mardi 21 septembre 2010
samedi 18 septembre 2010
dimanche 12 septembre 2010
Pottery Designs
There is no dearth to the patterns that may be created by an artist who is creative and innovative, and who has the ability to use his tools with skill. Every nation that has a pottery tradition, and every region within such a nation, boasts of unique patterns with which its pottery is adorned. But perhaps, it may be possible to categorize these pottery designs into a few broad groups within which indigenous styles have flourished.
Pottery art is the traditional of all art forms. Many of the world’s civilizations have left indelible marks of their art and culture through their art of pottery. The soft and supple lumps of clay were perhaps the simplest modes for transforming human imaginations and visions to tangible shapes and forms. The level of progress, the customs, the religion, the geographical diversities of a particular region can be measured through pottery crafts. In India, pottery making started with the Indus Valley Civilization and continues still today. The ancient potteries with rustic shapes and coarse textures are heritage pieces that make for ethnic decorations. The Terracotta objects, black painted clay artifacts and glazed potteries of Persian patterns are some antique pottery items. The potteries generally come in shapes of jars, bowls, vessels, pitchers and vases. With advancement in technology the clays are being molded into superfine textures resulting into sleek and stylish pottery products.
Flower vases, ashtrays, paperweights, coasters, trinkets, showpieces, decorative figures and tea sets crafted into a bewildering array of colors and designs are popular pottery decor. The can be offered as gifts to the loved ones and can be used for interior decoration. Exquisite dinner sets are rich endowments of pottery. They may include beautiful bowls, pots, dishes, spoons, coasters, pans and mugs. Dinnerware designs vary from typical floral to modern geometric patterns. Attractive and colorful the pottery dinnerware truly set the mood for dinner by setting a perfect dinner table.
Ceramics are non-metallic substances subjected to high firing. Ceramic pottery is the most sought after decorative element of the modern day. The unique pottery craft was practiced in ancient Greece, Rome, Japan, China, Africa, Mesopotamia, Persia and India. The bon-fired ceramics molded into beautiful Greek figurines and vessels spellbind with their immaculate artistry and aestheticism. Ceramic pottery can be traced in India from the Harappan age. The potteries have undergone several experiments under the hands of the master craftsmen in several periods of history. Worth mentioning is the ceramic tiles and pottery products of the Mughal era. Quartz powder was applied in the ceramic clays to create a stone like base. They were glazed with various metallic and synthetic substances to bring a soft shimmer. A ceramic design can comprise of beautiful folk motifs, scenic illustrations, traditional female figurines and modern graphical patterns. A ceramic tile design may have numerous themes varying from floral, mythological, religious to abstract, geometric and mosaic patterns.
The designs on pottery may be:
• Linear: These ceramic patterns include stripes, checks, diagonals etc.
• Geometric: These pottery designs are interesting arrangements of geometric shapes
• Floral: These are patterns of flowers, leaves, vines, creepers, stems, trees etc.
• Scenic: These patterns on pottery include landscapes, seascapes etc.
• Animal and human figures
• Abstract designs such as interesting color effects with splashes, dabs, blending and merging of colors etc. These pottery designs do not have a coherent shape necessarily.
• Pottery patterns on mythological themes.
• Chinese designs in the ceramic and glazed pottery contained neat and subtle patterns of bright natural colors. Figural and floral motifs generally characterize the Chinese pottery designs.
The popular techniques used to decorate pottery items are:
• Painting
• Engraving and carving: Using pottery tools, potters can create beautiful patterns ranging from simple cuts in geometric patterns to complex designs.
• Glazing
• Metal plating: Pottery may be gold plated, silver-plated or copper plated.
• Varnishing
• Pottery decoration using glitter, threads, beads, shells.
