This is the oldest known pottery. In Europe, burnt clay was already known in the late Palaeolithic (Magdalenian) and was used for female figurines, like the “Venus” of Dolni Vestonice (Czech Republic), as well as figures of animals.

Before that, clay had been used to make statuettes of humans and animals that were sometimes burned as well. In the preceding Pre-Pottery Neolithic, vessels made of stone, gypsum and burnt lime (vaiselles blanches or white ware) had been used. Sometimes a mixture of clay and lime was used, not very successfully, in the earliest pottery.

In the 5th millennium bc Egyptian potters made graceful, thin, dark, highly polished ware with subtle cord decoration. The painted ware of the 4th millennium, with geometric and animal figures on red, brown, and buff bodies, was not of the same high standard.

Dynastic Egypt was famous for its faience (to be distinguished from the later European ceramics of that name). First made about 2000 bc, it is characterized by a dark green or blue glaze over a body high in powdered quartz, somewhat closer to glass than to true ceramics. Egyptian artisans made faience beads and jewelry, elegant cups, scarabs, and ushabti (small servant figures buried with the dead).

It is not known when or where the potter’s wheel is introduced. Indeed it is likely that it develops very gradually, from a platform on which the potter turns the pot before shaping another side (thus avoiding having to walk around it). By about 3000 BC a simple revolving wheel is a part of the potter’s equipment in Mesopotamia, the cradle of so many innovations.

The amphora was a tall, two-handled storage vessel for wine, corn, oil, or honey; the hydria, a three-handled water jug; the lecythus, an oil flask with a long, narrow neck, for funeral offerings; the cylix, a double-handled drinking cup on a foot; the oenochoe, a wine jug with a pinched lip; the crater, a large bowl for mixing wine and water. Undecorated black pottery was used throughout Greek and Hellenistic times, the forms being related either to those of decorated pottery or to those of metalwork. Both styles influenced Roman ceramics.

Even in the Bronze Age, the Greeks took advantage of oxidizing and reducing kilns to produce a shiny black slip on a cream, brownish, or orange-buff body, the shade depending on the type of clay. At first, decorative designs were abstract. By the Middle Bronze Age (2000-1500 bc), however, stylized forms from nature appeared. By the Late Bronze Age, plants, sea creatures, and fanciful animals were painted on pots of well-conceived shape by the Mycenaeans, who were initially influenced by Cretan potters. Athenian geometric style replaced the Mycenaean about 1000 bc and declined by the 6th century bc. Large craters in the Geometric style, with bands of ornament, warriors, and processional figures laid out in horizontal registers, were found at the Dipylon cemetery of Athens; they date from about 750 bc.

Attic potters introduced black-figure ware in the early 6th century. Painted black forms adorned the polished red clay ground, with detail rendered by incising through the black. White and reddish-purple were added for skin and garments. Depictions of processions and chariots continued; animals and hybrid beasts were also shown (particularly in the Orientalizing period, roughly 700 to 500 bc), at times surrounded by geometric or vegetal motifs. Such decoration was always well integrated with the vessel shapes, and the iconography of Greek mythology is clear. Beginning in the 6th century, the decoration emphasized the human figure far more than animals. Favorite themes included people and gods at work, battle, and banquet; musicians; weddings and other ceremonies; and women at play or dressing. In some cases, events or heroes were labeled. Mythological and literary scenes became more frequent. Potters’ and painters’ names and styles have been identified, even when they did not sign their works.

Red-figure pottery was invented about 530 bc, becoming especially popular between 510 and 430. The background was painted black, and the figures were left in reserve on the red-brown clay surface; details on the figures were painted in black, which allowed the artist greater freedom in drawing. The paint could also be diluted for modulating the color. Secondary colors of red and white were used less; gold sometimes was added for details of metal and jewelry. Anatomy was rendered more realistically, and after 480, so were nuances of gesture and expression. Although Athens and Corinth were centers for red-figure pottery, the style also spread to the Greek islands. By the 4th century bc, however, it declined in quality. Another Greek style featured outline drawing on a white ground, with added colors imitating monumental painting; these vessels, however, were impractical for domestic use.

Another fine Seljuk type was Mina’i ware, an enamel-overglaze pottery that, in its delicacy, imitated illuminated manuscripts. Kāshān potters, after the 13th-century Mongol conquests, used green glazes influenced by Chinese celadons. Cobalt-blue glazes appeared in Iran in the 9th century but later fell out of use. They were taken up again in the 14th to the 18th century in response to the popularity of blue-and-white ware with Chinese and European clients.

