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This paper offers an updated description of the pottery of La Chamba, Tolima, and its purpose is to privilege the conceptual point of view of the artisans and the imponderable events of the entire creation process with clay. It intends to show, rather than argue, that working with clay is a craft whose wisdom lies in the submission to the properties and possibilities of clay and other materials involved through a methodical, sensitive and plastic knowledge, like the clay itself. An exploration of this is offered based on the notion of test and point. This paper is the result of a stay of more than four months in the village, guided by a methodological orientation that can be called participant observation, consisting of being an apprentice of the craft and joining the life of the potters. [ABSTRACT FROM AUTHOR]

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Porous mullite ceramics having needle-shaped interlocking microstructure have been developed from China clay with hydrated aluminium fluoride (AlF 3.3H 2 O) or anhydrous AlF 3. The mullite phase evolution, microstructure and the reaction mechanism in both the systems have been compared. In the presence of anhydrous AlF 3 , needle-shaped mullite crystals grow mainly by the decomposition of topaz crystals, which are formed during the intermediate stages of sintering. Whereas in the case of hydrated AlF 3 samples, the presence of water vapour and HF generated in the reaction zone help in direct nucleation of mullite crystals without the formation of topaz. However, in the powder mixture containing clay and 40 wt.% AlF 3.3H 2 O, the mullite nucleation happens from the topaz decomposition also, resulting in high mullitisation overall. Mullite crystals formed from the 40 wt.% AlF 3.3H 2 O and clay have good needle-shaped interlocking microstructure, and can be used as a better alternative for anhydrous AlF 3 to reduce the cost. [ABSTRACT FROM AUTHOR]

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The conservation and cleaning of the clay Tablets have the same importance of historical content . Clay tablets vary in their volumes and shapes ; some of them are small and some are big others are very big ; whereas their shape is either rectangle or square .Since the clay tablets were made of clay which contains different kinds of salt which were formed as a result of temperature change and high or low humidity ;therefore ,there are two kinds of clay tablets found in the archaeological sites ,they enter the lab for conservation and cleaning .The first kind is unbaked which were dried under the sun. The second kind is the basically baked or fund in a burned archaeological site . This article shows the stages of the conservation of the clay tablets from the moment of finding it until finishing the conservation , in order to be presented in the museum or to the researchers in a clear and clean way to be studied easily. [ABSTRACT FROM AUTHOR]

During the period from the Neolithic Age ( 8000-5000 BC) to the present day, the art of ceramics, especially concentrated in Anatolia, emerged by showing different features in almost everty stage. Pottery, which has remained virtually unchanged from prehistoric times to the present, is usually based on the production of pots due to eating and drinking. The history of pottery in Karacasu, Aydın, which is one of the traditional pottery production centers of Anatolis, dates back to ancient times. The evidence for this is the pottery remains of the region found during the excavations in the ancient city of Aphrodisias which is 13 km away from Karacasu. These remains are exhibited in the Aphrodisias museum. Karacasu pottery has been transferred to present day from father to son for centuries The clay obtained from the region for production is passed through various stages and made ready for production. The feature of this clay is that it contains a high percentage of iron oxide and therefore its color is dark and nice red. Forming process is made on the wheel and many products are decorated with local decoration. The undecorated products are slipwared and polished with the same clay slip. The firing of the products made is also used in traditional wood-fired kilns. Today, in general, products for use such as earthenware pots are produced on demand, and in recent years, with the development of technology, mechanization is carried out in studios. Today, as a natural result of industrial production, “pottery” has lost its past importance and the “bridal pots” form which is unique to this region does not take interest. [ABSTRACT FROM AUTHOR]

