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Wendy Shirran The Americas |
 Moche Toad, Earthenware w/ terra sigillata, Peru, 100-200 CE The Moche culture flourished between 200 BCE and 700 CE on the Northern Coast of Peru. Moche pottery such as the toad stirrup vessel is well known through its careful preservation in tombs. Though the reason for the pots in the numerous Moche gravesites is not entirely known, the variation between graves and the type of pots present allude to some pots having specific ceremonial functions based on the individual’s social status. These clay pots were usually ornamented by scratching through, or by painting on black, white and red slip (a fine clay with oxide pigments that when fired brings out a brilliant color). In addition to the use of slips, the potters of the Mocha used many different techniques in building the pots themselves, including extensive hand-building techniques and burnishing. Moche Toad, Earthenware w/ terra sigillata, Peru, 100-200 CE The Moche culture flourished between 200 BCE and 700 CE on the Northern Coast of Peru. Moche pottery such as the toad stirrup vessel is well known through its careful preservation in tombs. Though the reason for the pots in the numerous Moche gravesites is not entirely known, the variation between graves and the type of pots present allude to some pots having specific ceremonial functions based on the individual’s social status. These clay pots were usually ornamented by scratching through, or by painting on black, white and red slip (a fine clay with oxide pigments that when fired brings out a brilliant color). In addition to the use of slips, the potters of the Mocha used many different techniques in building the pots themselves, including extensive hand-building techniques and burnishing.  Charger w/Adam and Eve, Tin-Glazed Red Earthenware, Lambeth, England, 1650-1730 CE ‘Blue dash’ chargers, painted with a very primitive Adam and Eve, were made at the Lambeth factory some time in the third quarter of the 17th century. As in this example, a cobalt stain is applied very loosely with minimal detail over a white tin-glaze, and the foliage of the trees are applied by ‘sponging’ which ultimately proves to be a quick method of decorating compared to the earlier more detailed pictorial fashion of chargers. The term ‘blue-dash’ refers to the multiple blue brush strokes marking the rim of the dish.  Charger w/Adam and Eve, Tin-Glazed Red Earthenware, Lambeth, England, 1650-1730 CE ‘Blue dash’ chargers, painted with a very primitive Adam and Eve, were made at the Lambeth factory some time in the third quarter of the 17th century. As in this example, a cobalt stain is applied very loosely with minimal detail over a white tin-glaze, and the foliage of the trees are applied by ‘sponging’ which ultimately proves to be a quick method of decorating compared to the earlier more detailed pictorial fashion of chargers. The term ‘blue-dash’ refers to the multiple blue brush strokes marking the rim of the dish.  Charger w/Adam and Eve, Tin-Glazed Red Earthenware, Lambeth, England, 1650-1730 CE ‘Blue dash’ chargers, painted with a very primitive Adam and Eve, were made at the Lambeth factory some time in the third quarter of the 17th century. As in this example, a cobalt stain is applied very loosely with minimal detail over a white tin-glaze, and the foliage of the trees are applied by ‘sponging’ which ultimately proves to be a quick method of decorating compared to the earlier more detailed pictorial fashion of chargers. The term ‘blue-dash’ refers to the multiple blue brush strokes marking the rim of the dish.  Double Gourd Ewer, Korea, Koryo Dynasty, Porcelain, Celadon glaze w/incised creeper plant design, 12th c. CE Such a piece as this is an example of widely admired ceramic Celadon ware that reached the height of perfection in technology, form, and decoration between the early 12th and 13th centuries. Initially influenced by Chinese techniques and forms, the Korean celadon industry soon asserted its independence. Korean potter’s development of refined forms, naturalistic designs, highly transparent glazes, and distinctive grayish blue-green color won high praise from the visiting Chinese, one of whom pronounced Korean celadon as “first under heaven.” The color of Koryo celadon ware is derived from the presence of small amounts of iron oxide in a feldspathic glaze, which was fired in a reduced oxygen atmosphere. The decoration on Koryo ware, as seen on this ewer, is an incised or carved design. This design was incised when the clay reached a leather-hard drying stage with a sharp tool, followed by shallow carving around the design causing it to stand out in relief.  Double Gourd Ewer, Korea, Koryo Dynasty, Porcelain, Celadon glaze w/incised creeper plant design, 12th c. CE Such a piece as this is an example of widely admired ceramic Celadon ware that reached the height of perfection in technology, form, and decoration between the early 12th and 13th centuries. Initially influenced by Chinese techniques and forms, the Korean celadon industry soon asserted its independence. Korean potter’s development of refined forms, naturalistic designs, highly transparent glazes, and distinctive grayish blue-green color won high praise from the visiting Chinese, one of whom pronounced Korean celadon as “first under heaven.” The color of Koryo celadon ware is derived from the presence of small amounts of iron oxide in a feldspathic glaze, which was fired in a reduced oxygen atmosphere. The decoration on Koryo ware, as seen on this ewer, is an incised or carved design. This design was incised when the clay reached a leather-hard drying stage with a sharp tool, followed by shallow carving around the design causing it to stand out in relief.  Lusterware Pitcher, Red Earthenware with luster decoration, Spain/Italy, 16th c. CE The form and surface decoration of this pitcher is highly influenced by Islamic lusterware. Characterized by tin-glaze with painted cobalt stain decoration and copper-golden-luster finish, this pouring vessel has undergone a series of three firings. The form is very reminiscent of the Valencian drug-jar or albarello that depicted a standard pattern of leaves or vegetation, and were designed with a narrowing waist to be easily grasped for removal from a shelf containing other similar vessels. I have recreated this vessel using slip under the transparent glaze as opposed to the original tin glaze surface with overglaze decoration.  