eer rpePererrePeperrerprprperr sts CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, ING fo Mawnan scent Oligo Oieen Cy (CSS Cent Bee Prone ts | esi eestor 4. FLOOR COVERINGS 44, CARPET. 41.4. [DEFINITIONS The prove Roore wih bon unin tea an ‘and pattems. These qualities, in tum, en |, reduce impact nolse, and provide a comfortable and safe surtace to walk on ‘As a group, carpets are fay easy to maintain, The The i ve word was aso used fort 7 : ‘were not common used on the floor n European interiors unt the 18th century, withthe opening of trade routes between Persia and Westem Europe. 41.2. [TYPESOF FIBERS ® ‘The pile fber type plays an important part in the carpet selection process. A successful carpet installation {s heavily dependent on matching the eppication fo the appropriate fiber. Fibers are discussed in greater detail in the Fabrics part of this lecture: the mpets. The outer layer of ‘exposed to flame, wool chars, rather than meting lke most ‘synthetic bers, making it naturally lame resistant. Carpet wool comes from courities Where climactic conitions produce wool with coarseness & thickness suitable 8s carpet CCharactreca of Wool rm diferent counties + Nit Zanini Wael - sl ebear Ble), colors wih great arty and unfomy, spl ae osvous and tough, and elo is almost whe 1 iat ile os re ew i ae SS, rr @ ~ nen asa rough etre. St ond salt leat fer. Named eter Sia a Moncen ton te sree Bernal wher ts grown tends to stam and tush ests, bute sth ron ceo moe durable than any ratura ot. Ar ance ts coeret oe sacar ESSE) SSE Ae aaa oeCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. fio. 2 Matukngin St, Central Diiman Quezon City (ep Sane ae aes TERIALS OF DE! IN ‘28 @ carpet oF rug for just about any area. Used mostly in twine, rugs, floor mats and rope, thas become a popular contemporary flooring fiber. (Ela as scam htt. TCI (Coed PRR) — 0 HRT MHEG ai heer ts pale yellow © fibers ere spun into a yam which is finelly woven into either fat weave carpeting or cut ‘great deal of abrasion, is fe It may fade or darken in color when exposed to sunlight, {and its fer disintegrates with prolonged exposure to moisture. 2 iat Manmade Fors sonede Fibers (SNE sm pepe FURS oy yes fon are eal, a wth town vertatl, and easy lo manta ang Gean, and withstands heavy foot traffic. Because of nyton’s excellent. durability, appearance: before a nylon carpet wears out, its af rar EE I ee ar a ‘ a zt 32 hhas many of the charect highly resistant to sunlight, stains and mildew. You wall most likely find this used in bath ‘mats and rugs. io iro 2 SSIES has bor hoa tr ane Bearer’ Ma reeiwaeye {sonia kaa. tis Dyes well, es. ee Tr Fa ane ct gs ce ohh yi ata ence naa Riper eek sce a! [bes Ferre solution dyed, Absorbs He mois, reset aa, cleans ; Imost completely free of static build-up. Polypropylene ‘commonly used in ‘outdoor carpeting. Its the most resistant synthetic fiber in the market today. It repels ‘water and impervious to most stains, and is usually less expensive than other fbers. (RTAGHEID - wand nares te gsconesaker Cromer Eee) ([DARGARE brand name tke Vie] ([RRaVERE AGAR, Aviron, Avo, Coral, Fro, Kolorbon, Skbtoom, Sto, Sauan ‘Spunvis, Staylux, Tufton. (WlSera - Brand names tke Ravana) Seren! j Triacetate} brand names tke Amel) SIIB - combinations cf Were For na sl caret yar wn each yam lending tothe Siher te dominant cha of TO% woo! and 30% nylon wil give the yar the 70 BEES EBB EREB EE BEE BRR RSE EEECENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. - - SSimcats "ce gag omen 9 SSD Erte rong ted ] ‘Weste www edep.org ph IATERIALS OF DECORA’ ‘abrasion resistance of nylon and the warmth, softness, and hnury of wool. Objectives of blends: ‘and improved economics. @ 1 EE tino SERED, which i to peneenmaenapaTyHneter ox oc onpec This forms carpet or rugs. ‘the wearing su 2 Biagio Yr ed sine WRENS TOK Bre. Ta Bien ow a “i be aro i i ea on ee byw wer. 2 En eee me ee oe Peace te torpor formulsted to provide superior tuft lock and resilience in stretching, especialy for waltto-wall installations. 4 ‘also known as a Garpet pev. ee Rey ney itis to the primary Backing | secondary backing is designed {or the following purposes: 2. to add dimensional stabilty to the carpet . to provide added protection tothe yam at the back of the carpet, and cto ensure that the latex adhesive which is applied to the back of the carpet gives the proper binding characteristics required ss ‘Secondary backing materials are usually woven jute or polypropylene. Jute is. dimensionally ‘stable and heat resistant: however, when wet it fends to shrink and can stain the carpet face fibers. Polypropylene Is more popular as a backing material because itis moisture resistant ‘Attematives to secondary backings are attached carpet cushions, solid vinyl composites, and ‘coatings referred lo as unitary backings, 4.14, [METHODS OF MANUFACTURING CARPETS / t is process ly priced textile floor covering. ‘Tufted carpet is constructed by punching tus of yam into a backing. Yams are threaded through hundreds of individual 9, needles on 2 device that extends the entire width of the finished carpet. Much as in a sewing process, the needies are forced through a loosely woven or non-woven primary backing material, which then forms loops, or tuts. To hold these loops in place, adhesive is added then a secondary backing. 388 Pr 71 BES EE HERB ERE E RE RRR RRR EEE‘CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC, & No 2 Matulungin St, Cental Dilman Quezon City aes} ConfattDetais. Phone ~ 4361549 ‘mall edepas centeramallcom | Website wum.edep 70.99 MATERIALS OF Dt TION To hold the tufted loops in place, the underside of the primary backing is costed with latex ‘adhesive, a rubbery substance that dries hard but remains bendable. A secondary backing is rl] ‘added for strength and stabil, ft traditional way of making carpet on a loom. This is Produced by intertwining the surface pile and the backing simultaneously into an integrated whole. Most ‘woven carpet is heavy, dimensionally stable, and strong as a result of tie weaving process and does not, require a secondary backing as tufted carpet does. Weaving is « slower, more leborintensive process then tung and consequently i more | ‘expensive, installation costs for woven carpet are also typioaly higher. There is usually an | intricate pattem that must be matched, and proper installation generally requires power stretching | and hand-sewn seams. ‘There are three basic types of weaving processes: velvet, Witton, and Axminster. TVaie te oes complex weaving method and the most expensive. tie used prmarly to produce eok! color carpets but varitons caer gn peta ere ponte, Vewet Earpets are made on'loons. sila to Witon‘ berms, But wieu te, Jactuard mechanism Alte yar inte type oppure on tre back of te earpet = carpet weaving process riamed after a town in England. This is constructed on a modified Jacquard loom. Perforated cards control the creation of the pattem. The Wilton. ‘weaving method is usualy used to produce carpet of mare than one color, with as many 38 five colors possible. Flordt-pattemed hotel lobby carpet is common example of a ‘Witon, A Witon carpet is thick and heavy because yam of every color used is carried beneath the pile surface, ' ‘The Axminster loom, named after Axminster, England, whére it was first made, but | ‘was actually Invented end developed in the United States inthe eighteenth century. The designs are often inspired by European and Oriental pattems. Comblnetone of pater {and colors are virualy limitless, because the colored yams aré inserted individually as, they are required by the design. Because each tuft is inserted separately, the Axminster loom emulates the hand-weaving process. The distinguishing characteristics of this ‘weave type are intricate, mutt-colored pattems and a backing so heavily ribbed, because of sti and heavy crosswise yams, that the carpet can be roled only lengthwise. This is considered to be the closest in versatity fo a hand woven carpet ‘Axminaters tend to stretch quite a bit in length and very lie in width. Originally Constructed 8s knotted ple, now they are cut pile carpets. similar to woven carpet because pile and backing are made in 2 single operation. A knitting machine uses three sets of needies to loop the pile backing yam and the stitching yams together. A ‘coating of latex is given to the back for additonal strength & body. Knitted carpets are known for their plush piles, because there is more yam in the wear surface than tufted carpets. Knitted carpet has a tendency to stretch, especially on the diagonal, and is J£2§$?*r i —uOoX~@. Resist Dyoing - opposite of diferential dyeing. Yam is treated to resist additional dyes. It ‘produces no dlacemible patter ‘end used for shading only. CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. fio’? Matuungn St. Cental Dilan Quezon Cty ental Detais, Phone = 4361549 (‘Ssp Soro meal ] Website: wont cdep or oh MATERIALS OF DECORATION Piece Dyeing {a Dyeleg 4.2 Wing, Reel or Beck Dyeing n Bock Dyeing = produces about 1,000 yards of dyed carpet. The carpet Open Beers ar aac to fom alge oop, whch i submerged in 8 ye vat, ‘Jot Beck Dyeing - achieves a very consistent level of color. Carpet is sewn together end to end, forming a continuous loop placed in arge circular tubes called jet Becks. The Carpet loop is circulated under a jet of dye liquor. 4.3. Pad Dvaing ¢. DifersntevCross-Dyeing f. Space Dysing - process whereby diferent colors are “printed” along the length of the yam before tis manufactured ito carpet, wh dfferent color baths for each ofthe yarns. 