The cementation process of making Egyptian faience, reported by Hans Wulfffrom a workshop in Qom, Iran, has not been easy to replicate and various views have been set forth to understand the transport of materials from the glazing powder to the surfaces of the crushed quartz beads. Replications of the process fired to 950° C and under-fired to 850° C were characterized by electron beam microprobe analysis (EPMA), petrographic thin section analysis, and scanning electron microscopy with energy dispersive x-ray analysis (SEM-EDS). Chemical variations were modeled using thermal data, phase diagrams, and copper vaporization experiments. These replications were compared to 52 examples from various collections, including 20th century ethnographic collections of beads, glazing powder and plant ash, 12th century CE beads and glazing powder from Fustat (Old Cairo), Egypt, and to an earlier example from Abydos, Egypt in the New Kingdom and to an ash example from the Smithsonian Institution National Museum of Natural History.

Faience objects were first produced in Egypt in the pre-Dynastic era and were since then deeply connected with ancient Egyptian material culture and everyday life. Faience has been used for vessels, jewellery and for religious objects and the techniques and trends have evolved over time. There is a great amount of faience objects excavated from Naukratis making it a suitable location for this study. This study has used a catalogue with objects excavated in Naukratis to identify trends, Greek and Egyptian faience, and the market for faience in Naukratis. By first introducing the location of Naukratis in the Late Period, the study then provides an overview over faience production techniques both from Egypt and Naukratis. This was then applied to the objects to distinguish reoccurring features and potential cultural influence on the faience production and demand. The aim was to show the exchange of production techniques between Greek and Egyptian faience which can be exemplified by the Greek technique for polychromatic faience showing up in Egyptian faience objects with traditionally Egyptian motifs. The objects revealed a demand for handcrafted faience with Egyptian motifs of animals, fertility gods and a design for both suspension and as standing decoration. This supports later day findings that the city of Naukratis was a city not only dedicated to Greek citizens but had a mixed population. It also showed that while the origin of a faience object is difficult to determine, influences of technique can still be seen. / Fajansobjekt var först skapade i Egyptens fördynastiska tid och har sedan haft en stark samanhörighet med gammal Egyptens materialkultur och vardag. Fajans har använts till att tillverka krukor, smycken och religiösa objekt och teknikerna samt trender från Naukratis har utvecklats över tiden. Det finns en stor del fajansobjekt utgrävda från Naukratis, vilket gör staden en lämplig stad för denna studie. Studien har använt en katalog med objekt utgrävda i Naukratis för att kartlägga trender, grekisk och egyptisk fajans, och marknaden för fajans i Naukratis. Det var sedan applicerad på objekten för att utskilja återkommande egenskaper och möjliga kulturella inflytanden på fajansens produktion och efterfrågan. Syftet var att visa utbyte av produktionstekniker för flerfärgad fajans som uppkommer i egyptisk fajans med traditionellt egyptiska motiv. Objekten visade en efterfrågan för handgjord fajans med egyptiska motiv av djur, fertilitetsgudar och en design som passar både för stående dekorationsobjekt men som också kan hängas upp. Detta stödjer nya diskussioner om att Naukratis inte bara var en stad dedikerad till grekiska medborgare men att staden hade en blandad befolkning. Det visar också att medan fajansobjektens ursprung var svårt att hitta, så kunde inflytande av tekniker fortfarande urskiljas

The target of my diploma thesis is a transformation of the Habana decorum into an actual utilizable object and examination of its impact on current design. This thesis is divided into two correlative parts theoretical and practical. The main subject of both these parts is the Habana ceramics. The theoretical part deals with the history, development and further proceeding of the Habana ceramics, including the focus on the current artists who are engaged in Habanas. In the practical part I am demonstrating my own creation of the Habana decorum using the appropriate materials.

