Cuban ceramics

Descripción

La elaboración de piezas cerámicas en Cuba tiene sus antecedentes en las comunidades agro-alfareras que habitaban el archipiélago antes de la llegada de los españoles y que desarrollaron una significativa producción con funciones utilitaria y ritual. Posteriormente, sucesivas oleadas de inmigrantes españoles, africanos y chinos aportaron sus técnicas y conocimientos ancestrales.

En determinadas regiones, sobre todo fuera de los centros urbanos, existieron famosos tejares que desarrollaron un amplio repertorio de vasijas de todas formas y usos para la economía doméstica y local, entre los que se encuentran el “porron»,used to bring water to the field and the ““tinajón”, a large vessel that served to collect and store rainwater, when the aqueduct system did not yet exist.

After the triumph of the Revolution in 1959, with the creation of Art Schools, the rescue of traditional popular culture, and the creation of state workshops in several provinces of the country, ceramics experienced a notable development, both in its traditional aspect and in the so-called artistic ceramics.

Creative experiences of plastic artists such as Wifredo Lam, Amelia Peláez and Alfredo Sosabravo, developed new expressive possibilities of ceramics as art, which had a favorable impact on contemporary Cuban ceramic production in its different aspects, as can be seen in the collection held by the National Museum of Contemporary Cuban Ceramics.

The main decoration techniques are burnishing, enamelling, glazing, chamotte, polychrome and raku. It is also decorated with inlays, incisions, openwork, stampings, etc.

Various ceramic products that use the most varied ornamental techniques, with utilitarian and decorative functions, are offered at craft fairs, markets and tourist stores in all the provinces of the country.

In Cuban homes, it is common to enjoy coffee in artisanal cups and some traditional drinks such as canchánchara, which is made from brandy, citrus and honey, are still served as in the past, in clay bowls.

Descripción

La elaboración de piezas cerámicas en Cuba tiene sus antecedentes en las comunidades agro-alfareras que habitaban el archipiélago antes de la llegada de los españoles y que desarrollaron una significativa producción con funciones utilitaria y ritual. Posteriormente, sucesivas oleadas de inmigrantes españoles, africanos y chinos aportaron sus técnicas y conocimientos ancestrales.

En determinadas regiones, sobre todo fuera de los centros urbanos, existieron famosos tejares que desarrollaron un amplio repertorio de vasijas de todas formas y usos para la economía doméstica y local, entre los que se encuentran el “porron»,used to bring water to the field and the ““tinajón”, a large vessel that served to collect and store rainwater, when the aqueduct system did not yet exist.

After the triumph of the Revolution in 1959, with the creation of Art Schools, the rescue of traditional popular culture, and the creation of state workshops in several provinces of the country, ceramics experienced a notable development, both in its traditional aspect and in the so-called artistic ceramics.

Creative experiences of plastic artists such as Wifredo Lam, Amelia Peláez and Alfredo Sosabravo, developed new expressive possibilities of ceramics as art, which had a favorable impact on contemporary Cuban ceramic production in its different aspects, as can be seen in the collection held by the National Museum of Contemporary Cuban Ceramics.

The main decoration techniques are burnishing, enamelling, glazing, chamotte, polychrome and raku. It is also decorated with inlays, incisions, openwork, stampings, etc.

Various ceramic products that use the most varied ornamental techniques, with utilitarian and decorative functions, are offered at craft fairs, markets and tourist stores in all the provinces of the country.

In Cuban homes, it is common to enjoy coffee in artisanal cups and some traditional drinks such as canchánchara, which is made from brandy, citrus and honey, are still served as in the past, in clay bowls.

Descripción

La elaboración de piezas cerámicas en Cuba tiene sus antecedentes en las comunidades agro-alfareras que habitaban el archipiélago antes de la llegada de los españoles y que desarrollaron una significativa producción con funciones utilitaria y ritual. Posteriormente, sucesivas oleadas de inmigrantes españoles, africanos y chinos aportaron sus técnicas y conocimientos ancestrales.

En determinadas regiones, sobre todo fuera de los centros urbanos, existieron famosos tejares que desarrollaron un amplio repertorio de vasijas de todas formas y usos para la economía doméstica y local, entre los que se encuentran el “porron»,used to bring water to the field and the ““tinajón”, a large vessel that served to collect and store rainwater, when the aqueduct system did not yet exist.

