Contemporary Japanese Ceramics from the Gordon Brodfuehrer Collection
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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 . -
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. -
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. -
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. -
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:______________________________________________________________________ -
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. -
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. -
2019 Cosmos Catalog.Indd
521 West 26th Street, New York, NY 10001 212 695 8035 / [email protected] onishigallery.com ASIA WEEK 2019 New York COVER IMAGE: ŌSUMI Yukie (1945-), Living National Treasure (2015) Silver Vase Zuiun (Auspicious Cloud), 2018; hammered silver with nunome zōgan (textile imprint inlay) decoration in lead and gold; h. 8 7/8 x w. 18 1/8 x d. 9 7/8 in. (22.5 x 46 x 25 cm) The Cosmos Within: Contemporary Japanese Metalwork and Ceramics In celebration of Asia Week New York 2019 and its 10-year anniversary as a leader of Japanese arts in the international art market of New York City, Onishi Gallery is proud to present a unique new exhibition to Western audiences: The Cosmos Within: Contemporary Japanese Metalwork and Ceramics. In this collection of contemporary Japanese kōgei arts (a class of artistic creations produced in close association with the needs and conditions of everyday life), Onishi Gallery demonstrates the vast cosmos and intimate nature that may be communicated through a delicate work of art. While European arts often express the wonders of the universe through dynamic artistry, Japanese kōgei artists use subtle techniques to represent the cosmos within—imagine the world that unfolds when one looks through the small lens of a kaleidoscope. Bringing numerous leading metalwork and ceramic artists from the Japanese contemporary art scene, Onishi Gallery works with both renowned and emerging talents to introduce their work to American audiences, connect them with museum collections, and enable American arts and cultural institutions to discover and partner with these international talents. -
Inuit Ceramics Tech: Rapid Bisque Firing Clay Culture: Sonoma Ash Project “I’D Rather Switch Than Fight.”
Cover: A. Blair Clemo Review: Inuit Ceramics Tech: Rapid Bisque Firing Clay Culture: Sonoma Ash Project “I’d rather switch than fight.” Find out why experienced potters are switching to L&L rather than fighting with their kilns. L&L Kiln’s patented hard ceramic element holders protect your kiln. hotkilns.com/why KILNS BUILT TO LAST 505 Sharptown Road • Swedesboro, NJ 08085 Phone: 800-750-8350 • Fax: 856.294.0070 Email: [email protected] • Web: hotkilns.com Bailey Kilns at Lillstreet Art Center The Lillstreet Art Center is the premiere ceramic center in Chicago. They support the ceramic arts through many avenues: an artist residen- cy program, gallery, studio space, education, and outreach program. After 28 years, they moved into a new state-of-the-art facility in 2003. It’s spacious and serves as the perfect environment to inspire. In their new facility, they selected Bailey Kilns to meet the rigorous firing demands of their active program that serves 500 students per term. Their kiln room houses two Bailey 2-Car Trackless PRO 54 cu.ft. kilns. Each kiln has been fired over 1200 times! The 2-Car track- less design gives their program great flexibility in their firing requirements. Because they chose the 2-car design, they are firing one load while the next is being prepared on the mobile trackless car. As soon as the fired load is cool, out it comes and in goes the next load. Seamless efficiency. Beyond stacking and cycling efficiency, there is the maximum fuel efficiency. Lillstreet appreciates all the savings in fuel. -
A Modern Approach to Tradition 9
Part 1 A MODERN APPROACH TO TRADITION 9 Design sources Introduction Today’s makers and designers draw on a rich history of pottery and industrial design for ideas, and there is greater awareness today of the different design traditions. One of the aims of this book is to bring together a number of different strands which have influenced contemporary tableware design. 1Handmade tableware of art. The resulting pots are often too expensive to use and During the Sung dynasty (AD 960–1279), the Chinese In the 19th century, at the end of the Industrial end up sitting on a shelf, while the humble handmade mug were the first to make durable, mass-produced porcelain Revolution, John Ruskin and William Morris criticised or bowl continues to be used every day. This book aims to tableware and by the 16th century were exporting it industrially produced wares and inspired the Arts and showcase the work of those potters who are committed to around the world. The Japanese adapted pottery-making Crafts movement. They proposed a return to hand-crafted making tableware. techniques from China and Korea and added their decorative arts, which should be both beautiful and own unique character from the 16th century onwards. useful. The concept of the handmade object being made Changing habits Meanwhile in post-medieval Europe, a rustic style available to all was raised again in the 20th century by Naturally, changing attitudes and habits in food of country pottery was evolving, which ended with potter Bernard Leach, who established the studio pottery preparation and service and the rituals of mealtimes the Industrial Revolution. -
The Socio-Political Dimensions of Warlord Tea Praxis in Early Modern Japan, 1573-1860
Aesthetic Authorities: The Socio-Political Dimensions of Warlord Tea Praxis in Early Modern Japan, 1573-1860 By Melinda Sue Landeck Submitted to the graduate degree program in History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Dr. Eric C. Rath ________________________________ Dr. J. Megan Greene ________________________________ Dr. Eve Levin ________________________________ Dr. Michael Baskett ________________________________ Dr. William Lindsey Date: October 21, 2015 The Dissertation Committee for Melinda Sue Landeck certifies that this is the approved version of the following dissertation: Aesthetic Authorities: The Socio-Political Dimensions of Warlord Tea Praxis in Early Modern Japan, 1573-1860 ________________________________ Chairperson, Dr. Eric C. Rath Date approved: October 21, 2015 ii Abstract This dissertation examines the practice of chanoyu (a performative art form featuring the formalized preparation of tea) by the regional warlords who took up the art in great numbers in Japan from the late sixteenth century forward. Spanning the period from 1573 until 1860, the case studies of seven warlord tea masters, as well as many ancillary figures, demonstrate the manner in which warlord tea praxis first developed in Japan and provide insight into why the art was embraced so widely by the military elite. Tracing this development through four chronological stages, this dissertation challenges the -
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