ceramic creations

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Danish artist Caroline Arnecke has grown Meadow Ceramics from a humble late-night hobby at her kitchen table into a full-time job and a thriving business. Her signature blue-green ceramics, inspired by nature, have been a hit on Instagram and in real life. Through the work, “I want people to feel calmed, inspired, and to remember a life where slowness and the beautiful things are real,” Arnecke says. But to keep creating, she needs to replace her old, broken kiln. See more of her creations here.

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Here are the little guys! I’ve got one for each of my potted plants. I’ve already got more in the works that the studio tech at school requested, but considering the response they’ve gotten… stay tuned and they might show up on Etsy!

I was so happy with how the mossy glaze turned out. They’re quite adorable if I do say so myself.

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Fabulous potteries of Hungary


Folk pottery, in form, colour and ornamentation, is one of the richest branches of Hungarian ornamental folk art. Its creators at all periods were professional masters who supplied a large area with their products, taking their ware on carts from market to market. Usually, they bargained not for money, but bartered, exchanging a selected vessel for grain with which it was filled once or twice, depending on the size and ornamentation of the vessel.


At the time of the Conquest, the Magyars knew and used a number of unadorned clay vessels. Thus clay cauldrons, among others, appeared in the Carpathian Basin at the same time as did the Magyars, but shreds of a good many unadorned cups and pots have also been found by archaeologists. At the same time we know of vessels that may have come to the Hungarians from peoples living under Byzantine cultural influence. Excavations prove that in the 13th and 14th centuries Hungarian ceramics went through a great change in form and ornamentation, and began to adjust to Western forms. This became especially noticeable when, in the 15th century, lead glaze appeared. At first only green, brown and yellow spots and stripes, but gradually more and more definite ornaments and motifs emerged, which became general in peasant ceramics in the 17th and especially in the 18th centuries.


The technique of potters’ work is divided into three clearly defined phases. The potter mined the clay himself, then cleaned it, mixed it according to need, stamped it with his bare feet, sliced it, and refined it. He prepared the well-worked clay with several days’ work, and made it into lumps of various sizes. The main element of the second phase of the work was the shaping that took place on the potter’s wheel. The master treads on the larger, lower wheel of the potter’s wheel with one bare foot, while he slaps clay sufficient for the size of a vessel on the smaller upper wheel. He shapes it and pulls the clay to the desired form and size. The vessels are dried to a bone-dry state in a shady but warm place and this is followed by giving the basic colour and ornamentation. In the third phase comes the firing of the vessels. The first part of this is the so-called „zsengélés”, terracotta firing, when the designs get their colour. After this phase lead glaze is poured over the whole vessel, and the final firing follows. A great many different vessels are put into the kiln at one time. After firing the kiln is allowed to cool along with the pottery. Often the masters who worked with clay did not make the same type of vessels even within the same settlement. The name „fazekas” or „gölöncsér” (potter) designates those who make the most simple commodities: pots, pans, fish and duck roasters, flower pots, chicken waterers, etc. The „tálas” (platter maker) and the „korsós” (pitcher maker) masters were held in higher esteem. The former also made other ornamental vessels besides platters and plates, such as milk and jam jugs, mugs, candle holders, and money boxes, while upright vessels, ornamental water pitchers, wine and brandy jugs and flasks were turned out by the pitcher maker. The platter and pitcher makers could also do the work of the potter, but he, on the other hand, could not do theirs.


Hódmezővásárhely, in the Great Plain, has, during the last two centuries, always counted as the largest Hungarian pottery centre. The potters, platter and pitcher makers made here everything that could be formed of clay. Thus, alongside their multi-coloured, flowered plates, we find the so-called fritter platters with open-work, almost always coloured green. Their pitchers, with or without glaze, were famous far and wide. Here, and at nearby Mezőtúr, the most beautiful pocket-sized brandy flasks („butella”) were made. These are always engraved and incised with floral and bird designs on a green background. We generally find a little verse on the side, which contains the name of the owner, and sometimes even of the maker.

