| Lauren Levine Biography Artist Statement East Asia |
 Camel, Earthenware, China, Wei Dynasty, 5th c. CE This camel was found in an ancient tomb in China. The Chinese were buried with different objects from their life. Instead of burying the dead with real camels or people they would make ceramic sculptures. The camel represented the camels of the silk road thus it was a sign of wealth.  Camel, Earthenware, China, Wei Dynasty, 5th c. CE This camel was found in an ancient tomb in China. The Chinese were buried with different objects from their life. Instead of burying the dead with real camels or people they would make ceramic sculptures. The camel represented the camels of the silk road thus it was a sign of wealth.  Handled Vessel with Skeletons, Earthenware with lead glaze, Roman Era, Asia Minor, 0-100 CE A few vessels of this handled beaker shape are known. This one is from Komotini in Southern Thrace. It is distinguished by having decoration partly trailed in slip and partly applied. The slips used are white and buff or red under the glaze and therefore produce a variation of tone not found in the normal relief-moulded wares. It is lead-glazed earthenware with slip trailed and applied decoration. This beaker is made of a thrown and trimmed earthenware body with added handle. Then white slip was trailed on and modeled on the surface and then covered with a green glaze.  Handled Vessel with Skeletons, Earthenware with lead glaze, Roman Era, Asia Minor, 0-100 CE A few vessels of this handled beaker shape are known. This one is from Komotini in Southern Thrace. It is distinguished by having decoration partly trailed in slip and partly applied. The slips used are white and buff or red under the glaze and therefore produce a variation of tone not found in the normal relief-moulded wares. It is lead-glazed earthenware with slip trailed and applied decoration. This beaker is made of a thrown and trimmed earthenware body with added handle. Then white slip was trailed on and modeled on the surface and then covered with a green glaze.  Tomb Figurine, Earthenware Groom, Hand-built earthenware, terra sigillata, glaze, China, Tang Dynasty, 7th c. CE Burial objects were known as ming-chi; spirit objects. They would resemble objects the dead was familiar with during life. These objects were made specifically for burial, their purpose to comfort the soul of the departed. The more detailed parts would be left unglazed so as not to hide careful modeling. This figure was made with hand-modeled earthenware with lots of added grog to make it easier to sculpt with. The face, hair, hands, legs and feet have terra sigillata on them and the dress is painted in a green glaze.  Tomb Figurine, Earthenware Groom, Hand-built earthenware, terra sigillata, glaze, China, Tang Dynasty, 7th c. CE Burial objects were known as ming-chi; spirit objects. They would resemble objects the dead was familiar with during life. These objects were made specifically for burial, their purpose to comfort the soul of the departed. The more detailed parts would be left unglazed so as not to hide careful modeling. This figure was made with hand-modeled earthenware with lots of added grog to make it easier to sculpt with. The face, hair, hands, legs and feet have terra sigillata on them and the dress is painted in a green glaze.  Tomb Figurine, Earthenware Groom, Hand-built earthenware, terra sigillata, glaze, China, Tang Dynasty, 7th c. CE Burial objects were known as ming-chi; spirit objects. They would resemble objects the dead was familiar with during life. These objects were made specifically for burial, their purpose to comfort the soul of the departed. The more detailed parts would be left unglazed so as not to hide careful modeling. This figure was made with hand-modeled earthenware with lots of added grog to make it easier to sculpt with. The face, hair, hands, legs and feet have terra sigillata on them and the dress is painted in a green glaze.  Peacock Pattern Dish, Tin Glazed Earthenware, Faenza, Italy, 1470-1500 CE The decoration on this plate is the peacock-feather motif commonly found on Faentine ceramics. It is unknown whether this piece was used at the dinner table or purely for display. The peacock-feather eye motif, mainly orange with cobalt blue, green and purple, was connected with political events as majolica-artists intended it to be a mark of homage to Galeotto Manfredo, Lord of Faenza whose mistresses name was Cassandra Pavoni 'pavone' meaning 'peacock'. This plate is made of thrown and trimmed earthenware. Glazed in majolica and decorated with cobalt, manganese, copper and stains. Peacock Pattern Dish, Tin Glazed Earthenware, Faenza, Italy, 1470-1500 CE The decoration on this plate is the peacock-feather motif commonly found on Faentine ceramics. It is unknown whether this piece was used at the dinner table or purely for display. The peacock-feather eye motif, mainly orange with cobalt blue, green and purple, was connected with political events as majolica-artists intended it to be a mark of homage to Galeotto Manfredo, Lord of Faenza whose mistresses name was Cassandra Pavoni 'pavone' meaning 'peacock'. This plate is made of thrown and trimmed earthenware. Glazed in majolica and decorated with cobalt, manganese, copper and stains.  