İznik was the center for Turkish pottery. There slip-painted pieces influenced by Persian and Afghanistani ware predated the Ottoman Turks’ conquest of the region. Later, between 1490 and 1700, İznik ware displayed decorations painted under a thin transparent glaze on a loose-textured white body; in its three stages the designs were in cobalt blue, then turquoise and purple, then red.

During the Safavid dynasty, Kubachi ware, contemporary to İznik pottery, was probably made in northwestern Iran, and not at the town of Kubachi where it was found. Characteristic Kubachi pieces were large polychrome plates, painted underneath their crackle glazes. Gombroon ware, exported from that Persian Gulf port to Europe and the Far East in the 16th and 17th centuries, featured incised decorations on translucent white earthenware bodies. Copper-colored Persian lusterware was fashionable in the 17th century, as was polychrome painted ware.

In general, Islamic pottery was made in molds. Shapes were either Chinese inspired or were the basic shapes of metalwork. In addition to lusterware, the most creative work was the manufacture of tiles for mosques.

At Gansu, in northwestern China, vessels from the Pan-shan culture, made from finely textured clay and fired to buff or reddish-brown, were brush painted with mineral pigments in designs of strong S-shaped lines converging on circles. They date from 2600 bc. The early Chinese kiln was the simple updraft type; the fire was made below the ware, and vents in the floor allowed the flames and heat to rise. Lung-shan pottery, from the central plains, was wheel made. Chinese Neolithic vessels include a wide variety of shapes-tripods, ewers, urns, cups, amphorae, and deep goblets.

Life-sized terra-cotta figures are a small part of the more than 6000 figures and horses that were made for the tomb of Emperor Qin Shihuangdi of the Chinese Qin dynasty in 210 bc. They were originally painted in bright colors. The burial mound, in the northern province of Shaanxi, was discovered in 1974. Except for the white pottery, all the Shang types continued in the Zhou period (1045?-256 bc). Coarse red earthenware with lead glazes was introduced in the Warring States era (403-221 bc); this ware also resembled bronzes. In the south, stoneware with a pale brown glaze was fashioned into sophisticated shapes.

The discovery in 1974 of the terra-cotta army of Shihuangdi (Shih-huang-ti), the first emperor of the Qin (Ch’in) dynasty (221-206 bc) - an imperial legion of more than 6000 life-size soldiers and horses buried in military formation-added new dimensions to modern knowledge of the art of the ancient Chinese potters. These handsome idealized portraits, each with different details of dress, were modeled from coarse gray clay, with heads and hands fired separately at high earthenware temperatures and attached later. Afterward, the assembled, fired figures were painted with bright mineral pigments (a procedure called cold decoration), most of which have now flaked.

Tomb figures and objects with molded and painted decoration continued to be made in the Han dynasty (206 bc-ad 220); these included houses, human figures, and even stoves. Bricks sometimes were decorated with scenes of everyday animal and human activity. Gray stoneware with a thick green glaze and reddish earthenware were also produced.

During the Six Dynasties period (ad 220-589), celadon-glazed stoneware, a precursor of later porcelain celadons, began to appear. (Celadons are transparent iron-pigmented glazes fired in a reducing kiln that yield gray, pale blue or green, or brownish-olive.) Called Yüeh (or green) ware, they were less influenced than earlier pottery by the shapes of cast bronzes. Jars, ewers, and dishes became more delicate of line and classical in contour, and some had simple incised or molded ornamentation.

Song-influenced celadons characterize pottery of the Koryŏ dynasty (918-1392). Tradicional Chosŏn pottery (1392-1910), the blue and white style ranks as some of the most beautiful in the world. Later work, although less refined, was admired for its straightforward dignity. Koreans, in turn, introduced Korean and Chinese pottery into Japan.

Its bright-colored designs were inspired by ornate lacquerwork, screens, and textiles. By the late Edo period (1800-1867) Imari ware declined. Kakiemon (persimmon) porcelain, made in Arita, was a far more refined, classically shaped ware, even when its motifs were similar to Imari ware. Both wares used overglaze enamels. Nabeshima ware, also of high quality and similar to silk textiles in its designs, was reserved for members of that family and their friends; only in the Meiji era (1868-1912) was it sold commercially and imitated.

