Making History - Ryan Tingley

Goat, Porcelain, Germany, Meissen Porcelain Factory, Original artist: Johann Joachim Kaendler, 1732 CE
Augustus the Strong of Saxony (1670-1733) built his 'Japanese Palace' in the 1720s to house a vast collection of far eastern and Meissen porcelain. This goat is one of nearly 600 life sized animals and birds that he ordered from the Meissen factory for his porcelain menagerie, planned from 1730 onwards. Technical problems and his death in 1733 led to the abandonment of the project before his number had been achieved.

Ewer with Chariot Rider, Earthenware (Bucchero Ware), Etruscan, 7th c. BCE
Bucchero ware became common between about the 7th and early 5th century BCE. Characteristically, the ware is black, sometimes gray, and often shiny from polishing. The color was achieved by firing in an atmosphere charged with carbon monoxide instead of oxygen. This is known as a reducing firing, and it converts the red of the clay, due to the presence of iron oxide, to the typical bucchero colors.

Propaganda Figural Chess Set, Porcelain, Russia, possibly by the Lomonosov Factory, 1929 CE
The theme of this set is based on the Capitalists versus Communists, the one side predominately in coral hues, the opposing side in black, heightened in gilt. The capitalist king is represented as a figure of Death, the queen as Fortune, the pawns as workers bound in chains. On the Communist side the king is represented as an industrial laborer, the queen as agricultural worker, the pawns bearing sickles.

Female Figure, Terra Cotta clay, Mycenean III, 1200-1100 BCE
Most of the clay figurines made in Greece during the Mycenean III period are female and seem to represent goddesses. Many of them are crowned, wear long dresses and stand in conventional poses with hands raised, resting on hips or held between the breasts. Some were found in sanctuaries, used as votive offerings or in tombs, where they may have served as protective goddesses. The original was probably wheel thrown with a buff earthenware clay The decoration was done with terra sigillata and fired to a low temperature.

Bowl, Dingware, White porcelain and celadon glaze, China, Sung Dynasty, 960-1279 CE
Ding ware, so named for the place it was made, currently called Quyangxian in Hebei province. This bowl is from Northern Sung Dynasty 960-1126. They were fired in a simple single-chamber kiln with rounded dome, down draught and coal burning. Potting techniques were very sophisticated during this period with thin walled bowls, finely finished lips and elegantly fashioned foot rings. Glaze was a transparent celadon glaze that had a slight ivory tinge. Fired in saggars (a ceramic container that the ware was fired in to protect it from gasses, flames or other debris) in a slightly oxidizing atmosphere. They were fired upside down with the mouth downward and resulted in a reduced and glazed foot ring. The unglazed edges after firing were then bound with copper. There were clean cut incised decoration of floral, ducks, fish in waves.

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.

Pedestal Bowl, Stoneware clay, Korean, Three Kingdom period, Kaya or Silla period, 5th-6th c. CE
High fired hard vitrified body. Many decorated with mottled ash glazes. Pedestal/ mounted cups were used for food and drink.

Shrine Head, Terracotta clay, Ife, African, 12-14th c.
Historically, African pottery was made by women, and this woman’s head is representative of a young Nigerian woman. The markings on her face perhaps represent the scarification that for the Ife culture was a common practice.

I am just completing my second year at NSCADU and will be declaring ceramics as my major. Two years ago the desire to work with clay led me to leave a fulfilling career in emergency health services to attend University full time. I had dabbled in pottery for a number of years previous but it was not until I attended NSCADU that I began to learn and grown in a way that allows me to express myself through clay. The tactility, sensibility and possibility is what has sustained this passion. My partner, Lisa is my biggest fan and without her patience and support I would not be able to dedicate myself to my work as I do.

This class has not only taught me the history of my medium throughout time but through the making of my seven objects gave me a broad range of experiences that I would not have normally. From the large scale of a Greek krater to the small delicate Chinese Ding-ware bowl, my encounter with these seven pieces left me with a strong sense of ability. I worked with porcelain, stoneware, red and white earthenware, glaze, terra-sigillata and even some sandblasting all to try and imitate these historical works. I enjoyed the diversity of the materials and sensibilities of each of the works, from figurative work to bowls and pots, it allowed me to explore many senses. I learned a lot about how to really look at the pieces in the photographs as I was trying to make them with such accuracy, it was a real lesson in looking. Even though my krater was destroyed in the kiln, I learned so much in the making of it that I still consider it a success. I learned from this class that I can tackle any project, and with enough research, time, energy and attention can accomplish anything. The combination of Julia and Margaret made for the success of this course. The complimented each other in such a unique way that all bases were covered. Sean O'Connell's help and support was immeasurable, it was such a gift to have him there with us.