Pottery designs are not confined simply to patterns that are created on the terracotta object. They also refer to the object being shaped in a stylish manner that is different and more attractive than the ordinary. Taking into concern the tremendous prospect of pottery crafts many people are showing interests in pottery making as their recreational pastime or as a part of their profession. Various books on pottery are available where the techniques of preparing, molding and throwing of clay are described. The pottery plans are useful guidelines that teach on the basics of pottery making in a simple and understandable way
jeudi 9 septembre 2010
jeudi 26 août 2010
mercredi 25 août 2010
dimanche 22 août 2010
GOLDSCHEIDER NEUWIRTH CERAMIC POTTERY LIFE SIZE PARROT
Different Names For Pottery Clays
These different names for clays are indicative of their uses, origins and appearance, and each fits into one of the above three categories of pottery clay. For example, iron oxide (rust) makes a red pottery clay, sometimes known as 'terracotta’ and normally refers to red earthenware.
Kaolin is another word for china clay which is an essential for the manufacture of porcelain and bone china (a type of porcelain with bone ash added). As a general rule, the more impure the clay, the more coarse its end product will be (e.g. bricks). Conversely, the finer the material, the finer the product (expensive tea services etc). China clay is found in great quantities in Cornwall, England and also Malaysia.
Feldspar clay (aka petunse or petuntse), is the aluminum silicate component of porcelain. It vitrifies to give the translucent glass-like appearance of porcelain. Feldspar was referred to by the ancient Chinese makers as the ‘flesh’ of the pottery clay. Although for years was the missing ingredient the Chinese kept from the European makers, feldspars can be found in many types of sedimentary rock the world over. Petunse or petuntse was the original mineral in which it was found.
All What You Need to Making Ceramic Pottery
nce the very beginning of ceramic making, ceramic is very popular to make decorative household and tiles. And in the 17th century, a company named Ashura began to mass-produce ceramics in Nove and Bassano. Ceramics create the walls of houses and palaces looks beautiful and lustrous, plus combination of patterns or motifs to make the wall to be more interesting and artistic.
Nowadays, ceramics pottery is an interesting hobby to do at home to fill our spare time. Maybe some of us are inspired by the famous film “ghost” to create a beautiful small mug or jar. It is no problem, although you have never done it before, you can learn basic techniques basically about 1 or 2 weeks only. In addition, you need to note is the selection of ceramic materials to make it easier to you to create an object and a set of basic tool kit to help you to enhance its designs and motifs.
On AMACO/Brent, you can choose a wide selection of ceramic materials, tools, and other additional fun stuff to get started your ceramic pottery project. Firstly, you have to choose your clays. Today, it is recommended to use talc-free clays for those who want to the start the project successfully for the first time. Talc-free clays are easy to use and most of ceramic art educations use it. Clays also come in various colors and types such as low fire clays, high fire clays, self-hardening clays, and air dry clays. If you don’t have any ceramic pottery kiln or oven, you can use self-hardening clays instead of fire clays. And please do not use a home oven for baking process.
jeudi 5 août 2010
samedi 31 juillet 2010
vendredi 30 juillet 2010
dimanche 25 avril 2010
Ancient Egyptian Pottery and History
The Egyptians created pottery beginning from primordial times. Even before the construction of pyramids, they were engaged in the making of pottery. The study of pottery sheds tremendous light on the pre dynastic era of ancient Egypt. Ancient Egyptians used pottery in the same manner we use plastic containers today. The studies of pottery material, expertise, and types have been a great supply of information for archaeologists to date sites in the absence of other sources of data. Early Egyptologists like Flinders Petrie used pot shards to discover chronological dates for pre dynastic eras. Pottery is also used to assist the study of trade and regional development in old Egypt.
Egypt in the pre dynastic period produced pottery of very high quality. During the Badarian period the potter's wheel was not used and typically ladies prepared it. The upper segment was adorned in a radiant black color and the lower segment in deep red. The pottery was made by firing in open bone fires or archaic furnaces. From 40000 to 3000 BC. i.e. until the Dynastic era from the Naqada era, pottery was decorated with depictions of animals, humans, boats and various other patterns and symbols. It was during this period, that perhaps some of the greatest pottery was developed.
