Category Archives: Pottery

Pottery Pieces from Antiquity


Kanto, Japan   3500 BC-2500 BC  ( Met Museum )

Ceramics from archaeological digs have traditionally played a vital role in the development of chronological sequences, with relative dating techniques such as typology, stratigraphy and seriation all used extensively. Direct radiocarbon dating of pottery is relatively uncommon due to the presence of carbon sources with differing ages, for example geological carbon remaining in the clay after firing, added organic temper, carbon from the fuel of the kiln and exogenous contaminants absorbed from the burial environment

A more promising source is provided by lipid residues absorbed into the pot wall, since these should relate directly to periods of use (Heron & Evershed 1993).An increasingly wide range of organic commodities has been identified from lipidic components of archaeological pottery, including those derived from beeswax, birch bark tar, degraded animal fats, plant oils and marine oils. Lipids absorbed within pottery are excellent candidates for routine C dating as they are widespread at most archaeological sites and often occur in high abundance. Lipids have fast metabolic turnover rates which ensure ages close to the date of death of the organism.

Some of the  renown antiquated pottery items from various Museums are displayed below. This is not presented in chronological order.



 Louvre Cyprus Jug 1230BC

Cyrprus Jug 1230BC Lourve




Ceramica,_vase_ansato Fiesole Archaeological Museum Italy




Artémis_Orthia_protomés National Archeological Museum Athens




3500BC Ancient city of Girsu Iran Vase_Telloh_Louvre




Bushel_ibex_Louvre_4200 BC Susa Iran




Mayan Pottery Figure



Chinese Pottery

Chinese Vase Shanghai Museum




Hallstatt Culture Vessel 10TH-6TH BCE



China Majiaoyao painted pottery




Ancient Ceramic Mask

Female Mask 5th-2nd Million BC

( Iraq Museum )



Jug_Louvre Cyprus

Jug Louvre – 1230bc Cyprus



Ancient Andes Pottery

Andean Ceramic Vessel Peru

( Minneapolis Institute of Arts )



Tang Dynasty Vase

Tang Dynasty Vase 618-907 AD




Terracotta_Skyphos_(Deep_Drinking_Cup) 4th century Greece



Keel shaped terracotta vase

Keel-shaped vase with wading birds and birds with open wings.

Terracotta, Susa I (4200–3800 BC), found in the necropolis of the Tell of the Acropolis.

Lourve  Museum


Andean Double Spout Vessel 900-200 B.C

( Minneapolis Institute of Arts )



Vase with four lobed body, Persia, 1100-1300



Menkaure and wife, egypt, 2500 BCE



Ancient Chinese Jug  ( Shanghai Museum )



From Iraq
9th century AD

This dish has been stamped with a rhyming couplet in four lines of Kufic script. The lines are from the Umayyad poet Muhammad Bashir ibn al-Khariji:

‘Do not abandon hope, long though the quest may endure
You will find ease of heart, if only you are patient.’

( British Museum )



Chinese Ceramic Figurines, Shanghai Museum

Shanghai Museum

Shanghai was once known as the “Paris of the East “ due to it being the first  cosmopolitan city in China. The city  is now home to a Museum recognized as one of the best in China. It has over 120,000 items on display and I’m impressed with its collection of ceramic figurines so  I’d like to feature some of them here.
Tang-PolychromeGlazedFigurineThe Qin (221-206B.C.) and Han (206B.C.-220A.D.) dynasties are noted for the high quality and large numbers of pottery figurines they produced. In 1974 the famous terracotta warriors and horses of Qin Shi Huang (the First Emperor of the Qin) were discovered just east of his mausoleum. The excavation is still going on, and Vault No.1 alone is expected to yield 6,000 of them. The life sized figures of men and horses are in neat battle formation, with the men holding real bronze weapons of the time and reflecting the formidable might of the legions of the First Emperor.
It was a common practice to place figurines in tombs, especially with the Emperors. This actually replaced the practice of burying living people ( servants , court attendants ect. }with the Emeoror. Vast numbers of figurines, dating from the Warring States Period(475-221 B.C.) down to the Ming(1368-1644), have been discovered..
They are of various designs but most are made of pottery and porcelain, next came wood and lacquer, and occasionally jade. They represented  people of different status and walk—court officials, generals, cavaliers, attendants, musicians, dancers and acrobats. As a rule, they were nicely modeled in different postures, constituting a valuable part of China’s ancient art.
With the flourishing of ceramics during the Tang, Song and Ming dynasties (10th-17th century), the tomb figurines of this long period, among which the “tricoloured glazed pottery of the Tang” are world-famous. Out of the ancient tombs of Xi’an and Luoyang has  unearthed many colour-glazed females, horses and camels. Noteworthy especially are the pottery camel drivers with their deep-set eyes, protruding noses and hairy faces, evidently Central Asians who plied the Silk Road with their caravans. The “tricoloured Tangs” represent in effect a special handcrafted art catering solely to the funerary needs of the aristocracy at the heyday of China’s feudalism.
GlazedFigurineOfWomanWithParrot painted_figure_of_an_infantryman



