The pottery of Acoma Pueblo stands at the height of ceramics among the Pueblo Indian pottery traditions. This exhaustively researched book traces the history of Acoma pottery over the past seven hundred years, concentrating on the periods from 1300 to 1930. with a summary of the modern period. The authors studied over several thousand examples, presenting more than 800 examples here, along with dozens of photographs of potters. The book identifies more than nine hundred Acoma potters, several of whom are credited for the first time, who worked between about 1880 to the present. Acoma pottery has evolved significantly in form and decoration over the past seven hundred years, each change reflecting the interplay of many factors, including advances in technology, individual innovations, changing markets, and the evolving uses of pottery vessels. The book is a comprehensive illustrated survey of Acoma pottery at a depth and level of detail that has never before been achieved, and will be the standard for all studies in the future.

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.

The small village of Santa Ana Pueblo in northcentral New Mexico has for centuries made distinctive pottery for domestic and ritual use. In this book, the authors relate new ideas about the evolution of pottery styles made at Santa Ana and compare these styles with those found elsewhere in the Pueblo ceramic tradition. In particular, this richly visual study describes the chronological sequence of forms and designs based on evidence not heretofore available. The book analyzes the sequence from the earliest date, circa 1760, when positive evidence of Santa Ana origin can be identified, through the end of pottery making for local use about 1925 through various revivals to the present time. The pottery of Santa Ana Pueblo exemplifies the fine artistic achievement that has brought Pueblo ceramics worldwide acclaim. In this study, Pueblo pottery authority Francis H. Harlow, along with anthropologist Duane Anderson and historian Dwight P. Lanmon, provides an original and ground-breaking investigation into the origins and evolution of this pueblo's exemplary pottery. The result furnishes criteria for dating any vessel that comes to hand. A chapter on the recognized potters of the twentieth and twenty-first centuries recounts efforts to keep pottery traditions alive for future working potters.

"'I have tried to formulate a criterion by which good pots may be judged.. a pot in order to be good should be a genuine expression of life. It implies sincerity on the part of the potter and truth in the conception and execution of the work.'"

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""Bernard Leach (1887-1979) is generally reckoned to be the 'father of British studio pottery.' Born in Hong Kong, profoundly influenced by both an upbringing and studies in Japan, Leach developed a vision of pottery that interwove art, craft, design and philosophy. In 1920 he co-founded the Leach Pottery in St Ives, Cornwall, and "A Potter's Book" was first published in 1940. Within these pages Leach communicates his deeply-held convictions, through an account of the standards and materials essential to English slipware, stoneware, Japanese raku and Oriental porcelain.

Faber Finds is devoted to restoring to readers a wealth of lost or neglected classics and authors of distinction. The range embraces fiction, non-fiction, the arts and children's books. For a full list of available titles visit www.faberfinds.co.uk. To join the dialogue with fellow book-lovers please see our blog, www.faberfindsblog.co.uk.

This study determines the possible connections between the various ceramic traditions of Senegal and Gambia, with special references to identities and histories of the current populations. A meticulous analysis of the current contexts of manufacture permits a fresh look at the evolution of ceramic traditions and builds an interpretative model of technical variations applicable to former populations. In French.

In the wealth of literature concerning Bell Beakers, the present volume is the first broad treatment of issues relating to their northeast frontier. The book has grown from papers read at the symposium Northeast Frontier of Bell Beakers held in the Institute of Prehistory, Adam Mickiewicz University, in Poznan on 26-29 May 2002. The 22 papers include: Economic continuity and political discontinuity in central Europe during the third millennium BC; Competing cosmos. On the relationships between corded ware and bell beaker mortuary practices; Bell beakers in the sequence of the cultural changes in south-western Baltic area; Bell beaker pottery in Denmark: its typology and internal chronology; Einfluesse der Glockenbecherkultur in Norddeutschland; Ein Siedlungsplatz der Glockenbecherkultur in Hamburg-Boberg?; Glockenbechereinfluesse und Regionale Gliederung Nordostdeutschlands im Spatneolithikum; Die Glockenbecherkultur in Mitteldeutschland ein Zwischenbericht; The north-eastern border of the influence of bell beakers; Reception of some bell beakers cultural patterns by corded ware societies in southeastern Baltic area; The Lubans, North Belarusian and Sagara cultures as an eastern phenomenon of an Eneolithic cultural unit; Northern and southern bell beakers in Poland; Bell beaker culture in south-eastern Poland; Archaeology of beaker settlements in Bohemia and Moravia: an outline of the current state of knowledge; Bell beaker and Unetice burial rites: continuity and change in funerary practices at the beginning of the Bronze Age; Contribution to the question of chipped stone industry of the Moravian bell beaker culture; A cemetery of the bell beaker culture in Marefy and its contribution: to the studies on the chipped stone industry of the Moravian late Eneolithic period; Glockenbecher in Ostosterreich - andere Fragen andere Antworten?; Die Glockenbecherkultur im Kontext der Kulturhistorischen Entwicklung in der Sudwestslowakei; The late phase of the bell beaker Csepel group in Hungary; Archaeobotanical remains and environment of bell-beaker Csepel-group; The northeast frontier of bell beakers - first step to outline.