The potter's wheel was not invented in Egypt until the Old Kingdom. It was only during this era that the potter's wheel made its first appearance and started to be used for commercial purposes. The wheel was very simple, like a turn table in the beginning, but latter it advanced into a true potter's wheel. The wheel was at first turned by hand, and later the kick wheel variety developed during the Ptolemaic epoch. At this time, there was an increase in the quantity of pottery produced. However the introduction of the potter's wheel did not wipe out absolutely all the traditional forms of making pottery. For example, bread moulds were still often handmade
Egyptian pottery can be classified into two broad divisions depending upon the type of clay used in the manufacturing. It is an international classification system known as The Vienna System.
1. Pottery manufactured from Nile clay. It is also known as Nile silt ware. When it is fired it gets covered up with a red-brown color. Sometimes the pottery was decorated or painted in blue. It was mostly used for common everyday purposes. It was not used for decoration although during the New Kingdom, blue painted pottery appeared.
2. Pottery made from marl clay. It was made from material found in the region of Quena in Upper Egypt. This pottery was superior to the Nile silt ware. It was sometimes polished leaving a lustrous surface. It was used for decorative purposes as well as for other functions. However, the actual glazed pottery appeared only during roman times.
One can further make a classification of Egyptian pottery with the examination of additives in the basic fabric of the pottery, as well as an analysis of the natural impurities present in the clay.
Egypt in the pre dynastic period produced pottery of very high quality. During the Badarian period the potter's wheel was not used and typically ladies prepared it. The upper segment was adorned in a radiant black color and the lower segment in deep red. The pottery was made by firing in open bone fires or archaic furnaces. From 40000 to 3000 BC. i.e. until the Dynastic era from the Naqada era, pottery was decorated with depictions of animals, humans, boats and various other patterns and symbols. It was during this period, that perhaps some of the greatest pottery was developed.
The potter's wheel was not invented in Egypt until the Old Kingdom. It was only during this era that the potter's wheel made its first appearance and started to be used for commercial purposes. The wheel was very simple, like a turn table in the beginning, but latter it advanced into a true potter's wheel. The wheel was at first turned by hand, and later the kick wheel variety developed during the Ptolemaic epoch. At this time, there was an increase in the quantity of pottery produced. However the introduction of the potter's wheel did not wipe out absolutely all the traditional forms of making pottery. For example, bread moulds were still often handmade
Egyptian pottery can be classified into two broad divisions depending upon the type of clay used in the manufacturing. It is an international classification system known as The Vienna System.
1. Pottery manufactured from Nile clay. It is also known as Nile silt ware. When it is fired it gets covered up with a red-brown color. Sometimes the pottery was decorated or painted in blue. It was mostly used for common everyday purposes. It was not used for decoration although during the New Kingdom, blue painted pottery appeared.
2. Pottery made from marl clay. It was made from material found in the region of Quena in Upper Egypt. This pottery was superior to the Nile silt ware. It was sometimes polished leaving a lustrous surface. It was used for decorative purposes as well as for other functions. However, the actual glazed pottery appeared only during roman times.
One can further make a classification of Egyptian pottery with the examination of additives in the basic fabric of the pottery, as well as an analysis of the natural impurities present in the clay.
The History of Korean Pottery
The Koreans have used potteries from 7000 to 8000 years ago. Since ancient times they used to make pottery by firing clay at a heat of 1300 degree Celsius. They produced unique, original and beautiful pottery. They traded extensively with China and adopted manufacturing skills of Celadon.
Korean pottery is healthy and alive due to its good natural disposition. The Korean potters believed in nature and sought to be a part of it. So they lived in deep recesses of mountains to give a natural touch to their wares and used simple colors with liberal techniques for molding the clay prior to making the pottery.
