Keramika žolnai Madjarska rucno pečena keramika, svaka autorko delo umetnika časice za alkohol 3 komada dimenzije 7 cm visina, prečnik 3,5

Jazz - Ilustrirana enciklopedija - Brian Case - Stan Britt - Joseph Abend - Mladost Zagreb - 1980 godina . YU - Jazz napisao Mladen Mazur . Zastitni omot je na par mesta cepnut i izguzvan , knjiga je dosta dobro ocuvana .

RUS44) OMOT JE MALO OŠTEĆEN. VELIKI FORMAT, 188 STRANA. Publishers Description: This book takes all the logos that were in Rockport Publishers best-seller, LogoLounge and collects them in one small, neat, pictorial handbook for easy reference.There are no lengthy case histories, just logos, logos, and more logos. Its a fast-paced book featuring one to six logos per page to allow designers to easily shop for ideas. Logos are among the most important elements a designer can create, so it is no surprise that they are always looking for new, fresh ideas. LogoLounge delivers just that. Its predecessor showcased the logos along with the stories of how they came to be; this compact version puts the spotlight on the logos alone, making it the perfect handbook to logo design.

Nina Holland - Inkle loom weaving Pitman publishing, London 1973. godine na 144. strane, bogato ilustrovano, u tvrdom povezu sa zastitnim omotom. Knjiga je odlicno ocuvana. Synopsis: Techniques. Building an inkle loom; Alternative loom plans; Making a shuttle; Shopping for yarn; Warping the loom : a three-color belt; Yarn texture : a choker; Pattern design: tied bodice belts; Color ideas : curtain ties; Dyeing your yarn : a tie-die belt; The Rya technique : decorative bell hangings; Color plates; Projects. Belts for different occasions; A guitar strap; Headbands; A man`s tie; An eyeglass case; A belt in leno lace; A campstool seat; Slip covers for a director`s chair; Handbags; Pin cushions and balsam bags; Border designs; lothing designs; Wall hangings; A room divider; A hanging that moves; Christmas tree swags; Weaving a wider fabric; Selling your weaving; Glossary; elected bibliography.

Izdavač: AMPHOTO, American Photographic Book Publishing Co., New York Povez: tvrd sa omotom Broj strana: 175 Ilustrovano. Vrlo dobro očuvana. This book gives you the latest comprehensive information on the Konica Autoreflex models T and A. It explains in clear and precise terms how to operate the Autoreflex, and how to get the best results from youe excellent Konica equipment. There are chapters devoted to lenses, accessories, flash, exposure, closeup and macro photography, as well as an extended section on composition, craftsmanship, and timing. C O N T E N T S : 1. Introduction to Konica Autoreflex 2. Features of the Konica Autoreflex T and A 3. Lenses for the Konica 4. Exposure Tricks and Treats 5. Flash with the Konica 6. Closeup Photography 7. Konica Accessories 8. Composition: The Way We See 9. Konica Case History Pictures (K-135)

U dobrom stanju Publisher: Random House Special Attributes: 1st Edition Binding: Hardcover Place of Publication: New York Language: English Year Printed: 1959 “Moss Hart`s Act One is not only the best book ever written about the American theater, but one of the great American autobiographies, by turns gripping, hilarious and searing.” ―Frank Rich “Reading Act One is like going to a wonderful dinner party and being seated next to a man who is more charming, more interesting, smarter, and funnier than you ever knew men were capable of being. Moss Hart is alive in these pages, and I am in love with him.” ―Ann Patchett, author of This Is the Story of a Happy Marriage and Bel Canto “Is Act One for you? Only if you know that theater is spelled theatre, cast albums are not soundtracks, and intermission is twice as fun as halftime. In that case, not only is Act One for you--it is immediate and required reading.” ―Tim Federle, author of Better Nate Than Ever and Five, Six, Seven, Nate! “Act One is legendary in the theater world for one simple reason: it speaks personally to those of us who have chosen a life on or around the stage.” ―James Lapine About the Author Born in New York City in 1904, Moss Hart began his career as a playwright in 1925 with The Hold-Up Man, yet achieved his first major success in the 1930 collaboration with George S. Kaufman, Once in a Lifetime. In addition to numerous Broadway productions, such as The Man Who Came to Dinner and You Can`t Take it With You, which was awarded the Pulitzer Prize in 1938, Hart wrote screenplays for Gentleman`s Agreement and A Star is Born. Moss Hart also gained universal recognition for his award-winning direction of My Fair Lady in 1956.

Knjiga ne izgleda ovako izvitopereno uživo. Slobodan Marković PISMA PROFESORU PALAVIČINIJU DA KOSTI Libero Markoni Retko u ponudi Faksimil izdanje Slobodan Marković Libero Markoni Ilustrovano crtežima Izdavač Prosveta Požarevac Povez broš Format veliki faksimil Godina 1977 Слободан Марковић (Скопље, 26. октобар 1928 — Београд, 30. јануар 1990) био је српски песник. Познат је и под надимком „Либеро“ или „Либеро Маркони“. Слободан Марковић S.Kragujevic, Sl.Markovic,Libero Markoni, 1983.JPG Слободан Марковић 1983. године Лични подаци Датум рођења 26. октобар 1928. Место рођења Скопље, Краљевина СХС Датум смрти 30. јануар 1990. (61 год.) Место смрти Београд, СФР Југославија Биографија Уреди Рођен је 1928. у Скопљу где му је отац Димитрије био на служби као официр војске. Детињство је провео у Пећи и у Београду, где је матурирао у Другој београдској гимназији. 1943. је био заточен у логору у Смедеревској Паланци. Неке од његових књига песама су „Седам поноћних казивања кроз кључаоницу“, „Једном у граду ко зна ком“ (1980). Објавио је 62 књиге а још две су штампане после његове смрти: „Јужни булевар“ и „Запиши то, Либеро“ које је приредила његова супруга Ксенија Шукуљевић-Марковић. Бавио се и превођењем, био је новинар у „Борби“, сликар и боем. За књигу „Лука“ добио је 1975. Змајеву награду. Написао је сценарио за филм Боксери иду у рај. Умро је 30. јануара 1990. и сахрањен у Алеји заслужних грађана на Новом гробљу у Београду. У време хајке на Милоша Црњанског Марковић је објавио поему `Стражилово` (као уредник у недељнику `Наш весник`). По доласку Црњанског у Београд, живели су у истом крају и повремено се дружили. Либеро о себи Уреди Слободан Марковић је сâм написао увод у књигу изабране поезије `Једном у граду ко зна ком`, у којем се овако изјаснио: `Уметност је мој живот. Нисам се трудио да у свемиру нађем сличност са собом. Знам да сам уникат и да немам двојника. По свој прилици, нећу ни имати потребе да га ангажујем.`[1] Истицао је да је прошао путем од интернационалисте и космополите ка безграничном универзализму: `Регионалне кловнове надуване национализмом, жалим. Моја сестра заиста спава на Поларном Кругу у спаваћици од фокине коже. Ноге перем у Њујоршкој луци. У Азербејџану имам унука... У Истанбулу деду који носи црквицу на длану. Извор киселе воде у Царској Лаври Високим Дечанима, моја је клиника, и моје опоравилиште.`[1] Анегдоте о Либеру Уреди Момо Капор је у својим забелешкама `011 (100 недеља блокаде)` описао Либерово умеће у кафанској кошарци, односно игри званој `убацивање шибице у чашу`, где се чаша поставља на средину кафанског стола, подједнако удаљена од свих играча који покушавају да са ивице стола убаце кутију шибица у њу. `Покојни Либеро Маркони је жмурећи убацивао шибицу у чашу, био је апсолутни првак света у том спорту, којим се може бавити само припит играч. Тада се постиже права зен-концентрација; играч се поистовећује с кутијом шибице у лету и њеним циљем, звонцавим дном чаше. Када шибица падне на дно, педесет поена. Стотину поена добија онај коме се шибица задржи на ивици чаше. Онај ко изгуби, плаћа следећу туру...` Борислав Михајловић Михиз је у својој књизи `Аутобиографија - о другима` описао и бројна дружења са писцима и песницима. Проводио је сате без алкохола са `учењацима` Дејаном Медаковићем и Павлом Ивићем, али и време уз чашицу са `распојасанима` Слободаном Марковићем и Либеровим пријатељем, сликаром Славољубом Славом Богојевићем. Дешавало се да весело друштво целу ноћ проведе у кафани, и ујутру прелази преко лукова панчевачког моста. Са пуним поуздањем у истинитост старе мудрости да `пијанцима и деци анђели подмећу јастуке`, окуражени приличном количином алкохола, правили су Либеро, Слава и Михиз такве вратоломије од којих `нормалним` људима застаје дах. Милиционери, који би их скидали са лукова моста, били су забезекнути пред оним што виде, и на крај памети им није било да `озлоглашену тројку` казне. Либеро је своје доживљаје и осећања приликом пијанчења описао у књизи `Пијанци иду дијагонално`, а прелажење луковима панчевачког моста учинио је вечним, помињући га у некрологу свом рано преминулом пријатељу Слави Богојевићу.[2] Слободан Глумац Архивирано на сајту Wayback Machine (1. јул 2019), главни уредник листа Борба, новинар и преводилац, био је пратилац Слободана Марковића на путовању у Швајцарску. Либеро је у једном периоду сарађивао у том листу пишући запажене прилоге који су излазили суботом. Редакција листа је одлучила да предузме нешто у погледу Либеровог опијања, за које је сматрано да иде на уштрб угледа листа. У циљу преваспитања, песнику је омогућен плаћени боравак у швајцарском санаторијуму за лечење зависности од алкохола. Због потребе да се у швајцарском конзулату у Милану среде неки папири, Слободан Глумац је оставио свог имењака и колегу у једном кафанчету, знајући да овај нема новца. Наручио му је лимунаду, и безбрижно се запутио ка конзулату. Формалности су потрајале, и Глумац се тек после три сата вратио у кафанче. Тамо га је сачекао следећи призор: Препун астал флаша пића, разбарушени Либеро даје такт и запева прве стихове: `Тиии ме, Мииицо, нееее воолеш...`, а италијански конобари дигнути на шанк, као и присутни гости, отпевају: `Цисто сумлам, цисто сумлам`...[3] Позамашни цех је некако плаћен, а како - ни данас се са сигурношћу не зна. Дела Уреди Од великог броја објављених књига Либера Марконија, тридесет и две су збирке песама. Писао је и препеве, путописе, репортаже, краћу прозу, драме, сценарија, приређивао антологије... Слободан је посебно уживао у поезији Јесењина, а о томе сведоче његови препеви песама великог руског песника у књигама Ко је љубио тај не љуби више и Растаћемо се уз смешак нас двоје. Ево неких наслова Либерових књига поезије: После снегова Свирач у лишћу Морнар на коњу Пијанци иду дијагонално Седам поноћних казивања у кључаоницу Ведри утопљеник Три чокота стихова Црни цвет Икра Умиљати апостол Посетилац тамног чела Тамни банкет Уклета песникова ноћна књига Елеонора жена Килиманџаро Једном у граду ко зна ком (штампана поводом 50 година од песниковог рођења и 35 година књижевног рада) Чубура међу голубовима (Либерова поезија и цртежи) Јужни булевар (објављена после песникове смрти, приредила ју је Либерова супруга и верни пратилац Ксенија).

