Monthly Archives: September 2016

Aussie sculptural landscape

 

 

Palmer-sculpture-Biennial-Greg Johns sculptural art

Greg Johns sculpture –  Palmer

Photo – Bill Doyle

 

 

Palmer Sculpture Biennial

 

Windswept, undulating plains saturated with lucid light and the occasional rocky outcrops with smooth erosion, dotted with solitary trees of tenacity making a statement of survival. A perfect location for creating the powerful dichotomy of modern contemporary sculptures against an ancient landscape. The entrancing Aussie landscapes on their own wrench deep chords from the soul, so having a sculpture to study in this setting under pristine skies is a pure bonus.
Palmer is situated 70km East of Adelaide in the state of South Australia on the Murray Plains and sculptor Greg Johns has a property nearby on the eastern escarpment of the Mount Lofty ranges. which is the location for the Palmer Sculpture Biennial. His objective for this land is to display a collection of his own works and a range of other contemporary sculptures, along with ecological rehabilitation. The range of work included involves symbolic reading of the landscape, responding not only to the physical but also the mythical and the spiritual senses of the Australian landscape. Sculptures are placed in relationship to the whole landscape; it is not a ‘sculpture park’ as such.
A biennial sculpture exhibition was established in 2004 which includes emerging, mid career and established artists, with diverse styles of practice represented. A distinguished artist is also invited to participate. The Indigenous people and traditional custodians of this location are the Peramangk and the area has a rich Indigenous history.

 

Website

 

 

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 ‘Returning to Whole’ – Astra Parker

2010

 

 

 

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Ancient She-oak tree – photo Bill Doyle

 

 

 

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 ‘Hearth (Resting Place)’ – Andre Lloyd Lawrence

2014

 

 

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Astra Parker – ‘Migration Sero’

2016

Photo – Bill Doyle

 

 

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Karl Meyer – ‘Substance’

2016

 

 

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Astra Parker – ‘Rhythm Underground’

2014

Photo – Bill Doyle

flickr

 

 

 

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Bert Flugelman – ‘Serpent II’

2008

Photo – Bill Doyle

 

2016 nicholas-uhlmann-the-hood-iii boat sculpture

Nicholas Uhlmann – ‘The Hood III’

2016

 

 

erwin-fabian-palinode-2013 Palmer sculpture

Erwin Fabian – ‘Palinode’

( Centenarian still sculpting)

2016

 

 

 

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Ormerod, Chris – ‘The Vital Arc’

2012

 

 

 

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Clancy Warner – ‘Whitewashing History’

2016

Photo – Bill Doyle

flickr

 

 

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Dianne Coulter – ‘Earth Force, Series 3′

7th Palmer Sculpture Biennial – 2016

 

 

 

egbert-wellmann-ambiguous-landscape sculpture

Egbert Wellmann – ‘Ambiguous’ 

 

 

 

Nicholas Uhlmann – Rock Bottom Riser

Nicholas Uhlmann – ‘Rock Bottom Riser’

2008

 Palmer Sculpture Biennial

 

 

 

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Ted Jonnson – ‘Birdman’

Paula Mcmanus – flickr

 

 

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‘Merging – Emerging figure’  –  Corten Steel – Greg Johns

 

 

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George Andric – ‘Everything Changes Everything Returns’

2012

 

 

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‘Guardian Figures’ – Greg Johns

Permanent installation   Photo – Bill Doyle

 

 

 

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‘Horizon Figure V’ – Greg Johns

2014

Permanent installation   Photo – Bill Doyle

 

 

 

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‘Seeing The Land’  – Greg Johns

2012

 

 

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Stephen Lloyd,  – ‘Heatwave’

2012

caroline lloyd-flickr

 

 

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Ian Hamilton and John Hayward –  ‘The Bower Tower Project’

2012

 

 

 

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‘Bird Spirit Vessel’ – Nicholas Uhlmann

 

 

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‘Return Voyager’ – Nick Uhlmann

2014

Photo – Bill Doyle

 

 

john-blines-displaced-1 Palmer Biennial sculpture

John Blines – ‘Displaced 1′

 

 

lorry-wedding-morchioro-entanglement-bill-doyle-flickr-recycled-hemp-rope-jarrah-steel

Lorry Wedding-Marchioro – ‘Entanglement’

2016

 

McClelland Gallery Sculpture Park

 

McClelland Gallery & Sculpture Park showcases over 100 permanent outdoor sculptures, mainly of contemporary style, set within a diverse landscape of natural Australian bush plants, bracken paths, heathlands, landscaped gardens, sweeping lawns and lakes. The 16 hectares park is situated in Langwarrin on the Mornington Peninsula and includes a cafe. McClelland is a not-for-profit organisation committed to the presentation and promotion of sculpture in Australia and runs the Biennial McClelland Sculpture Survey which selects a new sculpture for the park.

