It reminds me of Patrick Swayze's spirit in the movie "Ghost," hovering vaporously behind Demi Moore at her potter's wheel.
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The foot pressure on the machine's pedal determines the shape (think potter's wheel), and the garment emerges fully formed, without seams.
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They found that as the storm shrinks, the force of its contraction is pushing it upward, like clay on a potter's wheel.
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On any given afternoon, their studios are filled with the sounds of a potter's wheel buzzing and deep cuts from Joan Armatrading.
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The potter's wheel is spun by the sandaled foot of the potter, and the temperature of the kiln is determined by sight.
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You're basically given a shape, which you then have to recreate on a potter's wheel by squatting and manipulating the Ring-Con.
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After collecting the clay from the mountainsides of the Great Smoky chain, she would mold it by hand, without using a potter's wheel.
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In the studio where Mr Feng made his chicken cups you press fingers and palms into a soft, pale clay on the potter's wheel.
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"I wanted to use the potter's wheel to create furniture, which was very ambitious, especially for the size of things that you have to throw," she admits.
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The Russian model recreated the famous pottery scene from "Ghost" for Love Magazine's Advent calendar shoot ... and she's got everyone wondering if she's working that potter's wheel for 2.
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To make a pot on a potter's wheel, you must first manipulate your ball of clay so that its center of mass matches the rotational center of the spinning wheel.
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It's also poignant that in his minimally decorated upstate studio, Anderson's potter's wheel looks out onto the woods where he keeps a graveyard of piccolos that perished in the firing process.
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She eschews an electric potter's wheel for the "coiling" method, an antediluvian technique in which small bands of clay are slowly stacked on top of one another to create a shape.
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Also, by working with a short coil rather than a long one, which is commonplace when using a potter's wheel, Rosen underscores his intention to build something out of a minute form, while eschewing the wheel.
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So when designer Shigetaka Kurita centered pixels on his potter's wheel and spun them into sunshine and rain, he was both supplying a jolt of atmospherics to the early smog-screened smartphone and frugally conserving space.
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Click here to view original GIFThe footage is dizzying as hell but it's also really enjoyable because you get to see pottery from a perspective that's typically unseen, from the point of view of the potter's wheel.
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Over the past two and half centuries, scientists envisioning the origin of planetary systems (including our own) have focused on a specific scene: a spinning disk around a newborn star, sculpting planets out of gas and dust like clay on a potter's wheel.
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Mr. Voulkos, who taught at Black Mountain College, N.C., and established the ceramics program at the University of California, Berkeley, was famous for throwing huge amounts of clay on the potter's wheel — up to 22019 pounds at a time — and using that material instead of marble or bronze to make sculpture.
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Advertise on Hyperallergic with Nectar Ads PHILADELPHIA — Of all the astonishing things Roberto Lugo has done in his career — from creating a DIY potter's wheel and mixing his own clay from dirt in an urban scrapyard, to creating a new genre of hip-hop-inflected political porcelain — the most radical might be that he is head over heels in love with something rather uncool in the contemporary art world: skill.
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"framework of nature") with the word tiānjūn (天均, "celestial potter's wheel") that occurs in two other Zhuangzi contexts. These interchangeable phonetic loan characters are jūn (均, "well balanced; equal; even; uniform; potter's wheel") and jūn (鈞, "potter's wheel; ancient unit of weight [approx. 15 kilos]; balance, harmonize") are graphically differentiated by the "earth" and "metal" radicals.
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This album features the songs The Potter's Wheel, Holy Awe, and God Will Make A Way.
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In Ancient Egyptian mythology, the deity Khnum was said to have formed the first humans on a potter's wheel.
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Classic potter's kick-wheel in Erfurt, Germany In pottery, a potter's wheel is a machine used in the shaping (known as throwing) of round ceramic ware. The wheel may also be used during the process of trimming the excess body from dried ware, and for applying incised decoration or rings of colour. Use of the potter's wheel became widespread throughout the Old World but was unknown in the Pre-Columbian New World, where pottery was handmade by methods that included coiling and beating. A potter's wheel may occasionally be referred to as a "potter's lathe".
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They were also responsible for the spread of the potter's wheel into a much wider area than the one they occupied.
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It is heavily tempered with crushed calcite. The jar forms have handmade bodies and the rim finished on a potter's wheel.
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I break up the clay vessel and take the fragments and blunge them and put them back on the potter's wheel.
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Inaugural cover of The Potter's Wheel, November 1904 The name The Potter's Wheel was inspired by Caroline Risque's cover art for the inaugural edition in November 1904, which depicted a pair of potters sitting opposite one another. Williamina Parrish, who acted as editor-in-chief of the magazine, preferred to call the group the "Self and Mutual Admiration Society".
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The first use of the potter's wheel in Japan can be seen in Sue pottery. While Sue productions combined wheel and coiling techniques, the lead-glazed earthenware made under Chinese influence from the 8th to the 10th centuries include forms made entirely on the potter's wheel. The original potter's wheel of the Orient was a circular pad of woven matting that the potter turned by hand and wheel, and was known in Japan as the rokuro. But with the arrival of the te-rokuro or handwheel, the mechanics of throwing made possible a more subtle art.
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It was attached at the lip and shoulder of the hydria. The handles were then burnished by hand rather than on the potter's wheel.
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The potter's wheel used in the production of Ōtani pottery is known as a 'nerokuro,' literally a 'lying potter's wheel.' One person must lie on his or her side and turn the wheel with his or her feet. The potter and the assistant must have perfect timing in order to create a successful product. Ōtani pottery is the only pottery in Japan that still uses this technique.
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The shoulder was then smoothed out with a rib tool to remove any throwing striations. The body was then cut off the potter's wheel and set aside to harden.
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The Potter's Wheel, Volume 1, Number 5, March 1905, cover drawn by Vine Colby shows two dragons looking at each other Colby was a member of The Potters, a women's artistic group that published a handmade magazine, The Potter's Wheel, from November 1904 to October 1907. Colby contributed her art and poetry to the magazine. After the Potters disbanded, she became a journalist and writer. Colby is also remembered for her poetry.
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A mug without a handle, i.e., a bowl or a beaker, is topologically equivalent to a saucer, which is quite evident when a raw clay bowl is flattened on a potter's wheel.
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At the Potter's Wheel is a 1914 American silent short drama film directed by Lorimer Johnston. The film stars Charlotte Burton, Sydney Ayres, Caroline Cooke, Louise Lester, Jack Richardson and Vivian Rich.
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Clay Sketch by Caroline Risque, The Potter's Wheel, Volume 1, Number 7, page 20, May 1905 Bronze Sketch of a Child (from Life), sculpture by Caroline Risque with photographs by Williamina Parrish, The Potter's Wheel, Volume 2, Number 9, page 8, July 1906 Terra-cotta ash receiver by Caroline Risque, The Potter's Wheel, Volume 3, Number 3, page 12, January 1907 Before moving to Paris for two years, both studying and working, Caroline Risque was a sculptor of local fame. Her first sales were to her own teachers at the Art School at Washington University. One of Risque's most ambitious pieces of work, modeled in her own Paris studio, was a fountain which was exhibited at the 1913 Paris Salon. which was favorably received by the French press.
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The potter's wheel was probably invented in Mesopotamia by the 4th millennium BCE, but spread across nearly all Eurasia and much of Africa, though it remained unknown in the New World until the arrival of Europeans. The earliest discovery of the origins of the potter's wheel was in southern Iraq. The discovery of this technique was beneficial to the people of south Iraq because it served as a substitute for their previous inefficient traditions. Upon this new technique, it would then grow gradually and even be adopted for the use of decorating pottery.
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The principle of the flywheel is found in the Neolithic spindle and the potter's wheel, as well as circular sharpening stones in antiquity.Lynn White, Jr., "Theophilus Redivivus", Technology and Culture, Vol. 5, No. 2. (Spring, 1964), Review, pp.
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In art, Khnum was usually depicted as a ram-headed man at a potter's wheel, with recently created children's bodies standing on the wheel. He was also shown holding a jar from which flowed a stream of water.
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They adorned themselves with beads made of shells. They manufactured stone axes and miniature trapezoidal flint arrowheads. For cooking, they used clay vessels produced without the potter's wheel. The Kelteminar economy was based on sedentary fishing and hunting.
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Porcelain can be made using all the shaping techniques for pottery. It was originally typically made on the potter's wheel, though moulds were also used from early on. Slipcasting has been the most common commercial method in recent times.
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The word rokurokubi may have derived from the word rokuro which refers to a potter's wheel, a water well's pulley (since it elongates) Yahoo Japan, ヤフー株式会社 Accessed 22 January 2008. or an umbrella handle (which also elongates).
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Gould mentions maple seeds, celts (leading to rattlebacks), the fire-drill, the spindle whorl, and the potter's wheel as possible predecessors to the top, which he assumes was invented or discovered multiple times in multiple places.Gould (1973), p.20-4.
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The myriad > things are all from seeds, and they succeed each other because of their > different forms [萬物皆種也 以不同形相禪]. From start to finish it is like a circle > whose seam is not to be found [始卒若環 莫得其倫]. This is called the celestial > potter's wheel, and the celestial potter's wheel is the framework of nature > [是謂天均 天均者 天倪也]. (27/1-10, tr. Mair 1994: 278-9) The last part of this passage (27/10) equates tiānní (天倪, tr.
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Even the activities of creator gods were depicted using the image of the potter. The ram-headed creator god Khnum was shown creating gods, men, animals and plants on the potter's wheel. This suggests high esteem for ceramic production.D. Arnold et al.
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Kamares Ware Pottery became more common with the building of the palaces and the potter's wheel. Kamares ware is most typical of this period. The MM period was dominated by the development of monumental palaces. These places centralized the production of potted wares.
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Map of Sumer. Evidence of wheeled vehicles appeared in the mid 4th millennium BCE, near-simultaneously in Mesopotamia, the Northern Caucasus (Maykop culture) and Central Europe. The wheel initially took the form of the potter's wheel. The new concept led to wheeled vehicles and mill wheels.
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A potter shapes pottery with his hands while operating a mechanical potter's wheel with his foot, 1902 In the Iron Age, the potter's wheel in common use had a turning platform about above the floor, connected by a long axle to a heavy flywheel at ground level. This arrangement allowed the potter to keep the turning wheel rotating by kicking the flywheel with the foot, leaving both hands free for manipulating the vessel under construction. However, from an ergonomic standpoint, sweeping the foot from side to side against the spinning hub is rather awkward. At some point, an alternative solution was invented that involved a crankshaft with a lever that converted up-and-down motion into rotary motion.
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Williamina Parrish Grace Parrish Williamina Parrish (September 9, 1879 - January 3, 1941) and Grace Parrish (August 21, 1881 - March 9, 1954) were respected photographers who worked together as The Parrish Sisters at the beginning of the twentieth century. Williamina "Will" Parrish was considered the leader of The Potters, a group of late teens/early twenties female artists publishing, from 1904 to 1907, The Potter's Wheel, a monthly artistic and literary magazine. She was also the editor of the magazine. The name The Potter's Wheel was inspired by the facing pair of potters made by Caroline Risque which appeared in the inaugural November 1904 magazine. Grace Parrish, Will’s younger sister, was also a very successful photographer.
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Ceramics are the most commonly surviving type of Maya art. The Maya had no knowledge of the potter's wheel, and Maya vessels were built up by coiling rolled strips of clay into the desired form. Maya pottery was not glazed, although it often had a fine finish produced by burnishing.
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The pipes are presumably produced with the potter's wheel technique. They are in diameter with thick walls and each segment is long. Similar gutters are seen from the ground floor up to the foundation level but with the four cornered ceramic pipes of × size, which run outside through the wall.
