Lauren Mabry Spotlight: Reflections on Emerging Clay Culture: Saving Jingdezhen Technical: Bloating
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9. Ceramic Arts
Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2. -
Noritake Garden Entrance Exit Fascinating Cycle of Life up Close
天 Parking Lot Encounter nature at the biotope 1F A biotope is an area in an urban setting that provides oritae uare aoa C a living environment for plants, insects, sh, birds, iestle so Parking Gate and other forms of life. Come experience the General Discover the Culture, Rest in the Forest. Noritake Garden Entrance Exit fascinating cycle of life up close. Information See everything Noritake and Enjoy lunch and dessert served Free Admission (Admission fees apply for the Craft Center and Noritake Museum only) Okura Art China have to offer, on casual Noritake tableware. The Enormous “Six Chimneys” “The Detached Kiln” * All facilities are barrier-free. from elegant daily-use tableware Come and take a break from A monument symbolizing instills visitors with a sense to prestige products. A full lineup shopping or walking. Admission fees for the Craft Center and Noritake Museum of tableware is also available. Noritake’s dream the enthusiasm of its time. Adults/university students 500 yen These are relics from the tunnel This old kiln, nestled amidst a Visitors aged 65 or over 300 yen North Gate Nishi-Yabushita kilns built in 1933 to bake quiet forest, exudes the High school students and younger Free Discover the Culture, Rest in the Forest. Visitors with ID verifying disability Free CRAFT CENTER ceramics. The Noritake dream, a enthusiasm of the soil and Pedestrian access constant beacon of inspiration ames from its time. (Be prepared to present the ID) Noritake Museum * Group discounts available Groups of 30 or more 10% off Noritake Garden The “Red Brick Buildings”, ever since the early Meiji Period, Groups of 100 or more 20% off 4F Admire the grand “Old Noritake” symbolic of Japan’s burns on bright today. -
Issue 13 Final Version
RHETORICAL SPACE Culture of Curiosity in Yangcai under Emperor Qianlong’s Reign Chih-En Chen Department of the History of Art and Archaeology PhD Candidate ABSTRACT This research is arranged into three sections in order to elaborate on the hybrid innovation in yangcai. Firstly, the usage of pictorial techniques on porcelain will be discussed, followed by the argument that the modelling technique in the Qianlong period could be the revival of Buddhist tradition combined with European pictoriality. The second section continues the discussion of non-traditional attributes in terms of the ontology of porcelain patterns. Although it has been widely accepted that Western-style decorations were applied to the production of the Qing porcelain, the other possibility will be purported here by stating that the decorative pattern is a Chinese version of the multicultural product. The last section explores style and identity. By reviewing the history of Chinese painting technique, art historians can realise the difference between knowing and performing. Artworks produced in the Emperor Qianlong’s reign were more about Emperor Qianlong’s preference than the capability of the artists. This political reason differentiated the theory and practice in Chinese history of art. This essay argues that the design of yangcai is substantially part of the Emperor Qianlong’s portrait, which represents his multicultural background, authority over various civilisations, and transcendental identity as an emperor bridging the East and the West. ABOUT THE AUTHOR Chih-En Chen is a PhD Candidate at the Department of the History of Art and Archaeology at SOAS, University of London. Before he arrived his current position, he worked for Christie’s Toronto Office (2013-2014) and Waddington’s Auctioneers in Canada (2014-2018). -
Making the Palace Machine Work Palace Machine the Making
11 ASIAN HISTORY Siebert, (eds) & Ko Chen Making the Machine Palace Work Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Making the Palace Machine Work Asian History The aim of the series is to offer a forum for writers of monographs and occasionally anthologies on Asian history. The series focuses on cultural and historical studies of politics and intellectual ideas and crosscuts the disciplines of history, political science, sociology and cultural studies. Series Editor Hans Hågerdal, Linnaeus University, Sweden Editorial Board Roger Greatrex, Lund University David Henley, Leiden University Ariel Lopez, University of the Philippines Angela Schottenhammer, University of Salzburg Deborah Sutton, Lancaster University Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Amsterdam University Press Cover illustration: Artful adaptation of a section of the 1750 Complete Map of Beijing of the Qianlong Era (Qianlong Beijing quantu 乾隆北京全圖) showing the Imperial Household Department by Martina Siebert based on the digital copy from the Digital Silk Road project (http://dsr.nii.ac.jp/toyobunko/II-11-D-802, vol. 8, leaf 7) Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 035 9 e-isbn 978 90 4855 322 8 (pdf) doi 10.5117/9789463720359 nur 692 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The authors / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). -
Big Time Fun!