Korean pottery can be studied in terms of three empires. These three empires which present the foundation of Korean ceramic history also reflect the culture of pottery during this era. These three kingdoms are - Silla, Goguryeo and Joseon. The Korean potters produced coarse household goods as well as highly sophisticated statues of imperial figures, guardians, horses, escorts of the dead in mausoleum of kings, as well as nobility.
1. Korean pottery in the Silla era (668 to 935) - the pottery was plain in color, design and silhouette at the time of the unified Silla era. Celadon was the main produce. Gradually in the 14th century Bakeja porcelain wares developed which had vibrant varnish. These were made up of highly refined clay. Bakeja wares were fixed with feldspar and were very cautiously fired in very huge and fresh kilns. Bakeja wares flourished tremendously until the Joseon dynasty came to power.
2. Korean pottery in the Goguryeo era (918 to 1392) - during this epoch some of the best small scale works of ceramics were accomplished in Korea. In this age the potters made foliate designs, key fret, geometric shapes, elliptical panels, stylized fishes and insects, and they started using incised designs from this era. The glazes used, were different shades of Celadon. For stoneware and storage goods they used black and brown glazes.
3. Korean pottery in Joseon dynasty (1392 to 1910) - it can be called the golden era of Korean pottery. The Korean ceramics developed to a great extent and pottery was produced in a large commercial scale for export. The quality of the pottery also improved considerably. They followed the Chinese Ming Dynasty in evolving their improved range of pottery and they are similar in certain aspects to the Chinese wares. Storage pottery, celadon, white porcelain were alike and only with minimal variations either in glazes, designs or weight. Ming influence was also felt in the blue and white matter by using cobalt blue glazes.
After the fall of the Ming dynasty many Chinese potters migrated to Korea and brought colorful and vibrant pottery of special forms which was discarded by the Korean potters who preferred to make simple and less bedecked wares.
Korea exported most of its potteries to Japan and principally from the Busan area. The climbing kilns were exported to a considerable extent.
There were two ways of export- through deal and intended immigration of potters or by the means of invasion and pottery theft.
Korean pottery is healthy and alive due to its good natural disposition. The Korean potters believed in nature and sought to be a part of it. So they lived in deep recesses of mountains to give a natural touch to their wares and used simple colors with liberal techniques for molding the clay prior to making the pottery.
Korean pottery can be studied in terms of three empires. These three empires which present the foundation of Korean ceramic history also reflect the culture of pottery during this era. These three kingdoms are - Silla, Goguryeo and Joseon. The Korean potters produced coarse household goods as well as highly sophisticated statues of imperial figures, guardians, horses, escorts of the dead in mausoleum of kings, as well as nobility.
1. Korean pottery in the Silla era (668 to 935) - the pottery was plain in color, design and silhouette at the time of the unified Silla era. Celadon was the main produce. Gradually in the 14th century Bakeja porcelain wares developed which had vibrant varnish. These were made up of highly refined clay. Bakeja wares were fixed with feldspar and were very cautiously fired in very huge and fresh kilns. Bakeja wares flourished tremendously until the Joseon dynasty came to power.
2. Korean pottery in the Goguryeo era (918 to 1392) - during this epoch some of the best small scale works of ceramics were accomplished in Korea. In this age the potters made foliate designs, key fret, geometric shapes, elliptical panels, stylized fishes and insects, and they started using incised designs from this era. The glazes used, were different shades of Celadon. For stoneware and storage goods they used black and brown glazes.
3. Korean pottery in Joseon dynasty (1392 to 1910) - it can be called the golden era of Korean pottery. The Korean ceramics developed to a great extent and pottery was produced in a large commercial scale for export. The quality of the pottery also improved considerably. They followed the Chinese Ming Dynasty in evolving their improved range of pottery and they are similar in certain aspects to the Chinese wares. Storage pottery, celadon, white porcelain were alike and only with minimal variations either in glazes, designs or weight. Ming influence was also felt in the blue and white matter by using cobalt blue glazes.
