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Ceramics, by Philip Rawson
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"It is rare to find a book on art that presents complex aesthetic principles in clear readable form. Ceramics, by Philip Rawson, is such a book. I discovered it ten years ago, and today my well-worn copy has scarcely a page on which some statement is not underlined and starred."—Wayne Higby, from the Foreword
- Sales Rank: #812073 in Books
- Published on: 1984-03-01
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .55" w x 5.51" l, 1.20 pounds
- Binding: Paperback
- 240 pages
Review
"A moving book based on the knowledge of facts together with their overtones and resonances. . . . Its method is valid for an appreciation of art in all its branches."—Stella Kramrisch
"With the unassuming title of Ceramics, Rawson has presented a very clear, orderly and thought-provoking guide for discussion. He provides words for those nebulous, or nonexistent, thoughts that students avoid talking about in critiques, and our professional associates talk all around, using whatever art language is being worn out at the time—'Is your work postmodernist yet?' Now we have no excuse to complain that there is no vocabulary. . . .
"There is enough material in this little 223 page book to last a long time as a stimulus for thought and work in clay. It would be an excellent gift to your local newspaper art critic and a great reference book for teachers. . . .
"Rawson defines a clear framework for discussing both the visual and psychological elements of the pottery tradition. The book presents a way to analyze and understand which particular elements touch or SPEAK to us across cultures and history. And there are enough pictures and diagrams to help out the less verbal."—National Council on Education for the Ceramic Arts Newsletter
About the Author
By Philip Rawson. Foreword by Wayne Higby
Most helpful customer reviews
12 of 12 people found the following review helpful.
Understanding Ceramics with Philip Rawson
By Carol Rose
This book is not a glossy full-color presentation of the world's spectacular ceramic pieces. It does contain a hundred or so black and white illustrations of ceramics from almost all cultures; ancient and modern. Philip Rawson writes about the general concept of ceramics, the techniques, and the philosophy and symbolism. I found this book to be very helpful in that it gives an overview of all types of ceramics and allows the interested potter or sculptor to survey Rawson's intriguing perceptions. This book promotes ideas and facilitates their coming to the reader through discussions of his seemingly infinite observations. Rawson was a brilliant art professor and brings amazing viewpoints to his readers. Ideas, after all, are the most important factor in creating works of art.
0 of 1 people found the following review helpful.
good reat
By ahmad m sabha
this book is a good read. not easy to read, but its a good read, lots of vocabularies and sentence structures. you have to be awake to understand it, and that’s not in the first round.. good luck.
31 of 31 people found the following review helpful.
You Will Want To Own This Book
By S. Rossiter
Every potter and vessel maker, every student and teacher of ceramics, every person interested in ceramics should read CERAMICS by Philip Rawson. In fact, you will want to own a copy of this book so you can re-read it and loan it to other people. (I received no compensation for that statement.) CERAMICS is an exceptional source for expanding your knowledge of and vocabulary for critically viewing, appreciating, discussing, and writing about ceramics.
In CERAMICS, Philip Rawson, a prolific writer and art critic, gives a fascinating and lucid examination of the evolution and aesthetics of ceramic form. He states, "One of the prime reasons why ceramics is such an interesting art is that it fills the gap which now yawns between art and life as most people understand their relationship."(6) Rawson then introduces ideas critical to looking at and fully understanding ceramics such as the relationship of function to the origins of most ceramic forms and how that relationship affects our experience of ceramic objects. He also addresses the inherent attraction of a recognizable material transformed by the human hand into a new object with symbolic or metaphorical value.
Following a comprehensive but concise overview of the techniques and processes involved in making ceramics, Rawson gives an in-depth discussion of how form, surface and design, combined with the ideas of transformation and forms' residual relationships to function, create meaning in pottery. Well-chosen photographs, illustrations, and vessel profiles accompany the text.
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