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Generally, earthenware bodies exhibit higher plasticity than most whitewareAn industry term for ceramics including tableware and sanitary ware bodies and hence are easier to shape by RAM press, roller-head or potter's wheel than bone china or porcelain.Whitewares: Testing and Quality Control. W.Ryan and C.Radford. Institute of Ceramics & Pergamon. 1987.
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The clay of the vases is mixed with gold mica, which is normal in Hittite pottery. They were turned on a potter's wheel. After they were turned, figures made of high-quality clay were attached to the surface of the vases, in friezes. The surfaces were hatched to encourage adhesion.
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Pottery found in the Near East at this time is classified as Pre-Pottery Neolithic B (PPNB) until c. 6500 BC. The Natufian culture co-existed with PPNB. The potter's wheel had not yet been invented and pottery was still hand-built, often by means of coiling, and pit fired.
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Next the piece is shaped by hand on a potter's wheel, then left to dry for a number of days. Then comes the first firing, done at . The piece is tested to see if there are any cracks in it. The initial glazing, which creates the milky-white background, is applied.
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The couple had seven children. Harris created Catawba pottery and was considered one of the Catawba's master potters. Catawba pottery is composed of river clay, which is shaped without the use of a potter's wheel. According to members of the Catawba, she considered it an honor to be the oldest living elder.
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The German blazon reads: In Silber über grünem Wellenschildfuß eine blaue Töpferscheibe, beseitet von je einer roten Flamme, darüber ein blauer Topf. The municipality's arms might in English heraldic language be described thus: Over a base wavy vert argent a potter's wheel on which a pot, both azure, between two flames gules.
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The third and final phase brings a shift in production methods. The pottery was hand-formed before the arrival of the Greeks in the southernmost tip of Italy, when the potter's wheel was introduced. The painting became purely ornamental. Shown on them are decorative plants like ivy and laurel vines and palmettes.
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The Guanches were unfamiliar with the potter's wheel, and used hand-worked clay, which gave their pottery a distinctive look. Pottery was used to produce domestic objects such as pots and grills, or ornamental pieces such as bead collars or the objects known as pintaderas, which were pieces of pottery used to decorate other vessels.
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The kylix (kylikes, plural), popular at symposiums, was a stout drinking cup with a very wide bowl. A well known potter of kylikes was Exekias. After being formed separately on the potter's wheel, the bowl and stem would be left to dry. The cup would then be placed upside down to attach the handles.
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He too recognized the mutual dependence of "this" > and " that." Consequently, the sage harmonizes the right and wrong of things > and rests at the center of the celestial potter's wheel. This is called > "dual procession." (chap. 2, tr. Mair 1994:16–17) Zhuangzi tells a yuan 猿 "gibbon" parable to the King of Wei.
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Socrates proposes that they all sing a song, and they do. A potter's wheel was brought in atop which the dancing girl was to perform juggling. Socrates remarks to the Syracusan that he himself may indeed be a “Thinker.” As a result, he says, he is considering how the performers may most please the banqueters.
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White clay is a favorite to work with but many colors are used. A potter's wheel is not used. The bottom of the pot is molded and the upper part is created by the coil method. When the pot is dry, it is rubbed with a stone or other hard object to make it shine.
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Triggering seizures in epilepsy has been a phenomenon that has been observed since ancient times. The Apologia records instances of a spinning potter's wheel causing seizures in epileptic slaves. In 1850 Marshal Hall described the role of specific stimuli on causing seizures. Since then, many types of stimuli that can trigger seizures have been identified.
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There are mostly potteries of camel and crimson color, which have been shaped on a potter's wheel. And many graves, handcrafted ceramics, vessels with black and white geometric features, and anthropomorphic vases have been found in the Hittite area. Archeology Valley and other surrounding valleys are fit for hiking, horseback riding, and cycling. They also have magnificent views.
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More recently, the oldest-known wooden wheel in the world was found in the Ljubljana marshes of Slovenia. The invention of the wheel revolutionized trade and war. It did not take long to discover that wheeled wagons could be used to carry heavy loads. The ancient Sumerians used the potter's wheel and may have invented it.
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On the surface of the settlement there are fragments of pottery made on a Potter's wheel; small fragments of table watering dishes are rarely found. To the West of the settlement, a large number of small hills are visible, closely located to each other; it is possible that the city cemetery of the medieval city was located here.
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The distinguishing mark of this early phase is pottery, characterized by six fabrics labelled A, B, C, D, E and F, which were later identified also at Sothi in North Western India. Fabrics A, B, and D can be clubbed together. They are red painted. Fabric-A is carelessly potted in spite of use of potter's wheel.
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The scaif consists of a hard disk, parallel to the floor. The disk looks like and is rotated in the same way as a potter's wheel. On the top surface a film of olive oil and diamond dust is placed. Surrounding the disk is a circular frame to catch the oil that is spun off as the disk is rotated.
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In the early days of television, most output was live. The hours of broadcast were limited and so a test card was commonly broadcast at other times. When a breakdown happened during a live broadcast, a standard recording filled in. On the BBC, a film of a potter's wheel was often used for this purpose, filmed at the Compton Potters' Arts Guild.
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It is not a potter's wheel per se. It is a disc or plate balanced over another inverted one. The piece is given its basic shape by coiling or molding and then it is finished while turned on the disc. The disc with the vessel in progress is turned only with the hands, which requires a certain amount of balance and skill.
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The materials used were still wood, horn and bone, and, especially in the eastern zone, stone. Women were commonly engaged in spinning and weaving, for clay weaving implements and workshops were found within the unearthed settlements.U źródeł Polski, p. 64–65, Bogusław Gediga Pottery was still produced without the potter's wheel and kilns specialized for baking pots were just making their first appearance.
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Hirasawa Kurō (平澤九朗 1772-1840) was a Japanese samurai and potter during the late Edo period from Owari Province. He produced Shino ware tea utensils using the potter's wheel. His style was influenced by the tastes at the Owari Tokugawa court at Nagoya Castle which produced Ofukei ware. He was followed by a successor with the same name.
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Beveled-rim bowl, c. 3400-3200 BCE Pottery found at Uruk includes wheel made, hand-made and molded pieces. Potters at Uruk specialized in mass-produced functional vessels. The fast potter's wheel was introduced during the later part of the Uruk period, making it quicker and easier to produce pottery on a massive scale and with a greater sense of standardization.
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Longpi is famous for age old pottery making locally called Longpi Ham. It is believed that Longpi ham used to be the main cooking utensil among the Tangkhuls before the advent of aluminum pots. Longpi ham as of today has attained national and international popularity. Longpi pottery is one unique art where the potters do not use the potter's wheel.
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Excavations at Nausharo, 6 km from Mehrgarh, revealed a dwelling-site contemporaneous and identical to Mehrgarh, It was occupied between 3000 and 2550 BCE and again between 2550 and 1900 BCE. The discovery of a pottery workshop at Nausharo revealed fired and unfired pottery pieces and unworked clay, as well as 12 flint blades or blade fragments. The blades showed use-wear traces that indicates their usage in shaving clay while shaping pottery on a potter's wheel. The excavated blades were compared to experimentally produced replica blades used for a variety of other activities such as harvesting and processing of silica-rich plants, hide processing, and hand-held use for shaping clay; however, the use-wear traces were almost identical to the excavated blades when used with a mechanical potter's wheel in the shaping of clay pots.
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The former context says, "the sage harmonizes the right and wrong of things and rests at the center of the celestial potter's wheel", and the latter, "Knowledge that stops at what it cannot know is the ultimate. If someone does not subscribe to this, he will be worn down by the celestial potter's wheel" (2/40 and 23/45, Mair 1994: 17 and 231). The final Zhuangzi chapter 33 Tiānxià (天下, "[All] Under Heaven"), which summarizes early Chinese philosophy, reiterates and rearranges yuyan "lodged words," chongyan "repeated words," and zhiyan "goblet words" in a context describing Zhuangzi's delight upon hearing ancient Daoist teachings. Like the goblet, this passage inverts the hierarchy of the three categories first presented in Chapter 27, and rights it by emphasizing zhiyan as the most important and inclusive type of words (Tucker 1984: 29).
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Hathretie and Chakretie (or Challakad) Kumhars are found in Madhya Pradesh. Hathretie Kumhars are called so because they traditionally moved the "chak" (potter's wheel) by hands ("hath"). Gola is a common surname among Kumhars in Madhya Pradesh. They are categorised as a Scheduled Caste in Chhatarpur, Datia, Panna, Satna, Tikamgarh, Sidhi and Shahdol districts but elsewhere in the state they are listed among Other Backward Classes.
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Her parents provided a rich education with private tutors and a large private library. She worked in the family business at a potter's wheel and had little leisure to write. After she married, her time was almost entirely consumed with domestic duties. Nevertheless, she wrote throughout her whole life and published some fifty poems in the journal Kochbe Yitzhak (כוכבי יצחק) (The Stars of Isaac).
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Such pottery was produced both on the potter's wheel or impressed in pre-shaped matrixes. The glaze, originally in the form of a fine grained clay paint, was added on with a paintbrush on the wheel, or by dipping. In some cases, black-glazed ware was additionally decorated with white, red or gold paint. Plastic decoration, either applied by stamp, or as applied reliefs, also occurred.
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Firstly, the vessel is a work in the impasto style which was typical of the Villanova culture. As was the norm, very fine-grained clay was used and it was turned on a potter's wheel, not just moulded by hand. The surface was polished in the manner of prehistoric art. The shape is known among scholars as bucchero impasto and prefigures later Bucchero pottery.
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Bronzen Sword, found near Platamonas In addition to weapons and jewelry, the deceased was mainly given pottery. However, some of them were broken by the kind of burial of several people within the same tomb. The vessels were partly handmade, partly they were modeled with a potter's wheel. The most important finds were made in a tomb, in which apparently high ranking personalities were buried.
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It further indicates that these rites are related to Bhairava Puja: "atha dvadashyam pujanam Bhairavam namami", without elaborating. This has resulted in ridiculous etymologies of the names of the anicons being claimed by some people. The clay images are, nonetheless, essential to the performance of the ritual activity. As they are not made on the potter's wheel, their worship may have originated in an early period.
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Petrographic analyses shows some of it was made locally. Other local traditions continue and eventually influenced the pottery of the Intermediate Age, which followed. The potter's wheel, used primarily for throwing small bowls using centrifugal force is known from this period. It represents an innovation that was continued in the following period, when it was employed to fashion rims for vessels of certain types.
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City Guide Tel Aviv, Lisa Goldman, Greenleaf Book, 2008, p. 162. Breakfast in EL AL Israel Airlines first class cabin is served on Samy D. dishes. Samy D. produces ceramics for commercial use and one-off artworks thrown on a potter's wheel, sometimes decorated with 14 carat gold. One series of pieces are etched with micrographic passages from the Book of Genesis, some in Hebrew, some from the Vulgate.
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Coper would characteristically throw his work on the potter's wheel, then alter and assemble pieces by hand to achieve the finished form. Thus, although made on the wheel, his work has a sculptural quality, but is always functional. The surfaces of his pots tend to be roughly textured and coloured with oxides, especially manganese oxide. His distinctive pots take on recognizable "forms" he termed Spade, Bud, Cup, Egg, Flower and Arrow.
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The main sources for Bulgarian domestic use-oriented pottery are the necropoleis at Novi Pazar, Devnya, and Varna. The vessels were made with a potter's wheel, unlike Slavic practice. Since the 9th century two-story ovens were used for the annealing of the pottery. The shape and decoration of early Bulgarian pottery was similar to that found in northern Caucasus, the Crimea, and the shores of the Sea of Azov.
