Japan Ese Pottery Being a Native Report with an Introduction And

Total Page:16

File Type:pdf, Size:1020Kb

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 . vii A wajl ware S atsuma ware Yatsu - shiro ware Soma ware Banko ware Yedo Bank o ware I se Banko ware H iz en fac tories S honsuiware A rita ware Okawajl ware - Shim ishi ware . Kameyama ware S anda ware Tozan ware Ota ware A dditional Spec imens LI ST OF POTT ERS A N D DE CORATORS WHO EXH I BITED TH E PARI S I N 1 8 EXH I BIT O , 87 I N DEX 0 0 0 0 0 0 I N LI S T OF I LLU S T RA T O S . PAG E B m o o sk and o n d s o o n s d in c m o ni s a b whi j i te p , u e the tea ere e k - Ino n m d o f n om n s Ki u , the i perial ba ge Japa (fr a Japa e e peerage) Badge o f the To kugawa fam ily (fro m a Japanese roll) ’ - m o n o f k o f m f o m n s Kiri , the badge the Mi ad s a ily ( r a Japa e e peerage) n s c n an m m Of on om n o o dc Japa e e ra e, e ble l gevity (fr a ative w ut) 1 A nc n s c c B . C. 6 0 . ie t va e, ir a 4 2 . k c c . D . 0 Flas , ir a A 7 3 k o n s 3. Mar Karat u ware T ea o f o 4 . jar Set ware I nc n s n o f o 5 . e e bur er Set ware o f Fukuroku iu o f Ki- S o 6. Figure j et ware k o n o - uké 7 . Mar Set S k o n n o 8 . Mar Mi ware I n c o n o n B n 9. s ripti ize ware k o n B n 1 0 . Mar ize ware I I . Mark on A sahi ware Mark o n F ujina ware Mark on A kahada ware Mark on Minato ware Mark o n To yo - ura ware TTE R [ A PA N E S E P O Y. Mark o n Raku ware (Franks c atalogue) T e a o R k b wl , a u ware Mark o n Raku ware ' Mark on papier - mfic he Raku ware Mark o n Ohiware from the Franks c ollec tion Mark o n Olii ware Mark o n A sakusa Raku ware Mark o n Toki o Raku ware Mark o n Osaka Raku ware Mark on I mado ware Mark on N i nsei ware (Franks c atalogue) Cake b o x o f N i nsei ware Brazier fo r warming hands of A wata ware Mark on A wata ware Mark on Kenzan ware (Franks c atal ogue) Mark o n Kiyomidz u ware Figure of c o c k Of Kiyomidz u ware Figure Of lien Of Kiyo midz u ware Mark on Kiyom idz u ware (Franks c atal ogue) Mark on Ye iraku ware (Franks c atalogue) I Water vessel Of Yeiraku ware Mark o n Yeiraku ware (Franks c atalogue) (Franks c atalogue) Mark on A waj iware k n Kishiu nk c o 45 . Mar o ware (Fra s atal gue) 6 I nc ns n o f S m a 4 . e e bur er atsu a w re k n s m 47 . Mar o Sat u a ware [ LL US TRA TI N O S . xi - . 8 o v f Fig 4 . Fl wer ase o Yatsu shiro ware M k s - 49. ar o n Yat u shiro ware Mark o n Kutani ware (Franks c atalogue) k o n B nko 54 . Mar a ware 5 5 ° 56. Kushit n 5 7 . é patter I nc n urn 58 . e se b er of A rita ware k on A 59. Mar rita ware 60 . 6 1 . 6 k on Okawa i 5 . Mar j ware 6 Of on Of Mikawa i 6 . Figure a li j ware k o n Mikawa i 67 . Mar j ware 6 k o n To n 9. Mar za ware 0 k o n A n Tok o 7 . Mar rita ware, pai ted at i k on Ki omidz u 7 1 . Mar y ware 7 2. 7 3 d ho rsc d of nc o f om A tethere , ba ge the Pri e S a ’ Daikoku s hammer and rat (fro m a native wo odc ut) P R E FA CE . ‘ 1 7 m ay be w ell to s ay a f e w w ords as to fi le origin and sc ope o t/z is ublic ation and to ex lain w/i it dz ers s om ewb at f p , p y fl rom a n ordina r lzand f y boob . PVb ile p repa rations w ere being m ade f or Me P b iladelpnia E x iiibition it oc c u rred to t/te antb orities o tb c S out/c K ens in , f g ‘ ton qs eum t/zat it would be an in teres ting f eature in the japa nes e S ec tion of iliat E x nibition if a rep resentative series r w a res w ere to rm art o t of tb e olde f apanes e Ceram ic f o p f i . T/ze japanese autlzorities readily e ntered into t/ze p roposed arra n em en t and m uc /i c redit is due to t/ze m or t/ze adm irable g , f m anner in w/zic /i t/zis in teres tin c ollec tion was m ade w it/z in g , a limit o ric e b obtain in rom t/ce various arts o t/ze f p , y g f p f m s nt r s t I t w as arran ed tno t japanes e E mpire spec i en of i e e . g a/ter tb e E x b ibition t/ze c ollec tion s b ould bec om e t/ze property T/z is a rran em en t of Me S out/i K ens ing ton M us eum . g was itz unl e wen at t/ca t im n a litated b M r. F r C O t e i tb e f c