pottery
TRANSCRIPT
POTTERYBrief backgroundTypes and Materials Techniques/ProcessesFormsSemiotic Reading
BRIEF BACKGROUND
• Pottery are functional and decorative objects made from clay and fired at high temperatures.
• Ceramics (from Greek “kermamikos”, potter) is also a term used, although ceramics has a wider application and includes objects for industrial use
• Pottery is divided into three types: Earthware/Terracotta, Stoneware, and Porcelainware.
TYPES & MATERIALS
• EARTHENWARE
• STONEWARE
• PORCELAINWARE
TYPES & MATERIALS
EARTHENWARE- formed when surface shales and clayare fired at low temperature between 1840 F to 2030 F.
TYPES & MATERIALS
STONEWARE- made from fine clay fired at higher temperature from 2130 F to 2300 F
TYPES & MATERIALSPORCELAINWARE- made from a mixture of kaolin and feldspar and fired at very high temparature.
PROCESSES
• Preparing the material
• Working with clay
• Drying, firing, cooling
• Decorating, glazing
PREPARING THE MATERIAL
1. Quarrying clay
PREPARING THE MATERIAL
2. Cleaning/separating from the sediments
PREPARING THE MATERIAL
3. Drying to a doughlike consistency
PREPARING THE MATERIAL
4. Mixing in proper proportions
PREPARING THE MATERIAL5. Kneading
WORKING WITH CLAY
1. Slab making
WORKING WITH CLAY
2. Coiling
WORKING WITH CLAY
3. Turn modelling or throwing
WORKING WITH CLAY
4. Hand modelling or anvil-and-paddle method
WORKING WITH CLAY
5. Cradling
WORKING WITH CLAY
6. Molding
DRYING
FIRING & COOLING
Bisque – fired pieces- Can be the final stage or can be further decorated
DECORATING/ GLAZING
FINISHED PRODUCT
DECORATIVE TECHNIQUES
• Modeling
• Incisions
• Impressions
• Carvings
• Paintings
DECORATIVE TECHNIQUES
• Incisions
DECORATIVE TECHNIQUES
• Impressions
DECORATIVE TECHNIQUES
• Carvings
DECORATIVE TECHNIQUES
• Paintings
DECORATIVE TECHNIQUES
• Modelling
FORMS
The Manunggul Jar
Ancient Jar
Wild-boar vessel from Casiguran, Sorsogon
Ethnic Masterpieces
Four-breasted jar from Calapan, Mindoro
Pots of the North
Ilocano burnay Kalinga lidded jar
The Ethnic TraditionPottery associated with objects for daily use
Palayok
Banga
Tapayan
Tapayan
Most notable traditions that represent Philippine pottery
• Sa-hyunh Kalanay pottery tradition
• Novaliches tradition
• Bau-Malay pottery tradition
Sa-hyunh Kalanay pottery tradition From the Kalanay cave site in northwest Masbate and other potteries in
the Philippines with the same characteristics as those from the original site.
Subdivisions: Kalanay pottery complex Tabon pottery complex Bagupanto pottery complex Asin pottery complex
Sa-hyunh Kalanay pottery tradition
*Kalanay pottery complex
Generally have plain surfaces and round bodies with plain, flared rims.
Incisions are in a horizontal series of diagonal-line combinations bounded by straight or wavy lines.
Cord-marked pottery is absent.
Found in Cotabato and Batangas.
*Tabon pottery complex
From various cave sites in western Palawan
Distinct for its cord-marked pottery in the earlier cave sites and for its simplicity in later sites.
Dates back to 2000 B.C.
*Bagupanto pottery complex
Often classified with the Kalanay complex as 17 of its vessels were unearthed at the Kalanay cave site
Generally have superior quality, material, and artistry
Incisions are rare.
*Asin pottery complex
Distinguished by freehand-painted patterns, which include horizontal series or curvilinear scrolls
Found in the Asin cave sites in Davao del Sur
Novaliches tradition
Named after a Novaliches cave site north of Manila
Its remnants are also found in northwest Palawan and the CalamianesIslands
Dates from 250 B.C. to the fourth century
Bau-Malay pottery tradition• Geometric pottery of south China
• Named after a cave site in Salawak, Malaysia
• In the Philippines, it is found in the coastal sites in Mindanao, Bohol, northern Palawan, and the Calamianes islands.