1h. Continuous Dyeing - process'of dyeing carpet in continuous production line, rather than plece-dyeing — separate lots, most often dene oe ‘on Kusters continuous dyeing equipment which flows of dyestuff as distinguished from submerging carpet in separate dye beck |. Package Dyeing - spun yama re wound on large perforated forms. Under heat or pressure, ‘dyes ae forced through the perforation and onto the yar. |. Rendom Muticolor Dyeing - achieved wth a random dye application or a TAK: random pattern ‘machine, which disperses regulated amounts of dye on carpet that is already dyed a single ground color or even on undyed goods. Several TAK dyers can apply several Colors at intervals . to achieve unusual patter effects ® 4.4.9, PRINTING In some cases, patterns sre applied to carpet (printed) after it Is manufactured. Printed carpet simulates the intricate pattems of woven carpet at 8 much lower cost. Printing methods include screen printing, similar to that used for textles, roller printing and jet printing, 1. Screen printing - employs flat templates, or screens, through which dyes are forced to form the finished patter on the carpet ple, 2. Desp-dve Printing - similar to screening. An electrostatic charge forces the pre-metalized dyes used in ‘this process deep into the pile. It puts down all the colors in the design atthe same time. 3. Boller Printing - employs embossed cylinders to deposit the design on the face of the carpet. Each ‘yiinder paints a different color. care 4, Jet printing - utlizes rows of very closely spaced jets which spray the ee Tr pe a ae a et 2 pss aac eee Unlike screen printing, this process. —T is hoorGENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. No. Matuungin St Central Dilman Quezon City CSp Son Ba ane aid a MATERIALS OF DECORATION ‘4.1.10. CARPET CUSHION OR UNDERLAY. ‘Traditional method of installation requires the use of a separated foundation. It is otherwise referred to 8s “ining” ot ‘cushioning’. It increases wearabilty, glves added insulation, helps deaden sound, and provides comfort underfoot. It also improves cushioning, helps maintain carpet appearance and prolongs life of carpet to as much as 70%. 1. Eiber cushions are made by needlepunching natural ber, synthetic fiber, or a combination of the two, into a felttike pad. Antimicrobial treatments are recommended for natural fiber pads because they ‘are susceptible to mold and mildew. Fiber cushions tend to have a fim feel underfoot. 2, Sponge rubber cushions are fat sponge, ripple (wate) sponge, of reinforced foam rubber. Fat sponge rubber cushions provide afm feel ripple sponge rubber, a softer feel. Unlike feted fiber Cushions, rubber Cushions are highly compressible, Reinforced foem rubber has a smaler col Structure than sponge rubber, thus providing more uniform support 3. Polyurethane foam cushion types include bonded, modified prime, and densified prime urethane foam. ‘The chemical compositions of these three types are similar, but ther diferent cellular structures affect their performance. Bonded polyurethane foam (or rebonded, as: is sometimes caled) is ‘manufactured from scraps of foam bonded together through an adhesive and heat fusion foam is manufactured in a contnuous sheet and, unlike ‘may Milers. Densited foam is denser than modified prime foam and is Pighly resistant to bottoming out. 4.4.11, INSTALLATION METHODS \ SERS Sea own ms Shin iran bo Yana staaton whey pe “lacked tin tips of plywood are fastened al around th perimeter of te space tobe carpeted, Fea re then carpet is stretched up to tiese stips and then edge attached to the stripping. This is the EEF ETS most common instalation method for residential applications and is used commercially for woven. woo! carpets and in areas where underfoot comfort and luxury are required, ke hotel lobbies and boardrooms. ‘GUAR MAGE? usualy employed with a bonded carpe. High densty foam rubber is used asthe ‘secondary backing and is cemented drecty to the oo. 4. Det Guedown «th most conmon meted of commerce satin, dec ge-down is ccoronca and praciea The cet gues dec) to We hor wihovt a Saran Tas Sio'mou dmeninaly sane eatalaton meted anc it oben regi fr ha ot Ia apes ovr # iro naan moos ae secs fr heroes ec ». Double Gueown = ts instalation method combines the underfoot comfort of stein insataion tn tne Sabi otf Grea suedown move The cama coshion nerod tothe for anne cael s ten ued oe cunion. is i the latest development in cerpet installation techniques. A flexible adhesive layer is ‘ppiled to the carpet backing and covered with a protectve plastic fim. The labor involved in ‘adhesive application and the time required to ensure the proper tackness are eliminated, WHWE HE ERR RR RRR RRR eOSSD Me 2a eet ‘Website www.cdep.ora.ph | IATERIALS OF DE‘ ON 9. cERAMICS AND POTTERY) ‘The production of pottery is said to be the it The term ceramics or pottery refers:tovertifacts:made’of heated: earthior earthenware but isto apply it to ware that is opaque when it comes from the kiln or oven. Ceramics comes from the meaning ch is used to! 7 Naturally this covers a broad range both 3s to type and arly desgred for for shear cecoaton. Fred earth vessss wer fst i ind ago by the in . and again irene a Maat ttn gre Sa bw wre Chen od Slee Se oe) ‘on the natural coloring of the clay a ‘sheer beauty of the object's shape. From the eaiest tmes each country has had its pottery making techniques and designs. Museums and private ‘collections house ancient Egyptian, Cretan, Greek end Chinese pleces of such extraordinary beauty that they stil caoestns inspiration to the designers of our own time. As manufacturing techniques improved. new ‘types of pottery were added to @ rch store. From the time of the Renaissance we are able to trace the development of the potter's ort. ‘one of the! most ‘ancient arts and in all ages reflect the condition of every? the use. Some OTCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. No-2 Matulungin St, Geral Diiman Quezon City | CSD ‘eda phone= te | I oe 'ERIALS OF Df ION 7 cly: a ‘Giaiar! Tn ie tne sae wna ne ware formed burhaary gore ree” [ifing.They are very britle but they can be handled with care. Greenware items are often sanded wth fine ‘grade sandpaper to ensure a smooth finish in the completed item. 62.2 |The Biscult State — or Bigg te a tem "When the ware has) Cmca elit aan Sent as ate ' Discut. This ware is normally @ plain red, white or brown colour depending on which type of clay is used. 62.3. The Glazed State ~ After the ware has been covered wi the glaze and has undergone a second fring, It if enamel or other decorations is applied over the glaze, the ware er fring, but at a comparatively lower heat in the enamel Kiln. au Glaze is a monure of the , cay, almeting-agent, #0 ‘sick together and not 9 Separate Ike ol and water. Depending on the chemical compostion of a glaze, when it fires ‘guint a bisqued pce, te glaze wil tum glass ke and in high fire glazes, wil‘merge wth the vious Its ‘origin and its techniques ara‘Unknown, but tie fine lustrous glazes developed In China surely began witr'a simple glaze that served'to cover earthenware and render it wateright. Chinese potters used two Kinds of glazes, one"composed basicaly of feldspar, and ancther produced by fusing silica of quartz or sand by means of a fux, generally of ead oxide. Many kinds are used, and some are rade to heighten the color ofthe body while others mask it. ‘The most common kinds of glazes are; Alkaline glazes, Lead glazes, and Tin glazes. ia 8 Cone 6.2, MAIN CLASSIFICATIONS! . 6.3.1. Earthenware” resfly 2 Is probably the: me ‘ereinatural eee "and are usually porous and opaque. The colo Sha tan to red and brown according tothe chemisty of a parler depest tes a tendency to chip and break. The so-called biscuit form isa type which, afer the frst fring can be Used for none other than ‘omamental purposes. Biscut pottery can be ready recognized since itis efter tan or terra cotta in color and Gull in frish, The biscut, after the frst fring, can then have a scratched or painted design which can be 5 ‘glazed by additional fring. Southwest Indian work, French cooking utensils, Mexican ware and a great deal of Pennsyivania Dutch tableware are cuenty prized examples of earthenware. | o32.$ 8 1200°-1260°C/2191"-2336°F, The” Its avaiable in both dul and glazed land may also be ether white or colored. Stoneware was made by the Chinese in entiquy snd became known in northem Europe after the Rensissance (14th century to 17th century) Although. some fine | decorative objects are made of i, itis ususlly used for pickle and preserve jars. Geeieworaes eae ee ee im i oa Foor beat Segn ss ae Sa te Bae Juced by the Chinese before they deveh 7 vrs roucnd by he Ci they developed thelr white vitreous ware (true porcelain) that was later Because ti the hardest cramic produc, porcelain is used for elec oratory equpmen. However, porcelains krown primary 8a mateal for highquelty vases and abiorers 101,CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. COS No'7 Matutngin SL, Cental Ofian Quezen City | SSD Seder ial” hana tetet ‘omall~cdenag.center@hamal.com Webste- wow esenora.gh TERIALS OF DECORA’ well as for figurines and other decorative objects. The type of porcelain that is used for such purposes Produces a bell-ike ring when struck. = fred between 2360 - 2570 degrees Fahrenheit. Considered the fusion res the surface. This method was long beore wes dlscovered in England about midle ofthe 1th century. Before ths the only type ef fine potery made In Europe was “sof pest’. 