The designs were first drawn on thin tissue, and then in underglaze blue lines; the enamel colors were added and heat-fused after the glaze firing. In eastern Japan in the Edo period, Kutani was the porcelain center. Kutani vessels were grayish in color because of impurities in the clay, and their designs were bolder than those of Arita and Imari wares. Kyōto, formerly a center for enameled pottery, became famous for its porcelain in the 19th century. In the Edo period, some 10,000 kilns were active in Japan.

Contemporary taste esteems the utilitarian works of folk potters as highly as the export items of earlier centuries. New influences from Europe came with the Meiji pottery, but native folk traditions were still appreciated within the country. Potters at the old centers remain active in the 20th century, working in the same styles as their ancestors, with the same local clays. Japan’s most famous 20th-century potter is Hamada Shoji, important not only for his pottery but also as a forceful figure in the revival of folkcraft.

Hamada favored iron and ash glazes on stoneware, producing shades of olive green, gray, brown, and black, and did not sign his pots (although he signed their wooden containers). In 1955 the Japanese government declared Hamada an Intangible Treasure of the country.

West Africa, and in particular modern Nigeria, provides the longest and richest sequence of terracotta figures. They date back two and a half millennia to the extraordinary Nok sculptures. By around the 1st century AD figures of a wonderful severity are being modelled in the Sokoto region of northwest Nigeria.

Terracotta heads and figures have been found in Ife, dating from the 12th to 15th century - the same period as the first cast-metal sculptures of this region. At Jenne, further north in Mali, archaeologists (followed unfortunately by thieves) have recently unearthed superb terracottas of the same period.

One extraordinary group of terracottas is the exception in this mainly west African story, in that they come from south Africa where they are the earliest known sculptures. They are seven heads, found at Lydenburg in the Transvaal. Modelled in a brutally chunky style, they date from about the 6th century AD.

At Teotihuacán in the central plateau, polychrome three-footed vessels were produced in molds. In the Post-Classic era the Toltecs occupied the central plateau, producing typical ceramics painted red on cream or orange on buff. Later, the Aztecs first assimilated earlier abstract decoration, then turned to red and orange bowls ornamented with birds and other life forms. Farther south, the Zapotecs and Mixtecs resisted Aztec influence. Besides modeled animals, humans, and gods, they made a highly burnished polychrome ware that influenced later Mexican pottery.

Molded buff-colored vases were painted in red with vivid narrative scenes; portraitlike jars were modeled in relief with great subtlety. Both had the characteristic Peruvian stirrup spout, a hollow handle with a central vertical spout. To the south the Nazca culture produced double-spouted polychrome jars with complex stylized animal motifs.

The later Tiwanaku and Inca polychrome styles were well crafted but were less dazzling. Portrait bottles were unique to the Moche culture of Peru. Produced during the 5th and 6th centuries, they were generally hand built and used a two-colored slip for the glaze. The images represented either warriors or priests. The stirrup-spout was also used on other types of jars and bottles.

The ancient tradition has been carried on into modern Pueblo pottery, notably in the work of Maria Martinez, who is widely known for her burnished black ware. Pottery making is an old and respected tradition among the Zuni people of North America. For example storage jar from the early 1900s was made using the “coil” method, in which long, thin coils of clay are formed around a flat, circular base and built up to create the shape of the jar, then smoothed and glazed. The white background with black and brown geometric designs is characteristic of Zuni pottery.

Handwork methods can be considered both the most primitive and the most individualized techniques, where pieces are constructed from hand-rolled coils, slabs, ropes, and balls of clay, often joined with a liquid clay slurry, or slip. No two pieces of handwork will be exactly the same, so it is not suitable for making precisely matched sets of items such as dinnerware. Doing handwork enables the potters to use their imagination to create one-of-a-kind works of art. These methods are often referred to as “handbuilding”.

The potter’s wheel can be used for mass production, although often it is employed to make individual pieces. The process of making ceramic ware on the potter’s wheel is called “throwing” or “turning”. A ball of clay is placed in the center of a turntable, called the wheel head, which is turned chiefly using foot power (a kick wheel or treadle wheel) or a variable speed electric motor. Oftentimes, a disk of plastic, wood, or plaster is affixed to the wheel head, and the ball of clay is attached to the disk rather than the wheel head so that the finished piece can be removed easily. This disk is referred to as a bat. The wheel revolves rapidly while the clay is pressed, squeezed, and pulled gently into shape. The process of pressuring the clay into a rotational symmetry, so that it does not move from side to side as the wheel head rotates is referred to as “centering” the clay - usually the most difficult skill to master for beginning potters.

