2019 Catalog
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Hand and Wheel: Contemporary Japanese Clay
HAND AND WHEEL Contemporary Japanese Clay NOvember 1, 2014 – OCTober 18, 2015 PORTLAND ART MUSEUM, OREGON HAND AND WHEEL Contemporary Japanese Clay Among the great ceramic traditions of the world, ceramics. Yet this core population of consumers the Japanese alone sustain a thriving studio pot- is, on its own, insufficient to account for the cur- ter industry on a grand scale. More than 10,000 rent boom in both creativity and critical acclaim. Japanese potters make a living crafting ceramics Today, museums in Japan and abroad and private to adorn the table for everyday life, in addition to collectors in the West have assumed a prominent specialized wares for the tea ceremony. Whether role in nurturing Japanese ceramics—especially made from rough, unglazed stoneware or refined large-scale pieces and the work of the avant- porcelain, these intimately scaled art works are an garde artists who push the boundaries of tech- indispensable part of Japanese rituals of dining nique, material, and form. and hospitality. The high demand of domestic Many contemporary Japanese ceramic artists consumers for functional vessels, as well as their —especially those who came of age in the informed connoisseurship of regional and even 1950s—are exceptionally skilled at throwing pots 33 the individual styles of famous masters, underlies on a wheel. They often prefer to use traditional of the firing process. Here, the pieces by Naka- the commercial success of Japanese studio wood-fired kilns, embracing the unpredictability zato Takashi, Ōtani Shirō, and Yoshida Yoshihiko, among others, rely on yōhen, or “fire-changes,” for much of their visual impact. -
Tianmu Bowls
GLOBAL EA HUT Tea & Tao Magazine 國際茶亭 May 2018 Tianmu天目 Bowls GLOBAL EA HUT ContentsIssue 76 / May 2018 Tea & Tao Magazine Cloud祥雲寺 Temple This month, we are excited to dive into the world of tea bowls, exploring how to choose bowls for tea and the history of China’s most Love is famous bowls, called “tianmu.” And we have a great green tea to drink as we discuss the his- changing the world tory, production and lore of tianmu as well as some modern artists making tianmu bowls. bowl by bowl Features特稿文章 13 The Glory of Tianmu By Wang Duozhi (王多智) 25 Tianmu Kilns in 03 Fujian By Li Jian’an (栗建安) 42 Yao Bian Tianmu 13 By Lin Jinzhong (林錦鐘) 45 Shipwrecked Tianmu By Huang Hanzhang (無黃漢彰) 33 Traditions傳統文章 53 03 Tea of the Month “Cloud Temple,” Fresh Spring Green Tea Mingjian, Nantou, Taiwan 21 Cha Dao How to Hold the Bowl By Jing Ren (淨仁) Teaware Artisans p. 33 Lin Jinzhong, by Wu De (無的) p. 53 Wang Xi Rui, by Wu De (無的) 祥 © 2018 by Global Tea Hut 59 Special Offer All rights reserved. Wang Xi Rui Tianmu Bowls 雲 No part of this publication may be re- 寺 produced, stored in a retrieval system 61 TeaWayfarer or transmitted in any form or by any means, electronic, mechanical, pho- Erin Farb, USA tocopying, recording, or otherwise, without prior written permission from the copyright owner. n May, TaiwanFrom really warms up and we startthe turn- cover teaware in atEditor least one issue, which we are presenting ing more to lighter teas like green teas, white teas in this very issue. -
Liquidity, Technicity, and the Predictive Turn in Chinese Ceramics
Tea bowl with silvery-spotted tenmoku glaze, Jian ware, Southern Song dynasty, twelfth to thirteenth century. Museum of Oriental Ceramics, Osaka; gift of the Sumitomo Group (The Ataka Collection). 24 doi:10.1162/GREY_a_00230 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00230 by guest on 30 September 2021 Liquidity, Technicity, and the Predictive Turn in Chinese Ceramics JEFFREY MOSER Jeff Wall’s notion of liquid intelligence turns on the dialectic of modernity. On one side of the divide are the dry mechanisms of the camera, which metaphorically and literally express the industrial processes that brought them into being. On the other side is water, which “symbolically represents an archaism in photography, one that is admitted in the process, but also excluded, contained or channelled by its hydraulics.” 1 Wall’s attraction to liquidity is unreservedly nostalgic—it harkens back to archaic processes and what he understands as the ever more remote possibility of fortuity in art-making—and it seeks to find, in the developing fluid of the photograph, a bridge back to the “sense of immersion in the incalculable” that modernity has alienated. 2 For him, liquidity and chance are not simply of the past, they have been made past by the totality of a “modern vision” that inex - orably subjugates them through industry and design. 3 Wall’s formulation implicitly probes the semantic contradiction that imbues Karl Marx and Friedrich Engels’s famous passage with such force: Where, he inquires, is the liquid elided when “all that is solid melts into air?” 4 The juxtaposition of Wall’s essay “Photography and Liquid Intelligence” with his Milk (1984) raises the tension simmering in Wall’s formula. -