7 - Fahrenheit which Is really i ‘a minture of white clay and a g was added at second fring Wich wae lower in temperature tian te fron fop of paste not fused witht. This type suffers ‘more damage through time. 3 a twas invented In the mic¥@th etre fron cee hina requires-et least 2:or.more. BoGp Sestak ey cee the Sabrent anditie second at 2475 ‘They are broader in Doredlain, It Is opaque but ard 88 porcelain. This type is Somewhere botwoan “sot este” and “nar-pate whiteness and tone. 6.4. ORNAMENTATION IN CERAMICS OR POTTERY EUeeze 6.41. Siig This isa an also be brushed, aod or cropped from te spout ofa vessel on te ware in des The porous body of the piece quickly absorbed the water in the slip and the piece was: then ready forthe glaze and firing Various colors were obtained for the slip by the.use of oxides. For-example, oxide of iron produces red, Conber produces Green, cobalt makes Bue, and menganese, to coor varying roms purve-rown to alr This method of decoration is of ancient origin, having been used by the Romans and by various countries: ding meee en We cere usd by be run an Soman ptr ig he 7 on 1 ao anda sil suse in Swzeriand and in aly. Ware that has been dipped 6.4.2, Other forms of decoration: 102 Incised RelevEmbossing | the rt of trenstering design from specially prepared paper to a wood or glass or metal wiographe “recente mth ierced ‘Stenciled Painted ~ pottery can also be painted before and atter fring. In Neolithic times 1 BEE fn torn en ny COLORING OXIDES IRON = RED correr - once COBALT ~ BLUB MicANECE BLACKCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, ING. No.2 Matulungin St, Cental Oilman Quezon City | CS Sat Prone Website: www,edep.ora.ph 6-5-1, PRIMITIVE CERAMICS! archaeological evidence shows that primtive man ist stated to use ceramics in @ rapeetame Vests were fashioned made of ‘sualy plain but later on have included pattems tke (84.2) EGYPTIAN CERAMICS - pottey In Ancient Egypt served & ther then as containers:for iastcalor domestic tems, They are used in at are ‘hoes, and other ‘are usually together with the body becaus® the Egyptians believed that these items will be neededin the after lifes 6.5.3. GREEK CERAMICS) 1. ZERwINOLOGY? 2. Black Figure Ware - Figures are palted black on a red background. 9 ». Red Figure Ware - Figures are painted red on a black background. © White Ground Were - Figures are péinted ether red or black ona white bickground. 2 Male '. Drinking Cups 1. Skyphos 2. Kylix continuolis cuve shape 3. Kuli offset lip shape b. Bowls for mixing wine and water a rlCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. | SSI ferThiukng canal iyo Suen Cy ‘lengcaneanadcon RIALS OF DECORATI 5.4. ITALIAN CERAMICS MAnaMGA The first in in which attaches itself to Here, it iiproves became a vehice of artistic expression, which has. gi "1 value not inferior to canvases and frescos of the same period. were influenced by the Moorish wares, which was Un-glazed earthenware, from Majorca in Neighboring Spain. By the beginning of the 15" Century, italian potters hed ebandoned the old familiar processes {and a revolution in sty and techniques was under way twas in the Earty Renaissance ona first utiized in italy and these were usually utitarian in nature. Florence led the way in the fiteenth century in the production of mejolica. The output of the city's workshops ‘eprosented a tectvical and sesheeadranchon the process as Kvaslesmed fom Iam Spain. Before te tum of the siteenth century, Important centers In Naples, Pesaro, Faenza, Rome, and Deruta were making fine majolica, From the siteenth century, surviving examples of great beauty were made in Fort, Caffagiolo, Castel Durante, Rome, Urbino, and Venice, es well as several places in Sicily. 9 Majolica nad a last towering t Urbino in the last third ofthe siteenth century, wherein a new, rich decorative style “known 2s jstoriato reached its zenith. But by the end of the century, production-hed-decined tue to- economic Constraint, although the so-called ghtly decorated white wares made in Faenza, continued the tradition of new designs end fine ‘producing his works in’ baked clay, covered with a glazing, ‘substance more flexble and quite a8 durable’as the marble itsel: His ft discovery was the use of stanniforous enamel the hardest glaze then in use. He was ereditedto be the one to aleé the’ production ot He employed and was ‘succeeded after his death by several relatives of the same family name. which was a ‘After adoming the works of other masters, however, he offen eourliunce) everGevene) the pleces himset ace Eventually, European potters, who much admired the porcelain of the Far East, attempted to imitate #, but the formula remained elusive. Francesco de Medic, grand duke of Tuscany, produced an inferior type of saf-paste porcelain in his Florence workshop during the 1th century, with his work taking precedence ih the history of Porcelain work in Christian counties. Nineteen pieces only of his strange ware exis, making up the whole number Of pieces of the rarest European porcelain known to exist. sin the 3 quarter ofthe 16" Cantuy, it was not unt 1720 that porcelain was beeen scale In Bat yoo, : was in many of the suring pleces from the factory are teapots, which are often decarated in a chinoserie ——T——OCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. [SSP teal" oe ais IATERIALS OF DE Webie wm denoraah Aier that came DOCGIA WARE) and flgtoR/ofthiaimenutacoryils FeemPoraneous with that ofthe royal French fabrique at Sevres) The Mcrae founded at Doccia, near Florence, where in 1737 the Marchese Carlo Ginor! began experiments with tie manufacture of hard- Paste"porcelalh. The principal feature of the Docca were ls ts sdmirable {mtation of the majotea and successful reproduction of the bas-eets of ‘Ga. Della: Robbia. In. porcelsin Ooccia began using a tn glaze in the 700s that created an opaque, miky-write surface that masked the gray Siageete Porcelain, In the same years the palnted decoration was often a /StVized Neral pattem known atthe factory ‘The Doccia factory "Was ‘known to. have exceled in the production of porcelain Sculpture. In later years, Doocia copied the Naples work of Capo oi Monta ‘The principal mark ofthe Doccia ware ie two tangles crossed, forming @ pointed star, n the finer specimons this sin gold. Has only fee fer Florence tht Naples commenced her workin the A making, ‘shorty. after Doccla began manufacturing Porcelain. Here Charles founded his noble manufactory at the pieces tie constructed withhis own formula for a. dtstiietve.soft-paste porcelain body that is characterized by Bjonounced amy clr and an unusual lost cer glaze making Capo di Monte soft paste a particulary successful medium for. porcelain ‘Sculpturé, The manufactory began to languish efter the accession of Ferdinand ‘HITE totally expired wth the moulds passing int the hands of the Ginor family... The markof Capo dl Montel an N sumoutted by a sown. bue none et two cases'the letters R.F:-are substituted; these pieces were made during : Ferdinand's time. The work of Capo ai Monte hasbeen imitated at Dresden, but not successfilly, the best features of the ware departed when the original manufactory expired. The , SST 0 {ype of improvisational eteet thesté:—provided o seemingly lnitiess source of Sut for bah porelain modelers and painters inthe eighteenth cerry. One of ts pineal cherecers, Pulse, i immediately identifiable by his typical costume of a loose tunic, tall conical hat, and black mask with a prominent. hooked nose 5.8. DUTCH CERAMICS? | BeuRTWaGe ‘European ceramics underwent a tremendous change in the 17th century. The technique of majolica and its arisans had migrated to the Netherfends end Belgium from Italy around the 16th century. Following ‘the capture of Antwerp by the Spanish, they settled in several Dutch Ges, Including Delt, whose ceramics were strongly influenced bythe tin. glazing techniques those artists hed brought with them, themselves. eaviy influenced by islamic techniques and motfs steeped in the majolica traction. But the development of{Dsift eeramie® did not stop there, and underwent yet again a.radical change. after. coming. into contact with far eastam Ceramics. to the activites ofthe Dutch East India Company in the ‘early 17th C, Chinese Dive and white Wan-Li (1873-1619) porcelain TON bbegan fo appear in Holland end was to make a profound impact on the local weres, resulting in the wellknown) Dutch Blue and White style usually associated witn|Delft today. But the local potters, steeped in the majokca ‘radtion, did not know how to make porcelain, 30 they emulated the Chinese wares using their meiolica techniques. Some of these majoica copies are very dificult to distinguish from their Chinese coutterparts, except on erees ‘where the terracotta clay could be seen, especially on the foot. It was basicaly soft-bocied earthenware fred at a Tolatively low temperature and covered witha ti-based glaze 105BED eee notes ‘Website: yeww.edep.ora.ph Sait tbe and omamental ware usualy were of blue colored pattems and landscapes on a white background. They Fee Produced apothecary jar, drug pot, ‘small let thes for fireplace facings and other architectural uses. The only rem ing original producer of Dutch dettware is “De Koninkijke Porceleyne Fles" founded in 1853. The ame translates as Roya! Porcelain Jar or Bottle and thelr logo isa styized jar, Delftlue pottery formed the basis of One of Britsh Akways' ethnic talifine, The design, Delthive Daybreak, was one ofthe most widely used, and applied sircrats, be classed among the great royal patonege's& Suincic vise ‘alone enjoyed up to the From ts fir Firoguet almost to the present day, ceramics has enjoyed constant and indvdual attention from the French royalty, not onty this, we also find the boldest Huguenct her most untring 8nd suoceeaul potter. The wares of France are interesting for two reasons: thelr historic connection, and thelr ultra and effective beauty of design, ‘They are just fer enough removed from foreign influences to ge them Indvidunty and a ray which probesty surpasses even the aan productions; atleast one of her wares, the Oiron, enjoys te edltary catnezon of bey unobtainable ‘Wile the effect of the Dela Robbia and Cetini schoo! is visible, enough of French versatility has been introduced to identity it with the country with which itis associated. Allis specimens bear testimony to thet love of detail and nice ‘appreciation of completeness which everywhere identfies the French decoration. France has always been @ nation iven to tring things: 8 propensty for niceness and prettiness has often reacted upon her when Brought in contact ‘with the