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Chulucanas Pottery
From Wiki Sumaq Peru
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Introduction
Chulucanas is a small village located one hour away by car from the city of Piura, at 1000 km. on the northern coast of Peru. The cultural roots of Chulucanas pottery comes from the pre-Hispanic cultures and Tallán vicus about 500 years BC.
The techniques of pottery from these cultures were in the collective memory and the remains of pottery found. It attributes the resurgence of the techniques of pottery relics and vicus Tallanes around 60 years by potters Max No Adanaque, Gerásimo Sosa Alache and Jose Luis Yamunaqué, sons of piuranos potters, who have managed to exhibit their works in the USA and have initiated the investigation that enrich their modern creations.
Chulucanas Ceramics
Chulucanas Ceramics requires specific materials and techniques in order to have very good quality and finesse. The material used for its creation is clay which is gathered from the same productive areas in the north.
From Vicus culture, it was adopted as the technique of "negative" or "reservation" which is very similar to that of Batik in which replaces the clay by wax. This technique is part of the decoration stage before being introduced into the furnace smoked conditioning with mango leaves.
From culture Tallan has retained the "paleteado", which is to conduct rhythmically beating with a wooden paddle and a rounded stone to make pottery. The paddle rhythmically hit on the outside of the vessel to be taking shape and is controlled thickness, whereas in the interior stone, a way to anvil, is pressing the clay with a palette adelgazando and shaping.
The reasons for the ceramics are often customs of the area as cholos, chicheras, singers, piajenos, etc. The role is more contemporary decorative than utilitarian. New techniques are looking to create a background glazing that allow the vessels impervious to liquid.
Making process
Modelling
The pottery can be done from the begining either with the hands of artisan or by mold. The use of hand involves the formation of clay rolls or "sausages" are superimposed o one another and with the fingers, it is sticked, shortened and taking an special size and shape. On the need to make a large number of ceramic to accomplish the demand this pottery has,it is better to use clay or plaster molds, which reproduce the molds in larger quantities.
Engobing
After being formed ceramics is the technique where engobe painted clay-colored or mineral elements, in a wet state, expressions or cultural characteristics of each bowl.
Polishing
Brushing or polishing is made with some very fine and brilliant pebbles, which make it done through a polishing process in a stage of semi - moist ceramio. Stone are rubbed on a surface of the ceramio until to obtain a homogeneous surface and satin. This operation is performed three times by hand and requires a great skill, not to cause cracks or damage to the piece, damage sometimes are perceived right after burning the model.
Burning
Held on burning or cooking ceramic kilns and performed in a wood at a temperature of 900 ° C for about five hours covered by mango leafs . These ovens are constructed by craftsmen and potters in a craft, and using firewood (piece of the trunk Algarrobo, lush and woody Piurano tree) baking the ceramio
'Ending'
Pieces are removed from the owe, cleaned, and the "barbotina" is taken away ,then the final procedure is made with waxes and bitumen,rubbing them slightly to get the glossy effect. When it is about utilitarian pieces such as vases and pots,a solution is used to retain the water in a 95%.
References( Spanish)
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