Shoji Hamada: 40 Years on List of Works
Shoji Hamada: 40 Years On List of Works Set Of Six Hexagonal Dishes SOLD With a signed, fitted box stoneware with tenmoku and nuka glaze. each 3.5 x 13 cms 1 3/8 x 5 1/8 inches (box 16 x 18) (SH021) Okinawa Style Teabowl 1970 £ 4,500.00 Provenance: from The Martha Longenecker Collection, USA. Published in Mingei International Museum, Martha W. Longenecker, ed., Mingei of Japan: The Legacy of The Founders - Soetsu Yanagi, Shoji Hamada, Kanjiro Kawai, (California, 2006), p. 60-61 and p. 66, 70 stoneware with Okinawa style enamel glazing. 8.5 x 13 cms 3 3/8 x 5 1/8 inches (SH043) Kaki Square Vase c1960 SOLD Glazed stoneware, with wax resist design see 'Shoji Hamada, A Potter’s Way and Work' by Susan Peterson, 1974, p122 showing Hamada making this form and p152 showing a group of pieces which includes a very similar version. 20 x 12 x 7 cms 7 7/8 x 4 3/4 x 2 3/4 inches (SH045) Tenmoku Square Bottle Vase 1960 £ 2,750.00 Stoneware with tenmoku glaze and finger-wipe design ash glazed top. 17 x 10 x 10 cms 6 3/4 x 4 x 4 inches (SH046) Teabowl 1965 £ 2,200.00 Provenance: collection of Mike O'Connor piece to left of image. stoneware with nuka glaze and dark green rim. 11 x 11.5 cms 4 3/8 x 4 1/2 inches (SH050) Shoji Hamada: 40 Years On List of Works Teabowl 1965 £ 2,200.00 Provenance: collection of Mike O'Connor piece to right of image stoneware with nuka glaze and dark green rim. -
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. -
A BOWL for a COIN a Commodity History Of
A BOWL FOR A COIN A BOWL FOR A COIN A Commodity History of Japanese Tea William Wayne Farris University of Hawai‘i Press Honolulu © 2019 University of Hawai‘i Press Library of Congress Cataloging-in-Publication Data Names: Farris, William Wayne, author. Title: A bowl for a coin: a commodity history of Japanese tea / William Wayne Farris. Description: Honolulu: University of Hawai‘i Press, [2019] | Includes bibliographical references and index. Identifiers: LCCN 2018040370 | ISBN 9780824876609 (cloth alk. paper) Amazon Kindle 9780824878528 EPUB 9780824882624 PDF 9780824882617 Subjects: LCSH: Tea—Japan—History. | Tea trade—Japan—History. Classification: LCC HD9198.J32 F37 2019 | DDC 338.1/73720952–dc23 LC record available at https://lccn.loc.gov/2017025008 Cover art: Tea peddlers around 1400. Source: "A Bowl for a Coin (ippuku issen)," Shichijūichi ban shokunin utaawase emaki (artist unknown). TNM Image Archives. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. The open-access ISBNs for this book are 9780824882617 (PDF) and 9780824882624 (EPUB). More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org. The open access version of this book is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0), which means that the work may be freely downloaded and shared for non-commercial purposes, provided credit is given to the author. Derivative works and commercial uses require permission from the publisher. -
A Palette for Genius Japanese Water Jars for the Tea Ceremony
A PALETTE FOR GENIUS JAPANESE WATER JARS FOR THE TEA CEREMONY JOAN B MIRVISS LTD 1 A PALETTE FOR GENIUS Japanese Water Jars for the Tea Ceremony 水 指 Presented at Joan B Mirviss LTD, New York Collaboration with Shibuya Kurodatoen Co., LTD March 10 - April 15, 2016 3 Mizusashi: Water Jars for the Japanese Tea Practice of Chanoyu Andrew L. Maske The water jar (mizusashi) plays a distinctive no attractive functional equivalent in the American role among the utensils used in a Japanese tea drawing room or kitchen, and therefore was likely gathering. Usually made of ceramic, its entry into less appealing to Western collectors, even those the tea room marks the beginning of the formal who had no intention to actually use the Japanese preparation of tea, and it occupies a prominent ceramics they acquired.(2) Moreover, in the position throughout the proceedings. Apart Muromachi period (1338-1573), water jars were from some basic requirements in regard to size often utilitarian vessels adopted into use for tea, and shape, the artist has tremendous freedom in and the rough and sometimes ordinary appearance creating a vessel that will be visually compelling of such vessels may have made them less attractive yet functional. to foreign collectors of Japanese ceramics. This exhibition of water jars features a stunning While their use for containing “mere” water may display of work by Japan’s most renowned have made them seem rather pedestrian vessels modern and contemporary ceramic artists. to non-Japanese, mizusashi and their flower vase Their techniques span the range of traditional, cousins known as hanaire play not only essential innovative, and original processes that reflect a physical roles in the tea room, but philosophical wide array of aesthetic approaches, from rough ones as well. -
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 -
Keshiki in Tea Ceramics 3
