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Born in 1915, Hiroshima Kazuo is a professional basketmaker in the Hinokage region on the Japanese island of Kyushu. This book celebrates the life of this master bamboo craftsman and integrates the story of his career with a chronicle of life and times in a now-rare mountain culture. Photographs illustrate scenic views of Hinokage, tools and materials essential to the professional basketmaker and a comprehensive collection of Hiroshima's baskets.
Born in 1915, Hiroshima Kazuo is the last prof'l. basketmaker in the Hinokage region on the Japanese island of Kyushu. This beautiful book celebrates the life work of this master bamboo craftsman & integrates the absorbing story of Mr. Hiroshima's 64-year career with an illustrated chronicle of his life & times. 100+ photos illustrate a comprehensive collection of his baskets, as well as tools & materials essential to the prof'l. basketmaker & scenes of Hinokage. As an itinerant basketmaker, he visited households that requested his services, making whatever new baskets were required & repairing or replacing broken ones. Using local bamboo, his baskets are custom-made for fishing & cultivation of tea, shiitake mushrooms, & timber on steep slopes.
This is a fully illustrated guide to the art, craft and design of bamboo, as demonstrated by the Japanese. It demonstrates how to use inexpensive materials to create sophisticated effects in the home and garden. A list of bamboo collections, gardens and research sources is included. For centuries, bamboo has fascinated legions of craftspeople, plant lovers and devotees of the handcrafted object. And nowhere is bamboo used more elegantly and distinctly than in Japan. Its presence touches every part of daily life-art, crafts, design, literature, and food. Its beauty
A Measure of the Earth provides an unparalleled window into an overlooked corner of recent American history: the traditional basketry revival of the past fifty years. Steve Cole and Martha Ware amassed a remarkable collection using the most stringent guidelines: baskets made from undyed domestic materials that have been harvested by the maker. An essay by Nicholas Bell details the long-standing use of traditional fibers such as black ash and white oak, willow and sweetgrass, and the perseverance of a select few to claim these elements--the land itself--for the enrichment of daily life. As they trek through woods, fields, farm, and shore in the quest for the right ingredients for a basket, these men and women cultivate an enviable knowledge of the land. Each basket crafted from this knowledge provides not only evidence of this connection to place, but also a measure of the earth. Drawing on conversations with the basketmakers from across the country and reproducing many of their documentary photographs, Bell offers an intimate glimpse of their lifeways, motivations, and hopes. Lavish illustrations of every basket convey the humble, tactile beauty of these functional vessels.
"The book also addresses issues of canon formation: by what complex process are some artists and objects singled out to communicate rhetorical or aesthetic meaning while others lapse into the background."--BOOK JACKET.
Bamboo is present in nearly every aspect of traditional Japanese life, yet Japanese bamboo art, with its refined beauty and technical sophistication, has been little known in the West until recent years. This publication provides an overdue introduction to these exquisite works, which represent a cultural tradition stretching back hundreds of years. The works illustrated and discussed are exceptional for their broad representation of many notable bamboo masters, and highlight key stages in the modern history of Japanese bamboo art. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
This volume of twelve essays with useful bibliographies, in the fields of history, art, religion, literature, anthropology, political science, and law, documents the history of United States scholarship on Japan since 1945.
Written by the former director of European and American operations for Casio Computer Ltd., this major new work calls for revolutionary changes in Japanese society, including the diminished role of the emperor and the establishment of an American-style business management system. Illustrations.
DANIEL JOHNSTON, raised on a farm in Randolph County, returned from Thailand with a new way to make monumental pots. Back home in North Carolina, he built a log shop and a whale of a kiln for wood-firing. Then he set out to create beautiful pots, grand in scale, graceful in form, and burned bright in a blend of ash and salt. With mastery achieved and apprentices to teach, Daniel Johnston turned his brain to massive installations. First, he made a hundred large jars and lined them along the rough road that runs past his shop and kiln. Next, he arranged curving clusters of big pots inside pine frames, slatted like corn cribs, to separate them from the slick interiors of four fine galleries in succession. Then, in concluding the second phase of his professional career, Daniel Johnston built an open-air installation on the grounds around the North Carolina Museum of Art, where 178 handmade, wood-fired columns march across a slope in a straight line, 350 feet in length, that dips and lifts with the heave while the tops of the pots maintain a level horizon. In 2000, when he was still Mark Hewitt's apprentice, Daniel Johnston met Henry Glassie, who has done fieldwork on ceramic traditions in the United States, Brazil, Italy, Turkey, Bangladesh, China, and Japan. Over the years, during a steady stream of intimate interviews, Glassie gathered the understanding that enabled him to compose this portrait of Daniel Johnston, a young artist who makes great pots in the eastern Piedmont of North Carolina.
This volume of twelve essays with useful bibliographies, in the fields of history, art, religion, literature, anthropology, political science, and law, documents the history of United States scholarship on Japan since 1945.