The Ware : Practical Vessel

All artists are influenced by the culture they are from. Our experiences and the environment in which we were raised shapes us, and thus the works we produce as artists. This essay will discuss, compare and contrast two artists from different cultures, and their ceramic artworks, with a focus on how their cultural background has influenced their art. The artists that will be discussed are Janet Fieldhouse, who is influenced by her Torres Strait Islander heritage and Aboriginal artist Dr. Thancoupie Gloria Fletcher.

The Sikyatki style of Hopi pottery was the introduction of artistic quality to the yellow pottery of the Anasazi period. From 1400-1600 A.D., the Sikyatki Polychrome style was described as "flamboyance of decoration" on the yellow pottery now being made (Bartlett 6). The geometric designs of the Anasazi period were abandoned for the Sikyatki use of life-form designs and nature designs. These included mammals, birds, reptiles, as well as rain clouds, stars, and sun symbols.

Crescenia Tafoya comes from a lineage of skilled Santa Clara Pueblo Indian potters, who adopted the black-on-black style of this bowl from a San Ildefonso Indian named Maria Martinez. This clay bowl is formed using the coil technique, after which it is thinly coated in a liquid clay substance, or clay slip, which creates a matte look. Tafoya then polishes the outside of the bowl and uses the clay slip again to paint in the negative space of a design. When the bowl is fired, the painted surfaces are matte while the polished surfaces stay shiny.

Making these jugs were a way for the African slaves to express themselves. They were used for religious reasons and held burial significance. Ceramics class was effective in exposing a completely new form of art to me that I had no previous knowledge about. From this assignment I was able to learn more about African-American culture, the significance of pottery in the lives of different people and how the meaning of face jugs have shifted. As a result of what I have learned I am more curious of the history behind the things that I see and use in everyday

Australian ceramics has experienced an exciting evolution over the past 60 years, when ceramics was first offered as a full-time course at RMIT in 1947. At that time, the “high priests” of pottery were Shoji Hamada o f Japan, and Bernard Leach in the UK, who shared similar philosophies and aesthetic values. Leach wrote “The Potters Book” which was to become the ‘bible’, or text of choice for the many tertiary institutes around Australia who were opening up ceramic courses to satisfy the growing demand for training in what was seen to be an alternative career path in Australian arts during the post WWII years.

During this class, seniors will choose a raw piece of pottery, paint colors, brushes, sponges and stencils needed to complete their work of art. Before beginning their project, they will learn about the techniques and history of ceramics. While seniors are painting their ceramics, they can enjoy feel-good music and even have food delivered to them. When their project is complete, professionals will fire the piece for pick-up within five days. Creating a ceramic piece will help a senior reduce their stress and improve their focus. The cost of this class includes all materials and use of their equipment.

In the video, Shahzia Sikander uses fresh tea she boiled herself as a medium in her painting. This is actually a really innovative technique and a method not many traditional painters would do. Her technique takes a lot of practice since the stain needs to be distributed evenly. This requires her to be swift and accurate with her strokes in order to not create a streak or area too dark. In another one of her paintings, she is using white paint that she is building up over a period of ten years. This process takes multiple years to complete and if she is out of practice, her experience as an artist would not mean anything. This process is easy to get wrong. An example of this is she could have easily messed up her painting by using too much

When Japan opened its waters backed for trade, a vast amount of influence swept the European countries. Along with the Japanese products came an influence in the art of Europe called “Japonisme”. This type of art tended to focus on the beauty of everyday life such as the focus on many of the Japanese woodblocks. The most obvious influence of Japan on European art was a painting by James Jacques Joseph Tissot called Japanese Vase. This painting perfectly emphasizes and illustrates the common indicators of Japanese influence on European art.

This pot was the most common style of drinking cup known as a Kylix, a shallow two-handled bowl which was usually painted by vase painters , in this case, the famous painter named Exekias in C. 530 BC (Raddato, 2013). Again, the fact that the kylix is a drinking cup is relevant in association to Dionysus, the wine god.

Walking through the journey of Japanese arts in the Met’s new exhibition, “Celebrating the Arts of Japan, the collection by Mary Griggs Burke. The exhibition features works such as an exceedingly rare Jiz, Bosatsu sculpture signed by the sculptor Kaikei, and other pieces of Buddhist art. Also, Shinto iconography. Its opening coincides with Asia, it is the Met’s celebration of the Department of Asian Arts.

In this project, we are asked to analyze ceramic fragments found at the TEPCO beach, which, in the mid-20th century, used to be a dump site of the Technical Porcelain and China Ware Company (TEPCO). Though ceramics seem rather mundane, as Deetz’s study on the ceramics used in the colonial American show, they reveal quite a bit to the careful eyes: he found out that people used plates symbolically as displays of status rather than utensils, and the ceramic sets after the 18th century reflected the Georgian mindset of individuality and discipline (Deetz 1996). I am also interested in studying ceramics in a way that relates to and reveal their meanings - a post-processual, emic orientation more directly seen in the Gage house study in which

The Japanese style pot cultures organized on the six-storey shelf, six pot cultures on each storey, all these are arranged neat anyway. In the bonsais be putted some decorations such as frog statue, pavilions, shells and stones. In this work no person exist but at every turn shows human life, for example, on the workbench scattered about tools of trimming pot, also a

Japan’s Neolithic period, the Jomon period (ca. 10,500 - ca. 300BC), encompasses many different types of ceramic art. The name is derived from the “cord markings” that characterize the pottery made throughout this time. Jomon pots were made by hand with soft clay. Similar to other Neolithic cultures, women produced these early potteries. Jomon pots were mainly used for cooking, but some were used for religious practices. In addition to pottery, woven baskets, bone needles, and stone tools were produced for daily use during the Jomon period.

Archeologists employ a wide range of past information in the reconstruction of history. One such piece of information that has been widely employed in studying the history of Japan is tomb artwork. This artwork commenced in the Prehistoric era, reached the peak in the Kofun era and started to diminish at the close of the Asuka era when religion started to garner roots in Japan, more so with the introduction of Buddhism. The most notable artwork effected on the tombs at this era is the molding of haniwa that were meant to decorate the tombs. This research paper will analyze the various artistic features that were engraved on the ancient Japanese tombs.

The natural perspectives of Sabi find themselves in daily artifacts and pottery. The warmth and emotion of artisans integrates with their products through natural materials, hence making every piece a unique embodiment of different emotional attachment. The users of could also detect the inner emotion on touch of the products and a connection was created. The Japanese phrase “爱着”（ai chaku）is an explanation on love or attachment created by artifacts, where “爱” means love and “着” means attachment, which also means the place where love is located.