ART RESEARCH SPECIAL ISSUE vol.1 Landscapes in Art, Theory, Keshiki in Tea Ceramics Annegret Bergman (Freie Universität Berlin) and Practice across Media, E-mail: [email protected] Time, and Place abstract This essay deals with keshiki or “landscape,” one of the key descriptive terms of Japanese pottery and crucial to the aesthetic evaluation of a tea bowl. It touches upon the history of this means of aesthetic appreciation, and introduces different examples on representative tea bowls in order to show that keshiki is much more than a natural phenomenon on wood-fired ceramics as it manifests itself also due to the long and extensive usage of as well as in the intended hand-made bold intervention in the form and appearance of a tea bowl. Introduction Japanese publications on tea ceramics generally defines keshiki as one of the key In the tea ceremony the condensation of space descriptive terms of Japanese pottery and a crucial and the ephemerality of time creates a sphere of criterion to the aesthetic evaluation of a tea bowl. intense observation. This is why wood-fired pottery Moreover, most texts on this topic provide also a list perfectly fits in the atmosphere of acutely enhanced of further specified terms of keshiki manifestations. observation prevailing in the tearoom. In the course Concerning the definition of keshiki in pottery the of the development of the tea ceremony, “landscapes” scholar and potter Katō Tōkurō 加藤唐九郎 or keshiki 景色1 related to pottery had assumed an (1897–1985) states in his “Great Encyclopedia of aesthetic value that determinates the appreciation of Pottery” (Genshoku tōki daijiten 原色陶器大辞典): tea ceremony utensils until today. -
Japanese Ceramics Latest Acquisitions
HANSHAN TANG BOOKS • L IST 161 NEW PUBLICATIONS MING CERAMICS JAPANESE CERAMICS LATEST ACQUISITIONS H ANSHAN TANG B OOKS LTD Unit 3, Ashburton Centre 276 Cortis Road London SW 15 3 AY UK Tel (020) 8788 4464 Fax (020) 8780 1565 Int’l (+44 20) [email protected] www.hanshan.com CONTENTS N EW & R ECENT P UBLICATIONS / 3 M ING C ERAMICS / 6 J APANESE C ERAMICS / 12 F ROM O UR S TOCK / 25 S UBJECT I NDEX / 60 T ERMS The books advertised in this list are antiquarian, second-hand or new publications. All books listed are in mint or good condition unless otherwise stated. If an out-of-print book listed here has already been sold, we will keep a record of your order and, when we acquire another copy, we will offer it to you. If a book is in print but not immediately available, it will be sent when new stock arrives. We will inform you when a book is not available. Prices take account of condition; they are net and exclude postage. Please note that we have occasional problems with publishers increasing the prices of books on the actual date of publication or supply. For secondhand items, we set the prices in this list. However, for new books we must reluctantly reserve the right to alter our advertised prices in line with any suppliers’ increases. P OSTAL C HARGES & D ISPATCH United Kingdom: For books weighing over 700 grams, minimum postage within the UK is GB £10.00. If books are lighter and we are able to charge less for delivery, we will do so. -
Pursuing the Eye of Heaven: Ceramics by HIDEAKI MIYAMURA Pucker Gallery | Boston TALL BOTTLE Yohen Crystalline Glaze ALL PIECES ARE PORCELAIN
Pursuing the Eye of Heaven: Ceramics by HIDEAKI MIYAMURA Pucker Gallery | Boston TALL BOTTLE Yohen Crystalline Glaze ALL PIECES ARE PORCELAIN. 25 x 5 x 5" HM151 COVER: TEARDROP VASE Yohen Crystalline Glaze 1 1 20 x 8 /2 x 8 /2" HM166 Pursuing the Eye of Heaven: Ceramics by HIDEAKI MIYAMURA 2 by Andrew L. Maske f you travel to Zhejiang province in eastern China, you became treasured heirlooms, and for centuries a tenmoku will find a mountain that has indirectly influenced teabowl was essential for the serving of tea in the most for- ceramic art around the world. It is called Tianmu-shan, mal manner. In time, Japanese potters discovered ways to I “Mount Heaven-Eye.” Legend has it that in the twelfth create tenmoku teabowls in their own land, and eventual- and thirteenth centuries, Japanese in search of the keys to ly the brownish-black glaze found on the bowls became enlightenment made the long and treacherous journey to world-famous as the “tenmoku glaze.” Mount Tianmu (or “Tenmoku,” as they pronounced it) to In China, times changed. With the beginning of the learn the discipline of Chan (Zen) Buddhism. In monaster- Ming dynasty in 1368, infused tea served in bowls lost ies there they were trained in the regular practice of deep favor and was replaced by steeped tea served in cups. The meditation, intended to create a spiritual environment in dark, brown-glazed bowls used on Mount Tianmu were which personal enlightenment could be achieved. The vis- discarded in favor of bright porcelain vessels decorated in iting Japanese were introduced by their masters to a thick blue and red underglaze. -
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.