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Eventually she started to work with clay and learned to use a potter's wheel. In 1948 she set up a pottery in a Steiner community in Spring Valley. She taught pottery at a mental health hospital in New York. After meeting Bernard Leach and Shoji Hamada at Black Mountain College, North Carolina, she gained Hamada's agreement to work with him at Mashiko after he had returned to Japan.
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Except for a proto wheel used by the Zapotecs, the potter's wheel was unknown until the Spanish Conquest. Simple pinch pots or coiled pots were usually made by the family, with larger molded pieces made by craftsmen.Hopkins and Muller 7 The earliest molded pieces were simply clay pressed against a pre-existing bowl, but double molds and slip casting came to be used to make bowls with relief decorations.
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2800 BC to c. 1050 BC and the principle was later extended to mainland Greece (Helladic) and the Aegean islands (Cycladic). Dame Kathleen Kenyon was the principal archaeologist at Tell es-Sultan (ancient Jericho) and she discovered that there was no pottery there. The potter's wheel had not yet been invented and, where pottery as such was made, it was still hand-built, often by means of coiling, and pit fired.
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In 2015, one of her poems, Spiral, which is inspired by the motion of a potter's wheel, was reproduced on a 25 x 8 metre banner on the Royal Mile Edinburgh to mark National Poetry Day. The poem appears in the latest collection of her poems Lightkeepers, published in 2016 by Wayleave Press and compiled after her death by friends and fellow poets, Gerrie Fellows and Jane Routh.
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A group of former employees set up a factory in King Street in Derby, and continued to use the moulds, patterns and trademarks of the former business, although not the name, so keeping alive the Derby traditions of fine craftsmanship. No mechanical processes were used, and no two pieces produced were exactly the same. Among the items preserved was the original potter's wheel of the Duesburys, still owned by the present Royal Derby Company.
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Head of a woman discovered at Uruk, the 'Mask of Warka'. The Uruk period saw a notable renewal, which accompanied substantial changes in the symbolic sphere. This is visible primarily in the artistic media: the forms of pottery became more rudimentary, after the development of the potter's wheel, which allowed mass- production without a focus on decorative elements. Painted pottery is less common than in previous periods, with no decoration or just incisions or pellets.
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The Cabat's decided to move to Arizona around 1942 in order to alleviate his condition. During World War II Rose worked as a riveter at the Davis-Monthan Army Air Field repairing war-damaged aircraft. Rose was able to make primitive ceramics from the extra clay that Erni was able to obtain from brickyards. She made some coil figures until Erni was able to convert a washing machine to a potter's wheel.
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The foot was thrown upside down, through a small ball of clay which was spread outwards. The potter would use his thumbs to shape the walls of the foot whilst using his fingers to round the edge of the foot, giving it a torus shape. It was cut off the potter's wheel and left to dry. Once dried, it was attached to the rest of the hydria through the application of a slip.
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Different types of Bizen ware Most vessels are made on a potter's wheel. Although one body of clay and one type of firing are used, there is a wide variety of results due to the properties of the clay. The nature of Bizen ware surfaces depends entirely on yohen, or "kiln effects." The placement of the individual clay workpieces in the kiln causes them to be fired under different conditions, leading to variety.
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Terracotta horses and elephants in Bishnupur Terracotta or clay craft has been the symbol of man's first attempt at craftsmanship, just as the potter's wheel was the first machine invented to use the power of motion for a productive purpose. However, its association with religious rituals has imbibed it with deeper significance. In West Bengal, terracotta traditions are found from the earliest times. They are symbols of fulfillment of aspirations of village folk.
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Her skill with the potter's wheel proved beneficial for Grotell; she was often asked to demonstrate the technique and could easily find work teaching throughout New York City. In 1938, Grotell took a position as the head of the ceramics program at Cranbrook Academy of Art in Bloomfield Hills, Michigan. Grotell was hesitant to take the position at Cranbrook. She had initially been declined for the post because the school preferred a male instructor.
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Around the 4th millennium BCE, the quality of vessel production enhanced because the potter's wheel was introduced. This table was used to produced symmetrically shaped, and better quality vessels. The Islamic prohibition on using vessels made of precious metal at the table meant that a new market for luxury ceramics opened up. This allowed the pre-Islamic elites of the earlier Persian empires to produce fancy glazes such as lustreware and high-quality painted decoration.
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The potter's work consisted of selecting the clay, fashioning the vase, drying and painting and baking it, and applying varnish. Part of the production went to domestic usage (dishes, containers, oil lamps) or for commercial purposes, and the rest served religious or artistic functions. Techniques for working with clay have been known since the Bronze Age; the potter's wheel is a very ancient invention. The ancient Greeks did not add any innovations to these processes.
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The beginning of her cult dates to the early dynastic period at least. Her name was part of the names of some high-born Second Dynasty individuals buried at Helwan and was mentioned on a stela of Wepemnofret and in the Pyramid Texts. Early frog statuettes are often thought to be depictions of her. Heqet was considered the wife of Khnum, who formed the bodies of new children on his potter's wheel.
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BC found near Belogradets, Varna Province. The region around Odessos was densely populated with Thracians long before the coming of the Greeks on the west seashore of the Black Sea. Pseudo-Scymnus writes: "...Around the city [Odessos] lives the Thracian tribe named Crobises." This is also evidenced by various ceramic pottery, made by hand or by a Potter's wheel, bronze ornaments for horse-fittings and iron weapons, all found in Thracian necropolises dated 6th–4th c.
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They didn't see it as one as good and one as bad.Robert Alan Chadwick, First Civilization: Ancient Mesopotamia and Ancient Egypt (2) (London: Equinox Publishing Ltd, 2005), 119. The Mesopotamians made many technological discoveries. They were the first to use the potter's wheel to make better pottery, they used irrigation to get water to their crops, they used bronze metal (and later iron metal) to make strong tools and weapons, and used looms to weave cloth from wool.
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"Nora and Naomi" are Naomi Bitter (born 1936) and Nora Kochavi (1934-1999), a pair of Israeli artists who worked together between 1962 and 1999. Nora and Naomi began their joint work in 1962, after they met as a students at the first class of the Bezalel Ceramics department. During the last year they opened a joint studio in the Talpiot neighborhood of Jerusalem. In the early years of their work they mainly as potters, using Potter's wheel.
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In Japan, the Jomon culture had probably been established by small communities on the Pacific side of Honshu by this time. The word means "cord-pattern", referring to the distinctive pottery of the period. As there was no potter's wheel, the clay was prepared in the shape of a rope and manually coiled upwards to create a vessel that was baked in an open fire. At first, the vessels were simple bowls and jars but later became artistic.
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The unique feature of the art of pottery in Agiasos is the multitude of small objects created to serve solely ornamental purposes. The themes portrayed on these objects are usually borrowed from the scenes of daily life in Agiasos, such as loaded donkeys, shepherds, women spinning wool, pitcher-whistles for little children – toys that whistle when water is added etc. In the by-gone days, these potters created their clayware without the use of a potter's wheel. Today they use plaster casts (molds).
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Creation of a vase using a rotating pedestal, from a depiction in the Mastaba of Ti During the Chalcolithic, the rotating pilaster came into use for the manufacture of ceramics. This may have arisen from the desire to make the body and especially the opening of the vessel being made symmetrical. The technique can be clearly recognised from a horizontal rotation mark in the opening of the vessel. Unlike the potter's wheel, there was no fixed axis around which rotations were centred.
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Such regional unions were found among both the Transylvanian Dacians under the rule of Rubobostes and the Moldavian and Muntenian Getae in Argedava. It is from the LaTène that the Dacians were introduced to the potter's wheel, superior metal-working techniques, and probably a tradition of minting coins. In homes were found a combination of Celtic and Dacian pottery, and certain Celtic-style graves contain Dacian style vessels. This suggests a sort of co-existence and fusion between the cultures.
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Bertha George Harris (June 29, 1913 – October 14, 2014) was an American Catawba tribal elder and master potter. She specialized in a specific type of pottery unique to the Catawba, which she crafted from river clay without the use of electricity or a potter's wheel. Harris was the oldest living member of the Catawba tribe at the time of her death in October 2014. The Catawba number approximately 2,800 people, presently based in York County, South Carolina, as well the surrounding region.
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Soft-paste formulations containing little clay are not very plasticHoney (1952), p.296 and shaping it on the potter's wheel is difficult. Pastes with more clay (now more commonly referred to as "bodies"), such as electrical porcelain, are extremely plastic and can be shaped by methods such as jolleying and turning. The feldspathic formulations are, however, more resilient and suffer less pyroplastic deformation. Soft- paste is fired at lower temperatures than hard-paste porcelain, typically around 1100 °CFournier, p.214Lane, p.
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In 1986, Mortimer went to the Goldsmith's Tavern in New Cross, London, to see a new show by a comedian called Vic Reeves. Mortimer was impressed by the performance, particularly the character Tappy Lappy, which was Reeves attempting to tap dance while wearing a Bryan Ferry mask and planks on his feet. Mortimer approached Reeves after the show, and the two began writing material for the next week's show together. They also became good friends, even forming a band called the Potter's Wheel.
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This situation reversed after Burebista's conquest when a distinctive hybrid Celtic-Dacian culture emerged on the Hungarian plain and in the Slovakian regions. Most of the Celts were absorbed into the Geto-Dacian population and contributed to Dacian cultural development. These Celtic tribes, who were skilled in iron exploitation and processing, also introduced the potter's wheel to the area, thereby contributing to acceleration of the development of Dacia. By this time, prosperous Celtic communities had spread over the whole territory of modern Romania.
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Later the same year he was commissioned to make a television advert for the new Motorola Red phone. The advertisement, showing two naked black bodies emerging from a lump of flesh rotating on a potter's wheel, was due to air in September 2006 but was shelved by Motorola. The advertisement was to benefit several charities in Africa. In 2013 he directed Under the Skin, a loose adaptation of Michel Faber's science fiction novel of the same name starring Scarlett Johansson.
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Ceramic forming techniques are ways of forming ceramics, which are used to make everything from tableware such as teapots to engineering ceramics such as computer parts. Pottery techniques include the potter's wheel, slipcasting, and many others. Methods for forming powders of ceramic raw materials into complex shapes are desirable in many areas of technology. For example, such methods are required for producing advanced, high-temperature structural parts such as heat engine components, recuperators and the like from powders of ceramic raw materials.
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He also made the claim that given that they had not discovered the potter's wheel they had created very high quality ceramics. His wife came with him in 1929 and she changed her interests, spending the next ten years in complementary studies and writing. Elliott, Joyce's partner still took a great interest in anthropology even after Joyce died. Joyce became President of the Royal Anthropological Institute in 1931 following long service since 1903 including periods as secretary and a frequent Vice-President.
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A mug made on a potter wheel in the Late Neolithic Period (ca. 2500–2000 BCE) in Zhengzhou, China Wooden mugs were produced probably from the earliest days of woodworking, but most of them have not survived intact. The first pottery was shaped by hand and was later facilitated by the invention of the potter's wheel (date unknown, between 6,500 and 3000 BCE). It was relatively easy to add a handle to a cup in the process thus producing a mug.
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Traunmueller, 341-350 In Linear B the word for potter is "ke-ra- me-u".Traunmueller, 348 Technically, slips were widely used, with a variety of effects well understood. The potter's wheel appears to have been available from the MM1B, but other "handmade" methods of forming the body remained in use, and were needed for objects with sculptural shapes.Oxford, 409 Ceramic glazes were not used, and none of the wares were fired to very high temperatures, remaining earthenware or terracotta.
