Abstract In this article, attention is drawn to stories arising from some southern African contemporary everyday ceramics utilityware created by selected local South African eastern seaboard potters, with an eye to identifying certain characteristics that result in works by these potters being most regularly used in the writer's household and studio. This conversation then takes a prehistoric turn, via a fingerprint on a fired lump of clay, to a brief discussion around potters of our southern African eastern seaboard Precolonial Farmer era, and some main characteristics of Kalundu Tradition utilityware ceramics. One particularly interesting characteristic is that excavations have revealed that some perfectly serviceable utilityware items were repurposed by means of post-firing partial or full piercing on the shoulder, belly, or base. Attention then moves towards the flame-firing techniques of Nesiwe Nongebeza and Lindsay Scott, as well as of woodburners Nina Shand and Paul de Jongh. Finally, it is lightly speculated that one of the reasons many potters enjoy working with clay and have certain favourite ceramic items in daily use is because they bestow some of their own energies into the works and recognise that others have also done so, thereby adding something special that users and collectors appreciate.

中文翻译：

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脉动着能量和故事的船只

摘要 在本文中，人们关注由选定的南非东海岸当地陶艺家创作的一些南部非洲当代日常陶瓷实用器具的故事，着眼于确定导致这些陶艺家的作品最常用于作家的作品的某些特征。家庭和工作室。然后，通过烧制粘土块上的指纹，这次对话进行了史前转向，简要讨论了我们南部非洲东部沿海前殖民农民时代的陶艺家，以及 Kalundu Tradition 实用陶瓷的一些主要特征。一个特别有趣的特征是挖掘表明，一些完全可用的实用物品通过在肩部、腹部或底座上部分或完全穿孔的方式被重新利用。然后注意力转向 Nesiwe Nongebeza 和 Lindsay Scott 以及燃木师 Nina Shand 和 Paul de Jongh 的火焰燃烧技术。最后，可以推测，许多陶艺家喜欢用粘土工作并在日常使用中拥有某些喜欢的陶瓷物品的原因之一是因为他们将自己的一些能量赋予作品并认识到其他人也这样做了，从而增加了一些东西特别是用户和收藏家欣赏的。