After the fall of the Ming dynasty many Chinese potters migrated to Korea and brought colorful and vibrant pottery of special forms which was discarded by the Korean potters who preferred to make simple and less bedecked wares.
Korea exported most of its potteries to Japan and principally from the Busan area. The climbing kilns were exported to a considerable extent.
There were two ways of export- through deal and intended immigration of potters or by the means of invasion and pottery theft.
Poole Pottery - A Potted History
The history of the Poole Pottery can be traced back to 1873, when Jesse Carter purchased the East Quay Pottery in Poole from James Walker, after that gentleman's pottery business went bankrupt. Jesse Carter's background was as a successful builders merchant in Surrey, but he believed that the architectural ceramics business offered a profitable future and determined to put all his efforts into this. Moving to the area with his family, two of whom were to play a major role in the future of the pottery, he began to work. By the 1880s, Carter & Company had become very well established locally, overshadowing some longer established local companies and beginning to encroach on the territory of some of the well known Staffordshire potteries.
At this time, the output of the Poole Pottery was revolved around decorative tiling and other architectural pottery, such as fire surrounds. Carter & Co's wide range of decorative tiles were being widely used in shops, pubs and hotels, as well as for advertising and mosaic flooring.
Growth of Decorative Output
Following Carter's death in 1901, control of the pottery fell to his two sons, Charles and Owen. Over the next twenty years, the output of the company changed to include a growing variety of decorative wares, and the end result of this was the formation of Carter, Stabler & Adams in 1921 as a subsidiary of Carter & Company.
Harold and Phoebe Stabler and John and Truda Adams brought between them a wealth of creative experience in design, modelling and decoration and the mission of the CSA company was to produce decorative and table wares from the East Quay works in Poole.
Over the next forty years, the Carter, Stabler & Adams company proved very successful, producing a very wide variety of decorative and domestic wares. One of the most easily recognisable and successful CSA styles is that of the red earthenware body with a white slip ground and a clear glaze.
From Red Earthenware to Freeform
This style was used until the mid-thirties, when C.S.A. moved to using white clay bodies, probably because they were more suitable for tableware than the red earthenware bodies were. The decorative pieces were all hand painted with patterns that were largely the work of Truda Adams. These colourful and stylish patterns played a key part in the success of CSA and have endured superbly, still looking fresh and attractive today. CSA's output during the 20s and 30s also included a range of skilfully modelled pieces, often by Harold Stabler or John Adams. Today these models have become highly collectable and hard to find in perfect condition.
As the nation recovered from WWII, and pottery production began again, the ranges of white earthenware that had been so successful in the past were now seen to be almost unmanageably complex. These were now rationalised, to become known as Traditional ware, with three levels of decoration - elaborate, medium and simple.
Just as in their time, the Truda Adams designs had captured the Art Deco style of the 1920s and 30s, something new was needed to reflect the new styles of the 1950s. Several new ranges were introduced, but by far the most striking and successful were the Free Form range of patterns and shapes. Poole Pottery freeform was distinguished by a very modern new range of shapes, mixing angles and curves to create completely new shapes, as well as variations on more traditional shapes.
A New Generation of Talent
Alfred Read and Guy Sydenham were the driving force behind this range of shapes, and many of the early freeform patterns were also Alfred Read designs, with both Read and Sydenham being responsible for throwing the new shapes. Especially notable were the decorating talents of Ruth Pavely and Ann Read. Ruth Pavely was Head of Painting at the Poole Pottery for many years, and her mark can be seen on some of the finest Poole Pottery pieces of the 1950s, as can Ann Read's.
Freeform proved to be just what the doctor ordered for the Poole Pottery, and was very successful throughout the 1950s. Today, fans of 1950s design are keen to collect Poole Freeform shapes and the better examples of these pieces command strong values.
The Launch of Delphis & Aegean Ware - Studio Pottery From A Factory?