The Rookwood Pottery Company was one of the most outstanding American pottery producers in the early 20th century. Rookwood produced a line of significant architectural facing tiles, unlike anything else produced in the Arts and Crafts tile industry. This thesis is an assimilation of all the primary product. Rookwood's catalogues, commissions, and artisans are discussed to illustrate the design and production significance Rookwood's product. The analysis will be valuable for the documentation and identification of tile installations produced by the Rookwood Pottery Company from 1903-1931. / Department of Architecture

La présente thèse comporte une partie expérimentale comprenant l’analyse in situ et en laboratoire des tesselles de faïence et de verre des mosaïques de Délos et une recherche bibliographique concernant d’une part l’emploi des matériaux vitreux dans les mosaïques hellénistiques dans la Méditerranée et de l’autre les études analytiques portant sur la faïence et le verre de l’époque considérée.Cette recherche a permis d’enrichir les connaissances sur les mosaïques déliennes avec l’apport de la caractérisation physico-chimique des tesselles vitreuses et d’alimenter la réflexion sur l’approvisionnement en verre et en faïence de la part des mosaïstes. En outre, pour le verre, le croisement des données analytiques obtenues à partir des tesselles déliennes au cours de cette recherche et celles relatives aux verres colorés présentes dans la bibliographie a permis de formuler des hypothèses concernant le modèle de production du verre coloré à l’époque hellénistique. L’analyse d’un grand nombre des tesselles a permis de mettre en évidence une particularité des verres bleus et turquoise, pour lesquels nous avons formulé l’hypothèse qu’une source d’antimoine riche en plomb avait été employée pour leur opacification.Enfin, l’application in situ des méthodes non-invasives à l’aide d’appareils portables a permis d’évaluer les avantages et les limites d’une telle approche pour l’étude des tesselles vitreuses. Pour surmonter certains problèmes dans le calcul de la composition chimique des tesselles altérées proposé par le logiciel intégré dans l’instrument de Fluorescence X utilisé, nous avons développé une procédure de calcul alternative prévoyant l’emploi du logiciel PyMca. / This theses has comprised an experimental part involving the application of archaeometric analyses on glass and faience tesserae of the Hellenistic mosaics from Delos both in situ and in laboratory. Moreover it has involved a bibliographic research concerning on the one hand the use of vitreous materials in the Hellenistic mosaics in the Mediterranean and on the other hand the archaeometric studies on glass and faience of the considered period. This research allowed to enrich the knowledge about the mosaics from Delos through the physico-chemical characterisation of their vitreous tesserae and to contribute to the question concerning the supply of glass and faience by the mosaicists. In addition, as regards glass, the combination and comparison of the compositional data obtained on the tesserae from Delos during this study and those concerning coloured glass found in the bibliography has permitted to formulate some hypotheses concerning the production organisation/system of coloured glass during the Hellenistic period. The analyses of a large number of glass tesserae highlighted a peculiarity of blue and turquoise tesserae which allowed us to hypothesise that a lead-rich antimony ore was used for their opacification.Finally, the application of non-invasive analytical methods using portable instruments permitted to evaluate the limits and advantages of this type of approach in the study of vitreous tesserae. To overcome some problems in the calculation of weathered tesserae composition provided by the software of the XRF instrument used, an alternative calculation procedure involving the use of PyMca software has been developed.