i y ifi , a anese servic e a nd residin in Tob io and a R e ort on j p , g , p xiv jA PA N E S E P OTTE R Y. a anese eramic s was re a red b M r. ill . S kioda and j p C p p y , translated b M r. T. A s a mi to ac c om an and illus trate the y , p y c ollec tion . Tkis R eport form s t/z e m os t important portion of tb e p resen t volume ; tke only alterations tkut lzave been m ade in editing it are to b ring t/ze japanese names to a un iform and acc e ted m ode o s ellin and to c orrec t t/te /z raseolo s o as p f p g , p gy to m ake t/ze m ean ing of tile w riter m ore c lear. I n doing tkis 1 kave kad t/ze as s is tanc e of my japanese frie nds M r r .
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]
  • 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.
    [Show full text]
  • Cincinnati Art Asian Society Virtual November 2020: Asian Ceramics
    Cincinnati Art Asian Society Virtual November 2020: Asian Ceramics Though we can't meet in person during the pandemic, we still want to stay connected with you through these online resources that will feed our mutual interest in Asian arts and culture. Until we can meet again, please stay safe and healthy. Essays: East and West: Chinese Export Porcelain https://www.metmuseum.org/toah/hd/ewpor/hd_ewpor.htm Introduced to Europe in the fourteenth century, Chinese porcelains were regarded as objects of great rarity and luxury. Through twelve examples you’ll see luxury porcelains that appeared in Europe in the fifteenth and sixteenth centuries, often mounted in gilt silver, which emphasized their preciousness and transformed them into entirely different objects. The Vibrant Role of Mingqui in Early Chinese Burials https://www.metmuseum.org/toah/hd/mgqi/hd_mgqi.htm Burial figurines of graceful dancers, mystical beasts, and everyday objects reveal both how people in early China approached death and how they lived. Since people viewed the afterlife as an extension of worldly life, these ceramic figurines, called mingqi or “spirit goods,” disclose details of routine existence and provide insights into belief systems over a thousand-year period. Mingqi were popularized during the formative Han dynasty (206 B.C.–220 A.D.) and endured through the turbulent Six Dynasties period (220–589) and the later reunification of China in the Sui (581–618) and Tang (618–907) dynasties. There are eleven ceramic burial goods (and one limestone) as great examples of mingqui. Indian Pottery https://www.veniceclayartists.com/tag/indian-pottery/ The essay is informative but short.
    [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]
  • Antique Pair Japanese Meiiji Imari Porcelain Vases C1880
    anticSwiss 29/09/2021 17:25:52 http://www.anticswiss.com Antique Pair Japanese Meiiji Imari Porcelain Vases C1880 FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Regent Antiques London Style: Altri stili +44 2088099605 447836294074 Height:61cm Width:26cm Depth:26cm Price:2250€ DETAILED DESCRIPTION: A monumental pair of Japanese Meiji period Imari porcelain vases, dating from the late 19th Century. Each vase features a bulbous shape with the traditional scalloped rim, over the body decorated with reserve panels depicting court garden scenes and smaller shaped panels with views of Mount Fuji on chrysanthemums and peonies background adorned with phoenixes. Each signed to the base with a three-character mark and on the top of each large panel with a two-character mark. Instill a certain elegance to a special place in your home with these fabulous vases. Condition: In excellent condition, with no chips, cracks or damage, please see photos for confirmation. Dimensions in cm: Height 61 x Width 26 x Depth 26 Dimensions in inches: Height 24.0 x Width 10.2 x Depth 10.2 Imari ware Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Ky?sh?. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century. 1 / 4 anticSwiss 29/09/2021 17:25:52 http://www.anticswiss.com Typically Imari ware is decorated in underglaze blue, with red, gold, black for outlines, and sometimes other colours, added in overglaze.