Statue of Heavenly Guardian

Kuan Yin Statue

Kuan YinFigurine man on horse Shanghai Museum


Eastern Han-Green Glazed Pottery Duck

Silk -road-trader

Silk Rd Trader on a camel

Tang Woman

Man with cucumber

Man with cucumber

Tang Dynasty

Tang Dynasty Horse

Green Glazed Pottery Dog

Japan pottery lineage of Hamada Tomoo

It is interesting to observe that Japan has about thirty potters that are considered National Treasures and as such their pieces can command a high price. A pottery piece in Japan can be valued as highly as a framed painting.  From a collecting perspective, any signed piece from any of the Japanese potters with a family lineage  is usually worthwhile. Pottery from the Edo period or from the famous pottery centers is also collectible.
The Japanese potter, Hamada Tomoo continues to evolve  his families techniques, using their legendary Mashiko kiln, in new directions with his original designs using traditional materials.
Hamada Tomoo  is the grandson of Hamada Shoji, a Japanese  “National Living Treasure” and the major figure of the mingei folk-art movement.
 Tawara vase – Tomoo Hamada



As stated by Japanese Art historian, Andrew Maske  :


“The world of traditional ceramics in Japan naturally places great emphasis on lineage. Lines of potters that began in the late sixteenth or early seventeenth century are now in their fourteenth or fifteenth generations.  A lineage of only three generations may seem insignificant by comparison, but  the Hamada family makes it clear that it is not the length of the line that is most important, but rather the quality of the work.“  Hamada Tomoo’s pottery utilize essentially the same materials as those of Hamada Shinsaku(his father) and Hamada Shoji (his grandfather ) – glazes like reddish brown kaki, brown tenmoku, cobalt blue, white rice straw ash, bluish-white namako, green seiji, black kurogusuri, creamy nuka, translucent namijiro, and runny-green wood ash, all used to cover a speckled tan clay dug and formulated right in Mashiko”.
“Unlike his elders, however, Tomoo has become much more daring in the use of unconventional shapes, extensive application of overglaze enameled decorations, and surface textures. In particular, his tiered flasks  are very progressive, and unlike anything seen before in a mingei genre. It is clear that Tomoo has been looking beyond the works of his forebears, examining works from the early English Arts and Crafts movement, and even from art nouveau.”



Shoji Hamada ceramic bottle
Mashiko Museum of Ceramic Art



Shoji-Hamada square bottle
 Shoji Hamada
Below are some pieces created by Hamada Tomoo reflecting quality and innovation :

Salt Glaze Bottle – Tomoo Hamada



Mashiko Plate Hamada Tomoo
 Tomoo Hamada plate



Mashiko Plates Hamada Tomoo
 Tomoo Hamada



Hamada Tomoo Ceramic Plate

Mashiko woodfired plate – Tomoo Hamada



Hamada Tomoo Mashiko Cearmic  plate with alternate green and brown concentirc circles Mashiko Plate Tomoo Hamada

( Robert Yellin Gallery )



Tomoo-Hamada---Vase japanese




 Mashiko Guinomi-Sake Cups

Mashiko Guinomi Sake Cups



tomoo-hamada-ceramic vessel

Tomoo Hamada



3 Mashiko Guinomi-Sake Cups Hamada Tomoo  Mashiko Guinomi Saki Cups



Hamada tomoo cearamic jarHamada Tomoo Mashiko Henko jar


Hamada Tomoo Chawan's

Two chawans – Tomoo Hamada




Blue bottle – Tomoo Hamada

Tomoo Hamada Vase Tomoo Hamada Vase, Black glaze with akae decoration stoneware




Tomoo Hamada Footed Bowl Tomoo Hamada Footed Bowl Salt glaze stoneware Pucker Gallery



Stoneware Vessel – Matsuzaki Ken


Tomoo Hamada



 Kaki glaze with akae decoration on large plate in brown, white and black by Tomoo HamadaLarge Plate, Kaki glaze with akae decoration – Tomoo Hamada




