Takatori Ware
Takatori ware is well known to practitioners of the tea ceremony, but its relatively limited and specialized production has caused its four hundred year history to be overlooked by many lovers of Japanese ceramics. The various tribulations and triumphs of the Takatori potters are remarkably well documented in a number of historical sources dating from the Edo period (1615-1867), bringing a moving, human side to the story of these elegant wares. Furthermore, archaeological excavation of a majority of the seven Takatori kilnsites, has helped to define the stylistic development of the wares. Thus, both the historical significance and the aesthetic appeal of Takatori ware make it worthy of wider recognition.
As was the case with other high-fired ceramics from southwestern Japan, including Arita (Imari), Satsuma, Hagi and Karatsu, the first makers of Takatori ware were Korean potters who were brought to Japan during and immediately following the Japanese invasions of Korea between 1592 and 1598. Takatori ware was the official ceramic of the Kuroda, rulers of Chikuzen province (now Fukuoka prefecture), for nearly 300 years until the abolition of the domain system in 1871.
The Beginnings of Takatori Ware and the Eimanji Takuma Kiln (ca. 1600 - 1614)
Although most of the Korean potters were brought to Japan as captives, it appears that the first Takatori potter, whose Korean name was Palsan, may have come willingly, since his wife and child were allowed to accompany him and he was given a generous stipend by Kuroda Nagamasa (memorial portrait as a monk, above), the warlord responsible for his arrival. In 1600, Nagamasa and his army of retainers, were awarded the province of Chikuzen, located on the northern coast of...
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...owever, rougher, more distorted wares such as those in the style of the Uchigaso kiln have begun to find popularity. The total number of workshops mainly producing ceramics in one Takatori style or another does not exceed ten, however, and most production is limited in quantity and often confined to specialty wares such as tea utensils. Despite the fact that Takatori ware is highly admired among specialists for its vessels for tea, it remains unknown even to many ordinary Japanese. Nonetheless, examples of the ware, both historical and contemporary, have found their way into private collections around the world, as well as major museums in Japan, North America, and Europe. Deeper understanding of the role Takatori ware has played in the development of taste in tea wares and other types of vessels cannot help but create a better appreciation of Japan's ceramic art.
The ‘Teacup Ballet’ is one of the first and best artworks Olive Cotton has exhibited outside Australia. It was created in 1935, a Gelatin Silver, 37.3cm x 29.6cm, photograph. Six identical teacups are laid out precisely, they each have pointed, triangular handles and slender bodies. Each teacup is placed on a circular saucer. In the centre, background two teacups are placed diagonally to each other, their handles pointing in the same direction, on the left hand side. In the middle ground, three teacups are placed in a diagonal line, parallel to teacups in the background. This time the teacup handles all point to the right hand side. In the foreground, right hand corner, there stands alone one teacup, its handle facing towards the left, pushed a little more inward, than the others. In the background, there is a light shining through lighting up the teacups, and shadows are formed. A curved line is also shaped contrasting the light from dark.
History has not been kind to Tenskwatawa, otherwise known as Lalawethika or The Prophet. He is inevitably compared to his heroic brother Tecumseh and fails to measure up in both physical and moral stature. He seems hidden in the shade of his brother's name, whereas his brother would never have had the stature he received if it were not for The Prophet's religion of classical Indian heritage. Lalawethika seemed to be plentiful of both physical and social shortcomings. An unimpressive-looking man of below-average height, fond of wearing jewelry, especially small medals, which he hung from his pierced nose and ears. His most striking physical characteristic was his damaged right eye, which was permanently closed after he injured it with a bow and arrow. Lalawethika was not a likable person. He was not accepted by the other Shawnee youths and refused to take part in traditionally prestigious male activities such as hunting and fighting. As a young man he boasted of his abilities but seemed to lack anyambition. He attempted to compensate for his misfortunes but was only counterproductive in making "a truculent, bragging personality that earned him his nickname Lalawethika (The Rattle or Noisemaker)" (p. 73). Two activities Lalawethika liked were drinking and talking. He wasn't as gifted a speaker as his brother Tecumseh, but he was nonetheless manipulative and forceful. Using these qualities he became a medicine man in Tecumseh's village. Lalawethika's transformation from a lazy drunkard into a powerful spiritual leader came after a dream in which he claimed to have been visited by the Great Spirit.