    [Show full text]
  • Mikawachi Pottery Centre
    MIKAWACHI POTTERY CENTRE Visitors’ Guide ●Mikawachi Ware – Highlights and Main Features Underglaze Blue ─ Underglaze Blue … 02 Skilful detail and shading Chinese Children … 04 create naturalistic images Openwork Carving … 06 Hand-forming … 08 Mikawachi Ware - … 09 Hand crafted chrysanthemums Highlights Relief work … 10 and Eggshell porcelain … 11 Main Features ● A Walkerʼs guide to the pottery studios e History of Mikawachi Ware … 12 Glossary and Tools … 16 Scenes from the Workshop, 19th – 20th century … 18 Festivals at Mikawachi Pottery ʻOkunchiʼ … 20 Hamazen Festival /The Ceramics Fair … 21 Visitorsʼ Map Overview, Kihara, Enaga … 22 Mikawachi … 24 Mikawachi-things to See and Learn … 23 Transport Access to Mikawachi … 26 ʻDamiʼ – inlling with cobalt blue is is a technique of painting indigo-coloured de- Underglaze blue work at Mikawachi is described signs onto a white bisque ground using a brush as being “just like a painting”. When making images soaked in cobalt blue pigment called gosu. e pro- on pottery, abbreviations and changes occur natural- cess of painting the outl9 of motifs onto biscuit-red ly as the artist repeats the same motif many times pieces and adding colour is called etsuke. Filling in over – it becomes stylised and settles into an estab- the outlined areas with cobalt blue dye is specically lished ʻpatternʼ. At Mikawachi, however, the painted known as dami. e pot is turned on its side, and a designs do not pass through this transformation; special dami brush steeped in gosu is used to drip the they are painted just as a two-dimensional work, coloured pigment so it soaks into the horizontal sur- brushstroke by brushstroke.
    [Show full text]
  • Crafting the Elements Brochure
    Fairfield University DigitalCommons@Fairfield Crafting the Elements: Ceramic Art of Modern Crafting the Elements: Ceramic Art of Modern Japan - Ephemera Japan 2016 Crafting the Elements Brochure Fairfield University Art Museum Tomoko Nagakura Follow this and additional works at: https://digitalcommons.fairfield.edu/craftingtheelements-ephemera Recommended Citation Fairfield University Art Museum and Nagakura, Tomoko, "Crafting the Elements Brochure" (2016). Crafting the Elements: Ceramic Art of Modern Japan - Ephemera. 3. https://digitalcommons.fairfield.edu/craftingtheelements-ephemera/3 This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Haku-yō Ho Hei (White Glazed Rectangular Vase), 1960 Henko “Samui Iro” (Vessel “Cold Color”), ca. 1990 CRAFTING THE ELEMENTS 20. S Hamadatoneware, Shōji glazed (1894-1978) 26. Stoneware Mori Tōgaku (b. 1937) Ceramic Art of Modern Japan from the Collection of 11 ¾ x 5 ½ inches (30 x 14 cm) 10 x 8 inches (25.4 x 20.3 cm) CRAFTING THE Carol and Jeffrey Horvitz [Twisted Pot, White Kohiki Glaze], 2009 [Vase, Pale Green Glaze on Porcelain], 2008 21.
