Making History - Jenny Morton

Spouted Bull Vessel, Earthenware, Messopotamia, 200 BCE
This vessel, from Northern Iran, has the head of a bull placed on two large breasts where the nipple is the pouring spout. It was most likely utilitarian, and used for water. The raw surface would allow some of the water to leech out, keeping it cool.

Elephant Kendi, Red Earthenware, Iranian, 17th c. CE
The Kendi was originally made in China and sent west in hopes of appealing to Buddhist taste. When it got to Iran, it was copied by potters and used purely as a decorative object, not as a drinking vessel. I handbuilt this piece in earthenware and glazed it with majolica, decorating over the glaze.

Medici Ewer, Soft Paste Porcelain, Venice, Italy, 1575-1587 BCE
Medici was one of the first to attempt porcelain in Europe. The shape resembles ewers or vases made around this time by majolica potters of Urbino. The swirling flower motif resembles that on Turkish wares.

Hippo, Faience, Egypt, 1981-1885 BCE
The faience hippos were made as tomb objects to protect the person traveling to the afterlife from monsters in the next world. To protect the deceased, legs would be broken off the object so that the hippo could not prevent them from getting to the afterlife. The hippo is decorated with marsh plants, which is its natural habitat.

Double Walled Ewer, Fritware with black underglaze slip and alkaline glaze, Iranian, 13th c. CE
Highly decorated and inspired by metalwork, this pot was used daily and probably for water. The double wall allows the water to stay cool. The turquoise glaze is representative of water, which the Iranian culture highly valued.

Ewer, Buff Earthenware, Original: 36.7 cm. height, Syria or Iraq, Umayyad or Abbasid Period, 8th c. CE

Ewer, Buff Earthenware, Original: 36.7 cm. height , Syria or Iraq, Umayyad or Abbasid Period, 8th c. CE

Bowl and Tankard, Fritware with blue underglaze slip and clear glaze, Iranian, 13th c. CE
These forms were inspired by metalwork, and are not practical for clay. The decoration of radiating lines suggests the sun, while the small bird in the middle enhances that symbolism further.

Beak Spouted Vessel, White Earthenware, Crete, Middle Minoan, 1800 BCE
This pouring vessel was made in Phaistos, Crete. It is Kamares ware, light painting on a dark background, and the decoration may have been representing vegetables. I coil-built this pot and decorated it much in the same way as the Minoans did; with a finely burnished slip.

I am a ceramics major at NSCAD, and my love affair with clay started just two years ago. Clay, the most seductive material I have ever used, has blinded me from all other ways of making.

When you draw from a photograph, it's difficult to copy, but it's nothing like trying to re-create that object in another dimension. Translating something from a picture is one of the most difficult things to do because theres only one view. You have to make decisions and assume things, which is painstakingly difficult. I think that everyone who took this class will be more observant makers, and value historical objects more. It's easy to look at an object in a museum and move on, but after looking and making this objects for weeks it's impossible to look at objects the same way. It has altered my perspective on how to think about work I see, whether it be old or new.
It has also allowed me to work in ways with materials I never would have tried on my own. Egyptian paste is SO HARD to work with when you don't know anything about it. In working with it I have succeeded in discovering how to use it and I will be using it in the future. It's an amazing material. Making some of these objects has been so frustrating, but seeing it through has been so satisfying and worthwhile.
We have been so fortunate to have Julia and Margaret as teachers. I don't know if it would have worked without them. The slide talks and help throughout the process has been amazing. I have learned so much in such a short amount of time.