McClelland Gallery & Sculpture Park
390 McClelland Drive
Langwarrin, Victoria
3910 Australia

Admission by donation

Opening hours:
Tues to Sun : 10am – 5pm
Closed on Mondays and
some Public Holidays

Website

 

mcclelland-gallery-permanent-collection-alexander-the-great-by-dean-colls

‘Alexander The Great’ by Dean Colls

 

 

 

mcclelland-gallery-permanent-collection Karl Duldig - the myth of Echo - female sculpture figure

Karl Duldig – Myth of Echo

 

 

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Dean Bowen – ‘Echinda’

2013

 

 

fell-for-silo-robbie-rowlands-mcclelland-gallery-2010

‘Fell for Silo’ – Robbie Rowlands

2010

 

 

louis-pratt-a-backwards-attitude sculpture of a man leaning backwards

‘A Backwards Attitude’ – Louis Pratt

 

 

 

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‘Anno Domino’ – Geoffrey Ricardo

2009

 

 

lenton-parr-tara McCLelland Gallery

‘Tara’ – Lenton Parr

 

 

 

 

mcclelland-gallery-Snuffle green sculpture Sebastian Di Mauro

‘Snuffle’ –  Sebastian Di Mauro

2002-03

 

 

mcclelland-gallery-permanent-collection - 'Metamorph' - Erwin Fabian

‘Metamorph’ – Erwin Fabian

 

 

 

mcclelland-gallery-permanent-collection Alien, mid-century style sculpture John Kelly

‘Alien’ by John Kelly

 

 

 

mcclelland-gallery-permanent-collection 'Landing Object II ' by Vincas Jomantas

‘Landing Object II ‘ by Vincas Jomantas

 

 

mcclelland-gallery-permanent-collection 'Waterhole' by Sergio Hernandez Merchan seated horse sculpture

McClelland Gallery – Permanent Collection. ‘Waterhole’ –  Sergio Hernandez Merchan

 

 

 

mcclelland-gallery-permanent-collection-geoffrey-bartlett-sculpture 'Rise of the Flowering Plant'

‘Rise of the Flowering Plant’ (Lower cretacious)  by Geoffrey Bartlett

 

 

 

 

golden-beast-troy-emery high-density-taxidermy-foam,-PVC-tinsel,-polyurethane-adhesive,-steel-rods

Disco yowie ‘Golden Beast’ – Troy Emery

 

 

 

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  ‘At the Centre There is Nothing’ – Greg Johns

 

 

 

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‘Twisters’  Phil Price, New Zealand

2006

Photo Adrienne Rewi

 

 

polaroid-lea-williams contemporary sculpture in a bush locarion

‘Polaroid’  Lea Williams

 

 

 

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James Parrett – ‘M Fifteen’

 

 

 

regeneration-2014-sonia-payes - conjoined white abstract female heads

‘ReGeneration’ –  Sonia Payes

2014

 

 

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Greg Johns – ‘To the Centre II’

2007 – photographs © Marcus Bunyan

 

 

sculpture-gardens-the-wind-makes-this-play-melodious-music

Windchime Sculpture

 

 

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Wanda Gillespie

 

 

 

adrian-mauriks-strange-fruit-2010-photograph © Marcus Bunyan

Adrian Mauriks – ‘Strange Fruit’

2010

photograph © Marcus Bunyan

 

 

mcclelland-sculpture-survey-picture-of-mcclelland-gallery-sculpture-park-langwarrin Stainless steel sculpture

Contemporary stainless steel sculpture

McCelland Gallery Sculpture Park

 

 

Other Australian landscape sculptures

 

 

scrapartoz-the-rain-dragon-by-andrew-whitehead the-rain-dragon-now-lives-in-a-park-in-the-town-of-lockhart-nsw

‘The Rain Dragon’ by Andrew Whitehead

Lockhart, NSW

 

 

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‘Swagman and Dog’ scrap metal sculpture by Andrew Whitehead

