Pottery in the context of Beaker (drinkware)

Ceramic art is art made from ceramic materials, including clay that serves as a cultural, professional, and historical representation of individuals and groups across centuries of art. It may take varied forms, such as artistic pottery, tableware, tiles, figurines and other sculpture. As one of the plastic arts, ceramic art is a visual art. While some ceramics are considered fine art, such as pottery or sculpture, most are considered to be decorative, industrial or applied art objects. Ceramic art can be created by one person or by a group, in a pottery or a ceramic factory.

In Britain and the United States, modern ceramics as an art took its inspiration in the early twentieth century from the Arts and Crafts movement, leading to the revival of pottery considered as a specifically modern craft. Such crafts emphasized traditional non-industrial production techniques, faithfulness to the material, the skills of the individual maker, attention to utility, and an absence of excessive decoration that was typical to the Victorian era.

Sculpture is the branch of the visual arts that operates in three dimensions. Sculpture is the three-dimensional art work which is physically presented in the dimensions of height, width and depth. It is one of the plastic arts. Durable sculptural processes originally used carving (the removal of material) and modelling (the addition of material, as clay), in stone, metal, ceramics, wood and other materials but, since Modernism, there has been almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or moulded or cast.

Sculpture in stone survives far better than works of art in perishable materials, and often represents the majority of the surviving works (other than pottery) from ancient cultures, though conversely traditions of sculpture in wood may have vanished almost entirely. In addition, most ancient sculpture was painted, which has been lost.

A tool is an object that can extend an individual's ability to modify features of the surrounding environment or help them accomplish a particular task, and proto-typically refers to solid hand-operated non-biological objects with a single broad purpose that lack multiple functions, unlike machines or computers. Although human beings are proportionally most active in using and making tools in the animal kingdom, as use of stone tools dates back hundreds of millennia, and also in using tools to make other tools, many animals have demonstrated tool use in both instances.

Early human tools, made of such materials as stone, bone, and wood, were used for the preparation of food, hunting, the manufacture of weapons, and the working of materials to produce clothing and useful artifacts and crafts such as pottery, along with the construction of housing, businesses, infrastructure, and transportation. The development of metalworking made additional types of tools possible. Harnessing energy sources, such as animal power, wind, or steam, allowed increasingly complex tools to produce an even larger range of items, with the Industrial Revolution marking an inflection point in the use of tools. The introduction of widespread automation in the 19th and 20th centuries allowed tools to operate with minimal human supervision, further increasing the productivity of human labor.

In European academic traditions, fine art (or fine arts) is made primarily for aesthetics or creative expression, distinguishing it from popular art, decorative art or applied art, which also either serve some practical function (such as pottery or most metalwork) or is generally of limited artistic quality in order to appeal to the masses. In the aesthetic theories developed in the Italian Renaissance, the highest art was that which allowed the full expression and display of the artist's imagination, unrestricted by any of the practical considerations involved in, say, making and decorating a teapot. It was also considered important that making the artwork did not involve dividing the work between different individuals with specialized skills, as might be necessary with a piece of furniture, for example. Even within the fine arts, there was a hierarchy of genres based on the amount of creative imagination required, with history painting placed higher than still life.

Historically, the five main fine arts were painting, sculpture, architecture, music, and poetry. Other "minor or subsidiary arts" were also included, especially performing arts such as theatre and dance, which were counted as "among the most ancient and universal." In practice, outside education, the concept is typically only applied to the visual arts. The old master print and drawing were included as related forms to painting, just as prose forms of literature were to poetry. Today, the range of what would be considered fine arts (in so far as the term remains in use) commonly includes additional modern forms, such as film, photography, and video production/editing, as well as traditional forms made in a fine art setting, such as studio pottery and studio glass, with equivalents in other materials.

Stoneware is a broad class of pottery fired at a relatively high temperature, to be impervious to water. A modern definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. This definition excludes stone vessels that are carved from a solid chunk of stone. End applications of stoneware include tableware and decorative ware such as vases.

