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Terracotta Planters from Classical Greece, Italy, Spain & Mexico

Terra cotta planters are made from one of the very first materials used by the human race. Terracotta clay continues today as the most popular material for planters. Although their appeal is undeniable, terracotta pots need a little extra care to ensure they last a long time in your garden. Look for the thicker, rather than the thin-walled planters, as they are more durable, stable and chip-resistant.

In addition to special attention when handling your terracotta pots (sometimes spelled terra cotta or terra-cotta) to avoid chipping or cracking, you will usually need to water your plants more often, as terracotta, clay and earthenware tend to dry out more quickly than other planter materials. When you first plant your container, it is a good idea to pre-soak it so it does not absorb moisture from the potting soil and rob the newly planted roots.

Terracotta pots are typically unglazed and low-fired, and remain porous after firing. Some may have a transparent glaze which reduces or eliminates porosity. Glazed planters, referred to as ceramic or stoneware, are non-porous and will hold moisture longer. Look for pots that are marked as frost or freezing resistant as these are better able to withstand extremes in temperatures.

Source: www.all-about-planters.com

Outdoor pottery add style and color ~ they require a little more care, but are well worth the effort

pottery planters is a great way to create a color theme on your patio, balcony or in your garden. Glazed stoneware pots have a variety of finishes from matte, textured surfaces to brilliant glossy color. Keep in mind, choosing pottery planters to compliment the textures and colors of plants takes careful consideration to create a pleasing, harmonious look.

Stoneware pottery planters also require more careful handling and maintenance. Normally, ceramic garden pots will not withstand the cold temperatures of some of our winters and must be brought indoors when the cooler weather arrives. pottery planters also chip more easily than other planters, so must be handled carefully and placed in a stable location—they can serve double-duty as both indoor and outdoor planters and may often be a great way to tie your indoor and outdoor decor together. Look for contemporary and classic styles in faux or ceramic look-a-like planters that offer the benefits of the look of ceramics without the fragility or weight for your patio or garden setting.

Source: www.all-about-planters.com

Garden Planters & Flower Pots ~ do you know which outdoor planters are ideal for container gardening

Garden planters, outdoor flower pots and window boxes come in a large variety of materials, styles and sizes—wood, ceramic, terracotta, fiberglass or resin, clay, concrete and metal—there are so many choices! But did you know that the characteristics of each type will make some better-suited than others.

Making the right choices in both planters and plants for the growing conditions, location and size of your container garden will make a big difference in your results.

New production methods and materials result in outdoor planters that are more resilient to extreme weather, lighter in weight and bulk, and offer a greater variety of decorative styles, textures and colors. Look for innovations such as self-watering features, illuminated or extra large and lightweight outdoor planters.

Source: www.all-about-planters.com

CHU ĐẬU CERAMIC – Vietnam Pottery

Chu Đậu ceramic is a traditional one in Việt Nam, made in Chu Đậu and Mỹ Xá, Nam Sách

district, Hải Dương province.

Chu Đậu ceramic was founded and flourished during XIII-XVII centuries. It rapidly developed in Lý, Trần, Lê, Mạc dynasties. Chu Đậu ceramic’s products were brought to many places in the world. People have recently gained more than 300,000 Chu Đậu ceramic antiques in a ship that came to Turkey but had sunk in the sea near Chàm. Island. Nowadays, Chu Đậu pottery is preserved at 46 famous museums in many different countries. Chu Đậu ceramic depicts unique shapes, special sense of beauty, high technical level and aesthetic value of Vietnamese craftsmen of our ancestors.

Chu Đậu traditional ceramic began strong revival with the presence of Chu Đậu Ceramics
Enterprise in 2001. There are now hundreds of young descendants working at Chu Đậu Village.

Chu Đậu pottery is ancient, fine in glaze, elegant in shape, flexible in pattern. It is ranged among beautiful ceramics of Việt Nam as well as the world. Chu Đậu ceramic depicts the gentle beauty of Vietnamese people and symbolizes for the Red River delta with 4000 national historical chronicle.

The most special thing of Chu Đậu ancient ceramic is HOA LAM (Deep-Blue Flower) vase and TỲ BÀ (Moon-shape lute) vase. They are called Father vase, Mother vase, representing for Phồn Thực (Good Reproduction) belief – Yin and Yang – Heaven and Earth – Husband and Wife. One bearing the feature of TỲ BÀ vase symbolizes the Yin (negative), the Earth, Mother manifesting grace and juvenility of Vietnamese woman. The LẠC VIỆT bird feathers surrounding the mouth of the vase show the tradition of descendants of Fairy and Dragon; On the vase shoulder, there is a pattern of five basic elements; A set of picture of four seasons depicting the four seasons (Pine, Chrysanthemum, Plum, Bamboo) and BÌNH THAN (name of a river wharf) waves is the common topic on vase body; Vase foot is decorated with lotus petals, a national character to praise Buddhism – the most popular religion of Việt Nam and Việt Nam beauty. HOA LAM vase represents for Yang (positive), the Sun, Father, Pillar. On the other hand, it is the foundation for family, and further more universe; vase body is a great combination between decoration of marguerite-a symbol of nobleness and gentle people.

