"... the division into periods [of Palestinian pottery] is to some extent a necessary evil, in that it suggests a misleading idea of discontinuity - as though the periods were so many water-tight compartments with fixed partitions between them. In point of fact, each period shades almost imperceptibly into the next."
Commenting further on modern examples of Palestinian pottery, Needler notes that the clay used is of much the same composition as the ancient examples and is shaped, smoothed and baked in the same way, with the surfaces often decorated in similar painted, incised, or moulded techniques. "Ramallah" ware, a think-walled, pinkish drab pottery painted with simple geometric and plant designs in red, is handmade; as are the "frying pan" and the home-made braziers. Other pottery is wheel-made, largely undecorated, but often with a glossy black glaze and crude designs in bright red.
Some of the linear decoration techniques also show a "startling resemblance to the painted ornament of the Second Semitic Period." Macalister notes that the major differences are that "The slip and the paint have a fatter, richer texture in the Arab ware than in the Amorite, and the painted devices are more geometrical, more mechanical, and also more minute and 'finicking' in the later than in the earlier pottery." As for similarities with the Roman period, horizontal ribbing, a key characteristic of Roman era pottery, "is as common in this period as in the Roman, but it seems to differ in outline."
Palestinian ceramics are produced at traditional family-owned factories in Hebron and other cities. Covering a wide range of colorful hand painted plates, vases, hanging ornaments, tiles, cups, jars and framed mirrors, the ceramics are known for the intricate detail of their flower and arabesque patterns.
Palestinian artists who produce contemporary clay sculpture, like Vera Tamari from Ramallah, have incorporated the clay shards from ancient pieces into their work. Says Tamari,
"My own artwork is inspired by seeing the history in Palestinian land. For a time, I used a lot of shards of pottery as a theme in my clay work. You find shards of pottery everywhere because Palestine has had so many thousand of years of history that you walk on a hill and you just find these little pieces of pottery that are evidence of life that was there — pieces of jars, of plates, of bowls."Dina Ghazal from Nablus use another approach, believing that abstraction will best express the essence of her ideas. The qualities of the material she works with are very important for Ghazal, she explains that her work is an attempt to show the versatility of the medium and she hopes to challenge traditional perceptions of the use of the clay.
Category:Palestinian culture Category:Palestinian arts Pottery Category:Palestinian handicrafts
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