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Mar

22

Tricolor Pottery Ewer with a Phoenix-head Spout

By Ceramic Design Ideas



Tricolor Pottery Ewer with a Phoenix-head Spout

Tang Dynasty (618-907)

A symbol of authority and dignity, phoenix is a divine bird in ancient tales. It was a common decorative motif as well. Ewers with phoenix-head spouts proliferated in early Tang period (the early 7th century) as a common tricolor vessel type with conspicuous Persian style. It is an innovation for tricolor vessels to integrate alien culture with indigenous art.

Jun

26

Black Pottery Pot with Double Rings

By Ceramic Design Ideas



Black Pottery Pot with Double Rings

Longshan Culture (ca. 2400-2000 BCE), Neolithic Era (ca. 10000- ca. 2000 BCE)

The black pottery was fired in a strongly reducing atmosphere (lacking oxygen); during the last stage of firing the fire was extinguished, the kiln was closed, and water was poured from the top chimney; carbon element from the fuel infiltrated the ceramic wall through the steam. Longshan is a Late Neolithic culture. It was named after Longshan village, Zhangqiu county, Shandong province where it was first recognized in 1928. The vessel was made on a rotating wheel which became common during the Longshan culture, and vessels became thinner than before

Jun

26

Red Pottery Bowl with Flat Bottom

By Ceramic Design Ideas



Red Pottery Bowl with Flat Bottom

Cishan Culture (ca. 6000-5600 BCE), Neolithic Era (ca. 10000- ca. 2000 BCE)

Pottery of the Cishan culture is dominated by red pottery, and the bowl is one of the most common forms. The Cishan culture is named after the village of Cishan, in Wu’an county, Hebei province, where the first finds of this type were made in 1972. It dates to the Northern China Middle Neolithic, 6000-5600 BC.

Jun

1

High-stemmed Black Pottery Cup

By Ceramic Design



High-stemmed Black Pottery Cup

High-stemmed Black Pottery Cup – Shantung Lung-shan Culture (ca. 2600-2000 BC), Neolithic period. Height: 24 cm, rim diameter: 11 cm, base diameter: 6 cm.

During the Lung-shan Culture, the technique of using a potting wheel to produce ceramic objects was developed. Vessels with very thin walls could be made, and even carved with openwork patterns, in what became known as “egg-shell pottery”. In the kiln, the adding of charcoal at the very end or closing the air intake would create a flux of carbon that creates black pottery.

 

Jun

1

White Pottery Gui Pitcher

By Ceramic Design



White Pottery Gui Pitcher – Late Ta-wen-k’ou Culture (ca. 4200-2600 BC), Neolithic period, Height: 29.5 cm, body height: 21.6 cm, width at widest: 16.9 cm

White Pottery Gui Pitcher

White pottery was made using clay with a higher concentration of aluminum oxide that is then fired. The potters in the Ta-wen-k’ou Culture used clay to fashion vessels like this one for alcoholic beverages that suggest an abstract bird craning its neck as it cries out.

Apr

19

How to Make a Clay Coil Pot

By Ceramic Design



Pottery is an amazingly creative and unique way to express yourself. Making a clay coil pot is easier than you think! This article shows you how to make a clay coil a step at a time.

  • 1.First find a smooth, flat surface that you can use to make pottery on.
  • 2.Take a piece of clay or modeling clay and flatten into a circle. You can use a saucer, small plate, cup bottom, or jar lid and make a flat circle of clay — or square! This is the base of your pot.
  • 3.Take pieces of clay and roll it between both your hands making a coil. Then place the coil on the flat surface and continue rolling. Make the coil as smooth as possible.
  • 4.After you make a several coils take one coil and place it onto the flat base. Attach the coil to the base by pressing the coil into the base. Remember to attach everything from the inside of the pot — the part of the pot that isn’t facing you.
  • 5.After you have the first coil attach coils one at a time making sure to attach them from the inside of the pot. Try to smooth out the inside of the pot — if the clay becomes dry use a little water on your hands and smooth the clay out.
  • 6.Once you have attached as many coils as you want and have smoothed out the inside of the pot you can then decorate the front of the pot. Try using a nail and softly carving designs into the clay. You can also take pieces of clay, make shapes (like hearts!) and attach it to the front of the pot.
  • 7.You can then either leave your pot in a warm oven to bake the pot or leave it in the sun — both will dry the clay out and make the clay harden.
  • 8.That’s it! Now you can consider painting the pot or glazing the pot. Put your pot on display and enjoy!