Tomoo Harada Japanese vase



Japanese white glazed vase with akae decoration

White glaze vase with akae decoration Tomoo Hamada



Shoji Hamada :



Faceted vase and lidded jar- Shoji Hamada





Shoji Hamada





Hamada show –  Asahi Beer Oyamazaki Villa Museum Kyoto, Japan

Saimo_mx70 flickr





Hamada Shoji–salt glaze bottle

The Horio Mikio Collection






Shoji Hamada teapot





Hamada Shoji ash glaze bowl with inlay and iron black painted decoration


The Horio Mikio Collection Asian Art




Covered Jar,-Tetsue brushwork,-1945,-Stoneware

Stoneware covered jar, Tetsue brushwork  – Shoji Hamada






Shoji Hamada




Clay abuse or tuff love ?

Simon Leach- moisturising hardish clay tip !

This is a simple but effective way to bring back your clay into a more usable / kneadable / throwable state .


Another moisturising tip  ( for the hands ).

According to the Ayurvedic classic ” Charaka Samhita “, the cure par excellence for an excess of Vayu ( wind element ) is Til oil. Traditional Chinese Medicine claims the same  fact :  Sesame oil ( Til ) helps to pacifiy Feng ( wind element ).

So how is this related to curing dry hands developed  from making pottery? Well, any exposure to cold or local air movement or physical straining will agitate the Feng and can  lead to skin dryness. The reason sesame oil is the most effective  to alleviate dryness is because it is highly water soluble and penetrates deeply into the skin.  Sometimes it becomes absorbed within a few minutes of applying.  It also possesses  a high quality Yang Chi.  Sesame seeds as old as 3000 years have been discovered still intact, indicating a powerful life force ( Chi ) ). This gives the oil rejuvenating qualities.

So applying Sesame oil on a regular  basis will go a long way to helping  the skin stay supple. Always use oil that is warmish in temperature and preferably organic.

Another point worthy of mention is that the Feng can cause dryness of the joints, which combined with dampness can lead to arthritis. Once again, application of sesame oil naturally lubricates the joints and is effective in preventing this ailment.


Feng Shui Pottery: wind, water, clay.

Feng-shui harmony

Chinese Feng Shui Baqua



 Home and office feng shui :



 Feng Shui Harmony 


Feng shui is basically  the practice of achieving harmony with the elements and the environment through proper placement and arrangement of space and matter. The above Baqua represents the interactive nature of the 5 elements in nature.  As earth is obviously the element connected with pottery , I will only analyse this element and the elements directly influencing it.
Firstly Earth occupies the centre of the Baqua. Why?  Because all the other elements are born from this element and of all the elements, it is the most stable and capable of bringing balance.
The elements of Fire, Metal, Water and Wood  are respectively represented by the seasons Summer, Autumn, Winter, Spring  but Earth is seemingly missing. However, on the cusp of each season change for a period of one  month the element changes to Earth. At this time both the external elements and our internal elements go back to Earth for rebalancing. Interestingly, all the elements are employed in the creation of pottery:  earth clay, water, wood or gas fire, wood and metal tools and metal kiln.
According to the 5 Element interrelationships, Earth is nurtured by Fire but controlled by Wood. As all pottery and ceramics are fired in a kiln their earthiness is enhanced in the process.



Porcelain Red Dragon ErnLidded dragon jar



So in a practical Feng Shui application, if an offiice has an abundance of  Wood ( desk, bookshelves, cabinets ), as this element fuels creative/expansive energy and  feeds nervous energy, an excess can lead to  tension. The presence of Earth will help to calm this element. ie. some of the Wood energy is absorbed by the Earth by virtue of the Wood controlling it. So the presence of a stone statue or a large ceramic vase or pottery will pacify the wood and bring harmony.
The central region of a house is where the Earth element prevails, so displaying vases, ceramic figurines and sculptures in this area is also useful. Using a blend of earthy tones and yellows for color also contributes to the Earth harmony and  having this space sparse and  uncluttered is supportive.





