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The exact time and place of the first development of the potter's wheel is uncertain. Suggested dates range from as early as the 6th millennium BC to the as late as the 24th century BC. Many modern scholars suggest development in Mesopotania, although Egypt and China have also been claimed as the potter's wheel's place of origin.
In any case, use became widespread in the early civilizations of the Bronze age.
The earliest versions of the wheel were simply turned slowly by hand or foot while coiling a pot. Later developments allowed the wheel to keep rotating as a flywheel, allowing more symmetrical pots to be more swiftly formed.
By the Iron age a variation had developed with a turntable about a meter above the floor, connected by a long axle to a heavy lower wheel on the ground. This allowed the potter to keep the wheel in rotation by kicking it with his or her foot, leaving both hands completely free for molding the pot.
The potter's wheel became commonly known throughout the Old World, but was unknown in the New World in Pre-Columbian times; all American Indian pottery before the arrival of the Europeans was made without use of the wheel.
Since the Industrial RevolutionThe Industrial Revolution is the name given to the massive social, economic, and technological change in 18th century and 19th century Great Britain. It commenced with the introduction of steam power (fuelled primarily by coal) and powered, automated mach, motorThe adjective motor refers to a motoneuron. A motor is a device that converts energy into mechanical power, and is often synonymous with engine. The name is used by automakers ( Ford Motor Company, General Motors, etc. although this may also refer to the driven potter's wheels have become common, although human powered ones are still in use. Motorization does not significantly change the amount of skill needed to use a potter's wheel. The wheel is much more diffcult to use and to master fully than other ceramic techniques such as the pinched pot or coils.
In Ancient Egyptian mythologyEgyptian mythology (or Egyptian religion is the name for the succession of beliefs held by the people of Egypt until the coming of Christianity and Islam. The timespan involved is nearly three thousand years, and beliefs varied considerably over time, so, the godThis article focuses on the concept of singular, monotheistic God . See deity, gods, or goddesses for details on divine entities in specific religions and mythologies. God is a term referring to the supreme being generally believed to be ruler or creator ChnumIn Egyptian mythology, Chnum was the god of the Nile River delta, and the creator of human children, whom he makes from clay and places in their mothers' uteruses. He was married to Menhit (alternatively: Heget) and, with her, was the father of Hike. was said to have formed the first humanHuman beings are defined variously in biological, spiritual, and cultural terms, or in combinations thereof. Biologically, they are classified as Homo sapiens ( Latin for knowing man , a primate species of mammal with a highly developed brain. In spirituas on a potter's wheel.
The way in which clay is shaped on a potter's wheel seems, even today, to have a magical quality to it; the clay has the appearance of being a living thing that is being created or shaped by the potter. The potter and his clay have long served as a metaphor for creation, and for the relationship of God to humankind:
The Rubaiyat of Omar KhayyamThe Rubaiyat is a collection of poems (of which there are about a thousand) by the Persian mathematician and astronomer Omar Khayyam ( 1048- 1122). Rubaiyat" means " quatrains": verses of four lines. Translations The nature of a translation very much depe make sustained use of this metaphor. In FitzGerald's translation, a number of quatrains are collected into a Book of Pots, in which the pots engage in theological speculation:
And, strange to tell, among that Earthen Lot
Some could articulate, while others not:
And suddenly one more impatient cried—
“Who is the Potter, pray, and who the Pot?”
Another said—“Why, ne'er a peevish Boy,
“Would break the Bowl from which he drank in Joy;
“Shall He that made the vessel in pure Love
“And Fancy, in an after Rage destroy?”
None answer'd this; but after Silence spake
A Vessel of a more ungainly Make:
“They sneer at me for leaning all awry;
“What! did the Hand then of the Potter shake?”
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