Mosaics reached their fullest development under the Romans who used them to decorate the floors of their houses and public buildings. This book gives a comprehensive and fully illustrated history of mosaics in the Greek and Roman world, and studies their development over a thousand years throughout the Roman Empire. Chapters are devoted to technique, to the role of mosaics in architecture, and to their social implications and the role of patrons. This book is the only complete study in depth of this rich material.

The excavations on the Koukounaries Hill, Paros, Greece, conducted under the direction of Demetrius U. Schilardi for the Archaeological Society at Athens from 1976 to 1992, revealed a 12th century B.C.E. Mycenaean building, an Iron Age settlement, and an Archaic sanctuary. Koukounaries I: Mycenaean Pottery from Selected Contexts presents the pottery from five areas inside the building: three large storerooms, the main east-west corridor, and a small shrine, as well as the pottery from a limited reoccupation after the building's fire destruction and abandonment. The ceramics from the main occupation phase comprise the largest and best-preserved domestic assemblage from the 12th century B.C.E. in the Cyclades and offer important evidence for the continuation of Mycenaean culture after the destruction of the mainland palatial citadels. The small deposits of pottery from the reoccupation phase, provide important stratigraphic evidence for defining the Late Helladic IIIC ceramic sequence. The volume also considers the function of the individual spaces within the building, based largely on the patterns of shape distributions and quantities, with the statistics for each context presented in a series of appendices. Other issues area also explored, including the evidence for itinerant potters, the trade in antique vases, and the place of origin of the settlers who founded and inhabited the Mycenaean building on the summit of the Koukounaries Hill.

Potter, writer, teacher, editor, curator and gay rights activist, Emmanuel Cooper was a unique figure in the cultural landscape of this country for almost half a century. When he died in 2012 he left behind not only an extraordinary body of work, but also an archive that illuminated both his own life and career and that of the many other makers, artists and activists who had been his friends, colleagues or the subject of his writing. This book is based almost exclusively on that archive. Using his unpublished memoirs, diaries, and correspondence, Making Emmanuel Cooper illuminates the journey of an intelligent, if unconfident, working class boy growing up in a small north Derbyshire mining village whose life was transformed, firstly at school, by the magic of clay, and then in adult life by the liberation politics of the late 1960s. The book includes a fascinating account of Emmanuel's career as a potter as well as his thoughts on a range of issues from the art versus craft debate through to gay marriage and monogamy, as well his passion for folk art, insights into his work at the Royal College of Art and his editorship of the internationally acclaimed Ceramic Review magazine. Making Emmanuel Cooper also charts his involvement in the gay liberation movement, his journalism for the Morning Star and his part in the creation of the hugely influential Gay Left collective. He was the art critic for the original Gay News and his groundbreaking books on aspects of queer art and culture - including the pioneering The Sexual Perspective - examined issues around sexuality and the visual arts that pre-date the Tate Gallery's recent Queer Art in Britain show by some thirty years. Richly illustrated, Making Emmanuel Cooper is both a personal and a social history that celebrates the life and times of an important artist and remarkable man.

Throughout prehistory the Circumpolar World was inhabited by hunter-gatherers. Pottery-making would have been extremely difficult in these cold, northern environments, and the craft should never have been able to disperse into this region. However, archaeologists are now aware that pottery traditions were adopted widely across the Northern World and went on to play a key role in subsistence and social life. This book sheds light on the human motivations that lay behind the adoption of pottery, the challenges that had to be overcome in order to produce it, and the solutions that emerged. Including essays by an international team of scholars, the volume offers a compelling portrait of the role that pottery cooking technologies played in northern lifeways, both in the prehistoric past and in more recent ethnographic times.

In deepening our understanding of the symposium in ancient Greece, this book embodies the wit and play of the images it explains: those decorating Athenian drinking vessels from the sixth and fifth centuries B.C. The vases used at banquets often depict the actual drinkers who commissioned their production and convey the flowing together of wine, poetry, music, games, flirtation, and other elements that formed the complex structure of the banquet itself. A close reading of the objects handled by drinkers in the images reveals various metaphors, particularly that of wine as sea, all expressing a wide range of attitudes toward an ambiguous substance that brings cheer but may also cause harm.