Wheel work takes a lot of technical ability, but a skilled potter can produce many virtually identical plates, vases, or bowls in a day. Because of its nature, wheel work can only be used to initially create items with radial symmetry on a vertical axis. These pieces can then be altered by impressing, bulging, carving, fluting, faceting, incising, and other methods to make them more visually interesting. Often, thrown pieces are further modified by having handles, lids, feet, spouts, and other functional aspects added using the techniques of handworking. Pottery that is thrown on the wheel is often finished in a process known as trimming. The thrown piece is first allowed to dry to the leather-hard state then it is returned to the potter’s wheel, usually with the rim down. The piece must be re-centered to allow trimming of the foot of the pot to create a smooth and well-defined surface.

There are two related techniques that improve repeatability of wheelwork. A jigger is a mould that is slowly brought down onto the outside of an object, while it is being turned on a wheel. A solid mould is used to form the inside of the piece. A tool is used to shape the inside of a piece, pressing the outside against a solid mould. Although these techniques have been in use since the 18th century, they are usually considered minor “industrial” methods by modern studio potters. Jiggering is the process used to produce flatware, such as plates whilst jolleying is a similar technique but is for hollow ware such as cups and bowls.

Slipcasting is one technique for mass-production, and ideally suits shapes that can not be made by other methods. A liquid clay body slip is poured into plaster moulds, the permeability of the mould drawing water from the slip to leave a layer the clay body of the internal shape of the mould. After drying the finished piece is removed from the mould, “fettled” (trimmed neatly), and allowed to air-dry. This method is commonly used for smaller decorative pieces such as figurines, which have many intricate details.

Colorants, usually metal oxides and carbonates, are added singly or in combinations to achieve a desired colour. Combustible particles can be mixed with clay or pressed into the surface to produce texture.

Throughout history, potters have used a mixture of coloured clays as a distinctive decorating technique. In traditional studio pottery in Great Britain, these techniques were known as agateware. The name is derived from the agate stone, which shows bands of colours. In Japan, various techniques for combining coloured clay on the potter’s wheel are jointly known as “neriage.” An analogue of marquetry can also be made, by pressing small blocks of coloured clays together, and using the resulting mosaic to create distinctive patterns. The Japanese term for this technique is nerikome.

Agateware and the other varieties of ‘mottled’ ware are made by combining two or more colours or varieties of clay into one completed piece. Different colours of clay are lightly kneaded or slapped together before being formed into a vessel or decorative item. This method is most commonly used for handbuilt pieces. Coloured clay can also be added to a base clay after it is centered on the wheel. Although in principle any clays can be combined, differing rates of drying/shrinkage and expansion in firing create structural difficulties. It is best to select a light neutral clay body, and then add a colourant to separate portions of the same body. The different coloured clays can then be joined without significant structural problems. Members of commercial clay ‘families’ often have a similar chemical composition and a similar shrinkage rate, and can be used together.

Burnishing, like the metalwork technique of the same name, involves rubbing the surface of the piece with a polished surface (typically wood, steel, or stone), to smooth and polish the clay. Finer clays give a smoother and shinier surface than coarser clays, as will allowing the pot to dry more before burnishing, although that risks breakage. To give a finer surface, or a coloured surface, slip can be coated onto the leather-dry clay. Slip produced to a specific recipe is sometimes called an engobe. Slips or engobes can be applied by painting techniques, or the piece can be dipped for a uniform coating. Many pre-historic and historic cultures used slip as the primary decorating material on their ware.

Sgraffito involves scratching through a layer of coloured slip to reveal a different colour or the base clay underneath. If done carefully, one colour of slip can be fired before a second is applied prior to the scratching or incising decoration. Often slips/engobes used in this process have a higher silica content, sometimes approaching a glaze recipe. This is particularly useful if the base clay is not of the desired colour or texture.

Glaze may be applied by dusting it over the clay, spraying, dipping, trailing or brushing on a thin slurry of glaze and water. Brushing tends not to give very even covering, but can be effective with a second coating of a coloured glaze as a decorative technique. With all glazed items, a small part of the item (usually on the base of the piece) must be left unglazed, or else it will stick to the kiln during firing.

Some clays and glazes are oxygen-sensitive, most notably those containing iron and copper, and will change colour depending on the presence of oxygen during the firing. Kilns can either be “oxidized” by opening a port to allow oxygen into the interior or “reduced” by closing off the kiln from outside air to attain colors as desired.