The Shang Dynasty invented and, over the years, perfected the technique of casting a bronze vessel from a clay mold assembly, which this wine vessel has also been made from using those techniques (Cantor). This mold was formed around a model of the vessel and was then cut into sections that were carved or impressed in the desired design, in this case the braided or grid design, on the inner or outer surfaces. The decorated clay piece-mold was then fired and reassembled around a clay core. Small bronze spacers were used to hold the piece-mold and the clay core apart. Then, molten bronze was poured into the mold. Using this piece-mold casting technique helped the bronze worker to achieve greater sharpness and definition in any intricate design
Haniwa warrior was made during the Kofun period (300BC-552BC). It was build from basic clay cylinders and more abstract shapes, such as human figures, houses, and animals. These sculptures always several feet in height with a built up forms. Japanese also used coil method to form the overall shape which makes the result tens very similar with the Qin Terracotta. This figure is wearing similar outfits compare with the northern horsemen during the Six Dynasties period (220 BC–589 BC). It shows the influence of culture context. Unlike Qin warrior, the Japanese placed Haniwa on the top of the grave mound. According to the Gardner’s Art through the Ages, the variety of figure types suggests that haniwa functioned not as military guards but as a spiritual barrier protecting both the living and the dead from contamination. It is very clear that haniwa is treated as a door which separate people from the living and the
Just two years before, Japan had reopened its boarders with Europe, unleashing waves of foreign imports. Silks, fans, kimonos and more sparked the wonder and imagination of Westerners and Europeans alike. According to the Brooklyn Museum of Art, “ the opening of the boarders not only reestablished diplomatic and mercantile relations between Japan and Europe, but also opened floodgates for cultural exchanges that would profoundly affect Western and European art.”
The object pictured above belongs to a group of artifacts known as incantation bowls, demon bowls, devil-trap bowls, or simply magic bowls. They were crafted by the first millennia Anno Domini people of Mesopotamia and are found, perhaps exclusively, in modern day Iraq. They can be dated as early as 3rd century AD and as late as 8th century. The majority date between 400AD and 700AD. Known pieces in public collections number around 2000 with several times that number likely to exist in private collections. (Saar 2) This report will expand on these statements as well as explore incantation bowls’ production, their function, and what little is known (or provided) of the particular bowl from the Kelsey museum. First, however, we’ll look at the historical setting of the location and era.
The Rococo idiom began to have an impact the American colonies. The Rococo styles were applied to on vessels. The silver trays had designs around that are carefully designed. The flat part of the silver tray had designs that interact with each other. The Tea server design is astonishing. The way the design are being mold on it. There is not any part of the tea server that has no design. I am surprised on how the people are able to design this piece of work. In reality, these items are pieces of artwork. My mother as well was astonished on the details the silver-plated tray and silver tea
First, new materials like metal clay, polymer clay, natural clay, ivory, bones, shells, wood, enamel, plastics and glass are being used. Second, some developments have taken place, improving the quality of artificial stones and making jewelry available to larger population segments from an economic point of view. Furthermore, the influence from other cultures and artistic forms is also changing the traditional jewelry. According to several publications, at the end of the 20th century a mix between Oriental and European techniques has been taking place. A case in point is Hawaiian jewelry which is highly fashionable and is enjoying of an increasing popularity during the last decades.
...ng materials also linking back to Herzog’s use of wood. This is reflected an interest in the use of Japanese wooden-frame traditions showing the sensitivity and irregularity of the composition.