Not only does this work offer an anthropological view of ancient Greece, but it explores a precise iconographic system. In so doing it will encourage and enrich further reflection on the role of the image in a given culture.

Originally published in 1990.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

In this book, Xiaolong Wu offers a comprehensive and in-depth study of the Zhongshan state during China's Warring States Period (476-221 BCE). Analyzing artefacts, inscriptions, and grandiose funerary structures within a broad archaeological context, he illuminates the connections between power and identity, and the role of material culture in asserting and communicating both. The author brings an interdisciplinary approach to this study. He combines and cross-examines all available categories of evidence, including archaeological, textual, art historical, and epigraphical, enabling innovative interpretations and conclusions that challenge conventional views regarding Zhongshan and ethnicity in ancient China. Wu reveals the complex relationship between material culture, cultural identity, and statecraft intended by the royal patrons. He demonstrates that the Zhongshan king Cuo constructed a hybrid cultural identity, consolidated his power, and aimed to maintain political order at court after his death through the buildings, sculpture, and inscriptions that he commissioned.

Ceramic artist Vonney Ball's elegant output reflects a sound education in English ceramics design, a singularity of purpose and a drive to keep making work. Twenty years on from her arrival in New Zealand, her work connects cultural experiences from opposite ends of the earth. Vonney Ball: Ceramics surveys her work and examines her influences, from Bloomsbury to Maori art and design.

When Pam Valois, a young photographer, met Jacomena Maybeck in 1979, she saw the woman she wanted to be in her own later years. Tarring roofs and splitting logs into her eighties, Jackie presided over the legacy of Bernard Maybeck and his clan on Berkeley's legendary Nut Hill. The friendship between the two women led to a best-selling book-Gifts of Age, a treasury of stories about successful aging. Blooming in Winter is an intimate portrait of Jackie that gives us a paradigm for living exuberantly until the very end.

A Passion for China is a personal celebration of the everyday beauty of tableware. Acclaimed ceramicist, artist and designer Molly Hatch explores the family stories behind beloved items; the bowls and cups we have inherited or chosen with love and care. Molly Hatch also brings the history of porcelain, potteries and patterns to life through her stunning, hand-drawn illustrations. 'As we move through our daily lives, eating breakfast, sipping an afternoon cup of tea or gathering for a family dinner, the patterned ceramic objects we live with are precious witnesses to our stories. We eat from them, they warm our hands after a cold walk outdoors and we pull them out to celebrate the births, marriages and lives of our loved ones.' A tribute to the rich heritage of the vintage plates, jugs and pots that make our homes our own.

In the 18th century pugs found their way onto the laps of noblewomen and, with this, into the portraits of contemporary rulers. Small and forever panting, the pug could not be put to use as a watchdog or a herding dog, but it compensated for this with its charm. The dog ultimately found its way onto porcelain and faience. Johann Joachim Kandler, the most significant modeler of the Meissen porcelain manufactory, designed over 60 variants of the pug between 1740 and 1760 - standing, lying, scratching, and performing tricks. Kandler portrayed the pug belonging to Count Heinrich von Bru hl in a splendid one-off, but he also produced models for serial production. This southern German collection comprises over 150 ceramic pugs as well as other dogs. Moreover, they do not just appear individually; they may also be part of a courtly scene or decorate wares in the gallant style - accessories such as flacons, (snuff) boxes, and walking-stick handles. Text in English and German.

What inspiration awaits within a museum? In this rare venture, a group of 14 Resident Artists from The Clay Studio worked with 7 curators to explore the Philadelphia Museum of Art's art storage vaults.This catalog-and its accompanying exhibition at The Clay Studio-reveals the thoughts, inspirations, and creative drive shared by the artists and curators. After researching and handling artifacts in an art museum's storage, each artist chose a museum object and went back to their studio to create a new work of art in response. The resulting artworks, beautifully photographed here, are accompanied by the artists' thoughtful reactions to the experience, along with candid views of the works in progress in their studios. The curators, too, describe their "aha moments" in three luminous essays. For both artists and curators, this journey from storage to studio in Philadelphia has been revelatory and points the way to exciting future possibilities for artists, curators, museums, and gallery visitors everywhere.