Lusterware Pitcher, Red Earthenware with luster decoration, Spain/Italy, 16th c. CE The form and surface decoration of this pitcher is highly influenced by Islamic lusterware. Characterized by tin-glaze with painted cobalt stain decoration and copper-golden-luster finish, this pouring vessel has undergone a series of three firings. The form is very reminiscent of the Valencian drug-jar or albarello that depicted a standard pattern of leaves or vegetation, and were designed with a narrowing waist to be easily grasped for removal from a shelf containing other similar vessels. I have recreated this vessel using slip under the transparent glaze as opposed to the original tin glaze surface with overglaze decoration.  Lusterware Pitcher, Red Earthenware with luster decoration, Spain/Italy, 16th c. CE The form and surface decoration of this pitcher is highly influenced by Islamic lusterware. Characterized by tin-glaze with painted cobalt stain decoration and copper-golden-luster finish, this pouring vessel has undergone a series of three firings. The form is very reminiscent of the Valencian drug-jar or albarello that depicted a standard pattern of leaves or vegetation, and were designed with a narrowing waist to be easily grasped for removal from a shelf containing other similar vessels. I have recreated this vessel using slip under the transparent glaze as opposed to the original tin glaze surface with overglaze decoration.  Lusterware Pitcher, Red Earthenware with luster decoration, Spain/Italy, 16th c. CE The form and surface decoration of this pitcher is highly influenced by Islamic lusterware. Characterized by tin-glaze with painted cobalt stain decoration and copper-golden-luster finish, this pouring vessel has undergone a series of three firings. The form is very reminiscent of the Valencian drug-jar or albarello that depicted a standard pattern of leaves or vegetation, and were designed with a narrowing waist to be easily grasped for removal from a shelf containing other similar vessels. I have recreated this vessel using slip under the transparent glaze as opposed to the original tin glaze surface with overglaze decoration.  Amphora w/ Three Handles, Palace Style, White earthenware with stained slips and terra sigelata, Crete, Palace at Knosses, Late Minoan II, 1450-1400 BCE  Amphora w/ Three Handles, Palace Style, White earthenware with stained slips and terra sigelata, Crete, Palace at Knosses, Late Minoan II, 1450-1400 BCE This large Amphora with three handles comes from the palace of Knossos. It illustrates the final phase of pottery at the palace and is typical of the final 60 years before catastrophe struck the city about 1400 BCE. Round the vessel are six papyrus reed motifs that suggest Egyptian influence. The slip-painted wavy stems are a typical style of naturalistic decoration. The designs are immediate, fresh and light. This piece was created through the combined process of wheel throwing and coil-building.  Amphora w/ Three Handles, Palace Style, White earthenware with stained slips and terra sigelata, Crete, Palace at Knosses, Late Minoan II, 1450-1400 BCE This large Amphora with three handles comes from the palace of Knossos. It illustrates the final phase of pottery at the palace and is typical of the final 60 years before catastrophe struck the city about 1400 BCE. Round the vessel are six papyrus reed motifs that suggest Egyptian influence. The slip-painted wavy stems are a typical style of naturalistic decoration. The designs are immediate, fresh and light. This piece was created through the combined process of wheel throwing and coil-building.  Amphora w/ Three Handles, Palace Style, White earthenware with stained slips and terra sigelata, Crete, Palace at Knosses, Late Minoan II, 1450-1400 BCE This large Amphora with three handles comes from the palace of Knossos. It illustrates the final phase of pottery at the palace and is typical of the final 60 years before catastrophe struck the city about 1400 BCE. Round the vessel are six papyrus reed motifs that suggest Egyptian influence. The slip-painted wavy stems are a typical style of naturalistic decoration. The designs are immediate, fresh and light. This piece was created through the combined process of wheel throwing and coil-building.  Amphora w/ Three Handles, Palace Style, White earthenware with stained slips and terra sigelata, Crete, Palace at Knosses, Late Minoan II, 1450-1400 BCE This large Amphora with three handles comes from the palace of Knossos. It illustrates the final phase of pottery at the palace and is typical of the final 60 years before catastrophe struck the city about 1400 BCE. Round the vessel are six papyrus reed motifs that suggest Egyptian influence. The slip-painted wavy stems are a typical style of naturalistic decoration. The designs are immediate, fresh and light. This piece was created through the combined process of wheel throwing and coil-building.  Amphora w/ Three Handles, Palace Style, White earthenware with stained slips and terra sigelata, Crete, Palace at Knosses, Late Minoan II, 1450-1400 BCE This large Amphora with three handles comes from the palace of Knossos. It illustrates the final phase of pottery at the palace and is typical of the final 60 years before catastrophe struck the city about 1400 BCE. Round the vessel are six papyrus reed motifs that suggest Egyptian influence. The slip-painted wavy stems are a typical style of naturalistic decoration. The designs are immediate, fresh and light. This piece was created through the combined process of wheel throwing and coil-building.  Bowl, Tin Glazed Earthenware w/ green splashed glaze Islamic/Iran, 10th c. CE It is thought that Islamic white tin-glazed wares such as this were meant to resemble the white porcelain wares from China. Islamic potters created white opacity with the use of tin oxide. This surface was simple to achieve and looked clean and even. Thus, it was an ideal surface for painted decoration. Various coloring pigments were used such as cobalt to make blue, and copper for green. The decoration is characterized by its fuzzy quality and detailed blue and white symmetrical patterns with strong abstract tendency. |