In the early 1960s a new range of studio ware was released - the Delphis range. This featured bold, colourful designs on new shapes created by Poole's new star designers, Robert Jefferson and Tony Morris. The Delphis range proved popular and once more in keeping with the spirit of the times and remained in production, with many variations, until the mid-1970s.
Delphis ware was followed by Aegean ware. Designed by Leslie Elsden, it provided a fitting culmination to his 50 year career at Poole Pottery. Much of the Aegean range was decorated using either the silhouette or sgraffito techniques, and the extensive use of browns, oranges and yellows gave the Aegean pieces a very distinctive character. While some shapes were shared with the Delphis and other ranges, both Delphis and Aegean ware have very distinctive and easily recognisable characters.
The Future For Poole Pottery
Poole Pottery sadly went bankrupt for a second and final time in December 2006, and although its remains have found a buyer, it looks like pottery production in Poole has probably come to an end. Fortunately, today's collectors are lucky enough to have a huge legacy of pottery to draw upon, which will hopefully be preserved for future generations.
Origins of Salt Glaze Pottery
Salt glazing as an art has been around for centuries. This art originated in the fourteenth or early fifteenth century Germany. Later, its popularity also spread to the United States and most other parts of the world. Stone and clay pottery was already being used extensively in these places, as a piece of art or for a variety of storage purposes, and the finishing provided by the salt glaze method only added to its popularity.
The process of salt glazing pottery is itself quite intriguing. Pots are manufactured and dried in the usual process. Then begins the interesting step where they are placed in large kilns and the firing process is begun. The temperature increases gradually as the fire intensifies over a period of fifteen to twenty hours and the kiln becomes blazing hot. Now, rock salt is thrown into the kiln through little openings provided for that purpose. Due to its chemical composition, the salt explodes when it meets the fire and then gets converted into vapour. The effect of this vapour on the clay is what gives the glazed effect.
Not only that, the firing and final glaze achieved by each pot is based on several factors like its position in the kiln and the amount of vapour it receives, to name just a few. Hence there are subtle differences in each pot as compared to the other, with the one receiving more vapour and having a more glazed effect than the other, even if they belong to the same dinner set. The ones that have a lesser glaze also have their own character, hence they are also appealing too.
Basically, the side of the pot facing the fire receives more vapour as that is where the vapour hits first. So this side tends to have a greater glazed effect as compared to the opposite side. This ensures a unique look to almost every part of a large set.
Though salt glaze pottery was primarily used for dinnerware or kitchen utensils, they were later manufactured also for purely decorative purposes, especially in nineteenth century England. The more popular ones had designs such as village scenes, windmills, local animals and so on, which became very popular as souvenirs that are brought home by tourists from those places. These were usually painted white and the figures in blue.
Today handmade salt glaze clayware is not so common due to substitutes that have a shorter and simpler manufacturing cycle, but at the industrial level, salt fired pottery is still manufactured. Where the pottery is not only for functional purposes, but has more of an artistic value, salt glaze pottery is experimented with on a regular basis. This is why it is quite popular among studio potters, who are more artists than potters. They have the luxury of experimenting with the effect of the method on varying shades at varying temperatures and atmospheric conditions and the results are seldom disappointing.
In the present times, salt glazed pottery is still very popular as an art form.
The process of salt glazing pottery is itself quite intriguing. Pots are manufactured and dried in the usual process. Then begins the interesting step where they are placed in large kilns and the firing process is begun. The temperature increases gradually as the fire intensifies over a period of fifteen to twenty hours and the kiln becomes blazing hot. Now, rock salt is thrown into the kiln through little openings provided for that purpose. Due to its chemical composition, the salt explodes when it meets the fire and then gets converted into vapour. The effect of this vapour on the clay is what gives the glazed effect.