Feng Shui in the bedroom 



Likewise, as the bedroom features wood, ( bed, wardrobes, drawers ) , the presence of the  Earth Element assists in pacifying the Wood Element and can actually assist in a more peaceful sleep. Also the use of candles or oil lamps will help to rejuvinate the Earth element which could become exhausted trying to absorb excess Wood energy. Placing a large, heavy ceramic vase or sculpture ( preferably with gentle curved lines ) on the bedside table can aid relaxation.
Dried flowers in a vase  will attract a depleted chi ( energy ) so this would not be advisable for the bedoom or central region of the home. Also, leaving stagnant water in a vase creates a negative chi. (Sha chi )
Trees and plants  with rounded leaves such as  the Oak tree ( traditionally regarded as sacred ) and the Jade plant, are recognized as having a good Feng Shui influence. This is because the round shape is seen as being all inclusive, expansive and compassionate. As opposed to a pointed leaf which creates Sha Chi due to it  being exclusive and contracting, They are ideal for the central Earth sector.
 As the bulk of pottery and ceramics are created on a pottery wheel, they posses curved lines which also  create a great Feng Shui chi and their innate symmetry also favours positive chi. Sharp, protruding corners and edges also create Sha Chi but are sometimes unavoidable so a round sided pot in close proximity can help counteract this.
The presence of water features ( fishtank, fountain ) in the Earth centre of your home is also problematic. Earth controls water ( just like a dam ) so this can weaken the Earth element. Favour features like marble coffee tables and red sculptures
Sometimes it’s difficult to determine the position of the peripheral elements but it generally easy to determine the location of the Earth in the centre. Getting the Earth element established is the first step towards creating harmony in your home.


Korean Blue Flared Vase


Yellow Porcelain Dragon Vase with flared mouth



Japanese Courtyard Garden

Porcelain Red High Relief Diety VaseRed high relief deity vase


Chinese Blue & White Vessel – Gao Zhen Hua


Four footed Chinese vaseFour Footed Pillow Vase

Théodore Deck

Feng-shui garden landscape

feng shui garden landscape

19th century Chinese porcelain

19th century Chinese porcelain jar with lid


Oriental stone pagoda

Chinese Carved Tianhuang Stone

Chinese Carved Tianhuang Stone

Martin McWilliam

Martin McWilliam

Chinese Imari Style Covered pot

Chinese Imari Style Covered pot

Huaqing Hot Springs

Huaqing Hot Springs

Chinese Famile Yellow Porcelain

Chinese Famile Yellow Porcelain

Double Happiness Teraccotta Teapot

Double Happiness Teraccotta Teapot

Late Qing Dynasty vases

A pair of Late Qing Dynasty Landscape Kwai mouth bottles

( )

Jon Anderson Turtle

Jon Anderson Turtle

Chinese Carved Kuan Yin

Chinese Carved Kuan Yin


Peng  Jingqiang  

Porcelain art of some traditional Feng Shui symbols for prosperity, luck and health by Chinese ceramicist Peng  Jingqiang who studied at the Jiangxi Jingdezhen Ceramic Institute.

Peng Jingqiang Bamboo

Peng  Jingqiang – Bamboo

Peng Jingqiang Butterfly Lotus

Peng Jingqiang  – Butterfly Lotus

Peng Jingqiang Sonfhe Figure

Peng Jingqiang  – Sonfhe Figure

Peng Jingqiang Leaves-cicada

Peng Jingqiang – Leaves cicada

Peng Jingqiang Magnolia

Peng  Jingqiang  Magnolia

Peng Jingqiang Murmer

Chinese porcelain plate by Peng  Jingqiang  – Murmer

I wish Antu vase by Peng Jingqiang

I wish Antu vase by Peng  Jingqiang

Embroided Clear

Hydrangea Embroided Clear – Peng  Jingqiang

Silver Wood River by Peng Jingqiang

Silver Wood River  by Peng  Jingqiang

Porcelain vase Monkey Figure Peng-Jingqiang

Porcelain vase Monkey Figure – Peng Jingqiang



pottery wizard master pottery extruder.

At the age of 21, David Hendley decided his career path was to be a professional potter. His clayart trajectory took him from Big Clay Pottery in California, to having a studio at Clay Suppliers in Dallas, to selling his wares on the art fair circuit across the U.S . He finally wound up at the Old Farmhouse Pottery in Maydelle Texas, which he set up as a pottery studio and shop in 1980. All the pottery he produces here is made in a wood fired kiln and he exploits clay extrusion techniques to great effect.

David’s pottery is both refined and amusing. His dancing vases look like they have been waiting eons to be liberated from their rigid symmetrical verticals. I’m not sure if  it’s his background as a musician or his wizard scorcery that gets his “apprentice” vases to look so animated. All pots are fired at 2400f , making a hard , durable surface with rich colours and David formulates and mixes all the clays, slips, colors, and glazes. The results he achieves are multi coloured glazes leaning towards an oriental style and each piece he creates is an original.

Lidded vase, white slip and cobalt-green glaze

Lidded vase, white slip and cobalt-green glaze

pottery  canisters

wood fired kiln stoking

Stoking the Kiln

Pottery Extrusion Class

Asymmetrical gourd bottles

Asymmetrical gourd bottles

dinnerware tenmoku plates

pottery  spire jar

A spire jar made using clay extrusion.