Stoneware is fired at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F). Historically, reaching such temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time.

A ceramic is any of the various hard, brittle, heat-resistant, and corrosion-resistant materials made by shaping and then firing an inorganic, nonmetallic material, such as clay, at a high temperature. Common examples are earthenware, porcelain, and brick.

The earliest ceramics made by humans were fired clay bricks used for building house walls and other structures. Other pottery objects such as pots, vessels, vases and figurines were made from clay, either by itself or mixed with other materials like silica, hardened by sintering in fire. Later, ceramics were glazed and fired to create smooth, colored surfaces, decreasing porosity through the use of glassy, amorphous ceramic coatings on top of the crystalline ceramic substrates. Ceramics now include domestic, industrial, and building products, as well as a wide range of materials developed for use in advanced ceramic engineering, such as semiconductors.

Clay is a type of fine-grained natural soil material containing clay minerals (hydrous aluminium phyllosilicates, e.g. kaolinite, Al₂Si₂O₅(OH)₄). Most pure clay minerals are white or light-coloured, but natural clays show a variety of colours from impurities, such as a reddish or brownish colour from small amounts of iron oxide.

Clays develop plasticity when wet but can be hardened through firing. Clay is the longest-known ceramic material. Prehistoric humans discovered the useful properties of clay and used it for making pottery. Some of the earliest pottery shards have been dated to around 14,000 BCE, and clay tablets were the first known writing medium. Clay is used in many modern industrial processes, such as paper making, cement production, and chemical filtering. Between one-half and two-thirds of the world's population live or work in buildings made with clay, often baked into brick, as an essential part of its load-bearing structure. In agriculture, clay content is a major factor in determining land arability. Clay soils are generally less suitable for crops due to poor natural drainage; however, clay soils are more fertile, due to higher cation-exchange capacity.

Tiles are usually thin, square or rectangular coverings manufactured from hard-wearing material such as ceramic, stone, metal, baked clay, or even glass. They are generally fixed in place in an array to cover roofs, floors, walls, edges, or other objects such as tabletops. Alternatively, tile can sometimes refer to similar units made from lightweight materials such as perlite, wood, and mineral wool, typically used for wall and ceiling applications. In another sense, a tile is a construction tile or similar object, such as rectangular counters used in playing games (see tile-based game). The word is derived from the French word tuile, which is, in turn, from the Latin word tegula, meaning a roof tile composed of fired clay.

Tiles are often used to form wall and floor coverings, and can range from simple square tiles to complex or mosaics. Tiles are most often made of ceramic, typically glazed for internal uses and unglazed for roofing, but other materials are also commonly used, such as glass, cork, concrete and other composite materials, and stone. Tiling stone is typically marble, onyx, granite or slate. Thinner tiles can be used on walls than on floors, which require more durable surfaces that will resist impacts.

A lathe (/leɪð/) is a machine tool that rotates a workpiece about an axis of rotation to perform various operations such as cutting, sanding, knurling, drilling, deformation, facing, threading and turning, with tools that are applied to the workpiece to create an object with symmetry about that axis.

Lathes are used in woodturning, metalworking, metal spinning, thermal spraying, reclamation, and glass-working. Lathes can be used to shape pottery, the best-known such design being the potter's wheel. Most suitably equipped metalworking lathes can be used to produce most solids of revolution, plane surfaces, and screw threads or helices. Ornamental lathes can produce more complex three-dimensional solids. The workpiece is usually held in place by either one or two centers, at least one of which can typically be moved horizontally to accommodate varying workpiece lengths. Other work-holding methods include clamping the work about the axis of rotation using a chuck or collet, or attaching it to a faceplate using clamps or dog clutch. Lathes equipped with special lathe milling fixtures can be used to complete milling operations.

