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Christine Waugh Biography Artist Statement Ancient Near East |
 Bull Pouring Vessel, Earthenware, 19.5 x 26 x 11 cm., Northern Iran, Tepe Marlik, 1200 – 1000 BCE This zoomorphic vessel was made my coiling or slab building and then coated with a finely levigated slip surface and burnished. This object was used for liquid offerings. The bull was seen as a symbol of fertility and of resourcefulness, qualities that were respected. This was found among a variety of other anthropomorphic and zoomorphic vessels in a series of graves in Northern Iran. It may have been made specifically as a funerary object.  Bull Pouring Vessel, Earthenware, 19.5 x 26 x 11 cm., Northern Iran, Tepe Marlik, 1200 – 1000 BCE This zoomorphic vessel was made my coiling or slab building and then coated with a finely levigated slip surface and burnished. This object was used for liquid offerings. The bull was seen as a symbol of fertility and of resourcefulness, qualities that were respected. This was found among a variety of other anthropomorphic and zoomorphic vessels in a series of graves in Northern Iran. It may have been made specifically as a funerary object. Bull Pouring Vessel, Earthenware, 19.5 x 26 x 11 cm., Northern Iran, Tepe Marlik, 1200 – 1000 BCE This zoomorphic vessel was made my coiling or slab building and then coated with a finely levigated slip surface and burnished. This object was used for liquid offerings. The bull was seen as a symbol of fertility and of resourcefulness, qualities that were respected. This was found among a variety of other anthropomorphic and zoomorphic vessels in a series of graves in Northern Iran. It may have been made specifically as a funerary object.  Bull Pouring Vessel, Earthenware, 19.5 x 26 x 11 cm., Northern Iran, Tepe Marlik, 1200 – 1000 BCE This zoomorphic vessel was made my coiling or slab building and then coated with a finely levigated slip surface and burnished. This object was used for liquid offerings. The bull was seen as a symbol of fertility and of resourcefulness, qualities that were respected. This was found among a variety of other anthropomorphic and zoomorphic vessels in a series of graves in Northern Iran. It may have been made specifically as a funerary object.  Oinochoe, Earthenware, Greece, Corinthian, Found in Etruria, 650-640 BCE A wine pourer, this would have been an object for use. These forms were regulated by the local government as to what was perceived to be a perfect set of proportions for the function. Thrown on a high speed wheel and decorated by a painter.  Oinochoe, Earthenware, Greece, Corinthian, Found in Etruria, 650-640 BCE A wine pourer, this would have been an object for use. These forms were regulated by the local government as to what was perceived to be a perfect set of proportions for the function. Thrown on a high speed wheel and decorated by a painter.  Cylindrical Vessel with Battle Scene, Earthenware, Meso-America, Mayan Civilization, 600-900 CE A highly decorated form that depicts a story of battle. Fine line decoration with multiple colors shows a very high level of technical skill. The delicate brushwork and precise control on a slick terra sigillata surface is masterful. The story is depicted in images and also in a pictographic text.  Propaganda Plate – Red Army, Porcelain, Russia, 1919 CE These plates were decorated by the Bolsheviks after the revolution. Made using existing blanks from the Royal Porcelain Factory, which was renamed the State Porcelain Factory. The decoration shows a member of the Red Army and a powerful city with industry and electricity. These plates were used to communicate the glory and power of the Red Army to a huge and predominantly illiterate peasant population.  Sgraffito Bowl, Earthenware, Iran, 12th - 13th c. CE In Arabic culture extensive decoration was prevalent, especially floral patterns. Depiction of animals or humans was not permitted for any wares that would enter a temple or sacred area so it is safe to assume this was for use in a home. The technique of scratching through slip to expose the base clay underneath (known as sgraffito) was developed in Arabic ceramic culture.  Sgraffito Bowl, Earthenware, Iran, 12th - 13th c. CE In Arabic culture extensive decoration was prevalent, especially floral patterns. Depiction of animals or humans was not permitted for any wares that would enter a temple or sacred area so it is safe to assume this was for use in a home. The technique of scratching through slip to expose the base clay underneath (known as sgraffito) was developed in Arabic ceramic culture.  Beaker with Ibexes, Buff Earthenware, Original: 28.9 x 16.5” cm., Susa, Mesopotamia, circa 4000 BCE This beaker was most likely made for ceremonial use. It would have been formed on a rotating surface, a “slow wheel”, with coils of clay. The surface is scraped smooth and an iron rich, levigated slip is used as decoration. The ibex, water birds and dogs adorning the vessel were all common motifs in Near East pottery and probably had special significance.  Pyxis, Earthenware, Greek - Attica, Late Geometric, 740 BCE A pyxis is a small box for holding personal items or trinkets. This object would have been wheel thrown with a red earthenware clay and decorated using finely levigated slip. The close bands of geometric decoration and horse motif are common of Geometric Style pottery.  I am a ceramicist. I love the feeling of clay in my hands, and am eager to learn new methods and techniques. To try something and test it in the fire, to change the physical nature of an object, to achieve a tactile victory, these are my rewards. Contending with form and function, pattern, colour, science and history. I am a ceramicist, I love the feeling of clay in my hands, it is a big exciting world out here. I have sharpened my appreciation for the makers of history, the superbly refined technique and skill that has existed in so many places, through so much time. To see the similarities across civilizations and time periods that could never have come into contact with one another and then to see those cultures who did have contact. The most closely related work is not always what you would think. In my mind the history of ceramics proves the collective unconscious. Patterns and forms, even ideas communicated through clay have a presence that is only deepened by the knowledge of their history. Following this class I am excited to try my hand at creating a personal language of decoration. The wealth of technical knowledge will keep me experimenting for the foreseeable future. But mostly, the aspect that I will get the most out of is the respect for exacting form. I have a newfound sense of courage and confidence, I can make what ever I put my mind to. Come Hell or High Water I will figure out egyptian paste. |
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