Wavy vase,  salmon slip


see more at


Egyptian Pottery

egyptian black pot with tapered base on display at National Museum of Natural HistoryEgyptian Black Pot

National Museum of Natural History

Wahington DC


Glazed Faience Pottery Vessel with two handles Roman Period Egypt

Glazed Faience  Pottery Vessel Roman Period Egypt

Rosicrucian Egyptian Museum in San Jose, California.


History Of Egyptian Pottery : The ancient Egyptians were gifted artisans and pottery was an art where they excelled. Egypt in the pre dynastic period produced pottery of very high quality.  Egypt made pottery before  building  the Pyramids. This is evident from the presence of  older hieroglyphic writing with characters which have images of earthen vessels. Pictures of pottery vessels and small pieces of pottery have been found in tombs of the Fourth, Fifth, and Sixth Dynasties, contemporary with and after the building of the Great Pyramid. From 3000BC on  their pottery was decorated with depictions of animals, humans, boats and various other patterns and symbols. Two main veins of pottery existed during this period, pottery from Nile clay ( red/brown after firing ) and pottery from marl clay ( usually polished to give a lustrous look )


Egyptian Horus falcon ritual vessel

Horus falcon vessel


Ancient Egyptian pottery was originally made  for functional reasons rather than for decorative  purposes. The different forms of Egyptian pottery had a multitude of applications.. The amphora, in Egypt as in all ancient countries was the most common and most useful vase, and was made in all sizes, from the three-inch oil or perfume holder to the immense jar of three or four feet in height, for holding water, wine, oil, or grain. The reason the amphora vessels had a tapered end was so they could be pushed into the earth and stand on their own when used for storage. The pithos (so called by the Greeks), was an immense tub, cask, or vase of pottery,  made in Egypt as in all the Oriental countries. It was used in the household cellar, where meats and provisions were stored. This was sometimes six feet in diameter, always made of coarse unglazed pottery. The later artistic Egyptian pottery was siliceous, (  between earthenware and porcelain ), possessing a fine grain and being able to resist high temperatures.  It was  generally covered with a thin glaze, colored blue or green by oxides of copper. As Egyptian pottery became more decorated it also became an expression of religious sentiment and an expression of revered symbols.

Four Egyptian pots with surface decorations

Enameled pottery of Egypt : The art of covering pottery with enamel was invented by the Egyptians at a very early date. Steatite (or soapstone, as some varieties are called) is easily worked, and bears great heat without cracking. From this material the Egyptians carved small pieces–vases, amulets, images of deities, animals and other objects–and covered them with green, blue, and occasionally red, yellow, and white enamel, which when baked became brilliant and enduring. Objects in enamelled steatite were  known from the very early periods. A small cylinder from the Trumbull-Prime collection, obtained at Thebes bears the cartouche of a king, Amunmhe III., of the Twelfth Dynasty, whose date is placed at about 2000 B.C. The enamel is pale-green, almost white, except in the engraved lines, where, being thicker, it shows more color.

Egyptian footed blue vessel with lotus decoration

Ancient Egyptian Lotus Chalice 1479 -1353  BCE

(  Museum of Fine Arts Boston )



The beauty of the enamel on these pottery objects has been the envy of potters in modern times. The blue has never been surpassed, if, indeed, it has ever been equaled. Objects three thousand years old retain the splendor of their original color; and this leads to the inference that the variety of the shades of blue found on them is not the result of time, but the original intent of the makers. These shades vary from the most intense bleu-de-roi and pure turquoise to pale-blue tints approaching white. The color is usually remarkably uniform on the object. Several of the rare colors of old Chinese porcelain are thus found in ancient Egyptian enamels. The same enamel was occasionally applied to soft pottery. The Egyptians were the first to employ the potters wheel ( hand turned ) and some believe they were the first to implement glazing. They are also credited with being the first to use crockery ware  ( 1500 BC ) .

Covering pottery with enamel was invented by the Egyptians at a very early date. Steatite (or soapstone, as some varieties are called) is easily worked, and bears great heat without cracking. Many  small carved objects were covered with green, blue, and occasionally red, yellow, and white enamel, which when baked became brilliant and enduring.