herd, practical ideas of other nations. It is inthis feeture that she excals when we consider her productions in pottery. She found int @ plaything which sflewards rose o fel, tothe level of@ great industy, she fret invested it with ment, then with power, and where nations about her tresied ita a valuable addition to their commercial affairs, she accepted it a8 @ new medium upon which skil and genius might exercise and actieve their highest ambitions. Accordingly, we find in France a more elegant and artistic pottery work than in Germany or Holland Pottery generally improves or retrogresses in quality according to the locality in which itis manufactured: this owes sometimes to her manner of treatment ofthe clay, but generaly tothe quality of the clay ise n taly the clay was ‘ot of the finest qualty, while in France, through effort and the advantages of a greater variety of acl, we figd the plain baked pottery of a composition end texture far more beautiful and durable, These are invaluable advantages ‘when considered In connection with form and rellet omament, end in these two branches the French, work. particularly excels. A favorte earth In the construction of pottery was the ferme de pipe, its pure whiteness and fineness effording excellent qualities which went far towards perfecting the French styiea of decoration. t wes this. earth which was 60 successfully applied in the Oiron, or Henn Il ware; scarcely any other could have been used in the production of such sharp outine and delicacy ae could be found here. 906 Tyce soe A yess vibe, bere Wye voecernied Moin ef Wann a eeCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. No.2 Matulungin SL, Central Dilman Quezon City Conlac! Detais Phone ~ 4361549 ‘mal - depac.center@amaii.com Website waw.cdepora.oh MATERIALS OF DECORATION Gyrrance we lose the presence of grat arial fo Become acquainted wi great eizans, whose work Rwas fo Pargeorward by experiment and imited scientific knowledge the methods of manufacture. Such a man was Berard while tose herd, practical genius led him nat only to more homely delineation, but to improvement in every part. Portayath his severe productions he stil maintained the French love of the beautiful. While Luca dela Robbia rized the spiritual sense, Palissy clung to the harmonies of visible objects, each meeting with the same Perfection and success in his own sphere. Subjects in tow ree! and for his rust plecos decorated with sharply modeled forms copied from nature—noteby repties, ® insects, end pants, style of decoration that Pet it sm i Jaze bib decoretive scheme of potcelain-wae-refained, but the d the voeabulary of foliage, scrollwork, and animals or humen heads. ' og ox ea ata ney ok pan ot j. The duke was an avid collector of Asian porvelal the products of the Chantily factory from founding untl the duke's death in 1740 were heavily Influenced by Japanese porcelsin n particular. Some of the ( 9 Chantily wares directly copy Japanese pleces, while others are executed in a style reminiscent of Japanese porcelain French Villeroy, but it produced utltarian ware of considerable originality and somewhat naive charm. The factory went into dectine withthe deaths of Barbin and his son in 1765, finally closing in 173. . —aT OO® CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. x Nola Matlungn St. Cenat Dian Quezon Cy [CSS Ctniact Delais Phono 4361548 | ‘oma ~ deoac.center@amail com Website worw.cdep.ora. ph The sof-paste porcelain factory fou To oly fe teeaelan acon funded st Vincennes in about 1740 was to dominate ‘who not only previded fancial Becking, hased t ‘The king became the sole owner of the factory moved to larger quarters in Sos, load to the west metimes pushing the established boundaries of .. New types of decoration also appeared constar factory looked to ‘mid-1750s, the had assumed artistic leadership in Europe it continued to set standards for European porcelain production through the Sort met Crate THOME ) aur ParTE (PATE Bute) By the 1690, there were at was the period of greatest recognized for ts quell and innovation inthe unvversal ‘wortd: The finest artists migrated to Limoges to practice to intemational aeiaim (87. GRWAN CERAMICS). eawec 0 wherein ss0d a td glassy layer on the pots Su a ‘wat popular inthe 18h and 17th eantrle, with many vessels imitating me Fand tankards, — ‘Still another and more beautiful style is known as “Poterie deluxe’, which ‘(omament. This was the highest eminence which German pottery reached, and In considering the stone-ware of Germany we are vergingiclosely. Upon the territory of true oe ena te at cf king declined after the year 1620. Ceramic art did not revive until the succeeding century, when series of discoveries revolutionized the system, Chinese and Japanese porcelains were highly esteemed in seventeenth-century Europe, and although they were imported in ever-increasing quantities throughout the century, Europeans did not know the Ingredients necessary for the production of true porcelain, commonly known as hard-paste porcelain. However, in 1709 an alchemist named Johann Friedrich Bottger discovered the materials required to produce ‘white, translucent, high-fred porcelain body. This discovery was to have profound ‘consequences for the entire European ceramic industy, which Is why to Germany, must be given the credit for discovering and introduction into Europe the art of ‘making true hard-paste Porcelain of the Chinese Type. experiments with the formula for porcelain included the development of red red stoneware, which led to several technological advances ultimately resulting in porcelain. This 8o-called Bottger stoneware was used both for wares and for figures, Induding one depicting Augustus the Strong, elector of Saxony. Augustus hhad provided the impetus for Botigers experiments and, based on the latter's ‘success, he established a factory at Meissen, Just outside Dresden, in 1710. The fectory was soon producing a creamy white porcelain now known as Bottger porcelain, becoming the ha 4720s, the BT ye teen partes ps cet Sper cers THCCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. eS 11 Quezon City fo 2 Motulungen SL Cental Osman Ge Saket small edepas.centendamal.com Website: www cdep.ora ph ERIALS OF DEC ‘The concept of a dinner service with matching components was stil novel in the 1730s, and the first dinner service to be made in porcelain was ordered from Meissen in late 1731 although Ou Paguior produced a partial dinner service, possibly composed exclusively of tureens, as eary as the mid-17208. The success of the Meissen and du Pequir fms led tothe estabishment of |S other porcelain facories in Germany in te 17408 and 50s, and ft was often worer caning fom eter Mesen or Vnna who proved fe recent) Nets ‘expertse to te new operations, Perhaps te most popular subjects for = figures end groups were characters fom te lslen’Commeda deifate, Porcalain fgutes depicing Harlequin, Columbine, Mezzetin, Isabella, and numerous ottfers would have been instartty identifiable because of their costumes, for-the traveling troupes of Italian cémmedia-players had made these characters Very familiar to elghteenth-century audiences: period 23) the £0-ealled Hispano-Moresque wares. It was heavy'eartherware usual blue, yellow, white and tustreware, From the beginning of the 15 Century onwards Valencia, and particularly the suburbs of Paterna and Manisses, Wwere the chief certres ofthe industy. Here, under Christan rule, Moorish potters produced wares decorated in a hybrid style, in blue and white, and blue enriched wth gold lustre, Arabesques ard incrptions in Arabic gradually merged with Christan emblems and epigraphs in gothic lettering: topether with bold heraldic devices and folate 9 patterns of greet power and distinction. Human figures were more rarely depicted. ‘Abarol end great dishes, superbly painted with the armorial bearings of famous French and Htalian families, such eof René of Anjou end Lorenzo de’ Medic, indicate the high esteem in which these wares were held: it was asserted In a contemporary wating thet Manisses work was gided and painted In mastery fashion, ‘which the whole word Is in love. Gadrooned and rele-decorated pieces appeared towards the end of the Fiteenth century, while arabeeques and diapered pattems of Persian origin were stl in use. HE ‘The diminishing number of costs-of-arms appearing in the shteenth century prove the deciine in aristocratic patronage, and, though the manufacture has continued, there has been no revival ofits previous excellence. ‘An important factory making fayence at Alcora [Valencia] was founded in 1726-7 by the Count of Aranda. On his Geath, the factory was caried on by his son, and continued to make fine-qualty fayence, together with some porcelain, untl the latter half ofthe eighteenth century, after which, nothing of eny merit was produced. A number of Broetlent busts were made at Alcora, and @ magnificent portrait ef the Count of Aranda is in the colecion of the Hispanic Society of America, New York. Se A ‘also Called Hispano Mauresque, refers to wares with Arabic inscriptions, beautiful ‘and syized animal forme, charactozed by indescribable sheen and Figesceres, This is produced by decorating the clay with a thn coat of metal. This pottery, dating from about the tath century, was the successor to the much earler Arabian pottery. Malaga, Valencia and Talavera were Identified with the production ofthis ware, The particular feature of the decoration is the omament in hte 109‘CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. SSD eg uaan Scored On ‘cdepac.center@amsil.com Website: www.cdep.ora.ph MATERIALS OF DECORATION Pigment of @ rich, Iridescent brown color, sometimes relieved in blue, which is highly effective. Those SBecmene which we wee general dato from the 16th cerry and aro usualy unmarked. Of late Yoors there has been a revival ofts manufacture vaio pats of Spain but the modem