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Because of some socioeconomic problems, pottery and ceramics crafts were deteriorated in Iran after Safavied era (sixteenth century A.D). Meanwhile, Porcelain factories were developed in European countries such as France and Germany and former the Soviet Union. Importing of cheap products from those countries repressed the production and innovation of Iranian pottery and ceramic crafts that was mainly dependent on the old traditional techniques. The establishment of porcelain factories in Iran was another reason for deterioration of pottery and ceramic crafts in Iran despite the fact that they were invaluable from the artistic point of view. As a result, most of the pottery and ceramics studios were suspended. Therefore the numbers of potters, are decreasing year by year.
If these processes continue, these problems will be increased:
a)Annihilation of pottery crafts in different areas of Iran and suspension of pottery stustudios in the country.
b) Unemployment of potters and ceramists in country.
c)Immigration of potters, who are mostly living in villages, to big cities which resreults in increasing socioeconomic problems.
d)Non-producing and factitious jobs for the potters and ceramists in the big cities.
A potter,Minab,Iran 2003
Ceramics Art Education in Iranian Universities
In 1984, Handicrafts major for undergraduate education was established in two universities (Tehran and Isfahan) in Iran. Then, in 1994 it was established in Shiraz, Kashan and Zahedan University. This field contains eight major courses: traditional dyeing, traditional design, ceramics and pottery, traditional glass working, miniature and wood working, embossing and metal carving, carpet and rug weaving.
Pottery is taught in Handicrafts major in Iranian universities and this is the only single major which is related to pottery and ceramics arts education in Iran and in this major, five units from total 136 units are about the ceramics. There are few researches about the pottery of Iran and these researches have no suggestion for solving the problems of this art in the country. Because most of them are theoretical researches and not dealing with practical art.
wedging process
Technology and industry in Iranian contemporary ceramics
The traditional pottery in Iran is loosing its application in daily life in the present Iranian society. It is somehow because of changing people’s life and demands and misusing from advanced technology in pottery.
Iranian contemporary ceramists could be categorized in two groups:
1-Traditionalists
The people in this group believe that the quality of industrial products is very low from the artistic viewpoint. These kinds of products are mainly for the companies’ benefits and business and they don’t care about the aesthetics and artistic points. They want to supply people’s demands and sell their products. Therefore, these technologies are mainly against the art of the country.
2- Modernists
The people in this group believe that it is not possible to supply the demands of our present society by using only traditional methods and techniques. They believe that in our present society, the people’s needs have changed and it is different from the previous Iranian people. Therefore, it is not possible to supply these demands of people by using only old traditional methods. They believe that it is necessary to use modern technology in our ceramics.
However, as a matter of fact, none of these two groups (Traditionalist and modernists) have proposed a practical strategy to solve the challenges in contemporary Iranian pottery.Becouse they look at the ceramics and pottery from only traditional artistic perspective or only industrial perspective.
Younos Fayyaz Sanavi
Iradj Shah Hoseini
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In some areas of Iran, like Kalpourgan (in southeastern Iran) and Shahvar in Minab, the techniques and materials for production of pottery and ceramics are very old. For instance in Kalpourgan, only women are involved in pottery. Products of this region are made bye hand with pinching style, unglazed, and unique decoration. Instead of brush, they use a piece of wood to design and decorate the potteries. The pigments for decorations are made from a special kind of stone. There were 70 women in Kalpourgan who were involved in pottery in 1971, but this number was seven in 1999, and when I visited this area during my researches on pottery of Kalpourgan, in 2001, there was only one lady who was teaching pottery in Crafts association of Saravan which is the nearest city to Kalpourgan village. The number of potters and ceramists in these areas are decreasing and unfortunately, one of the ancient and invaluable arts is annihilating.
Kalpourgan Potter's
Interventions of some authorities and governmental organization such as Handicrafts Organization and Cultural Heritage Organization in Iran have even deteriorated the situation. Because most of them have no education in this field and they don’t have enough knowledge about the value of tradition , Handicraft ,modern techniques equipments, and materials that are used in these crafts.
To prevent the annihilation of the pottery and ceramic art and pottery in Iran, some solutions should be considered. The potters should be supported and taught how to produce their artworks for the people’s demands. In addition art students in pottery and ceramics field should be well-trained in at universities to face the challenges in Iranian contemporary pottery.
"Jahleh" is the name of Shahvar Village pottery
Absence of well-trained university teaching staff in ceramics is one of the main challenges in the education of this art in Iran. Some of the teaching staffs have learned this art in traditional way and the others are the ones who have not studied this art in the university and they have studied unrelated majors.
Another major challenge in education of ceramics art in Iran is that it is impossible to pursue studying this major after undergraduate program and there is no postgraduate course for pottery or ceramics in the country. The situation of education in some arts is rather better, for instance, researches in carpet and miniature (Iranian traditional painting) have a major role in the promotion of these arts in Iran, but situation of the other arts like glass-working and especially ceramics and pottery are different. The people who are involved in the education of ceramic are, mainly not familiar with new concepts and techniques and materials in this field. There is no clear border between ceramics art and industry in Iran. Therefore, because of the lack of knowledge in new techniques and materials and equipments for ceramics, the application of ceramics in society is neglected and only the artistic viewpoint is emphasized. These complications have been arisen because of this problem:
1. The people who are working in ceramic field cannot achieve their financial and artistic goals.
2. The motivation and interest of ceramic students declines.
3. If this problem was not paid attention, they will be increase year by year.
4. Due to the easy communications with foreign countries, other countries arts may adversely affect our art and the artist may just imitate the other countries arts. Every country must preserve its own culture, however there are always some influences from other cultures and it is sometime useful for the both societies.
Mohammad Mehdi Ghanbeigy
Mohammad Mehdi Anushfar
Mayam Salur
Suggestions and solutions for Contemporary Iranian ceramics
In order to solve the problems which, are involved in contemporary Iranian ceramics, these works should be performed.
1- Comprehensive investigation in ancient Iranian ceramics
The characteristics, values, and methods of ancient Iranian pottery should be studied carefully in order to follow contemporary Iranian pottery and ceramics.
2- Study of the contemporary Iranian Ceramics and pottery
All regions and local pottery-making centers, which produce ceramics and pottery, should be studied to better understand the situation of this art in our present society.
3-Study on the people’s interest and demands in our present society
After studying the contemporary Iranian ceramics in each region of our country, we should know the people’s needs and interest in each region of our country, in order to produce ceramics and potteries that is compatible with people’s needs and interests.
4-Determination of the best practical way to solve problems of contemporary Iranian Ceramics and pottery
Written by Teimour Sabouri,September2005,Tokyo
11-Abbasian, Mir Mohammad.The history of Pottery&Tile in Iran.GotanbergPublication.Tehran.1991.
22-Emdadian Yaghoub, ”Contemporary Iranian Pottery & ceramics, A selection from contemporary Iranian ceramist Artworks”: Institute for Promotion of Visual Arts, Tehran 2001
33-Gorjestani Saeed, Teaching Ceramics and Pottery art and technique, Art
UUniversity publication.Tehran.2000.
4-4-Richard L. Wilson, Inside Japanese Ceramics: A Primer of Materials, Techniques, and Traditions. : Weatherhill, Inc, 1999.
5-5-Staley and R.Chard Morse, Modern Small Industry for Developing countries, 1965.p.16
6-6-Bernard Leach, A Potter’s Book, Faber, 1978.
7-7-Soetsu Yanagi,Unknown Craftsman ,A Japanese insight into Beauty,Tokyo,London,New yourk,1989
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