Tvrd povez sa omotom, nova, veci format izdavac CID Podgorica grupa autora Zoran Gavrić: Reč unapred Zoran Gavrić: Na kraju mita o dvodelnom Rembrantu Jan Bjalostocki: Novi pogled na Rembrantovu ikonografiju Ketrin B. Skalen: Rembrantova reformacija katoličke teme - ispovednički i pokajnički sveti Jeronim Lars Olof Larson: Portreti koji govore: Zapažanja o nekim Rembrantovim portretima Maks Imdal: Govorenje i slušanje kao scensko jedinstvo - zapažanja sobzirom na Rembrantov Čas anatomije doktora Tulpa Maks Imdal: Promena kroz podražavanje - Rembrantov crtež prema Lastmanovoj Suzani u kupanju Maks Imdal: Rembrantova Noćna straža - Razmišljanja o izvornom obliku slike Margaret Dojč Kerol: Rembrantov aristotel - Uzorni posmatrač Kenet M. Krejg: Rembrant i zaklani vo Volfgang Štehov: Rembrantovi prikazi Večere u Emausu Alojz Rigl: Rembrant: Staalmeesters Maks Imdal: Režija i struktura na poslednjim Rembrantovim i Halsovim grupnim portretima Bendžamin Binstok: Videće predstave ili skriveni majstor na Rembrantovim Predstavnicima Zoran Gavrić: O boji, svetlosti i houding u Rembrantovom slikarstvu K4

Manuel Cabré Hardcover – January 1, 1980 Spanish Edition by Juan Calzadilla (Author) Hardcover — Manuel Cabré by Juan Calzadilla. Ediciones Armitano. 1975. Hardcover. 232 pages. 140 illustraciones a color y 20 en blanco y negro. Increiblemente conservado. Nuevo!!! De la figura central del Círculo de Bellas Artes, Manuel Cabré, uno de los más importantes protagonistas del hasta entonces casi desconocido género paisajístico en Venezuela, trata este libro conformado por cuatro fuentes explicativas: un discurso crítico que, sin desmedro de la visión y evolución estilísticas globales del artista, se detiene en el análisis de algunas obras especialmente representativas; la propia palabra de Cabré, recogida por J. Calzadilla, con la cual se deja invalorables testimonios acerca de los conceptos creativos del artista, así como un anecdotario que facilita la comprensión histórica de esa época; una cronología precisa y resumida, y por último, la serie de excelentes reproducciones de las obras dedicadas a la exploración plástica de nuestro entorno, por parte de este gran maestro. Solicita fotos adicionales TVRD POVEZ,veliki format, 1h

Не дешава се често да се о једном песнику, посебно не рок песнику, у часу када је он, упркос свему, и даље стваралачки присутан – напише и објави докторска дисертација. Не дешава се пак често ни Бранимир Џони Штулић. Ни 30 година пошто је највећи песник југословенског рока напустио простор Балкана, одлучан у идеји да јавно не наступа, интересовање публике за његово дело не јењава. Напротив, и данас је (све)присутан. У овој књизи, заснованој на истраживањима која су претходила одбрани прве докторске дисертације о Штулићу, анализирају се његово поетско дело, животне епизоде, лутања, трагања – сусрети који су имали улогу у развоју песничке идеје и поетског израза култног аутора. (330 стр, илустровано) Милан Младеновић иде у ред аутора који су остварили највеће домете српске и југословенске рок поезије. Након увида у основне елементе Миланове поетике и њеног развоја, те утицаја његових сарадника, готово једнако моћних индивидуалаца и креативаца, следи појединачна књижевнотеоријска анализа жанровски карактеристичних песама овог аутора, а затим и свеобухватна типолошка подела комплетног опуса према изворима инспирације, те прегледна анализа одабране дискографије ЕКВ са увидом у њен музиколошки и књижевни сегмент. Закључно поглавље нуди детаљан преглед и анализу медијске рецепције стваралаштва овог врхунског рок аутора, чије ванвременско дело поседује изузетну вредност и снажан утицај на генерације савременика и млађе, све до данас. (230 стр, илустровано)

Knjiga koja je u trenu postala bestseler New York Timesa. Raspamećujuće zabavna, opasno inteligentna knjiga o filmu, jedinstvena i kreativna kao i ostala dela Kventina Tarantina. Pored toga što se ubraja među najslavnije savremene sineaste, Kventin Tarantino je možda osoba koja najzanosnije i sa najviše entuzijazma širi ljubav prema filmu. Godinama je napominjao da će se na kraju posvetiti pisanju knjiga o filmovima. Kucnuo je čas za to, a Bioskopska promišljanja odgovor su svim željama i nadama njegovih strasnih poklonika i ljubitelja filma. Organizovana oko ključnih američkih filmova iz sedamdesetih godina, koje je prvi put gledao kao mladi bioskopski gledalac, ova knjiga je intelektualno rigoriozna i pronicljiva koliko i razigrana i zabavna. Istovremeno filmska kritika, filmska teorija, reportraža, divan lični istorijat, napisana je jedinstvenim glasom koji se odmah prepoznaje kao Tarantinov. „Opako zabavno... Tarantino zna šta mu se dopada i mami čitaoca s lakoćom... Izuzetna pohvala prljavih i jezivih filmova njegove mladosti.“ – San Francisco Chronicle „Nimalo ne čudi što su Tarantinovi filmski prikazi jednako snažni, pametni i iznenađujući kao i njegovi filmovi: u izvesnom smislu on je godinama pisao i jedno i drugo... Tarantinova kritička inteligencija istovremeno prelama i odražava svetlost... Tarantino neumoljivo slavi ona prljavija zadovoljstva koja bioskop nudi.“ – New York Times Book Review „Briljantno i strastveno... Tarantinova radost, velikodušnost i jedinstveno stanovište podupiru njegove argumente, a kada govori loše o svojim junacima, on to čini iz ljubavi... Oštar, pametan i opsesivan, Tarantino je strahovito zabavan i teško ga je nadmašiti.“ – Publishers Weekly

Srbija od zlata jabuka / Serbia the Golden Apple Beograd 2005. Tvrd povez, zaštitni omot,zaštitna kutija, bogato ilustrovano, tekst uporedo na srpskom i engleskom jeziku, veliki format (30 cm), 328 strana. Knjiga je nekorišćena (nova). Srbija, od zlata jabuka knjiga je najlepših pejzaža Srbije. Snimili su ih najbolji fotografi. Reke, planine, gradovi, ljudi...ova knjiga prati ih u njihovim traganjima za lepotom. A Tvorac ovde nije bio štedljiv. Srbija, od zlata jabuka knjiga je pravljena u senci srpskih zvonika koji se dižu put neba. Najlepši srpski manastiri svedoče – hramovi „bogolepi i nebotični” – o srpskoj duhovnoj vertikali, kroz vekove. Freske s njihovih zidova najlepši su poklon jednog malog naroda kulturnoj baštini Evrope. Srbija, od zlata jabuka oslikana je sa dve nijanse zlatnog – vizantijskom i baroknom. Ovde su se ukrstili svetovi, ovde su se pomešali Istok i Zapad. Duša ovog naroda rodila se u borbi mističnog i racionalnog. Nedostižni cilj ove knjige bio je da otkrije tajne srpske duše, koja miriše čas na bosiok, čas na barut. Srbija, od zlata jabuka knjiga je puna prošlosti, ovo je zemlja u kojoj prošlost „dugo traje”. Ovo je knjiga o trajanju lepote i duha u oskudnim vremenima, kao i ova što su – a kad takva nisu bila. Zeleno, sivo, plavo: Iz sliva Drine Srbija, od zlata jabuka knjiga je o precima. Ona hoće da kaže kako ova zemlja u kojoj kroz život hodimo nije naša: nasledili smo je od predaka, dugujemo je potomcima. Srbija, od zlata jabuka priča je o Srbiji. Jedna od bezbroj mogućih. Počinje od Lepenskog Vira, završava na Oplencu. Ne pitajte zašto tamo počinje, ni zašto tamo završava. Znate odgovor. I da je drugačije počela i drugačije završila, opet bi ga znali. Srbija, od zlata jabuka knjiga je u kojoj, jedne kraj drugih, stoje slike strogih klasicista, zaneseni romantizam, salonski bidermajer i seoski, bojom i optimizmom pretrpani, pejsaži naših naivaca. Da bi se videlo koje o srpskoj duši jasnije svedoče. Srbija, od zlata jabuka nije knjiga o ratovima, nego o stvaralaštvu i kulturnom nasleđu. Nekima od nas jako je stalo do takvog prevrednovanja srpske istorije. U njoj su, na primer, „najvažniji Srbi” Sveti Sava, Nikola Tesla i Ivo Andrić. Srbija, od zlata jabuka knjiga je pravljena gotovo dve godine. Ovo je njena „stota” verzija. Kako da budemo sigurni da je bolja od prve. Jer, kad kažete „Srbija” svako pomisli na nešto drugo. Setite se toga kad njenim autorima budete stavljali primedbe. I nemojte nam suditi suviše strogo. Srbija, od zlata jabuka knjiga je pravljena s ljubavlju. „Nekako oštro i bistrorečno ljubavi je delo”. Ne terajte nas da odgovaramo da li je ova knjiga „nekako oštra i bistrorečna”. Ne znamo, Bog zna. Srbija, od zlata jabuka bila je zahtevna za pravljenje, pa će biti takva i za čitanje. Oni koji u Srbiju nemaju vere i nade, bolje da se ne dotiču njenih korica. Srbija, od zlata jabuka svoju će svrhu ispuniti tek ako je, posle čitanja, poklonite nekom ko Srbiju voli manje od Vas, i još je manje razume – ona je pravljena protiv svake bahatosti i predrasude. A puno je o Srbiji predrasuda i prema Srbiji bahatosti. I kod nas a kamoli kod drugih. Srbija, od zlata jabuka projekat je koji se svojim krajem ne završava. Naša izdavačka kuća uveliko priprema sličnu monografiju na temu Srbija danas. Ne ulazimo u taj izdavački i urednički posao bez straha i treme. Hoćemo li uspeti da napravimo ovaj nastavak Zlatne jabuke. Neko mora.

z3 - Slika na naslovnoj strani : Prikaz seljačke bune na velikom reljefu koji je 1912. godine izradio samouki seoski umjetnik Antun Fridel iz sela Bukovja kod Pušće Bistre u Hrvatskom zagorju. Ovo je ujedno njegova prva izložba. = - Slika na pisljednjoj strani : Kao spomenar i sjećanje na proslavu 400-godišnjice seljačke bune mogla bi poslužiti ova glava Matije Gupca (kao ukrasni kip , pozdravni bilikum , vaza , čaša). Po zamisli pokretača ove akcije izradio ju je nadareni seljak i lončar Franjo Batelja iz Rastoka kod Sv. Jane, općina Jaska. = - Povijesni muzej Hrvatske , Zagreb , 1973. = - Fotografije : Ljerka Krtelj = - Tisak : `Medicinska naklada` , Zagreb ===== - 59 str. - Meki uvez - Format : 17 × 24 cm Ledić, Gerhard, hrvatski novinar i kolekcionar (Zagreb, 5. V. 1926 – Zagreb, 23. I. 2010). Građansku školu i Trgovačku akademiju završio (1943) u Zagrebu. Kao đak bio sudionik tragičnoga Križnog puta 1945. od slovenske granice do Osijeka i natrag do Bjelovara. Novinarstvom se počeo baviti 1947. u Vjesniku. U toj je novinskoj kući proveo cijeli radni vijek, s vremena na vrijeme mijenjajući uredništva (najduže radio u Vjesniku u srijedu i Večernjem listu). Veliku popularnost stekao je rubrikom Lutajući reporter pronalazi, a pisao ju je pune 32 godine. Tragajući za neobičnostima proputovao je mnoge zemlje, te skupio značajne kolekcije knjiga i slika naivne umjetnosti. Surađivao na Televiziji Zagreb, s više od 300 putopisa i serija, kao voditelj, autor i urednik. U njegovoj biblioteci nalazi se oko 25 000 knjiga i svezaka od XV. stoljeća nadalje s raritetima tiskovina i rukopisa (pjesme Katarine Zrinske, rukopis Gundulićeva Osmana i dr.). Pisao je o naivnoj umjetnosti (Seljačka buna u djelima naivnih umjetnika Hrvatske, 1973; Ivan Lacković Croata, 1974).