productions are very eet term generally applied to tin glazed and enameled earthenware, This usualy consists of glazed Tesi and wall les decorated wih ower end abstract motifs showing fusion of Renaissance and Moorish 3: - roducad in Catalonia, pinta win ous of pope ngoged in eprts, amusements, dancing o stoking et. or incdents ested wth Don uo. Theve ae caunly wal es wa generaly Bash ‘he ware n'a sot pvt ef clea white and ore, ‘Usually tana in delicacy and thiness of body. It was probably the 9 ‘most costy and moat technical perfect of any f8th-cantury porcelain King Cherie carted wit Buen Retro unt the works were destroyed by the French when Napoloon invaded Spain. Even in Spain this Ware is exceedingly rare, Outside of Spain Ris Scarce known 6.5.9. ENGLISH CERAMICS? oruiay PeCPTArE rest to students ‘of ceramic art, from a technical point of ‘Tho factories were 20 many andthe poters who dceved fame and reputation so numerous. It wil suc to say thatthe standards set by Wedgwood were never surpassed by otters anywhere, end thane other pottey dct in the world Became s0"consplcuous for qualty and quanthy of production a Stafforsahire, Ths prachcal raters ot England succeeded in creating by gradual improvements a ware 80 superior thet al Europe was inuencee and benefited by their work. From the collector's point of view, the history of English porcelain begins with tel foundation of the Bow factory in 17744 and ends withthe Rockinghem factory which began to make poresain in 1620. The obscurty which surouss 9 their early history may be accounted for by the fact that these factories were all private ventures, started for commercial purposes. n France and Germany much of the production was under royal patronage. From the time of its introduction to the present day, England has been most extensively engaged in the production of pottery. We have only to tum to present evidence to prove that the demand for omamental wares has met with ‘no diminution. But the day of great discoveries and rapid advances seems to have passed: old designs, long Known ‘and always prized, seem to be with litte variation and is the model of the modem workman. Even 80, these, however, are skituly and pleasingly treated, end are forms which never sutfer by age and association. 4 exceedingly hard fd GUrabIe and often dGorated ristol produced imitation Delft for a long period. After many abortive efforts, hard-paste porcelain was produced in 1766, under the ownership of Richard Champion. They imitated Dresden Were although Chinese Ware was obviously copied in color and design, ‘Technical shor-comings mark much of this work with warping and fre cracks being commen, handles often askew and the glaze often pitted. Twelve years later, this factory was discontinued. Every piece of true Bristol china is rare and of value, owing to the bref time the works were in ‘operation. Some of the Bristol figures rank with the finest ever made in England, ‘There was a concentration with making porcelainCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. No 2 Matulnger St, Central Diiman Quezon Cty sp Contact Details Phone ~ 4261548 ] Website worm cdeo.or. ph MATERIALS OF DEG ON white figures end statuettes in the Chinese atyie. Subjects included bamboo or plum branches, Partridges and grotesque animals. Bow eventually became part of the Derby factory ‘The paste of Bow is of diferent kinds, that of which the groups ‘end ‘figures are generally ‘composed being of soft ‘artificial porcelain similar to Chelsea, but coarser, heavier ‘and more vitrequs in ‘appearance. A much harder paste was also mad fometimeswnte | and imes having a blue-grey ‘int, with a thick greenish glaze. ‘The factory output largely consisted of tableware. A very large part of the Bow [production was unmarked. Of i the marked pleces, the anchor and dagger in red are characteristic. The productions from 1752 to ‘1780 include some of the most charming porcelain ever made in England. A ‘Blue and white frare painted in under-glaze bive in the Chinese manner was produced In large quantities. The "Old Japan pattem of polychrome ar, and, decoration in the. styles, of Dresden, Sevres and reductions of the factory excellence: Bow figure pieces’ (ean, Tan fauwy uertly-attbuted to Chelsea or tthe marks, In 1778, William Duesbury of Derby bought the works a to Derby as he had previously done with Chelsea. f ‘could be made of porcelsin was made at Chelsea under the direction of Nicholas Sprimont, who joined the ‘company about 1750, and who later became owner of the works. He gave especial attention to the decoration of the product and remained at the head of the company unti porcel ‘88 Chelsea "Toys" are among the most ‘Valued of all Chelsea prod factory was sold to William Duesbury. proprietor of the Derby factory, and from when the works were removed to Derby. is known 2s, the in which some very beautiful products were made. A good specimen, by fine glaze and refined coloring may be sakd to resemble closely fine ‘Sevres china. The marks are distinct 444112 CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC era Mauiungin Si, Cental Djiman Quezon Cty Coniset etal. Phone ~ 4361549 omall= cdepae center@amel.com Website: ww cden.ora.0h ‘Atthough the factory was established about 1750, litte is known at the present time of the early [Production of porcelain before the time of Wiliam Duesbury in 1758. The porcelain made after that is white, fine and ‘soft and the “biscut’ is worthy of special notice, rivaling in ‘many respects the biscuit of Sevres. Its finest work 1s regarded as that done in the Chelsea Derby period 1770-75, ‘and the Crown Derby period 1785-00. The paste and ‘decorations of these periods may be compared in every ‘way to good Sevres chine. Grown Derby is lighter in weight than any other ceramic, and although very thn, i is strong. ‘After about 1811 the product of the factory deteriorated 1848. The. Most of, the. production was, decoration was copied from Ching ‘. Lowestoft is ‘a ‘smallstowmmonntiecsoutiesstcoast of ‘England. Here, In 1757 a factory for making porcelain was, established by Robert Browne, which continued in for nt ars. ‘The actual Lowestoft productions were chiefly tableware and small objects, sometimes called tries. It was, at first, decorated mostly after Chinese pattems with blue and ‘white under the glaze, which was of a bluish-green tinge. After 1770 the painting was usually over the glaze. Although the ware resembles old Bow and Worcester, itis inferior in quality to those early porcelains. the marked and dated pieces, definitely known 8s Lowest, in English collections are marked ‘as part ofthe blue end white omementation or with numerals, and there are no Lowestoft pieces a wth makers! marks and stamps. Al are of soft-paste porcelain. Ater the works were ‘dosed in 1803, Robert Alen bought undecorated china from other factories and decorated it at Loweston in the Lowestot manner end continued that work for about thirty years. Because so- called Lowestoft has been, is now, and probably will continue to be cherished by colectors of porcelainCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. No.2 Maung St, Central Oilman Quezon Cy Conlact Delas: Phone ~ 4361549 mall - edepac.center@amal.com ‘Website war cdep.ora.ph 113 ' greenish tit when seen by Consisting largely of tableware, were perhaps the most distinctive of ‘Thelr-welt-proportioned forms and careful fish are.quickly recognized. Eventually: a.certain ‘number of omate pleces were maderbut the main emphasis ofthe factory was abways piaced on Lseful ware. Worcester figures of the early period are very uncorhmon. Imations of Chinese porcelain with blue decoration on white ground were followed by the more brillant colors and designs of the Japdhese anc Metssen motives. Among the most characteristic of all Worcester inventions were the so-called Japan patterns, Which continued to be made from “ransor pining was inrodueed st Worcester about 1776, a their ety printed china ie th best offs class ever made in England. Printing. was done in lilac and red, 28 Well as in the usual ‘brown or black or in under-glaze blue. Later, the printing was done by the “bat” process. RO Porcelain Company . The prefix "Royal" was adopted by permiasion of the King in the Fight period. in: Royal Worcester, ging is the most Important featur of the decoration, by means of which reat delicacy Is produced upon the creamy white lusireess surface for which the Worcester ware is noted. During its tong period of existence Worcester porcelain has maintained a front rank for the superb beauty of fms, colors and deccrations and forthe immense variety af ts designe, ten miles long and five miles wide. Some of the better known names of the Staffordshire potters include Ralph Wood, father and son, ) Adams end Job Ridgway.CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. (|S SD ov? Mawungn St. Cental Osman Quezon City Coniact Dalai Phone ~ 4361549 ‘mal ~ cdepac.center@2amail. com \TERIALS OF I ‘Webste: warcdepora.h ‘There were potteries there dating from the 17th century, although the prominence of Staffordshire was Identified more pertelany ith te next century ‘The slated postin of the Staffordshire potter kept him comparatively free from outside influences end enebled him to develop his Stronger, if somewhat ruder, personality. Among the wares produced there owing nothing to foreign sources are sip wares, agate, toroise-shell, black basalt and jasper ware. No other group of potters in the world at any period has produced such a variety of wares. Staffordshire production was enormous. Nuch of it was designed for the American market. (susp Se are a seers nora: times, but the theory is generally rellable. jer designs are composed of graceful combinations of sea shells and mosses, roses and scrolis, acoms and oak leaves, grapes and vines or fruit, e birds and flowers, Beginning wth the 10th century Staffordshire products were