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Imari and Kakiemon wares are produced in the Arita area of Kyushu, a focus ofomestic porcelain production since the 17th century. In addition to theophisticated potting techniques and cobalt/celadon underglaze decorationearned from Korea, Japanese potters learned Chinese overglaze enamelechniques and the brilliant porcelains of Kyushu appeared almost overnight.hese porcelains were shipped through the port of Imari, and hence becamenown by that name. Wares from the Kakiemon kilns are well known for theirright yet subtle red enamel, the delicate balance between decorated andhite areas, and the painstaking care directed to every step from refininghe clay to the enamel firing.;This book provides a visual overview of theistory, techniques and distinguishing features of both Imari and Kakiemonares.
Popular Japanese porcelain of the 19th and 20th centuries, including Kakiemon, Nabeshima, Arita, Hirado, Fukagawa, Imari, Kutani, Satsuma, and individual craftsmen's works. The European-influenced styles of the 20th century, such as Nippon, Noritake, and Occupied Japan, are also presented. Over 500 color photos and well researched text provide the basic reference in this field.
Since the early seventeenth century when the secret of porcelain was first carried from China to Japan by Korean potters, Japan has produced some of the world's most exquisite porcelains. The Kakiemon masters in Arita on the island of Kyushu gained particular renown for the quality of their colourful overglaze enamels and artistic designs. Through exports Kakiemon ware had a profound impact on the development of European porcelain in the eighteenth and nineteenth centuries, inspiring ceramic manufacturers in both continental Europe and England to reach new levels of technical and artistic achievement. Dragons, Tigers and Bamboo highlights 170 masterpieces from the Bill and Molly Anne Macdonald Collection at the Gardiner Museum of Ceramic Art in Toronto, Canada. This extraordinary collection illustrates many different aspects of the historical interaction between Japanese and European porcelain during the seventeenth, eighteenth and nineteenth centuries. It is unquestionably the best cross-cultural porcelain collection in Canada and is among the best of its kind in the world. Illustrated with more than 160 full-colour photographs commissioned for this volume, Dragons, Tigers and Bamboo for the first time makes the Macdonald Collection accessible to an international audience.
Featuring dozens of color photographs and extensive commentary, this Japanese ceramics guide is an comprehensive resource for collectors and art enthusiasts. For the collector of Japanese ceramics, the chief value of the book will lie in the author's very practical advice on what, where, and how to collect; what to pay; how to choose a dealer; how to distinguish between the genuine and the imitation; and similar matters of importance. For the non-collector who nevertheless admires Japanese ceramics, the main interest will undoubtedly lie in the concise and highly readable background information that Mr. Munsterberg presents and in his amiable manner of leading the reader to an appreciation of Japan's ceramic art. For both the collector and the non-collector, the abundance of illustrations, many of them in color, will provide an aesthetic treat.
Ceramics and Modernity in Japan offers a set of critical perspectives on the creation, patronage, circulation, and preservation of ceramics during Japan’s most dramatic period of modernization, the 1860s to 1960s. As in other parts of the world, ceramics in modern Japan developed along the three ontological trajectories of art, craft, and design. Yet, it is widely believed that no other modern nation was engaged with ceramics as much as Japan—a "potter’s paradise"—in terms of creation, exhibition, and discourse. This book explores how Japanese ceramics came to achieve such a status and why they were such significant forms of cultural production. Its medium-specific focus encourages examination of issues regarding materials and practices unique to ceramics, including their distinct role throughout Japanese cultural history. Going beyond descriptive historical treatments of ceramics as the products of individuals or particular styles, the closely intertwined chapters also probe the relationship between ceramics and modernity, including the ways in which ceramics in Japan were related to their counterparts in Asia and Europe. Featuring contributions by leading international specialists, this book will be useful to students and scholars of art history, design, and Japanese studies.