Bioskopska promišljanja - Kventin Tarantino Izdavač: Laguna Broj strana: 408 Pismo: Latinica Povez: Mek Godina izdanja: 8. decembar 2023. Format: 13 x 20 cm Prevodilac: Goran Skrobonja NOVA knjiga!!! Knjiga koja je u trenu postala bestseler New York Timesa. Raspamećujuće zabavna, opasno inteligentna knjiga o filmu, jedinstvena i kreativna kao i ostala dela Kventina Tarantina. Pored toga što se ubraja među najslavnije savremene sineaste, Kventin Tarantino je možda osoba koja najzanosnije i sa najviše entuzijazma širi ljubav prema filmu. Godinama je napominjao da će se na kraju posvetiti pisanju knjiga o filmovima. Kucnuo je čas za to, a Bioskopska promišljanja odgovor su svim željama i nadama njegovih strasnih poklonika i ljubitelja filma. Organizovana oko ključnih američkih filmova iz sedamdesetih godina, koje je prvi put gledao kao mladi bioskopski gledalac, ova knjiga je intelektualno rigoriozna i pronicljiva koliko i razigrana i zabavna. Istovremeno filmska kritika, filmska teorija, reportraža, divan lični istorijat, napisana je jedinstvenim glasom koji se odmah prepoznaje kao Tarantinov. „Opako zabavno... Tarantino zna šta mu se dopada i mami čitaoca s lakoćom... Izuzetna pohvala prljavih i jezivih filmova njegove mladosti.“ – San Francisco Chronicle „Nimalo ne čudi što su Tarantinovi filmski prikazi jednako snažni, pametni i iznenađujući kao i njegovi filmovi: u izvesnom smislu on je godinama pisao i jedno i drugo... Tarantinova kritička inteligencija istovremeno prelama i odražava svetlost... Tarantino neumoljivo slavi ona prljavija zadovoljstva koja bioskop nudi.“ – New York Times Book Review „Briljantno i strastveno... Tarantinova radost, velikodušnost i jedinstveno stanovište podupiru njegove argumente, a kada govori loše o svojim junacima, on to čini iz ljubavi... Oštar, pametan i opsesivan, Tarantino je strahovito zabavan i teško ga je nadmašiti.“ – Publishers Weekly

Spoljašnjost kao na fotografijama, unutrašnjost u dobrom i urednom stanju! Vasilije Jordan - Josip Depolo Format: 26 x 32 cm, 264 str. Izdavač: Grafički zavod Hrvatske, 1982 Tvrdi povez Reprodukcije u boji Autori: Josip Depolo Patrick Waldberg Matko Peić Grgo Gamulin Saša Vereš Veno Zlamalik Ive Šimat Banov Radoslav Putar Jelena Uskoković Željo Sabol Stephane Rey Alain Bosquet J.M. Lo Duca Jacques Collard Monografija u odličnom stanju Vasilije Josip Jordan (Zagreb, 1. ožujka 1934. – Zagreb, 12. ožujka 2019.) bio je hrvatski akademski slikar, grafičar, kazališni scenograf i likovni pedagog.[1] Životopis Rodio se 1. ožujka 1934. godine u Zagrebu u obitelji slovenskih korijena. Školu primijenjene umjetnosti završio je 1953. godine. U Zagrebu je diplomirao na Akademiji likovnih umjetnosti u klasi profesora Ljube Babića. Za profesore je imao poznate umjetnike kao što su Krsto Hegedušić, Vjekoslav Parać, Vid Mihičić, Matko Peić i ine. Od 1960. započinje njegova profesionalna karijera samostalnog umjetnika. Prvi put je izlagao - s mladima - 1958. godine, dok je samostalno prvi put izložio svoja djela 1961. godine.[2] Bilo je to u Zagrebu u Gradskoj galeriji suvremene umjetnosti. Za tu je izložbu i sentimentalno vezan jer je na njoj upoznao svoju buduću suprugu.[3] Ukupno je samostalno izlagao više od stotinjak puta u domovini i inozemstvu. Likovni kritičari su ga uvrstili u slikare poetskog nadrealizma. Europski galeristi su ga prepoznali. Uvršten je u antologije figurativnog slikarstva 20. stoljeća. O njemu su pisali Giorgio Segato, Alain Bosquet, Stephane Rey, Paul Caso i ini. Članci o o Jordanovom slikarstvu izlazili su i u novinama kao što su to Le Soir i Le Figaro. Bavio se i grafikom i ostavio je iznimno brojne mape. Okušao se i u kazalištu kao scenograf. Napravio je scenografiju Verdijeve opere `Simon Boccanegra` u HNK-u Zagreb.[1] Bio je redovni profesor katedre za crtanje i slikanje na Akademiji likovnih umjetnosti. U istoj ustanovi bio je dekan. Sredinom 1990-ih skupa sa Stipom Sikiricom i Miroslavom Šutejom suosnivač Akademije likovnih umjetnosti u Širokom Brijegu gdje je bio i pročelnik studija za slikarstvo te dekan. [1] Ostavio je traga u sakralnoj umjetnosti: zagrebačkoj crkvi sv. Antuna izradio je četrnaest postaja Križnog puta, u zagrebačkoj kapeli sv. Dizme, crkvi sv. Frane u Splitu, crkvi sv. Marka na Plehanu, crkvi sv. Franje u Tuzli, župnoj crkvi u Osoru i dr. Djela su mu i u Vatikanskom muzeju sakralne umjetnosti. Autor je svečanog zastora Harmica u zagrebačkom Hrvatskom narodnom kazalištu. Zastor je izveo Rudi Labaš. Preminuo je 12. ožujka 2019. u 86. godini.

NOVA URAMLJENA IKONA BOGORODICE SA ISUSOM Dimenzije ikone su 29,8cmx22,8cm,pozadi ima metalni trougao da se može zakači na ekser na zidu. Najprije par riječi o roditeljima Majke Božje. Njezina majka Sveta Ana rođena je u Betlehemu iz roda kralja Davida. Od djetinjstva je bila urešena svim krepostima. Dobro je poznavala Sveto Pismo i njegova otajstva. Žarko je molila da dođe Spasitlej. Po poruci Arkanđela Gabrijela uzima Svetog Joakima za muža. Živjeli su u Nazaretu. Dugo nisu imali potomastva. Učinili su zavjet da će Bogu posvetiti svoje dijete, poput majke Samuelove. Arkanđeo Gabrijel se ukaza Svetoj Ani kao najljepši mladić. Javlja joj da je Svevišnji Gospodin uslišao njezine molitve: “Ti i Jopakim ponizili ste se u svojim prošnjama, zato će vam Svevišnji velikom darežljivošću ispuniti vaše želje. Ustrajte u molitvama. Znaj, kako sam i Joakimu već navijestio – on će imati Blaženu i Blagoslovljenu Kćerku. Ali njemu Gospodin nije otkrio tajnu, njemu nije objavljeno da će Ona biti Majka Mesije, stoga moraš ovu tajnu čuvati.” Za vrijeme Marijina začeća Sveta Ana je imala 44, a Sveti Joakim 66 godina. Taj događaj Crkva slavi velikom svetkovinom 8. prosinca. Stoljećima se rođendan Blažene Djevice Marije spominje 8. rujna. Nebeska Kraljica je koncem dvadesetog stoljeća objavila da je Njezin datum rođenja bio 5. kolovoza -na koji je dan par stoljeća kasnije učinila u Rimu čudo snijega na mjestu gradnje prve crkve sebi u čast. Po savjetu Neba Sveta Ana je spoznala da je dužnost da svojoj kćerki dade ime Mirjam – Marija, što znači Zvijezda mora. Nekoliko dana prije, nego li je Bl. Djevica Marija navršila tri godine, Sveta Ana u zanosu primi od Boga nalog, da izvrši zavjet te Kćerku zadnji dan njene treće godine prikaže u jeruzalemskon Hramu. Tog se događaja spominjemo u bogoslužju 21. studenog, kada je na taj dan posvećena u Jeruzalemu crva Sveta Marija Nova ( godine 543.) pokraj jeruzalemskog Hrama. Sveta Ana je završila zemaljski život u 56. godini sa ovim riječima svojoj Kćeri: “Baštinu Joanima i Ane dijeli sa siromasima. Tajne svoje čuvaj u dubini Srca svojega i moli neprestance Svemogućega da pošalje na svijet spasenje po obećanom Mesiji.!” Po Božjem promislu kad je Djevici Mariji bilo 14 godina zaručena je sa Svetim Josipom iz Nazareta koji je imao 33 godine. Prošlo je šest mjeseci i 17 dana od zaruka kada se – 25. ožujka po pristanku Josipove zaručnice Marije, u njezinom krulu začeo primivši tijelo Sin Božji. Djevica je postala živi ciborij u koji silazi Kruh koji dolazi s Neba. Tijelo Gospodinovo postalo je tijelom u krilu Bezgrešne, koja je to ostala od časa začerća. Najčišća Djevica je prihvatila Nebo u svoje krilo odijevajući svojim tijelom Riječ Očevu nakon božanskog vjenčanja s Duhom Svetim. Tako je Blažena Djevica postala prvo živo Svetohranište Presvetog Trojstva gdje se Otac Nebeski neprestano slavi, Sin savršeno ljubi a Duh Sveti u potpunosti posjeduje. 25 prosinca Djevica Marija rodi u Betlehemu Spasitelja. Prema objavi Isusa Krista Službenici Božjoj Mariji Agredskskoj prošlo je od stvaranja Adama do Božića ukupno 5199 godina.Činom stalne vjere Bogorodica je u svom Sinu Isusu vidjela svog Boga i duboko Mu se ljubavlju klanjala:- kao sitnom zametku dajući Mu svoju krv i tijelo; nakon rođenja promatrajući Ga u jaslama siromašne spilje; dječaku Isusu koji raste, mladiću koji se razvija te mladom čovjeku nad svakodnevnim tesarskim poslom i Mesiji koji vrši svoje javno poslanje. Klanjala se Isusu primivši Ga u prilikama Kruha i Vina nakon Apostola na Posljednjoj Večeri. Kad su Isusa svukli na Kalvariji Majka Mesije daruje svoj bijeli veo da se zaštiti Sin u svojoj stidljivosti. Tako je na Veliki Petak bila prisutna kod Isusovog prikazivanja Njegove krvave žrtve na Križu. Osobitim načinom ostale su u njezinu Srcu slike Muke Isusove redom kako su slijedile te je kod razmatranja uvijek osjećala one boli, koje je podnosio njezin Božanski Sin. Iz ljubavi prema Bogu trpjela je više nego Mučenci ili Sveci. Svaki petak duboko je Gospa proživljaval smrt i ukop svojeg Sina. U svojoj sobi bi započela razmatranje kako je Gospodin prao noge svojim učenicima te proslijedila do sjećanja na prvi susret sa Uskrslim Sinom. Nakon silaska Duha Svetoga Marija je skoro svaki dan najsavršenije sudjelovala u prikazivanju Nekrvne Žrtve koju je obično slavio Sveti Ivan. Najprije bi se molili Psalmi i čitali odlomci Starog Zavjeta Pretvorba je bila kao i danas. Službenica Božja Marija Agredska spominje da je vidjela kako se Bogorodica tri puta do zemlje poklanjala i tada s godućom ljubavlju primala Nebreski Kruh.. (Poklon do zemlje prije Svete Pričesti navodi kao redovitu praksu u svoje vrijeme Sveti Augustin). Nakon Pričesti povukla bi se Bogorodica u svoju sobu i ostala u svojoj sobi čak po tri sata. Tako žarka bijaše njena priprava i zahvala Svete Pričesti da je njezin Božanski Sin na to odgovarao osobnom posjetom Svojoj Majci. Kroz to vrijeme zanosnog motrenja Sveti Ivan je viđao kako blistave sjajne zrake izlaze iz Majke Božje. Presveta Djevica Marija je zadnjih godina svojega života vrlo malo jela i spavala. Spavala bi po jedan sat a jela par komadića kruha i malo ribe. Ali je brižno spremala hranu i majčinski dvorila Apostola Ivana. Prva je živjela od Svete Pričesti, Ona je mogla živjeti samo od Nebeske Hrane što će se ponoviti kroz stoljeć kod Svetaca koji su posebno častili Oltarski Sakramenat. U ovom prikazu će o tim karizmama biti riječ. Od 16. do 25. pripravljala se Bogorodica na spoemn Utjelovljenja te je samo primala Svetu Pričest i bila bez jela i pila. Majka Velikog Svećenika Isusa biva prisutna kod svakog oltara kada Isus u osobi svojeg službenika žrtvuje Sebe za sve nas na nekrvni način u Svetoj Misi. Isus sa slavnim Tijelom ostaje Marijin Sin, koji je nama za ljubav prisutan pod bijelom pojavom posvećenog Kruha. Bogorodica je prostrta pred svakim Svetohraništem u činu vječnog klanjaja i zadovoljštine sa Zborovima Anđela i mnoštvom Svetih. Blažena Djevica, Majka Emanuela - Boga s nama, je naša Majka Euharistije. Zemaljski život završila je u pedeset petoj godini, 22 godine nakon Isusova uzašašća. Dušom i tijelom uzeta je u Nebo i okrunjena kao Kraljica Anđela i Svetih 15. kolovoza kada Crkva slavi svetkovinu Uznesenja Blažene Djevice Marije u Nebo.

