South African Studio Pottery of the Later Twentieth Century and Its Anglo-Oriental Epithet

Abstract

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 as promoted by the Anglo-Oriental tradition of studio pottery. This article 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 their oeuvres reflected what they borrowed, adapted and re-interpreted from such influences. The careers of South Africa's pioneer studio potters and some of the second generation of studio potters are investigated. The finding is that South African studio pottery of that period was an expression of mostly utilitarian pottery forms reflecting many influences but not dominated by any single pottery tradition. The term “Anglo-Oriental” is useful if used judiciously to describe the aesthetics and ethics of some, but not all, South African studio potters of the later twentieth century. The article further explores whether the era's studio potters contributed towards the creation of a distinctive South African pottery identity and presents the finding that at best, the collective character of the studio pottery can be considered expansive rather than geographic- or culture-specific.