In the early days potters of Mezőtúr used to make black ceramics. These vessels, made of black clay, reflect more than three hundred years of traditional folk patterns and shapes. No two are precisely alike, since all work is done by hand, including both the shaping and the decorating. The imprints are made by the thumb or a finger of the ceramist who makes the piece. In the 19th century the use of coloured glazes became widespread, and the masters commenced fabricating green, yellow and brown potteries, ornamented by plan black lines, flowers and leaves. The period between 1870 and the turn of the 20th century was the heyday of Mezőtúr’s pottery. At that time there were nearly one hundred potteries in the town, which produced quality earthenwares, and delivered them to every city and village in the country. The shapes, colors and “writings” of these ceramic creations speak of history, traditions, joys and sorrows of the Hungarian. One of the most famous of these ceramics was the „korsó” , a distinctive type of pitcher, which was used for both holding and carrying water and of course wine.

Another important centre of Hungarian folk pottery may be found along the Middle-Tisza region. The point of origin of this type of pottery must have been Debrecen, one of the origins of anthropomorphic vessels. The that time guild of Debrecen has kept the list of masters from 1715 up to 1920. Debrecen was counted not just as an important centre, but as a market town as well. It enjoyed a certain independence during the Turkish occupation, and therefore all kinds of people came and went there, which made the assertion of many different influences possible on the art of pottery. The designs were incised, painted, and also carried out in relief on the yellowish-white basic colour. On the stomach of the pitcher in form of a man („Miska jug”) is often depicted, perhaps as a warning to immoderate consumers of wine.


Nearby Tiszafüred worked primarily for the Matyó people, who liked plenty of colour, and for the villages that lay at the foot of the. Although they made wine pitchers similar to those in Debrecen and Mezőcsát, their main ware consisted of platters and plates. They flowered the vessels in a most beautiful and diverse way, so that each composition appears to be new and singular. Reddish-brown and bright green is the most frequent on the light basic colour. We should mention among its special dishes the „komaszilke”, which consists of several stackable pots and lids, and in it the relatives and the „koma” (sponsor) women took dinner to the newly-delivered mother.


Among the pottery centres of Upper Hungary it is worth emphasizing the work of the masters in Gyöngyös and Pásztó. They worked with blue, green, and, less frequently, red decorations on a whitish base. We often find gay little birds among the flower motifs. The so-called „csali kancsó” (puzzle-jug) has an open-work neck, while from the bottom several narrow tubes lead to the thickened edge; it is one of the characteristic products of the Gyöngyös and Pásztó regions. Only those who knew its trick were able to drink wine out of it, because they knew from which tube to suck the wine. In a cheerful company many jokes were played with such a vessel.

Девочки почему-то были очень удивлены, случайно узнав, что раньше я занималась еще и керамикой. К сожалению, сейчас на это нет ни времени, ни нужных инструментов, мои старые поделки - единственная радость, но любовь к керамике, наверно, навсегда.

Знаете, в маленьких итальянских городках, особенно на островах, можно встретить очень много уютных, но колоритных магазинчиков с керамикой ручной работы, характерной для той местности. Всевозможные тарелки, чашки, фигурки, изделия для дома и кухни, в основном с изображением перца, лимона или достопримечательностей. И керамическая плитка. Больше всего меня зацепила именно плитка, там она особенная, не совсем такая, как мы кладем в квартирах. Я не могла устоять, чтобы не зайти и не поглазеть на все эти квадратики разных форм, цветов и размеров, с узорами, мозаикой или с рисунками, гладкие или с выпуклыми изображениями, все ручной работы и обязательно ярких цветов. Я ходила и представляла свою будущую ванную, на стенах которой будут выпуклые лимоны, конечно, именно из такого итальянского магазинчика. А потом у меня родилась другая мечта: хочу, чтобы моя кухня была покрыта плиткой, привезенной из разных стран во время путешествий, даже пускай это будут разные кусочки, не сочетающиеся между собой по форме и цвету, но я буду ходить и с улыбкой вспоминать каникулы, проведенные в этом месте, мы будем собирать гостей и за ужином рассказывать, как съездили в очередное путешествие, а на стене будет красоваться новый квадратик ❤️