NOVA URAMLJENA IKONA-SVETI APOSTOL LUKA Dimenzije ikone su 30,7cm SA 24,4cm,pozadi ima metalni trougao da se može zakači na ekser na zidu-svaka ikona koju prodajem ima staklo-tj.uramljena je sa staklom. Свети апостол и јеванђелист Лука Свети Еванђелист Лука беше родом из Антиохије Сиријске. У младости он добро изучи грчку философију, медицину и живопис. Он одлично знађаше египатски и грчки језик. У време делатности Господа Исуса на земљи Лука дође из Антиохије у Јерусалим. Живећи као човек међу људима, Господ Исус сејаше божанско семе спаооносног учења свог, а Лукино срце би добра земља за то небеско семе. И оно проклија у њему, ниче и донесе стоструки плод. Јер Лука, гледајући Спаситеља лицем у лице и слушајући Његову божанску науку, испуни се божанске мудрости и божанског знања, које му не дадоше ни јелинске ни египатске школе: он познаде истинитог Бога, верова у Њега, и би увршћен у Седамдесет апостола, и послат на проповед. О томе он сам говори у Еванђељу свом: Изабра Господ и других Седамдесеторицу, и поana их по два и два пред лицем својим у сваки град и место куда шћаше сам доћи (Лк. 10, 1). И свети Лука, наоружан од Господа силом и влашћу да проповеда Еванђеље и чини чудеса, хођаше `пред лицем` Господа Исуса Христа, светом проповеђу припремајући пут Господу и убеђујући људе да је на свет дошао очекивани Месија. У последње дане земаљског живота Спаситељевог, када Божански Пастир би ударен и овце се Његове од страха разбегоше, свети Лука се налажаше у Јерусалиму, тугујући и плачући за Господом својим, који благоволи добровољно пострадати за спасење наше. Али се његова жалост убрзо окрену на радост: јер васкрсли Господ, у сами дан Васкрсења Свог јави се њему када је с Клеопом ишао у Емаус, и вечном радошћу испуни срце његово, о чему он сам подробно говори у Еванђељу свом (Лк. 24, 13-35). По силаску Светога Духа на апостоле, свети Лука остаде неко време са осталим апостолима у Јерусалиму, па крену у Антиохију, где је већ било доста хришћана. На том путу он се задржа у Севастији,[1] проповедајући Еванђеље спасења. У Севастији су почивале нетљене мошти светога Јована Претече. Полазећи из Севастије, свети Лука је хтео да те свете мошти узме и пренесе у Антиохију, али тамошњи хришћани не дозволише да остану без тако драгоцене светиње. Они допустише, те свети Лука узе десну руку светога Крститеља, под коју је Господ при крштењу Свом од Јована преклонио Своју Божанску Главу. Са тако скупоценим благом свети Лука сгимсе у свој завичај, на велику радост антиохијских хришћана. Из Антиохије свети Лука отпутова тек када постаде сарадник и сапутник светог апостола Павла. To се догодило у време Другог путовања светога Павла.[2] Тада свети Лука отпутова са апостолом Павлом у Грчку на проповед Еванђеља. Свети Павле остави светога Луку у Македонском граду Филиби, да ту утврди и уреди Цркву. Од тога времена свети Лука остаде неколико година у Македонији,[3] проповедајући и ширећи хришћанство. Када свети Павле при крају свог Трећег апостолског путовања поново посети Филибу, он посла светог Луку у Коринт ради скупљања милостиње за сиромашне хришћане у Палестини. Скупивши милостињу свети Лука са светим апостолом крену у Палестину, посећујући успут Цркве, које су се налазиле на острвима Архипелага, на обалама Мале Азије, у Финикији и Јудеји. А када апостол Павле би стављен под стражу у Палестинском граду Кесарији, свети Лука остаде поред њега. He напусти он апостола Павла ни онда, када овај би упућен у Рим, на суд ћесару. Он је заједно са апостолом Павлом подносио све тешкоће путовања по мору, подвргавајући се великим опасностима (ср. Д. А. 27 и 28 глава). Дошавши у Рим, свети Лука се такође налазио поред апостола Павла, и заједно са Марком, Аристархом и неким другим сапутницима великог апостола народа, проповедао Христа у тој престоници старога света.[4] У Риму је свети Лука написао своје Еванђеље и Дела Светих Апостола.[5] У Еванђељу он описује живот и рад Господа Исуса Христа не само на основу онога што је сам видео и чуо, него имајући у виду све оно што предаше `први очевидци и слуге речи` (Лк. 1, 2). У овом светом послу светог Луку руковођаше свети апостол Павле, и затим одобри свето Еванђеље написано светим Луком. Исто тако и Дела Светих Апостола свети Лука је, како каже црквено предање, написао по налогу светог апостола Павла.[6] После двогодишњег затвора у узама римским, свети апостол Павле би пуштен на слободу, и оставивши Рим он посети неке Цркве које је био основао раније. На овоме путу свети Лука га је пратио. He прође много времена а цар Нерон подиже у Риму жестоко гоњење хришћана. У то време апостол Павле по друга пут допутова у Рим, да би својом речју и примером ободрио и подржао гоњену Цркву. Но незнабошци га ухватише и у окове бацише. Свети Лука и у ово тешко време налажаше се неодступно поред свог учитеља. Свети апостол Павле пише о себи као о жртви која је већ на жртвенику. Ја већ постајем жртва, пише у то време свети апостол своме ученику Тимотеју, и време мога одласка наста. Постарај се да дођеш брзо к мени: јер ме Димас остави, омилевши му садашњи свет, и отиде у Солун; Крискент у Галатију, Тит у Далмацију; Лука је сам код мене (2 Тм. 4, 6.10). Врло је вероватно да је свети Лука био очевидац и мученичке кончине светог апостола Павла у Риму. После мученичке кончине апостола Павла свети Лука је проповедао Господа Христа у Италији, Далмацији, Галији, а нарочито у Македонији, у којој се и раније трудио неколико година. Поред тога благовестио је Господа Христа у Ахаји.[7] У старости својој свети Лука отпутова у Египат ради проповеди Еванђеља. Тамо он благовестећи Христа претрпе многе муке и изврши многе подвиге. И удаљену Тиваиду он просвети вечном светлошћу Христова Еванђеља. У граду Александрији он рукоположи за епископа Авилија на место Аниана, рукоположеног светим Еванђелистом Марком. Вративши се у Грчку, свети Лука устроји Цркве нарочито у Беотији,[8] рукоположи свештенике и ђаконе, исцели болесне телом и душом. Светом Луки беше осамдесет четири година, када га злобни идолопоклоници ударише на муке Христа ради и обесише о једној маслини у граду Тиви (= Теби) Беотијској. Чесно тело његово би погребено у Тиви, главном граду Беотије, где од њега биваху многа чудеса. Ту су се ове свете чудотворне мошти налазиле до друге половине четвртога века, када бише пренесене у Цариград, у време цара Констанција, сина Константиновог. У четвртом веку нарочито се прочу место где су почивале чесне мошти светога Луке, због исцељивања која су се збивала од њих. Особито исцељивање од болести очију. Сазнавши о томе цар Констанције посла управитеља Египта Артемија[9] да мошти светога Луке пренесе у престоницу, што и би учињено веома свечано.[10] У време преношења ових светих моштију од обале морске у свети храм, догоди се овакво чудо. Неки евнух Анатолије, на служби у царском двору, беше дуго болестан од неизлечиве болести. Он много новаца утроши на лекаре, али исцељења не доби. А када чу да се у град уносе свете мошти светога Луке, он се од свег срца стаде молити светом апостолу и евангелисту за исцељење. Једва уставши са постеље он нареди да га воде у сусрет ковчегу са моштима светога Луке. А када га доведоше до ковчега, он се поклони светим моштима и с вером се дотаче кивота, и тог часа доби потпуно исцељење и постаде савршено здрав. И одмах сам подметну своја рамена испод ковчега са светим моштима, те га са осталим људима носаше, и унесоше у храм светих Апостола, где мошти светога Луке бише положене под светим престолом, поред моштију светих апостола: Андреја и Тимотеја. Стари црквени писци казују, да је свети Лука, одазивајући се побожној жељи ондашњих хришћана, први живописао икону Пресвете Богородице са Богомладенцем Господом Исусом на њеним рукама, и то не једну него три, и донео их на увид Богоматери. Разгледавши их, она је рекла: Благодат Рођеног од мене, и моја, нека буду са овим иконама. Свети Лука је исто тако живописао на даскама и иконе светих првоврховних апостола Петра и Павла. И тако свети апостол и еванђелист Лука постави почетак дивном и богоугодном делу - живописању светих икона, у славу Божију, Богоматере и свих Светих, а на благољепије светих цркава, и на спасење верних који побожно почитују свете иконе. Амин. Pogledajte moju ponudu na kupindu: http://www.kupindo.com/Clan/durlanac2929/SpisakPredmeta Pogledajte moju ponudu na limundu: http://www.limundo.com/Clan/durlanac2929/SpisakAukcija

Dimenzije ikone su 29.8cm SA 24,1cm,pozadi ima metalni trougao da se može zakači na ekser na zidu-svaka ikona koju prodajem ima staklo-tj.uramljena je sa staklom. Свети апостол и јеванђелист Лука Свети Еванђелист Лука беше родом из Антиохије Сиријске. У младости он добро изучи грчку философију, медицину и живопис. Он одлично знађаше египатски и грчки језик. У време делатности Господа Исуса на земљи Лука дође из Антиохије у Јерусалим. Живећи као човек међу људима, Господ Исус сејаше божанско семе спаооносног учења свог, а Лукино срце би добра земља за то небеско семе. И оно проклија у њему, ниче и донесе стоструки плод. Јер Лука, гледајући Спаситеља лицем у лице и слушајући Његову божанску науку, испуни се божанске мудрости и божанског знања, које му не дадоше ни јелинске ни египатске школе: он познаде истинитог Бога, верова у Њега, и би увршћен у Седамдесет апостола, и послат на проповед. О томе он сам говори у Еванђељу свом: Изабра Господ и других Седамдесеторицу, и поana их по два и два пред лицем својим у сваки град и место куда шћаше сам доћи (Лк. 10, 1). И свети Лука, наоружан од Господа силом и влашћу да проповеда Еванђеље и чини чудеса, хођаше `пред лицем` Господа Исуса Христа, светом проповеђу припремајући пут Господу и убеђујући људе да је на свет дошао очекивани Месија. У последње дане земаљског живота Спаситељевог, када Божански Пастир би ударен и овце се Његове од страха разбегоше, свети Лука се налажаше у Јерусалиму, тугујући и плачући за Господом својим, који благоволи добровољно пострадати за спасење наше. Али се његова жалост убрзо окрену на радост: јер васкрсли Господ, у сами дан Васкрсења Свог јави се њему када је с Клеопом ишао у Емаус, и вечном радошћу испуни срце његово, о чему он сам подробно говори у Еванђељу свом (Лк. 24, 13-35). По силаску Светога Духа на апостоле, свети Лука остаде неко време са осталим апостолима у Јерусалиму, па крену у Антиохију, где је већ било доста хришћана. На том путу он се задржа у Севастији,[1] проповедајући Еванђеље спасења. У Севастији су почивале нетљене мошти светога Јована Претече. Полазећи из Севастије, свети Лука је хтео да те свете мошти узме и пренесе у Антиохију, али тамошњи хришћани не дозволише да остану без тако драгоцене светиње. Они допустише, те свети Лука узе десну руку светога Крститеља, под коју је Господ при крштењу Свом од Јована преклонио Своју Божанску Главу. Са тако скупоценим благом свети Лука сгимсе у свој завичај, на велику радост антиохијских хришћана. Из Антиохије свети Лука отпутова тек када постаде сарадник и сапутник светог апостола Павла. To се догодило у време Другог путовања светога Павла.[2] Тада свети Лука отпутова са апостолом Павлом у Грчку на проповед Еванђеља. Свети Павле остави светога Луку у Македонском граду Филиби, да ту утврди и уреди Цркву. Од тога времена свети Лука остаде неколико година у Македонији,[3] проповедајући и ширећи хришћанство. Када свети Павле при крају свог Трећег апостолског путовања поново посети Филибу, он посла светог Луку у Коринт ради скупљања милостиње за сиромашне хришћане у Палестини. Скупивши милостињу свети Лука са светим апостолом крену у Палестину, посећујући успут Цркве, које су се налазиле на острвима Архипелага, на обалама Мале Азије, у Финикији и Јудеји. А када апостол Павле би стављен под стражу у Палестинском граду Кесарији, свети Лука остаде поред њега. He напусти он апостола Павла ни онда, када овај би упућен у Рим, на суд ћесару. Он је заједно са апостолом Павлом подносио све тешкоће путовања по мору, подвргавајући се великим опасностима (ср. Д. А. 27 и 28 глава). Дошавши у Рим, свети Лука се такође налазио поред апостола Павла, и заједно са Марком, Аристархом и неким другим сапутницима великог апостола народа, проповедао Христа у тој престоници старога света.[4] У Риму је свети Лука написао своје Еванђеље и Дела Светих Апостола.[5] У Еванђељу он описује живот и рад Господа Исуса Христа не само на основу онога што је сам видео и чуо, него имајући у виду све оно што предаше `први очевидци и слуге речи` (Лк. 1, 2). У овом светом послу светог Луку руковођаше свети апостол Павле, и затим одобри свето Еванђеље написано светим Луком. Исто тако и Дела Светих Апостола свети Лука је, како каже црквено предање, написао по налогу светог апостола Павла.[6] После двогодишњег затвора у узама римским, свети апостол Павле би пуштен на слободу, и оставивши Рим он посети неке Цркве које је био основао раније. На овоме путу свети Лука га је пратио. He прође много времена а цар Нерон подиже у Риму жестоко гоњење хришћана. У то време апостол Павле по друга пут допутова у Рим, да би својом речју и примером ободрио и подржао гоњену Цркву. Но незнабошци га ухватише и у окове бацише. Свети Лука и у ово тешко време налажаше се неодступно поред свог учитеља. Свети апостол Павле пише о себи као о жртви која је већ на жртвенику. Ја већ постајем жртва, пише у то време свети апостол своме ученику Тимотеју, и време мога одласка наста. Постарај се да дођеш брзо к мени: јер ме Димас остави, омилевши му садашњи свет, и отиде у Солун; Крискент у Галатију, Тит у Далмацију; Лука је сам код мене (2 Тм. 4, 6.10). Врло је вероватно да је свети Лука био очевидац и мученичке кончине светог апостола Павла у Риму. После мученичке кончине апостола Павла свети Лука је проповедао Господа Христа у Италији, Далмацији, Галији, а нарочито у Македонији, у којој се и раније трудио неколико година. Поред тога благовестио је Господа Христа у Ахаји.[7] У старости својој свети Лука отпутова у Египат ради проповеди Еванђеља. Тамо он благовестећи Христа претрпе многе муке и изврши многе подвиге. И удаљену Тиваиду он просвети вечном светлошћу Христова Еванђеља. У граду Александрији он рукоположи за епископа Авилија на место Аниана, рукоположеног светим Еванђелистом Марком. Вративши се у Грчку, свети Лука устроји Цркве нарочито у Беотији,[8] рукоположи свештенике и ђаконе, исцели болесне телом и душом. Светом Луки беше осамдесет четири година, када га злобни идолопоклоници ударише на муке Христа ради и обесише о једној маслини у граду Тиви (= Теби) Беотијској. Чесно тело његово би погребено у Тиви, главном граду Беотије, где од њега биваху многа чудеса. Ту су се ове свете чудотворне мошти налазиле до друге половине четвртога века, када бише пренесене у Цариград, у време цара Констанција, сина Константиновог. У четвртом веку нарочито се прочу место где су почивале чесне мошти светога Луке, због исцељивања која су се збивала од њих. Особито исцељивање од болести очију. Сазнавши о томе цар Констанције посла управитеља Египта Артемија[9] да мошти светога Луке пренесе у престоницу, што и би учињено веома свечано.[10] У време преношења ових светих моштију од обале морске у свети храм, догоди се овакво чудо. Неки евнух Анатолије, на служби у царском двору, беше дуго болестан од неизлечиве болести. Он много новаца утроши на лекаре, али исцељења не доби. А када чу да се у град уносе свете мошти светога Луке, он се од свег срца стаде молити светом апостолу и евангелисту за исцељење. Једва уставши са постеље он нареди да га воде у сусрет ковчегу са моштима светога Луке. А када га доведоше до ковчега, он се поклони светим моштима и с вером се дотаче кивота, и тог часа доби потпуно исцељење и постаде савршено здрав. И одмах сам подметну своја рамена испод ковчега са светим моштима, те га са осталим људима носаше, и унесоше у храм светих Апостола, где мошти светога Луке бише положене под светим престолом, поред моштију светих апостола: Андреја и Тимотеја. Стари црквени писци казују, да је свети Лука, одазивајући се побожној жељи ондашњих хришћана, први живописао икону Пресвете Богородице са Богомладенцем Господом Исусом на њеним рукама, и то не једну него три, и донео их на увид Богоматери. Разгледавши их, она је рекла: Благодат Рођеног од мене, и моја, нека буду са овим иконама. Свети Лука је исто тако живописао на даскама и иконе светих првоврховних апостола Петра и Павла. И тако свети апостол и еванђелист Лука постави почетак дивном и богоугодном делу - живописању светих икона, у славу Божију, Богоматере и свих Светих, а на благољепије светих цркава, и на спасење верних који побожно почитују свете иконе. Амин. Pogledajte moju ponudu na kupindu: http://www.kupindo.com/Clan/durlanac2929/SpisakPredmeta Pogledajte moju ponudu na limundu: http://www.limundo.com/Clan/durlanac2929/SpisakAukcija

