South African studio pottery of the later Twentieth century and its Anglo-Oriental epithet

Abstract

South African studio pottery of the later twentieth century has consistently been described as ‘Anglo-Oriental’, because it was perceived to adhere to the standard forms of utilitarian wares in plain or subdued colours and decorations, as promoted by the Anglo-Oriental tradition of studio pottery. This dissertation investigates the validity of such an epithet, based on evidence that the pioneer South African studio potters and their successors were exposed to broader pottery influences, and that the oeuvres which they developed reflect what they borrowed, adapted and re-interpreted from such influences. The studio pottery careers and influences of the pioneers Esias Bosch, Hyme Rabinowitz and Bryan Haden are discussed, and the oeuvres of the second generation of studio potters are also investigated. Attention is given to both the ethics and aesthetics of their studio pottery practices. The dissertation further explores whether the era’s studio potters contributed towards the creation of a distinctive South African pottery identity.