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The wheel is one of the most important inventions, but its inventor and exact date of invention are not yet known. The oldest known wheel was excavated from Mesopotamia, believed to be 5500 years old. This earliest wheel was a potter's wheel, used in the city of Ur in Mesopotamia (present-day Iraq), invented by Mesopotamians (also known as Sumerians) around 3500 BCE. The earliest known use of the wheel for transportation is in Mesopotamian chariots about 3200 years ago.
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One of them was the rotational quern, which had a stationary lower stone and an upper one rotated by a lever. They also introduced iron furnaces to Poland. Iron was obtained in greater quantities from locally available turf ores; its metallurgy and processing were improved, resulting in the manufacture of stronger and more-resistant tools and weapons. Makers of ceramics used the potter's wheel and (especially the Tyniec group) produced with great precision thin-walled painted vessels, among the best in Europe.
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The Majiayao and other phases of the Yangshao culture are well-represented in Western museums; by the Banshan phase purple was used in slip-painting alongside black.Vainker, 15–20 During the 4th millennium the potter's wheel seems to scholars of Chinese ceramics to have been a Chinese invention,Vainker, 12 though several regions to the West also claim the honour. Previously coil-forming was used for large vessels.Vainker, 19 Finds of vessels are mostly in burials; sometimes they hold the remains.
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720 BC, also extends to southern Portugal, where is eventually replaced by Lusitanian culture. One of the most significant elements of this culture is the introduction of the potter's wheel, that, along with other related technical developments, causes a major improvement in the quality of the pottery produced. There are other major advances in craftsmanship, affecting jewelry, weaving and architecture. This latter aspects is especially important, as the traditional circular huts were then gradually replaced by well finished rectangular buildings.
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The Potters was an informal group of American female artists in St. Louis, Missouri, who printed their original art, poetry and prose in The Potter's Wheel, a monthly artistic and literary magazine produced from November 1904 to October 1907. The group was mentored by Lillie Rose Ernst, assistant superintendent of education in the St. Louis public school system. Several members of the group went on to have successful careers in the arts, notably Sara Teasdale, Caroline Risque, and the Parrish Sisters.
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Perhaps as an outgrowth of this life-giving function, he was said to create all living things, fashioning their bodies on a potter's wheel. Gods could share the same role in nature; Ra, Atum, Khepri, Horus, and other deities acted as sun gods. Despite their diverse functions, most gods had an overarching role in common: maintaining maat, the universal order that was a central principle of Egyptian religion and was itself personified as a goddess. But some deities represented disruption to maat.
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First the body of the pot is constructed by one of a few methods: coils, slabs or the potter's wheel. Immediately after construction, the pot contains too much moisture to be fired, as its sudden loss would cause the pot to contract and crack. It is allowed to dry until shrinkage is complete and it reaches a state called in the trade leather-hard, a descriptive term. Subsequently, the body is pierced and the preformed spouts are luted (glued) in place.
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The majority of the pottery was made from a soft white body and decorated with tempera, an egg-based paint susceptible to wear and which washes off. Its designs and products were featured by many London shops, including Liberty & Co. One of its potters was featured in the first BBC filler intermission film, the well known 'Potter's Wheel'. After the death of its founder, the Guild continued until 1954, by which time competition from more modern designs had severely reduced its sales.
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Tomasa, wife of Martin Mario Enriquez Lopez, working with a local version of the potter's wheel About 90% of the people in the town proper are dedicated to making pottery, making it the basis of the town’s economy. Most of this pottery is created for kitchen use such as for cooking, baking and serving. The clay is mined from an area called San Lorenzo Cacautepec, four km from the town center. It is still carried by donkey along paths that were used by the town’s grandfathers.
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The black figure technique is older than the red figure technique and continued alongside it. It was adopted by Athenian potters at the end of the seventh century BC and was still very novel in 580 BC. It remained in vogue until around 470. To create this form of pottery, the vases were moulded on the potter's wheel, then dried in the open air and painted after a few hours. The outlines of the designs were produced with a diluted black "varnish" made of very fine clay.
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This hand-blown glass is created by blowing a bubble of air into a gather of molten glass and then spinning it, either by hand or on a table that revolves rapidly like a potter's wheel. The centrifugal force causes the molten bubble to open up and flatten. It can then be cut into small sheets. Glass formed this way can be either coloured and used for stained-glass windows, or uncoloured as seen in small paned windows in 16th- and 17th- century houses.
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This colony which numbered a few hundred people existed sometime from 650 – 850 AD. Multiple chronicles mention that Curonians paid a tribute to Swedish kings. During the Late Iron Age (800–1200 AD) the three-field system was introduced, rye cultivation began, quality of local craftsmanship improved with introduction of potter's wheel and better metal working techniques. Arab, Western European and Anglo- Saxon coins dating from this era have been found. A network of wooden hill- forts was built, which provided control and security over the land.
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Taken as a whole, Bunzlauer ware ranks among the most important folk pottery traditions in Europe. The area around Bunzlau is rich in clays suited to the potter's wheel. Typically, utilitarian Bunzlauer pottery was turned on a kick wheel, dried leather-hard, dipped in a slip glaze and then burnt in a rectangular, cross-draft kiln. Although fired at temperatures of up to and often classified as stoneware, the clay actually does not vitrify and Bunzlauer pottery is better categorized as high-fired earthenware.
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After the war, from 1945 to 1965, Skopal worked as the professor at the School of applied arts in Zagreb. She taught the modeling and creating forms on the potter's wheel. Many works of Stella Skopal disappeared without a trace during her lifetime, while others are kept at the Museum of Arts and Crafts, Croatian National Theatre and Croatian History Museum in Zagreb, Jewish Community Zagreb, Art Gallery in Split and private collectors. Skopal died on December 24, 1992 and was buried at the Mirogoj Cemetery.
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Sue wareIn the early fifth century high-fired stoneware pottery began to be imported from Kaya and Silla to Japan, and soon after stoneware technologies such as the tunnel kiln and potter's wheel also made their way from Korea to Japan. This allowed the Japanese to produce their own stoneware, which came to be called sue ware, and was eventually produced on a large scale throughout Japan. This new pottery came to Japan alongside immigrants from Korea, possibly southern Korea which was under attack from Goguryeo.
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In 1956, Boyd and his wife became widely known as leading Australian potters. They introduced new glazing techniques and potter's wheel use in shaping sculptural figures. Boyd's painting career began in 1957 with a series of symbolic paintings on Australian explorers that aroused much controversy at the time, focusing as they did on the tragic history of the Aboriginal Tasmanians. In 1958 he exhibited a series of paintings based on the histological episodes in the explorations of Burke and wills and Bass and Flinders.
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In the palace workshops, the introduction from the Levant of the potter's wheel in MMIB enabled perfectly symmetrical bodies to be thrown from swiftly revolving clay.Prior to the introduction of the wheel turn-table disks were used, such as were discovered in Myrtos I from EM times. The larger pots continued to be made this way. The well-controlled iron-red slip that was added to the color repertory during MMI could be achieved only in insulated closed kilns that were free of oxygen or smoke.
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This arrangement allowed the potter to rotate the vessel during construction, rather than walk around it to add coils of clay. The earliest forms of the potter's wheel (called tourneys or slow wheels) were probably developed as an extension to this procedure. Tournettes, in use around 4500 BC in the Near East, were turned slowly by hand or by foot while coiling a pot. Only a small range of vessels were fashioned on the tournette, suggesting that it was used by a limited number of potters.
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Guests entered through a separate entrance and were admitted by appointment. This suite is where Sara worked, slept, and often dined alone. From 1904 to 1907, Teasdale was a member of The Potters, led by Lillie Rose Ernst, a group of female artists in their late teens and early twenties who published, from 1904 to 1907, The Potter's Wheel, a monthly artistic and literary magazine in St. Louis. Teasdale's first poem was published in William Marion Reedy's Reedy's Mirror, a local newspaper, in 1907.
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Vases are relatively uncommon.Osborne, 185 Initially pieces were mostly thrown on the potter's wheel, often with templates, but in the late 11th century moulds began to be used, which included the inside decoration, previously carved or incised with a knife on the leather-hard piece. Any decoration on the outside of pieces continued to be hand-carved for some time.Vainker, 96 While the decoration was hand-carved, it was mostly scrolling plant-forms including lotus and peony, with some simple animals such as ducks and fish.
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Goblets and kantharoi are technically evolved versions of the Bass bowl and kantharos of the Early Helladic III Tiryns culture. Gray Minyan Ware, specifically, has angular forms that may reflect copies of metallic prototypes. However, such a theory is difficult to substantiate given the fact that metallic objects from the Middle Helladic period are rare and metallic vessels are almost non- existent. Yet, the angular forms of this particular pottery style may in fact be derived from the common use of the fast potter's wheel.
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During her first summer in the United States, Maija Grotell travelled to Alfred University to work with Charles Fergus Binns. She clashed with Binns on his teaching methodology, preferring the potter's wheel to Binns's constructive method. Wheel thrown ceramics were not common in the United States at the time; American potters commonly used coiling, slip casting, or slab building. Grotell, and other European émigrés like Gertrude and Otto Natzler and Marguerite Wildenhain, were largely responsible for bringing European wheel thrown techniques to the United States.
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She has two children; Neusha and Peter. Homa didn't take up pottery until after her children were born. After a brief encounter with a potter's wheel at a market in 2001, Homa signed up for summer school at South Nottingham College and Carrington Pottery. Homa's Pot in the National Museum, Iran Farley decided to study Ceramic Design at The Glasgow School of Art and graduated with a BA. Her tutors included Archie McCall, Bill Brown, Jane Hamlyn, John McGuire, Tony Franks, Greg Daly and Ken Eastman.
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Further Italian influences were incorporated as the craft evolved in Spain, and guilds were formed to regulate the quality. During roughly the same time period, pre-Hispanic cultures had their own tradition of pottery and ceramics, but they did not involve a potter's wheel or glazing. There are several theories as to how majolica pottery was introduced to Mexico. The most common and accepted theory is that it was introduced by monks who either sent for artisans from Spain or knew how to produce the ceramics themselves.
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Medellín, on the Guadiana River, revealed an important necropolis. Bronce Carriazo (625-525 BC). Found near Seville. Elements specific to Tartessian culture are the Late Bronze Age fully evolved pattern- burnished wares and geometrically banded and patterns "Carambolo" wares, from the 9th to the 6th centuries BC; an "Early Orientalizing" phase with the first eastern Mediterranean imports, beginning about 750 BC; a "Late Orientalizing" phase with the finest bronze casting and goldsmiths' work; gray ware turned on the fast potter's wheel, local imitations of imported Phoenician red-slip wares.
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Depiction of ceramic production from the New Kingdom gave of Kenamun. Manufacture on the fast potter's wheel, operated by an assistant or the foot of the potter was a relatively late development, which took place in the New Kingdom at the earliest. The earliest depiction comes from the Tomb of Kenamun from the middle of the Eighteenth Dynasty, in which an assistant grips the wheel and thereby helps the potter to use the wheel, while the potter himself uses his foot to stabilise it.D. Arnold, J. Bourriau: An Introduction to Ancient Egyptian Pottery.
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Their main outlet for the trade across the Channel, strong in the first half of the 1st century BC, when the potter's wheel was introduced, then drying up in the decades before the advent of the Romans, was at Hengistbury Head. Numismatic evidence shows progressive debasing of the coinage, suggesting economic retrenchment accompanying the increased cultural isolation. Analysis of the body of Durotrigan ceramics suggests to Cunliffe that the production was increasingly centralised, at Poole Harbour (Cunliffe 2005:183). The Durotriges were more a tribal confederation than a tribe.