Kao na slikama Lepo očuvano Pottery is the process and the products of forming vessels and other objects with clay and other raw materials, which are fired at high temperatures to give them a hard and durable form. The place where such wares are made by a potter is also called a pottery (plural potteries). The definition of pottery, used by the ASTM International, is `all fired ceramic wares that contain clay when formed, except technical, structural, and refractory products`.[1] End applications include tableware, decorative ware, sanitaryware, and in technology and industry such as electrical insulators and laboratory ware. In art history and archaeology, especially of ancient and prehistoric periods, pottery often means vessels only, and sculpted figurines of the same material are called terracottas. Pottery is one of the oldest human inventions, originating before the Neolithic period, with ceramic objects such as the Gravettian culture Venus of Dolní Věstonice figurine discovered in the Czech Republic dating back to 29,000–25,000 BC,[2] and pottery vessels that were discovered in Jiangxi, China, which date back to 18,000 BC. Early Neolithic and pre-Neolithic pottery artifacts have been found, in Jōmon Japan (10,500 BC),[3] the Russian Far East (14,000 BC),[4] Sub-Saharan Africa (9,400 BC),[5] South America (9,000s–7,000s BC),[6] and the Middle East (7,000s–6,000s BC). Pottery is made by forming a clay body into objects of a desired shape and heating them to high temperatures (600–1600 °C) in a bonfire, pit or kiln, which induces reactions that lead to permanent changes including increasing the strength and rigidity of the object. Much pottery is purely utilitarian, but some can also be regarded as ceramic art. An article can be decorated before or after firing. Pottery is traditionally divided into three types: earthenware, stoneware and porcelain. All three may be glazed and unglazed. All may also be decorated by various techniques. In many examples the group a piece belongs to is immediately visually apparent, but this is not always the case; for example fritware uses no or little clay, so falls outside these groups. Historic pottery of all these types is often grouped as either `fine` wares, relatively expensive and well-made, and following the aesthetic taste of the culture concerned, or alternatively `coarse`, `popular`, `folk` or `village` wares, mostly undecorated, or simply so, and often less well-made. Cooking in pottery became less popular once metal pots became available,[7] but is still used for dishes that benefit from the qualities of pottery cooking, typically slow cooking in an oven, such as biryani, cassoulet, daube, tagine, jollof rice, kedjenou, cazuela and types of baked beans.[7] Main types[edit] Earthenware[edit] Main article: Earthenware Earthenware jar from the Neolithic Majiayao culture China, 3300 to 2000 BCE The earliest forms of pottery were made from clays that were fired at low temperatures, initially in pit-fires or in open bonfires. They were hand formed and undecorated. Earthenware can be fired as low as 600 °C, and is normally fired below 1200 °C.[8] Because unglazed earthenware is porous, it has limited utility for the storage of liquids or as tableware. However, earthenware has had a continuous history from the Neolithic period to today. It can be made from a wide variety of clays, some of which fire to a buff, brown or black colour, with iron in the constituent minerals resulting in a reddish-brown. Reddish coloured varieties are called terracotta, especially when unglazed or used for sculpture. The development of ceramic glaze made impermeable pottery possible, improving the popularity and practicality of pottery vessels. Decoration has evolved and developed through history. Stoneware[edit] Main article: Stoneware 15th-century Japanese stoneware storage jar, with partial ash glaze Stoneware is pottery that has been fired in a kiln at a relatively high temperature, from about 1,100 °C to 1,200 °C, and is stronger and non-porous to liquids.[9] The Chinese, who developed stoneware very early on, classify this together with porcelain as high-fired wares. In contrast, stoneware could only be produced in Europe from the late Middle Ages, as European kilns were less efficient, and the right type of clay less common. It remained a speciality of Germany until the Renaissance.[10] Stoneware is very tough and practical, and much of it has always been utilitarian, for the kitchen or storage rather than the table. But `fine` stoneware has been important in China, Japan and the West, and continues to be made. Many utilitarian types have also come to be appreciated as art. Porcelain[edit] Main article: Porcelain Contemporary porcelain plate by Sèvres Porcelain is made by heating materials, generally including kaolin, in a kiln to temperatures between 1,200 and 1,400 °C (2,200 and 2,600 °F). This is higher than used for the other types, and achieving these temperatures was a long struggle, as well as realizing what materials were needed. The toughness, strength and translucence of porcelain, relative to other types of pottery, arises mainly from vitrification and the formation of the mineral mullite within the body at these high temperatures. Although porcelain was first made in China, the Chinese traditionally do not recognise it as a distinct category, grouping it with stoneware as `high-fired` ware, opposed to `low-fired` earthenware. This confuses the issue of when it was first made. A degree of translucency and whiteness was achieved by the Tang dynasty (AD 618–906), and considerable quantities were being exported. The modern level of whiteness was not reached until much later, in the 14th century. Porcelain was also made in Korea and in Japan from the end of the 16th century, after suitable kaolin was located in those countries. It was not made effectively outside East Asia until the 18th century.[11] Archaeology[edit] Archaeologist cleaning an early mediaeval pottery sherd from Chodlik, Poland. The study of pottery can help to provide an insight into past cultures. Fabric analysis (see section below), used to analyse the fabric of pottery, is important part of archaeology for understanding the archaeological culture of the excavated site by studying the fabric of artifacts, such as their usage, source material composition, decorative pattern, color of patterns, etc. This helps to understand characteristics, sophistication, habits, technology, tools, trade, etc. of the people who made and used the pottery. Carbon dating reveals the age. Sites with similar pottery characteristics have the same culture, those sites which have distinct cultural characteristics but with some overlap are indicative of cultural exchange such as trade or living in vicinity or continuity of habitation, etc. Examples are black and red ware, redware, Sothi-Siswal culture and Painted Grey Ware culture. The six fabrics of Kalibangan is a good example of use of fabric analysis in identifying a differentiated culture which was earlier thought to be typical Indus Valley civilisation (IVC) culture. Pottery is durable, and fragments, at least, often survive long after artifacts made from less-durable materials have decayed past recognition. Combined with other evidence, the study of pottery artefacts is helpful in the development of theories on the organisation, economic condition and the cultural development of the societies that produced or acquired pottery. The study of pottery may also allow inferences to be drawn about a culture`s daily life, religion, social relationships, attitudes towards neighbours, attitudes to their own world and even the way the culture understood the universe. Terracotta Army following excavation It is valuable to look into pottery as an archaeological record of potential interaction between peoples. When pottery is placed within the context of linguistic and migratory patterns, it becomes an even more prevalent category of social artifact.[12] As proposed by Olivier P. Gosselain, it is possible to understand ranges of cross-cultural interaction by looking closely at the chaîne opératoire of ceramic production.[13] The methods used to produce pottery in early Sub-Saharan Africa are divisible into three categories: techniques visible to the eye (decoration, firing and post-firing techniques), techniques related to the materials (selection or processing of clay, etc.), and techniques of molding or fashioning the clay.[13] These three categories can be used to consider the implications of the reoccurrence of a particular sort of pottery in different areas. Generally, the techniques that are easily visible (the first category of those mentioned above) are thus readily imitated, and may indicate a more distant connection between groups, such as trade in the same market or even relatively close settlements.[13] Techniques that require more studied replication (i.e., the selection of clay and the fashioning of clay) may indicate a closer connection between peoples, as these methods are usually only transmissible between potters and those otherwise directly involved in production.[13] Such a relationship requires the ability of the involved parties to communicate effectively, implying pre-existing norms of contact or a shared language between the two. Thus, the patterns of technical diffusion in pot-making that are visible via archaeological findings also reveal patterns in societal interaction. Chronologies based on pottery are often essential for dating non-literate cultures and are often of help in the dating of historic cultures as well. Trace-element analysis, mostly by neutron activation, allows the sources of clay to be accurately identified and the thermoluminescence test can be used to provide an estimate of the date of last firing. Examining sherds from prehistory, scientists learned that during high-temperature firing, iron materials in clay record the state of the Earth`s magnetic field at that moment. Fabric analysis[edit] The `clay body` is also called the `paste` or the `fabric`, which consists of 2 things, the `clay matrix` – composed of grains of less than 0.02 mm grains which can be seen using the high-powered microscopes or a Scanning Electron Microscope (SEM), and the `clay inclusions` – which are larger grains of clay and could be seen with the naked eye or a low-power binocular microscope. For geologists, fabric analysis means spatial arrangement of minerals in a rock. For Archaeologists, the `fabric analysis` of pottery entails the study of clay matrix and inclusions in the clay body as well as the firing temperature and conditions. Analysis is done to examine the following 3 in detail:[14] How pottery was made e.g. material, design such as shape and style, etc. Its decorations, such as patterns, colors of patterns, slipped (glazing) or unslipped decoration Evidence of type of use. The Six fabrics of Kalibangan is a good example of fabric analysis. Clay bodies and raw materials[edit] Preparation of clay for pottery in India Removing a filter cake of porcelain body from a filter press Body, or clay body, is the material used to form pottery. Thus a potter might prepare, or order from a supplier, such an amount of earthenware body, stoneware body or porcelain body. The compositions of clay bodies varies considerably, and include both prepared and `as dug`; the former being by far the dominant type for studio and industry. The properties also vary considerably, and include plasticity and mechncial strength before firing; the firing temperature needed to mature them; properties after firing, such as permeability, mechanical strength and colour. There can be regional variations in the properties of raw materials used for pottery, and these can lead to wares that are unique in character to a locality. The main ingredient of the body is clay. Some different types used for pottery include:[15] Kaolin, is sometimes referred to as china clay because it was first used in China. Ball clay: An extremely plastic, fine grained sedimentary clay, which may contain some organic matter. Fire clay: A clay having a slightly lower percentage of fluxes than kaolin, but usually quite plastic. It is highly heat resistant form of clay which can be combined with other clays to increase the firing temperature and may be used as an ingredient to make stoneware type bodies. Stoneware clay: Suitable for creating stoneware. Has many of the characteristics between fire clay and ball clay, having finer grain, like ball clay but is more heat resistant like fire clays. Common red clay and shale clay have vegetable and ferric oxide impurities which make them useful for bricks, but are generally unsatisfactory for pottery except under special conditions of a particular deposit.[16] Bentonite: An extremely plastic clay which can be added in small quantities to short clay to increase the plasticity. It is common for clays and other raw materials to be mixed to produce clay bodies suited to specific purposes. Various mineral processing techniques are often utilised before mixing the raw materials, with comminution being effectively universal for non-clay materials. Examples of non-clay materials include: Feldspar, act as fluxes which lower the vitrification temperature of bodies. Quartz, an important role is to attenuate drying shrinkage. A section cut-through of ball mill, which are widely used to mill raw materials for pottery Nepheline syenite, an alternative to feldspar. Calcined alumina, can enhance the fired properties of a body. Chamotte, also called grog, is fired clay which it is crushed, and sometimes then milled. Helps attenuate drying shrinkage.