Egyptian Pottery , Louvre, Paris

Hand painted Egyptian pottery

Egyotian green ceramic vessel, Louvre

  • Ancient Egyptian faience – Louvre, Paris

Egyptian cobalt blue glaze pottery

Egyptian cobalt blue glaze vessel , Louvre

Egypt pot with spiral motif

Egyptian  pot with spiral motif

Egyptian Chalice Lourve with lotus decoration 22nd Dynasty, 945-715 BC

Egyptian Lotus Chalice (siliceous faience)

22nd Dynasty, 945-715 BC Louvre

Egyptian pottery with hiroglyphics, Lourve

The vase reads, center line, then left, then right, top to bottom: center :

The good god, Nebmaatre, given life; left: the son of Re, Amenhotep, Ruler of (Wast-Uast)(Thebes), eternally; right: the king’s great wife, Tiye

( Louvre Paris )

Egyptian Pottery with hieroglyphics

Egyptian pottery with hieroglyphs

faience Egyptian pottery with raised relief decoration

Raised relief decoration faience pottery, Egypt


Neolithic Egyptian pottery bird


blue Sphinx Amenothep-III ceramic statue

The sovereign’s sphinx Amenothep III bidder to the gods



Egyptian blue faience-hippo figurine with surface decorations with Eye Of Horus

Faience hippopotamus, Middle Kingdom, Dynasty 11-12

In ancient Egypt blue (irtyu) was the colour of the heavens and hence represented the universe.



Egyptian Pots at the Lourve with geometric styling

Egyptian pitchers with geometric decoration

Louvre, Paris



Egyptian Isis Ceramic Statue

Woman with child. Terracotta phial, New Kingdom (16th-11th BCE), Egypt.

Musée du Louvre



Ancient Egyptian Bowl in blue faience with drawn image of a woman

Musician. Blue faience glaze bowl (about 1300 BCE), 19th Dynasty, New Kingdom, Egypt.


Blue Ushebti figure of Pharaoh Seti I

Ushebti figure (servant of the defunct) of Pharaoh Seti I (1301-1290 BCE).19th dynasty. Blue faience. N 472

Louvre, Departement des Antiquites Egyptiennes, Paris, France



Eye of horus----gold with inlays pendant

Ouadjet eye, the Sacred Eye of Horus

Cairo Egyptian Museum



Egyptian-terracotta-pot with geometric surface pattern and twin lugs

Egyptian pot with a carved repetitive geometrical surface.

Egyptian Amulet faience ankar

Faience amulet in the shape of an ankh, 25th dynasty to Late Period, about 700-500 BCE.

It represents a wish, probably for the king, of  ” life, power and stability for millions of years “.

The amulet was acquired by Lord Kitchener in the Sudan, probably at Gebel Barkal and originated in a temple.

( lessing Archive )


Egyptian Yoga wall relief art of an Egyptian girl doing stretching pose

Egyptian Yoga ?  wall relief fragment ( Lessing Archive )

Egyptian Long necked vessel with spherical base

An Egyptian long necked vessel,  found at Abydos and dates from the New Kingdom period, ca. 1570 – 1070 BCE.

The ancient Egyptian potters were adept at using different colors of Egyptian paste to create patterns of color on the fired ware.



four Canopic jars

Ceramic Canopic Jars


Egyptian Bronze Head – Louvre, Paris

Canopic Shrine from tomb of King Tut

King Tut Canopic Shrine

Museum of Antiquities in Cairo, Egypt

( Hans Ollermann – Flickr )

Osiris wall relief art

Osiris wall painting in the vaulted tomb of Sennedjem , Luxor, Egypt

( Lessing Photo Archive )

l44arge kneeling statue of Hatshepsut Flickr Photo Sharing

Dynasty 18, joint reign of Hatshepsut and Thutmose III  – (ca. 1473-1458 B.C.)

From Thebes, originally from Hatshepsut’s temple at Deir el-Bahri

According to the inscription on the base, “Maatkare” (Hatshepsut) is represented here as “the one who gives Maat to Amun”. Maat was the goddess of order, balance and justice. When a pharaoh offered an image of Maat to another deity, it was a reaffirmation that honor was the guiding principle of his/her rule.

The Met, New York

( ggnyc – flickr )

Egyptian blue painted terracotta jar decorated with geometric styled flowers and grapes, and a jar lid.

Blue painted terracotta jar decorated with flowers and grapes, and a jar lid. – Tell el-Amarna.

Ashmolean Museum, Oxford


Faience-Vessel-egypt with carved decorations

Faience Vessel with procession of four bulls and lotus flowers.

( Brooklyn Museum )

Blue libation vase with flared base, Egypt

Egyptian Libation vase bearing the name of Thutmose IV.