devoted Jarfely to blue tranfer- Printed wares,’ fet the wow. pattern wes used extensively. About 1620, someone conceived the fdea of using views of actuél places instead of imaginary landscapes wit Oriental themes. ‘Views of English cites, scenes in France and Italy, and a series of Amerfcan subjects’ became very popular both here and abroad, af resutted tna greet protpery forthe potters. At first of deep bive, later ight colors injpink, green, lavender and other colors were Included. i “Tearistercprinting) was (Sa et slate tty pregency Yr a particutarty for figures, Toby ‘ro ‘modeling on, such work ffom-1740 to 1780 is Superior to that produced later. During that time, also, the, figures were colored by the use of pigments under the laze. Later endl colors were used on te surface ofthe glaze, with laid ‘effect,"arid much of the beauty of the old-school vanished. Porcelaiq waa aleo-made in the Stafordshire cst But to a much lesser extent than earthenware, Tha pottores here continue to provide the greater amount of both earthenware and porcelai now produced in England, 1 2 from the| said to be. was e ‘man of inary energy and taste, in 1759 started:the business af (Buplom Steers, which was evertualy to become one:of:thesmos: famouse At first he made the usual run of pottery products, but in 1762 he Produced a cream ware which not only improved upon the earlier product but was to i ay wee anc, ooo ee oes Aa ESN aoe eed Bescon Cap cing bam a eins tao He ie en mrs neta er ene ace mee ‘work of the period. The most important piece of this ware was the reproduction in 1790 of the celebrated Portiand Vase. (Od Wedgwood is considered to be the finest pottery that England has ever produced in workmanship, design, material and color. Most of the Wedgwood's products were purely ‘omamental and all were executed in the classical manner popularized by Robert and James Adam.No earthenware, native or foreign, combined so many technical Dperfections. The basalt and the jasper ware are the best known and most sought after by ‘collectors. With one unimportant exception, a white biscut with smooth and wax-ike surface, Wedgwood made no porcelain, and only a few pleces of this are now in existence. In 1878, the manufacture of porcelain was revived, and has continued since. —aTcenter ron THe OESGNED ENVIRONMENT PROFESIONS NC | SS atte” pone ete ‘email ~ cdepgc.centertameiLcom \ ‘Website: www.cdep.org ph MATERIALS OF DECORATIOI Josiah We ‘died in 1795, but the works have since been carried on by members Wa casos eee tinng Top cg ae Jasper, basalt, red, cream-colored, and all the other wares for which the factory is ro 1, JSperIaTe - This nd other potters: was itis Ml © il known 98 dip? ‘0d jasper ite basellet was used In ‘combination with the diffrent colors. Jasper wos ‘medalion®, (plaques: and ae NE rae a meres ns oo ‘background, the sharpness and translucency of the omament, and the undercutting ‘which ceriain parts are relleved by cuting while the clay is soft ‘Wedgwood improved the’ then recently 5 Rew cream ware, and hepresented:to~| + ‘Queen Charlots of England a decorated breakfast service of his new.product, She... \. Was much pleased with the ware end ‘ordered completa table services of it and -| { ‘Wedgwood, in her honor, gave. it the \ name of "Queen's Ware. ‘ironstone: chine. 8 perfected by Wedgwood by the use of Comwall cay and adopted as the standard earthenware nti the perfection ofthe white body about Fy years later. 4 g 3. Basalt Ware - A solidublackstonewaretotreatenardness < t was one of the though Wedgwood's basalt is regarded a8 superior to others He made his from native clay, ground ironstone, och and oxide of manganese. Black basal has not been reproduced to any ‘extent by modem potters and when a piece of this ware is found itis ‘entique. 4, AGal@IWar@ - Eantenware a suc Scan orev be veg ot 9 = layers of differant colored clays twisted together and then cut transversely with wire. Pieces of a small size were made of these mixed bodies. The former method was never m ‘same extent as marbling on the surface, 115CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. QR EN erioungn St, Cental Olimar Quezon Cy ,@Q cS Coofet Deals Phone ~ 4361549 | ‘email - cdepac.centerfamail'com Wooste' wn cep ora. ERIALS OF Dt ON \ Cee er ee ae ee Y ‘of ware of a mottiedpcioudyror splashed 7 \ ‘Bharat, thereby atrng the name Cloud Ware Wheldon Xe tortoise-shell ware was soft ight in weight, with an excellent - laze and ft was extremely rich in effect. Whieldon iso made 8 fold agate ware which was more artistic then had before been attempted and his tortoise-shell wares have always been locked upon os master ‘of thelr time. AIP ‘Spode and several potters, who became noted, were ‘apprentices of Whieldon, which doubtless helped to qualify them for their own future success. E The In 1770) Josiah Spode factory i eh @ 4 suainsperaane Te sone ce wes of excoptona ity. t wes semrporcelain and uenty translucent i Daca vy Popa! on sau of compara Chepness ‘Tranae’-printing In blué and other colérs was one ofthe foundations of ter prosperty. ‘About 1800, the fectry Degen to make poresain, and ls watt that ware Chat thelr products best known. The Body ofthe porcean fs sft and white with a five glaze ond Tc oft ls decorate In the Orental manner. A a nd the decoration s less pleasing / {han on porcelain of fis contemporaries, atnougd.an eeumeraton would ince neay j tery type of decoration used on china at Dit Se. Josiah Spode, Jr, vetted 1 ‘end remains ut tine. The porcelain, stone china and the ordinary earthenware, in their body, glaze and decoration rank withthe beat ofthe period. i ‘LTGREWGTG Stecartmcspotery mode by (Ralph id Thies Tot i Stftordshi in the te latter haf of the 17th century. The material ofthis ware was ustlly “ andthe decorating lecone hraatier crude manner Te glaze we apple defer the ware was fired, but efter the slip was placed on f, snd this gave to the piece a rich yolon tne, This ware mara e tnt aavancement the Nilo of Engish poting, e ‘and has given the ‘of Toft ware to all sip-decorated pottery since. Much of itis in Imtation of real “Toft Ware.” Thomas Toft was one of the really great English potters, 6.6.10, AMERICAN CERAMICS) ‘American ceramics was centered on three main sites. Sgraffito Ware was produced in Pennsylvania by the ‘Germans during the middle of the 18” century. It consisted of a slip with crude scratchings. John Norton, in Germinton, Vermont produced uilarantera-cota objects and seh gazed stoneware, Bu was only ecaey City, New Jersey, that the first tre porcelain was made in the U.S. early inthe 19” century. 6.5.11. CHINESE CERAMICS) Chinese art today represents a living traction with more then of history behind it. As early as the 3 Crem BC, te Chinso wero a teed ogrran socelyexhibtngcertan cura caratoraScn Thess tara Wmnich later exerted @ deep influence on thelr art included an ewareness ofthe forces of nature and the cycies. of the seasons, ancestor worship, the veneration of jade and other hard stones, and the use of cortain items for ritual ‘and funerary purposes. - In Neolthic China, potterylwas made by col buding and:tren vessels wereSOS Ste Phono aes i ‘email - pdepac.center@amail.com Website: waww.cdep.ora.oh RIALS OF DECORATI ‘begun using the handbuitt technique, then finished on a wheel. Potteryrecovered) from that belong to this period included YANGSHAO, 7 named afer ott and the black LUNGSHAN) These rater @ was used? |. Chinese Neolithic vessels include a fe variety of shapes—tripods, ewers, ums, cups, amphorae, and deep goblets some ‘symmetrical, others contrasting light and dark harmonize with the shapes of the vessels and indicate that the ee ot a ae eloped the art of? ® {Cangshen pottery, named after Lingahenin’Shanting provined, is of, Ne is undecorated and almost in province are wheel made, proportioned with wals that are thi and glosay and marks a high level of craftsmanship. «. [The third type of pottery fs fromiCentraltand:ScuthChing'and is decorated with istinged ‘These three types and a utitarian ubiquitous gray pottery added the repertory ‘of forms developed during the, Bronze Age. 2 Sil BRIS 18707-10487 80) -The Neste protypes bec te bani fo bronze vss csng this period, and.Shang ceramic,molds for bronze.casting, made of high-quality clay, have been found. Pottery,had four basic types, most of them found at thé capital at Anyang, in present-day Henan (Ho-nan) Province. The first Continued the Neolithic functional tradition in coarse gray clay, seen etd cree aa a eta edn ome yay, imitations of bronze vessels; the third, white pottery with finely carved decoration resembling aaa oat coreg tat (BABA e/ Waring Sa? por inches he ater pat of he Chou dynety andthe Han ynesy e a ha masa yay (1122 — 255 B.C) - produced utitarian pottery - funerary ums, jon jars. The body of the Chou vessels was made of hard grey clay ‘which Red no glaze on its surface. The pieces were usually moulded by hand, but specmeris are known which exhibit signs of the use ofthe potter's wheel. ‘The omamentation, such as it I, consists of hatching, and ‘sometimes cross-hatching which produces the effect of a mass cf tiny diamond shaped excrescences; a lozenge-shaped pattem may also be found. There is an interesting hexagonal vvase in the Victoria and Albert Museum which Is attributed to the Chou dynasty. On the sides are to be seen figures of animals and of men executed in relief in @ very primitive fashion. The paste is a dark cinder-colour. Except for the white pottery, all the Shang types continued in the Zhou period. Coarse red earthenware with lead glazes was introduced in the Warring States era (403-221 BC); this ware also resembled bronzes. In the south, stoneware with a pale brown glaze was fashioned into sophisticated shapes. ‘The discovery in 1974 of the terra-cotta army of Shi {Shih-huang-t), the first emperor of the Qin (Chin) dynasty (221-208 BC)—en imperial legion