The city of Raqqa, in modern Syria, was a major center for the production of ceramics in the medieval era. During this period, making lots of ceramics also meant lots of failures. Jugs would slump, bowls split, and plates placed too close to each other in the kiln would get stuck to each other. These rejects, called wasters, were often simply discarded near the kilns. At the beginning of the 19th century, Circassian refugees fleeing Russia were welcomed by Ottoman Empire and some were settled around the ruins of Raqqa. They were permitted by the government to collect old bricks from the surrounding area and in the process discovered ceramics, including wasters. These were collected, sold to local dealers, and ultimately entered the international arts market.
A number of these wasters were bought by the Brooklyn Museum in the first quarter of the 20th century. This bowl, for instance, clearly was placed too close to another object in the kiln. When fired they were fused together, leaving a chip of one’s rim embedded in the glaze of the other’s side.
This jug was discovered in one piece. In the kiln, though, it slumped and opened up a large tear near its base.
An early restorer added a wedge to the foot so that it would stand up straight, making it appear as if it weren’t a waster.
THE ART OF REPRESENTATION by Nacho García is the 5th issue of the second volume of FOSFATINA 2000, a bimonthly collection of 16 pages A4-size comics printed in two colors in RISO.
THE ART OF REPRESENTATION is a guide for everyone by Nacho García. More than 300 ideas around artistic representation. Printed in black & fluor pink.
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