codaking:

cennoreth:

Tim Rast of Elfshot made some Thule pottery:

Making pottery in the Arctic had many challenges.  Thule pots were not always fired, and when they were they would have been fired at relatively low temperatures.  The clay vessels were slowly dried and hardened next to a fire, but were not always fired directly in the hearth.  Based on ethnographic observations and Harry et al’s experiments there were some clever uses of seal blood and oil to augment the functional properties of the pots. Blood or oil applied as a slip to the leather hard vessels resulted in a pot that could more easily be heated and bring the contents to a boil.  Organic tempers were frequently used, perhaps to help make the clay more workable and dry more evenly to prevent cracking, but at the cost of creating a porous vessel.  Harry et al found that some vessels were so porous that they could not hold water, but boiling oil in them would effectively seal the pore spaces and make them watertight.  Very cool stuff.  All that iron and organic matter is going to be important in giving the final reproduction the right colour, texture, and age.

There are two more posts in the series.

Interesting, click through to the other posts to see him applying the blood which is very odd to see.

omgthatartifact:

Vessel Depicting Fellatio

Moche, 300 AD

Museo Larco

Finally a post that lives up to this blog’s name…

(via codaking)

codaking:

Kinderarbeid in de aardewerkindustrie / Children working in the pottery industry (by Nationaal Archief)

Gouda, The Netherlands, about 1900

codaking:

Terracotta Archivists at Internet Archive (by evan_carroll)

If you work at the IA for long enough they create a terra-cotta portrait of you that is kept in the ‘sanctuary’ with the servers.

Awesome!

fyeahasianhistory:

Standing court lady, Tang dynasty (618–906), mid-7th century
China
Earthenware with pigment

H. 15 1/8 in. (38.5 cm)
Anonymous Gift, in memory of Louise G. Dillingham, 1978 (1978.345)

This figurine of a woman in stylish dress represents a dancer in the court of the Tang dynasty, a prosperous time when foreign influences on social customs, fashion, and costume were prominent. Musicians, dancers, and other entertainers from the Western Regions (present-day Xinjiang Uighur Autonomous Region) were invited to perform for the enjoyment of the princes and courtiers.

The dancer wears a tight high-waisted upper garment with stiffened, out-flaring shoulder projections, a long skirt with billowing streamers, and the fashionable “cloud” shoes with exaggerated upturned toes. Her elegantly slender body is echoed by the long sleeves falling to the knees, and her youthfulness is enhanced by the smooth modeling of the face coated with whitish slip. There are traces of polychrome pigments on the garments and gilt on her elaborate headdress. This dancer’s fanciful costume reflects the exuberant material culture of the Tang court.

Source: Standing court lady [China] (1978.345) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

(via codaking)

minnieminnmin:

 

Ann Van Hoey Ceramics

Ann van Hoey is a Belgium based designer who takes paper to pottery, creating pieces inspired by origami paper folding.

www.annvanhoey-ceramics.be

(via snowsnow004)

(Source: thingsorganizedneatly, via caitlindeane)

Combining my deep love of pottery and robots:  this is perfection.  Be sure to check out finished version on erdpots.  

erdpots:

A cup I threw on the wheel w/ myself & my morning ice coffee in mind, on the greenware cart ready to be bisque’d. It’s 181 White Stoneware. I used a stylus tool to draw the robot on. Depending on how identifiable the robot is after it’s bisque’d will determine whether or not I trace the lines w/ black slip. More pics to follow xD