A 'vessel for living' - such were the words Glenn Adamson used to describe this remarkable residence. Richard Meier designed the Grotta home to house Sandra and Louis Grotta's collection of contemporary studio jewellery and significant works in wood, ceramic and fibre. The building was conceived around the collection, framing the objects within the open architecture, which comprises an equal blend of glass and concrete. Nature, visible from many vantage points, plays an essential supporting role. The Grotta Home by Richard Meier: A Marriage of Architecture and Craft is rich in photographs of the collection and provides impressive insights into this exceptionally personal project. The accompanying essays afford the reader a greater sense of how the Grottas have not simply acquired art, but have immersed themselves in it.

After training as a graphic designer in Hungary, the plastic artist Vera Székely (1919-1994), a member of the Székely-Borderie ceramicist collective, tackled work in clay, metal, wood and glass to reach her artistic fulfillment in textiles. From this point on, Vera Székely acknowledged “swimming and dancing in space to leave a trace in it� with her ephemeral installations of bent felt, her stretched canvas structures and “braced sails� that would be exhibited throughout the world, notably at the Biennale internationale de la tapisserie, Lausanne (1981) the Musée national d’art moderne, Centre Georges Pompidou (1982), the Musée d’art moderne de la ville de Paris (1985), the Lunds Konsthall, Sweden (1988). Text in English and French.

This classic volume on the evocative and enigmatic pottery of the Mimbres people has become an irreplaceable design catalogue for contemporary Native American artists. Burt and Harriet (Hattie) Cosgrove were self-trained archaeologists who began excavating Mimbres materials in 1919. When their meticulous research came to the attention of Alfred V. Kidder of the Peabody Museum, he invited them to direct the Mimbres Valley Expedition at the Swarts Ranch in southern New Mexico on behalf of the Peabody.

Working in the summers of 1924 to 1927, the Cosgroves recovered nearly 10,000 artifacts at the Swarts site, including an extraordinary assemblage of Mimbres ceramics. Like their original 1932 report, this paperbound facsimile edition includes over 700 of Hattie Cosgrove's beautiful line drawings of individual Mimbres pots. It also presents a new introduction by archaeologist Steven A. LeBlanc, who reviews the eighty years of research on the Mimbres that have followed the Cosgroves' groundbreaking study. The Peabody's reissue of "The Swarts Ruin" once again makes available a rich resource for scholars, artists, and admirers of Native American art, and it places in historical context the Cosgroves' many contributions to North American archaeology.

From the introduction of woodblock printing in China to the development of copper-plate engraving in Europe, the print medium has been used around the world to circulate knowledge. Ceramic artists across time and cultures have adapted these graphic sources as painted or transfer-printed images applied onto glazed or unglazed surfaces to express political and social issues including propaganda, self-promotion, piety, gender, national and regional identities. Long before photography, printers also included pots in engravings or other two-dimensional techniques which have broadened scholarship and encouraged debate. Pots, Prints and Politics examines how European and Asian ceramics traditionally associated with the domestic sphere have been used by potters to challenge convention and tackle serious issues from the 14th to the 20th century. Using the British Museum's world-renowned ceramics and prints collections as a base, the authors have challenged and interrogated a variety of ceramic objects - from teapots to chamber pots - to discover new meanings that are as relevant today as they were when they were first conceived.

