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A History of Pottery - Page 2
Decorating Techniques
In the course of their long history potters have used many decorating techniques. Among the earliest, impressing and incising of wares are still favored. Ancient potters in Egypt, Mesopotamia, Greece, northern India, and the high regions of Central Asia (where primitive terra-cotta figures associated with religious cults were produced) frequently decorated wares with impressed or incised designs. A notable incising technique developed more recently was that of Korean potters working in the Koryo period (918-1392). These artisans began by ornamenting their celadon wares with delicately incised and impressed patterns and later developed elaborate inlaying by filling incised lines with colored slip (semiliquid clay). Black and white slip was used most effectively for inlaying colored porcelains. Decoration of this sort generally depends more on the skill of the artisan than on the complexity of the tools being used.
An especially popular type of decoration involved the sgraffito, or "scratched," technique used by Italian potters before the 15th century. This technique, which is thought to have reached Italy from the Near East, was probably derived from China, where it was first used during the Song (Sung) dynasty (960-1279). By the 16th century Italian potters working mainly in Padua and Bologna had developed great skill in sgraffito, which entailed the incising of designs on red or buff earthenware that had been coated with ordinary transparent lead glaze, usually toned yellow or, sometimes, brown, copper, or green. After firing, the wares were dipped into white clay slip so that a dark pattern could be cut on the surface. By cutting through the white slip, the artist produced a design on the exposed red or buff body. Pigments were also sometimes applied. After a further coating of lead glaze the ware was fired a second time.
A sound knowledge of glazes--both utilitarian and decorative--is vital to the potter. The origin of glazes and glazing techniques is unknown, but the fine lustrous glazes developed in China surely began with a simple glaze that served to cover earthenware and render it watertight. Chinese potters used two kinds of glazes, one composed basically of feldspar, and another produced by fusing silica of quartz or sand by means of a flux, generally of lead oxide.
Chinese potters regarded glazes and glazing techniques as having prime importance; under the Han emperors they made great efforts to improve this technology. The use of lead glaze increased, and wood ash was incorporated to impart a dullish brown or gray green coloring, somewhat blotchy and occasionally iridescent. These effects were entirely natural, as no coloring matter was added to the composition. Glazing techniques were modified under successive dynasties. Colored glazes were developed and used to brilliant effect by Tang (T'ang) and Song potters, and a great diversity of brightly hued wares appeared over the centuries.
Many connoisseurs feel that the pure white porcelain, called blanc de chine, which first appeared during the Ming dynasty, is the most serenely beautiful of all Chinese ceramics. Dehua (Te-hua) potters in Fujian (Fukien) province, working during the 17th century, produced their blanc de chine masterpieces in the purest white porcelain coated with a thick white glaze.
Salt glaze, used by English potters during the early 1700s, may well have been known to the Chinese but was not used by them. Near Eastern potters glazed wares in ancient times. Potters in Mesopotamia and Iran commonly used an alkaline glaze made of quartz mixed with sodium and potassium. An admixture of colored metallic oxides, mostly lead, was introduced later.
Painting on pottery and porcelain became richly colorful in many regions and periods. Decorative brush painting directly on the baked clay reached its zenith in China during the Ming dynasty (1368-1644), whose artists were highly skilled at painting in fired colors. For a long period Chinese ceramic artists had used only black or brown pigment to decorate wares that were then covered with clear glaze. It is believed that the appearance in China of 13th-century brush-decorated wares from Persia sparked a change. These works, painted in blue cobalt under the glaze, inspired the brushwork of the Chinese and the resulting so-called blue-and-white style.
Ming artists also excelled in painting over the glaze, using brilliant enamel colors. The overglaze technique, which evolved over two centuries, demanded correct preparation of the enamels, skill in application, and the proper (low) firing temperature. The overglaze enamel decorations executed during the reign of Chenghua (1465-87), which were never surpassed in China, incorporated flowers, foliage, and figure subjects against backgrounds of arabesques and scrollwork. Designs enclosed within dark blue outlines were filled in with brilliant color. Enamel decoration of superb quality was also executed in Japan during the Edo period (1615-1868) by celebrated artists and potters of the caliber of Kenzan, Kakiemon, and Ninsei.
In the ancient Aegean the potter's art developed continuously from the Neolithic period and through the periods of the Minoan and Mycenaean civilizations, culminating, in ancient Greece, in a unique type of painted pottery, which reached its height between the 6th and 4th centuries BC. The finest Greek pottery, especially Attic vases, was exquisitely proportioned and often decorated with finely painted relief work. Unlike artisans in Egypt, Mesopotamia, and Persia, the Attic potters did not apply heavy glaze to their wares. The unique gloss commonly seen on Attic pottery and similar wares made elsewhere in Greece still baffles those who have tried to determine its formula and method of application. Neither a glaze nor a varnish, it is more marked on some areas, such as those painted black, than on others. Some experts conjecture that it may be attributed to illite or a similar clay mineral in a weak solution that was thinly applied to the surface of wares or mixed into the black "paint" used by the artists.