A number of various firing techniques can be used in addition to normal glaze-firing. Most of these involve heating the kiln to a high temperature and then delivering an amount of dry chemical into the kiln’s interior. Sulphur is commonly used, as are various salts or ashes. Such substances will stick to pieces within the kiln and melt onto their surfaces, often resulting in a mottled texture which has a distinctive “orange peel” feel. Colors generally depend on what chemical is added to the kiln. These techniques can have very unusual and frequently unexpected results whether used on an unglazed piece or in combination with normal glazing.

Wood firing is another type of firing which involves using wood, rather than gas or electricity as in most modern kilns, to heat the kiln’s interior. An example of a wood fired kiln is the Chinese Anagama, also adopted and used by Korean and Japanese potters. Wood firing is frequently time-consuming, as the kiln must be stoked for days, but the pieces which emerge often have characteristic patches of orange color on the clay itself, known as “blushing”.

The Western adaptation of Raku firing, a traditional Japanese technique, has enjoyed a deal of popularity due to its relative ease. The kiln is heated to a low temperature, usually no higher than cone 06, and then ware is pulled out of the kiln while still hot (using tongs, of course) and smothered in ashes, paper, or woodchips. This can be done in an enclosed container, which allows the supply of oxygen to be cut off and reduction to take place. The finished products of this process are not suitable for functional use, as the clay remains porous and may have some toxic chemicals held within it as a result of burning the surrounding woodchips or paper used to smother it. However, because of the low temperature, it is an extremely quick and easy technique to do, and the clay has a distinctive black color.

Raku is considered the traditional method for creating clay bowls for the Japanese tea ceremony. Raku tea bowls are hand-made from earthenware, each with a unique shape and style.

The term raku is derived from the Kanji character meaning “enjoyment” or “ease”. For fifteen generations, it has been the title and seal used by a dynasty of potters whose work formed the central tradition of Japanese raku. In the 16th century, the first of these potters, Chojirō, came under the patronage of the Japanese tea master Sen-No-Rikyu. In 1598, the ruler Hideyoshi bestowed the name Raku on Chojirō after he began making tea bowls to the great tea master’s specifications. Upon the death of Chojirō in 1592, his son Jokei continued the raku tradition. Both the name and the ceramic style have been passed down through the family to the present.

Raku ware marked an important point in the historical development of Japanese ceramics. With the formal recognition of raku potters in the late 16th century, the Japanese artist-potter first emerged from the anonymity of the general craftsman. Other famous Japanese clay artists of this period include Donyu (1574-1656), Hon´ami Koetsu (1556-1637) and Ogata Kenzan (1663-1743).

Western raku potters rarely use lead as a glaze ingredient, due to its serious level of toxicity. Although almost any low-fire glaze can be used, potters often use specially formulated glaze recipes that “crackle” or craze (present a cracked appearance), because the crazing lines take on a dark color from the carbon.

Western Raku is typically made from a stoneware clay body, bisque fired at 900°C (1650°F) and glaze fired (the final firing) between 800-1000°C (1450-1800°F), which falls into the cone 06 firing temperature range. The process is known for its unpredictability, particularly when reduction is forced, and pieces may crack or even explode due to thermal shock. Pots may be returned to the kiln to re-oxidize if firing results do not meet the potter’s expectations, although each successive firing has a high chance of weakening the overall structural integrity of the pot. Pots that are exposed to thermal shock multiple times can break apart in the kiln, as they are removed from the kiln, or when they are in the reduction chamber.

The glaze firing times for raku ware are short, an hour or two as opposed to up to 16 hours for high-temperature cone 10 stoneware firings. This is due to several factors: raku glazes mature at a much lower temperature (under 1800°F, as opposed to almost 2300°F for high-fire stoneware), kiln temperatures can be raised rapidly, and the kiln is loaded and unloaded while hot and can be kept hot between firings.

Because temperature changes are rapid during the raku process, clays used for raku ware must be able to cope with significant thermal stress. The usual way of dealing with this is to incorporate a high percentage of sand or Grog (prefired clay that has been finely ground) into the clay before the pot is formed. Although any clay body can be used, most porcelains and white stoneware clay bodies are unsuitable for the Western raku process unless grog is added.

The toughness, strength and translucence of porcelain arises mainly from the formation at high temperatures within the clay body of the mineral mullite and glass. Porcelain was so-named after its resemblance to the white, shiny Venus-shell, called in old Italian porcella. The curved shape of the upper surface of the Venus-shell resembles the curve of a pig’s back (Latin porcella, a little pig, a pig).