    [Show full text]
  • Seto Ceramicware Kilns Were Ring Wares In
    Scanning down from top left: Square plates by Kofutoen (small, medium, large); tiny bowl by Kofutoen; bowls by Tsubakigama (small, medium, large); rectangular white plate by Hantoen; round plates by Tsubakigama (small, medium, large); hexagonal plates by Sanpoen (small, large); round white plates by Sojuen (small, medium, large); sake cup by Tsubakigama; small bowl by Tsubakigama); three small hexago- nal plates by Sanpoen 24 Seto Seto, Aichi Ceramic Ware Brand Highlights • Setomono, or Seto ware, is synonymous with ceramics in Japan. The influence of this “Land of Pottery” surpasses that of all other pottery-producing areas in the country • Clay, tools, diverse technical know-how, and educational facilities: everything to do with the ceramics trade is found in Seto • Eight Seto potteries are open to the public for tours to see the quality firsthand Seto, in the north central part of Aichi prefecture, is the place for pottery. Indeed, the generic term in Japanese for ceramics is setomono—wares from Seto. It’s a household name found liter- ally in the cupboards and on the tabletops of just about every home in the country. Archaeological evidence suggests that high-temperature kilns capable of firing ash-glazed works were here as far back as the late 10th century. By the 12th century, Seto and Mino in Gifu prefecture were the only places in Japan able to produce glazed ceramics. Today some 300 business con- cerns make up the prefectural ceramics association. There is no knowing the number of potters who have worked in Seto, or how many tons of wares they have made.
    [Show full text]
  • Contemporary Japanese Ceramics from the Gordon Brodfuehrer Collection
    Checklist Nature, Tradition and Innovation: Contemporary 4/27/2017 Addendum A Japanese Ceramics from the Gordon Brodfuehrer Collection Dimensions (in) Installation # Artist Title Date Medium Notes Image Crate # H x W x D notes Requires Naoki Unglazed 2 1 Nerikomi Vase 2009 17 16 1/2 6 Bizen ware 2 person Yokoyama stoneware Tray 10 handling Glazed locked 1 2 Takahiro Ishii Sake Cup 2006 2 1/4 2 2 1/8 Oribe ware stoneware vitrine Tray 5 required Be aware of Yukiya jagged and 1 3a SekisohVase 2012 11 1/2 3 1/4 11 Stoneware Izumita rough Tray 5 edges New copy to IA&A Digital be printed 3b Taijiro Ito Bark 2008 16 24 provides n/a photograph by each digital file venue locked Ken Glazed Oribe - vitrine 1 4 Vase 2011 9 3/4 9 3/8 4 3/8 Matsuzaki stoneware Shino ware required Tray 6 Sea Spray Mitsunori Glazed Karatsu 1 5a Breaking on 2011 1 3/8 16 3/4 8 1/2 Tokuzawa stoneware ware Tray 1 Rocks New copy to IA&A Waves Crashing Digital be printed 5b Taijiro Ito 2008 16 24 provides n/a on Rocks photograph by each digital file venue Page 1 of 12 Checklist Nature, Tradition and Innovation: Contemporary 4/27/2017 Addendum A Japanese Ceramics from the Gordon Brodfuehrer Collection Dimensions (in) Installation # Artist Title Date Medium Notes Image Crate # H x W x D notes Sakurei Ancient Tree Glazed Karatsu 1 6a 2010 3 19 1/8 19 Okamoto Large Platter stoneware ware Tray 3 New copy to IA&A Digital be printed 6b Taijiro Ito Pine Tree 2008 24 16 provides n/a photograph by each digital file venue Yoshitaka Half Moon Glazed Iga ware locked 1 7 2012 1 1/4 8 3/4
    [Show full text]
  • Journey. One Thousand Years. the Six Ancient Kilns the Intersection of Fire and Humanity, Soil and Humanity, Water and Humanity
    Journey. One thousand years. The Six Ancient Kilns the intersection of fire and humanity, soil and humanity, water and humanity – First Issue: “Getting to know The Six Ancient Kilns” “Learning about The Six Ancient Kilns” Journey. One thousand years. The Six Ancient Kilns the intersection of fire and humanity, soil and humanity, water and humanity The relationship between the Japanese and pottery dates back to the Jomon period (the earliest historical era of Japanese history coinciding with the Neolithic Period, from around 14500 BCE to around 300 BCE), when pottery was used for necessities such as preserving food, cooking, and rituals. Pottery not only helped build a civilization, it also exceeded conventional uses to enrich the culture of Japan in many ways. Of all the ancient pottery sites of Japan, the “Six Ancient Kilns”(pronounced nihon rokkoyo in Japanese) refers collectively to the six representative production areas of Echizen, Seto, Tokoname, Shigaraki, Tamba, and Bizen, whose pottery production has continued from the medieval period (1185- 1603) to the present day. The term “Six Ancient Kiln” was coined by renowned ceramics scholar, Koyama Fujio around 1948 and the sites were certified as each of the six areas has cultivated over the official Japanese Heritage sites in spring last 1000 years, and to inspire a vision of the 2017. future 1000 years from today based on these findings. To mark this occasion, the six cities created a Japanese Heritage Promotion Council * The 6 Pottery Production Areas whose objective was to revisit the technology Echizen ware: Echizen, Fukui and cultures that were born in each of these Seto ware: Seto, Aichi production areas over the last thousand Tokoname ware: Tokoname, Aichi years, and create an opportunity to delve into Shigaraki ware: Koka,Shiga the wonders of the Six Ancient Kilns from a Tamba ware: Tamba Sasayama, Hyogo newfound perspective.
