Marilyn Hollett
Biography
Artist Statement
The Americas
Iranian
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Stirrup-Spouted Jar, Moche Culture, Peru, 100-800 CE
Stirrup-spouted vessels such as this one were widely used by the people of Peru’s northern coast for about 3000 years. This form may have been favoured because it prevented the evaporation of precious liquids and/or it was convenient for carrying. Stirrup- spouted bottles included a wide range of subjects: human figures, animals and plants. This particular vessel is not only seen as a utilitarian object but also as a symbol of fertility and was found in a burial site. It was constructed from coils and by hand building the finer features. Spouts were usually constructed from 3 joined pieces.
Stirrup-Spouted Jar, Moche Culture, Peru, 100-800 CE
Stirrup-spouted vessels such as this one were widely used by the people of Peru’s northern coast for about 3000 years. This form may have been favoured because it prevented the evaporation of precious liquids and/or it was convenient for carrying. Stirrup- spouted bottles included a wide range of subjects: human figures, animals and plants. This particular vessel is not only seen as a utilitarian object but also as a symbol of fertility and was found in a burial site. It was constructed from coils and by hand building the finer features. Spouts were usually constructed from 3 joined pieces.
Lobed Bowl, Fritware, Iran, Seljuk Period, 12th c. CE
The original bowl was molded from a frit clay body composed of 10 parts ground quartz, 1 part ground glass frit, 1 part white clay. This clay was developed to imitate the favoured white Chinese porcelain of the Sung dynasty. This was a popular type of drinking cup.
Lobed Bowl, Fritware, Iran, Seljuk Period, 12th c. CE
The original bowl was molded from a frit clay body composed of 10 parts ground quartz, 1 part ground glass frit, 1 part white clay. This clay was developed to imitate the favoured white Chinese porcelain of the Sung dynasty. This was a popular type of drinking cup.
Iznik Standard Dish: Saz Leaves, Roses and Tulips, Turkey/Iranian, 1600-1650 CE
The original clay used by Iznik potters was a frit body composed of 80% silica, 10% white clay and 10% glass frit. Being very difficult clay to wheel throw, dishes were usually made on a mold that was jiggered. Chinese influence is evident in the central design of floral sprays (Ming) as well as the “ breaking wave” motif on the rim (Yuan).
Iznik Standard Dish: Saz Leaves, Roses and Tulips, Turkey/Iranian, 1600-1650 CE
The original clay used by Iznik potters was a frit body composed of 80% silica, 10% white clay and 10% glass frit. Being very difficult clay to wheel throw, dishes were usually made on a mold that was jiggered. Chinese influence is evident in the central design of floral sprays (Ming) as well as the “ breaking wave” motif on the rim (Yuan).
Iznik Standard Dish: Saz Leaves, Roses and Tulips, Turkey/Iranian, 1600-1650 CE
The original clay used by Iznik potters was a frit body composed of 80% silica, 10% white clay and 10% glass frit. Being very difficult clay to wheel throw, dishes were usually made on a mold that was jiggered. Chinese influence is evident in the central design of floral sprays (Ming) as well as the “ breaking wave” motif on the rim (Yuan).
Iznik Standard Dish: Saz Leaves, Roses and Tulips, Turkey/Iranian, 1600-1650 CE
The original clay used by Iznik potters was a frit body composed of 80% silica, 10% white clay and 10% glass frit. Being very difficult clay to wheel throw, dishes were usually made on a mold that was jiggered. Chinese influence is evident in the central design of floral sprays (Ming) as well as the “ breaking wave” motif on the rim (Yuan).
Cylindrical Necked Tankard, Iran, 13th c. CE
The original tankard was made from earthenware and covered with a composite paste decoration of black and blue over opaque white slip under a transparent glaze. The white background was an attempt to imitate the favoured Chinese Sung porcelain. Kufic writing has been sgraffitoed on the rim and sides, probably wishing well to the purchaser.
Cylindrical Necked Tankard, Iran, 13th c. CE
The original tankard was made from earthenware and covered with a composite paste decoration of black and blue over opaque white slip under a transparent glaze. The white background was an attempt to imitate the favoured Chinese Sung porcelain. Kufic writing has been sgraffitoed on the rim and sides, probably wishing well to the purchaser.
Cylindrical Necked Tankard, Iran, 13th c. CE
The original tankard was made from earthenware and covered with a composite paste decoration of black and blue over opaque white slip under a transparent glaze. The white background was an attempt to imitate the favoured Chinese Sung porcelain. Kufic writing has been sgraffitoed on the rim and sides, probably wishing well to the purchaser.
Cylindrical Necked Tankard, Iran, 13th c. CE
The original tankard was made from earthenware and covered with a composite paste decoration of black and blue over opaque white slip under a transparent glaze. The white background was an attempt to imitate the favoured Chinese Sung porcelain. Kufic writing has been sgraffitoed on the rim and sides, probably wishing well to the purchaser.
Funerary Figure /Dancer, Earthenware, China, Western Han Dynasty, 206 BCE – 220 CE
Many types of pottery figures have been retrieved from Han tombs, but examples of this size with finely sculpted naturalistic details, are relatively rare. Usually mold-made of local earthenware with details such as sleeves and hair pieces added. Slip decoration.
Important things about me: I have a loving devoted husband, three beautiful children and two gorgeous grandsons. I am a real family person. I live within 100 feet of the ocean and love to swim out where the waves break. When I am not with my family I am IN my garden.... Love flowers too. I taught elementary school children for 21 years, took evening ceramic courses from NSCAD and retired in 2006. I have 2 courses from NSCAD, am 60 years old now and love ceramics.
This 7 week course was a huge confidence builder for me. I was pushed to my limit but was provided with the guidance and techniques to bring out my skills as a potter. I have to thank my great teachers Julia, Margaret and Sean for this. I am also thankful for the wonderful historical overview. I will lean more heavily on pots of the past, borrow patterns, shapes, styles because I feel more a part of a ceramic heritage. I have come to understand that the past is a rich resource.
Sincerely, Marilyn Hollettt
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