DOCSLIB.ORG

List of Works October 6 — November 29, 2020 Heiseikan, Tokyo National Museum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
List of Works October 6 — November 29, 2020 Heiseikan, Tokyo National Museum List of Works Organizers : Tokyo National Museum, The Yomiuri Shimbun, Agency for Cultural Affairs With the Special Sponsorship of : Canon Inc., East Japan Railway Company, JAPAN TOBACCO INC., Mitsui Fudosan Co., Ltd., MITSUBISHI ESTATE CO., LTD., Meiji Holdings Co., Ltd. With the Sponsorship of : October 6 — November 29, 2020 SHIMIZU CORPORATION, Takashimaya Co., Ltd., TAKENAKA CORPORATION, Sumitomo Mitsui Banking Corporation, Mitsubishi Corporation Heiseikan, Tokyo National Museum With the Cooperation of : Aioi Nissay Dowa Insurance Co., Ltd. Notes • The arrangement of works in the galleries differs from the catalogue section structure. • The same artwork numbers are used in both the catalogue and the galleries, but the works are not displayed in numerical order. • The following – symbols indicate that object’s respective section. Momoyama Essence: Art for Unifying Figures A Century of Change: Muromachi to Edo Momoyama Prelude: Warring States Aesthetics Making Tea: Chanoyu from Rikyū to Oribe Mature Momoyama: From Splendid to Stylish Equipping a General: Arms and Armor Towards Peace: Art for a New Shogunal Era • Key to symbols on illustrations: ◉ = National Treasure, ◎ = Important Cultural Property. • Some artworks may be rotated during the exhibition period. Exhibition lineup may change as circumstances require. • Works are on view throughout the exhibition period unless otherwise indicated. The rotation schedule is as follows. ① 10 / 6 (Tue.) – 11 (Sun.) ② 10 / 13 (Tue.) – 18 (Sun.) ③ 10 / 20 (Tue.) – 25 (Sun.) ④ 10 / 27 (Tue.) – 11 / 1 (Sun.) ⑤ 11 / 3 (Tue.) – 8 (Sun.) ⑥ 11 / 10 (Tue.) – 15 (Sun.) ⑦ 11 / 17 (Tue.) – 23 (Mon.) ⑧ 11 / 25 (Wed.) – 29 (Sun.) ― * The floor plan shows the 1st period’s gallery arrangement. Floor Plan Heiseikan 2F Some display cases will be moved during the 2nd period. * Temperature, humidity and brightness of the exhibition rooms are strictly controlled under international standards for preservation reasons. We apologize for any inconvenience this may cause. 1 4 Jukō-in Temple, Kyoto Chōkō-ji Temple, Aichi ◎ Scenes in and around the Jurakudai Palace Term ①–④ Term ⑤–⑧ Capital (National Museum of Azuchi-Momoyama period, 16th century 8 11 Japanese History Version) Mitsui Memorial Museum, Tokyo ◎ Portrait of Ashikaga Yoshiteru Letter Addressed to Sekian Muromachi period, 16th century Term ①–④ National Museum of Japanese History Painting attributed to Tosa By Oda Nobunaga 5 Mitsuyoshi; Inscription by Azuchi-Momoyama period, 16th century Term ①–④ Scenes in and around the Capital Sakugen Shūryō 2 Edo period, 17th century Azuchi-Momoyama period, 1577 12 Amusements at Famous Sites National Museum of Japanese History around the Capital Term ⑤–⑧ ◎ Sketch for a Portrait of Term ⑤–⑧ Toyotomi Hideyoshi By Kanō Eitoku 6 9 Attributed to Kanō Mitsunobu Muromachi period, 16th century ◎ Scenes in and around the Capital Portrait of Oda Nobunaga Azuchi-Momoyama period, 16th century Term ⑤–⑧ (Shōkōji Temple Version) By