After the triumph of the Revolution in 1959, with the creation of Art Schools, the rescue of traditional popular culture, and the creation of state workshops in several provinces of the country, ceramics experienced a notable development, both in its traditional aspect and in the so-called artistic ceramics.

Creative experiences of plastic artists such as Wifredo Lam, Amelia Peláez and Alfredo Sosabravo, developed new expressive possibilities of ceramics as art, which had a favorable impact on contemporary Cuban ceramic production in its different aspects, as can be seen in the collection held by the National Museum of Contemporary Cuban Ceramics.

The main decoration techniques are burnishing, enamelling, glazing, chamotte, polychrome and raku. It is also decorated with inlays, incisions, openwork, stampings, etc.

Various ceramic products that use the most varied ornamental techniques, with utilitarian and decorative functions, are offered at craft fairs, markets and tourist stores in all the provinces of the country.

In Cuban homes, it is common to enjoy coffee in artisanal cups and some traditional drinks such as canchánchara, which is made from brandy, citrus and honey, are still served as in the past, in clay bowls.

Descripción

La elaboración de piezas cerámicas en Cuba tiene sus antecedentes en las comunidades agro-alfareras que habitaban el archipiélago antes de la llegada de los españoles y que desarrollaron una significativa producción con funciones utilitaria y ritual. Posteriormente, sucesivas oleadas de inmigrantes españoles, africanos y chinos aportaron sus técnicas y conocimientos ancestrales.

En determinadas regiones, sobre todo fuera de los centros urbanos, existieron famosos tejares que desarrollaron un amplio repertorio de vasijas de todas formas y usos para la economía doméstica y local, entre los que se encuentran el “porron»,used to bring water to the field and the ““tinajón”, a large vessel that served to collect and store rainwater, when the aqueduct system did not yet exist.

After the triumph of the Revolution in 1959, with the creation of Art Schools, the rescue of traditional popular culture, and the creation of state workshops in several provinces of the country, ceramics experienced a notable development, both in its traditional aspect and in the so-called artistic ceramics.

Creative experiences of plastic artists such as Wifredo Lam, Amelia Peláez and Alfredo Sosabravo, developed new expressive possibilities of ceramics as art, which had a favorable impact on contemporary Cuban ceramic production in its different aspects, as can be seen in the collection held by the National Museum of Contemporary Cuban Ceramics.

The main decoration techniques are burnishing, enamelling, glazing, chamotte, polychrome and raku. It is also decorated with inlays, incisions, openwork, stampings, etc.

Various ceramic products that use the most varied ornamental techniques, with utilitarian and decorative functions, are offered at craft fairs, markets and tourist stores in all the provinces of the country.

In Cuban homes, it is common to enjoy coffee in artisanal cups and some traditional drinks such as canchánchara, which is made from brandy, citrus and honey, are still served as in the past, in clay bowls.

Descripción

The production of ceramic pieces in Cuba has its origins in the agro-pottery communities that inhabited the archipelago before the arrival of the Spanish and that developed significant production with utilitarian and ritual functions. Subsequently, successive waves of Spanish, African and Chinese immigrants contributed their ancestral techniques and knowledge.

In certain regions, especially outside urban centers, there were famous tejares that developed a wide repertoire of vessels of all shapes and uses for the domestic and local economy, among which are the “porrón”, used to carry water to the countryside and the “tinajón”, a large vessel that served to collect and store rainwater, when the aqueduct system did not yet exist.

After the triumph of the Revolution in 1959, with the creation of Art Schools, the rescue of traditional popular culture, and the creation of state workshops in several provinces of the country, ceramics experienced a notable development, both in its traditional aspect and in the so-called artistic ceramics.

Creative experiences of plastic artists such as Wifredo Lam, Amelia Peláez and Alfredo Sosabravo, developed new expressive possibilities of ceramics as art, which had a favorable impact on contemporary Cuban ceramic production in its different aspects, as can be seen in the collection held by the National Museum of Contemporary Cuban Ceramics.