( Brooklyn Museum )

Twin handled pilgrim flask -- Egyptian

Pilgrim flask – Egyptian New Kingdom Period  1570-1070 BC

Polychrome glass cup with handles- Egyptian in blue with overlay yellow decoration

Polychrome glass cup, New Kingdom, Dynasty 18. 1370–1335 BCE. Egypt, El-Amarna

Water bottle from Tutankhamun, Egypt in red and blue with a long neck and flared lip

Water bottle from Tutankhamun’s embalming cache, New Kingdom, Dynasty 18, reign of Tutankhamun, ca. 1336–1327 B.C

Egyptian alabaster jar with lid

Egyptian alabaster jar

Update 13/5/2014
Jar-with-male-figures-Probably-late-Naqada-I-–-early-Naqada-II -(ca. 3700–3450 BC)
Jar with male figures Probably late Naqada I – early Naqada II (ca. 3700–3450 BC) Provenance: unknown; purchased in Luxor by Jean Capart, 1909 

Ritual vessel (hes-jar) Egyptian, Early Dynastic Period to Old Kingdom,-Dynasty-1–,-2960–2465-B.C

Egyptian, Early Dynastic (Egyptian); Dynasty2, Squat-jar, 2770-2152-BC

Egyptian, Early Dynastic (Egyptian); Dynasty 2, Squat-jar, 2770-2152-BC

Canopic Jar with an Image Representing the Hieroglyph for Face Period New Kingdom Dynasty-18
             Canopic Jar with an Image Representing the Hieroglyph for Face Period New Kingdom Dynasty-18
Boeotian Late Geometric pyxis with depiction of a lion-fighter

Boeotian Late Geometric pyxis with depiction of a lion-fighter


An Egyptian veined serpentine vessel. Predynastic---Early Dynastic Period,-circa-3200-3000-B.C

An Egyptian veined serpentine vessel. Predynastic—Early Dynastic Period,-circa-3200-3000-B.C

Egyptian painted pottery jar. NewKingdom-1391-1307-BC

Egyptian painted pottery jar. NewKingdom-1391-1307-BC


Egyptian Memphis Situla with raised relief  decoration –  DYNASTY XXV XXVI


Egyptian Andesite Porphry Jar--,-2920-2649-B.C

Egyptian Andesite Porphry Jar – 2920-2649-B.C

Calcite Jug 18th Dynasty,-reign of Tuthmosis III - Amenhotep-III,-1479-1353

Calcite Jug 18th Dynasty,-reign of Tuthmosis III – Amenhotep III

1479-1353 BC

Egyptian Faience Cat- Sadigh Gallery

Egyptian Blue Faience Cat –  26th Dynasty

Sadigh Gallery

Vase, Coptic period-7thn century.-Egypt

Vase, Coptic period-7th century. Egypt

Height 19 inches

 The differences between the quality of ceramics owned by the rich and the poor were significant. Pottery found in the environs of the palaces at Amarna and Malqata and therefore sometimes referred to as “palace ware”, was more often than not elaborately decorated or made of beautifully polished marl looking a bit like alabaster, while the crockery in the near-by villages was mostly red earthenware made of Nile mud.

Egyptian Storage Jar with floral decorations

Large storage jar with floral decoration Period: Ptolemaic Period Date: late 3rd–2nd century B.C.

Blue Painted Ibex Amphora from Malqata.-Ca.-1390–1353-B.C.,-Egypt,-Upper-Egypt;-Thebes,-Malqata

Blue-Painted Ibex Amphora from Malqata. Ca. 1390–1353 B.C., Egypt, Upper Egypt; Thebes, Malqata.

This vase is in excellent condition and was found during the excavations of the palace of Amenhotep III




Bowl with scene of a man hunting a hippopotami-Late Naqada-I–-early Naqada-II

Egyptian bowl with a scene of a man hunting a hippopotamis

Late Naqada-I–-early Naqada-II




The sidelock of youth was protective in nature,-inspired by-the young god Horus' hairstyle

Carved relief based on the sidelock of youth which was protective in nature, inspired by the young god Horus’ hairstyle. It involved shaving the head, leaving only a single, plaited lock, sometimes shaped like a S, hanging down on the side of the head which had sacred amulets attached to it.




Perfume Vase Egypt,-New Kingdom, late Dynasty 18, ca. 1350-1309 BC

Small perfume vase Egypt.  Blue and black petals are arranged like a collar around the neck of this white faience vase.