Kanō Eitoku Itsuo Art Museum, Osaka Edo period, 17th century 3 Azuchi-Momoyama period, 1584 Shōkōji Temple, Toyama ◉ Scenes in and around the Capital Daitoku-ji Temple, Kyoto 13 Term – (Uesugi Version) ⑤ ⑧ Term ①–④ ◎ Letter Addressed to Gosa By Kanō Eitoku 7 10 By Toyotomi Hideyoshi Muromachi period, 1565 ◎ Portrait of Miyoshi Nagayoshi ◎ Portrait of Oda Nobunaga Azuchi-Momoyama period, 1590 Yonezawa City Uesugi Museum, Yamagata Inscription by Shōrei Sōkin By Kanō Sōshū Kōdaiji Temple, Kyoto Term ①–④ Muromachi period, 1566 Azuchi-Momoyama period, 1583 Term ⑤–⑧ 14 26 37 47 ◎ Letter Addressed to One Hunting ◎ Long Sword (Katana), with Shinnari Type Tea Ceremony Kettle By Toyotomi Hideyoshi By Kanō Sanraku Katana Style Sword Mounting with Pines on Hailstone Ground Azuchi-Momoyama period, 1593 Edo period, Circa 1618 on Red Lacquer Ashiya ware Kōdaiji Temple, Kyoto Kyoto National Museum Attributed to Bizen Motoshige Muromachi period, 15th century Term ①–④ Term ①–④ Blade: Nanbokuchō period, 14th century Tokyo National Museum 27 Sword Mounting: Azuchi-Momoyama–Edo 15 period, 16th–17th century Tōshō Daigongen Tartars Hunting and Playing Tokyo National Museum 48 Ball Iron Brazier Painting by Kimura Ryōtaku IV; Inscription by Tenkai By Kanō Sansetsu Azuchi-Momoyama period, 1593 38 Tokyo National Museum Edo period, 17th century Edo period, 17th century ◎ Tokugawa Memorial Foundation, Tokyo National Museum of Japanese History Long Sword (Katana), known as Wakebe-Sizu, with Katana Style Term – Term ①–④ ① ④ Sword Mountings on Black Lacquer 49 Sujigama Tea Ceremony Kettle 16 28 Attributed to Shizu Spirit of Tōshō Daigongen Murasaki Shikibu at Ishiyama Blade: Nanbokuchō period, 14th century Tenmyō ware Appearing in a Dream Temple Sword Mounting: Edo period, 17th century Muromachi period, 16th century By Kanō Tan’yū Painting by Tosa Mitsumoto; Agency for Cultural Affairs Tokyo National Museum Edo period, 1641 Inscription by Sanjōnishi Kin’eda [Blade] Term ⑥–⑧ Tokugawa Memorial Foundation, Tokyo Muromachi period, 1560 [Sword Mounting] Term ①–⑧ 50 Term ⑤–⑧ Archives and Mausolea Department, Kiriawase Marugama Tea Imperial Household Agency 39 17 ◎ Ceremony Kettle Term ①, ② Writing Box with Evening Letter Addressed to Chiyoho Glories Attributed to Tsuji Yojirō By Tokugawa Ieyasu 29 Muromachi period, 16th century Azuchi-Momoyama–Edo period, 16th–17th century Edo period, 1615 ◎ Scenes from “The Shell of the Kitamura Museum, Kyoto Tokyo National Museum Tokyo National Museum Locust”, “Akashi”, “The Maiden”, and “The Rose Plum” Chapters 40 of The Tale of Genji 51 18 ◎ Writing Box with Mount Painting by Tosa Mitsuyoshi; Iron Brazier ◎ Collection of Verbal Flowers Hatsuse Calligraphy by Nakanoin By Emperor Gonara Muromachi–Azuchi-Momoyama period, Attributed to Tsuji Yojirō Michimura and others 16th century Azuchi-Momoyama–Edo period, Muromachi period, 1543 Edo period, 1612 Tokyo National Museum 16th–17th century National Museum of Japanese History Kuboso Memorial Museum of Arts, Izumi, Tokyo National Museum Term ①–④ / ⑤–⑧ Osaka 41 19 Term ①, ② / ③, ④ / ⑤, ⑥ / ⑦, ⑧ Karamono Katatsuki Tea 52 Letter 30 Container, known as Yakushiin Mirror with Handle, Mount By Emperor