 2012

 

 

finish-Andrew Whitehead scrap metal horse

Andrew Whitehead Horse and Rider

Shepparton Pony Club, VIC

 

 

 

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Andrew Whitehead  scrap metal Boxing Kangaroo sculpture

 

 

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‘L’Artiste’, by Frederic Berjot

Swell Sculpture Festival, Gold Coast, QLD

2010

 

 

 

Spirit-House-2005 Craig Medson

‘Spirit House’ – Craig Medson, QLD

2005

 

 

the-sculpture-has-been-nick-named-barb-and-has-been-been-built-by-barcaldine-based-artist-milynda-rogers

This sculpture by Milynda Rogers has been nicknamed ‘Barb’ because of  approx. 3km of barbed wire that went into its construction.

Muttaburra, Queensland

 

 

 

the-william-ricketts-sanctuary-sculpture-garden-in-mt-dandenong-photo-by-trish-hunter

The William Ricketts Sanctuary sculpture garden in Mt Dandenong, Melbourne

photo by Trish Hunter

 

 

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Stephen King – ‘Fallout’

S x S Bondi 2013 – photo Clyde Yee

 

 

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Tim Macfarlane Reid, ‘Still Connected’

Sculpture by the Sea, Bondi 2015

 

 

 

Jeramie Carters-sculpture-the-dancer photo-a-man-runs-past-jeramie-carters-sculpture-the-dancer-as-final-preparations-are-made-ahead-of-the-sculpture-by-sea-art-exhibition-near

Jeramie Carter – ‘The Dancer’ 

Photo – Sergio Dionisio: AAP

 

 

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‘Venus’ – Duncan Stemler

1997

Clyde Yee photo

 

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Byung Chul Ahn

 ‘Sculpture by the Sea’ at Bondi to Bronte coastal walk

 

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‘Australia Garden’, Cranbourne

see more of the Australia Garden on veniceclayartists article –  Mystical gardens and sculpture tour

 
 
 
 
 

 

NEXT POST —  Andrea and John Gill – decorative ceramic art

 

The ceramic recreations of Munemi Yorigami

 

re-creations - Munemi Yorigami symmetrical sculpture

Munemi Yorigami

 

Breaking from Japanese ceramic tradition – Munemi Yorigami & Chieko Yorigami

 

Yorigami finds inspiration in the resurrection of broken ceramic pieces which rise like a phoenix from his kiln. He immensely enjoys the unpredictable abstractions and reconstruction to the modified form. His exploration of the opposing forces of control and unpredictability along with destruction and recreation, leading to the modeling of a new ‘whole’, has been a major influence in his direction in ceramics for several decades. By breaking the form, Yorigami believes he is exposing the ‘heart and soul’ of the clay, which leads to revealing its intrinsic nature. He feels it highlights the hazards of transforming clay during its passage through fire and the risks in kiln baking and the inherent vulnerability to breakage.
The modification of the unexpected results is enhanced by the choice of different glazes and firing for the pieces before reassembly, and Yorigami describes this process of manipulating the clay elements as “transferring memory”. Yorigami rebuilds his sculptures in a vivid patchwork based on the four colours of white, black, ochre and ivory and builds his sculptural pieces from dolomite or porcelain clay with a combination of slabbing, coiling and press-moulding techniques.
Yorigami was born into a family of ceramicists in Kyoto and his father specialized in making teaware. In the late 1940‘s, Yagi Kazuo formed the Sodeisha group which represented avant-garde ideals and looking beyond Japanese ceramic traditions. Yorigami joined this group and was influenced by Kazuo, which contributed to his break from the established ceramic arts.
Yorigami claims that ‘when confronted with clay, it is our instinct to want to conquer it’. He took this to another level where his desire to conquer the baked clay with the re-arrangement of its solid form. Included in the images here is some ceramic pieces by his wife Chieko Yorigami.

 

Website

 

the-delightful-days-A pair of recreation sculptures by munemi-yorigami

Re-constructed ceramic sculptures – ‘The Delightful Days’ – Munemi Yorigami

 

The pieces are baked using three methodologies. The black ceramics are fired in a kiln at a temperature which is elevated to 900℃, then naturally lowered to 500~600℃. I then take fully soaked pine tree leaves and pour them at the opening of the kiln to seal it and smoke the black ceramics. As for white ceramics, it’s burned at 900℃ either under oxidation or reduction atmosphere. Oxidation firing will give an ivory color, while reduction firing will give an even whiter color. With the ceramics kiln used for the orange colour, I take the broken pieces and add vermiculite, and start the reduction firing at 800℃, and smoke burn at 900℃. I re-attach the pieces with adhesives to regenerate its original shape, and finally add plaster to the seam to accomplish the artwork.

