This thesis reviews two local collections of ceramics by Nesta Nala between 1985 and 1996. The main text is presented in four chapters. Chapter One outlines the development of Nala's career and discusses the collections of her work outlined in this study. Chapter Two provides a brief overview of Zulu domestic-ware traditions, and outlines the basis of Nala's technology and decorative methods. Chapter Three reviews texts that discuss Nala and her work and then critically examines the application of the term "traditional". Chapter Four interprets Nala's decorative themes of examples in the Durban Art Gallery and University of Natal collections. An attempt is made to contextualize genres of Nala's work represented in these collections on the basis of their intended market destinations. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1997.

This dissertation considers nature imagery in selected South Afiican ceramics and printmaking. The main focus is on ecological issues in recent art productions. The text consists of five chapters. The first examines the ideologies of Fritjof Capra in relation to issues about deep ecology and ecofeminism; this chapter seeks to clarify the scope of the words 'land' and 'landscape' as used in a late 20th century context. The second chapter examines some historical works and ideas that have influenced perceptions of nature imagery in South Afiica. Chapters three, four and five constitute the main body of the thesis, and examine nature imagery in selected examples of contemporary printmaking and ceramics. Chapter three investigates selected landscape images ofceramist Esias Bosch and printmakers Gerda Scholtemeijer and Kim Berman. In chapter four the focus is on the flora as the point of reference. Prints of Gerhard Marx, Douglas Goode, EIsa Pooley and Karel Nel, who were all participants in the Art meets Science: Flowers as Images exhibition, will be examined. Important issues such as the separation ofbotanical and fine art, and art and science will be discussed with reference to their work. This will be followed by discussion of works of Susan Sellschop (a ceramic mural) and Bronwen Jane Heath (a wood engraving) in order to demonstrate the different intentions and outcomes ofthese to artists. Three dimensional works of the three ceramists, Lesley-Anne Hoets, Samantha Read-and Katherine Glenday are discussed in the final section of chapter four. Chapter five examines the interrelationship oflandscape and land. This chapter comprises two main sections. The first deals with aspects of landownership in South Africa reflected in recent ceramics and printmaking. Examples of the work of Marion Arnold and Ellalou O'Meara reinterpret images of early explorers and colonists situating them in a contemporary arena, demonstrating connections between past and present. Landownership is the overt subject in the Fee Halsted Berning, whose ceramic relief panel reflects a different perspective of landownership from the prints ofthe Schmidtsdrift artists. The second section surveys work of four artists whose images draw attention to ecological matters. Wendy Ross, Diana Carmichael, Marion Arnold and Carol Hofrneyr create images that higWight different aspects of the fragile balance of nature. / Thesis (M.A.) - University of Natal, Pietermaritzburg, 2000

In this dissertation the incorporation of cross-cultural imagery and its assimilation is focused on the work of Maggie Mikula, a ceramist from KwaZulu-Natal. Producing within the 1970's and 1980's. her work is investigated within the historical context of the socio-political background of South Africa. Syncretism in the visual arts reflects problems associated with identity and authenticity and this dissertation analyses these issues. A reference is made to select artists and ceramists in South Africa who approach their work in this manner, in particular with reference to the influence that Maggie Mikula has had in their work. Chapter One discusses the history of borrowing in South Africa citing examples of work by artists including amongst others Walter Battiss, Alexis Preller and Cecil Skotnes. This is based around the broad political and ideological relationships in the country that framed local art making. The assimilation and the breakdown of barriers in African/western art in a South African context is argued through a post-colonial reading. The chapter deals with the problems of borrowing related to appropriation and stereotyping from a postmodernist perspective. Chapter Two introduces the history of South African ceramics examining its development and styles, focussing on changing premises within the medium. The second part of the chapter positions Mikula's work, interests, personal history and ideals. Chapter Three deals with the development of Mikula's ceramic work, referring to her technology, processes and sourcing. The reception of Mikula's work and the attitudes to cross-cultural assimilation in the 1980's, as well as current perceptions are addressed in Chapter Four. Her influence on this creative medium is shown with specific examples. Personal interviews attempt to contextualise her position and situate her within the ceramic world. Acknowledging that there is a wealth of collections through out South Africa, the ceramic work predominately researched for this paper is from KwaZulu-Natal. It has been sourced both from the immediate family, and from individual collectors, as this was the site of her production. Other collections have been accessed from around South Africa including the Corobrik collection in Pretoria (of which there are two pieces - one which is broken), the large piece is documented photographically (see Fig.22) and referred to on Page 66. The Nelson Mandela Museum, Port Elizabeth, (accessed on-line and via photographs from the artist's records) has a notable collection, but given the nature of this research, these pieces do not demonstrate any significant features over and above those that were already sourced. This paper is not intended as a catalogue, but is meant to show a variety of Mikula's work to demonstrate her influence and style. Each piece is chosen for its specific aspects and unique features that would support this research. Given the nature of this investigation, the author has been obliged to read widely, including writers such as Berman, Sacks, Cruise and the complete edition of APSA newsletters and magazines to give a comprehensive over view of the changes in style and influence within South African art and specifically, ceramics. / Thesis (M.F.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.