[17] Bone ash, produced by the calcination of animal bone. A key raw material for bone china. Frit, produced made by quenching and breaking up a glass of a specific composition. Can be used at low additions in some bodies, but common uses include as components of a glaze or enamel, or for the body of fritware, when it usually mixed with larger quantities of quartz sand. Various others at low levels of addition such as dolomite, limestone, talc and wollastonite. Production[edit] The production of pottery includes the following stages: Clay body being extruded from a de-airing pug Preparing the clay body. Shaping Drying Firing Glazing and decorating. (this can be undertaken prior to firing. Also, additional firing stages after decoration may be needed.) Shaping[edit] Before being shaped, clay must be prepared. This may include kneading to ensure an even moisture content throughout the body. Air trapped within the clay body needs to be removed, or de-aired, and can be accomplished either by a machine called a vacuum pug or manually by wedging. Wedging can also help produce an even moisture content. Once a clay body has been kneaded and de-aired or wedged, it is shaped by a variety of techniques, which include: Hand-building: This is the earliest forming method. Wares can be constructed by hand from coils of clay, combining flat slabs of clay, or pinching solid balls of clay or some combination of these. Parts of hand-built vessels are often joined together with the aid of slip. Some studio potters find hand-building more conducive for one-of-a-kind works of art. 0:56CC A potter using a potters wheel describes his materials (in Romanian and English) The potter`s wheel: In a process called `throwing` (coming from the Old English word thrownاا which means to twist or turn,[18]) a ball of clay is placed in the centre of a turntable, called the wheel-head, which the potter rotates with a stick, with foot power or with a variable-speed electric motor. During the process of throwing, the wheel rotates while the solid ball of soft clay is pressed, squeezed and pulled gently upwards and outwards into a hollow shape. Skill and experience are required to throw pots of an acceptable standard and, while the ware may have high artistic merit, the reproducibility of the method is poor.[19] Because of its inherent limitations, throwing can only be used to create wares with radial symmetry on a vertical axis. Press moulding: a simple technique of shaping by manually pressing a lump of clay body into a porous mould. Granulate pressing: a highly automated technique of shaping by pressing clay body in a semi-dry and granulated form in a mould. The body is pressed into the mould by a porous die through which water is pumped at high pressure. The fine, free flowing granulated body is prepared by spray drying a high-solids content slip. Granulate pressing, also known as dust pressing, is widely used in the manufacture of ceramic tiles and, increasingly, of plates. Jiggering a plate Jiggering and jolleying: These operations are carried out on the potter`s wheel and allow the time taken to bring wares to a standardized form to be reduced. Jiggering is the operation of bringing a shaped tool into contact with the plastic clay of a piece under construction, the piece itself being set on a rotating plaster mould on the wheel. The jigger tool shapes one face while the mould shapes the other. Jiggering is used only in the production of flat wares, such as plates, but a similar operation, jolleying, is used in the production of hollow-wares such as cups. Jiggering and jolleying have been used in the production of pottery since at least the 18th century. In large-scale factory production, jiggering and jolleying are usually automated, which allows the operations to be carried out by semi-skilled labour. Roller-head machine: This machine is for shaping wares on a rotating mould, as in jiggering and jolleying, but with a rotary shaping tool replacing the fixed profile. The rotary shaping tool is a shallow cone having the same diameter as the ware being formed and shaped to the desired form of the back of the article being made. Wares may in this way be shaped, using relatively unskilled labour, in one operation at a rate of about twelve pieces per minute, though this varies with the size of the articles being produced. Developed in the UK just after World War II by the company Service Engineers, roller-heads were quickly adopted by manufacturers around the world; it remains the dominant method for producing both flatware and holloware, such as plates and mugs.[20] Pressure casting: Is a development of traditional slipcasting. Specially developed polymeric materials allow a mould to be subject to application external pressures of up to 4.0 MPa – so much higher than slip casting in plaster moulds where the capillary forces correspond to a pressure of around 0.1–0.2 MPa. The high pressure leads to much faster casting rates and, hence, faster production cycles. Furthermore, the application of high pressure air through the polymeric moulds upon demoulding the cast means a new casting cycle can be started immediately in the same mould, unlike plaster moulds which require lengthy drying times. The polymeric materials have much greater durability than plaster and, therefore, it is possible to achieve shaped products with better dimensional tolerances and much longer mould life. Pressure casting was developed in the 1970s for the production of sanitaryware although, more recently, it has been applied to tableware.[21][22][23][24] RAM pressing: This is used to shape ware by pressing a bat of prepared clay body into a required shape between two porous moulding plates. After pressing, compressed air is blown through the porous mould plates to release the shaped wares. Filling a plaster mould with slip De-moulding a large vase after it has been slip cast Slip casting: This is suited to the making of shapes that cannot be formed by other methods. A liquid slip, made by mixing clay body with water, is poured into a highly absorbent plaster mould. Water from the slip is absorbed into the mould leaving a layer of clay body covering its internal surfaces and taking its internal shape. Excess slip is poured out of the mould, which is then split open and the moulded object removed. Slip casting is widely used in the production of sanitaryware and is also used for making other complex shaped ware such as teapots and figurines. Injection moulding: This is a shape-forming process adapted for the tableware industry from the method long established for the forming of thermoplastic and some metal components.[25] It has been called Porcelain Injection Moulding, or PIM.[26] Suited to the mass production of complex-shaped articles, one significant advantage of the technique is that it allows the production of a cup, including the handle, in a single process, and thereby eliminates the handle-fixing operation and produces a stronger bond between cup and handle.[27] The feed to the mould die is a mix of approximately 50 to 60 per cent unfired body in powder form, together with 40 to 50 per cent organic additives composed of binders, lubricants and plasticisers.[26] The technique is not as widely used as other shaping methods.[28] 3D printing: There are two methods. One involves the layered deposition of soft clay body similar to fused deposition modelling (FDM), and the other uses powder binding techniques where clay body in dry powder form is fused together layer upon layer with a liquid. Injection moulding of ceramic tableware has been developed, though it has yet to be fully commercialised.[29] Drying[edit] Prior to firing the water in an article needs to be removed. A number of different stages, or conditions of the article, can be identified: Greenware refers to unfired objects. At sufficient moisture content, bodies at this stage are in their most plastic form (as they are soft and malleable, and hence can be easily deformed by handling). Leather-hard refers to a clay body that has been dried partially. At this stage the clay object has approximately 15% moisture content. Clay bodies at this stage are very firm and only slightly pliable. Trimming and handle attachment often occurs at the leather-hard state. Bone-dry refers to clay bodies when they reach a moisture content at or near 0%. At that moisture content, the item is ready to be fired. Additionally, the piece is extremely fragile at this stage and must be handled with care. Firing[edit] A modern tunnel kiln Firing produces permanent and irreversible changes in the body. It is only after firing that the article or material is pottery. In lower-fired pottery, the changes include sintering, the fusing together of coarser particles in the body at their points of contact with each other. In the case of porcelain, where higher firing-temperatures are used, the physical, chemical and mineralogical properties of the constituents in the body are greatly altered. In all cases, the reason for firing is to permanently harden the wares, and the firing regime must be appropriate to the materials used. Temperature[edit] As a rough guide, modern earthenwares are normally fired at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stonewares at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing. Atmosphere[edit] A bottle kiln The atmosphere within a kiln during firing can affect the appearance of the body and glaze. Key to this is the differing colours of the various oxides of iron, such as iron(III) oxide (also known as ferric oxide or Fe2O3) which is associated with brown-red colours, whilst iron(II) oxide (also known as ferrous oxide or FeO) is associated with much darker colours, including black. The oxygen concentration in the kiln influences the type, and relative proportions, of these iron oxides in fired the body and glaze: for example, where there is a lack of oxygen during firing the associated carbon monoxide (CO) will readily react with oxygen in Fe2O3 in the raw materials and cause it to be reduced to FeO.[30][31] An oxygen deficient condition, called a reducing atmosphere, is generated by preventing the complete combustion of the kiln fuel; this is achieved by deliberately restricting the supply of air or by supplying an excess of fuel.[30][31] Methods[edit] Firing pottery can be done using a variety of methods, with a kiln being the usual firing method. Both the maximum temperature and the duration of firing influences the final characteristics of the ceramic. Thus, the maximum temperature within a kiln is often held constant for a period of time to soak the wares to produce the maturity required in the body of the wares. Kilns may be heated by burning combustible materials, such as wood, coal and gas, or by electricity. The use of microwave energy has been investigated.[32] When used as fuels, coal and wood can introduce smoke, soot and ash into the kiln which can affect the appearance of unprotected wares. For this reason, wares fired in wood- or coal-fired kilns are often placed in the kiln in saggars, ceramic boxes, to protect them. Modern kilns fuelled by gas or electricity are cleaner and more easily controlled than older wood- or coal-fired kilns and often allow shorter firing times to be used. Niche techniques include: Pottery firing mound in Kalabougou, Mali. Much of the earliest pottery would have been fired in a similar fashion In a Western adaptation of traditional Japanese Raku ware firing, wares are removed from the kiln while hot and smothered in ashes, paper or woodchips which produces a distinctive carbonised appearance. This technique is also used in Malaysia in creating traditional labu sayung.[33][34] In Mali, a firing mound is used rather than a brick or stone kiln. Unfired pots are first brought to the place where a mound will be built, customarily by the women and girls of the village. The mound`s foundation is made by placing sticks on the ground, then: [...] pots are positioned on and amid the branches and then grass is piled high to complete the mound. Although the mound contains the pots of many women, who are related through their husbands` extended families, each women is responsible for her own or her immediate family`s pots within the mound. When a mound is completed and the ground around has been swept clean of residual combustible material, a senior potter lights the fire. A handful of grass is lit and the woman runs around the circumference of the mound touching the burning torch to the dried grass. Some mounds are still being constructed as others are already burning.[35] Stages[edit] Biscuit (or bisque)[36][37] refers to the clay after the object is shaped to the desired form and fired in the kiln for the first time, known as `bisque fired` or `biscuit fired`. This firing results in both chemical and physical changes to the minerals of the clay body. Glaze fired is the final stage of some pottery making, or glost fired.[19] A glaze may be applied to the biscuit ware and the object can be decorated in several ways. After this the object is `glazed fired`, which causes the glaze material to melt, then adhere to the object. Depending on the temperature schedule the glaze firing may also further mature the body as chemical and physical changes continue. Decorating[edit] Pottery may be decorated in many different ways. Some decoration can be done before or after the firing, and may be undertaken before or after glazing. Methods[edit] Hand painting a vase Painting has been used since early prehistoric times, and can be very elaborate. The painting is often applied to pottery that has been fired once, and may then be overlaid with a glaze afterwards. Many pigments change colour when fired, and the painter must allow for this. Glaze: Perhaps the most common form of decoration, that also serves as protection to the pottery, by being tougher and keeping liquid from penetrating the pottery. Glaze may be colourless, especially over painting, or coloured and opaque. Crystalline glaze: acharacterised by crystalline clusters of various shapes and colours embedded in a more uniform and opaque glaze. Produced by the slow cooling of the glost fire. Carving: Pottery vessels may be decorated by shallow carving of the clay body, typically with a knife or similar instrument used on the wheel. This is common in Chinese porcelain of the classic periods. Burnishing: The surface of pottery wares may be burnished prior to firing by rubbing with a suitable instrument of wood, steel or stone to produce a polished finish that survives firing. It is possible to produce very highly polished wares when fine clays are used or when the polishing is carried out on wares that have been partially dried and contain little water, though wares in this condition are extremely fragile and the risk of breakage is high. Terra Sigillata is an ancient form of decorating ceramics that was first developed in Ancient Greece. Lithography, also called litho, although the alternative names of transfer print or `decal` are also common. These are used to apply designs to articles. The litho comprises three layers: the colour, or image, layer which comprises the decorative design; the cover coat, a clear protective layer, which may incorporate a low-melting glass; and the backing paper on which the design is printed