of more than 6000 life-size soldiers, including chariots, farchers and horses buried in miltary formation—edded new dimensions to modem knowledge of the art of the ancient Chinese potters. These handsome idealized portraits, each with different details of dress, as LEA CHA depenCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. fio. 2 Maluungin St Central Oilman Quezon City Goniact etal: Phono = 4361549 omall= nt Website: www cdeo.ora.ph IF DECO} 118 well 8s diferent and vivid expressions were modeled from coarse gray clay, wih heads and hands fred: seperate Nght earthenware tonpertures ond attached later. ARervard, the assembled, fred figures were painted with bright mineral pigments (a procedure caled cold decoration}, most of which have now flaked. The workmanship demonstrate the level of potiry making and colored sculpture meking, winning the terracotta army the reputation of being the “eighth wonder ofthe worl. In the middle ofthis, er pottery fred at @ low degree. Ceramics of this period include earthenware mortuary vessels and glazed wares. There ere heavy Jars and incenge bumers shaped ike hills. The jare and censers, together with figures of servants and ‘uerdians, animals and houses, were for burial use and were covered with a brown or green lead glaze which became Iridescent with time. In the south of the county, hard pottery which required a high degree of fre and Solid base came into fashion. it was very common ‘doting this period to apply colored peint.to-ready-mede Pottery wares, end these appear mestly appeared on the, cover, necky-shoulder and belly of Pottery wares nd figures, the mast popular pattems being dragons, Sgers, zhucui (a legendary Bird guarding the west), and clouds. ‘The Enstem Han was an important period inthe: developmerit of pottery. Blue porcelain first appeared as early a inthe Shang Dynasty, but reached its matiity inthe Eastem Han. The blue Porcelain had a fine and sofd base, embellished wth.an,even and shiny color. It lid @ sold foundation fer porcelain maki in thelyears to come. A signfeant archseclogal find was meets when a was brought fo ight @ few years ‘During: this period, porcelain making ‘i'the-south made great headway, as- characteristics in the ehape, decoration and industrial ert of percelain making, On blue porcelain, blue glazed porcelain with a high sheen like lacquer ware speared. A porcelain pot was cleverly designed with the spout shaped as a Foosters heed and the ‘8 rooster’s tail. In addition to its unusual shape, it was convenient to use. ‘objects unearthed from tombs of the Weivin period (220-420), many are ‘objects with @ smooth and lustrous finish ‘wares ar covered wah exauste pattems fished wih such ech : molding, symbolizing an important step forward in porcelain making oe soins ons During the Six Dynasties period (AD 220 ~ 589) celadon-glazed stoneware, a precursor of later porcelain celadons, begen to appear in Souther China. Called YOeh (or green) ware, his five hard stoneware coated thinly with Cive-brown glaze. it belongs to the family of celadone, erg ~atthough developed inthis period, most af its surviving specimens are found i later times. They were less influenced than earter pottery by the shapes of cast bronzes. Jars, ewers, and dishes became more delicate of ine and classical in contour, and some had simple inclaed or tloed ‘omamentationSSD MATERIALS OF DECORATION CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. No.2 Matuungin St. Central Oiiman Quezon City Contact Details Phono ~ 4361549, 119 4 (Tana Pinaay (618-007 AD) - Following the Han dynasty was the Tang sty, which was marked by great power and prosperity. it marked a ‘Celadon + 8 green-glazed stoneware of high quality, was also a ssh fan Important stage in the development of Chinese ceramics. Most ‘surviving pieces have been gathered from tombs, since many pottery pleces from the Tang dynasty were used as tomb figures and fumishings for prominent members of Tang society. ‘The full and vigorous shapes, including some Wester forms, attained a new splendor with the invention of colored glazes. Mainly green, yellow, blue and golden brown, these glazes were either monochromes or splashed and dappled. There was also the introduction of several new techniques, including the use of the "sancai" which were three-colored glazes with a lead-silcste base. The colors Were basic variations of brown, greens, and blues: blues Were produced by adding cobalt oxide to a transparent laze, greens by adding copper oxide, and browns by ‘adding Iron oxide. The brown glazes.had ‘the: widest Color range; ranging from light yellow'fo orange and deep brown. Most T'ang’ wares have a’ highly, absorbent, buff, earthenware body. The glazes normally exhibit'a fine | crackle and often fall short of he vase in an uneven wavy line. Dappled glazes are also found on tomb figures shaped as camels, horses and demons. ‘Two important ceramic types, characterized this period. One was a fine white earthenware ‘covered with @ lead glaze of glowing yellow.and green tints, often in mottled patterns. The other, the most significant innovation of the Tang potters, was porcelain—made into thin, delicate bowls and vases with clear, bluish or greenish glazes, (Suna/sana nasi 00-1272 AD) —is Porcelain was furher ‘dynaly, the age in ours th of Chinese pottery. Potters became adept at controling glazes, a trend that began in the Tang period. Vessels were elegantly shaped. Decoration—molded, carved, or painted—included dragons, fish, lotuses, and eonies. These were scholarly subjects of the court painters and each represented a virtue. Kilns Were established throughout China, each kiln site having its own style. In the Northem Song, three outstanding styles emerged: Ting, 4u, and Chon. While in the Southem Song, the Lung-Choan was the ‘ype. The ceramic wares of the Sung dynasty are today, those that are most highly prized but in the East and Westem cuttures. Sung pottery emphasized form and employed colored glazes of great beauty and variety ‘ware of bath northem and southem kilns. A famous type of ancient Chinese stoneware, it came Into being during the period of the Six Dynasties (607-960). It is. characterized by simple but refined shapes , Jade-ike glaze, solid substance and 8 distinctive style, As the celadon ware produced in Longquan County, Zhejiang Province, is most valued, 80 it is also generally called fongquan aingci. its Chinese name, gingc, ‘means "greenish porcelain.” Later in the 12th century, Norther, ‘Song celadons reached their height, with a gray stoneware, ‘body covered in transparent olive or light brown, In the north, where the color tends to be grayish-‘omall~ edepac.center@amal,com Website" ww.cdep.ora.oh [SSP tects crs : | ATER \F DE N ‘green, celadons are most frequently found In the shape of vases or incense bumers. The Lung- Ghidanseladone ofthe Soutorn Serge porcelain wih ight bueh-greenjedeike raced glazes—were of even higher quality. The shapes were varied, some inspired by ancient bronzes, ‘Some by Middle Eastern metalwork and glass. Many were exported. 7 characteristic URGSRGI&zS BACK UetoratIORToccurs on white or glazed porcelain on the highest quality. Its a popular stoneware used by all social classes, combining transparent glazes. Slip painting, sgraffito, carving, incising, impressing, and molding, as well as polychrome ‘verglaze enameling, alin a great vanety of mots, ‘{ULLYAQ (or JU) nas a but stoneware body and is covered with a coladon-ike bluish-gray glaze with ‘fine crackle. 4. GREG write porcelain wth a sighty buish or greenish glaze (similar to the white Ching-pal made later in), exported to Indonesia, Southeast ‘Asia, and the Philppines. © RUAN GBH) ancier ype wie i rare, Its body is. stoneware: wat ‘lip and the glaze varies from pale green to:lavender blue with a wide-meshed crackle, “ae slated to KUAN ware has’ darkistonewaré»body:and * Sa aang ga AS ee a wen eae te Pe ae ‘Peonies then covered with a sthocth ory glaze. The most common of thes@-celadons are large shes, and were admired by courty patrons But also used és everyday pottery. They were M demand abroad party because of the, supersition that a celadon sh would Break or change ‘olor poisoned food were put into ti | war ‘Conical bows as well as dishes ‘re numerous. But fner specimens are usually fowerpots used inthe imperial court. i. is a dark ware with @_very dark brovin, ‘The tea bow is the most common ‘specimen. This ware was later adopted from Japan for TEMMOKU, the Japanese. term for tea bows. "The ‘decoration of sian ware was done by placing a leaf or paper ‘cut decoration on the interior Before fring. in the kin, the material disintegrated, leaving @ dark imprint. When filled with tee, the motifs on the bottom become more noticeable. Tea bows of the Jian type were prized by the Japanese monks who studied in the Chinese Zen monasteries JUAN TEABOWL 1271-1368 AD) - Many of he Sung wares wore continued with Ys & Sibi 17100840) “id fomann, bluerandiwhitel Wares. Undergiaze, a new porcelain ft, appeared during this Wo cieteemirindacTor un aceon Pack yates re {for an expanding export market. The size of vessels increased, and potters experimented with bright enamel overglaze colors. Ching-pai and Lung-chfoan wares became heavier, White Porclan vase wn Dhue underlze paling were produced ‘A purely Chinese pictorial and formal design later evolved in this period, and ba tracted by te folowing, sevenhet 120IMENT PROFESSIONS, INC. CENTER FOR THE DESIGNED ENVIRONMENT P To) ora sear ‘mall ~ cdepac.centerf@omsi.com | | Webste win clep om. MATERIALS OF DECORATION @. The ‘unde So the color: roe porecy rte ner tenor lac, enablng longer use and reserve. Ameng those ‘Kins, Jingdezhen kin mede breakthrough in techniques. it remodeled material Prescription and improved fring temperature, hence facilitated producing large wares. b. The to ‘porcelain production reached ‘maturity and! ‘porcelain wares developed to a record high. « 7 1368-1643 A.D.)