Over the course of Japanese history, arguably, no artist is more famous for their works than Katsushika Hokusai. During his 88 years of life, he produced over 30,000 pieces of artwork, and heavily influenced Western styles of art. His most famous piece was created around 1831, a Japanese styled piece titled, The Great Wave off Kanagawa. This piece has stood as a defining piece of artwork in the Japanese culture for over 180 years, analyzed by students and authors for the interpretations filling the paper. The relationship between Hokusai’s painting has directly affected the Western point of view of Japanese style. The English author, Herbert Read’s novel interprets the painting distinctly differently from a Japanese point, American poet,
Matigari by Ngugi Thiong’O is a tale of a man trying to bring peace to his land and people after being exploited and ravaged for so long. Ngugi inserts many allusions to the Christian bible and depicts the main character, Matigari, as a Christ-like figure. Matigari embarks on his quest for truth, ignoring the threats of violence and death that surrounds him as he leaves his Eden in the woods. In the beginning of the novel, we find Matigari living a peaceful life in a place where there is no cruelty or sin, much like the Eden where Adam and Eve were given by God. Like Adam and Eve, he also left his Eden and delved into the real world, which is uprooted with sin and corruption. Matigari had been away for so long that like Adam and Eve, it was as if he was an innocent child again, not knowing the true nature of the outside world since all he knows is his blissful paradise of solitude. This new atmosphere of disparagement builds the foundation of the struggle of the people to live up to his vision of redemption and purity. His full name, Matigari ma Njiruungi, translates to “the patriots who survived the bullets”, which is a nod to his past and how he fought against imperialism and drove Settler William, the previous antagonist, out of his village (Gumah 170). The translation of his name can also point to the resurrection of Jesus Christ, who technically survived his penance of being nailed to the cross, since he rose three days after his supposed death. Both actions, those of Matigari and of Christ, were meant to absolve the people of sin and corruption. This sacrifice of oneself for the benefit of their people is not unlike what happens to Jose Arcadio Buendia in One Hundred Years of Solitude.
In modern society, Greek pottery is considered an art which is regarded as much for its aesthetic splendor as its historical significance. However, the role of pottery in ancient Greek culture was far more functional as its primary use was for the transportation and storage of such liquids as water and wine (Encyclopedia Britannica). Due to the durability of the fired clay material, Greek pottery is the only remaining art form that allows us to explore the evolution of this ancient culture. Through that examination, three distinct stylistic periods have been unveiled: Geometric, Orientalizing and Archaic. This analysis will detail these distinct periods as well as three design techniques prevalently used: black figure, red figure and white ground
On display in the beginning of this back room was a bunch of different sizes bowls that were well decorated, crafted, and painted. In this section I learn that “In 1954 Ladi Kwali became the first woman member of a pottery training center established in Abuja, Nigeria and still remains its best known artist skilled in tradition methods of hand-built pottery.” Which is metaphoric because usually the pottery was created by women, crafting its shape, size, and designs all by hand; they used wood to help create and be a mold for the shape of the pots. These pots were used daily naturally for various reasoning’s like cooking and storing water, during dry months or so that the women wouldn’t have to walk far from the villages to fetch the water. Some of them had coloring to them and I’m sure this came from plant dyes, the pottery was known to be very fragile and heavy, which is not hard to understand why given their circumstances. With the coloring the colors can convey important messages but may not always be symbolic or have a meaning depending on the culture. African cultures vary in meaning and traditions as it comes to the design work and colors of their materials and clothing. Bowling making goes hand in hand with the African baskets and weaving which is a huge part of the culture and daily life of African
In the 15th century, tea became such a revered beverage that a whole culture developed around it, culminating in the tea ceremony. The drinking of tea became highly structured recreation centered on such aesthetic and philosophical concepts as wabi (austere beauty) and sabi (tranquility). Eventually the tea ceremony became synonymous with cultural refinement, and court nobles and the wealthy would frequently participate in the ritual. It was only much later that the custom of tea drinking spread to the average person and tea became an indispensable daily beverage. The entrenched in everyday life, it has become an indispensable to drink tea in the life and culture of the Japanese. In addition, the deep