This book provides a detailed analysis of the Mayan pottery from Xkipche in the Puuc area of the Yucatan peninsula, Mexico. During the 7th century, in Puuc area a regional type of Mayan culture emerged, recongazible by characteristic architectural style. So far it was impossible to date the beginnings and ends of the settlements in this area. The site of Xkipche offers clues to the dating, with almost half a million of studied pottery fragments. This is by far the largest prehispanic pottery assemblage from the whole of the northen Yucatan.

Salt-glazed ceramics are very popular both among makers and collectors, due to their distinctive 'orange peel' surface. This guide covers the history and technical side of salt glazing as well as providing a showcase of the leading salt glaze artists from around the world.

Excavations at the punic site of Colonia de Sant Jordi in Mallorca (1978-1989) has produced a large quantity of ceramic material from across the Mediterranean. This volume provides a catalogue and some interpretation of vessel types, forms, decoration and provenance, as well as a number of conclusions about ceramic production in the Mediterranean between the 6th and 1st centuries BC.

An analysis of the many types of flagons decorated with human faces that were made throughout the Roman Northwest Province from the 1st century onwards. Following comparisons with examples from prehistory, especially from the Near East, Dovener examines types region by region, including northern France, the Rhein and Mosel, Britain, the Danube as well as brief assessments of similar material from Roman North Africa and the Near East. The discussion is followed by a catalogue of vessels, many of which are illustrated.

The other ceramics found in Beaker burial contexts have the potential for telling us much about the true nature of the Beaker phenomenon. Particularly exciting is the prospect that an understanding of their context will indicate whether Beaker pottery is indicative of an invasion, or something more subtle. This exhaustive gazetteer describes over 100 French sites and establishes the distribution of different types of Beaker over France, and the different ceramic assemblages they are associated with. As a bibliographical survey, this work comes up against publications of a very uneven standard, but as a building block for future research this will be very useful.

The three-volume work is dedicated to the years when the Koenigliche Porzellan-Manufaktur (Royal Porcelain Factory; KPM) operated under the name "Staatliche Porzellan-Manufaktur Berlin" (State Porcelain Factory) and thus closes a striking gap in the research. The author Tim D. Gonert presents the history of the factory in the twentieth century and provides an overview of the huge variety of forms and artistic decorations in the modern porcelain produced in Berlin based on over 2,000 compiled objects. The objects, all of which have been photographed anew, are accompanied by scholarly texts and archival photos resulting from research and work with documentary materials over many years. The volume of biographies describes the life and work of the most important designers in over sixty essays and thus rounds off this wonderful reference work for craftsmanship and design.

The centaur, a hybrid being with the body of horse and a human head and torso, first appeared in the mountains of Thessaly. This was the Greek horse-breeding region and it seemed natural for the centaur to have originated there, in the heart of this exclusive heritage of the landed gentry. Centaurs belonged to the spheres of heroic mythology, with clear ties to the values of the aristocracy. This book is composed of a catalogue divided into nine chapters. Each chapter comprises catalogue entries for a number of black-figure and red-figure Attic vases. The division into chapters is based on the various types of centaurs and different conflicts, either among themselves or against a hero. In addition to the catalogue is a chapter on images and statistics. Each of these nine chapters corresponds to a section of catalogue entries and statistics, as the information refers to two examples in each section, one in black figures and another in red figures. The highlighted examples illustrate the variety of different vase types (amphorae, lekythoi, etc.) and their chronology (550-500 BC, 500-450 BC). The statistics are likewise divided into black and red figures, and various themes, such as the centaur Pholos and the banquet, or Herakles and Nessos. For each of these themes or groups of examples, a table is given showing the number of vases (amphorae, lekythoi, etc.) and their place in the chronology (550-500 BC, 500-450 BC, etc.).

The range of extraordinary effects that can be achieved in a kiln is infinite. However, the technical requirements of different firing processes and equipment can often seem intimidating, particularly for those new to ceramics, and this can limit artists' confidence to explore and experiment.In" Firing""Kilns," wood-fire potter Benedict Brierley demystifies the firing process, explaining key methods and effects in simple, straightforward language. Beginning with the basic principles, including heatwork, firing schedules and cones, the book goes on to cover the various types of kilns and kiln packing, oxidation and reduction firing, and then special firing methods such as salt, soda, wood, pit, smoke and raku. Finally, it covers common firing faults and how these can be avoided to achieve consistent, successful results."Firing""Kilns" is a comprehensive handbook for anyone new to firing their work or for established ceramicists wishing to experiment with different firing effects.