Pottery

1. 1. POTTERY Brief background Types and Materials Techniques/Processes Forms Semiotic

Reading
2. 2. 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.
3. 3. TYPES & MATERIALS • EARTHENWARE • STONEWARE • PORCELAINWARE
4. 4. TYPES & MATERIALS EARTHENWARE- formed when surface shales and clay are fired
at low temperature between 1840 F to 2030 F.
5. 5. TYPES & MATERIALS STONEWARE- made from fine clay fired at higher temperature
from 2130 F to 2300 F
6. 6. TYPES & MATERIALS PORCELAINWARE- made from a mixture of kaolin and feldspar
and fired at very high temparature.
7. 7. PROCESSES • Preparing the material • Working with clay • Drying, firing, cooling •
Decorating, glazing
8. 8. PREPARING THE MATERIAL 1. Quarrying clay
9. 9. PREPARING THE MATERIAL 2. Cleaning/separating from the sediments
10. 10. PREPARING THE MATERIAL 3. Drying to a doughlike consistency
11. 11. PREPARING THE MATERIAL 4. Mixing in proper proportions
12. 12. PREPARING THE MATERIAL 5. Kneading
13. 13. WORKING WITH CLAY 1. Slab making
14. 14. WORKING WITH CLAY 2. Coiling
15. 15. WORKING WITH CLAY 3. Turn modelling or throwing
16. 16. WORKING WITH CLAY 4. Hand modelling or anvil-and-paddle method
17. 17. WORKING WITH CLAY 5. Cradling
18. 18. WORKING WITH CLAY 6. Molding
19. 19. DRYING
20. 20. FIRING & COOLING Bisque – fired pieces - Can be the final stage or can be further
decorated
21. 21. DECORATING/ GLAZING
22. 22. FINISHED PRODUCT
23. 23. DECORATIVE TECHNIQUES • Modeling • Incisions • Impressions • Carvings • Paintings
24. 24. DECORATIVE TECHNIQUES • Incisions
25. 25. DECORATIVE TECHNIQUES • Impressions
26. 26. DECORATIVE TECHNIQUES • Carvings
27. 27. DECORATIVE TECHNIQUES • Paintings
28. 28. DECORATIVE TECHNIQUES • Modelling
29. 29. FORMS
30. 30. The Manunggul Jar
31. 31. Ancient Jar Wild-boar vessel from Casiguran, Sorsogon
32. 32. Ethnic Masterpieces Four-breasted jar from Calapan, Mindoro
33. 33. Pots of the North Ilocano burnay Kalinga lidded jar
34. 34. The Ethnic Tradition Pottery associated with objects for daily use
35. 35. Palayok
36. 36. Banga
37. 37. Tapayan
38. 38. Tapayan
39. 39. Most notable traditions that represent Philippine pottery • Sa-hyunh Kalanay pottery
tradition • Novaliches tradition • Bau-Malay pottery tradition
40. 40. 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
41. 41. Sa-hyunh Kalanay pottery tradition
42. 42. *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.
43. 43. *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.
44. 44. *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.
45. 45. *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
46. 46. Novaliches tradition Named after a Novaliches cave site north of Manila Its remnants
are also found in northwest Palawan and the Calamianes Islands Dates from 250 B.C. to
the fourth century
47. 47. 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
48. 48. Bau-Malay pottery tradition
49. 49. Unclassified pottery • Ritual vessel from Cagayan • Polished ritual vessels of Leta-leta •
Earthenware from Ngipe’t Duldug • Two others from Palawan cave sites • Others
50. 50. Tradeware – stoneware and porcelain from pre-colonial trade with China and other
Southeast Asian countries
51. 51. Celadon (Sung and Yuan dynasty)
52. 52. Blue-and-white porcelain (Ming dynasty)
53. 53. Others • Blanc de chine ware • Plain brown ware • Monochrome ware (oxblood)
54. 54. Thai or Siamese pottery Thai celadon is slightly heavier and often less glossier (than
Chinese celadon)
55. 55. Siamese and Anamese Pottery
56. 56. Studio Pottery – hand-made, usually one-of-a-kind pieces by ceramic artists
57. 57. Ceramic artists and their works Tessie San Juan and Jon Pettyjohn
58. 58. Ceramic artists and their works • Lanelle Abueva- Fernando • Nelfa Querubin
59. 59. Ceramic artists and their works The Jaime and Anne de Guzman family
60. 60. Ceramic artists and their works Ugu Bigyan Fidel Go
61. 61. SEMIOTIC READING • Art and Power • Art and Gender • Art and Faith
62. 62. Art and Power
63. 63. 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
64. 64. 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.
65. 65. 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.
66. 66. Art and Gender
67. 67. Design • Maitum burial jar • Four-breasted jar
68. 68. Models of social organisation for the production of pottery (Rice 1981; Peacock 1982;
van der Leeuw 1984; Arnold 1991)
69. 69. 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).
70. 70. Based on ecological factors 1. Land availability 2. Climate 3. Resources 4. Others
71. 71. Among Ethnolinguistic Groups in the Philippines
72. 72. Pottery production Some of the people who produce their own pottery include the:
Kankanaey Itneg Maranao Badjao Etc.
73. 73. 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.
74. 74. Art and Faith
75. 75. 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”
76. 76. 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
77. 77. Talismans • Celadons- considered as greater talismans than local ware - believed to
change hue when poisoned food was put on them