Goyōzei Scene from the “Akashi” Chapter China Hōrai Design Azuchi-Momoyama period, 1592 of The Tale of Genji Southern Song–Yuan dynasty, Tokyo National Museum Signature: Tenkaichi Jōami Attributed to Tosa Mitsuyoshi 13th–14th century Muromachi–Azuchi-Momoyama period, Edo period, 17th century Kosetsu Museum, Hyōgo 16th century 20 Tokyo National Museum Tokyo National Museum Waka Poetry Term ⑤–⑧ 42 By Emperor Gomizuno’o 31 Karamono Nasu Tea Container, 53 Edo period, 17th century Scene from “The Rose Plum” known as Kitano Nasu Mirror, Paulownia and Bamboo Term ①–④ Chapter of The Tale of Genji China Design 21 By Tosa Mitsunori Southern Song–Yuan dynasty, By Ao Ietsugu Waka Poetry Edo period, 17th century 13th–14th century Azuchi-Momoyama period, 1588 Tokyo National Museum Nomura Museum, Kyoto By Emperor Gosai Tokyo National Museum Term ③, ④ Edo period, 17th century 32 43 Term ⑤–⑧ 54 Gold Coin (Hirumokin) Ash-Covered Tenmoku Tea Bowl 22 Mirror with Handle, Wisteria Muromachi period, 16th century China Design Birds and Flowers of the Four Tokyo National Museum Yuan–Ming dynasty, 14th–15th century Seasons Signature: Tenkaichi Tokyo National Museum By Kanō Motonobu Edo period, 17th century 33 Term ④–⑧ Tokyo National Museum Muromachi period, 16th century Tenshō Era Hishi Ōban Coin 44 Term ⑤–⑧ Azuchi-Momoyama period, 1588 Ōido Tea Bowl, known as Hōrai 55 23 Tokyo National Museum Korea ◎ Yoroi Type Armor with Black ◉ Birds and Flowers Joseon dynasty, 16th century Leather and Red Lacing Fujita Museum, Osaka By Kanō Eitoku 34 Muromachi period, 1542 Muromachi period, 16th century Keichō Era Ōban Coin Term ①–③ Itsukushima Shrine, Hiroshima Jukō-in Temple, Kyoto Edo period, 17th century 45 Term ①–④ Term ⑤–⑧ Tokyo National Museum Shino Tea Bowl, known as 56 24 Hashihime ◎ Desk and Writing Box with ◎ Plum Blossoms, Bamboo, and 35 Mino ware Plum Blossoms and Vines Birds in Snow Keichō Era Koban Coin Azuchi-Momoyama–Edo period, Muromachi period, 16th century 16th–17th century By Kanō Tan’yū Edo period, 17th century Itsukushima Shrine, Hiroshima Tokyo National Museum Tokyo National Museum Edo period, 1634 Nagoya Castle Office, Aichi 57 Term – 46 ⑤ ⑧ 36 Karamono, Gourd-shaped Tea Red Raku Tea Bowl, known as Sōjō 25 Katana Style Sword Mounting on Container, known as Uesugi Hyōtan By Dō’nyū Tartars Hunting Black Lacquer China Muromachi period, 16th century Edo period, 17th century By Shikibu Terutada Raku Museum, Kyoto Southern Song–Yuan dynasty, Muromachi period, 16th century Tokyo National Museum 13th–14th century Agency for Cultural Affairs Nomura Museum, Kyoto Term ①–④ 58 By Shikibu Terutada Hakutsuru Fine Art Museum, Hyōgo By Chōjirō ◎ Celadon Vase, known as Muromachi period, 16th century Term ①–③ Azuchi-Momoyama period, 16th century Ōuchizutsu Kyoto National Museum 79 Urasenke Konnichi’an, Kyoto China, Longquan kilns Term ①–④ Flowers, Grasses, and Small Term ⑤–⑧ Southern Song dynasty, 13th century 69 Birds of the Four Seasons 91 Nezu Museum, Tokyo Scholar Viewing a Waterfall Muromachi–Azuchi-Momoyama period, Black Raku Tea Bowl, known as Term ①–④ Painting by Shikibu Terutada; 16th century Kaburo Tokyo National Museum 59 Inscription by Kei’in Genkō By Chōjirō Term ④, ⑤ ◎ Desk with Plum Blossoms and Muromachi period, 16th century Azuchi-Momoyama period, 16th century the Moon Nezu Museum, Tokyo 80 Omotesenke Fushin’an,