small town charm big time fun! www.haysUSA.net • 800.569.4505 HaysCVBVisitorGuideCover2.indd 1 12/3/12 12:40:54 PM Welcome to Hays We invite you to experience the many opportunities that our charming community has to offer. You’ll enjoy our small town friendliness whether you come to Hays for a family vacation, business trip, sporting event, shopping or just passing through. We are proud of our colorful history as a wild frontier town and we encourage you to explore our city so you can find out for yourself “Where history walked the streets.” Many of the interesting and historic places to visit are free or charge only a small admission fee. Be sure to visit our unique museums and tourist attractions to learn about our military past and Volga German heritage. Discover the scenic beauty and natural history of western Kansas with an outing to Frontier Park, the Hays F.E.E.T. trails and the Sternberg Museum of Natural History. The past comes alive everyday in Hays! Table of contents Agricultural attractions ...........4-5 Art galleries.............................6-9 Chestnut Street District .......10-11 Churches ..................................14 Community profile .....................3 Community services .................14 Downtown Hays ..................12-13 Events and festivals .................32 Fishing .....................................15 Frontier history ....................18-19 call for informaiton German Heritage .................20-21 Hunting ....................................15 1-800-569-4505 Lodging ....................................22 -
Kris Kuksi New Rome
Mark Moore Gallery 5790 Washington Blvd. Culver City, CA 90232 T. 310.453.3031 F. 310.453.3831 www.markmooregallery.com Tues – Sat, 11am – 6pm Kris Kuksi New Rome Opening Reception: July 9 On View: July 9 – August 20, 2016 Mark Moore Gallery is pleased to present New Rome, an exhibition of new work by Kansas based artist Kris Kuksi. The exhibition marks Kuksi’s second major solo show with the gallery. Over the last decade, Kuksi has built a career creating complex sculptures that blend antiquity with the modern world. Teeming with struggle, conflict, faith, sexuality, and power, each sculpture affords the viewer a ringside seat for a wild spectacle as the spheres of fantasy and reality collide. For this exhibition, Kuksi creates New Rome, a society rife with allegory consisting of works crafted in a hybrid style of baroque and rococo that deeply examine the human psyche. Every sculpture is created from an obsessive collection of cultural flotsam and jetsam – figurines, model parts, collectibles, craft parts, and jewelry. The final pieces, sometimes as large as 10Ft wide, are totemic like shrines that expose Kuksi’s disenchantment with the structures of power and the fallacies of man. Yet, the works are not without their romance, as the wonders of the world are presented through elaborate entanglements of miniature bears, mythical beasts, and glorious figurines. In the Los Angeles Times review of Kuksi’s 2014 exhibition David Pagel writes, “Kuksi’s Baroque confections treat history as primordial soup — a burbling stew of thrilling highlights and epic tragedies that not only resonate in the mind’s eye but also inspire all sorts of emotions — good, bad and otherwise.” In this exhibition, Kuksi gives us the range of human emotion in thousands of pieces, making up one grandiose whole. -
ASIAN ART REFERENCE BOOKS and SELECTIONS from CT LOO LIBRARY 13 September 2012 New York, Rockefeller Plaza
ASIAN ART REFERENCE BOOKS AND SELECTIONS FROM CT LOO LIBRARY 13 September 2012 New York, Rockefeller Plaza Lot 801 [LOO, CT, EXHIBITIONS AND SALES] -- ROSTOVTZEFF, M Inlaid Bronzes of The Han Dynasty in the Collection of CT Lo... Price Realized $4,750 Lot 802 [HAN, TANG and SONG DYNASTIES -- EXHIBITION CATALOGUES] -- D'ARDENNE DE TIZAC, H Chinesische Tierplastik und T... Price Realized $1,625 Lot 803 [GERMAN LANGUAGE] -- PERZYNSKI, Friedrich Von Chinas Göttern Reisen in China Munich: Kurt Wolff Verlag, 192... Price Realized $2,500 Lot 804 [SCULPTURE] -- LOEHR, Max Relics of Ancient China from the Collection of Dr Paul Singer New York: The Asia ... Price Realized $1,375 Lot 805 [PAINTINGS] -- WHITE, William Charles Chinese Temple Frescoes A Study of Three Wall-Paintings of the Thirteenth... Price Realized $3,000 Lot 806 [MURALS AND STONE ART] -- WHITE, William Charles Tomb Tile Pictures of Ancient China Toronto: University of... Price Realized $375 Lot 807 [BUDDHIST ART] -- ANESAKI, M Buddhist Art In Its Relation to Buddhist Ideals Boston and New York: Houghton ... Price Realized $56,250 Lot 808 SIRÉN, Osvald Chinese Sculpture from the Fifth to the Fourteenth Century London: Ernest Benn, Limited, 1925 Price Realized $40,000 Lot 809 [OSVALD SIRÉN, WORKS IN FRENCH] -- SIRÉN, Osvald Histoire Des Arts Anciens De La Chine Paris and Brussels: ... Price Realized $30,000 Lot 810 MIZUNO, Seiichi, and Toshio NAGAHIRO Yun-Kang The Buddhist Cave-Temples of the Fifth Century AD in North China<... Price Realized $74,500 Lot 811 [JOURNALS] -- LI, Chi Archaeologia Sinica Number Two Hsiao-T'un (The Yin Shang Site at Anyang, Honan), Volume I.. -
New Zealand Potter Volume 20 Number 2 Spring 1978
newzealdndpotter vol 90/? spring 1978 Contents Potting in Auckland Lindsay Bedogni, Grant Campbell Waybe Farm Pottery John and Diane Anderson Nicholas Stather Andrew and Gennie Van der Puten ©OOO\>$>UJI\J Sally Vinson 10 Glenn Beattie 12 Beverley Luxton 13 Olive Jones, pioneer potter 14 Native Gardens 15 Glazes —— improving predictability 16 In pursuit of a glaze 18 Levi Borgstrom — wood carver 19 Cry your eyes out Betty Crocker 20 Fear not the flame 26 Pottery in Australia 28 Kiln — keeping a low profile 30 Refractories for potters’ kilns 33 Kiln for fast firing stoneware 34 New Zealand Potter is a non-pro fit making magazine published twice annually. Circulation is 6,500. The annual subscription is $NZ4.00, for Australia $A4.70, Canada and the United States, $U.S.5.40, Britain £2.70 postage included. New Subscriptions should include name and address ofsubscriber and the issues required. Please mark correspondence ”Subscriptions". Receipts will not be sent unless asked for. A renewal form is included in the second issue each year. This should be used without delay. It is the only indication that the magazine is still required. Advertising rates Full page 180mm wide X 250mm high $126 Half page 180mm x 122mm high S75 Quarter page 88mm wide x 122mm high $45 Spot 88mm wide x 58mm high $27 Offset printing. Unless finished art work ready for camera is supplied by advertiser, then 10% will be added to the above rates. Correspondence marked ”Advertising”, to editor. Two young Auckland potters whose work shows different ap— a proaches to their craft. -
Painting with Overglazes
There is nothing more difficult for a truly creative painter than to paint 5 a rose, because before he can do so he has to first forget all the roses that were Chapter ever painted. —Henri Matisse (1869–1954) Painting with Overglazes Many artists come to china painting with extensive experience in other art forms, particularly oil and watercolor painting. A few come from a ceramic background, seeking a more painterly approach. MOverglazing is a special art form in several ways, and occupies a distinctive niche in the con- tinuum from painting to glazing. Painters will enjoy the depth, luminosity, and permanence of china painting. Potters will delight in a medium that is more like painting than any other ceramic technique, and offers a full range of colors. Both groups will appreciate the fact that the raw colors are almost identical to the fired colors. What makes china painting truly unique is its application onto a glossy surface. This creates spe- cial challenges, but also special possibilities. The material is a powder suspended in a medium, and as such, is adaptable to any of the techniques used with any form of paint or ink. It may even be used dry, like metal enamels. As in all art forms, there is no right or wrong way to use china paint. There are only those meth- ods that work for you. What to Paint On Any fired ceramic object may be decorated with china paint. Whether it’s high- or low-fired, glazed or unglazed, you can china paint it some- how. -
John Alexander Pope Papers
