The Stylistic Identity of Contemporary Ceramic Jug Shapes

Abstract

The current research studies (the stylistic identity of the shapes of contemporary ceramic jugs), considering that the stylistic identity plays an important role in our contemporary world by including a group of concepts, ideas and visions that try to encompass the concept and cling to it, and this is reflected in the field of ceramics through the uniqueness and distinctiveness of each potter’s personality.                   

Based on the nature of dealing with the topic, the research was divided into four chapters. The first chapter included the problem of the research, its importance, the need for it, and the goal of the research (identifying the stylistic identity of the shapes of contemporary ceramic jugs). The chapter also included a definition of the research terms. The second chapter studied the theoretical framework and previous studies, and it consisted of three sections, the first section included (stylistic identity in plastic art), the second section included (the organizational foundations of the form of artistic jugs), and the third included (the origins of ceramic jugs), and the chapter ended with indicators of the theoretical framework and previous studies. The third chapter included the research procedures, as the research community included (15) models from which a sample was extracted intentionally, amounting to (3) sample models that covered the limits of the research by adopting the descriptive method to analyze the research sample. The fourth chapter included the results, their discussion, the conclusions of the research, its recommendations and proposals, which expressed ideas and contents based on the applications of the stylistic identity of the shapes of the jugs in the ceramic work. The most important results are the following:

1- The contemporary international potter derived the shapes of ceramic teapots from the natural, social, and cultural environment surrounding him, which contributed to giving those teapots characteristics, characteristics, and distinctive stylistic identity. Which worked to reverse the extent of its impact on the place physically and on the mental image of the sensory-perceived thing.

2- Contemporary potter resorted to unity in repeating some of the formal structural units in contemporary ceramic jugs, to contribute to focusing on the intellectual, artistic and aesthetic concept that was intended to be conveyed to the recipient, and to confirm the effectiveness of its content, which formulated a stylistic identity closer to Suprematism, and conceptual art and its representations in (art is a language).

The most important conclusions were:

1- The stylistic identity of the forms of contemporary ceramic jugs came in line with the intellectual and conceptual references of the arts of modernity and beyond as an objective, material alternative to everything that is sensual and unrealistic (imaginative) in light of the tremendous development and great spread of ideas and conceptual proposals that have affected all fields and levels, including art.

2-As a result of the potter’s investment in a different and varied vocabulary for the shapes of contemporary ceramic jugs, this led to radical transformations in the field of ceramics at the level of formal, technical, aesthetic and artistic structure that can be monitored and documented.