Load more

Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Japan Ese Pottery Being a Native Report with an Introduction And
    S OUTH KENSINGTON MUSEUM ART HANDBOOK JAPANESE POTTERY J A PA N E S E POTT E RY BE IN G A N ATIV E REPORT WITH A N I NTROD U CTION A N D C ATA LOGU E w R N M A . P. A U GUS T US F A KS , . , S A . WITH I LLUSTRATI O N S AN D MARKS ” ’ ‘ ' P ublic/zed f or 1113 Commz z fee of Counc il on E duc alz on BY L . LOND ON : C HA PMA N A N D HA LL, D F . M . E V N S A N D c o . L I M IT E D C RYS T L P L CE A , , A A A , CON TEN TS . H isto ry Tec hnique S hapes and uses o f vases Dec o rati on Marks REPORT A N D CATA LOGU E A nc ient wares Karatsu ware Seto ware Xi- Seto ware Shin o ware Ge m pin ware Oribe ware S eto - Suke ware Seto - Kuro ware I nu- yam a ware Mi no ware Bizen ware vi jA P A N E S E P OTTE R Y. hi araki 0 0 S g ware 0 I ga ware Tamba ware Shito to ware Zeze A sahi ware Takatori ware Hagi ware Matsum o to ware idsum o ware Fujxna ware A kahada ware Minato ware Yanagawa ware T oyo - ura ware Raku ware Ohi ware H oraku ware [A sakusa] Raku ware [To kio] Raku ware [Osaka] Raku ware [Dfihac hi] Raku ware Fushimiware I mado ware Ki6to ( S aikiyo ) fac tories N inseiware A wata ware Kenz an ware Kiyom idz u ware Ye iraku ware O to ware N T T CO E N S .
    [Show full text]
  • PDF Download Japanese Export Ceramics: 1860-1920 Ebook, Epub
    JAPANESE EXPORT CERAMICS: 1860-1920 PDF, EPUB, EBOOK Nancy N. Schiffer | 224 pages | 01 Mar 2000 | Schiffer Publishing Ltd | 9780764310430 | English | Atglen, United States Japanese Export Ceramics: 1860-1920 PDF Book Fine Satsuma porcelain with distinctive crackle. All items are well packaged- I make the assumption that gorillas may handle them at some point along the way. Please keep in mind, most of our items are over years old and normal age should be expected. Repairs, or signs or normal use. Creamy or off-white and sometime beige appearance. There is some wear to the. As the goma melts, it becomes a substance that looks like a flowing glassy glaze, which is called "tamadare" egg dripping. All shipments are made via Israeli Post registered airmail. Sort by highest price first. And my hours upon hours of research has found nothing close! Pottery coated with the white glaze of rice straw ash are known as Madara Karatsu. Firing the iron-rich soil at high temperatures, creates a pottery featuring a rustic and rugged finish. She was an avid collector of Japanese antiques and woodblocks. Extra Notes The figure wearing long elaborate robes is seated in front of a banana plant and tree with his accoutrements gathered around him. Sort by newest results first. The signature I have unable to track down. However, the kiln was not managed well and ended up being consigned by the domain to private management. The discovery of white clay was an extremely important event for Shiro Satsuma, which exclusively relied on precious Korean white clay. Olive Green In the late edo period, enamel coating technique was imported from China.