The main decoration techniques are burnishing, enamelling, glazing, chamotte, polychrome and raku. It is also decorated with inlays, incisions, openwork, stampings, etc.

Various ceramic products that use the most varied ornamental techniques, with utilitarian and decorative functions, are offered at craft fairs, markets and tourist stores in all the provinces of the country.

In Cuban homes, it is common to enjoy coffee in artisanal cups and some traditional drinks such as canchánchara, which is made from brandy, citrus and honey, are still served as in the past, in clay bowls.

englishCuban ceramics

The elaboration of pottery and ceramic pieces in Cuba has its antecedents in the agro-pottery communities that inhabited the archipelago, before the arrival of the Spaniards and that developed a significant production with utilitarian and ritual functions. Subsequently, successive waves of Spanish, African and Chinese immigrants contributed their ancestral techniques and knowledge.

In certain regions, especially outside the urban centers, there were famous “tejares” that developed a wide repertoire of vessels of all shapes and uses for the domestic and local economy, among which are the "porrón", used to carry water to the countryside and the "tinajón", a large vessel that served to collect and store rainwater. when the aqueduct system did not yet exist.

After the triumph of the Revolution in 1959, with the creation of the Art Schools, the rescue of traditional popular culture, and the creation of state workshops, in several provinces of the country, ceramics experienced a remarkable development, both in their traditional aspect and in the so-called artistic ceramics.

Creative experiences of developed new expressive possibilities of ceramics as art, which had a favorable impact on contemporary Cuban ceramic production in its different aspects, as can be seen in the collection treasured by the National Museum of Contemporary Cuban Ceramics.

The main decoration techniques are burnishing, enamelling, glazing, chamotte, polychrome and rakú. It is also decorated with inlays, incisions, fretwork, prints, etc.

Various ceramic products that use the most varied ornamental techniques, with utilitarian and decorative functions, are offered in craft fairs, markets and tourist shops in all the provinces of the country.

In Cuban homes, it is common to enjoy coffee in artisanal cups and some traditional drinks such as canchánchara, which is made from brandy, citrus and honey, are still served as in the past, in clay bowls.

Descripción

La elaboración de piezas cerámicas en Cuba tiene sus antecedentes en las comunidades agro-alfareras que habitaban el archipiélago antes de la llegada de los españoles y que desarrollaron una significativa producción con funciones utilitaria y ritual. Posteriormente, sucesivas oleadas de inmigrantes españoles, africanos y chinos aportaron sus técnicas y conocimientos ancestrales.

En determinadas regiones, sobre todo fuera de los centros urbanos, existieron famosos tejares que desarrollaron un amplio repertorio de vasijas de todas formas y usos para la economía doméstica y local, entre los que se encuentran el “porrón”, utilizado para llevar el agua al campo y el “tinajón”, vasija de grandes proporciones que sirvió para recoger y almacenar el agua de lluvia, cuando aún no existía el sistema de acueducto.

Luego del triunfo de la Revolución en 1959, con la creación de las Escuelas de Arte, el rescate de la cultura popular tradicional, y la creación de talleres estatales, en varias provincias del país, la cerámica experimentó un notable desarrollo, tanto en su vertiente tradicional, como en la llamada cerámica artística.

Experiencias creativas de artistas plásticos como Wifredo Lam, Amelia Peláez y Alfredo Sosabravo, desarrollaron nuevas posibilidades expresivas de la cerámica como arte, que impactaron favorablemente en la producción cerámica contemporánea cubana en sus diferentes vertientes, como se puede apreciar en la colección que atesora el Museo Nacional de la Cerámica Contemporánea Cubana.

Las principales técnicas de decoración son el bruñido, el esmaltado, el vidriado, la chamota, el policromado y el rakú. También se decora con incrustaciones, incisiones, calados, estampaciones, etc.

Diversos productos cerámicos que utilizan las más variadas técnicas ornamentales, con funciones utilitarias y decorativas, se ofertan en ferias artesanales, mercados y tiendas turísticas en todas las provincias del país.

En los hogares cubanos, es común disfrutar del café en tazas artesanales y algunas bebidas tradicionales como la canchánchara, que se elabora a base de aguardiente, cítrico y miel, se sigue sirviendo como antaño, en cuencos de barro.