Made available in DSpace on 2014-08-20T13:20:50Z (GMT). No. of bitstreams: 1 Keli_Cristina_Scolari_Dissertacao.pdf: 5482223 bytes, checksum: bdbdeba46b7cdfaef63ebf282177987a (MD5) Previous issue date: 2012-11-23 / Pottery is the largest artifact related to the aesthetic development, and also what else is resisting revolutions promoted by humanity. Many of these artistic pieces are in a historical legacy of ceramic production, such as the Portuguese tiles that its quality is matched by the other arts in vogue in Europe, such as tapestry, jewelery and furniture. In Brazil, during the colonial period, the pottery was instrumental composition of architectural and artistic styles such as baroque, neoclassical and eclectic. The vast majority of existing tiles and ornaments on the façades of the buildings had these styles imported from Europe, especially from France and Portugal. In the twentieth century the awareness of the importance of preserving the history of Brazilian origins gave rise to the interest of the Institute for National Artistic and Historical Heritage also some private groups such as the Institute of Ceramics Portucale Luso-Brazilian, located in the state of São Paulo, by reading Portuguese ceramic art as a tool of colonization of our memory. The city of Pelotas, one of the twenty-six cities that comprise the Projeto Monumenta by Federal Government, which owns one of the largest collections built in eclectic style nineteenth century, with 4 buildings with registration the federal level, one at the state level, 10 at the municipal level and more than 1,700 buildings inventoried, has a collection of ceramic decoration of facade of great beauty and quality, mostly in the form of ornaments and sculptures, currently being restored or in the process of preservation. This condition led to the development of the present study that aimed to identify the ceramic pieces in existing buildings registered historical heritage of the city of Pelotas, faience pottery identified as originating from Portugal. Moreover, with a view to the issue of heritage conservation was eval uated pottery in faience found in their condition degradation. The buildings surveyed are the mansions of numbers 8, 6 and 2, located at Praça Coronel Pedro Osorio, known as the House Barão de Cacequi, House Barão de São Luís and House Barão de Butuí. To develop the work initially researched the origin of the sculptures in faience and its production technology. Later, it was made visual identification, documented photographically, the cadastral survey, from catalog record, the ceramic pieces in existing houses. After, we compared the example found in houses with existing parts with a catalog of Ceramics Factory and Foundry of Devezas, published in 1910. For the analysis of the conservation status of the ceramic pieces, of information were used catalog records. 9 Complementing the work done to determine the chemical composition of the ceramic mixture and glaze of a sample collected in a vase Krater, from the House Barão de Cacequi (House 8). The chemical compositions of the ceramic mixture and glaze were compared with chemical analyzes of ceramic pieces made by French chemist Charles Lepierre in 1912. The research and studies made possible the development of a proposal for future interventions in Portuguese faience ceramic pieces in the existing houses, from its repair or replacement for original part / A cerâmica é o artefato de maior relação com o desenvolvimento estético e, também, o que mais vem resistindo às revoluções promovidas pela humanidade. Muitas dessas peças artísticas constituem-se em um legado histórico da produção cerâmica, tais como a azulejaria portuguesa que por sua qualidade é igualada a outras artes em voga na Europa, tais como a tapeçaria, ourivesaria e o mobiliário. No Brasil, no período colonial, a cerâmica foi instrumento de composição de projetos arquitetônicos e de estilos artísticos, tais como o barroco, o neoclássico e o eclético. A grande maioria dos azulejos e ornatos existentes nas fachadas dos prédios destes estilos vinha importada da Europa, especialmente, de Portugal e França. No século XX, a conscientização da importância de conservar a história das origens brasileiras fez surgir o interesse do Instituto do Patrimônio Histórico Artístico Nacional e, também, de alguns grupos privados, tais como o Instituto Portucale de Cerâmica Luso-Brasileira, localizado no estado de São Paulo, pela leitura de cerâmicas artísticas portuguesas como instrumento da memória de nossa colonização. A cidade de Pelotas, uma das vinte e seis cidades que integram o Projeto Monumenta do Governo Federal, detentora de um dos maiores acervos edificados no estilo eclético do século XIX, com 4 edificações com tombamento em nível federal, 1 em nível estadual, 10 em nível municipal e mais de 1700 prédios inventariados, possui um acervo de decoração cerâmica de fachada de grande beleza e qualidade, em sua maioria, na forma de ornatos e esculturas, atualmente, sendo restaurado ou em processo de preservação. Esta condição levou ao desenvolvimento do presente trabalho que buscou a identificação das peças cerâmicas existentes em edificações tombadas do patrimônio histórico