 

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Outdoor Re-creation sculpture – Munemi Yorigami

 

 

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Re-creation Bottle – Munemi Yorigami

 

 

5 ceramic sculptures by Munemi Yorigami

Munemi Yorigami

 

 

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Abstract ‘Arrete’ sculpture – Munemi Yorigami

 

 

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Triangular re-creation sculpture – Munemi Yorigami

 

 

munemi-yorigami-wall-panels - three rectangular recreation sculptures

Re-creation Wall Panels – Munemi Yorigami

 

 

aya-kon-pot by Cheiko-Yorigami

‘Aya Kon Pot’ – Chieko Yorigami

Chieko Yorigami graduated in ceramics in 1968 and following an industrial ceramics course for a year, she studied for two years under Mr Junkichi Kumakura.

 

 

 

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Chieko Yorigami teapot

 

 

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Lidded ceramic box – Chieko Yorigami

 

 

 

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‘Silver color dispenser’ – Chieko Yorigami

 

 

clever-writing-munemi-yorigami ikebana-sculpture display with two geometric ceramic pieces

‘Clever Writing’  – Munemi Yorigami

 

 

 

wall-of-red-munemi-yorigami - red, black, white sculpture

‘Wall of Red’ – Munemi Yorigami

 

 

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‘Cone 1’ – Munemi Yorigami

 

 

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Square ceramic vase with ikebana display – Munemi Yorigami

 

 

 

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Ikebana vase with flower arrangement – Munemi Yorigami

 

 

 

form-of-old Munemi Yorigami-abstract sculpture

‘Form of old’  – Munemi Yorigami

 

 

god-sent-one-thousand-keiko-solo-Chieko-Yorigami

4 lidded vessels – Chieko Yorigami

 

 

 

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‘Gold and silver aya angle platter’ – Chieko Yorigami

 

 

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Balancing Ball sculpture -Munemi Yorigami

 

 

jin-choi-dispenser - Chieko Yorigami teapot with triangle motifs

‘Jin Choi dispenser’ – Chieko Yorigami

 

 

 

mount-munemi-yorigami-sculpture

‘Mount’ – Munemi Yorigami

 

 

 

munemi-yorigami ikebana cube vase

Ikebana vase – Munemi Yorigami

 

 

munemi-yorigami recreation ovoid sculpture on marble base

 Munemi Yorigami ceramic re-creation sculpture

 

 

 

munemi-yorigami conical sculpture

Conical recreation sculpture Munemi Yorigami

 

 

munemi-yorigami recreation biomorphic sculpture

Biomorphic re-creation sculpture – Munemi Yorigami

 

 

 

munemi-yorigami symmetrical V sculpture

Munemi Yorigami

“Objects That Preserve The Dignity of Space” 2013

Orie Gallery

 

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Munemi Yorigami re-creation sculpture

 

 

munemi-yorigami-recreation sculpture

Munemi Yorigami

 

 

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Munemi Yorigami

 

 

 

munemi-yorigami-recreations abtract sculptures

Munemi Yorigami

 

 

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Munemi Yorigami

 

 

 

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Re-creation Egg Sculpture – Munemi Yorigami

artland-gallery.jp

 

 

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Saki Vessel – Chieko Yorigami

 

 

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Re-creation Wall Sculpture – Munemi Yorigami

 

 

 

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Public Re-creation sculpture – Munemi Yorigami

 

 

munemi-yorigami-objects-that-preserve-the-dignity-of-space

Munemi Yorigami

 

 

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Public Re-creation sculpture – Munemi Yorigami

 

 

 

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Re-creation sculpture – Munemi Yorigami

 

 

munemi-yorigami-sculpture

 Re-creation sculpture – Munemi Yorigami

 

 

 

ovale-recreation sculpture - Munemi Yorigami

‘Ovale’  – Munemi Yorigami

 

 

 

re-creations-idaku-part-3 by - Munemi-Yorigami-

Re-creations Idaku part 3 –  Munemi Yorigami

 

 