MENDES, Francisca Raimunda Nogueira. A louça de barro no Córrego de Areia: tradição, saberes e itinerários. 2009. 198f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2009. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-04-14T15:28:20Z No. of bitstreams: 1 2009_tese_frnmendes.pdf: 5668042 bytes, checksum: 2b046efafb9c53a3bdeac7a5dd2cab94 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-04-15T13:51:07Z (GMT) No. of bitstreams: 1 2009_tese_frnmendes.pdf: 5668042 bytes, checksum: 2b046efafb9c53a3bdeac7a5dd2cab94 (MD5) / Made available in DSpace on 2015-04-15T13:51:07Z (GMT). No. of bitstreams: 1 2009_tese_frnmendes.pdf: 5668042 bytes, checksum: 2b046efafb9c53a3bdeac7a5dd2cab94 (MD5) Previous issue date: 2009 / A teia de relações sociais que constitui a produção artesanal de louça de barro do Córrego de Areia, localidade no município de Limoeiro do Norte, CE revela a interação das louceiras com instituições como a Central de Artesanato do Ceará (Ceart), além das feiras e dos compradores avulsos mostrando os vínculos que elas têm com os poderes socialmente estabelecidos, ficiais, mas principalmente aponta para as polifonias existentes no interior do próprio lugar, onde questões de gênero, conflitos entre as famílias e interferências de instituições ultrapassam a dimensão física dos objetos. Fazer louça de barro não é uma atividade que possa ser entendida apenas do ponto de vista comercial. Um olhar mais atento sobre o cotidiano da produção apresenta as visões de mundo, o imaginário, os arranjos sociais, enfim, a arte de quem a faz. Enquanto modelam seus objetos, os artesãos moldam as próprias vidas, num processo constante de criação e recriação de seu universo cultural particular. O dia obedece a uma continuidade de afazeres que são organizados a partir das necessidades dos artesãos, não estando seu tempo subordinado ao relógio, como ocorre na produção industrial urbana. Portanto, a produção artesanal só pode ser entendida se a consideramos como um palco de disputas por recursos públicos, pelos bens materiais e, sobretudo, como pelos bens simbólicos, caracterizando assim uma luta pelo poder que é expressa no desenrolar do próprio cotidiano das louceiras. Apesar de serem conhecidas dentro e fora do Córrego de Areia, como “as louceiras”, essas mulheres não podem ser pensadas como uma categoria só, que denote unidade, pois têm histórias de vida, visões de mundo e interesses diversos, que as impedem de estabelecem uma identidade única. A observação no cotidiano e as falas revelaram que diferentes identidades, guiadas por diferentes redes de sociabilidade descritas anteriormente, que orientam a ação social diária das louceiras.