    [Show full text]
  • Contemporary Japanese Ceramics from the Gordon Brodfuehrer Collection, on View at the Woodson Art Museum Through August 27
    Clockwise from top left: Yukiya Izumita, Sekakai, 2010, unglazed stoneware, photo courtesy of Ken Kondo; Shigemasa Higashida, Taki (Waterfall) Lidded Vessel, 2012, glazed stoneware, photo coutesy of Katie Gardner; Joji Yamashita, Jar, 2010, unglazed stoneware, photo courtesy of Tim Siegert all from the Collection of Gordon Brodfuehrer Celebrate summer with visit a to Nature, Tradition & Innovation: Contemporary Japanese Ceramics from the Gordon Brodfuehrer Collection, on view at the Woodson Art Museum through August 27. Enjoy the beauty of the season through the eyes of some of Japan’s most celebrated artists whose reverence for the natural world inspires their ceramics. Learn more through public programs and the Art Museum’s free audio tour app or try your hand at ceramic techniques featured in the exhibition through a guest-artist workshop or summer art sessions for ages 5-8 and 9-12. Satoru Hoshino, First Snow of Spring Vase, 2009, hand-formed glazed stoneware, photo courtesy of Tim Siegert; from the Collection of Gordon Brodfuehrer The following education materials developed by exhibition co-curator Meher McArthur Exhibition Overview Featuring 43 exceptional Japanese ceramists, Nature, Tradition & Innovation showcases ceramic objects of unsurpassed beauty made for Shingo Takeuchi, Sake Flask and Sake Cups, 2009, stoneware with everyday use. The 55 ceramic works chosen are zogan-inlay technique, photo courtesy of Katie Gardner; from the Collection of Gordon Brodfuehrer closely associated with Japan’s historical pottery centers, and reinterpret traditional methods in a modern context. Eleven digital photographs taken by photographer Taijiro Ito highlight their poetic connection to nature. The exhibition provides a dynamic survey of the diverse and innovative practices of ceramic-making in Japan — from exquisite flower vases and serene tea bowls to whimsical candle holders and robust platters — revealing the earthly beauty of Japanese ceramics.
    [Show full text]
  • Japanese Painters' Pottery and Paintings
    Oranda Jin Japanese painters' pottery and paintings ORANDA JIN Japanese paintings & painters’ pottery Jon & Senne de Jong orandajin.com Voor mijn lief, voor Marleen Short introduction Marleen, my wife, Senne’s mother, started the looking at artists, most of them unknown in the In the art historical field, the history of Japanese on the island of Kyūshū, especially known in the ceramics branch of Oranda Jin. West, from a reversed perspective, we found some potteries and their produce somehow still seems a West for the blue and white porcelain that was so During one of our visits to Japan, she told me she of them amazingly good and interesting. matter for the specialist, which is a shame, because popular in the Netherlands of the seventeenth and would like to have something to do herself, instead Japan has a rich ceramic tradition: from the mag- eighteenth century. Kyōyaki or kyō ware comes from of following me hunting scrolls. This made her feel Most painters’ ceramics were produced for the tea nificent pots that were already made during the the city of Kyoto and includes a wide variety of over like a dog she said – what does that say about me? ceremony, for special occasions, or in commemora- Jōmon period (– BCE) up until Japanese glazed stoneware that dates back to the eighteenth In line with our regular specialisation, she decided to tion of events and persons. This is why they are so ceramic art today. And sometimes a very special century. Bizen ware belongs to the group of red and look for pottery decorated or made by painters.