Faience or faïence (/faɪˈɑːns, feɪˈ-, -ˈɒ̃s/; French: [fajɑ̃s] ) is the general English language term for fine tin-glazed pottery. The invention of a white pottery glaze suitable for painted decoration, by the addition of an oxide of tin to the slip of a lead glaze, was a major advance in the history of pottery. The invention seems to have been made in Iran or the Middle East before the ninth century. A kiln capable of producing temperatures exceeding 1,000 °C (1,830 °F) was required to achieve this result, after millennia of refined pottery-making traditions. The term is now used for a wide variety of pottery from several parts of the world, including many types of European painted wares, often produced as cheaper versions of porcelain styles.

English generally uses various other terms for well-known sub-types of faience. Italian tin-glazed earthenware, at least the early forms, is called maiolica in English, Dutch wares are called Delftware, and their English equivalents English delftware, leaving "faience" as the normal term in English for French, German, Spanish, Portuguese wares and those of other countries not mentioned (it is also the usual French term, and fayence in German). The name faience is simply the French name for Faenza, in the Romagna near Ravenna, Italy, where a painted majolica ware on a clean, opaque pure-white ground, was produced for export as early as the fifteenth century.

The Mesolithic (Greek: μέσος, mesos 'middle' + λίθος, lithos 'stone') or Middle Stone Age is the Old World archaeological period between the Upper Paleolithic and the Neolithic. The term Epipaleolithic is often used synonymously, especially for outside northern Europe, and for the corresponding period in the Levant and Caucasus. The Mesolithic has different time spans in different parts of Eurasia. It refers to the final period of hunter-gatherer cultures in Europe and the Middle East, between the end of the Last Glacial Maximum and the Neolithic Revolution. In Europe it spans roughly 15,000 to 5,000 BP; in the Middle East (the Epipalaeolithic Near East) roughly 20,000 to 10,000 BP. The term is less used of areas farther east, and not at all of those beyond Eurasia and North Africa.

The type of culture associated with the Mesolithic varies between areas, but it is associated with a decline in the group hunting of large animals in favour of a broader hunter-gatherer way of life, and the development of more sophisticated and typically smaller lithic tools and weapons than the heavy-chipped equivalents typical of the Paleolithic. Depending on the region, some use of pottery and textiles may be found in sites allocated to the Mesolithic, but generally indications of agriculture are taken as marking transition into the Neolithic. The more permanent settlements tend to be close to the sea or inland waters offering a good supply of food. Mesolithic societies are not seen as very complex, and burials are fairly simple; in contrast, grandiose burial mounds are a mark of the Neolithic.

Material culture is culture manifested by the physical objects and architecture of a society. The term is primarily used in archaeology and anthropology, but is also of interest to sociology, geography and history. The field considers artifacts in relation to their specific cultural and historic contexts, communities and belief systems. It includes the usage, consumption, creation and trade of objects as well as the behaviors, norms and rituals that the objects create or take part in.

Material culture is contrasted with symbolic culture or non-material culture, which include non-material symbols, beliefs and social constructs. However, some scholars include in material culture other intangible phenomena like sound, smell and events, while some even consider it to include language and media. Material culture can be described as any object that humans use to survive, define social relationships, represent facets of identity, or benefit peoples' state of mind, social, or economic standing.

Persian art or Iranian art (Persian: هنر ایرانی, romanized: Honar-è Irâni) has one of the richest art heritages in world history and has been strong in many media including architecture, painting, weaving, pottery, calligraphy, metalworking and sculpture. At different times, influences from the art of neighbouring civilizations have been very important, and latterly Persian art gave and received major influences as part of the wider styles of Islamic art. This article covers the art of Persia up to 1925, and the end of the Qajar dynasty; for later art see Iranian modern and contemporary art, and for traditional crafts see arts of Iran. Rock art in Iran is its most ancient surviving art. Iranian architecture is covered at that article.

From the Achaemenid Empire of 550 BC–330 BC for most of the time a large Iranian-speaking state has ruled over areas similar to the modern boundaries of Iran, and often much wider areas, sometimes called Greater Iran, where a process of cultural Persianization left enduring results even when rulership separated. The courts of successive dynasties have generally led the style of Persian art, and court-sponsored art has left many of the most impressive survivals.

