Tag Archives: ceramic history

Foxy-Wolff and The Relics of Beautiful Grotesque

These pots are the remnants of the Myownian culture which left  no discernible written language. They were discovered in an old shipwreck site and comprise the only known relics of this lost culture. We are unsure as to the purpose of these jars, one theory holds that they are for fertility purposes but the disembodied babies also suggest that they may have been for funerary purposes. There was little else recoverable at the site.

The dark heavily textured portion of the vessels describe where they were exposed to the ravages of the sea, the barnacles and erosion have compromised the surface here and the viewer will notice a graduation of damage to the vessels that likely describes the shifting topography of the body of water in which they rested.

Foxy-Wolff has had exclusive rights to the site and is thrilled to present them to viewers for the first time in history. Each object has been painstakingly cleaned and cataloged and is available for viewing in the White Gallery  at the Sangre de Christo Arts Center in Pueblo Colorado through mid January. Don’t miss this historic exhibition.

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Myownian Ship Wreck; object #519. Hidden Watcher 6”

Myownian Ship Wreck; object #195. Twins Jar 10”

Myownian Ship Wreck; object #036. Baby Butterfly Jar 8.5”

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Myownian Ship Wreck; object #415. Baby Ring Jar 8.5”

Myownian Ship Wreck; object #382. Pony Ride Jar 9.5”

Myownian Ship Wreck; object #816. Horned Baby Jar 8.75”

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Myownian Ship Wreck; object #078. Window Baby Jar 8”

Myownian Ship Wreck; object #593. Baby Coat of Arms Jar 13.5”

Myownian Ship Wreck; object #667 Lobster Champion Jar 9.75”

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Myownian Ship Wreck; object #709. One Arm Jar 8”

Myownian Ship Wreck; object #948. Sun Baby Jar 13.5”

Myownian Ship Wreck; object #228. Bug Lord Jar 7”

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Myownian Ship Wreck; object #314. Bug Baby Jar 6”

Myownian Ship Wreck; object #682. Dragon Princess Jar

Myownian Ship Wreck; object #113. Running Unicorns Jar 6″

Featured Image:

Myownian Ship Wreck; object #065. Lg 100 Face Jar 9.5”

Myownian Ship Wreck; object #446. Baby King Jar 15”

Myownian Ship Wreck; object # 714 Sm 100 face Jar 7.5”

 

 

Gansu Jars of Neolithic China

Neolithic culture is a period that begins worldwide about 8000 bce and is defined by humanities move from hunter-gather culture to settled agriculture centered around small villages.  Important innovations and technology of the time were stone tools and the regular manufacture and use of pottery.  It is in fact through pots and fired ceramic objects that we have learned about many of these early cultures, because the ceramic is able to survive the decay of long years in a way that other crafts that were practiced by these early ancestors cannot.Neolithic chinaThis illustration is a recreation of a neolithic community in Jiangzhai Village, Lintong China.  The image was taken from this website below, where a discussion of the layout and functions of the buildings is discussed.  Most interesting to this article is the area near the river, which was the locations of the potteries and kilns.  This would have been a very important industry for the village and so was located within the walls of the town.

http://hua.umf.maine.edu/China/Xian/Shaanxi_History/pages/031_History_Museum.html

The area of this site, while outside of the Gansu province was from the neighboring province of Shaanxi and was a part of the Yangshoo culture which give us the Gansu Jars.Neolithic2 jarThis jar was found in the Jiangzhai Village and has many of the distinctive characteristics of the Banshan Yangshoo or Gansu Jars.  Bulbous shape, small handles and free flowing dynamic brushwork are all characteristics of this work.  In addition, these pots were light and well made, which is one of the reasons for the large number of these that have survived the many years since their creation (from the 4th to the 3rd millennium BCE)  These were thought to have been built quickly with an eye for function.  The majority of those that survive were used as burial jars.gansu 3These beautiful forms were made by coiling and then paddling to refine the form, they were then scraped and burnished and painted with colored slips and fired in small updraft kilns.

“The forms of Chinese are are…in the widest and deepest sense harmonious…we can appreciate them because we too feel their rhythms all around us in nature, and instinctively respond to them”     -Michael Sullivan 1967gansu 1I dont dispute this quote, but I would go further, in that all art springs from that which came before, either in celebration or protest.  Chinese culture is rare in that it traces its beginning, unbroken, to the Neolothic.  There are many villages in China that still employ techniques for making pottery that were used during this early period and many of the forms produced clearly owe their origins to this formative period.  Not only are these forms still relevant in China, but the pottery of China has been traded and treasured all over the world since the opening of the silk road.  We respond to these forms and these designs because they are fundamental to the culture of the entire world, nearly every artistic tradition owes a debt to the pioneering potteries of Neolithic China.

Sources:

Speight, Charlotte F., and John Toki. Hands in Clay. 5th ed. Mountain View, Calif.: Mayfield, 2004. Print.

Wood, Nigel. Chinese Glazes: Their Origins, Chemistry, and Recreation. London: & C Black ;, 1999. Print.

MLA formatting by BibMe.org.

 

 

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angzhai Village, Lintong