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Cabat was born as Rose Katz in 1914 in the Bronx, and married Ernest "Erni" Cabat in 1936. She began working in ceramics in 1940 after her husband brought home some clay from his job as an assistant to Vally Wiselthier, an art deco ceramicist who was making pieces for General Ceramics in Keasbey, New Jersey. After seeing her preliminary pieces, Erni gave Rose a membership at Greenwich House, where she learned how to use a potter's wheel. Shortly after their first son George was born, he was found to have intractable asthma.
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Woman selling pottery items at the Feria de Texcoco, Texcoco, Mexico State State of Hidalgo, Mexico, at a temporary exhibit on Hidalgo crafts at the Museo de Arte Popular, Mexico City. Ceramics in Mexico date back thousands of years before the Pre-Columbian period, when ceramic arts and pottery crafts developed with the first advanced civilizations and cultures of Mesoamerica. With one exception, pre-Hispanic wares were not glazed, but rather burnished and painted with colored fine clay slips. The potter's wheel was unknown as well; pieces were shaped by molding, coiling and other methods.
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The potter's wheel and a kiln capable of reaching higher temperatures and firing stoneware appeared in the 3rd or 4th centuries CE, probably brought from China via the Korean peninsula.The Metropolitan Museum of Art "Although the roots of Sueki reach back to ancient China, its direct precursor is the grayware of the Three Kingdoms period in Korea." In the 8th century, official kilns in Japan produced simple, green lead-glazed earthenware. Unglazed stoneware was used as funerary jars, storage jars and kitchen pots up to the 17th century.
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In addition to being a material, "terracotta" also refers to items made out of this material. In archaeology and art history, "terracotta" is often used to describe objects such as statures, and figurines not made on a potter's wheel. A prime example is the Terracotta Army, a collection of man-sized terracotta sculptures depicting the armies of Qin Shi Huang, the first Emperor of China. It is a form of funerary art buried with the emperor in 210209BCE and whose purpose was to protect the emperor in his afterlife.
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Terracotta askos (flask with a spout and handle over the top) Native Italic Daunian Canosan 330-300 BCE Daunian pottery was produced in the Daunia, today's Italian provinces of Barletta and Foggia. It was created by the Daunians, a tribe of the Iapygian civilization who had come from Illyria. Daunian pottery was mainly produced in the regional production centers of Ordona and Canosa di Puglia, beginning around 700 BC. The early paintings on the pottery show the vessels with geometric patterns. The ceramics were hand- formed, rather than thrown on a potter's wheel.
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By about 5000 BC pottery-making was becoming widespread across the region, and spreading out from it to neighbouring areas. Pottery making began in the 7th millennium BC. The earliest forms, which were found at the Hassuna site, were hand formed from slabs, undecorated, unglazed low-fired pots made from reddish-brown clays. Within the next millennium, wares were decorated with elaborate painted designs and natural forms, incising and burnished. The invention of the potter's wheel in Mesopotamia sometime between 6000 and 4000 BC (Ubaid period) revolutionized pottery production.
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Mehrgarh painted pottery. 3000-2500 BC. Evidence of pottery begins from Period II. In period III, the finds become much more abundant as the potter's wheel is introduced, and they show more intricate designs and also animal motifs. The characteristic female figurines appear beginning in Period IV and the finds show more intricate designs and sophistication. Pipal leaf designs are used in decoration from Period VI. Some sophisticated firing techniques were used from Period VI and VII and an area reserved for the pottery industry has been found at mound MR1.
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Detail of woodturning in work A turned wood bowl with natural edges Woodturning is the craft of using the wood lathe with hand-held tools to cut a shape that is symmetrical around the axis of rotation. Like the potter's wheel, the wood lathe is a simple mechanism which can generate a variety of forms. The operator is known as a turner, and the skills needed to use the tools were traditionally known as turnery. In pre-industrial England, these skills were sufficiently difficult to be known as 'the misterie' of the turners guild.
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Specialized craftsmen existed only in the fields of iron extraction from ore and processing, and pottery; the few luxury items used were imports. From the 7th century on, modestly decorated ceramics were made with the potter's wheel. 7th– to 9th-century collections of objects have been found in Bonikowo and Bruszczewo, Kościan County (iron spurs, knives, clay containers with some ornamentation) and in the Kraków-Nowa Huta region (weapons and utensils in Pleszów and Mogiła), among other places. Slavic warriors were traditionally armed with spears, bows and wooden shields.
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Vučedol culture-graves from the Bronze Age were found in the fields of Batajnica. In May 2020, during the construction of the Batajnica interchange on the Belgrade bypass, remains from the 1st century BC (Later Iron Age) were discovered. The archaeological locality was previously unknown. Discovered pottery artifacts were large, nicely preserved and made using potter's wheel, a technology brought by the Celts in these areas, so it is believed that the find was Celtic settlement or place of worship, built before the Roman conquest of the region.
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Khnum (; , , also romanised Khnemu) was one of the earliest-known Egyptian deities, originally the god of the source of the Nile. Since the annual flooding of the Nile brought with it silt and clay, and its water brought life to its surroundings, he was thought to be the creator of the bodies of human children, which he made at a potter's wheel, from clay, and placed in their mothers' wombs. He was later described as having moulded the other deities, and he had the titles "Divine Potter" and "Lord of created things from himself".
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According to Apuleius and other ancient physicians, in order to detect epilepsy, it was common to light a piece of gagates, whose smoke would trigger the seizure. Occasionally a spinning potter's wheel was used, perhaps a reference to photosensitive epilepsy. In most cultures, persons with epilepsy have been stigmatized, shunned, or even imprisoned. As late as in the second half of the 20th century, in Tanzania and other parts of Africa epilepsy was associated with possession by evil spirits, witchcraft, or poisoning and was believed by many to be contagious.
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It was at Hosmer Hall that she met Sara Teasdale and in 1903 introduced her to Williamina Parrish; these early meetings led to the founding of The Potter's Wheel monthly magazine. Risque attended Arts and Sciences at Washington University in St. Louis, under George Julian Zolnay, and followed him at the University City, Missouri in 1909, when Zolnay became director of the Art Academy. Risque then attended the Art Students League of New York and finally the Académie Colarossi in Paris, studying under Paul Wayland Bartlett and Jean Antoine Injalbert.
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Large ceramic container at the Museo Nacional de la Cerámica in Tonalá, Jalisco The making of ceramics in Jalisco extends far back into the pre Hispanic era. Early ceramics in the area were rough and utilitarian, for such purposes as cooking, carrying water or storing seeds. Some of these were multicolored, but the decorated faded because the pieces were not fired after painting. The Spanish introduced European techniques to the area, especially the potter's wheel to make more symmetrical containers and glazing to keep color and give a bright finish.
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Geometric wall painting from the Temple of al-Huqqa (1st century BC) Alongside the larger artworks, ancient South Arabia also produced a whole range of different smaller artefacts. As elsewhere, ceramics were a major medium, but it has not yet been possible to arrange this material typologically or chronologically, so unlike in the rest of the Near East it does not help to date individual stratigraphic layers. Some general statements are still possible, however. The manufacture of ceramics was very simple; only part of the vessel was turned on a potter's wheel.
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The North Carolina influence can be seen, for instance, in his use of alkaline glazes, runs of glass, and use of contrasting colors of clay. At the same time, his English roots may be seen in his close control of the potter's wheel, his crisp lines, and in the North Devon-style handles of many of his pots. Hewitt makes a complete line of functional ceramic pots, and much of his work is intended for everyday use. He also makes large-scale vessels of a more sculptural vein, such as his grave markers.
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The potter's wheel had not yet been invented and, where pottery as such was made, it was still hand-built, often by means of coiling, and pit fired. The first chronological pottery system was the Early, Middle and Late Minoan framework devised in the early 20th century by Sir Arthur Evans for his Bronze Age findings at Knossos for the period c. 2800 BC to c. 1050 BC. Dame Kathleen Kenyon was the principal archaeologist at Tell es-Sultan (ancient Jericho) and she discovered that there was no pottery there.
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In the early years of BBC television the film was transmitted quite often as part of their normal schedule and became very well known to the television audience. As such it was a dramatic variation on the BBC's rather frequent "interludes" (such as the "Potter's Wheel") which were merely gap-fillers between programmes and which had a generally tranquil atmosphere. The BBC still shows the film on rare occasions. To show the changing conditions over two periods of thirty years the journey was also filmed in 1983 and 2013, again using time-lapse photography to show the journeys at high speed.
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The last "Sântana de Mureş-Chernyakhov" objects once widespread in Gutthiudasuch as fine wares and weaponsare dated to the period ending around 430. According to Coriolan H. Opreanu, the same period is characterized by "population shifts" which caused the abandonment of many villages and the appearance of new settlements. Botoşana, Dodeşti, and other sites east of the Carpathians demonstrate the simplification of pottery forms and a decline in the use of the fast potter's wheel from the 450s. Around the same time, semi-sunken huts with stone or clay ovens appeared in Moldavia and Wallachia, forming ephemeral settlements with an area smaller than .
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In Golasecca culture some of the first evolved characteristics of historic society may be seen in the specialized use of materials and the adaptation of the local terrain. The early-period habitations were circular wooden constructions along the edge of the river's floodplain; each was built on a low basement of stone round a central hearth and floored with river pebbles set in clay. Hand-shaped ceramics, made without a potter's wheel, were decorated in gesso. The use of the wheel is known from the carts in the Tomb of the Warrior at the Sesto Calende site.
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In the event, the British Museum paid the finder an amount considerably greater than the fine in order to acquire the hoard and prevent it being returned to the finder; it held that the academic value of the collected hoard outweighed the concerns regarding its acquisition. The ceramic fragments formed a small necked beaker manufactured on a potter's wheel some time after AD 80 and is of a Roman type dated to after AD 200. The pottery also contained highly corroded remnants of bronze, copper and silver. The coins have been dated to between 60 and 20 BC;British Museum.
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Much less common than other materials, copper axes and other tools have been discovered that were made from ore mined in Volyn, Ukraine, as well as some deposits along the Dnieper river. Pottery-making by this time had become sophisticated, however they still relied on techniques of making pottery by hand (the potter's wheel was not used yet). Characteristics of the Cucuteni–Trypillia pottery included a monochromic spiral design, painted with black paint on a yellow and red base. Large pear-shaped pottery for the storage of grain, dining plates and other goods, was also prevalent.
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After returning to civilian life, Sampley recalled, "I just kind of withdrew back into myself, like a lot of vets did." He worked in journalism, both for a local weekly newspaper and a television station. His interest in pottery, first piqued during his time on Okinawa, returned, and after building his own kiln decided to try making and selling his own pottery. He started his business, The Potter's Wheel, and within two years had produced and sold 90,000 pieces, some of which were featured in a 1980 Country Living pictorial on rural potters in North Carolina.
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Following on from the development of a faster potter's wheel, vases of this period are markedly more technically accomplished than earlier Dark Age examples. The decoration of these pots is restricted to purely abstract elements and very often includes broad horizontal bands about the neck and belly and concentric circles applied with compass and multiple brush. Many other simple motifs can be found, but unlike many pieces in the following Geometric style, typically much of the surface is left plain.Cook, 31 Like many pieces, the example illustrated includes a colour change in the main band, arising from a firing fault.
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All pre-Hispanic figurines, since they were almost always related to religion, disappeared and replaced by images of the Virgin Mary, angels, friars, soldiers, devils and European farm animals such as dogs, cattle and sheep. The major effect on production was the introduction of the potter's wheel, the enclosed kiln, lead glazes and new forms such as candlesticks and olive jars. The importation of European and Asian ceramics mostly affected decoration styles of native produced wares. The impact of these was felt earliest and strongest in the central highlands on Mexico, in and around Mexico City.