Résumé en français<p>Le sujet de notre thèse de doctorat consiste en l’analyse du corpus céramique issu des fouilles de Mazar, une zone située sur le Rempart Sud du site de Mahasthangarh au Bangladesh, qui se sont déroulées de 2001 à 2011. Toutefois le matériel étudié comprend la poterie découverte de 2006 à 2011. <p>Trois périodes chronologiques ont été individualisées sur base de datations au C14, de structures construites et de monnaies :les niveaux anciens de l’époque Maurya, les niveaux intermédiaires des époques Shunga, Kouchane et Gupta et les niveaux supérieurs de l’époque post-Gupta à la conquête musulmane au début du 13ème siècle, aussi appelée Early Medieval Period. <p>Les objectifs consistaient à établir une chrono-typologie pour chacune des trois périodes de manière à mettre en évidence les variations de productions et de formes d’une époque à l’autre et de comparer les résultats de Mahasthangarh avec ceux d’autres sites de la région du Bengale.<p>Pour atteindre le premier objectif, les critères retenus sont directement liés au principe de la chaîne opératoire qui consiste à identifier, au travers de l’analyse du tesson, les étapes qui ont conduit au résultat final (sélection et préparation de la matière, façonnage, finition et décoration, cuisson). <p>Les résultats de l’analyse relative aux niveaux anciens ont montré que le corpus céramique était composé de divers groupes de Red Wares dont les différences résident dans la finesse de la pâte et le traitement des surfaces, de céramiques grises et de Fine Black Slipped Ware identifiées par les anciens céramologues à de la Northern Black Polished Ware. Au sein de ce dernier groupe, certains tessons de fond et de panse arborent un décor ‘rouletté’. L’assemblage présente des productions et des formes similaires au reste du Bengale. Le matériel des niveaux intermédiaires est trop fragmentaire pour que l’on puisse en tirer des conclusions sur un assemblage typique. Nous retrouvons les mêmes productions que lors des niveaux précédents avec cependant une diminution de la céramique fine. <p>En revanche, les niveaux supérieurs témoignent de l’établissement progressif aux alentours des 6ème et 7ème siècles d’un nouveau faciès céramique composé de céramiques communes (Medium Red, Red-Buff, Grey Wares) dont le répertoire formel est presque identique, et de céramiques à pâte plus fine et avec un engobe de couleur rouge ou gris-brun. L’assemblage évolue très peu au cours de la période et c’est seulement au tournant des 12ème-13ème siècles que nous assistons à une augmentation de la production des céramiques fines engobées. Les niveaux supérieurs ont également livré des tessons de céramique à glaçure turquoise et de la céramique chinoise (céladon des ateliers de Longquan et porcelaine des ateliers de Jingzhen et Dehua) datés de la même période. La comparaison avec les autres sites du Bengale ont démontré que la céramique de l’Early Medieval Period présentait des caractéristiques communes au niveau des techniques de fabrication (assemblages d’éléments façonnés séparément) et de décoration (incision, application, estampage), tout comme pour le répertoire morphologique au sein duquel les mêmes catégories formelles ont été identifiées. Toutefois, certaines différences d’ordre stylistique entre les productions nous permettent d’affirmer que des faciès locaux existaient. /<p>Summary in English<p>The subject of my PhD comprises the analysis of the corpus of pottery discovered during the excavations in Mazar, an area on the southern Rampart Mahasthangarh site in Bangladesh, which took place from 2001 to 2011. However, the studied material includes pottery discovered from 2006 to 2011.<p>Three time periods were individualized based on C14 dates, on the built structures and on the coins: former levels of the Maurya period, the intermediate levels of Shunga, Kushan and Gupta periods and superior levels of the post-Gupta period to the Muslim conquest which took place in the early 13th century, a period also called Early Medieval Period.<p>The goals were to create a chrono-typology for each of three periods in order to highlight the variations of wares and forms from one period to another and to compare the results of Mahasthangarh with other sites in the Bengal region.<p>To achieve the first objective, the criteria are directly related to the principle of the operating chain of identifying, through the analysis of the shard, the steps that led to the final product (selection and preparation of the material, shaping, finishing and decoration, cooking).<p>The results of the analysis relating to former levels (Maurya period) showed that the ceramic corpus was composed of various groups of Red Wares whose differences lie in the fineness of the clay and surface treatment, of Grey Wares and of Fine Black Slipped Ware identified by some ceramologists in the Northern Black Polished Ware. Within this latter group some body-shards and bottom-shards wear a “chattered” decoration. The assemblage includes same kind of wares and shapes than the rest of Bengal. The material of intermediate levels is too fragmented so that we can draw conclusions on a typical assemblage. We find the same pottery as in previous levels but with a reduction in the fine ceramics.<p>On the other hand, superior levels testify to the gradual establishment of a new ceramic facies, around the 6th and 7th centuries, which is composed of common pottery (Medium Red Ware, Red-Buff Ware, Grey Ware) with almost same shapes, and pottery made with finer clay and a red or brown-grey slip. The assemblage changes very little during the period and it is only at the turn of the 12th to 13th centuries that we are seeing an increase in production of fine slipped wares. The higher levels have also delivered turquoise glazed ware and Chinese ceramic shards (celadon from the Longquan workshop and porcelain from Jingzhen and Dehua workshops) dated to the same period. Comparisons with other sites of Bengal have shown that the ceramic of Early Medieval Period had common characteristics in terms of manufacturing techniques (joining of several elements shaped separately) and decoration (incision, application, embossing), as for morphological répertoire in which the same formal categories were identified. However, some differences between the stylistic productions allow us to state that local facies existed. <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