    [Show full text]
  • The Japanese
    Kitchen and Tableware Vol. 7 - www.korin.com www.korin.com 1 TABLEWARE Dear Customer, 2–21 SIMPLE PORCELAIN WARE BOWLS Since opening Korin in 1982, I’ve seen an ever-increasing 22–23 Small & Custard Bowls 24 Rice Bowls interest in Japanese food and culinary traditions. From 25 Donburi Bowls traditional Japanese ingredients to handcrafted knives, 26–28 Bowls tableware and utensils, all are more popular in Western restaurants and American homes than ever before. I believe PLATES this trend will continue because we live in what has become 29 Small & Medium Plates 30 Yakimono Plates a borderless culinary scene, filled with people seeking new 31–33 Medium & Large Plates and exciting dining experiences. SAUCE POTS & DISHES This catalog offers professional and home chefs the best of both modern and 34–37 Sauce Dishes 38 Sauce Pots traditional Japanese tabletop and culinary tools. These beautiful and practical 39 Spice Containers items enhance the preparation and presentation of a world of cuisine. 40–47 MELAMINEWARE I chose the porcelain, ceramic, lacquer, wood, bamboo, cast iron and glassware from CHOPSTICKS & SPOONS throughout Japan, as each region has its own specialty and tradition of artisan 48–49 Chopsticks & Accessories craftsmanship. Many of these items have been used in Japan for centuries – the 50 Spoons fact that they remain in use in modern kitchens is a testament to the beauty and functionality of their design. BEVERAGE AND SOUP SERVICE 51 Sake Glasses 52 Tokkuri & Sake Serving Vessels It is my hope that along with the inspiration and joy these products bring you, 53 Sake Cups the craftsman’s passion and spirit will create a deeper connection to Japan’s rich 54 Soup and Matcha Bowls culinary culture.
    [Show full text]
  • An Overview of the Evolution of Japanese Ceramics (For the Southeast Asian Ceramic Society)
    An Overview of the Evolution of Japanese Ceramics (For the Southeast Asian Ceramic Society) Christopher P. Wells, SEACS Lifetime Member January 27, 2021 Hokusai, Potters at Work, Imado (1805) Early Japanese Ceramics (15,000 BCE to 600 CE) Incipient/Early Jomon Period (15-13,000 BCE) • Jomon pottery dates from as early as 15,000 BCE. • There is speculation that Jomon pottery was produced by the Caucasian ancestors of the Ainu people (now on living reservations in Hokkaido) who originally inhabited most of Japan until gradually pushed North. • “Jo-mon” means “cord pattern” because most pottery from this time has designs impressed by strings. • Incipient Jomon pottery vessels have pointed bottoms and flaring lips • Some vessels are highly polished covered with iron oxide or lacquers. • Vessels were produced without potter’s wheel and firing took place at temperatures between 400-500 Centigrade in open (pit) kilns. • Ceramics of the Jomon pottery were remarkably strong and are outstanding productions of human Neolithic Age and the oldest scientific evidence of a pot for cooking is of Jomon origin. Middle Jomon Period Ceramics (3,000 to 700 BCE) • Vessels from this period were lower and wider and designed for utilitarian purposes • There are many thousands of examples and tens of thousands of fragments from this and Late Jomon periods • So-called “Fire Pots” (1500-500BCE) below are characteristic of the period appeal to modern abstract curators and artists. • Simple “dogu” figures (heads, torsos etc.) are also from this period such as the
    [Show full text]
  • Ceramics Monthly (ISSN 0009-0329) Is Published Monthly Except July and August by Professional Publications, Inc.—S
    William C. Hunt........................................ Editor Barbara Tipton...................... Associate Editor Robert L. Creager........................ Art Director Ruth C. Butler.............................. Copy Editor Valentina Rojo...................... Editorial Assistant Mary Rushley .............. Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis................................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year $16, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations and news releases dealing with ceramic art are welcome and will be considered for pub­ lication. A booklet describing procedures for the preparation and submission of a manu­ script is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing: Articles in each issue of Ceramics Monthly are indexed in theArt Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue.