Apr

19

Unique Clay Pottery Design Ideas

By Ceramic Design



Creating pottery is unique almost by default. Each artist’s hands are different and this subtle difference allows them to shape the clay in new and exciting ways. Clay pottery gifts are special to begin with, but they are even more special when they are handmade. You can create a variety of unique pottery projects using a few simple techniques.

  • Using Leaves

    • You can use actual leaves to create unique accents on your clay pottery pieces. Try to find some live leaves with interesting textures in them. You can then coat these leaves with a thin coat of silver clay paste. Let this dry and coat each leaf again several more times with the paste. These can then be fired with any of your low-temperature clay pots.

      You can join the leaf to the pot or dish using slip which is a mixture of clay paste and water. You can also simply press a live leaf into your clay pottery to leave behind an interesting texture. This isn’t quite as beautiful but it is much simpler.

    Unique Pinch Pots

    • Pinch pots are very easy to make and because of this you can take chances with them. You can create a pinch pot by simply pinching and forming a ball of clay into a small cup shape. You can create unique texture for this by rolling the outside of the pinch pot in various objects. For instance, you can fill a tray with a collection of small and smooth river stones. Simply roll the pot around the stones to create a unique texture. You can also roll the pinch pot around in the grass of your yard to create an interesting effect. It is best if you roll the pot while it is still very supple in your hands. Be sure to remove any debris that sticks to the pinch pot before firing.

    Face on a Mug

    • For a truly original clay pottery idea, you can sculpt a face on a mug that you have created. This will work best with a mug that has been made using the coil method. This method uses long rolled cylinders of clay that are twisted on top of each other to form pottery. The outside and inside are then smoothed.

      You can add the face by using two small lumps of clay. Score the back of the clay by rubbing with a fork and secure the lumps to the mug with a bit of slip. The upper lump will be the forehead, nose and upper mouth area. The lower lump will be formed into the lower jaw. You can create the nose by pinching up the clay. Pressing your fingers into the clay just above the nose can make eye sockets. Eyeballs can be made with small balls of clay pressed into the sockets. Be sure to score the back of the eye ball and add some slip before you secure it.

Feb

26

Joseon Dynasty porcelain

By Ceramic Design



Joseon white porcelain and Buncheong

During the Joseon Dynasty, (1392–1910) ceramic ware was considered to represent the highest quality of achievement from imperial, city, and provincial kilns, the last of which were export-driven wares. This was the golden age of Korean pottery, with a long period of growth in imperial and provincial kilns, and much work of the highest quality still preserved.

Wares evolved along Chinese lines in terms of colour, shape, and technique. Celadon, white porcelain, and storage pottery were similar, but with slight variations in glazes, incision designs, florality, and weight. The Ming influence in blue and white wares using cobalt-blue glazes existed, but without the pthalo blue range, and the three-dimensional glassine colour depth of Ming Dynasty Chinese works.

Simplified designs emerged early on. Buddhist designs still prevailed in celadon wares: lotus flowers, and willow trees. The form most often seen was that of pear-shaped bottles. Notable were thinner glazes, and colourless glazes for buncheong or stoneware.
After the prolonged fall of the Ming dynasty, immigration of some Chinese master potters occurred in southern coastal Korea. Qing colouring, brighter and almost Scythian in enamel imitation, was rejected by Korean potters, in favour of simpler, less decorated wares in keeping with a new dynasty that built itself on military tradition.

Generally, the ceramics of this dynasty is divided into early, middle, and late periods, changing every two centuries, approximately; thus 1300 to 1500 is the early period, 1500 to 1700 the middle, and 1700 to 1900–1910 the late period.