John Alexander Pope Papers Dr. Elizabeth Graves 2015 Freer Gallery of Art and Arthur M. Sackler Gallery Archives Washington, D.C. 20013 [email protected] https://www.freersackler.si.edu/research/archives/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical/Historical note.............................................................................................. 2 Arrangement note............................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographic Material................................................................................... 5 Series 2: John A. Pope Asian Ceramics and Art Collection................................... 15 Series 3: Published and Unpublished Materials.................................................... 19 Series 4: Research Materials: Subject Files.......................................................... 31 Series 5: Travel...................................................................................................... 85 Series 6: Correspondence..................................................................................... -
1130输出文件画册最终版.Indd 1 15-11-30 下午8:58
1130输出文件 画册最终版.indd 1 15-11-30 下午8:58 亚洲时间——首届亚洲双年展暨第五届广州三年展 第五届广州三年展办公室 ASIA TIME: THE 1st ASIA BIENNIAL AND THE 5th GUANGZHOU TRIENNIAL FIFTH GUANGZHOU TRIENNIAL OFFICE 业务指导:中华人民共和国文化部艺术司、外联局 广东省文化厅 项目统筹:张 芬 胡宇清 吕子华 Operation administrators: Project Managers: ZHANG Fen / HU Yuqing / Lyu Zihua The Art Department and Bureau for External Cultural Relations, Project Coordinators: HUANG Hairong / YUAN Zhao / Yaya Hu / JIANG Cui 主 办:广东美术馆 项目协调:黄海蓉 袁 钊 胡 也 蒋 翠 Ministry of Culture, the People’s Republic of China LIN Wei / ZHANG Fan / FENG Bi /ZHOU Shanyi/ LIAO Shani / 协 办:广东省立中山图书馆 林 薇 张 帆 廖沙泥 李若然 冯 碧 Department of Culture of Guangdong Province LI Ruoran / FENG Bi 行政助理:何 璐 刘苑婷 赵婉君 何惠玲 Administrative Assistants: HE Lu / LIU Wanting / ZHAO Wanjun / HE Huiling 总策展人:罗一平 推广协调:李姗姗 叶小青 刘丹妮 李诗媛 Organizer: Guangdong Museum of Art Media Coordinators: LI Shanshan / YE Xiaoqing / LIU Danni / LI Shiyuan 主策展人:张 晴 汉克·斯拉格 Co-organizer: Sun Yat-sen Library of Guangdong Province 策 展 人:金弘姬 乌特·梅塔·鲍尔 莎拉·威尔逊 主 编:罗一平 学术主持:孙 歌 副 主 编 : 陈 建 宁 江 郁 之 邵 珊 Chairman: LUO Yiping Chief Editor: LUO Yiping 论坛主持:孙 歌 莎拉·威尔逊 执行编辑:胡宇清 廖沙泥 Chief Curators: ZHANG Qing / Henk SLAGER Vice Editors: CHEN Jianning/JIANG Yuzhi/SHAO Shan Curators: Hong-hee KIM / Ute Meta BAUER / Sarah WILSON Excutive Editors: HU Yuqing / LIAO Shani 策展研究员:吕子华 王佩琴 洪利知 编辑团队: 张 芬 吕子华 黄海蓉 袁 钊 胡 也 Academic Conductor: SUN Ge Editing Team: ZHANG Fen / Lyu Zihua / HUANG Hairong / YUAN Zhao 开幕时间:2015 年 12 月 11 日 蒋 翠 林 薇 张 帆 冯 碧 周善怡 蔡舒婷 Forum Moderators: Sun Ge / Sarah WILSON Yaya Hu / JIANG Cui / ZHANG Fan / CAI Shuting -
Kris Kuksi Born 1973 in Springfield, MO Currently
Kris Kuksi Born 1973 in Springfield, MO Currently lives and works in Hays, KS Education 2005 “Old Master’s – New Visions”, Viechtach, Germany 2002 MFA in Studio Painting from Fort Hays State University, Hays, Kansas 2002 “Old Master’s – New Visions”, Reichenau, Austria 2001 Seminar on Studio Painting at Santa Reparata International School of Art, Florence, Italy 1998 BFA in Studio Painting from Fort Hays State University, Hays, Kansas Solo Exhibitions 2014 New Work, Mark Moore Gallery, Culver City, CA 2013 New Work, Joshua Liner Gallery, New York, NY 2012 Go West, curated by Joshua Liner Gallery at Mark Moore Gallery, Culver City, CA Triumph at Joshua Liner Gallery, New York, NY 2011 Travis Louie and Kris Kuksi at Roq La Rue Gallery, Seattle, WA 2010 SCOPE Art Fair with Joshua Liner Gallery, Basel, Switzerland 2009 Beast Anthology at Joshua Liner Gallery, New York, NY Divine Invasion at Meta Gallery, Toronto, ON 2008 Imminent Utopia at Joshua Liner Gallery, New York, NY 2007 Oblivion at Strychnin Gallery, Berlin, Gallery 2004 The Strange and The Fantastic at Leedy-Voulkos Art Center, Kansas City, MO The Great Passage at Optic Nerve Arts Gallery, Portland, OR 2003 The Within at The Fraser Gallery, Washington, DC 2002 Toward the Within, MFA Exhibition at Moss-Thorns Gallery of Art, Hays, KS Group Exhibitions 2012 Resolve, curated by Tony Curanaj at Joshua Liner Gallery, New York, NY 2011 PULSE Contemporary Art Fair with Joshua Liner Gallery, Miami, FL Cute and Creepy at Florida State University's Museum of Fine Arts PULSE Contemporary Art