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A few surviving vases were labelled with their names in antiquity; these included a hydria depicted on the François Vase and a kylix that declares, “I am the decorated kylix of lovely Phito” (BM, B450). Vases in use are sometimes depicted in paintings on vases, which can help scholars interpret written descriptions.
White-ground vases were produced, for example, in Ionia, Laconia and on the Cycladic islands, but only in Athens did it develop into a veritable separate style beside black-figure and red-figure vase painting. For that reason, the term "white-ground pottery" or "white-ground vase painting" is usually used in reference to the Attic material only.
Throughout the Late Helladic era, the patterns become more and more simplified until they are little more than calligraphic squiggles. The vase painter would cover the majority of the vase with horizontal bands, applied while the pottery was still on the wheel. There is a distinct lack of invention in this form of decoration.
Some potters enriched again the decorative organization of the vases, stabilized the forms of the animals in the areas of the neck and the base of the vase, and introduced the human form between the handles. The late Geometric period was marked by a 1.62 metres (5 ft 4 in) amphora that was made by the Dipylon painter in around 760–750 BC. [17]
As defined and used by Southwestern archaeologists, a ware is "a large grouping of pottery types which has little temporal or spatial implication but consists of stylistically varied types that are similar technologically and in method of manufacture", and "a defined ware is a ceramic assemblage in which all attributes of paste composition (with the possible exception of temper) and of surface ...
The cut, or opening, below the top is called fukumuki, the ' wind drawing through a place '. [ 29 ] Besides offering variety in the form of receptacles, the low, flat vases, more used in summer than winter, make it possible to arrange plants of bulbous and water growth in natural positions.
Stoneware vase with nahuals from Jalisco. Tlaquepaque hosts the Museo del Premio Nacional de la Ceramica Pantalen Panduro (Pantalen Panduro National Ceramics Prize Museum), which exhibits the prizewinners of the annual national prize given to ceramics makers. It is located in the Centro Cultural El Refugio and was created in 1997.
Depending on the vase type being made, the clay being used would be settled in tanks to achieve different consistencies. [7] After obtaining the clay, the potter would use a wheel and do the vase in sections, usually in horizontal sections. [7] This process meant that each vase made was distinctive from the other vases.