da cidade de Pelotas, identificadas como cerâmica em faiança originária de Portugal. Além disto, com vistas à questão da conservação patrimonial, avaliou-se, nas peças cerâmicas em faiança encontradas, a sua condição de degradação. As edificações pesquisadas são os casarões de números 8, 6 e 2, localizados na Praça Coronel Pedro Osório, conhecidos como Casarão do 7 Barão de Cacequi, Casarão do Barão de São Luís e Casarão do Barão de Butuí. Para o desenvolvimento do trabalho, inicialmente, pesquisou-se a origem das esculturas em faiança e a sua tecnologia de produção. Posteriormente, fez-se a identificação visual, documentada fotograficamente, o levantamento cadastral, a partir de fichas catalográficas, das peças cerâmicas existentes nos Casarões. Após, compararam-se os exemplares encontrados nos Casarões com peças existentes no catálogo da Fábrica de Cerâmica e de Fundição das Devezas, editado em 1910. Para a análise do estado de conservação das peças cerâmicas foram utilizadas as informações das fichas catalográficas. Complementando o trabalho, fez -se a determinação da composição química da pasta cerâmica e do vidrado de uma amostra coletada em um vaso Krater, existente no Casarão Barão de Cacequi (Casarão 8). As composições químicas da pasta cerâmica e do vidrado foram comparadas com análises químicas de peças cerâmicas efetuadas pelo químico francês Charles Lepierre, em 1912. Os levantamentos e estudos feitos possibilitaram a elaboração de uma proposta para futuras intervenções nas peças cerâmicas em faiança portuguesa existentes nos Casarões, a partir da sua reconstituição ou substituição por peça original

La faïence est une céramique caractérisée par son revêtement vitreux blanc opaque, grâce à l’adjonction d’oxyde d’étain ; sur ce fond on peut apposer les décors polychromes. Résultant d’une technologie abbaside (VIIIe siècle), elle connait son apogée en France au XVIIIe siècle. Les précédentes études menées sur la faïence moderne ont mis en évidence la nécessité de procéder à une approche pluridisciplinaire pour appréhender ce matériau complexe, ses techniques de fabrication, et cerner les enjeux de sa production. Ce travail de recherche s’inscrit dans la continuité pour s’élargir aux productions faïencières du Sud Ouest de la France quelques peu délaissées du point de vue archéométrique. La manufacture Babut, première faïencerie établie à Bergerac, fut sélectionnée dans ce but. La production perdure sur cinquante ans environ, jusqu’à la Révolution Française.En prenant en considération ces observations, cette thèse a permis tout d’abord d’identifier la production du point de vue des matériaux et des techniques, de mettre en place un référentiel géochimique, ainsi qu’établir un corpus stylistique de base pour cette manufacture. Ensuite l’étude a porté sur l’évaluation du potentiel de méthodes d’analyses non destructives pour l’attribution de provenance directe à partir de la surface des glaçures. Et enfin ce travail a permis d’examiner la place de la faïence bergeracoise et de sa production au sein du tissu industriel régional, et les replacer dans le contexte plus général de la production faïencière française à l’aube de la Révolution industrielle. / Faiences are ceramics defined by a white and opaque glaze, due to the addition of tin oxide decorated or not. This technology appeared during the Abbasid period (VIIIth) and was imported in France around the XIIIth century; they peaked in the XVIIIth century. The previous studies realized on the modern faïences, underline the importance of proceeding to a pluridisciplinarity approach to comprehend this complex material, in the frame of a more global research program on faiences, this work focuses on the production of the South West of France, which have only received limited archaeometrics studies over the last years. The manufacture selected is the fabric of Jean Babut established in the city of Bergerac. The production lasted fifty years until the French Revolution. By analysing all the different results, this work establishes the possibility to proceed to the identification of the production site from technical and material standpoints, to establish a reference group based on the chemical analysis and to design a stylistic reference corpus. A non-destructive methodological approach was developed to evaluate the potential of non-destructive methods to reattribute faiences to a center of production. In addition, this work also reestablishes the production of faiences in the local industrial context and in the french production before the Industrial Revolution.

