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Ceramic Art (Paperback)
Margaret S. Graves, Sequoia Miller, Magdalene Odundo, Vicki Parry; Contributions by Ulla Holmquist, …
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R652
Discovery Miles 6 520
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Ships in 12 - 17 working days
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A new examination of the history of ceramic art, spanning ancient
to modern times, emphasizing its traditions, materials, and methods
of making Concise but comprehensive, Ceramic Art brings together
the voices of art historians, conservators, and artists to tell the
history of making art from fired clay. The story spans history and
continents, examining the global traditions of ceramists that range
from pre-Columbian Peruvian artisans to contemporary African studio
potters. The volume shows how human need gave rise to multiple
traditions in earthenware, stoneware, porcelain, glaze, and surface
decoration from Africa, Asia, Europe, the Middle East, and the
Americas. Essays describe the core materials and practice of
ceramics, followed by consideration of its production, consumption,
and use. Throughout, the focus is on the power of materials and the
role conservation plays in the afterlife of a ceramic object. An
accessible introduction to an ancient practice, Ceramic Art offers
new ways of thinking about the broader forces that have shaped the
traditions of the medium.
The Islamic world's artistic traditions experienced profound
transformation in the 19th century as rapidly developing
technologies and globalizing markets ushered in drastic changes in
technique, style, and content. Despite the importance and ingenuity
of these developments, the 19th century remains a gap in the
history of Islamic art. To fill this opening in art historical
scholarship, Making Modernity in the Islamic Mediterranean charts
transformations in image-making, architecture, and craft production
in the Islamic world from Fez to Istanbul. Contributors focus on
the shifting methods of production, reproduction, circulation, and
exchange artists faced as they worked in fields such as
photography, weaving, design, metalwork, ceramics, and even
transportation. Covering a range of media and a wide geographical
spread, Making Modernity in the Islamic Mediterranean reveals how
19th-century artists in the Middle East and North Africa reckoned
with new tools, materials, and tastes from local perspectives.
The Islamic world's artistic traditions experienced profound
transformation in the 19th century as rapidly developing
technologies and globalizing markets ushered in drastic changes in
technique, style, and content. Despite the importance and ingenuity
of these developments, the 19th century remains a gap in the
history of Islamic art. To fill this opening in art historical
scholarship, Making Modernity in the Islamic Mediterranean charts
transformations in image-making, architecture, and craft production
in the Islamic world from Fez to Istanbul. Contributors focus on
the shifting methods of production, reproduction, circulation, and
exchange artists faced as they worked in fields such as
photography, weaving, design, metalwork, ceramics, and even
transportation. Covering a range of media and a wide geographical
spread, Making Modernity in the Islamic Mediterranean reveals how
19th-century artists in the Middle East and North Africa reckoned
with new tools, materials, and tastes from local perspectives.
The art of the object reached unparalleled heights in the medieval
Islamic world, yet the intellectual dimensions of ceramics,
metalwares, and other plastic arts in this milieu have not always
been acknowledged. Arts of Allusion reveals the object as a crucial
site where pre-modern craftsmen of the eastern Mediterranean and
Persianate realms engaged in fertile dialogue with poetry,
literature, painting, and, perhaps most strikingly, architecture.
Lanterns fashioned after miniature shrines, incense burners in the
form of domed monuments, earthenware jars articulated with arches
and windows, inkwells that allude to tents: through close studies
of objects from the ninth to the thirteenth centuries, this book
reveals that allusions to architecture abound across media in the
portable arts of the medieval Islamic world. Arts of Allusion draws
upon a broad range of material evidence as well as medieval texts
to locate its subjects in a cultural landscape where the material,
visual and verbal realms were intertwined. Moving far beyond the
initial identification of architectural types with their miniature
counterparts in the plastic arts, Margaret Graves develops a series
of new frameworks for exploring the intelligent art of the allusive
object. These address materiality, representation, and perception,
and examine contemporary literary and poetic paradigms of metaphor,
description, and indirect reference as tools for approaching the
plastic arts. Arguing for the role of the intellect in the applied
arts and for the communicative potential of ornament, Arts of
Allusion asserts the reinstatement of craftsmanship into Islamic
intellectual history.
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