Peacock Pattern Dish, Tin Glazed Earthenware, Faenza, Italy, 1470-1500 CE The decoration on this plate is the peacock-feather motif commonly found on Faentine ceramics. It is unknown whether this piece was used at the dinner table or purely for display. The peacock-feather eye motif, mainly orange with cobalt blue, green and purple, was connected with political events as majolica-artists intended it to be a mark of homage to Galeotto Manfredo, Lord of Faenza whose mistresses name was Cassandra Pavoni 'pavone' meaning 'peacock'. This plate is made of thrown and trimmed earthenware. Glazed in majolica and decorated with cobalt, manganese, copper and stains.  Peacock Pattern Dish, Tin Glazed Earthenware, Faenza, Italy, 1470-1500 CE The decoration on this plate is the peacock-feather motif commonly found on Faentine ceramics. It is unknown whether this piece was used at the dinner table or purely for display. The peacock-feather eye motif, mainly orange with cobalt blue, green and purple, was connected with political events as majolica-artists intended it to be a mark of homage to Galeotto Manfredo, Lord of Faenza whose mistresses name was Cassandra Pavoni 'pavone' meaning 'peacock'. This plate is made of thrown and trimmed earthenware. Glazed in majolica and decorated with cobalt, manganese, copper and stains.  Meiping Vase, Stoneware, slip, glaze, Cizhou-type Ware, China, Song Dynasty, 11th-12th c. CE Cizhou-type ware refers to stoneware covered with white slip to give it a bright finish, then decoration is added with dark brown or black clay pigment with freely painted flower and foliage decoration. Details are added by scratching through the dark flowers to reveal a white line. Common Cizhou-type wares were forms such as wine jars, vases, bowls, and pillows.  Meiping Vase, Stoneware, slip, glaze, Cizhou-type Ware, China, Song Dynasty, 11th-12th c. CE Cizhou-type ware refers to stoneware covered with white slip to give it a bright finish, then decoration is added with dark brown or black clay pigment with freely painted flower and foliage decoration. Details are added by scratching through the dark flowers to reveal a white line. Common Cizhou-type wares were forms such as wine jars, vases, bowls, and pillows.  Meiping Vase, Stoneware, slip, glaze, Cizhou-type Ware, China, Song Dynasty, 11th-12th c. CE Cizhou-type ware refers to stoneware covered with white slip to give it a bright finish, then decoration is added with dark brown or black clay pigment with freely painted flower and foliage decoration. Details are added by scratching through the dark flowers to reveal a white line. Common Cizhou-type wares were forms such as wine jars, vases, bowls, and pillows.  Meiping Vase, Stoneware, slip, glaze, Cizhou-type Ware, China, Song Dynasty, 11th-12th c. CE Cizhou-type ware refers to stoneware covered with white slip to give it a bright finish, then decoration is added with dark brown or black clay pigment with freely painted flower and foliage decoration. Details are added by scratching through the dark flowers to reveal a white line. Common Cizhou-type wares were forms such as wine jars, vases, bowls, and pillows.  Globular Gloss Pot en Barbotine, Earthenware, Central Gaul, 175-200 CE The Romans adopted the Greek technique of using a smooth iron rich slip glaze to coat a coarser body. Unlike the Greeks the Romans used a simpler clear oxidized firing which produced a glossy red finish rather than a glossy black. On this terracotta pot the leaping dears and stems were slip trailed and the leaves were made with a sprig mould.  Globular Gloss Pot en Barbotine, Earthenware, Central Gaul, 175-200 CE The Romans adopted the Greek technique of using a smooth iron rich slip glaze to coat a coarser body. Unlike the Greeks the Romans used a simpler clear oxidized firing which produced a glossy red finish rather than a glossy black. On this terracotta pot the leaping dears and stems were slip trailed and the leaves were made with a sprig mould.  Sari Ware Bowl, Earthenware, Iran, 11th c. CE Eastern Iranian slip-decorated pottery has usually been associated with the town of Sari near the south-eastern corner of the Caspian Sea. The designs are almost all with birds, and are outlined to stabilize the painting under the lead glaze. This bowl was wheel-thrown and trimmed and decorated with brushed-on and trailed slip, and glazed with transparent glaze.  Sari Ware Bowl, Earthenware, Iran, 11th c. CE Eastern Iranian slip-decorated pottery has usually been associated with the town of Sari near the south-eastern corner of the Caspian Sea. The designs are almost all with birds, and are outlined to stabilize the painting under the lead glaze. This bowl was wheel-thrown and trimmed and decorated with brushed-on and trailed slip, and glazed with transparent glaze.  HELLO! My name is Lauren Levine and I am from Dundas Ontario Canada. I love being creative and working with clay, and am entering my third year at NSCAD in a Ceramics Major. The ceramics History As Inspiration class is one of the most fantastic and challenging courses I have ever taken. I've learned so many techniques and so much about history and making in the last five and a half weeks that I cannot wait to see how all this information translates into and informs my own work. What I think is so great about this course is how much you can learn from remaking an object. There really is a difference between seeing an object and making it, a much deeper understanding and respect for the materials and piece come with the making. This course was fabulous, Julia Galloway and Margaret Bohls are both so wonderful, and they are such amazing teachers I really am so thankful to have had the chance to work with them. |
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