Not only that, the firing and final glaze achieved by each pot is based on several factors like its position in the kiln and the amount of vapour it receives, to name just a few. Hence there are subtle differences in each pot as compared to the other, with the one receiving more vapour and having a more glazed effect than the other, even if they belong to the same dinner set. The ones that have a lesser glaze also have their own character, hence they are also appealing too.
Basically, the side of the pot facing the fire receives more vapour as that is where the vapour hits first. So this side tends to have a greater glazed effect as compared to the opposite side. This ensures a unique look to almost every part of a large set.
Though salt glaze pottery was primarily used for dinnerware or kitchen utensils, they were later manufactured also for purely decorative purposes, especially in nineteenth century England. The more popular ones had designs such as village scenes, windmills, local animals and so on, which became very popular as souvenirs that are brought home by tourists from those places. These were usually painted white and the figures in blue.
Today handmade salt glaze clayware is not so common due to substitutes that have a shorter and simpler manufacturing cycle, but at the industrial level, salt fired pottery is still manufactured. Where the pottery is not only for functional purposes, but has more of an artistic value, salt glaze pottery is experimented with on a regular basis. This is why it is quite popular among studio potters, who are more artists than potters. They have the luxury of experimenting with the effect of the method on varying shades at varying temperatures and atmospheric conditions and the results are seldom disappointing.
In the present times, salt glazed pottery is still very popular as an art form.
samedi 24 avril 2010
Pottery Barn Slip Covers - What You Should Know
Pottery Barn slip covers are an ideal way to turn that favorite old recliner or couch into a like new piece of furniture. So, what does Pottery Barn have to offer and how can they help transform your home furnishings?
Pottery Barn has been around for nearly 60 years now and has been a leader in the home furnishings industry. What began in 1949 as an idea to make any home more comfortable on the inside has turned into a massive success.
The company offers their customers a full line of slip covers for sofas, chairs, sectionals, dining room chairs and more. They also sell other quality furniture and accessories.
Pottery Barn sofa slip covers is one of the company's most popular items. By browsing through their online catalog you can find a wide range of styles, colors and materials to suit any home decor.
Recently, we found ourselves needing a new sofa slip cover for our old sofa in the family room. I hopped online and found the Pottery Barn website and catalog. Within 15 minutes I found the perfect slip cover that matched up with my interior decor, placed the order online and was finished. The ease in ordering online is hard to beat.
Of course, the Pottery Barn also has a mail order catalog and various stores throughout the country that you can shop from.
So, if you need a slip cover for that old sofa or any other piece of furniture, try a Pottery Barn slip cover. I think you will be pleasantly surprised with the results.
Ancient Roman Pottery
In the second millennium BC, the Romans emerged from a small settlement near Rome to begin a course of expansion that was to make them the dominant power in the Mediterranean. By the 1st Century AD, Roman territories expanded from Britain in the north to Egypt in the south. Much of the Roman culture and crafts reflected the preceding Hellenistic period; however, their extensive trade network provided them with a great variety of materials. Artisans often combined styles and materials creating their own unique designs.
Terracotta (baked clay) pottery was made and used throughout the middle east and was produced in the earliest settlements along the Fertile Crescent where the clay was abundant and varied in color. The early potters had ample resources with which to experiment, create and develop their styles. The pottery was made as a fairly course, porous clay that when fired, assumes a color ranging from dull ochre to red and was usually left unglazed.
Most terracotta pottery has been utilitarian because of its cheapness, versatility and durability. As technique and firing methods improved, a great variety of shapes evolved. The most widely utilized pottery in the Ancient World was oil lamp, bottles, unguentariums, pitchers, bowls and plates, their basic shapes remaining unchanged for over a thousand years and still being used in today's modern world. The oil lamp was the source of light in every household, the bottles and pitchers were used to store wine, water and other liquids, the unguentarium held oils, spices, unguents and balm and the bowls and plates were used to eat from and hold food stuffs. The amphora, classic in shape, was used for storage and shipping in the ancient world and was meant for household use and to hold wine, oil, spice or unguents.