Properties associated with porcelain include those of low permeability, high strength, hardness, glassiness, durability, whiteness, translucence, resonance, brittleness, high resistance to the passage of electricity, high resistance to chemical attack, high resistance to thermal shock and high elasticity. Porcelain is used to make wares for the table and kitchen, sanitary wares, decorative wares and objects of fine art. Its high resistance to the passage of electricity makes porcelain an ideal insulating material and it is used in dentistry to make false teeth, caps and crowns.

The earliest porcelains originated in China possibly during the Eastern Han dynasty (25-220 AD). The reader is referred to the Wikipedia article on Chinese porcelain for a discussion on the early history of the material and its modern uses in Chinese craftmanship and pottery.

The invention seems to have been made in Iran or the Middle East before the ninth century. A kiln capable of producing high temperatures exceeding 1000° C was required to achieve this result (see pottery), the result of millennia of refined pottery-making traditions.

The slip can be formulated to mature at a variety of temperatures. In a solid cast mold, ceramic objects such as handles and platters are surrounded by plaster on all sides with a reservoir for slip, and are removed when the solid piece is held within. In a pour mold, once the plaster has absorbed most of the liquid from the outside layer of clay the remaining slip is poured off for later use, and the item is left to dry. Finally the finished item is removed from the mould, “fettled” (trimmed neatly), and allowed to air-dry. This produces a greenware piece, which is generally fired to harden it by a process of sintering.

It is commonly used for smaller decorative pieces, such as figurines, which have many intricate details. In the United States, moulds and their slipcast pieces are primarily an industrial product, and are usually called “ceramics” to distinguish them from other pottery. In recent years, slipcasting has become a process used by artists and independent designers to produce editions of objects, play with the aesthetics of mass production in ceramics, or manufacture ceramic ware on a small scale. ware on a small scale.

Ceramics can be defined as inorganic, nonmetallic materials. They are typically crystalline in nature and are compounds formed between metallic and nonmetallic elements such as aluminum and oxygen (alumina-Al2O3), calcium and oxygen (calcia - CaO), and silicon and nitrogen (silicon nitride-Si3N4).

He worked at the Madoura pottery works in the small Cote d’Azur town of Vallauris. Picasso lived there for seven years with Francoise Gilot, the artist 41 years his junior who also the mother of two of his children, Claude and Paloma.

He went on to create more than 3,500 clay sculptures, featuring the distinctive Picasso subjects - women, bull-fights, birds and fish, often Meditteranean-inspired.

The wheel was wound-up and charged with energy by pushing it round with a stick, an arrangement that permitted the energy stored in the wheel to be finely directed to where it was required, at the point where the hands of the potter come into contact with the clay. Unlike hand-building, in wheel-throwing the bulk of the energy used does not come directly from the hands of the potter. The introduction of the fast-wheel brought benefits in the form of speed and a job that might have taken hours, or even days, to complete was reduced to one that could be done in minutes.

Early ceramics built by coiling were often placed on mats or large leaves to allow them to be worked more conveniently. This arrangement allowed the potter to turn the vessel under construction, rather than walk around it to add threads of clay and it has been proposed that the earliest forms of the potter’s wheel were developed as an extension to this procedure. The earliest versions of the wheel were probably turned slowly by hand or by foot while coiling a pot, but later developments allowed energy stored in a flywheel to be used to speed up the process of throwing.

It is not known when the potter’s wheel first came into use, but dates between about 6,000 BC to about 2,400 BC have been suggested. Many modern scholars suggest that it was first developed in Mesopotamia, although Egypt and China have also been claimed as possible places of origin. A stone potter’s wheel found at the Mesopotamian city of Ur in modern-day Iraq has been dated to about 3,000 BC, but fragments of wheel-thrown pottery of an even earlier date have been recovered in the same area. By the time of the early civilizations of the bronze age the use of the potter’s wheel had become widespread.

In the iron age the potter’s wheel in common use had a turning platform about a meter above the floor, connected by a long axle to a heavy flywheel at ground level. This arrangement allowed the potter to keep the turning-wheel rotating by kicking the flywheel with the foot, leaving both hands free for manipulating the vessel under construction. Use of the potter’s wheel became widespread throughout the Old World, but was unknown in the Pre-Columbian New World, where pottery was hand-made by methods that included coiling and beating. The use of the motor-driven potter’s wheel has become common in modern times, although human-powered ones are still in use and are much preferred by some potters.