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Handmade Culture is the first comprehensive and cohesive study in any language to examine Raku, one of Japan’s most famous arts and a pottery technique practiced around the world. More than a history of ceramics, this innovative work considers four centuries of cultural invention and reinvention during times of both political stasis and socioeconomic upheaval. It combines scholarly erudition with an accessible story through its lively and lucid prose and its generous illustrations. The author’s own experiences as the son of a professional potter and a historian inform his unique interdisciplinary approach, manifested particularly in his sensitivity to both technical ceramic issues and theoretical historical concerns. Handmade Culture makes ample use of archaeological evidence, heirloom ceramics, tea diaries, letters, woodblock prints, and gazetteers and other publications to narrate the compelling history of Raku, a fresh approach that sheds light not only on an important traditional art from Japan, but on the study of cultural history itself.
The stereotype of Zen Buddhism as a minimalistic or even immaterial meditative tradition persists in the Euro-American cultural imagination. This volume calls attention to the vast range of "stuff" in Zen by highlighting the material abundance and iconic range of the Soto, Rinzai, and Obaku sects in Japan. Chapters on beads, bowls, buildings, staffs, statues, rags, robes, and even retail commodities in America all shed new light on overlooked items of lay and monastic practice in both historical and contemporary perspectives. Nine authors from the cognate fields of art history, religious studies, and the history of material culture analyze these "Zen matters" in all four senses of the phrase: the interdisciplinary study of Zen's matters (objects and images) ultimately speaks to larger Zen matters (ideas, ideals) that matter (in the predicate sense) to both male and female practitioners, often because such matters (economic considerations) help to ensure the cultural and institutional survival of the tradition. Zen and Material Culture expands the study of Japanese Zen Buddhism to include material inquiry as an important complement to mainly textual, institutional, or ritual studies. It also broadens the traditional purview of art history by incorporating the visual culture of everyday Zen objects and images into the canon of recognized masterpieces by elite artists. Finally, the volume extends Japanese material and visual cultural studies into new research territory by taking up Zen's rich trove of materia liturgica and supplementing the largely secular approach to studying Japanese popular culture. This groundbreaking volume will be a resource for anyone whose interests lie at the intersection of Zen art, architecture, history, ritual, tea ceremony, women's studies, and the fine line between Buddhist materiality and materialism.
Discover the exceptional artistry and rich traditions being kept alive by Japanese artisans in the twenty-first century. In an era where global interest in handmade, small-batch products is heightening as a response to mass production, Handmade in Japan takes a look inside the workshops of the country's artisans, revealing their endless pursuit of excellence, and what it means to dedicate one's life to the stewardship of irreplaceable cultural heritage. International readers with an appreciation for handmade processes using sustainable materials will find inspiration in the exploration of craft ecosystems, such as the harvesting of natural lacquer in Iwate. Likewise, those who admire skill and beauty will enjoy discovering the lengths these makers go to in ensuring every product is perfect.
"Crafts were central to daily life in early modern Japan. They were powerful carriers of knowledge, sociality, and identity, and how and from what materials they were made were matters of serious concern among all classes of society. In Craft Culture in Early Modern Japan, Christine M. E. Guth examines the network of forces--both material and immaterial--that supported Japan's rich, diverse, and aesthetically sophisticated artifactual culture between the late sixteenth and mid-nineteenth centuries. Exploring the institutions, modes of thought, and reciprocal relationships among people, materials, and tools, she draws particular attention to the role of women in crafts, embodied knowledge, and the special place of lacquer as a medium. By examining the ways and values of making that transcend specific media and practices, Guth illuminates the 'craft culture' of early modern Japan"--
A fresh and entertaining perspective on materials science involving the craftspeople who have built their careers around working with materials such as clay, stone, steel and wool. From atomic structures to theories about magnetic forces, scientific progress has given us a good grasp on the properties of many different materials. However, most scientists cannot measure the temperature of steel just by looking at it, or sculpt stone into all kinds of shapes, or know how it feels to blow up a balloon of glass. Handmade is the story of materials through making and doing. Author and material scientist Anna Ploszajski journeys into the domain of makers and craftspeople to comprehend how the most popular materials really work. Anna has the fresh perspective of someone at the forefront of the field. Each chapter features her accounts of learning from masters of their respective crafts. Along the way, Anna builds a fuller picture of materials and their place in society, as well as how they have intersected with her own life experiences – from land racing on American salt flats to swimming the English Channel. She visits a blacksmith, explores how working with the primal material, clay, has brought about some of the most advanced technologies, and delves down to the atomic scale of glass to find out what makes it 'glassy'. Handmade affords us a new understanding of the materials we encounter every day and an appreciation for the skills needed to fashion them into objects that are perfectly formed for the jobs they do.