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These were most likely nukekubi since their heads were completely detached from their bodies. Also, in Japanese, nuku (抜く), while having several meanings, means to detach or unplug while the word rokuro refers to a pulley as well as a potter's wheel. We can infer that these were indeed nukekubi. Whatever the case, Kwairyō moves the body of the woodcutter from its original position in order to prevent the head from finding its body ever again (an inherent weakness of the nukekubi) then finds the heads bobbing around outside discussing how best to go about eating him.
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Uriarte Talavera workshop facade Talavera plate by Marcela Lobo Soon after its foundation, Puebla was well known for its fine ceramics, especially for the style that would be called Talavera. This has been due to the abundance of quality clay in the region, drawing some of the best artisans. Between 1550 and 1570, Spanish potters from Talavera de la Reina in Spain came to Puebla to teach the locals European techniques of using the potter's wheel and tin-glazing. These new methods were mixed with native designs to give rise to what became known as Poblano Talavera.
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The kꜣ (ka): 𓂓, was the Egyptian concept of vital essence, which distinguishes the difference between a living and a dead person, with death occurring when the kꜣ left the body. The Egyptians believed that Khnum created the bodies of children on a potter's wheel and inserted them into their mothers' bodies. Depending on the region, Egyptians believed that Heqet or Meskhenet was the creator of each person's kꜣ, breathing it into them at the instant of their birth as the part of their soul that made them be alive. This resembles the concept of spirit in other religions.
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The clay from which pottery is made is described as "plastic" if it can be stretched without cracking, or "short" or non-plastic if it tends to break up when formed. A small amount of bentonite is often added to make a clay mixture more plastic. This makes the clay more easily formed, by methods such as throwing on a potter's wheel and various hand building techniques. Short clay, such as a porcelain mixture consisting only of kaolinite and feldspar, can be formed only by a limited set of methods such as pressing and molding, that do not put the clay under tension.
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This arrangement is the main topic of this article, but there are many other applications of a wheel addressed in the corresponding articles: when placed horizontally, the wheel turning on its vertical axle provides the spinning motion used to shape materials (e.g. a potter's wheel); when mounted on a column connected to a rudder or to the steering mechanism of a wheeled vehicle, it can be used to control the direction of a vessel or vehicle (e.g. a ship's wheel or steering wheel); when connected to a crank or engine, a wheel can store, release, or transmit energy (e.g. the flywheel).
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Bamessing village is one of four villages that make up Ndop central Central Sub Division, and one of thirteen villages of Ngoketunjia division of the North West region of Cameroon. Bamessing is located along the ring road from Bamenda, some 38 km from the town of Bamenda, on the Bamenda-Nkambe stretch of the ring road, just before Bamunka (Ndop town). Bamessing-Nsei is a traditional potter's village, with the pottery center of Prescraft, where traditional potters are encouraged to pursue their trade. In order to widen the product range, new techniques have been introduced, such as a potter's wheel, glazing, and wood kiln firing.
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Haniwa warrior in keiko armor, Kofun period, 6th century (National Treasure) In the 3rd to 4th centuriesAD, the anagama kiln, a roofed-tunnel kiln on a hillside, and the potter's wheel appeared, brought to Kyushu island from the Korean peninsula.The Metropolitan Museum of Art metmuseum.org "Although the roots of Sueki reach back to ancient China, its direct precursor is the grayware of the Three Kingdoms period in Korea." The anagama kiln could produce stoneware, Sue pottery, fired at high temperatures of over 1200–1300˚C, sometimes embellished with accidents produced when introducing plant material to the kiln during the reduced-oxygen phase of firing.
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He survived a childhood bout of smallpox to serve as an apprentice potter under his eldest brother Thomas Wedgwood IV. Smallpox left Josiah with a permanently weakened knee, which made him unable to work the foot pedal of a potter's wheel. As a result, he concentrated from an early age on designing pottery and then making it with the input of other potters. The pottery created in his father's and brother's business was inexpensive and low quality, black and mottled in color. In his early twenties, Wedgwood began working with the most renowned English pottery-maker of his day, Thomas Whieldon, who eventually became his business partner in 1754.
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28 The Nakh were originally more advanced in material culture than the Sarmatians/Scythians, the latter having not known of the potter's wheel or foundry work, while the Sarmatians/Scythians originally had superior military skills and social stratification. Even after the invasion of the Scythians, the Nakh managed to revitalize themselves after it receded. However, they were now politically fractured, with multiple kingdoms, and modern Ossetia, consistent with the theory that they were largely displaced and that Scythians had become dominant there. The Nakh nations in the North Caucasus were often inclined to look South and West for support to balance off the Scythians.
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Decorated Cucuteni–Trypillia pottery Most Cucuteni–Trypillia pottery was hand coiled from local clay. Long coils of clay were placed in circles to form first the base and then the walls of the vessel. Once the desired shape and height of the finished product was built up the sides would then be smoothed to create a seamless surface. This technique was the earliest form of pottery shaping and the most common in the Neolithic; however, there is some evidence that they also used a primitive type of slow- turning potter's wheel, an innovation that did not become common in Europe until the Iron Age.
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The clay comes in chunks, which must be dried and then crushed, using a rolling stone or flail. Some potters in Metepec put the chunks on the street in front of their house and let the cars drive over them. Another way to remove impurities and use the finest is to disperse the clay in water, with impurities and rougher sediment falling to the bottom.Hopkins and Muller 68–69 Looking into the kiln used at the Doña Rosa workshop in San Bartolo Coyotepec, Oaxaca All of the methods used in pre-Hispanic times, along with the potter's wheel, are still used to make pieces.
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The Early Helladic period (or EH) of Bronze Age Greece is generally characterized by the Neolithic agricultural population importing bronze and copper, as well as using rudimentary bronze-working techniques first developed in Anatolia with which they had cultural contacts.; ; . The EH period corresponds in time to the Old Kingdom in Egypt. Important EH sites are clustered on the Aegean shores of the mainland in Boeotia and Argolid (Manika, Lerna, Pefkakia, Thebes, Tiryns) or coastal islands such as Aegina (Kolonna) and Euboea (Lefkandi) and are marked by pottery showing influences from western Anatolia and the introduction of the fast-spinning version of the potter's wheel.
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Some of these figures may have had a function as an anatomical teaching model, as some have been found with a square hole in the abdomen where a model fetus was placed. An example of a Dea Gravida figure (National Museum of Denmark) The terracotta figures have been divided into three different groupings: those made by hand, those thrown on a potter's wheel, and those produced in a mold. The molded figurines had the greatest outside influence from other cultures. These are used to as votive figures in sanctuaries, as funerary offerings at cemeteries, and sometimes they have been found in the cargo of transport ships.
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However, that term is better used for another kind of machine that is used for a different shaping process, turning, similar to that used for shaping of metal and wooden articles. The techniques of jiggering and jolleying can be seen as extensions of the potter's wheel: in jiggering, a shaped tool is slowly brought down onto the plastic clay body that has been placed on top of the rotating plaster mould. The jigger tool shapes one face, the mould the other. The term is specific to the shaping of flat ware, such as plates, whilst a similar technique, jolleying, refers to the production of hollow ware, such as cups.
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Lerna IV (Early Helladic III) marked a fresh start, not as a fortified seat of central authority this time, but as a small town, with houses of two and three rooms with walls of crude brick set upon stone foundations; several had central circular hearths. Narrow lanes separated houses. A great profusion of unlined pits (bothroi) was characteristic of this phase: eventually they became filled with waste matter, bones, potsherds, even whole pots. The pottery, markedly discontinuous with Lerna III, shows a range of new forms, and the first signs— regular spiral grooves in bases and parallel incised lines— marking the increasing use of the potter's wheel.
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Orr works in earthenware clay, using a variety of processes that include using the potter's wheel as well as a ram press and press molds, often using multiple processes to produce one piece. Her work, which includes platters, bowls and plates, are organic in form and functional in purpose. Orr's work is primarily influenced by Mexican folk pottery and is characterized by the terra sigillata, stamps, slips and sprigs she uses to finish the surface, and by her layers of multi-colored glazes. Orr believes that studio pottery is artistically significant and as a result and in collaboration with five other artists, co-founded the Art of the Pot studio tour.
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Barlett was a geologist who was interested in spark plugs, and contributed greatly to the motor vehicle world, being the first to invent insulating materials for spark plugs using alumina ceramics. When spark plug insulators were first invented, they were made of porcelain and molded on a potter's wheel, and thus, were prone to break easily. She has been credited to have discovered that high alumina metals, containing approximately 0.35 percent lithium oxide precipitated zeta alumina, and over the course of her career, gained seven patents in connection with her work. She left her position at General Motors Corporation to work on The Manhattan Project but later returned.
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Nurserymen have tried for many years to cross H. niger with oriental hellebores (Lenten roses) H. × hybridus to increase the colour range available. Possible hybrids have been announced in the past, only to be disproved, but two crosses have been confirmed in recent years. 'Snow Queen', a white-flowered plant, arose spontaneously in Japan in the late 1990s, but does not look dramatically different from a good H. niger. Raised in 2000 by plant breeder David Tristram (whose father gave the first 'Potter's Wheel' to Washfield Nursery), Helleborus 'Walberton's Rosemary' is pink-flowered, extremely floriferous, and seems to be intermediate between its parents in many other characteristics.
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Talavera plate by Marcela Lobo Authentic Talavera pottery mainly comes from Talavera de la Reina in Spain, and the town of San Pablo del Monte (in Tlaxcala) and the cities of Puebla, Atlixco, Cholula and Tecali, in Mexico; as the clays needed and the history of this craft are both centered there. All pieces are hand-thrown on a potter's wheel and the glazes contain tin and lead, as they have since colonial times. This glaze must craze, be slightly porous and milky-white, but not pure white. There are only six permitted colors: blue, yellow, black, green, orange and mauve, and these colors must be made from natural pigments.
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In archaeology and art history, "terracotta" is often used to describe objects such as figurines not made on a potter's wheel. Vessels and other objects that are or might be made on a wheel from the same material are called earthenware pottery; the choice of term depends on the type of object rather than the material or firing technique.Peek, Philip M., and Yankah, African Folklore: An Encyclopedia, 2004, Routledge, , 9781135948726, google books Unglazed pieces, and those made for building construction and industry, are also more likely to be referred to as terracotta, whereas tableware and other vessels are called earthenware (though sometimes terracotta if unglazed), or by a more precise term such as faience.
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At some points in his career, he cast sculptures in bronze; and in early periods his ceramic works were glazed or painted and/or finished with painted brushstrokes. Peter Voulkos is also memorable for the live ceramics-sculpting sessions he would lead in front of his students, demonstrating live the hard work being his ceramics style, and his talent throughout this process. His creativity quest sometimes led to the use of commercial dough-mixing machines to mix the clay, and the development of a prototype for an electric potter's wheel. In 1979 he was introduced to the use of wood firing in anagama kilns by Peter Callas, who became his collaborator for the next 23 years.
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Where the potter's wheel was used, the technology made some kinds of decoration very easy; weaving is another technology which also lends itself very easily to decoration or pattern, and to some extent dictates its form. Ornament has been evident in civilizations since the beginning of recorded history, ranging from Ancient Egyptian architecture to the assertive lack of ornament of 20th century Modernist architecture. Ornament implies that the ornamented object has a function that an unornamented equivalent might also fulfill. Where the object has no such function, but exists only to be a work of art such as a sculpture or painting, the term is less likely to be used, except for peripheral elements.
