Editing Terracotta (section)

==In art history==
===Asia and the Middle East===
Terracotta female figurines were uncovered by archaeologists in excavations of [[Mohenjo-daro]], [[Pakistan]] (3000–1500&nbsp;BCE). Along with phallus-shaped stones, these suggest some sort of fertility cult.<ref>{{cite book|editor=Neusner, Jacob|title=World Religions in America|location=Louisville|publisher=[[Westminster John Knox Press]]|date=2003}}</ref> The [[Burney Relief]] is an outstanding terracotta plaque from [[Ancient Mesopotamia]] of about 1950 BCE. In [[Mesoamerica]], the great majority of [[Olmec figurine]]s were in terracotta. Many [[ushabti]] mortuary statuettes were also made of terracotta in [[Ancient Egypt]].
[[File:Female terracotta figurines - Mohenjo-daro - BM.jpg|thumb|Fragments of female terracotta figurines. Handmade, with appliquéd ornaments, especially elaborate coiffures and fan-shaped headdresses. From [[Mohenjo-daro]] (Pakistan), [[Mature Harappan period|Mature Harappan Period]] ({{circa|2600}}–1900 BCE). British Museum.]]

====India====

Terracotta has been a medium for art since the [[Harappan architecture|Harappan]] civilization, although techniques used differed in each time period. In the Mauryan times, they were mainly figures of mother goddesses, indicating a fertility cult. Moulds were used for the face, whereas the body was hand-modelled. In the Shungan times, a single mould was used to make the entire figure and depending upon the baking time, the colour differed from red to light orange. The Satavahanas used two different moulds- one for the front and the other for the back and kept a piece of clay in each mould and joined them together, making some artefacts hollow from within. Some [[Satavahana dynasty|Satavahana]] terracotta artefacts also seem to have a thin strip of clay joining the two moulds. This technique may have been imported from the Romans and is seen nowhere else in the country.<ref>{{Cite web |title=National Museum, New Delhi |url=http://www.nationalmuseumindia.gov.in/en |access-date=2023-05-04 |website=www.nationalmuseumindia.gov.in}}</ref>

[[File:Terracotta horse from Bishnupur Bankura.jpg|thumb|Terracotta horses from [[Bishnupur, Bankura|Bishnupur]], Bankura.]]

Contemporary centres for terracotta figurines include [[West Bengal]], [[Bihar]], [[Jharkhand]], [[Rajasthan]] and [[Tamil Nadu]]. In [[Bishnupur, Bankura|Bishnupur]], West Bengal, the terracotta pattern–panels on the temples are known for their intricate details. The Bankura Horse is also very famous and belongs to the Bengal school of terracotta. [[Madhya Pradesh]] is one of the most prominent production centres of terracotta art today. The tribes of the [[Bastar district|Bastar]] have a rich tradition. They make intricate designs and statues of animals and birds. Hand-painted clay and terracotta products are produced in [[Gujarat]]. The [[Aiyanar]] cult in [[Tamil Nadu]] is associated with life-size terracotta statues.<ref>Shyam Singh Rawat. ''A Historical Journey Of Indian Terracotta From Indus Civilization Up To Contemporary Art.'' European Journal of Molecular & Clinical Medicine. Volume 07, Issue 07, 2020. https://ejmcm.com/article_5016_6156ca1810f72ca7bae4a7de754c9a0e.pdf</ref>

Traditional terracotta sculptures, mainly religious, also continue to be made. The demand for this craft is seasonal, reaching its peak during the harvest festival, when new pottery and votive idols are required. During the rest of the year, the makers rely on agriculture or some other means of income. The designs are often redundant as crafters apply similar reliefs and techniques for different subjects. Customers suggest subjects and uses for each piece.<ref>{{Cite web|url=https://gaatha.org/igaatha/details_craft/Techniques/Terracotta-work/Molela-terracota-detail-research|title=Gaatha.org ~ Craft ~ Molela terracota|website=gaatha.org}}</ref>

To sustain the legacy, the Indian Government has established the [[Sanskriti Museums|Sanskriti Museum of Indian Terracotta]] in [[New Delhi]]. The initiative encourages ongoing work in this medium through displays terracotta from different sub-continent regions and periods. In 2010, the India Post Service issued a stamp commemorating the craft which shows a terracotta doll from the craft museum.{{citation needed|date=July 2024}}

====China====
Chinese sculpture made great use of terracotta, with and without glazing and color, from a very early date. The famous [[Terracotta Army]] of Emperor [[Qin Shi Huang]], 209–210&nbsp;BCE, was somewhat untypical, and two thousand years ago [[relief]]s were more common, in tombs and elsewhere. Later Buddhist figures were often made in painted and glazed terracotta, with the [[Yixian glazed pottery luohans]], probably of 1150–1250, now in various Western museums, among the most prominent examples.<ref>Rawson, 140-145; Grove, 4</ref>  Brick-built tombs from the [[Han dynasty]] were often finished on the interior wall with bricks decorated on one face; the techniques included molded reliefs. Later tombs contained many figures of protective spirits and animals and servants for the afterlife, including the famous horses of the [[Tang dynasty]]; as an arbitrary matter of terminology these tend not to be referred to as terracottas.<ref>Rawson, 140-145,159-161</ref>