An in-depth portrait of the life and work of Shoji Hamada, one of the key figures behind the development of studio pottery in the 20th century, and the legacy he left. Shoji Hamada was one of the seminal figures in 20th century ceramics. Along with the British potter Bernard Leach, he was instrumental in the development of the international Studio Pottery movement in the early 1900s. Their dramatic influences are still felt today, particularly in the United States and Great Britain. Hamada, also a major figure in Japan's folk art revival, was designated a 'Living National Treasure' by the Japanese government in 1955 and awarded the Order of Culture in 1968. Shoji Hamada is an ebullient and fascinating portrait of a great potter, tracing his place in the ceramic tradition and revealing a keen perception of his energetic lifestyle, dazzling work cycle, and intriguing specifics about the firing of his kilns. The text and over 200 new colour photographs from Peterson's stay at Hamada's compound in 1970 present a wealth of detail about techniques and processes. Equally important are the author's insights depicting Hamada's bequest to us: one whose life was concentrated toward the perpetuation and achievement of fundamental, unchanging and universal values and goals. In this completely re-designed and updated version of her classic book, Susan Peterson brings together the East-West connection personified by Hamada and Leach. In a completely new concluding chapter, she assesses Hamada's ongoing legacy to the world of studio pottery. This is an authoritative account of one of the towering figures in the ceramics world by one of the first people to welcome him to America in the early 1950s. The book is a must for anyone interested in the evolvement of hand pottery and the dynamics of ceramics in general.

This fully illustrated and researched catalogue commemorates an exhibition of over 200 pieces of Chinese and related ceramics collected within the members of the Oriental Ceramic Society of London. The selection spans the complete range from Neolithic to contemporary ceramics, from minor kilns in many different regions to the major kilns working for the court, and from pieces of academic interest to world-famous masterpieces. It privileges unusual and rarely seen artifacts and avoids well known, repetitive designs such as that of the dragon, which is so firmly identified with China that it has become a cliche of Chinese art. It also aims to demonstrate the vast variety of wares and the inventiveness of Asian potters well beyond the classic confines. Text in English and Chinese.

The de la Torre brothers combine exquisitely ornate blown and flame-worked glass works with cheap, mass-produced knickknacks, plastic flowers, fake fur, painted coins, and other found objects. Their art is a skillful combination of disparate elements, appropriating content, meaning, and materials from both high and low cultures. This intersection of contrasting elements reflects their dual residence in Mexico and the United States. The de la Torres describe themselves as "Mexican-American bicultural artists," influenced by "the morbid humor of Mexican folk art, the absurd pageantry of Catholicism, and machismo" on the one hand, and fascinated by "the American culture of excess" on the other. These artists do not hesitate to confront preconceived notions about artistic materials, cultural identity, and political borders. Dividing their time between the studios they share in San Diego and San Antonio de las Minas, they cross the international border several times a week, which provides them with a "parallel appreciation of both cultures." Their status as both insider and outsider, neither Mexican nor American, underpins their artistic discourse. Einar and Jamex de la Torre includes an essay on the artists' work by Tina Oldknow, curator of modern glass at the Corning Museum of Glass in New York, and an original interview with the artists by Gronk, a Los Angeles-based artist best known for his large-scale, site-specific murals.

Thanks to a conscious reduction in form and colour, the ceramics by the Swiss artist Sonja Duo-Meyer (b. 1953) unfurl incredible expressive power. Their flowing silhouettes appear almost meditative, fixed points emerge in the light asymmetry of their forms, and a sophisticated play on light and shade develops. Surfaces, material, corpora and technique are interwoven through a minimalistic design concept that celebrates stillness and the concept of the void. Photographs of objects as well as exhibition views show vessels, objects and wall installations from 1992 to 2017. A particular highlight are works and ideas from the ceramic centre Tajimi, where, as artist in residence, the artist engaged intensively with Japanese techniques.With exciting illustrations and informative essays, this first monograph on Sonja Duo-Meyer presents the development of a career in contemporary ceramic art now spanning over forty years.