Chu Đậu pottery is considered as wise, quintessential one: Deep bearing spirit culture value, human culture mark of Buddhism, Confucianism, Taoism; ceramic’s patterns help the spectators feel the national character, wild animals, plants and trees, flowers and leaves, silk and satin, mountains and rivers of Vietnam. At an auction held in USA, a 24cm high TỲ BÀ ceramic vase was sold with a record price of 521,000USD; The ancient HOA LAM vase has been being kept on Topkapi Saray Museum in Istanbul, Turkey and being insured US $1 million.

Source: scribd.com

The Evolution of Vietnamese Pottery

The evolution of Vietnamese ceramics parallels the course of Vietnamese history, reflecting how people lived and how they related to neighboring cultures. The vocabulary of ceramic shapes, glazes, and decorative motifs allows us to read the development of a culture that now has little remaining in the way of physical artifacts by which to trace its history.

The Chinese potter aimed for and frequently achieved perfect technique, characterized, for example, by the colossal and almost mechanist productions of the Longquan and Jingdezhen kilns. The Japanese tradition may be characterized by its consciousness of accidentally achieved beauty. The aesthetic appeal of Vietnamese ceramics, which combine informality with great technical skill, lies somewhere in between these two extremes.

It is the interface between art and technology that gives ceramics their flavor. Yanagai Soetsu, founder of the Mingei movement in Japan, was awed by the beauty achieved so casually by Korean potters. He wrote of the unconcerned manner in which a Korean would set up his wheel. If the wheel was slightly off-true, the potter would compensate in a very skilled way. Nevertheless, the results would probably not be straight’and the potter simply would not care. The imperfections resulting from such an attitude can give great vigor to a vessel, yet they cannot be calculated, or the piece loses its quality of spontaneity.

It is this same serendipitous combination of spontaneity with technical excellence that makes Vietnamese ceramics so attractive.

The combination of skilled potting, rigorous shape, casual finish, free and calligraphic painting, and accidental glaze effects  all features typical of Vietnamese ceramic tradition  is powerful indeed. Perhaps the son of the former head of the Hue museum may be allowed to characterize the freedom and individualism of the Vietnamese ceramic tradition: “Chinese pottery is good for the eye; Vietnamese pottery is good for the heart.”

The evolution of the ceramics of northern Vietnam over the last two thousand years reflects the links between a culture’s artistic expression and its socioeconomic and geopolitical environments.

Source: http://www.thingsasian.com/stories-photos/1194

Vietnam pottery – Bat Trang pottery village

Hanoi Times – Bat Trang pottery village-Vietnam pottery has always been an appealing destination for local and foreign visitors, but now tourists flock to the traditional craft village in Gia Lam District not only to buy pottery, but to try their hand at making and decorating their own.

New services

Walking through Bat Trang these days, you will pass a number of shops inviting visitors to shape clay into different animals or to make pottery items themselves.

“They can create what they like, from simple things such as pots or bowls, to vases of different figures or to shape clay into animals such as cats, mice, buffaloes or cartoon characters,” said Nguyen Van Che, owner of a pottery shop.

While it is one of 30 pottery shops offering this do-it-yourself service, Che’s shop was the first in the village to take advantage of this trend back in 1994. “About ten years ago, people paid little attention to this kind of entertainment. But now, it has become attractive to not only local people, but also foreign tourists, particularly the youth,” he said.

Kneading clay into animals and cartoon characters and making pottery has become a fun activity to let loose after a long week

“After a week of hard study, coming to Bat Trang to try my hands at making pottery products is effective in easing my stress. You can form what you like, from simple animals such as a mouse or a fish to complex cartoon characters. If you are skilful, trying to become a potter for a day and make various pottery items will give you a great feeling that you will hardly find during your daily work or study,” said Trinh Phuong Linh, a student from Ha Noi National University.

For many people, sculpting pottery is not only entertaining, but helps improve creativity.

“Do not think it is dirty. Your hands, or even your clothes, can be covered with clay, but you will find it exciting to become an inventor, who tried his best to create pottery products of various shapes,” said Nguyen Manh Hung, a student from Ha Noi Fine Arts University.

“Particularly, I have a feeling of coming back to my childhood when I happily played with clay. It is a means of entertainment. That is the reason why I often go to the village during the weekend and spend all day kneading clay or making pottery products in a quiet place, staying far away from pressure and the city’s noise,” Hung said.

With wet clay, a basin of water and a turn-table, you are ready to start creating. However, making pottery is not easy. Some people spend 5 hours working on a vase or a bowl, but it never seems to come out right; one small mistake, and their piece is ruined.

“I spent two hours creating a vase but it looks like a cup – no, a bowl, no-I do not know what to call it now. Maybe I will try to make a plate,” said Le Thu Hang, 20.