The Bronze Age was an important element in time even thought not any particular period of time. Some areas had their Bronze Age early, others had it late. The primary function of any metal industry in antiquity was the production of weapons and tools. A spear point was ranked as the chief weapon used in the battle of ancient Asia and Europe. The famous Greek poet, Homer, tells how Achilles speared Hector with a bronze pole. Ancient Roman spear points have played an important part in history.
Early men tied jagged pieces of stone onto their throwing sticks until they learned to shape pointed spearheads from pieces of flint. In the 2nd millennium BC, the Romans emerged from a small settlement near Rome. By the 1st Century AD, Roman territories expanded from Britain in the north to Egypt in the south. The Roman army was originally made up of citizens. By Caesar's time, in the 40's BC, most soldiers were professionals in a standing army, forming a civilizing force as well as a conquering one.
Ceramic pottery Treat Jar - Red easy to use and clean
A sophisticated dog Treat Jar - Red with amazing style, the pet Dog Treat Jar is a new katiewongnyc.com favorite. The Katiewong Treat Jar is dishwasher-safe and easy to clean. The Ceramic treat jar has two colors have red and blue.
Ceramic jar- Red cute designer ceramic cat dish is blue in color with cut outs of fish along the side of the dish. This ceramic pottery Treat Jar - Red easy to clean bowl is dishwasher safe and measures 5" in diameter. A stunning dog treat jar at an amazing price.
This plastic jar ceramic antique delightful Ceramic Treat Jar-Red is the perfect design for your pets. White ceramic bone-shaped ceramic treat jar, embellished with silver bone charm. When it comes to treats, it's all about Bones! These ceramic supplies Treat Jar - Red has bright and funky bone shaped ceramic treat jars are covered in Paw Prints with a "Treats" metal tag.
Designer pottery bowls, our Southwestern Dog Bowls are handcrafted using traditional Mexican methods. The plastic jar ceramic treat jar Carved and colorful drawings of various dog breeds decorate each bowl.
Polish pottery
The picturesque country of Poland is located at the intersection point between the eastern and western sections of the European continent. It was in 2004 that Poland became a member of the European Union. If one studies the culture of the country, it will be seen that as a result of its strategic location and unique history, Poland has been considerably influenced by the cultural nuances of both eastern and western Europe considerably which is reflected in its lifestyle and folklore and also the indigenous artworks. In the different fields of cultural activities, Poland has proved itself time and again in the world arena be it architecture, fine art or literature and even celluloid. Pottery is one of the best known and popular of the various artworks and it is a tradition that has survived the passage of time and today is world famous for its intricate designing forms and quality. It is interesting to note that the origin of stoneware or pottery in Poland has a long and enriched history associated with its growth. It was during the closing years of the 18 th century and the beginning of the 19th century that the earliest specimens of polish pottery may be dated to. In the province of Bunzlau, which was them a part of the German region of Silesia, presently a part of the polish territory, the earliest samples of polish pottery were found and were referred to as Bunzlauer stoneware.
One of the most popular designs of traditional polish pottery known as the ‘eyespot' design characterized and influenced by peacock feathers originated in this region and was extensively developed by the artists of the time. However, during the period of the Second World War, all these extraordinary works of art were destroyed. But, after the war had subsided, Poland once again continued its tradition of constructing pottery and artwork and factories were also set up for this purpose. Currently, Poland is one of the foremost pottery producers of Europe and the tradition has been kept alive especially in a small village within the polish country known as Boleslawiec. In this region, skilled artisans, inspired by times and trends of ancient and medieval central European folk art, continue to derive pleasure out of forming unique pottery designs. It is interesting to note while the designs remain mostly inspired by traditional art forms, there is no restriction in terms of shape. Polish pottery is available in exquisite designs in multifarious shapes. Polish pottery is displayed in all the major antique shops and museums in Europe .
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