La question de recherche à la base de cette étude soulève le point de la nature paradoxale du canon de représentation égyptien qui démontre, simultanément, une certaine rigidité dans l’application de règles stylistiques et iconographiques établies, particulièrement dans l’art non commandité par l’État, et des preuves de transformation et d’intégration de motifs nouveaux. Partant de cette problématique, l’étude vise à identifier les mécanismes par lesquels ce canon permet, à la fois, l’innovation et le maintien d’une certaine tradition. L’approche est de nature double et consiste tout d’abord à identifier de grandes tendances et discontinuités stylistiques et iconographiques sur les bols de faïence du Moyen au Nouvel Empire. De plus, elle tente de déterminer si les transformations d’ordre sociopolitique et idéologique, survenant à ces périodes, peuvent être lues dans les variations stylistiques et iconographiques trouvées sur les bols de faïence. Après une description du champ conceptuel de la « représentation » en contexte égyptien, l’auteur effectue l’analyse iconographique exhaustive de ce qui constitue l’apport majeur de son étude, un corpus de 500 bols et fragments de faïence provenant de divers sites égyptiens du Moyen au Nouvel Empire. Les données ont été traitées par le biais de la méthode d’analyse iconologique proposée par Panofsky, qui lui permet de dévoiler un grand nombre de continuités et de transformations d’ordre stylistique et iconographique pour les différentes périodes. Plusieurs facteurs semblent avoir été à l’origine de ces transformations, dont la fluctuation entre un contexte de centralisation et de décentralisation politique de l’État, ainsi que l’intégration de motifs étrangers (proche-orientaux et égéens) résultant d’un contact accru entre l’Égypte et les régions voisines. De plus, les transformations idéologiques apportées par le règne d’Akhénaton et par la « contre-réforme » idéologique à la période ramesside, semblent avoir également contribué à des innovations au sein du canon, même si ce dernier maintient une certaine continuité légitimée par le pouvoir étatique. Le canon de représentation, devient ainsi une forme de langage dont l’État se sert et qui, parfois malgré lui, se transforme et fluctue selon les réalités des différentes périodes. / This study’s research question raises the issue of the paradoxical nature of the Egyptian canon of representation which shows, simultaneously, a certain rigidity in the application of established stylistic and iconographic rules, especially in non-state commissioned art, and evidence for the transformation and integration of new iconographical motifs. The study aims to identify the mechanisms by which the canon permits, at the same time, transformative processes and the maintenance of tradition. The approach is twofold and consists primarily in identifying trends and stylistic/iconographical discontinuities in the iconography found on the faience bowls from the Middle to the New Kingdoms. Furthermore, it aims to determine if the socio-political and ideological transformations taking place in these periods can be discerned in the stylistic and iconographical variations found on the bowls of the Middle to the New Kingdoms. The author discusses the theoretical model of “representation” in Egyptian context, followed by an analysis of what constitutes the major contribution of this study: an exhaustive iconographical analysis of 500 faience bowls and fragments originating from various Egyptian sites dating to the New Kingdom. The data was evaluated by means of the method of iconological analysis proposed by Panofsky, which permits the identification of a number of stylistic and iconographic continuities and changes for all periods. These transformations seem to be the result of a variety of factors, including fluctuations in the centralization and decentralization of the state, as well as the integration of foreign motifs (Near-Eastern and Aegean), which results from increased contacts between Egypt and its neighbouring regions. Furthermore, the ideological transformations taking place under Akhenaton’s reign and the ones resulting from the ideological “counter-reformation” occurring during the Ramessid period, equally seem to contribute to the changes in the representational canon, even though the latter maintained a certain continuity that was legitimized by the state. The canon thus emerges as a form of language used by the state, and sometimes despite it, which can fluctuate and be altered depending on the realities of the different periods.

Dans cette étude que je présente, j'ai pris pour appui l'objet céramique de Fès en tant que référence contextuelle depuis l'époque contemporaine de 2012 jusqu'au XVIIe siècle. L'analyse croisée des sources textuelles et des productions, tant sur le terrain que dans les collections muséales ou privées, nous permet de faire toute la lumière sur les productions céramiques de Fès sur plus de trois siècles. La première partie est consacrée aux aspects politiques et sociaux de la réorganisation des corporations artisanales qui ont conditionné les productions sur plus d'un siècle et demi. La deuxième partie porte sur la sémiologie du décor dans la céramique de 1835 à 1675 (période alaouite). Sont d'abord étudiées les formes issues des fonctions alimentaires et des codes sociaux, puis les éléments du décor qui concourent avec la part des nombres, à l'agencement des dessins transcrits selon des codes cachés. Les conclusions de la thèse reposent sur la caractéristique de codes spirituels présents dans les productions anciennes et qui ont disparu au contact des codes de l'économie et de l'industrie européennes. / In this research, I have focused on the ceramic object from Fes as a contextual reference in the contemporary era from 2012 back to the XVII th century. The analysis crossed together with texts and production sources, both on site and with museums or private collections, enlightens us about Fes's ceramic productions over the last three centuries. The first part is dedicated to politic and social factors of the changes in the organization of the art crafts corporations that influenced the productions for over a century and a half. The second part carries on semiology of the decor on ceramic from 1835 back to 1675 (Alawite period). First the research covers the shapes inspired from alimental functions and social codes, then on the elements corresponding to numbers, and transcripts drawn according to some hidden codes. The thesis concludes on the specificities of spiritual codes in ancient productions that have gradually disappeared upon the arrival of the European industrial and economic codes.

