How is looking forward to the public's ceramic piece old or modern?
The general public that ceramics ranging under the framework of the craft, called Artisanat, and potter is literally achieve primary needs of the community and the surrounding environment through material-made mud, and in fact, according to our opinion Kmargen of art that ceramics is a craft art variable gives us different possibilities in physical form ( impact), and decorative (Art), and from the moment they began the attention potter coloring circles or drawing colored lines on the pitcher, bowl, or a bottle, became his mode of expression of talent pictorial first and novelist (Scene human, animal, Mythology) later without interest biscuits (pottery clay resulting from Shui) any material bearing colorful image, if Valkhzaf article deals with an artist and not a maker and craftsman only.
It seems that the event basis in the history of ceramics depends on collecting material dust to water to form slurry and presented to the air to dry, and submitted to the fire to gain strength sustainability on the air to dry, as it seems to gesture love brought elements of nature four: earth, water, air, and fire in order to do configuration "configuration" ceramic art.
Here begins the story of the hand (tool) tool creativity, composition and configuration, tool collecting dust), and soil is the earth which becomes the pot, and the hand that brings water to the soil to give viscous mud stainless formation.
It is forming artistic clay displays mud air which dries the container problem, and the hand that transmit after touches formation dried to the fire for cooking (grilling) - is the mediator technical basis for the formation of balance between the elements of nature that formed the "porcelain" (case of Creative Arts), a / hand Human Artist / that made mass balance, shape and material possibility of endless in terms of the composition of the literal and technical first and career what is the problem of porcelain Secondly, the artist potter is carved circle of block-based dust and water (mud), and with the help cupboard goes potter further than vacuum forming where one of the forces used the simple physics of the body "centrifugal force" which is equal to the spiritual dimension of any creative work depends on the hand and soul together.
The integration of dirt into the water processed by human hands and the art of the two is the production of a natural love of the soil water (the elements of nature, the Nile and the Euphrates for example, is more like a love of nature and human nature to love the same)
The value of any social and spiritual work casserole is inseparable from the basic function of which make for it lies in the level of their owners choose them, and show on a social level and upscale parallel in the material value to some extent, and this is proved by the decorative elements.
Finally, he found the potter through the ages it is normal to establish a close relationship and narrow give a measure of importance to creative work for any real mud may be formed, it is a confidential relationship like style mystic esoteric: The soul's body - the relationship of soil to the land, have reflected that relationship and concepts borrowed sometimes decoration work ceramic.
So in the old as the day was pots are described by terms borrowed from anatomy aesthetic of the human body: Venga in ceramics from the lips, neck, shoulders, abdomen, legs, arm (ear to the Greeks) as if we were either carved a living person or creativity to work neighborhood: Japan ceramic.
This, without a doubt, an aesthetic work ceramic anytime and anywhere is not isolated from its goal Career Statute, which made for him, and that nosedive were on a deep knowledge of the values art that we talked about, and probably more than we imagine, and certainly through the data more diverse still need to be exposed in the future.
About author: Rafat Wahba