by screen printing or lithography. There are various methods of transferring the design while removing the backing-paper, some of which are suited to machine application. Banding is the application by hand or by machine of a band of colour to the edge of a plate or cup. Also known as `lining`, this operation is often carried out on a potter`s wheel. Agateware: named after its resemblance to the mineral agate. Is produced by parially blending clays of differing colours. In Japan the term `neriage` is used, whilst in China, where such things have been made since at least the Tang Dynasty, they are called `marbled` wares. Engobe: a clay slip is used to coat the surface of pottery, usually before firing. Its purpose is often decorative though it can also be used to mask undesirable features in the clay to which it is applied. The engobe may be applied by painting or by dipping to provide a uniform, smooth, coating. Such decoration is characteristic of slipware. For sgraffito decoration a layer of engobe is scratched through to reveal the underlying clay. Gold: Decoration with gold is used on some high quality ware. Different methods exist for its application, including: Burnishing a plate`s gold decoration Best gold – a suspension of gold powder in essential oils mixed with a flux and a mercury salt extended. This can be applied by a painting technique. From the kiln, the decoration is dull and requires burnishing to reveal the full colour Acid Gold – a form of gold decoration developed in the early 1860s at the English factory of Mintons Ltd. The glazed surface is etched with diluted hydrofluoric acid prior to application of the gold. The process demands great skill and is used for the decoration only of ware of the highest class. Bright Gold – consists of a solution of gold sulphoresinate together with other metal resonates and a flux. The name derives from the appearance of the decoration immediately after removal from the kiln as it requires no burnishing Mussel Gold – an old method of gold decoration. It was made by rubbing together gold leaf, sugar and salt, followed by washing to remove solubles Underglaze decoration is applied, by a number of techniques, onto ware before it is glazed, an example is blue and white wares. Can be applied by a number of techniques. In-glaze decoration, is applied on the surface of the glaze before the glost firing. On-glaze decoration is applied on top of the already fired, glazed surface, and then fixed in a second firing at a relatively low temperature. Glazing[edit] Main article: Ceramic glaze Spraying glaze onto a vase Glaze is a glassy coating on pottery, and reasons to use one includes decoration, ensure the item is impermeable to liquids and minimise the adherence of pollutants. Glaze may be applied by spraying, dipping, trailing or brushing on an aqueous suspension of the unfired glaze. The colour of a glaze after it has been fired may be significantly different from before firing. To prevent glazed wares sticking to kiln furniture during firing, either a small part of the object being fired (for example, the foot) is left unglazed or, alternatively, special refractory `spurs` are used as supports. These are removed and discarded after the firing. Some specialised glazing techniques include: Salt-glazing - common salt is introduced to the kiln during the firing process. The high temperatures cause the salt to volatilise, depositing it on the surface of the ware to react with the body to form a sodium aluminosilicate glaze. In the 17th and 18th centuries, salt-glazing was used in the manufacture of domestic pottery. Now, except for use by some studio potters, the process is obsolete. The last large-scale application before its demise in the face of environmental clean air restrictions was in the production of salt-glazed sewer-pipes.[38][39] Ash glazed jar from 9th century Japan Ash glazing – ash from the combustion of plant matter has been used as the flux component of glazes. The source of the ash was generally the combustion waste from the fuelling of kilns although the potential of ash derived from arable crop wastes has been investigated.[40] Ash glazes are of historical interest in the Far East although there are reports of small-scale use in other locations such as the Catawba Valley Pottery in the United States. They are now limited to small numbers of studio potters who value the unpredictability arising from the variable nature of the raw material.[41] Health and environmental issues[edit] Although many of the environmental effects of pottery production have existed for millennia, some of these have been amplified with modern technology and scales of production. The principal factors for consideration fall into two categories: Effects on workers. Notable risks include silicosis, heavy metal poisoning, poor indoor air quality, dangerous sound levels and possible over-illumination. Effects on the general environment. Historically, lead poisoning (plumbism) was a significant health concern to those glazing pottery. This was recognised at least as early as the nineteenth century. The first legislation in the UK to limit pottery workers` exposure to lead was included in the Factories Act Extension Act in 1864, with further introduced in 1899.[42][43] Silicosis is an occupational lung disease caused by inhaling large amounts of crystalline silica dust, usually over many years. Workers in the ceramic industry can develop it due to exposure to silica dust in the raw materials; colloquially it has been known as `Potter`s rot`. Less than 10 years after its introduction, in 1720, as a raw material to the British ceramics industry the negative effects of calcined flint on the lungs of workers had been noted.[44] In one study reported in 2022, of 106 UK pottery workers 55 per cent had at least some stage of silicosis.[45][46][47] Exposure to siliceous dusts is reduced by either processing and using the source materials as aqueous suspension or as damp solids, or by the use of dust control measures such as Local exhaust ventilation. These have been mandated by legislation, such as The Pottery (Health and Welfare) Special Regulations 1950.[48][49] The Health and Safety Executive in the UK has produced guidelines on controlling exposure to respirable crystalline silica in potteries, and the British Ceramics Federation provide, as a free download, a guidance booklet. Environmental concerns include off-site water pollution, air pollution, disposal of hazardous materials, disposal of rejected ware and fuel consumption.[50] History[edit] Main article: Ceramic art § History A great part of the history of pottery is prehistoric, part of past pre-literate cultures. Therefore, much of this history can only be found among the artifacts of archaeology. Because pottery is so durable, pottery and shards of pottery survive for millennia at archaeological sites, and are typically the most common and important type of artifact to survive. Many prehistoric cultures are named after the pottery that is the easiest way to identify their sites, and archaeologists develop the ability to recognise different types from the chemistry of small shards. Before pottery becomes part of a culture, several conditions must generally be met. First, there must be usable clay available. Archaeological sites where the earliest pottery was found were near deposits of readily available clay that could be properly shaped and fired. China has large deposits of a variety of clays, which gave them an advantage in early development of fine pottery. Many countries have large deposits of a variety of clays. Second, it must be possible to heat the pottery to temperatures that will achieve the transformation from raw clay to ceramic. Methods to reliably create fires hot enough to fire pottery did not develop until late in the development of cultures. Third, the potter must have time available to prepare, shape and fire the clay into pottery. Even after control of fire was achieved, humans did not seem to develop pottery until a sedentary life was achieved. It has been hypothesized that pottery was developed only after humans established agriculture, which led to permanent settlements. However, the oldest known pottery is from the Czech Republic and dates to 28,000 BC, at the height of the most recent ice age, long before the beginnings of agriculture. Fourth, there must be a sufficient need for pottery in order to justify the resources required for its production.[51] Early pottery An Incipient Jōmon pottery vessel reconstructed from fragments (10,000–8,000 BC), Tokyo National Museum, Japan Methods of forming: Hand-shaping was the earliest method used to form vessels. This included the combination of pinching and coiling. Firing: The earliest method for firing pottery wares was the use of bonfires pit fired pottery. Firing times might be short but the peak-temperatures achieved in the fire could be high, perhaps in the region of 900 °C (1,650 °F), and were reached very quickly.[52] Clay: Early potters used whatever clay was available to them in their geographic vicinity. However, the lowest quality common red clay was adequate for low-temperature fires used for the earliest pots. Clays tempered with sand, grit, crushed shell or crushed pottery were often used to make bonfire-fired ceramics because they provided an open-body texture that allowed water and volatile components of the clay to escape freely. The coarser particles in the clay also acted to restrain shrinkage during drying, and hence reduce the risk of cracking. Form: In the main, early bonfire-fired wares were made with rounded bottoms to avoid sharp angles that might be susceptible to cracking. Glazing: the earliest pots were not glazed. The potter`s wheel was invented in Mesopotamia sometime between 6,000 and 4,000 BC (Ubaid period), and revolutionised pottery production. Moulds were used to a limited extent as early as the 5th and 6th century BC by the Etruscans[53] and more extensively by the Romans.[54] Slipcasting, a popular method for shaping irregular shaped articles. It was first practised, to a limited extent, in China as early as the Tang dynasty.[55] Transition to kilns: The earliest intentionally constructed were pit-kilns or trench-kilns, holes dug in the ground and covered with fuel. Holes in the ground provided insulation and resulted in better control over firing.[56] Kilns: Pit fire methods were adequate for simple earthenware, but other pottery types needed more sophisticated kilns. History by region[edit] Beginnings of pottery[edit] Xianren Cave pottery fragments, radiocarbon dated to circa 18,000 BC, China[57][58] Pottery bowl from Jarmo, Mesopotamia, 7100–5800 BC. Pottery may well have been discovered independently in various places, probably by accidentally creating it at the bottom of fires on a clay soil. The earliest-known ceramic objects are Gravettian figurines such as those discovered at Dolní Věstonice in the modern-day Czech Republic. The Venus of Dolní Věstonice is a Venus figurine, a statuette of a nude female figure dated to 29,000–25,000 BC (Gravettian industry).[2] But there is no evidence of pottery vessels from this period. Weights for looms or fishing-nets are a very common use for the earliest pottery. Sherds have been found in China and Japan from a period between 12,000 and perhaps as long as 18,000 years ago.[4][59] As of 2012, the earliest pottery vessels found anywhere in the world,[60] dating to 20,000 to 19,000 years before the present, was found at Xianrendong Cave in the Jiangxi province of China.[61][62] Other early pottery vessels include those excavated from the Yuchanyan Cave in southern China, dated from 16,000 BC,[59] and those found in the Amur River basin in the Russian Far East, dated from 14,000 BC.[4][63] The Odai Yamamoto I site, belonging to the Jōmon period, currently has the oldest pottery in Japan. Excavations in 1998 uncovered earthenware fragments which have been dated as early as 14,500 BC.[64] The term `Jōmon` means `cord-marked` in Japanese. This refers to the markings made on the vessels and figures using sticks with cords during their production. Recent research has elucidated how Jōmon pottery was used by its creators.[65] It appears that pottery was independently developed in Sub-Saharan Africa during the 10th millennium BC, with findings dating to at least 9,400 BC from central Mali,[5] and in South America during the 9,000s–7,000s BC.[66][6] The Malian finds date to the same period as similar finds from East Asia – the triangle between Siberia, China and Japan – and are associated in both regions to the same climatic changes (at the end of the ice age new grassland develops, enabling hunter-gatherers to expand their habitat), met independently by both cultures with similar developments: the creation of pottery for the storage of wild cereals (pearl millet), and that of small arrowheads for hunting small game typical of grassland.[5] Alternatively, the creation of pottery in the case of the Incipient Jōmon civilisation could be due to the intensive exploitation of freshwater and marine organisms by late glacial foragers, who started developing ceramic containers for their catch.[65] East Asia[edit] Main articles: Chinese ceramics, Korean pottery, and Japanese pottery Chinese Ming dynasty blue-and-white porcelain dish with a dragon Group of 13th-century pieces of Longquan celadon In Japan, the Jōmon period has a long history of development of Jōmon pottery which was characterized by impressions of rope on the surface of the pottery created by pressing rope into the clay before firing. Glazed Stoneware was being created as early as the 15th century BC in China. A form of Chinese porcelain became a significant Chinese export from the Tang Dynasty (AD 618–906) onwards.[9] Korean potters adopted porcelain as early as the 14th century AD.[67] Japanese porcelain was made in the early 16th century after Shonzui Goradoyu-go brought back the secret of its manufacture from the Chinese kilns at Jingdezhen.