In the post-socialist countries, the subject of consumption has not received sufficient attention from the perspective of Consumer Culture Theory. The opinion has long prevailed among the majority of social scientists from this region that consumer society and consumptive behaviour is a socially destructive phenomenon and one of the main causes of problems in contemporary society. This impression has prevented them from scrutinizing the symbolic dimension of consumption and led them to a critical analysis of the social causes and environmental consequences of excessive consumption. The examination of symbolic aspects of consumer culture or the mutual interaction of culture and marketing communication, for example, have remained outside the realm of academic interest. The absence of comprehensive academic interest in the topic of consumer culture does not, however, mean that consumer culture is not a subject of research. Such research, instead, takes place outside of the sphere of the university in the commercial sector and is primarily focused on issues of how to successfully sell products and services. Due to competitive concerns, commercial research into consumer culture has led to the privatization of its results, which runs contrary to the ideal of science as an open and critical project. The goal of this book is to create a counterbalance to this “science in the shadows” and overcome the mutual distrust between the academic and commercial spheres and make possible the transfer of recent discoveries between the two parties. This publication is dedicated to the exploration of three areas of consumer culture: research on consumer culture and consumer behaviour in post-socialist countries (especially in the Czech Republic), new developments in the theory of consumer culture and innovative methodological approaches to its research and, finally, to recent criticism of consumer culture and consumerism. It emerged from the collaboration of a team of authors made up of leading European researchers in the field of consumer culture, such as Kate Soper (London Metropolitan University), Franz Liebl (Berlin University of the Arts) and Rainer Gries (University of Vienna), as well as promising young scholars from the Czech Republic, Great Britain, Sweden, Serbia, Poland and Portugal. This book will be of great interest to students and scholars of sociology, cultural studies, marketing and market research.
This carefully curated book in the ongoing Juxtapoz series collects handicrafts that have crossed the boundary between craft, design and contemporary art.
William Coperthwaite is a teacher, builder, designer, and writer who for many years hasexplored the possibilities of true simplicity on a homestead on the north coast of Maine. In the spirit of Henry David Thoreau, Emily Dickinson, and Helen and Scott Nearing, Coperthwaite has fashioned a livelihood of integrity and completeness-buying almost nothing, providing for his own needs, and serving as a guide and companion to hundreds of apprentices drawn to his unique way of being. A Handmade Life carries Coperthwaite's ongoing experiments with hand tools, hand-grown and gathered food, and handmade shelter, clothing, and furnishings out into the world to challenge and inspire. His writing is both philosophical and practical, exploring themes of beauty, work, education, and design while giving instruction on the hand-crafting of the necessities of life. Richly illustrated with luminous color photographs by Peter Forbes, the book is a moving and inspirational testament to a new practice of old ways of life.
The city of Kyoto has undergone radical shifts in its significance as a political and cultural center, as a hub of the national bureaucracy, as a symbolic and religious center, and as a site for the production and display of art. However, the field of Japanese history and culture lacks a book that considers Kyoto on its own terms as a historic city with a changing identity. Examining cultural production in the city of Kyoto in two periods of political transition, this book promises to be a major step forward in advancing our knowledge of Kyoto’s history and culture. Its chapters focus on two periods in Kyoto’s history in which the old capital was politically marginalized: the early Edo period, when the center of power shifted from the old imperial capital to the new warriors’ capital of Edo; and the Meiji period, when the imperial court itself was moved to the new modern center of Tokyo. The contributors argue that in both periods the response of Kyoto elites—emperors, courtiers, tea masters, municipal leaders, monks, and merchants—was artistic production and cultural revival. As an artistic, cultural and historical study of Japan's most important historic city, this book will be invaluable to students and scholars of Japanese history, Asian history, the Edo and Meiji periods, art history, visual culture and cultural history.
This book challenges the perception of Japan as a ‘copying culture’ through a series of detailed ethnographic and historical case studies. It addresses a question about why the West has had such a fascination for the adeptness with which the Japanese apparently assimilate all things foreign and at the same time such a fear of their skill at artificially remaking and automating the world around them. Countering the idea of a Japan that deviously or ingenuously copies others, it elucidates the history of creative exchanges with the outside world and the particular myths, philosophies and concepts which are emblematic of the origins and originality of copying in Japan. The volume demonstrates the diversity and creativity of copying in the Japanese context through the translation of a series of otherwise loosely related ideas and concepts into objects, images, texts and practices of reproduction, which include: shamanic theatre, puppetry, tea utensils, Kyoto town houses, architectural models, genres of painting, calligraphy, and poetry, ‘sample’ food displays, and the fashion and car industries.