In the Islamic world ceramic decorative art flowered with the creation of a great diversity of painted wares. Painted luster decoration on pottery originated in Mesopotamia and spread to ancient Egypt; later, under Islam in Persia, this type of decoration on white-glazed wares became incredibly brilliant. Islamic luster-painted wares were later imitated by Italian potters during the Renaissance.
An especially popular type of decoration involved the sgraffito, or "scratched," technique used by Italian potters before the 15th century. This technique, which is thought to have reached Italy from the Near East, was probably derived from China, where it was first used during the Song (Sung) dynasty (960-1279). By the 16th century Italian potters working mainly in Padua and Bologna had developed great skill in sgraffito, which entailed the incising of designs on red or buff earthenware that had been coated with ordinary transparent lead glaze, usually toned yellow or, sometimes, brown, copper, or green. After firing, the wares were dipped into white clay slip so that a dark pattern could be cut on the surface. By cutting through the white slip, the artist produced a design on the exposed red or buff body. Pigments were also sometimes applied. After a further coating of lead glaze the ware was fired a second time.
A sound knowledge of glazes--both utilitarian and decorative--is vital to the potter. The origin of glazes and glazing techniques is unknown, but the fine lustrous glazes developed in China surely began with a simple glaze that served to cover earthenware and render it watertight. Chinese potters used two kinds of glazes, one composed basically of feldspar, and another produced by fusing silica of quartz or sand by means of a flux, generally of lead oxide.
Chinese potters regarded glazes and glazing techniques as having prime importance; under the Han emperors they made great efforts to improve this technology. The use of lead glaze increased, and wood ash was incorporated to impart a dullish brown or gray green coloring, somewhat blotchy and occasionally iridescent. These effects were entirely natural, as no coloring matter was added to the composition. Glazing techniques were modified under successive dynasties. Colored glazes were developed and used to brilliant effect by Tang (T'ang) and Song potters, and a great diversity of brightly hued wares appeared over the centuries.
Many connoisseurs feel that the pure white porcelain, called blanc de chine, which first appeared during the Ming dynasty, is the most serenely beautiful of all Chinese ceramics. Dehua (Te-hua) potters in Fujian (Fukien) province, working during the 17th century, produced their blanc de chine masterpieces in the purest white porcelain coated with a thick white glaze.
Salt glaze, used by English potters during the early 1700s, may well have been known to the Chinese but was not used by them. Near Eastern potters glazed wares in ancient times. Potters in Mesopotamia and Iran commonly used an alkaline glaze made of quartz mixed with sodium and potassium. An admixture of colored metallic oxides, mostly lead, was introduced later.
Painting on pottery and porcelain became richly colorful in many regions and periods. Decorative brush painting directly on the baked clay reached its zenith in China during the Ming dynasty (1368-1644), whose artists were highly skilled at painting in fired colors. For a long period Chinese ceramic artists had used only black or brown pigment to decorate wares that were then covered with clear glaze. It is believed that the appearance in China of 13th-century brush-decorated wares from Persia sparked a change. These works, painted in blue cobalt under the glaze, inspired the brushwork of the Chinese and the resulting so-called blue-and-white style.
Ming artists also excelled in painting over the glaze, using brilliant enamel colors. The overglaze technique, which evolved over two centuries, demanded correct preparation of the enamels, skill in application, and the proper (low) firing temperature. The overglaze enamel decorations executed during the reign of Chenghua (1465-87), which were never surpassed in China, incorporated flowers, foliage, and figure subjects against backgrounds of arabesques and scrollwork. Designs enclosed within dark blue outlines were filled in with brilliant color. Enamel decoration of superb quality was also executed in Japan during the Edo period (1615-1868) by celebrated artists and potters of the caliber of Kenzan, Kakiemon, and Ninsei.
In the ancient Aegean the potter's art developed continuously from the Neolithic period and through the periods of the Minoan and Mycenaean civilizations, culminating, in ancient Greece, in a unique type of painted pottery, which reached its height between the 6th and 4th centuries BC. The finest Greek pottery, especially Attic vases, was exquisitely proportioned and often decorated with finely painted relief work. Unlike artisans in Egypt, Mesopotamia, and Persia, the Attic potters did not apply heavy glaze to their wares. The unique gloss commonly seen on Attic pottery and similar wares made elsewhere in Greece still baffles those who have tried to determine its formula and method of application. Neither a glaze nor a varnish, it is more marked on some areas, such as those painted black, than on others. Some experts conjecture that it may be attributed to illite or a similar clay mineral in a weak solution that was thinly applied to the surface of wares or mixed into the black "paint" used by the artists.
In the Islamic world ceramic decorative art flowered with the creation of a great diversity of painted wares. Painted luster decoration on pottery originated in Mesopotamia and spread to ancient Egypt; later, under Islam in Persia, this type of decoration on white-glazed wares became incredibly brilliant. Islamic luster-painted wares were later imitated by Italian potters during the Renaissance.