La présence de la sigillée gauloise en Transpadanie occidentale est connue de longue date par les chercheurs locaux, mais cela reste peu connu à la fois aux niveaux national italien et international. On en ignore surtout la portée. Un pourcentage de sigillée gauloise très important découverte dans chantiers de fouille immédiatement à l’intérieur de l’enceinte romaine de Turin, a modifié cette perspective. Il est apparu que les sigillées gauloises ne pouvaient plus être considérées comme une présence sporadique, ni comme le résultat de réapprovisionnements destinés exclusivement aux classes les plus aisées, mais constituaient un indicateur économique important. De cette constatation est née la nécessité de reprendre l’examen des attestations de sigillées gauloises en Transpadanie occidentale dans leur ensemble, y compris par comparaison avec la situation d’autres réalités de l’Italie du Nord, avec l’objectif d’établir non seulement la provenance du vaisselle, mais aussi des routes commerciales empruntées. La voie principale d’approvisionnement de toute la Cisalpine a été le Pô. Huile, vin et garum, atteignent les marchés transpadanes et de la Ligurie interne par voie fluviale, partant des côtes adriatiques et orientales et aussi depuis la péninsule ibérique. Le choix d’utiliser la diffusion des sigillées de la Gaule centrale en tant que fossile directeur pour reconstituer l’existence d’une voie de circulation commerciale en Cisalpine d’ouest en est naît de l’idée que l’on est en présence de produits qui ne disposent plus d’un réseau de distribution méditerranéen, alors qu’ils se concentrent en revanche en Europe continentale et en Bretagne. / The presence of the Gaulish Terra Sigillata in Transpadana has been well known for a very long time by local researchers, but on an Italian national and an international level, it is hardly known. Most importantly, its extent has been ignored. A very important amount of Gaulish Terra Sigillata, discovered on an excavation site immediately close to the city wall, inside and outside the Roman settlement of Turin, radically modified this idea. It has very quickly become apparent that the Gaulish Terra Sigillata cannot be considered as a random find any more, nor the result of supplying intended exclusively to the upper classes, but constituting a rather important economic indicator. From this observation, the need to re-examine the evidence of Gaulish Terra Sigillata in western Cisalpine is clear, including the need to compare the situation with others in northern Italy, with the aim to establish, not only the provenance of the crockery, but also, above all, the trade route that was used. The main trade route in the whole of Cisalpine Gaul was the river Po. Oil, wine and garum reached the markets of Transpadana and internal Liguria by waterway from the Adriatic and eastern coasts and, probably also, from the Iberian Peninsula. The decision to use the Terra Sigillata of central Gaul as a type fossil to reconstruct a circulation route from the west to the east of Cisalpine, with more or less distant provenances, was based on the consideration that these products didn’t use the Mediterranean distribution network any more, but actually they concentrated on continental Europe and Brittany.