Pottery making is an important event of past. It has marked the beginning of the revolution in Neolithic period in human society. It all started with mud that indicates the emergence of civilization leading to development of culture. Pottery was introduced from different civilizations and was accepted, developed, changed and adapted. Few of the traditional communities in the world still maintain this tradition as their occupation. The present paper discusses the pottery making process and related activities in rural areas of Bhadrak district of Odisha, India. The field survey was conducted during the year 2015-2017 to access the present status of this unique clay-based craft as well as the condition of the artisans involved in this craft making. The information on pottery technique was obtained through semi-structured questionnaires, complemented by free interviews and informal conversations with 79 artisans. The result revealed that making artifacts from clay is exclusively the hand work of rural Kumbhara community. Most of these artisans are marginal farmers while making such craft is their primary occupation. They collect the raw material, i.e., clay from the nearby field, river bed or shallow land, process it and make varieties of attractive craft items for traditional domestic use as well as in socio-religious rituals. The existing conditions of this folk craft as well as the artisans were analysed. Some remedial measures are suggested to save this endangered craft from oblivion. [ABSTRACT FROM AUTHOR]

The serious problem for pottery villages in Thailand, especially Dan Kwian village, is the falling prices of products due to oversupplv. The aim of this work is to develop the properties of Dan Kwian cay for use in the production of ceramic tiles for which there is a big market. Feldspar and quartz were used to improve the firing properties of Dan Kwian clay. The compositions of the mixture were designed by a tri-axial diagram. The samples were formed by uniaxial dry press, and were sintered at 1200°C for 1 h.The results show that bv adding a small amount of feldspar, i.e. 10 mass%,the firing properties of Dan Kwian clay are significantly improved and are useable for ceramic tiles. [ABSTRACT FROM AUTHOR]

Morphological and compositional features regarding blue and yellow pigments used in glazed ceramics from Portugal are investigated bymeans of a SEM/EDX system. Fragments of samples produced in themain potterymaking centres between the XVI-XVIII centuries (Lisbon and Coimbra) were the objects of study. The main question to be answered is whether there are differences in the manufacturing procedures employed. For this purpose, two types of samples were analysed: faiences and wall-tiles (the famous "Azulejos", in Portuguese). Differences between the manufacturing techniques of the two production centres were veritably found. The expected linkage between Fe-Co-Ni-As-Bi was challenging to investigate. Thus, Co was found in Fe- or Ni-rich structures, but with no structural connection to As or Bi. However, the As-needle-like structures were always identified in blue regions. One interesting finding related particularly to the blue pigment was the presence of SnO2 agglomerates throughout the whole glaze, which suggests its intentional addition for "lightening" the well known dark Co blue. Concerning the yellow pigment differences established in the crystal shape and size are indicative of different firing temperatures used. [ABSTRACT FROM AUTHOR]

In this article, the author discusses his pursuit of art. He studied Fine Art in Baghdad, Iraq and while he was taught the necessary skills and techniques, he felt they were not enough to express what he wished to. He explains that artistic expression will always be a work in progress, and that an artist's vision can never be perfectly expressed, nor can that artist ever be an effective judge of their own work. Sample works in clay are presented.

We report on an investigation of several ancient clays which were used for pottery making in northern coastal Peru at a kiln site from the Formative period (ca. 2000–800 BC) in the Poma Canal and at a Middle Sicán pottery workshop in use between ca. AD 950 and 1050 at Huaca Sialupe in the lower La Leche valley. Neutron activation analysis, 57Fe Mössbauer spectroscopy and X-ray diffraction were used for the characterisation of the clays. The changes that occur in iron-bearing compounds in the clays depending on the kiln atmosphere and on the maximum firing temperature were studied by Mössbauer spectroscopy and X-ray diffraction. Laboratory firing series under varying controlled conditions were performed to obtain a basic understanding of the different reactions taking place in the clays during firing. The results can be used as models in the interpretation of the Mössbauer spectra observed in ancient ceramics from the same context. [ABSTRACT FROM AUTHOR]

We report on an interdisciplinary approach to the study of finds of unfired clay lumps and unfired broken vessels from two workshops in the Leche Valley, north coast of Peru. The material is used as a reference in the study of pottery making at both workshops. [ABSTRACT FROM AUTHOR]