The wares began to assume more traditional Korean glazes and more specific designs to meet regional needs. This is to be expected, as the Scythian art influences were of the former dynasty. The rise of white porcelain occurred as a result of Confucian influence and ideals, resulting in purer, less pretentious forms lacking artifice and complexity.

In 1592 during the Japanese invasion of Korea, entire villages of Korean potters were forcibly relocated to Japan permanently damaging the pottery industry as craftsmen had to relearn techniques because the masters were gone.

Feb

26

Goryeo Dynasty porcelain

By Ceramic Design



The Goryeo Dynasty (918–1392) achieved the unification of the Later Three Kingdoms under King Taejo. The works of this period are considered by some to be the finest small-scale works of ceramics in Korean history.

Key-fret, foliate designs, geometric or scrolling flowerhead bands, elliptical panels, stylized fish and insects, and the use of incised designs began at this time. Glazes were usually various shades of celadon, with browned glazes to almost black glazes being used for stoneware and storage. Celadon glazes could be rendered almost transparent to show black and white inlays.

While the forms generally seen are broad-shouldered bottles, larger low bowls or shallow smaller bowls, highly decorated celadon cosmetic boxes, and small slip-inlaid cups, the Buddhist potteries also produced melon-shaped vases, chrysanthemum cups often of spectacularly architectural design on stands with lotus motifs and lotus flower heads. In-curving rimmed alms bowls have also been discovered similar to Korean metalware. Wine cups often had a tall foot which rested on dish-shaped stands.

Feb

26

Korean pottery and porcelain

By Ceramic Design



The Three Kingdoms of Korea (57 BC-668 AD), namely Silla, Goguryeo, and Baekje, provided the beginning of Korean ceramic history. Rough domestic wares for the people were produced from numerous kilns. Likewise a number of very sophisticated statues of royal figures, guardians, and horses, equivalent to Chinese Han Dynasty figures, used for domestic and imperial votive shrines, as well as for escorts of the dead in tombs of the nobles and kings, were turned on potter’s wheels, while others were formed using the traditional hammered clay and coil method.

During the Unified Silla period (668–935) pottery was simple in colour, shape, and design. Celadon was subsequently the main production, with baekja porcelain wares developing slowly in the 14th century, when the pace accelerated with new glazes, better clays, and surprising variations of the white of different clays.

The kilns at the time had to compete with Chinese wares on a variety of social levels. The Korean ceramic masters decided to distinguish Korean baekja or white porcelain from Chinese imports by maintaining simplicity in design when the practical problems of finding pure white glazes were solved. Dating of glazes from this era has revealed a celadon or jade patina beneath white glazes.

Baekja wares came from highly refined white clay, glazed with feldspar, and fired in large carefully regulated and very clean kilns. Despite the refining process, glazes in white colours always vary as a result of the properties of the clay itself; firing methods were not uniform, temperatures varied and glazes on pieces vary from pure white, in an almost snowy thickness, through milky white that shows the clay beneath deliberately in washed glaze, to light blue and light yellow patinas.

The baekja wares reached their zenith immediately before the Joseon Dynasty came to power. Fine pieces have recently been found in the area about Wolchil Peak in the Diamond Mountains. The transitional wares of white became expressions of the Joseon Dynasty celebrations of victory in many pieces decorated with Korean calligraphy. Traditionally white wares were used by both the scholarly Confucian class, the nobility, and royalty on more formal occasions.

Simultaneously, the Buddhist traditions demanded celadon-glazed wares, and cheongja pieces of celadon porcelain with more organic shapes drawing on gourds, with animal and bird motifs that evolved very quickly. In some ways these were over-decorated wares, using exaggerated forms, stylized repeating designs, and a wide variety of organic patterns.

Cheongja wares used refined earth clays with a bit of iron powder added, then a glaze with a bit of added iron powder added once again, then fired. The glaze dried to a hard finish and was durable with a slightly shinier and glossier finish, in an oily way, than whitewares.