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Kamer Aga-Oglu was curator of the Museum’s Asian collections from 1945 to 1974. An extraordinary scholar, Aga-Oglu singlehandedly transformed the study of Asian ceramics, focusing particularly on understudied Asian trade wares in the Museum’s collections. She described for the first time a whole new range of East Asian ceramics that until then were unknown, even among specialists, and she documented the pre-European movement of these ceramics throughout the Pacific and as far as Turkey and East Africa. Her catalogs of the Williams Collection contain dozens of photographs and detailed descriptions of the pieces.
Western scholars of ancient Chinese ceramics have long thought blue and white porcelain manufactured before the Ming (1368-1644 A.D.), dates to the Yuan (1279-1368 A.D.). Even in China today these porcelains are still termed “Yuan Blue and White.” Based upon first-hand surveys of sites in Inner Mongolia, Adam T. Kessler’s Song Blue and White Porcelain on the Silk Road demonstrates that blue and white was made during the Song (960-1279 A.D.) ended up in the hands of the Xi Xia (1038-1226 A.D.) and the Jin (1115-1234 A.D.). Blue and white found today in hoards was buried prior to Mongol invasions of China in the 1200s. Sites from the Philippines to Egypt have yielded Song blue and white. Also reviewed is the cobalt-bearing ore used by Song China to create blue and white.
This groundbreaking catalogue is the first of its kind to examine the exquisite Chinese brown- and black-glazed wares (including those commonly known as Temmoku), tracing their evolution and development from the fifth to the fifteenth century.
Widely considered to be the most comprehensive introduction to ceramics available, this book contains numerous step-by-step illustrations of various ceramic techniques to guide the beginner as well as inspirational ceramic pieces from contemporary potters from around the world. For the more experienced ceramist, there is a wealth of technical detail on things like glaze formulas and temperature conversions which make the book an ideal reference. To quote one review: ...I am a studio potter and would not be without it. The fourth edition has been updated to include profiles of key ceramists who have influenced the field, new material on marketing ceramics including using the internet, more on the use of computers, added coverage of paperclays, using gold and alternative glazes.
With over 630 striking color photos and illustrations, this Chinese art guide focuses on the rich tapestry of symbolism which makes up the basis of traditional Chinese art. Chinese Art: A Guide to Motifs and Visual Imagery includes detailed commentary and historical background information for the images that continuously reappear in the arts of China, including specific plants and animals, religious beings, mortals and inanimate objects. The book thoroughly illuminates the origins, common usages and diverse applications of popular Chinese symbols in a tone that is both engaging and authoritative. Chinese Art: A Guide to Motifs and Visual Imagery is an essential reference for collectors, museum-goers, guides, students and anyone else with a serious interest in the culture and history of China.
Surveys the art of the Age of Exploration in Europe, the Far East, and the Americas