“Their products are not perfect, like professional potters are, but visitors still feel happy as they complete the work,” said Che.

After the pottery is finished, it will be baked for 10-15 minutes. Afterwards, visitors can paint and decorate their items. They can then buy their creations at a price of VND10-40,000 (US$0.60-2.30).

Visitors who don’t want to make their own ceramics can decorate pre-made pottery, an activity especially popular among children.

“It is wonderful. I can paint these cartoon characters in different colours,” said Nguyen Thu Phuong, 7, showing off a princess in a yellow hat and red dress, which she painted.

For foreign tourists, making pottery also deepens their understanding of Vietnamese culture.

“This is the first time I visited this traditional craft village and the first time I’ve tried my hand at making pottery. It’s so great, although I cannot do it well. Just trying it makes me understand how hard the work is and how skilful local craftsmen are,” said Heidi Stegner from Germany.

The village welcomes an average of 500 visitors a day, but on weekends or holidays, the figure reaches 3,000-5,000, according to Ha Van Lam, chief executive officer of the Bat Trang Tourism Company.

“The village is focusing on diversifying its services to attract more tourists. Providing visitors a chance to try their hand at creating ceramic items themselves was developed ten years ago and proved attractive to both local and foreign holiday-makers. Each shop supplying this service welcomes around 15-20 visitors each day,” he said.

Ancient art retained

700-year-old Bat Trang Village, about 10km northeast of Ha Noi on the left bank of the Red (Hong) River, has a long history of producing traditional ceramic products.

Local people first chose Bat Trang to develop the craft of ceramic making, because of the area’s natural porcelain clay and its location on the Hong River, which made it easily accessible by water.

The craft has continued to develop through the years, and now the village has thousands of kilns firing round the clock. Bat Trang ceramics are traditionally decorated with images which reflect Vietnamese history, daily activity and spiritual life: paintings of dragons, phoenixes, inscriptions, floral designs, images of people and landscapes.

Local artisans have worked hard to diversify their products, making not only objects used for worship and household items, but also fine art and high quality porcelain.

With unique porcelain clay, a secret enamel recipe and unparalleled artistry, Bat Trang pottery has become valuable goods revered by both the domestic and international communities.

The village’s products have earned a firm foothold in foreign markets, including Japan, the US and Europe. Pieces of ancient Bat Trang ceramics can be found in major museums across the world, including the Royaux museum in Belgium and the Guimet museum in France.

Since 2002, Bat Trang artisans have been part of the Bat Trang Ceramics Association to boost production and marketing. The association has helped local people and ceramics businesses get information about the market, learn of advanced technology, trading options and opportunities to strengthen their competitive edge.

Source: VNS

Vietnamese Pottery

15th Century Vietnamese Pottery

The pottery is from the wreck of a Thai vessel lost in the South China Sea in the mid to late 1400’s. The ship sunk in 70 meters of water near the port of Hoi An

Salvaged during the summers of 1998 – 1999 this find, known as the Hoi An Hoard, constitutes a major contribution to the history of Asian ceramics. The ware is presumed to have its origin in Vietnam’s Red River Delta at the kilns of Hai Duong. The 14th and 15th centuries mark an apex in Vietnamese culture.

During this period, Vietnam replaced China as the predominant exporter of glazed ceramics to South East Asia.
These salvaged pieces reflect the aesthetic sensibility and the culture of medieval Vietnam.

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Company Profiles

Company Name:

PHONG THANH Co. Ltd.,

Factory Address: 39/6 National Rd. 13th, Binh Giao Hamlet, Thuan Giao Village,
Thuan An District, Binh Duong Province, Vietnam.
Primary Contact: Nguyen, Son, General Sales Manager
Tat, Thien, US Sales Manager
Phone: (84)-650-3757397 Vietnam Office
1-714-468 7291-U.S U.S Office
Fax: 84-650-371 8093
Email: mson@potterydepotdirect.com
ttat@potterydepotdirect.com
Website: www.potterydepotdirect.com
Business Type: Pottery Manufacturer and Exporter
Year Established: Since 1938
Total Area (sqt meter): Office 10,000 sqt meter
Factory and Warehouse 50,000 sqt meter
Main Products: Terracotta, Stoneware (indoor & outdoor)
Others: Terrazzo, Polystone, light Cement and Coir Products
Main Customers: United States, Korea, Germany
Personnel:
Office staffs 8
QC/ QA staffs 3
Design staffs 2
Production Team 65
Financial Facts:
Total Capitalization (US$)
Gross Annual Sales (US$) 3 Mil.
Export Markets (By %) E.U 25%, USA 60% and the rest 15%
Production Information:
Capacity (40 ft/year) ~200 ctnrs
Infrastructure:
§ Gas Kiln 2x 14 cbm
§ Dragon Kiln 2 x (26 chambers x 10cbm)
Production Lead-time:
§ In/Outdoor Glazed 60 days
§ Terracotta 45 days
§ Others 45-75 days
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