• Dates back to the 10th century
Bau-Malay pottery tradition
Unclassified pottery
• Ritual vessel from Cagayan• Polished ritual vessels of Leta-leta• Earthenware from Ngipe’t Duldug• Two others from Palawan cave sites• Others
Tradeware– stoneware and porcelain from pre-colonial trade
with China and other Southeast Asian countries
Celadon (Sung and Yuan dynasty)
Blue-and-white porcelain (Ming dynasty)
Others
• Blanc de chine ware
• Plain brown ware
• Monochrome ware (oxblood)
Thai or Siamese pottery
Thai celadon is slightly heavier and often less glossier (than Chinese celadon)
Siamese and Anamese Pottery
Studio Pottery– hand-made, usually one-of-a-kind pieces
by ceramic artists
Ceramic artists and their works
Tessie San Juan and Jon Pettyjohn
Ceramic artists and their works
• LanelleAbueva-Fernando
• NelfaQuerubin
Ceramic artists and their works
The Jaime and Anne de
Guzman family
Ceramic artists and their works
Ugu Bigyan Fidel Go
SEMIOTIC READING
• Art and Power• Art and Gender• Art and Faith
Art and Power
Imported Ceramics
• In the Philippines, these generally symbolize power and markers of elite status.
• It has been known that these were prestigious because these were made of non-local materials and/or unsual materials like gold, jade and other precious stones
Lavish grave furniture
• For nobles and powerful people- The dead
bodies were buried along with various
articles of everyday use such as eating
utensils and weapons, and also with their
servants and domestic animals.
Terracotta Army
• The sole purpose of this immense undertaking was to create a subterranean army that would protect and support his leadership in the after-life; reflecting the First Emperor’s power, his much documented obsession with immortality and the wider cultural belief that you continued on the same path in death as in life.
Art and Gender
Design
• Maitum burial jar • Four-breasted jar
Models of social organisation for the production of pottery
(Rice 1981; Peacock 1982; van der Leeuw 1984; Arnold 1991)
Based on patterns of increasing specialization in the production of ceramics
1. Household production where each household produces its own pottery on an occasional, usually
seasonal basis.
2. Household industry where pottery continues to be a part-time activity depending on other factors such
as harvesting or weather limitations.
3. Individual workshop where potters are specialists although they may combine the activity with small-
scale agricultural work.
4. Nucleated workshops where potters are specialists and live or work in a particular area of the
community.
5. The manufactory where production is organised by an owner who has invested in equipment and pays
wages to specialist artisans.
6. The ceramic factory which appears in the post-industrial period and involves investment in powered
equipment to mass produce objects and market them effectively over a wide area.
7. Peacock has two further categories: estate production and military production where ceamics could be
mainly produced for a large organisation for its own consumption such as a military camp or a large
estate (Peacock 1982: 11).
Based on ecological factors
1. Land availability
2. Climate
3. Resources
4. Others
Among Ethnolinguistic Groups in the Philippines
Pottery production
Some of the people who produce their own pottery include the:
Kankanaey
Itneg
Maranao
Badjao
Etc.
Gender roles and significance
Among the Maranao, Badjao, Itneg, and other groups of people, women usually do the potting.
Among the Kankanaey, men engage in pottery.
Art and Faith
ART AND FAITH
• Native vision of the afterlife
• -belief in both the existence of the soul and life after death
Burial jars
-related to the tradition of “grave furniture”
Manunggul Jar (8th century BCE)
• found in a cave in the island of Palawan
• suggests the belief among early Filipinos in an afterlife across a mythical body of water
• the designs were painted in red for emphasis and to provide variation from the jar’s predominantly brown color
Red – considered
as a sacred color
- Used
on special
burial jars
Talismans• Celadons- considered as greater
talismans than local ware
- believed to change hue when
poisoned food was put on
them