-Itwas only during the period of the ‘Wing Dynasty that the blue-andevhite ware of the Yuan Dynasty became a major export em. Ceramic art took on a new lease on life under the Ming dynasty, The staple product ‘was fine white porcelein which made "CHINA" a household term over the world. Under its clear glaze the porcelain body ‘was painted with designs of greet vigor end freedom of line in cobaft- oxide (imported from Iran unti-e local source was substituted). Painting on pottery and porcelain became ftchly colorful, and during this. period’ decorative. brush paint directly on the: baked clay reacted its zenth in China. For 8 long period, Chinese Ceramic’ artists ibd used only black oF brown plgment to decorate the wares that were then covered ‘with clear glaze. These pieces became the favorites of 16th- Century Europe, although Ming potters. also made.polychrome... stoneware and monochromatic and white wares, New in the Ming era'was the delicate Tou-ts'al ware, a glassy porcelain ‘with: overglaze.enamel paintig. Overglaze painting using briliant enamiet colors was also excelled at by Ming artists. The overglaze technique, which evolved over two centuries, ‘demanded correct preparation of the,enemels, skil in application, and'the proper (low) fring temperature. The overplaze enamel decorations executed during the reign of Chenghus (1465- 87), which were never surpassed in China, incorporated flowers, foliage, and figure subjects ‘against backgrounds of arabesques, Arabic inscriptons and scrollwork. Designs enclosed within dark blue outines were filed in wth briliant color. The court provided potters with a wide variety ‘of new designs: scrolls, fruit flowers, and scenes with people. Pottery was marked with dates of marks of successful pieces were imitated in later times. The most In the Ming dynasty, blue and white porcelain wares became the main stream of porcelain production. Blue and white ware stepped into its goklen era during the Yongle, Xuande and Ghenghua reigns. Delicate and thick glaze, various pattems and affuent models are basic features of the Yongle and Xuande porcelain wares. Chenghua wares were delicate and lighted ‘colored, with Chinese ink wash painting favor. In the lats Ming dynasty, blue and white porcelain met another surge during the reigns of Jigjing, Longging and Wanil, Export to Europe reached its height in the late 17th century, when afistic standards were sill high. A new enamel style, introduced Ta 7 SABETIAND OTCENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC. io. 2 Matulungin St Central Diiman Quezon Cay Coniaet Delais: Phone ~ 4361549 ‘mall ~ edepac.center@2amall.com Website wiw.cdep.ora.oh ‘The famille rose colors could be mixed for allowed miniature precision in drawing. 8 Sra Danas ets - ‘A vast number of fie porcelain vessels were produced in this dynasty for Bot domesté ond foreign mart, wi poters ates, Popular polychrome enamel tyes wore fs doves mA ‘and ‘Monochromatic Copper red glazes popular oxblood (sang de boo 3 peach bloom — Were revived, as were Song celedons. Also, new glaze effects such as tea dust and Claire de tune were Introduced Blue and white made a great leap forward to radiate its worldwide influence. Among the Qing porcelain wares, those [produced in the reigns of Kangxi, Yongzheng and Qlaniong are the most famous. Due to the disturbances caused by changing dynasties and govemment that brought the collapse of the ‘oMciat Kins, thet led to the establishment of private kilns which — Produced high qualty porcelain ware: In the 12th centiry, European éotecting of Chinese porcelain s was at ite. By the end ofthe century, however. the endless repetitions of old motifs and {forms led to sterty, and the/Chinesé could ng tonger compete with European mass-produced, porcelain, The ceramics date back to the prehistoric Fan eae Sy t's ay ‘and the outer surtace of the pots are usually stamped or rolled with rope or pattems. These earty pieces were formed Coll method in which successive coils of placed on each other. This created a regular end hi uitt-up appearance. Firing took place in ‘of diches and since tne hheat rarely exceeded 700 degrees, the pots are low-fired ceramics or earthenware that is generally largely water-soluble. Pots of this period are highty unique end very omamented. The Middle Jomon ‘and the succeeding later Jomon period, which lasted unt 300 BC saw the introduction of large numbers of small figurines, which are both animistic as well es artistic in their execution,SS ee aoa ‘Website: www.cdep.ora.oh TERIALS OF DECORATION mage Pato 0B = 300 AS) aoseeded the Jamon Period, The Yayo! cuture was probably hs Japan by tribes that migrated from the Korean peninsula. This period saw the development of {the use of bronze and was highly developed at the production of ceramics. Ceramics may at first seem Plain compared to Jomon ceramic forms but Yayol ceramics used finer alluvial clays to produce thinner- race, folate shapes tat can be very pleasing. Most Yayoi vessels were unedorned but rendered in ‘ al natural eceful shapes end balance of frm wi fing marks In oo an Fo ho ne RGR) STURN [SRSA por (avout ‘AD 300 to 552), pottery was found in the enormous tombs of the Japanese emperors. Called Heli ware, it resembled ‘Yayoi pottery. More truly unique were the heniwe, delightful unglazed reddish hhaniwa ‘lack the grendeur of the ‘Qin emperors army, they compensate for it with their rustic vitality. It was in theis period that the anagama kiln, @ roofed-tunnel klin on a hillside and the Potter's wheel appeared, probably brought by southern Korea immigrang Potters. It produced stoneware know as Sué war Which was gray stoneware fred in @ cimbifg kin and decorated with a natural.ash glaze (formed during the firing as-astrtrom the wood, fue! fell on the pots). Originating in Korea, the natiiral ash glaze became characteristic of later Japanese wares ‘made!-at-Tamba, Tokoname, ! Bizen, and Shigarakl. Jars, bottles, he, ‘and cups were made, some ‘with sculpted figures, Sué ware continued to be made in.the Asuka Period (552-710), when Chinese cultural andireligious influences eae ‘ware just beginning: 2. MEDIEVAL STONEWARE) Thie importation ‘of Chinese and Koreen culture during the-sixth ‘and seventh centuries greatly changed Japan. This brought Buddhism, a writing system, and new forms of goverment, a8 well as medicine and more complex art forms to Japan, Japanese and Korean ceramics techniques were assimilated into ‘Japan but were changed and adapted to meet local tastes. More @ technically advanced forms of pottery, including Chinese three- ‘color lead glazes on earthenware; Korean higher temperature firing techniques and a greater range of shapes all came to be part of Japanese ceramic work. With the pote {green or yollowish-brown: some were two-color, green and white: 2'few had three of these colors on rough grayish bodies, ‘The glaze pattems were streaks and spots, not quite as refined as, Tang ceramics. Most examples ofthis work are preserved at the ‘Shosbin imperial treasury at Nara. 123Ge CENTER FOR THE DESIGNED ENVIRONMENT PROFESSIONS, INC S No. 2 Matulungin St. Central Diliman Quezon City | SSD ee ct ie gdepac.center@amsil.com w TERIALS OF DECORATION ‘ing ar Po TEE) when covet wi Sova tra wa ened craic nay pe near Nagoya. Ki-seto, or yellow Seto—stll made todsy—was: \tfuenced by the popular Song celadons; the Japanese equvalents, however, were fired in oxidizing kilns, Pete their glazes yellow and amber hues. The Kamakura Rarled marked the star of the supplanting of court rule by sHIGARAK! WARE TSU6O Waror dominance, and decorative forms of ceramics gave way more simple and austere pieces. This chengo was party a ‘eflection of the warrior taste but also a reflection of the influence of Zen Buddhism. ‘Although the Ashikaga shoguns of the for small portions of food were required for “cha no yu’. Although this is translated as ‘the tea ceremony” in the west, @ preciso Jepenese definition would only be *hot water for tea". The savoring of tea, which was great influenced by Zen, was wall suted fo the more muted beauty of unglazed Ceramics. The best of these ceramics continued to be produced in Shigerak. ‘The ceramics of the medieval Kamakura and Muromachi periods 's charactertzed by a duality of strength Of form and the use of naturakash glazes that makereach piece unique. Because of the widespread use of ihe saree rmeraben gama et teach ae re, ran ee act mas ts by Me up an. A pear skin es a peed he 1¢ ceramic shape of this! period ts the HUBO" which ‘Many are more partial to the earlier Tsubo" jars, which tend fo be more regular and less sym than later pieces. It has Been written extensively that the. “tsubo" in its simplicty stl yields ‘beauty that is remarkable, . ° ‘and, merchant classes in the’ (One sought-after variety of stoneware tea bow, related to the Chien ware of China, was femmoku, with a thick purplish-brown ‘glaze that is stil popular. Sefo kilns produced such fine pottery that the works of other kilns also came to be called Seto ~ mono, ‘or product of Seto. They primarily imtated Chinese ceramics ‘substitute for the Chinese product. t developed various glazes: ‘ash, iron black, feldspar white, and copper green. Even more famous were the Raku wares. considered by some to be the height of Japanese ceramic art, and are stil made today by the ‘tath generation of the same family. Raku ware—tea-ceremony vessels, other pottery, and tles—is shaped by hand, is iregular Torms follow a prescribed aesthetic of asymmetry. The glaze is rushed on in several thin layers, and the pot is fired at low temperatures. When the glaze is molten, the pot is pulled trom the kin with tongs; i cools quickly, and the glaze crackles under the thermal shock. Raku ware is admired by potters throughout bs ‘somber lead glazes that sometimes drip downward in globs. Also ware, ‘TEA BOWL, RAKU WARE 124