . In spite of the continuing development of mass-production techniques and synthetic materials, the demand for hand-crafted ware of fine quality has not diminished. A variety of artisans make utilitarian objects as well as works of art using many methods of pottery production. Moreover, indigenous peoples, notably native Americans, continue to create a number of vessels adapted from traditional forms.
See L. A. Boger, The Dictionary of World Pottery and Porcelain (1970); W. E. Cox, Book of Pottery and Porcelain (2 vol., rev. ed. 1970); E. Cooper, A History of Pottery (1973); G. Savage and H. Newman, An Illustrated Dictionary of Ceramics (1974); R. Fournier, The Illustrated Dictionary of Pottery Decoration (1986).
the production of dishes, toys, lamps, brick, roofing tile, tile, and other objects from fired clay. The words goncharstvo(pottery), gonchar(gor”nchar; potter), and gorshok (gornets; pot) are derived from the Russian word gorn(kiln).
Discovered during the early Neolithic, pottery greatly enhanced man’s chances in the struggle for survival by making it possible to cook his food. In this sense pottery may be ranked with such great inventions as the use of fire, and according to the classification of Morgan and Engels, marks the transition from the wild to the barbaric stage. By the 15th through 17th centuries, an overwhelming majority of the world’s settled peoples had mastered the craft of pottery. Inhabitants of regions devoid of pottery clay (Polynesia), many nomadic tribes of Central and Middle Asia, and also Australians, Bushmen, inhabitants of Tierra del Fuego, and some hunting tribes of Southeast Asia, northwestern America, and California, whose production forces were at a low level of development, were an exception.
Primitive pottery was a domestic production (in some tribes practiced mainly by women). Probably the earliest methods of preparing of vessels were to smear clay on the inside of woven baskets (which burned away when fired) or to “scratch out” bowls from whole lumps of clay. Other primitive ways to make vessels were to hollow out a lump of clay by placing it on a block and pounding it with a mallet, to model them from flat pieces of clay, and to build the walls with rows of clay coils or with spiral coils. The last two methods were dominant during transition to the craft method when potters began using a potter’s wheel and later a pottery kiln (formerly the articles were fired in an open fire or baked in the house oven). Professional potters appeared at different times among various peoples, but always at the stage of dissolution of the primitive communal societies and the rise of a class society (first in ancient Sumeria at the end of 4000 B.C.). The assortment and shapes of pottery wares reflect the characteristics of the everyday life and culture of peoples. The decoration of articles by painting, embossed ornaments, varnishing, and glazing is an important branch of folk art.
REFERENCESVoevodskii, M. V. “K izucheniu goncharnoi tekhniki pervobytno-kommunisticheskogo obshchestva . . . .” Sovetskaia arkheo-logiia, 1936, no. 1.
Lips, I. Proiskhozhdenie veshchei. Moscow, 1954. (Translated from German.)
M. G. RABINOVICH