    [Show full text]
  • Kutani Ware: World-Famous Pottery
    GALLERY Kutani Ware: World-Famous Pottery By Toshioka Kosen ENTURIES ago, small quantities of gold were authorities sent a man named Tamura Gonzaemon, along C discovered in Kutani, a part of Kaga City, Ishikawa with the goldsmith Goto to Saga, which was known as a Prefecture. The local Daishoji Domain daimyo (feudal center of ceramic production, and had them study pottery- lord), Maeda Toshiharu, invited an expert goldsmith called making techniques. Later, they brought back potters from Goto Saijiro from the Shibata Domain in Echigo, Niigata, Karatsu, another pottery manufacturing area near Imari, to develop the gold mine. While he was working on the and built the first Kutani kiln in 1655, exactly 350 years mine, a clay suitable for making pottery was discovered. ago. This was the beginning of the Ko-Kutani (Old Nagasaki was the only place in Japan where trade was Kutani) style. The problem, though, was that permitted at that time. Having a strong interest in arts Tokugawa Shogunate suspected that some potters were and crafts, the Kaga Domain, the main domain of from the Korean peninsula. The Shogunate’s policy of Daishoji, opened a purchasing office in Nagasaki to satisfy the time was to keep foreign influences out of Japan. the demand for artistic collectors’ items from abroad, Kaga officials did not want the Shogunate “meddling” including pottery made in Europe and Persia. Beautiful in the domain’s business, so in 1692 it destroyed the Imari ware (also called Arita ware) was made near two climbing kilns in Kutani. The kilns operated for Nagasaki, and the feudal lord of Daishoji had wanted to only 37 years, and the pottery produced during the time is produce similar pottery in his own domain.
    [Show full text]
  • Wood-Fired Utilitarian Ware for Serving Japanese and American Food
    Abstract Wood-Firing in America: Wood-Fired Utilitarian Ware for Serving Japanese and American Food by Yu Ishimaru July 2011 Director of Thesis: Jim Tisnado School of Art and Design In this body of work, my focus is on the surface and color of wood-fired ergonomic utilitarian ware. The natural-ash glazed surface and soft color changes from the atmospheric nature of wood firing are the principle aim of my firing. I intend for my wood fired work to be used on the table, in the kitchen, and around the home in both the United States and Japan on a daily basis. Food cultures between the United States and Japan are very different, and the ware used in both cultures is not the same, but similar. By approaching both food cultures from the similarities, I can be aware of the needs in the ware to be used in both food cultures. The surface and subtle color variation in my wood-fired work accompany the colors of both Japanese and American food presented at the table. Wood-fired work can be suitable for serving cross-cultural foods. WOOD-FIRING IN AMERICA: WOOD-FIRED UTILITARIAN WARE FOR SERVING JAPANESE AND AMERICAN FOOD A Report of a Creative Thesis Presented to The Faculty of the School of Art and Design East Carolina University In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Ceramics by Yu Ishimaru July 2011 ©Yu Ishimaru, July 2011 WOOD-FIRING IN AMERICA: WOOD-FIRED UTILITARIAN WARE FOR SERVING JAPANESE AND AMERICAN FOOD by Yu Ishimaru APPROVED BY: DIRECTOR OF THESIS:______________________________________________________________________
    [Show full text]