In the words of writer Richard Whately, “It is the neglect of timely repair that makes rebuilding necessary”. However, to the owners of broken ceramics living in 19th century Japan, the process of timely repair is no longer an option. Nevertheless, the restoration process of kintsugi is an alternative to broken ceramics. We cannot know for certain whether the owners of our piece were of means or skilled artisans themselves, but we do know the same process was used to restore the ceramic this paper will try to focus on. The piece shown in figure 1, being a doubtless example, has a larger story to tell than the fact that it was mended. The special characteristics that make it stand out from the hoard of other ceramics would be the radical changes in Japanese society in the 19th century when this piece was restored, the poetic origins of the decorations, and how the entire process of kintsugi reflect the mentality of the artisans. Of course, if we consider the entire wide pool of ceramics there is bound to be a piece similar to this, however, the fact that this piece is well intact and how well it represents 19th century Japan is worth our attention.
Basic rundown
To quench the thirst of any impatient readers, and to give a larger picture of the object in question, a basic rundown is in order. The ceramic sadly, does not have a specific date of manufacture as it was only briefly displayed at Herbert F. Johnson Museum of Art during the display of Flickwerk: The Aesthetics of Mended Japanese Ceramics and likely returned to the owners afterwards, as with the other displays. However, through the process of deduction, the date can be roughly estimated. Other than that, the container uses material similar used by many artists during 19th ...
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... autographed. The poet’s career and restoration of the ware point that it was likely made during the mid-19th century, and is even potentialy molded by the poet herself. Other than that, the ware also hints us of the culture, the mindset, and the religion of the back grounding environment. After further research we are able to find more about the time in which it was restored, the Meiji restoration was a defining moment in Japan’s history telling us how the deteriorating system of feudalistic Japan broke only to be restored with more to show. The once broken yet repaired to further glory of Meiji ruled Japan not only reflects the nature of the ceramic container the paper focused on, it also defined the history of Asia in the 20th century. From the view of a historical enthusiast, 19th century Japan can be represented in the form of one beautiful piece of porcelain.
The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare these to other scenes and styles of the same and other painters. Finally, one can then hypothesize where, why, and how this piece was used.
I learned about many significant artwork and artists in this class. This class provided me with a better understanding of the history of the world of art, but also helped me understand the development of art styles. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
Throughout history artists have used art as a means to reflect the on goings of the society surrounding them. Many times, novels serve as primary sources in the future for students to reflect on past history. Students can successfully use novels as a source of understanding past events. Different sentiments and points of views within novels serve as the information one may use to reflect on these events. Natsume Soseki’s novel Kokoro successfully encapsulates much of what has been discussed in class, parallels with the events in Japan at the time the novel takes place, and serves as a social commentary to describe these events in Japan at the time of the Mejeii Restoration and beyond. Therefore, Kokoro successfully serves as a primary source students may use to enable them to understand institutions like conflicting views Whites by the Japanese, the role of women, and the population’s analysis of the Emperor.
With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.
The Greek krater is only one of many forms of ceramics found throughout the Greek world. The existence of the krater stems from the Greek’s custom of drinking wine diluted with water. The krater was used for mixing. While all kraters feature a large open mouth for dispensing the wine, there are four distinctive styles recognised by Historians. This investigation will be focusing on a krater that is currently housed in the Classics Museum at the Australian National University. The krater is a particular style known as the ‘column krater’ identifiable by the position of its handles.
Enchantment of the World, Japan p. 70. 18 Davidson, Judith. Japan - Where East Meets West, p.74. 19 p. /.99. 20 p. 111.
Japan’s dances and dramas as they are seen today contain 1300 years of continuous uninterrupted history. This prodigious feat of conservation, theatrically speaking, makes Japan an extraordinary and unique country. In all of Asia, where tradition generally is sanctified and change eschewed, Japan stands as the only country whose theatre is its entirety has never suffered an eclipse nor undergone any drastic revivification or renovation. The most traditional form of Japanese theatre is kabuki. Its origin goes back to the latter part of the 16th century and, with extensive and continuous evolution, it has now been perfected into a state of classical refinement. Though not as flourishing as it once was, the kabuki theatre retains wide popularity among the people, and is in fact drawing quite large audiences even now.
...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.
This piece is a ceramic sculpture, and appears to be representational of Norwegian girls. Representational art refers to images that are clearly recognizable for what they’re supposed to be. It appears that this ceramic piece was done using the pinch pot technique. The pinch pot technique is done by forming a lump of clay that fits the size of the hand. It is then smoothed into the desired shaped and then the surface is further smoothed with a damp sponge. The colors on this ceramic piece are done with glaze. The colors were brushed on, which is the most time-consuming way to glaze, but it is vital for reaching nooks and crannies and applying colors precisely. Brushing allows for more control of the surface design with glazing compared to other glazing methods.
Shirane Haruo. et al. Early Modern Japanese Literature: An Anthology 1600-1900. New York: Colombia University Press, 2002. Print.
People of Je-ju have developed and kept their traditions for a long period. This island represents a home to thousands of local legends. “Stone grandfather,” originally named Dol Hareungbang, was constructed and carved from a block of basalt. Tall, short, and cylinder-shaped wooden and rock structures painted with only black and grey color and sometimes those are hard to notice along the highway. Every moment I see this statue, it freaks me out because when I see it from far away, it looks like a tall person standing still, but moving closer and closer you might realize it is just a rock shaped into human form. I was so curious I stepped more closer and glanced through the details of the statue. When I touched it, the texture was rough, hard,
The Heian period(794-1185), the so-called golden age of Japanese culture, produced some of the finest works of Japanese literature.1 The most well known work from this period, the Genji Monogatari, is considered to be the “oldest novel still recognized today as a major masterpiece.”2 It can also be said that the Genji Monogatari is proof of the ingenuity of the Japanese in assimilating Chinese culture and politics. As a monogatari, a style of narrative with poems interspersed within it, the characters and settings frequently allude to Chinese poems and stories. In addition to displaying the poetic prowess that the Japanese had attained by this time period, the Genji Monogatari also demonstrates how politics and gender ideals were adopted from the Chinese.
Walking into the gallery filled with ceramic pieces reminded me of the ceramics class I took my senior year in high school. Out of all the gallery openings that I have been to so far, my favorite pieces were in this one. The ceramic pieces created by Chanda Droske were placed on one side of the gallery and the work of Mike Kern on the other. While the pieces of the two have some similarities, I feel like the arrangement of the gallery highlighted the differences between them.
Style, class ,creativity ,prosperity, peace thee aesthetics of a beautiful and ravish life among many were revived in art works .Ukiyo-e became a form of admiration of this lifestyle thus it somehow built a relationship between the artists and the consumers which were more often than none the subjects .In time emerged the ukiyo woodblock prints which were inspired by Buddhist literature from china ,but were initially created as a less expensive subs...