La question de recherche à la base de cette étude soulève le point de la nature paradoxale du canon de représentation égyptien qui démontre, simultanément, une certaine rigidité dans l’application de règles stylistiques et iconographiques établies, particulièrement dans l’art non commandité par l’État, et des preuves de transformation et d’intégration de motifs nouveaux. Partant de cette problématique, l’étude vise à identifier les mécanismes par lesquels ce canon permet, à la fois, l’innovation et le maintien d’une certaine tradition. L’approche est de nature double et consiste tout d’abord à identifier de grandes tendances et discontinuités stylistiques et iconographiques sur les bols de faïence du Moyen au Nouvel Empire. De plus, elle tente de déterminer si les transformations d’ordre sociopolitique et idéologique, survenant à ces périodes, peuvent être lues dans les variations stylistiques et iconographiques trouvées sur les bols de faïence. Après une description du champ conceptuel de la « représentation » en contexte égyptien, l’auteur effectue l’analyse iconographique exhaustive de ce qui constitue l’apport majeur de son étude, un corpus de 500 bols et fragments de faïence provenant de divers sites égyptiens du Moyen au Nouvel Empire. Les données ont été traitées par le biais de la méthode d’analyse iconologique proposée par Panofsky, qui lui permet de dévoiler un grand nombre de continuités et de transformations d’ordre stylistique et iconographique pour les différentes périodes. Plusieurs facteurs semblent avoir été à l’origine de ces transformations, dont la fluctuation entre un contexte de centralisation et de décentralisation politique de l’État, ainsi que l’intégration de motifs étrangers (proche-orientaux et égéens) résultant d’un contact accru entre l’Égypte et les régions voisines. De plus, les transformations idéologiques apportées par le règne d’Akhénaton et par la « contre-réforme » idéologique à la période ramesside, semblent avoir également contribué à des innovations au sein du canon, même si ce dernier maintient une certaine continuité légitimée par le pouvoir étatique. Le canon de représentation, devient ainsi une forme de langage dont l’État se sert et qui, parfois malgré lui, se transforme et fluctue selon les réalités des différentes périodes. / This study’s research question raises the issue of the paradoxical nature of the Egyptian canon of representation which shows, simultaneously, a certain rigidity in the application of established stylistic and iconographic rules, especially in non-state commissioned art, and evidence for the transformation and integration of new iconographical motifs. The study aims to identify the mechanisms by which the canon permits, at the same time, transformative processes and the maintenance of tradition. The approach is twofold and consists primarily in identifying trends and stylistic/iconographical discontinuities in the iconography found on the faience bowls from the Middle to the New Kingdoms. Furthermore, it aims to determine if the socio-political and ideological transformations taking place in these periods can be discerned in the stylistic and iconographical variations found on the bowls of the Middle to the New Kingdoms. The author discusses the theoretical model of “representation” in Egyptian context, followed by an analysis of what constitutes the major contribution of this study: an exhaustive iconographical analysis of 500 faience bowls and fragments originating from various Egyptian sites dating to the New Kingdom. The data was evaluated by means of the method of iconological analysis proposed by Panofsky, which permits the identification of a number of stylistic and iconographic continuities and changes for all periods. These transformations seem to be the result of a variety of factors, including fluctuations in the centralization and decentralization of the state, as well as the integration of foreign motifs (Near-Eastern and Aegean), which results from increased contacts between Egypt and its neighbouring regions. Furthermore, the ideological transformations taking place under Akhenaton’s reign and the ones resulting from the ideological “counter-reformation” occurring during the Ramessid period, equally seem to contribute to the changes in the representational canon, even though the latter maintained a certain continuity that was legitimized by the state. The canon thus emerges as a form of language used by the state, and sometimes despite it, which can fluctuate and be altered depending on the realities of the different periods.