[68] In contrast to Europe, the Chinese elite used pottery extensively at table, for religious purposes, and for decoration, and the standards of fine pottery were very high. From the Song dynasty (960–1279) for several centuries elite taste favoured plain-coloured and exquisitely formed pieces; during this period porcelain was perfected in Ding ware, although it was the only one of the Five Great Kilns of the Song period to use it. The traditional Chinese category of high-fired wares includes stoneware types such as Ru ware, Longquan celadon and Guan ware. Painted wares such as Cizhou ware had a lower status, though they were acceptable for making pillows. The arrival of Chinese blue and white porcelain was probably a product of the Mongol Yuan dynasty (1271–1368) dispersing artists and craftsmen across its large empire. Both the cobalt stains used for the blue colour, and the style of painted decoration, usually based on plant shapes, were initially borrowed from the Islamic world, which the Mongols had also conquered. At the same time Jingdezhen porcelain, produced in Imperial factories, took the undisputed leading role in production. The new elaborately painted style was now favoured at court, and gradually more colours were added. The secret of making such porcelain was sought in the Islamic world and later in Europe when examples were imported from the East. Many attempts were made to imitate it in Italy and France. However it was not produced outside of the Orient until 1709 in Germany.[69] South Asia[edit] See also: Pottery in the Indian subcontinent A potter with his pottery wheel, British Raj (1910) Cord-Impressed style pottery belongs to `Mesolithic` ceramic tradition that developed among Vindhya hunter-gatherers in Central India during the Mesolithic period.[70][71] This ceramic style is also found in later Proto-Neolithic phase in nearby regions.[72] This early type of pottery, also found at the site of Lahuradewa, is currently the oldest known pottery tradition in South Asia, dating back to 7,000–6,000 BC.[73][74][75][76] Wheel-made pottery began to be made during the Mehrgarh Period II (5,500–4,800 BC) and Merhgarh Period III (4,800–3,500 BC), known as the ceramic Neolithic and chalcolithic. Pottery, including items known as the ed-Dur vessels, originated in regions of the Saraswati River / Indus River and have been found in a number of sites in the Indus Civilization.[77][78] Despite an extensive prehistoric record of pottery, including painted wares, little `fine` or luxury pottery was made in the subcontinent in historic times. Hinduism discourages eating off pottery, which probably largely accounts for this. Most traditional Indian pottery vessels are large pots or jars for storage, or small cups or lamps, occasionally treated as disposable. In contrast there are long traditions of sculpted figures, often rather large, in terracotta; this continues with the Bankura horses in Panchmura, West Bengal. Southeast Asia[edit] See also: Philippine ceramics Late Neolithic Manunggul Jar from Palawan used for burial, topped with two figures representing the journey of the soul into the afterlife. Pottery in Southeast Asia is as diverse as its ethnic groups. Each ethnic group has their own set of standards when it comes to pottery arts. Potteries are made due to various reasons, such as trade, food and beverage storage, kitchen usage, religious ceremonies, and burial purposes.[79][80][81][82] West Asia[edit] See also: Levantine pottery, Persian pottery, and Pottery of ancient Cyprus Around 8000 BC during the Pre-pottery Neolithic period, and before the invention of pottery, several early settlements became experts in crafting beautiful and highly sophisticated containers from stone, using materials such as alabaster or granite, and employing sand to shape and polish. Artisans used the veins in the material to maximum visual effect. Such objects have been found in abundance on the upper Euphrates river, in what is today eastern Syria, especially at the site of Bouqras.[83] The earliest history of pottery production in the Fertile Crescent starts the Pottery Neolithic and can be divided into four periods, namely: the Hassuna period (7000–6500 BC), the Halaf period (6500–5500 BC), the Ubaid period (5500–4000 BC), and the Uruk period (4000–3100 BC). By about 5000 BC pottery-making was becoming widespread across the region, and spreading out from it to neighbouring areas. Pottery making began in the 7th millennium BC. The earliest forms, which were found at the Hassuna site, were hand formed from slabs, undecorated, unglazed low-fired pots made from reddish-brown clays.[56] Within the next millennium, wares were decorated with elaborate painted designs and natural forms, incising and burnished. Earthenware Ubaid jar. c. 5,300-4,700 BCE The invention of the potter`s wheel in Mesopotamia sometime between 6,000 and 4,000 BC (Ubaid period) revolutionised pottery production. Newer kiln designs could fire wares to 1,050 °C (1,920 °F) to 1,200 °C (2,190 °F) which enabled increased possibilities. Production was now carried out by small groups of potters for small cities, rather than individuals making wares for a family. The shapes and range of uses for ceramics and pottery expanded beyond simple vessels to store and carry to specialized cooking utensils, pot stands and rat traps.[84] As the region developed, new organizations and political forms, pottery became more elaborate and varied. Some wares were made using moulds, allowing for increased production for the needs of the growing populations. Glazing was commonly used and pottery was more decorated.[85] In the Chalcolithic period in Mesopotamia, Halafian pottery achieved a level of technical competence and sophistication, not seen until the later developments of Greek pottery with Corinthian and Attic ware. Europe[edit] Main articles: Minoan pottery, Pottery of ancient Greece, and Ancient Roman pottery Greek red-figure vase in the krater shape, between 470 and 460 BC, by the Altamura Painter Europe`s oldest pottery, dating from circa 6700 BC, was found on the banks of the Samara River in the middle Volga region of Russia.[86] These sites are known as the Yelshanka culture. The early inhabitants of Europe developed pottery in the Linear Pottery culture slightly later than the Near East, circa 5500–4500 BC. In the ancient Western Mediterranean elaborately painted earthenware reached very high levels of artistic achievement in the Greek world; there are large numbers of survivals from tombs. Minoan pottery was characterized by complex painted decoration with natural themes.[87] The classical Greek culture began to emerge around 1000 BC featuring a variety of well crafted pottery which now included the human form as a decorating motif. The pottery wheel was now in regular use. Although glazing was known to these potters, it was not widely used. Instead, a more porous clay slip was used for decoration. A wide range of shapes for different uses developed early and remained essentially unchanged during Greek history.[88] Fine Etruscan pottery was heavily influenced by Greek pottery and often imported Greek potters and painters. Ancient Roman pottery made much less use of painting, but used moulded decoration, allowing industrialized production on a huge scale. Much of the so-called red Samian ware of the Early Roman Empire was produced in modern Germany and France, where entrepreneurs established large potteries. Excavations at Augusta Raurica, near Basel, Switzerland, have revealed a pottery production site in use from the 1st to the 4th century AD.[89] Pottery was hardly seen on the tables of elites from Hellenistic times until the Renaissance, and most medieval wares were coarse and utilitarian, as the elites ate off metal vessels. Painted Hispano-Moresque ware from Spain, developing the styles of Islamic Spain, became a luxury for late medieval elites, and was adapted in Italy into maiolica in the Italian Renaissance. Both of these were faience or tin-glazed earthenware, and fine faience continued to be made until around 1800 in various countries, especially France, with Nevers faience and several other centres. In the 17th century, imports of Chinese export porcelain and its Japanese equivalent raised the market expectations of fine pottery, and European manufacturers eventually learned to make porcelain, often in the form of soft-paste porcelain, and from the 18th century European porcelain and other wares from a great number of producers became extremely popular, reducing Asian imports. United Kingdom[edit] Main articles: Wedgwood, Staffordshire figure, Royal Doulton, Mintons, Midwinter Pottery, and Spode Handpainted bone china cup. England, 1815–1820 The city of Stoke-on-Trent is widely known as `The Potteries` because of the large number of pottery factories or, colloquially, `Pot Banks`. It was one of the first industrial cities of the modern era where, as early as 1785, two hundred pottery manufacturers employed 20,000 workers.[90][91] Josiah Wedgwood (1730–1795) was the dominant leader.[92] In North Staffordshire hundreds of companies produced all kinds of pottery, from tablewares and decorative pieces to industrial items. The main pottery types of earthenware, stoneware and porcelain were all made in large quantities, and the Staffordshire industry was a major innovator in developing new varieties of ceramic bodies such as bone china and jasperware, as well as pioneering transfer printing and other glazing and decorating techniques. In general Staffordshire was strongest in the middle and low price ranges, though the finest and most expensive types of wares were also made.[93] By the late 18th century North Staffordshire was the largest producer of ceramics in the UK, despite significant hubs elsewhere. Large export markets took Staffordshire pottery around the world, especially in the 19th century.[94] Production had begun to decline in the late 19th century, as other countries developed their industries, and declined notably after World War II. Employment fell from 45,000 in 1975 to 23,000 in 1991, and 13,000 in 2002.[95] Islamic pottery[edit] Main articles: Islamic pottery and Persian pottery Early Islamic pottery followed the forms of the regions which the Muslims conquered. Eventually, however, there was cross-fertilization between the regions. This was most notable in the Chinese influences on Islamic pottery. Trade between China and Islam took place via the system of trading posts over the lengthy Silk Road. Islamic nations imported stoneware and later porcelain from China. China imported the minerals for Cobalt blue from the Islamic ruled Persia to decorate their blue and white porcelain, which they then exported to the Islamic world. Likewise, Islamic art contributed to a lasting pottery form identified as Hispano-Moresque in Andalucia (Islamic Spain). Unique Islamic forms were also developed, including fritware, lusterware and specialized glazes like tin-glazing, which led to the development of the popular maiolica.[96] One major emphasis in ceramic development in the Muslim world was the use of tile and decorative tilework. Bowl painted on slip under transparent glaze (polychrome), 9th or 10th century, Nishapur. National Museum of Iran Persian mina`i ware bowl with couple in a garden, around 1200. These wares are the first to use overglaze enamel decoration. Persian mina`i ware bowl with couple in a garden, around 1200. These wares are the first to use overglaze enamel decoration. Chess set (Shatrang); Gaming pieces. 12th century, Nishapur glazed fritware. Metropolitan Museum of Art Americas[edit] Main article: Ceramics of indigenous peoples of the Americas Earthenware effigy of the Sun God. Maya culture, 500–700 CE Most evidence points to an independent development of pottery in the Native American cultures, with the earliest known dates from Brazil, from 9,500 to 5,000 years ago and 7,000 to 6,000 years ago.[6] Further north in Mesoamerica, dates begin with the Archaic Era (3500–2000 BC), and into the Formative period (2000 BC – AD 200). These cultures did not develop the stoneware, porcelain or glazes found in the Old World. Maya ceramics include finely painted vessels, usually beakers, with elaborate scenes with several figures and texts. Several cultures, beginning with the Olmec, made terracotta sculpture, and sculptural pieces of humans or animals that are also vessels are produced in many places, with Moche portrait vessels among the finest. Africa[edit] Faience lotiform chalice. Egypt 1070–664 BCE (reconstructed from eight fragments) Evidence indicates an independent invention of pottery in Sub-Saharan Africa. In 2007, Swiss archaeologists discovered pieces of some of the oldest pottery in Africa at Ounjougou in the central region of Mali, dating to at least 9,400 BC.[5] Excavations in the Bosumpra Cave on the Kwahu Plateau in southeastern Ghana, have revealed well-manufactured pottery decorated with channelling and impressed peigne fileté rigide dating from the early tenth millennium cal. BC.[97] Following the emergence of pottery traditions in the Ounjougou region of Mali around 11,900 BP and in the Bosumpra region of Ghana soon after, ceramics later arrived in the Iho Eleru region of Nigeria.[98] In later periods, a relationship of the introduction of pot-making in some parts of Sub-Saharan Africa with the spread of Bantu languages has been long recognized, although the details remain controversial and awaiting further research, and no consensus has been reached.[12] Ancient Egyptian pottery begins after 5,000 BC, having spread from the Levant. There were many distinct phases of development in pottery, with very sophisticated wares being produced by the Naqada III period, c. 3,200 to 3,000 BC. During the early Mediterranean civilizations of the fertile crescent, Egypt developed a non-clay-based ceramic known as Egyptian faience. A similar type of body is still made in Jaipur in India. During the Umayyad Caliphate of Islam, Egypt was a link between early centre of Islam in the Near East and Iberia which led to the impressive style of pottery. Oceania[edit] Polynesia, Melanesia and Micronesia Pottery has been found in archaeological sites across the islands of Oceania. It is attributed to an ancient archaeological culture called the Lapita. Another form of pottery called Plainware is found throughout sites of Oceania. The relationship between Lapita pottery and Plainware is not altogether clear. The Indigenous Australians never developed pottery.[99] After Europeans came to Australia and settled, they found deposits of clay which were analysed by English potters as excellent for making pottery. Less than 20 years later, Europeans came to Australia and began creating pottery. Since then, ceramic manufacturing, mass-produced pottery and studio pottery have flourished in Australia.[100] vajanje vajarstvo skulpture keramika pravljenje posuda od gline grnčarstvo ...