The Golden Age of Bulgaria is the period of the Bulgarian cultural prosperity during the reign of emperor Simeon I the Great (889—927). The term was coined by Spiridon Palauzov in the mid 19th century. During this period there was an increase of literature, writing, arts, architecture and liturgical reforms.

Simeon I achieved spectacular military and political successes, expanding Bulgarian territory and forcing the Byzantine Empire to recognise the imperial title of the Bulgarian monarchs. The capital Preslav was built in Byzantine fashion to rival Constantinople. Among the city's most remarkable edifices were the Round Church, also known as the Golden Church, and the imperial palace. At that time was created and painted Preslavian pottery, which followed the most prestigious Byzantine models. A chronicle of the 11th century testified that Simeon I had built Preslav for 28 years.

Pottery, due to its relative durability, comprises a large part of the archaeological record of ancient Greece, and since there is so much of it (over 100,000 painted vases are recorded in the Corpus vasorum antiquorum), it has exerted a disproportionately large influence on our understanding of Greek society. The shards of pots discarded or buried in the 1st millennium BC are still the best guide available to understand the customary life and mind of the ancient Greeks. There were several vessels produced locally for everyday and kitchen use, yet finer pottery from regions such as Attica was imported by other civilizations throughout the Mediterranean, such as the Etruscans in Italy. There were a multitude of specific regional varieties, such as the South Italian ancient Greek pottery.

Throughout these places, various types and shapes of vases were used. Not all were purely utilitarian; large Geometric amphorae were used as grave markers, kraters in Apulia served as tomb offerings and Panathenaic Amphorae seem to have been looked on partly as objets d'art, as were later terracotta figurines. Some were highly decorative and meant for elite consumption and domestic beautification as much as serving a storage or other function, such as the krater with its usual use in diluting wine.

Pottery was produced in enormous quantities in ancient Rome, mostly for utilitarian purposes. It is found all over the former Roman Empire and beyond. Monte Testaccio is a huge waste mound in Rome made almost entirely of broken amphorae used for transporting and storing liquids and other products – in this case probably mostly Spanish olive oil, which was landed nearby, and was the main fuel for lighting, as well as its use in the kitchen and washing in the baths.

It is usual to divide Roman domestic pottery broadly into coarse wares and fine wares, the former being the everyday pottery jars, dishes and bowls that were used for cooking or the storage and transport of foods and other goods, and in some cases also as tableware, and which were often made and bought locally. Fine wares were serving vessels or tableware used for more formal dining, and are usually of more decorative and elegant appearance. Some of the most important of these were made at specialised pottery workshops, and were often traded over substantial distances, not only within, but also between, different provinces of the Roman Empire. For example, dozens of different types of British coarse and fine wares were produced locally, yet many other classes of pottery were also imported from elsewhere in the Empire. The manufacture of fine wares such as terra sigillata took place in large workshop complexes that were organised along industrial lines and produced highly standardised products that lend themselves well to precise and systematic classification.

The Minoan civilization produced a wide variety of richly decorated Minoan pottery. Its restless sequence of quirky maturing artistic styles reveals something of Minoan patrons' pleasure in novelty while they assist archaeologists in assigning relative dates to the strata of their sites. Pots that contained oils and ointments, exported from 18th century BC Crete, have been found at sites through the Aegean islands and mainland Greece, in Cyprus, along coastal Syria and in Egypt, showing the wide trading contacts of the Minoans.

The pottery includes vases, figurines, models of buildings, and burial urns called larnakes. Several pottery shapes, especially the rhyton cup, were also produced in soft stones such as steatite, but there was almost no overlap with metal vessels. The finest achievements came in the Middle Minoan period, with the palace pottery called Kamares ware, and the Late Minoan all-over patterned "Marine Style" and "Floral Style". These were widely exported around the Aegean civilizations and sometimes beyond, and are the high points of the Minoan pottery tradition.