This volume is based on a session from the 2012 TAG conference (Liverpool University) and includes papers delivered at the conference and others submitted subsequently. Contributors are drawn from both academic and commercial archaeology and the diverse range of subjects is intended to help to bridge the unfortunate gap between some of the sub-disciplines which constitute archaeology in its broadest sense. Papers include: Pots as Things: Value, meaning and medieval pottery (Ben Jervis), Vehicles for Thought: Terrets in the British Iron Age (Anna Lewis), Addressing the Body: Corporeal meanings and artefacts in early England (Toby Martin), All form one and one form all: The relationship between pre-burial function and the form of early Anglo-Saxon cremation urns (Gareth Perry), Plates and other vessels from early modern and recent graves (Beth Richardson), Not so much a pot, more an expensive luxury: Commercial archaeology and the decline of pottery analysis (Paul Blinkhorn), Tradition and Change: The production and consumption of late post-medieval and early modern pottery in southern Yorkshire (Chris Cumberpatch), The organisation of late Bronze Age to early Iron Age society in the Peak District National Park (Kevin Cootes).

Long held as one of the most spiritually charged Zulu art forms, Zulu ceramics have entered the 21st century as a diversifying and vital art. From independent artists to craft cooperatives, Zulu Pottery examines the techniques and individuals continuing this great tradition. Zulu Pottery focuses on contemporary ceramics from the northern half of KwaZulu-Natal, where ongoing traditions are kept alive, to the heart of Durban, where newer artists are transforming and innovating. Masters such as Nesta Nala – as well as a new generation of artists, including Jabu Nala and Clive Sithole – have travelled the world demonstrating the art of Zulu pottery.

In the introduction to John P. Hart's study on Nacogdoches's historic Washington Square Mound, Timothy K. Perttula notes that publication of Hart's finding is long overdue. The Washington Square mound site, he describes, "is a Caddo multiple mound center" and is "one of the few known Caddo mound sites in the Neches-Angelina river basins in East Texas, and the study of its archeological deposits has contributed important and unique information on the lifeways, social and political organization, and religious beliefs of ancestral Caddo peoples" who occupied the area circa A.D. 1250-1425. Hart's research reveals invaluable details about Caddo tribal life, particularly derived from decorative and engraved pottery retrieved from the Mound, and, for the first time, makes this information available to a wider audience.

"Looking to discover how to collect antiques?" "Have a passion for antique history?" "Have you uncovered a unique item and want to know the antique appraisal?" This Practical Guide Is Designed To Teach You More About This Amazingly Complex, yet Elegant Simple Hobby. Let me help you take the complexity out of this hobby and show you exactly what it takes to collect antiques like a seasoned veteran. I give you the in-and-outs of this business within this guide. You'll will learn how to finally: Quickly identify antiques and assess the antique appraisal for these unique items.

Decorative arts is my passion. Create comfortable spaces for the enjoyment and admiration to whom observe, it's for me indispensable. I studied Interior Design and worked as a Graphic Artist in my own studio through 15 years. In the last years I was taking Museum courses in the University of Puerto Rico and in the Museum and Humanistic Studies of the Turabo University. Creativity is my goal and I understand that it's a must to use this to create decorative pieces with illumination using stained glass. I took a Stained Glass course in the Arts and Crafts Workshop of the University of Puerto Rico and began to design using stained glass as a focal point. I joined my passion for the arts and the stained glass technique to create unique pieces that were decorative and functional. Use stained glass from another perspective is my challenge. I discovered the Arts and Crafts Movement and immediately identified myself with this style. Their distinctive characteristics are simple design, good materials and well done work, because of this, is no wondering that is a fundamental element in interior design until today. I studied the development of the Arts and Crafts Movement and I think that it's a style where many crafts artists and industrial designers can identify and work to contribute for the history of modern furniture and decorative arts in Puerto Rico. I exhort to observe, support and wonder with the work of the crafts artists that today contribute with their work for the enjoyment of the art lovers and collectors. This book is a compilation of my first projects patterns as an artisan. Hope you enjoy the Caribbean Inspirations of my Puerto Rican Culture.

Lets Color Some Pottery, original sketchbook ideas and designs for ceramic pottery by New England and Florida based painter and potter Janvier Miller. This is a coloring book for all ages. The drawings are based on drawings for her ceramic pottery designs.
Drawings include sketches of butterflies, boats, fish, birds, circus rings with elephants, acrobats and clowns, beach scenes and cats. Wonderful compositions that include pottery set in a scene. Such as monkey with a bowel, frogs sitting on a vase in a lily pond, a swimmer with a crab plate, and swimming mermaids. Sail boats travel across the page with flags flapping, fish and ducks plates with geese, and beach scenes with kids playing. Get out your crayons and colored pencils for hours of coloring fun.

The work of Pia Burrick isn't coquettish, but genuine.Her stories and images touch, move and sometimes cause uneasiness. Burric's artistic oeuvre can be divided into applied and free work. Her functional applied glass creations are made to measure for specific interiors and complement existing elements. These creations, mostly stained-glass windows, are made using traditional techniques but are nonetheless contemporary in style and most of all in perfect harmony with the space. Her private work is more open, more sober and more powerful.The designs in which she toys with the boundary between figuration and abstraction are most imaginative and convincing. Glass allows working on both sides, opaque or transparent, projecting or reflecting, with or without colour. Burrick experiments with combinations of pure glass, enamel, lead or lead sheets The themes and subjects determine the techniques. Images from around the home, newspaper photos or television stills are often at the base of her objects. Any image that is powerful and sticks in the mind is hung up in the studio, where it waits until it is transformed and takes on its definitive form. Pia Burrick is a remarkable artistic personality who made glass art her favourite form of expression. Text in English and Dutch.

What is a pyxis? Who was the Amasis Painter? How did Greek vases get their distinctive black and orange colors? This richly illustrated book--the latest in the popular Looking At series--offers definitions and descriptions of these and many other Greek vase shapes, painters, and techniques encountered in museum exhibitions and publications on ancient Greek ceramics. Included is an essay on how to look at Greek vases and another on the conservation of ancient ceramics. These essays provide succinct explanations of the terms most frequently encountered by museum-goers. The concise definitions are divided into two sections, one on potters and painters and another on vase shapes and technical terms relating to the construction and decoration of the vases. Featuring numerous color illustrations of Greek vases, many from the Getty Museum's collection, Understanding Greek Vases is an indispensable guide for anyone wishing to obtain a greater understanding and enjoyment of Greek ceramics.

This book examines Greek vase-paintings that depict humorous, burlesque, and irreverent images of Greek mythology and the gods. Many of the images present the gods and heroes as ridiculous and ugly. While the narrative content of some images may appear to be trivial, others address issues that are deeply serious. When placed against the background of the religious beliefs and social frameworks from which they spring, these images allow us to explore questions relating to their meaning in particular communities. Throughout, we see indications that Greek vase-painters developed their own comedic narratives and visual jokes. The images enhance our understanding of Greek society in just the same way as their more sober siblings in serious art. David Walsh is a Visiting Research Scholar in the School of Arts, Histories and Cultures at The University of Manchester."