New Kingdom, late Dynasty  18, ca. 1350-1309 BC

peterjr1961 on Flickr (cc)





Egyptian pot with finely incised surface decoration from reign of Amenhotep IV Akhenaten





Wall relief art of Egyptian woman Tomb of Menna-,-Luxor-,-Egypt

Wall relief art of Egyptian woman at the Tomb of Menna, Luxor, Egypt





Egyptian limestone cosmetic jar -raised relief of Horus Eye and the Sha with square-tipped ears and stiff tail.

Late kingdom, 18th Dynasty





Bes (cat) figure, hand carved surface decoration

New Kingdom Dynasty- Dynasty 18 – ca. 1550–1295 B.C.




 Triple carved oil lamp from a single piece of alabaster. It represents lotus flowers growing from a pond

Egypt, New Kingdom.




Egyptian Jar-with-Was-scepters-and-Ankhs

Jar from Egypt with Was-scepters and Ankhs





Shawabti of the Lady of the House – Sati Medium

ca. 1390-1352 B.C.E.

Brooklyn Museum



More ancient Egyptian art HERE   ( veniceclayartists post )



Random wares

Inspired by Australian aboriginal dot painting.

The design on these first two Australian ceramics were inspired by aboriginal dot painting.

Teapot and mug inspired by Australian Aboriginal dot painting Dot Painting Cockatoo Teapot & Mug

Green Dragon teapot Green Dragon Teapot from Lions-head  Mountain, Taiwan

 Green Celadon Teapot

Royal Dalton Orchid series

Royal Dalton ” Orchid Series “

This unique piece was given to me by a friend who worked at an antique shop but so far I haven’t been able to determine  its origin.

Bendigo Pottery drip glaze vase jade green and brown

Vintage Australian Bendigo Pottery drip glaze vase



Qing Dynasty Vase Qing Dynasty gourd shape Vase


Opp Shop find Vintage Australian vase

  Korean Celedon Vase

Korean celadon vase


Japanese porcelain translucent cupJapanese translucent porcelain Art Deco tea cup



Specked glaze vase in blue and green

Speckled glaze vase

Pottery in the subcontinent

The Pottery Of India

Indian utilitarian potteryThe origin of Indian pottery goes back to the Indus Valley civilization. Due to the problems of transportation in the early days the potters came to the villages and set up shop on the outskirts. Usually this was a family enterprise, some of the pottery being created on wheels and some were handmade. After finding suitable soil they built their temporary kilns and produced and sold their wares before moving on to the next village. The pots were favored for water transportation and storage, grain storage along with cooking pots and storage for oil, beer, milk, and curd. Some of the grain storage pots were 10 ft high and 5 Ft wide earthenware.

Over time distinctive styles emerged in the different states of India. These days it seems every village in India has a resident potter ( known as a Khumbar ) and they usually work from home and have a remarkable collection of pottery ware to sell, usually displayed on the street in front of their houses.


The making of glazed pottery developed under the influence of the Arabs in India and the Mogul art inspired some of the designs.This occurred around the 12th century when the Muslim rulers encouraged potters from the middle east to settle in India. To this day pottery is utilized for a vast array of domestic, religious and special occasions. Painted pots for marriages, pots for Sanskrit seedling ceremonies, lamps for the” festival of lights”( diwali ), common earthenware, along with decorative pieces ( eg, vases , bowls ,teapots )

lidded pottery with floral decorationLidded pottery


collection of Indian blue pots

Indian blue pottery



The bulk of Indian pottery is characterized by three main styles, black pottery, blue pottery and terracotta as well as the unglazed being  divided into paper thin, scrafito and highly polished. In some parts of India the potters maintain a high status due to being involved in the production of deities for religious ceremonies, terracotta being the common medium. Terracotta horses of the height of 7 metres have been used in temples.

Incised Indian pottery

Intricate pottery decorationFine detail pottery decoration



Indian Storage Pots



throwing clay on a pottery wheel

Throwing clay



red twin handled pot with mandlala motifs

Red twin handled pot


Red baluster pottery with floral bandRed baluster pottery with floral band




Outdoor pottery market in IndiaOutdoor pottery market in India



selection of market pottery

Market pots


Mastercraftsman Harikrishan Kumbhar creating on a pottery wheel

Mastercraftsman Harikrishan Kumbhar on pottery wheel




street pottery market

Surajkund mela


Two Ganesha statues

Kapaleeshwarar Temple Chennai

Kapaleeshwarar Temple Chennai (



Jaipur Pottery


Sona s Pottery


Pottery art market in Gujarat, India  ( gypsygeek )

Painting pots in India

Indian women potters

Prince Andrew at the Kumbharwada-potters colony, Mumbai

Potter at work in the village of Gunupur, Orissa, India. Photo  – Chris Lisle