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<p>The Moravian community settled in North Carolina in 1753, and local ceramic production soon began in Bethabara, with the opening of the first pottery workshop in 1756. However, by 1771, the main ceramic activity had moved to Salem. This study examines the exploratory approach to raw materials that characterised the work of the first two master potters: Gottfried Aust (1722–1788), who was trained in Europe, and Rudolf Christ (1750–1833), who trained under Aust. The extremely well-documented history of Moravian ceramic production allows us to trace the story of technological adaptation in changing geographical conditions. This paper highlights characteristics of the glazes through the analysis with X-ray fluorescence (XRF) spectrometry and cross-references those results with the archival written sources. This approach foregrounds the experimental nature of the medium in the hands of artist-practitioners, rather than seeks to challenge previous attributions or dating of specific pieces.</p>

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Early experiments in the making of Moravian ceramics in North Carolina c. 1770–1820

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  • 发表日期：

    2026年4月14日

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  • Zuzanna Sarnecka,
  • Letizia Bonizzoni,
  • Johanna M. Brown,
  • Jedrzej Sarnecki,
  • Chiara Mazzocchi

摘要

The Moravian community settled in North Carolina in 1753, and local ceramic production soon began in Bethabara, with the opening of the first pottery workshop in 1756. However, by 1771, the main ceramic activity had moved to Salem. This study examines the exploratory approach to raw materials that characterised the work of the first two master potters: Gottfried Aust (1722–1788), who was trained in Europe, and Rudolf Christ (1750–1833), who trained under Aust. The extremely well-documented history of Moravian ceramic production allows us to trace the story of technological adaptation in changing geographical conditions. This paper highlights characteristics of the glazes through the analysis with X-ray fluorescence (XRF) spectrometry and cross-references those results with the archival written sources. This approach foregrounds the experimental nature of the medium in the hands of artist-practitioners, rather than seeks to challenge previous attributions or dating of specific pieces.