    [Show full text]
  • Restraint and Flamboyance MASTERWORKS of MINO JOAN B MIRVISS LTD
    MASTERWORKS OF MINO OF MASTERWORKS Restraint and Flamboyance MASTERWORKS OF MINO JOAN B MIRVISS LTD MIRVISS B JOAN Restraint and Flamboyance MASTERWORKS OF MINO Joan B Mirviss LT D with Shibuya Kurodatoen Co., LT D The Foundations and Reincarnations of Mino Ceramics Andrew L. Maske THE PROVINCE OF MINO IN THE SIXTEENTH AND SEVENTEENTH CENTURIES Mino Province (now Gifu Prefecture) is located in the very center of Japan’s main island of Honshū. Because of its important industries of sword and paper making, as well as its proximity to the ancient capital of Kyoto, it has been a significant cultural and political area through Japan’s recorded history. Perhaps because of its role as the crossroads of Japan, Mino and its adjacent province of Owari saw the development of Japan’s earliest glazed, high-fired ceramics beginning in the ninth century. Mino was also the site of some of Japan’s greatest military conflicts, most notably the Battle of Sekigahara, which in 1600 solidified the position of the warlord Tokugawa Ieyasu (fig. 1) allowing him to create a dynasty that would rule Japan for over 250 years. One of Ieyasu’s supporters in that confrontation was the warrior/tea master Furuta Shigenari (1544–1615), better known as Furuta Oribe. Oribe had been a student of the tea master Sen no Rikyū (1521–1591), who is credited with codifying the formalized practice of powdered FIG 1. Portrait of Tokugawa Ieyasu by unknown Kanō School artist. Color and ink on silk; hanging scroll. tea drinking known as chanoyu, or the Japanese Collection of the Nikkō Tōshōgu Shrine.
    [Show full text]
  • The List of Changes in Works on Display
    Reopening Celebration II Japanese Art: Deep and Deeper September 30 to November 29, 2020 Suntory Museum of Art = Now on View ◎ = Important Cultural Property 9/30 10/28 ▼ ▼ No. Title Artist / Place of production Period 10/26 11/29 Section 1. Creating Space 1 Green Maple and Waterfall Maruyama Ōkyo Edo period, dated 1787 2 The Tale of Jōruri, Vol.1 Muromachi period, 16th century 3 ◎ Flowers and Birds of the Four Seasons Attributed to Tosa Hirochika Muromachi period, 15th century 4 Flowers and Birds in Spring and Summer Kanō Einō Edo period, 17th century 5 Scenes In and Around Kyōto Attributed to Tosa Mitsutaka Edo period, 17th century 6 Musashino Plain Edo period, 17th century Section 2. Enjoying Small Things Hina Accessories Folding Screens with Paintings of Pine, Bamboo, Plum, and Crane, from a Set of Hina Accessories Saké Ewer with Peony Arabesque Pattern in Maki-e , from a Set of Hina Accessories 7 Cabinet with Peony Arabesque Pattern in Maki-e , from a Set of Hina Accessories Nanasawaya Edo period, 19th century Accessory Box with Red Corners, from a Set of Hina Accessories Writing Box with Peony Arabesque Pattern in Maki-e , from a Set of Hina Accessories Square Dishes with Plover Design, Imitation of Oribe-type, from a Set of Hina Accessories 8 Saké Ewer with Cricket Design in Maki-e Edo period, 17th century 9 Cabinet with “Three Laughers at the Tiger Ravine” in Maki-e Momoyama period, 17th century 10 Incense Box with Red Corners and Plum Blossoms on Lattice Pattern in Maki-e Momoyama period, 16th century 11 Small Writing Box with
    [Show full text]
  • Kintsugi: the Poetic Mend