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Acid pots and dipping baskets were in demand by jewelry manufacturers, and Henderson's popular foot warmer was known as a "porcelain pig." In 1940, Dorchester Pottery's line of distinctive gray and blue tableware was introduced. It was shaped on the potter's wheel. It is called slipware with a so-called Bristol glaze. In 1914, Mr. Henderson built an enormous beehive kiln 28-feet in diameter of his own design made of unmortared bricks. When it was carefully stacked with two or three freight car loads of unfired pottery, the opening was sealed and the kiln was slowly heated with 15 tons of coal and four cords of wood to a temperature of 2500- 3000 degrees Fahrenheit.
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The fast wheel enabled a new process of pottery-making to develop, called throwing, in which a lump of clay was placed centrally on the wheel and then squeezed, lifted and shaped as the wheel turned. The process tends to leave rings on the inside of the pot and can be used to create thinner-walled pieces and a wider variety of shapes, including stemmed vessels, so wheel- thrown pottery can be distinguished from handmade. Potters could now produce many more pots per hour, a first step towards industrialization. Potter in Guatil, Costa Rica, using a hand-powered wheel, 2003 Many modern scholars suggest that the first potter's wheel was first developed by the ancient Sumerians in Mesopotamia.
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Earlier versions of the script called the protagonists Flagstaff and Albuquerque, rather than Columbus and Tallahassee, and the female characters were called Wichita and Stillwater. The celebrity who would cameo as himself was written as a zombified, dancing Patrick Swayze, including references to highlights of Swayze's career, even including a recreation of the potter's wheel scene from Ghost. Later versions of the script considered Sylvester Stallone, Joe Pesci, Mark Hamill, Dwayne Johnson, Kevin Bacon, Jean-Claude Van Damme or Matthew McConaughey as the celebrity. The actor cast in the part dropped out a week before filming, and Harrelson made a few calls and was able to get Bill Murray to play the part instead.
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The pottery as well as iron mining and processing industries kept developing in Poland throughout the Roman periods, until terminated in the 5th century or so by the Great Migration. Clay pots were still often formed manually and these were more crude, while the better ones were made with the potter's wheel, used beginning in the early 3rd century. Some had inscriptions engraved, but their meaning, if any, is not known (Germanic people had occasionally used the runic alphabets). Wide-open, vase type Przeworsk culture urn from the 2nd century CE found in Biała, Zgierz County is covered with representations from Celtic and Germanic mythology, such as deer, horse riders, crosses and swastikas.
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Clay vessels were made without the potter's wheel. The Kiev culture represented an intermediate level of development, between that of the cultures of the Central European Barbaricum, and the forest zone societies of the eastern part of the continent. The Kiev culture consisted of four local formations: The Middle Dnieper group, the Desna group, the Upper Dnieper group and the Dnieper-Don group. The general model of the Kiev culture is like that of the early Slavic cultures that were to follow and must have originated mainly from the Kiev groups, but evolved probably over a larger territory, stretching west to the base of the Eastern Carpathian Mountains, and from a broader Post-Zarubintsy foundation.
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PottersWheel is a MATLAB toolbox for mathematical modeling of time-dependent dynamical systems that can be expressed as chemical reaction networks or ordinary differential equations (ODEs).T. Maiwald and J. Timmer (2008) "Dynamical Modeling and Multi-Experiment Fitting with PottersWheel", Bioinformatics 24(18):2037–2043 It allows the automatic calibration of model parameters by fitting the model to experimental measurements. CPU-intensive functions are written or – in case of model dependent functions – dynamically generated in C. Modeling can be done interactively using graphical user interfaces or based on MATLAB scripts using the PottersWheel function library. The software is intended to support the work of a mathematical modeler as a real potter's wheel eases the modeling of pottery.
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The Deichmanns called their pottery studio Dykelands because there were several small dykes on their property. They divided the labour between them, with Kjeld using a potter's wheel to throw the pots and operating the kiln, while Erica developed and mixed the glazes, painted the pottery and decorative tiles, and sculpted fanciful animal figurines which she called "goofi". The Deichmanns became part of a circle of artists and poets, including Miller Brittain, Jack Humphrey, Louis Muhlstock, Pegi Nicol MacLeod, P. K. Page, and Kay Smith, who visited them at Dykelands. Early and influential patrons were the historian John Clarence Webster and his wife, who purchased Deichmann works for their personal collection and for the New Brunswick Museum.
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3 She was president of the Association of San Francisco Potters, founded in 1945 by F. Carlton Bell, and was active as an officer and exhibitor in San Francisco Women Artists. She was a co-founder of Designer-Craftsmen of California, and for many years participated as an installation designer, juror and/or planner of the Sausalito Art Fair."Top Prize of Crafts Show to Lindheim," Sausalito News, April 1957 As a potter, Lindheim excelled in stoneware and surface treatments, including carved and inlaid work, and her glazes, which she always mixed herself, included a heavily textured and exquisitely controlled crawl glaze she developed in the early 1950s.Sellers, Thomas, "Throwing on the Potter's Wheel," Professional Publications, Inc.
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Bean is so appalled at realising what he was drawing was a naked woman, he is reluctant to draw any further despite the French art teacher's (Suzanne Bertish) attempts to persuade him. While the teacher is tending to somebody else, Bean goes over to the potter's wheel and makes some clay pots; when he is doing it, the boy from the chemistry lab, now covered in blue chemical powder, and his teacher arrive inside the room to seek the person responsible for causing the explosion. Failing to find him, and having just noticed the nude model, they rush out of the classroom. After Bean finishes making clay pots, he puts them on the model's breasts, allowing him to draw her without embarrassment.
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An array of Neolithic artifacts, including bracelets, axe heads, chisels, and polishing tools. Regardless of specific chronology, many European Neolithic groups share basic characteristics, such as living in small-scale, family-based communities, subsisting on domesticated plants and animals supplemented with the collection of wild plant foods and with hunting, and producing hand-made pottery, that is, pottery made without the potter's wheel. Polished stone axes lie at the heart of the neolithic (new stone) culture, enabling forest clearance for agriculture and production of wood for dwellings, as well as fuel. Greek Early and Middle Neolithic pottery 6500-5300 BC. National Museum of Archaeology, Athens There are also many differences, with some Neolithic communities in southeastern Europe living in heavily fortified settlements of 3,000-4,000 people (e.g.
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In the mid-19th century artisans in Tsuchiyu began producing wooden kokeshi dolls unique to the area. As Tsuchiyu lies at the mountains foot of Mt. Azuma, in the mid-19th century the route to Tsuchiyu was impassible for around four months a year due to heavy snow. Local craftsmen began to produce kokeshi dolls as a way to make extra money to make up for the lack of guests during these slow periods. Tsuchiyu kokeshi are distinguishable from other kokeshi due to have a smaller head, two black concentric circles on the top of the head, a small mouth, a rounded nose, a red ribbon painted on the hair, a thin body, and colored strips painted on the body using a potter's wheel.
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4500−1700 BCE). Regardless of specific chronology, many European Neolithic groups share basic characteristics, such as living in small-scale communities, more egalitarian than the city-states and chiefdoms of the Bronze Age, subsisting on domestic plants and animals supplemented with the collection of wild plant foods and hunting, and producing hand-made pottery, without the aid of the potter's wheel. There are also many differences, with some Neolithic communities in southeastern Europe living in heavily fortified settlements of 3,000–4,000 people (e.g. Sesklo in Greece) whereas Neolithic groups in Britain were small (possibly 50–100 people).. Marija Gimbutas investigated the Neolithic period in order to understand cultural developments in settled village culture in the southern Balkans, which she characterized as peaceful, matristic, and possessing a goddess-centered religion.
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Shore in 1990 From 1970 through 1980, Shore hosted two daytime programs, Dinah's Place (1970–1974) on NBC and Dinah! (later Dinah and Friends) in syndication from 1974 through 1980 and a third cable program from 1989–1992. Dinah's Place, primarily sponsored by Colgate- Palmolive (which later sponsored her women's golf tournament), was a 30-minute Monday-through-Friday program broadcast at 10:00 am (ET) over NBC, her network home since 1939. Shore described this show as a "Do-Show" as opposed to a chat show because she would have her guests demonstrate an unexpected skill, for example, Frank Sinatra sharing his spaghetti sauce recipe, Spiro Agnew playing keyboard accompanying Dinah on "Sophisticated Lady", or Ginger Rogers showing Shore how to throw a clay pot on a potter's wheel.
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Drawing of a baluster column in the article "Anglo-Saxon Architecture" in the Archaeological Journal, Volume 1 (1845) The baluster, being a turned structure, tends to follow design precedents that were set in woodworking and ceramic practices, where the turner's lathe and the potter's wheel are ancient tools. The profile a baluster takes is often diagnostic of a particular style of architecture or furniture, and may offer a rough guide to date of a design, though not of a particular example. Some complicated Mannerist baluster forms can be read as a vase set upon another vase. The high shoulders and bold, rhythmic shapes of the Baroque vase and baluster forms are distinctly different from the sober baluster forms of Neoclassicism, which look to other precedents, like Greek amphoras.
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On the details and range of changes in this foundational period in Mesopotamia in relation to other civilizations, see especially the contributions in M. Lamberg-Karlovsky (ed.), The Breakout: The Origins of Civilization, Cambridge MA, 2000. It is in this period that one sees the general appearance of the potter's wheel, writing, the city, and the state. There is new progress in the development of state-societies, such that specialists see fit to label them as 'complex' (in comparison with earlier societies which are said to be 'simple'). Scholarship is therefore interested in this period as a crucial step in the evolution of society—a long and cumulative process whose roots could be seen at the beginning of the Neolithic more than 6000 years earlier and which had picked up steam in the preceding Ubayd period in Mesopotamia.
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Throughout the show Ōizumi insists he is a good cook and has cooked for the cast and crew on many occasions, although he takes an unbearably long time to cook them, and the resulting dishes are often inedible. In this episode, much fun is made of Oizumi's self-delusions about his cooking skills by setting him up in a "cooking show" in which "the chef" Ōizumi is asked to cook with fresh summer vegetables. However there are multiple catches in this show; Ōizumi must first cultivate a patch of overgrown grassland to plant summer vegetables and then has to make the dishes to serve them from clay on a potter's wheel, resulting in a months-long "cooking show". This show brought out much emotional outbursts from Ōizumi and the dialogue between the frustrated Ōizumi and the other 3 are the most hilarious.
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That evidence suggests that the city of Veii was shaped into its classical form in the 7th century BC by a population, presumably Etruscan, first settling there in the 10th century BC. The population of the early Veii practised both inhumation and cremation within the same family. The proportion was 50% in the 9th century BC, after a predomination of cremation (90%) earlier. In the 8th century, inhumation rose to 70%, which may be attributable to an influence from Latium, where inhumation prevailed in the 9th century BC. During the 9th and 8th centuries BC, the population density and grave goods were on the increase: more and wealthier people and also more of a disparity in wealth: the rise of a richer class. In the 8th century BC, both the potter's wheel and writing were introduced from Greece.
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The Assyrian conquest of the 8th century BC actually brought an economic revival, with a huge olive oil industry occupying 20% of the space within the city, and with a large number of loom weights found in the oil production rooms indicating that the population developed an active textile industry for the time outside the olive processing season. Ekron supplied Egypt and the Assyrian empire with 700 tons of olive oil a year, making it the largest olive oil industrial center in the ancient Middle East. After the Babylonian onslaught of the 6th century BC, the Philistine culture and identity disappeared. Blair Boone, Seymour Gitin, B.A. 1956, UBtoday, University at Buffalo's online alumni magazine, spring 1997 The reconstructed Philistine street in the kibbutz, which can be visited only by previous appointment, features an oil press, a potter's wheel and a loom.