L’alabastre attique est une forme de vase à parfum en céramique produite à Athènes entre le milieu du VIe s. av. J.-C. et le début du IVe s. av. J.-C. L’objet de cette thèse est de présenter une étude globale, inexistante à ce jour, sur l’alabastre attique. En plus d’un examen typologique de la forme, généralement mené dans le cadre de ce type de recherche, nous avons voulu proposer une lecture économique, culturelle et sociale de l’alabastre.<p><p>La première partie de cette thèse est consacrée à l’identification de l’origine de l’alabastre et à sa diffusion en Méditerranée orientale. L’alabastre est originaire d'Égypte, où les premiers exemplaires en albâtre se développent à partir du VIIIe s. av. J.-C. Après avoir tracé son évolution morphologique, la thèse met en évidence les diverses régions de la Méditerranée orientale telles que le Levant, la Mésopotamie ou la Perse, où la forme est exportée et copiée, le plus souvent par des ateliers qui produisent des vases en pierre. Cette première partie met également l’accent sur le statut particulier de l’alabastre en pierre en Orient et en Égypte, où il restera longtemps associé au pouvoir royal ou aristocratique. Elle traite enfin de l’apparition de l’alabastre et de son statut dans le monde grec oriental. Ces importations déclenchent une réaction presque immédiate chez les artisans de ces régions qui produisent des alabastres en argent, en verre, en faïence, en ivoire, en bois et en céramique.<p><p>La seconde partie de cette étude aborde la production de l’alabastre attique en céramique qui s’étend du VIe s. av. J.-C. au début du IVe s. av. J.-C. Un premier chapitre est consacré à l’étude de son introduction dans le répertoire formel au milieu du VIe s. av. J.-C. par l’atelier d’Amasis et aux inspirations probables de cet artisan. Cette section s’est également penchée sur le difficile problème des phases de la production et de l’organisation interne des différents ateliers. Pour ce faire, nous avons élaboré une méthode d’analyse basée à la fois sur l’examen minutieux du travail du potier grâce aux variations dans les profils des vases et sur les données obtenues par les études ethno-archéologiques pour tenter de différencier les alabastres produits au sein d’ateliers différents et d’identifier, quand cela s’avérait possible, différents potiers au sein d’un même atelier. Cette étude formelle a distingué trois phases différentes de production qui présentent des caractéristiques typologiques distinctes. L’examen de l’organisation interne des ateliers a également mis en évidence les caractéristiques morphologiques des vases et a identifié les potiers les plus importants. L’examen attentif des pièces céramiques a permis de regrouper au sein d’un même atelier des artisans dont les liens étaient jusqu’alors insoupçonnés. Enfin, la deuxième partie se clôture par une analyse de la carte de distribution des alabastres attiques<p><p>La troisième partie de ce travail porte sur la fonction et les différents usages de l’alabastre sur base des sources littéraires, épigraphiques, iconographiques et archéologiques. Cette section se penche plus particulièrement sur l’identification des utilisateurs privilégiés des alabastres. En effet, de nombreuses études lient, de manière presque systématique, l’alabastre au monde féminin. Ce propos mérite d’être nuancé car, si le vase apparaît à maintes reprises dans des contextes féminins tels que ceux de la toilette et de la parure, il ne constitue pas exclusivement un symbole du monde des femmes. Cette troisième partie met en évidence le fait que l’alabastre est également utilisé dans un grand nombre d’autres contextes, notamment rituels, et représente souvent un symbole de luxe et de raffinement à l’orientale. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

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.

The Rorke's Drift Art and Craft Centre is examined in its historical context. In order to place the pottery workshop in the context of the Evangelical Lutheran Church (ELC) Arts and Crafts Centre, the history of the centre's other workshops, Fabric printing and Weaving as well as the Fine Art School will be compared and contrasted. The pottery workshop is investigated and compared with the printmaking of Rorke's Drift. A selection of Rorke's Drift ceramics from the Durban Art Gallery's collection has been selected and examined to determine some of the stylistic changes that have occurred in the Rorke's Drift Pottery studio from 1970 to 1994. Fifteen works appear in an illustrated catalogue which examines the imagery and stylistic content of each work. The similarities between the prints of Rorke's Drift artists and the ceramics are explored; gender issues are analysed. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005

Artefacts acquire/embody migratory meanings according to contexts of raw material manipulation, use, discard and discourse. First-Millennium Agriculturist ceramics and concomitant private and public significances/use values are placed within aspects of a deep past Stone Age history of space and artefact usage in the Eastern Cape, South Africa. Some thought paradigms and cultural contexts are examined as having directly influenced discourse, what artefacts were foregrounded, and in which manner writers of southern African prehistory considered them. Thereafter ceramic artefacts and associated technologies are focussed upon as being intimate to personal/ community lifeways and worldviews. Domestic and ceremonial utilityware, figurines and masks, as well as clay usage in homebuilding and metalworking, and urges to apply a mark to malleable clay, or deliberately alter and/or bury ceramic artefacts; are explored as manifestations of medium and usage well suited to regularly reconfigured meanings . / Art History, Visual Arts & Musicology / M.A. (Art History)