===Africa===
Precolonial West African sculpture also made extensive use of terracotta.<ref>H. Meyerowitz; V. Meyerowitz (1939). "Bronzes and Terra-Cottas from Ile-Ife". ''The Burlington Magazine for Connoisseurs'' 75 (439), 150–152; 154–155.</ref> The regions most recognized for producing terracotta art in that part of the world include the [[Nok culture]] of central and north-central [[Nigeria]], the [[Ife]]-[[Benin]] cultural axis in western and southern Nigeria (also noted for its exceptionally naturalistic sculpture), and the [[Igbo people|Igbo]] culture area of eastern Nigeria, which excelled in terracotta pottery. These related, but separate, traditions also gave birth to elaborate schools of bronze and brass sculpture in the area.<ref>Grove, 3</ref>

===Europe===
[[File:Terracotta statuette of a draped woman MET DP117152.jpg|thumb| [[Greek terracotta figurine]] or [[Tanagra figurine]], 2nd century BCE; height: 29.2&nbsp;cm]]

The [[Ancient Greek]]s' [[Tanagra figurines]] were mass-produced mold-cast and fired terracotta figurines, that seem to have been widely affordable in the [[Hellenistic period]], and often purely decorative in function. They were part of a wide range of [[Greek terracotta figurines]], which included larger and higher-quality works such as the [[Aphrodite Heyl]]; the Romans too made great numbers of small figurines, which were often used in a religious context as cult statues or temple decorations.<ref>{{Cite journal|last=Richardson|first=Emeline Hill|date=1953|title=The Etruscan Origins of Early Roman Sculpture|url=https://www.jstor.org/stable/4238630|journal=Memoirs of the American Academy in Rome|volume=21|pages=75–124|doi=10.2307/4238630| jstor=4238630 |issn=0065-6801|url-access=subscription}}</ref> [[Etruscan art]] often used terracotta in preference to stone even for larger statues, such as the near life-size [[Apollo of Veii]] and the ''[[Sarcophagus of the Spouses]]''. [[Campana reliefs]] are Ancient Roman terracotta [[relief]]s, originally mostly used to make [[frieze]]s for the outside of buildings, as a cheaper substitute for stone.

[[File:Clodion River Rhine Kimbell.jpg|thumb|''The River Rhine Separating the Waters''; by [[Claude Michel]]; 1765; terracotta; 27.9 × 45.7 × 30.5&nbsp;cm; [[Kimbell Art Museum]] ([[Fort Worth, Texas|Fort Worth]], [[Texas]], US)]]

European [[medieval art]] made little use of terracotta sculpture, until the late 14th century, when it became used in advanced [[International Gothic]] workshops in parts of Germany.<ref>Schultz, 67-68</ref>  The Virgin illustrated at the start of the article from [[Bohemia]] is the unique example known from there.<ref name="MoMA"/>  A few decades later, there was a revival in the [[Italian Renaissance]], inspired by [[Archaeological excavation|excavated]] classical terracottas as well as the German examples, which gradually spread to the rest of Europe.  In [[Florence]], [[Luca della Robbia]] (1399/1400–1482) was a sculptor who founded a family dynasty specializing in glazed and painted terracotta, especially large roundels which were used to decorate the exterior of churches and other buildings.  These used the same techniques as contemporary [[maiolica]] and other [[tin-glazed pottery]].  Other sculptors included [[Pietro Torrigiano]] (1472–1528), who produced statues, and in England busts of the Tudor royal family. The unglazed busts of the Roman Emperors adorning [[Hampton Court Palace]], by [[Giovanni da Maiano]], 1521, were another example of Italian work in England.<ref>Grove, "Florence"</ref> They were originally painted but this has now been lost from weathering.

In the 18th-century unglazed terracotta, which had long been used for preliminary clay models or [[maquette]]s that were then fired, became fashionable as a material for small sculptures including portrait busts.  It was much easier to work than carved materials, and allowed a more spontaneous approach by the artist.<ref>Draper and Scherf, 2-7 and throughout; Grove, 2, i, a and c</ref> [[Claude Michel]] (1738–1814), known as [[Clodion]], was an influential pioneer in [[France]].<ref>Well covered in Draper and Scherf, see index; Grove, 2, i, a and c</ref> [[John Michael Rysbrack]] (1694–1770), a Flemish portrait sculptor working in England, sold his terracotta ''[[modelli]]'' for larger works in stone, and produced busts only in terracotta.<ref>Grove, 2, i, c</ref>  In the next century the French sculptor [[Albert-Ernest Carrier-Belleuse]] made many terracotta pieces,<ref>Grove, 2, i, d</ref> but possibly the most famous is ''[[The Abduction of Hippodameia]]'' depicting the Greek mythological scene of a centaur kidnapping Hippodameia on her wedding day.