'A warm, funny, uplifting writer to celebrate!' KATIE FFORDE If you love Lucy Diamond, Phillipa Ashley, Sue Moorcroft and Holly Martin, you'll LOVE Erin Green's novels of love, life and laughter! 'A lovely, heart-warming story of three very different women trying to change their lives for the better . . . I was hooked! I hope there will be many more books in this lovely series!' CHRISTINA COURTENAY 'A delicious Shetland setting and the exquisite writing of Green, come together for a delightful tale of friendship, family and love' JENNI KEER Readers are enchanted! 'A lovely Christmas read . . . made me feel good. Excellent' 'An essential for anyone's pre-Christmas light and relaxing reading list' 'I couldn't put this book down it was that good. . . 10 stars at least' 'A wonderful festive read that makes you wish you were there' 'This was a beautiful escapist read' 'Great characters, great storyline and a big hug in book form will be found within the pages of this amazing festive book. Loved it' 'A lovely story of friendship, love, and starting over. I wish I lived in this town, could shop at their stores and be friends with these lovely characters' ..................................... Friendship can be the greatest gift you'll ever give . . . Verity is embarking on a better-late-than-never gap year now that her sons have flown the nest, and dreams of turning a lifetime's hobby of knitting and crocheting into a profitable new enterprise at Lerwick Manor's gallery. Nessie has returned to Shetland after two years spent retraining as a blacksmith on the Scottish mainland. She's determined to do whatever it takes to reignite the traditional craft and prove that gender is no obstacle to taking on her family's heritage. Isla is fresh out of catering college, but she is desperate to prove she has what it takes to run Lerwick Manor's artisan cafe. Focused on perfecting her grandmother's traditional recipes, Isla has no time for anything else - especially not her pesky ex. With the island's Yule Day celebration fast approaching, it's the ideal moment for their crafts to shine. But they can't do it alone - and their friendship might turn out to be their greatest creation yet... ..................................... 'A perfect story full of hope, love and friendship' 'An uplifting, engaging and heart warming book. Loved it' 'An amazing book and makes you really think that your dreams of changing your life can really happen' 'The author has the knack of making her characters spring off the pages so real that you'll care about them' Peterborough Telegraph Don't miss any of Erin Green's gloriously uplifting reads in Lerwick - look out for From Shetland, With Love, Sunny Stays at the Shetland Hotel and A Shetland Christmas Carol - perfect for any season! You are invited to a holiday where friendship, home comforts and romance are guaranteed . . . look for New Beginnings at Rose Cottage! If you don't ask you'll never know . . . it's a great time for Taking a Chance on Love!

This book inaugurates a series of volumes that will present the results of more than twenty years of research by a team of American and Yugoslav scholars at Stobi, an ancient city of northern Macedonia. The research was multidisciplinary, and methodological innovations augmented more traditional methodologies of archaeological, historical, and art historical research. The series illuminates numerous aspects of urban life at Stobi, which spanned some nine centuries, from the early Hellenistic period until the end of the sixth century A.D. This first volume of the series is also the first comprehensive study of Hellenistic and Roman pottery in Macedonia. Its detailed presentation of the types and quantities of imported wares and local products together with a series of well-dated contexts documents the economic history of Stobi as well as the broader region of Macedonia. It will interest social and economic historians, as well as archaeologists and pottery specialists. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This volume continues the ceramic history of the Saqqara Anubis temple, excavated by the Egypt Exploration Society from 1977 to 1979. Volume IV covers the Late Dynastic Period. From at least the mid- 6th century BC onwards, burials appear to have been made in the earlier shaft tombs as well as in a new cemetery in the sand. A temple to Anubis, god of the dead, was commenced at the same time, abandoned during the Persian Period but restarted around 400 BC. The ceramics include bowls used by the embalmers as well as offering vessels and the repertoire of the fourth century builders.

In deepening our understanding of the symposium in ancient Greece, this book embodies the wit and play of the images it explains: those decorating Athenian drinking vessels from the sixth and fifth centuries B.C. The vases used at banquets often depict the actual drinkers who commissioned their production and convey the flowing together of wine, poetry, music, games, flirtation, and other elements that formed the complex structure of the banquet itself. A close reading of the objects handled by drinkers in the images reveals various metaphors, particularly that of wine as sea, all expressing a wide range of attitudes toward an ambiguous substance that brings cheer but may also cause harm. Not only does this work offer an anthropological view of ancient Greece, but it explores a precise iconographic system. In so doing it will encourage and enrich further reflection on the role of the image in a given culture. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Late Mannerists were Athenian vase-painters working in the fifth century BC. They specialized in shapes used during the symposium, and had a particular flair for story telling. Their unusual style of painting combines elements of the Late Archaic period with characteristics of the Classical period.