    With thanks to Daiwa Foundation for the funding of research in Japan in 2019 What is kintsugi ? • kin = gold • tsugi = joining Calligraphy by Keiko Shimoda things break 形あるもの全て壊れる katachi aru mono subete kowareru Everything that has a shape, breaks. Mark Tyson, Teabowl, 2015 Repaired by Catherine Nicolas, 2016-17. repair • ‘drive to repair is universal’ • repairing the irreplaceable • affirm, not hide, the scars • it’s not ‘as good as new’ • can be more beautiful Laetitia Pineda, Plate, 2018. Gathered clays from SW France. Repaired by Catherine Nicolas. Kintsugi… • function Unknown red raku-style teabowl Repaired by Natsuyo Watanabe in 2016 Kintsugi… • function • beauty Stephanie Hammill, Fruit Bowl, 2014 kintsugi-repaired by the artist Kintsugi… • function • beauty • story Raku Kichizaemon XV, Nekowaride, 1985 the origins of kintsugi Essential ingredients of kintsugi’s beginnings • ceramics • urushi (lacquer) • gold • chanoyu (tea ceremony) With thanks to Hiroko Roberts-Taira for her research and insights into the history of kintsugi ceramics Jōmon vessel, c.2000-1000 BCE Folk Museum of Higashimurayama urushi Late Jōmon ware repaired and decorated with urushi and ‘glitter’, c. 1500 BCE Higashimurayama Museum Toxicodendron vernicifluum ‘Japanese sumac’ Sato Takahiko showing us urushi (Sato Kiyomatsu Shoten Company, Kyoto) gold maki-e inrō (small ornamental stacked boxes) late 18th–early 19th century A visit to Mitamura Arisumi Top: Teabowl broken in 1923 Earthquake and repaired by Mitamura Jihō (grandfather) Bottom: Celadon bowl repaired by Mitamura Shūhō (father) chanoyu – tea ceremony living with cracks and breaks Matsushiro, Japan, 1966 Photo: Bettmann/Getty Images. process ‘The world breaks everyone and afterward many are strong at the broken places.’ –Ernest Hemingway qualities of kintsugi types of kintsugi tomotsugi Teabowl, 17th C Korean Kintsugi repair likely 18th century Kōshosai collection yobitsugi Teabowl, 16th century Seto bowl with Chinese porcelain sherd Eisai Bunko Museum, Tokyo yobitsugi Teabowl, Karatsu ware, c.
    [Show full text]
  • Lost Japanese Masterpiece Rediscovered in a Drawer
    PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE | 18 September 2013 LOST JAPANESE MASTERPIECE REDISCOVERED IN A DRAWER LEADS JAPANESE ART FROM ANTIQUITY TO THE PRESENT IN CHRISTIE’S SALE OF ASOBI: INGENIOUS CREATIVITY & CERAMICS FROM THE BERNARD LEACH COLLECTION AT SOUTH KENSINGTON, OCTOBER 2013 South Kensington – Christie‟s is proud to announce the rediscovery of an important Japanese hanging scroll-painting, Jigoku dayu [Hell Courtesan] by the eccentric yet brilliant artist Kawanabe Kyosai (1831-89) (estimate: £300,000-500,000, illustrated above). Believed lost for over half a century and known only from two black and white images taken in 1911 and 1942, the painting has been found in remarkable condition in a drawer and is being offered from a private collection in the sale of Asobi: Ingenious Creativity & Ceramics from the Bernard Leach Collection at South Kensington on 15 October 2013, during Frieze week. The auction as a whole comprises approximately 250 lots spanning antiquity to contemporary works. Highlighting the visual appeal, accessibility and relevance of Japanese art to contemporary collecting tastes, this dynamic sale presents a rich and varied array of opportunities for established and new collectors. With estimates ranging from £500 to £500,000, the auction is expected to realise in excess of £2 million. An exciting rediscovery, the whereabouts of the Hell Courtesan [Jigoku dayu] by Kawanabe Kyosai has been a mystery since it was last sold at auction in Copenhagen in 1942. It is now known to have passed by descent to the present vendor having been acquired at the sale by a private collector who then kept it in a drawer, resulting in the absolutely pristine condition of this work.
    [Show full text]