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He then described his experiments with making clay pots and oil paintings from which sound could then be replayed, using a conventional record player cartridge connected directly to a set of headphones. He claimed to have extracted the hum of the potter's wheel from the grooves of a pot, and the word "blue" from an analysis of patch of blue color in a painting. In 1993, archeology professor Paul Åström and acoustics professor Mendel Kleiner performed similar experiments in Gothenburg, and reported that they could recover some sounds. An episode of MythBusters explored the idea: Episode 62: Killer Cable Snaps, Pottery Record found that while some generic acoustic phenomena can be found on pottery, it is unlikely that any discernible sounds (like someone talking) could be recorded on the pots unless ancient people had the technical knowledge to deliberately put the sounds on the artifacts.
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When John L. Caskey of the American School of Classical Studies at Athens outlined the results of his excavations at Lerna from 1952 up until 1958, he stated that the hallmarks of Middle Helladic culture (i.e. Gray Minyan ware and the fast potter's wheel) may have originated from Early Helladic III.. Caskey also stated that Lerna (along with settlements at Tiryns, Asine in the Argolid, Agios Kosmas near Athens, and perhaps Corinth) was destroyed at the end of Early Helladic II. He suggested that the invaders of Early Helladic II settlements may have been Greeks speaking a prototype of the later Greek language. However, there is evidence of destruction at the end of the Early Helladic III period at Korakou (near Corinth) and Eutresis in Boeotia. Nevertheless, Caskey found the Middle Helladic people to be the direct ancestors of the Myceneans and later Greeks.
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Oinochoe from the Metropolitan Museum of Art (inv. 91.1.454) The first appearance of a ceramic type that can clearly be classified as bucchero occurred around 675 BCE at the coastal community of Caere (the modern-day Cerveteri), with somewhat later centers of production to be found at Veii and Tarquinia, both cities, like Caere, located in the southern part of the Etruscan heartland. Bucchero ware would seem to have been the natural sequel to the impasto pottery associated with the earlier Villanovan culture from which the Etruscan civilization, itself, had evolved. Etruscan pottery is distinguished from Villanovan impasto by the more sophisticated processing of the clays used which were finely levigated to remove the traces of grit common in the earlier pottery, by its being uniformly turned on a potter's wheel, by its carbonized black fabric in contrast to the brown or tan color found in impasto pottery.
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A potter shapes pottery with his hands while operating a mechanical potter's wheel with his foot, 1902 Men at work on a building site in the City of London Tool use has been a central aspect of human evolution and is also an essential feature of work. Even in technologically advanced societies, many workers' toolsets still include a number of smaller hand-tools, designed to be held and operated by a single person, often without supplementary power. This is especially true when tasks can be handled by one or a few workers, don't require significant physical power, and are somewhat self-paced, like in many services or handicraft manufacturing. For other tasks needing large amounts of power, such as in the construction industry, or involving a highly-repetitive set of simple actions, like in mass manufacturing, complex machines can carry out much of the effort.
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Vessel from Mesopotamia, late Ubaid period (4,5004,000BCE) Early pots were made by what is known as the "coiling" method, which worked the clay into a long string that wound to form a shape that later made smooth walls. The potter's wheel was probably invented in Mesopotamia by the 4th millennium BCE, but spread across nearly all Eurasia and much of Africa, though it remained unknown in the New World until the arrival of Europeans. Decoration of the clay by incising and painting is found very widely, and was initially geometric, but often included figurative designs from very early on. So important is pottery to the archaeology of prehistoric cultures that many are known by names taken from their distinctive, and often very fine, pottery, such as the Linear Pottery culture, Beaker culture, Globular Amphora culture, Corded Ware culture and Funnelbeaker culture, to take examples only from Neolithic Europe (approximately 70001800BCE).
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This makes her even clumsier than usual—especially when she is the same room with it, feeling the character's eyes watching everything—and during one messy morning, her parents leave with orders to clean the house by the time they return. Greta's cardigan button has fallen off in the commotion and she rushes around to look for it, falling down the stairs and crashing through the floor into the cellar, and then destroying a pipe she tries to climb up and being sprayed through the hole and through the ceiling to the bathroom. Determined to save the Ming vase, Greta attempts to get back to the hallway to check it was still intact by the wellington boots, but it causes a domino effect of destruction through different rooms until the house collapses, save herself and the front door, whereas the Josiah Reeks figure is in pieces. The front door opens to reveal the real Josiah Reeks with a potter's wheel.
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There is often great interest in ceramic glaze effects, including lustreware, and relatively less in painted decoration (still less in transfer printing).Bergesen, 246; Sullivan Doulton & Co., incised Lambeth stoneware by Hannah Barlow, 1874 Throwing pieces on the potter's wheel, which hardly played any part in the large factories of the day, was often used, and many pieces were effectively unique, especially in their glazes, applied in ways that encouraged random effects. Compared to the production processes in larger factories, where each stage usually involved different workers, the same worker often took a piece through several stages of production, though studio pottery typically took this even further, and several makers of art pottery, if they became successful, drifted back towards conventional factory methods, as cheaper and allowing larger quantities to be made.Jacobs, 17–21; Ellison, 261–262; Osborne, 132 The most significant countries producing art pottery were Britain and France, soon followed by the United States.
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Those people, who settled down in Transylvania and in the Banat, may be identified with the Agathyrsi (probably an ancient Thracian tribe whose presence on the territory was recorded by Herodotus); while those who lived in what is now the Great Hungarian Plain may be identified with the Sigynnae. The new population introduced the use of the potter's wheel in the Carpathian Basin and they maintained close commercial contacts with the neighboring peoples. The Pannonians (an Illyrian tribe) may have moved to the southern territories of Transdanubia in the course of the 5th century BC. In the 4th century BC, Celtic tribes immigrated to the territories around the river Rába and defeated the Illyrian people who had been living there, but the Illyrians managed to assimilate the Celts who adopted their language. In the 290s and 280s BC, the Celtic people who were migrating towards the Balkan Peninsula passed through Transdanubia but some of the tribes settled on the territory.
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239 Similarly, his definition of remains found at Peștera Hoților, near Băile Herculane, as Azilian was disputed by fellow archeologist Dumitru Berciu, who regarded them as early Neolithic. Nicolăescu-Plopșor also focused on objects he identified as Neolithic (such as a statue and a stone hatchet), while commenting on the function of linear and other forms of pottery (postulating that, given the spread of mixed techniques, the potter's wheel was not perceived as an immediate technological advance) and the supposed attestation of Neolithic childhood games (including his theory that pierced and intact bone objects of uncertain use were an early version of knucklebones). In his study of cave paintings, Nicolăescu-Plopșor listed images he believed were representations of men and a solar motif, and theorized the existence of a Sun cult. Overall, he concluded, there was an autonomous "Oltenian cave art", which shared some traits with but was unrelated to that of Prehistoric Iberia, while being seemingly connected to representations in Magura Cave, Bulgaria.
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The foundation of Cádiz, the oldest continuously-inhabited city in western Europe, is traditionally dated to 1104 BC, although, as of 2004, no archaeological discoveries date back further than the 9th century BC. The Phoenicians continued to use Cádiz as a trading post for several centuries leaving a variety of artifacts, most notably a pair of sarcophaguses from around the 4th or 3rd century BC. Contrary to myth, there is no record of Phoenician colonies west of the Algarve (namely Tavira), even though there might have been some voyages of discovery. Phoenician influence in what is now Portuguese territory was essentially through cultural and commercial exchange with Tartessos. During the 9th century BC, the Phoenicians, from the city- state of Tyre founded the colony of Malaka (modern Málaga) and Carthage (in North Africa). During this century, Phoenicians also had great influence on Iberia with the introduction the use of Iron, of the Potter's wheel, the production of olive oil and wine.
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The Oracle of the Potter is a Hellenistic Egyptian prophetic text, originally written in Demotic Egyptian in the 3rd century BC. However, there are only five remaining Greek manuscript copies of the document on papyrus (parts of two manuscripts were rewritten, likely in the 2nd century BC following the failed rebellion of Harsiesis in 132–130 BC) dated to the 2nd or 3rd centuries AD during the Roman rule of Egypt.Gozzoli (2006), pp. 297-298. A potter is the prophet and protagonist of the story, an allusion to Khnum, the "Lord of the potter's wheel" who fashioned the world in Egyptian mythology. The text was composed as anti-Ptolemaic propaganda: the potter tells the king Amenophis/Amenhotep, who writes everything down and reveals it to all men, of the future chaos and destruction that will follow the unfair, foreign rule of the Typhon/Set-worshipping "beltwearers" (Greeks) whose city (Alexandria) will be deserted when they kill each other in the troubled times.
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Maclaren's first stories of rural Scottish life, Beside the Bonnie Brier Bush (1894), achieved extraordinary popularity, selling more than 700,000 copies, and was succeeded by other successful books, The Days of Auld Lang Syne (1895), Kate Carnegie and those Ministers (1896), and Afterwards and other Stories (1898). By his own name Watson published several volumes of sermons, among them being The Upper Room (1895), The Mind of the Master (1896) and The Potter's Wheel (1897). Today he is regarded as one of the principal writers of the Kailyard school.Campbell, Ian (1981), Kailyard: A New Assessment, The Ramsay Head Press, Edinburgh It is thought that Maclaren was the original source of the quotation “Be kind, for everyone you meet is fighting a hard battle,” now widely misattributed to Plato or Philo of Alexandria. The oldest known instance of this quotation is in the 1897 Christmas edition of The British Weekly, penned by Maclaren: “Be pitiful, for every man is fighting a hard battle.” The highly impressive St Matthews Free Church became the Highland Memorial Church in 1941 and was destroyed by fire in 1952.
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Ceramists from St. Petersburg, the Arkhangelsk Oblast and Verkhovazhye, as well as wood master Oleg Arseniev and the folklore ensemble "Radonitsa" from the neighboring village of Lipki were invited to the festival. During the festival, the participants made a sculpture for fire burning “Shelotyanka”, the image of which was inspired by traditional northern motives, held a raku firing and a master class on making products on a potter's wheel, and also listened to a lecture by Ikhlas Alfakih, an artist and lecturer of sculpture at Damascus University about modern technologies of modeling from polymer materials. One of the days of the festival was dedicated to Arab culture: the quests tried tabbouleh, kabsu and coffee from a copper coffee pot, wrote their names in Arabic script and learned to dance the Syrian national dance. Then it was the turn for local residents to tell the Arab guests about their native culture. The program of the “Russian Day” included valiant amusements, ditties, round dances and a lunch with dishes of traditional Russian cuisine.
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Several of the six classic simple machines were invented in Mesopotamia. Mesopotamians have been credited with the invention of the wheel. The wheel and axle mechanism first appeared with the potter's wheel, invented in Mesopotamia (modern Iraq) during the 5th millennium BC. This led to the invention of the wheeled vehicle in Mesopotamia during the early 4th millennium BC. Depictions of wheeled wagons found on clay tablet pictographs at the Eanna district of Uruk are dated between 3700–3500 BCE. The lever was used in the shadoof water-lifting device, the first crane machine, which appeared in Mesopotamia circa 3000 BC. and then in ancient Egyptian technology circa 2000 BC. The earliest evidence of pulleys date back to Mesopotamia in the early 2nd millennium BC. The screw, the last of the simple machines to be invented, first appeared in Mesopotamia during the Neo- Assyrian period (911-609) BC. The Assyrian King Sennacherib (704–681 BC) claims to have invented automatic sluices and to have been the first to use water screw pumps, of up to 30 tons weight, which were cast using two-part clay molds rather than by the 'lost wax' process.
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