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‘Oh Yeah’ –  Munemi Yorigami

 

 

re-creations-ring-munemi-yorigami

‘Rings’ –  Munemi Yorigami

 

 

the-shape-of-the-pot-munemi-yorigami ceramic art

‘The Shape Of The Pot’  Munemi Yorigami

 

 

torso-in-hexagonal-Munemi- Yorigami Japanese ceramic sculpture

‘Torso In Hexagonal’ – Munemi- Yorigami

 

 

chieko-yorigami-ceramic-bowl

Chieko Yorigami

Aberystwyth University Ceramics Collection

 

 

house-2-munemi-yorigami - contemporary Japanese ceramic srt

House 2 – Munemi Yorigami

 

 

 

pebble-cup-1992-porcelain-9cm-high-chieko-yorigami

‘Pebble Cup’ Chieko Yorigami

Porcelain 9cm high–1992

 

 

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Contemporary porcelain dual crescent sculpture – Munemi Yorigami

 

 

 

 

re-creations-idaku-part-1-munemi-yorigami

Re-Creations ‘Idaku part 1′ –  Munemi Yorigami

 

 
 

 

 

 

NEXT POST —  Aussie sculptural landscape

 

Elegant design nuance of Art Nouveau

 

 

Art-Nouveau elegant design

 

 

Pierre-Adrien-Dalpayrat-(1844-1910)one-of-the-most-important-representatives-of-art-nouveau-ceramics

Pierre Adrien Dalpayrat, Bourg-la-Reine, France

Jean-Pierre Dalbéra – flickr

 

 

hotel-bouctot-vagniez-amiens

Hotel Bouctot Vagniez, Amiens, France – Art Nouveau fireplace

When I saw this stunning Art Nouveau fireplace, I was immediately inspired to do another article on the fascinating Art Nouveau, fleshed out with other images from this remarkable genre.

 

 

The allure of Art Nouveau

 

At the dawn of the 20th century, the Art Nouveau artistic movement was thriving and peaked in popularity from 1890-1905. It was characterized by distinctive plant, insect and animal motifs that were presented with stylized forms, and accentuated with sensuous, curvilinear details mixed with the abstract and asymmetrical. These were further highlighted by sudden ‘whiplash’ curves, angular contours and other graphical maneuvers adding to the elegant grandeur. This revolutionary reaction to the eclectic, historical and academic styles of nineteenth-century art was embraced by a diversity of artists and craftspeople wanting to move towards new styling for the ‘modern age’ of the 20th Century. Its pervasive influence was witnessed with the participation of painters, illustrators, sculptors, architects, ironworkers, furniture designers, interior decorators, potters, jewelry designers — in fact, nearly every kind of artist-craftsman.
The organic naturalism of Art Nouveau, with its intricate patterns of vines, flowers, tree branches and other botanical aspects reflected the late 19th Century European fascination with Japonism (Japanese arts), which had been particularly popularized with ukiyo-e (woodblock) prints and the sophisticated aestheticism of the Japanese ceramics.

 

Ernst-Wahliss-Porcelain-Paul-Dachsel-Leaf-Vase with 4 lug handles

Porcelain Leaf Vase by Paul Dachsel for Ernst Wahliss Co

 

The flowing, graceful style of Art Nouveau was promoted through its use in architectural features, being visible with balconies, staircases, doorways, facades, wrought iron gates, lampposts and railings, all displayed with rich details and superb craftsmanship. Every time you entered the Paris Metro you were confronted with a beautiful Art Nouveau entrance designed by Guimard. The genre was also highly visible with the embellishment of panels, ceilings, borders, friezes and walls with elaborate images of animals, insects, flowers, lush decorative details and other inspirations from nature. The use of exquisitely ornate typography in the popular Art Nouveau posters and advertising was also a poignant feature.

 

Art-Nouveau-staircase at Gorky House Museum in Moscow

Gorky House Museum, Moscow

 

Yesterday upon the stairs
Glanced a forest full of maidens bare
Nymphs and fairies dwelt there to
Enchanting world this art nouveau

 

There was a collective desire at the beginning of the 20th century for the newly rich to decorate and enhance their dwellings in an innovative style, combined with people beginning to appreciate furniture, interior and decorative products as entwined parameters in an environment that could be integrated through design. The sumptuous, stylized creations of the distinctive Art Nouveau seemed to be a perfect fit. The sheer sensuality of line and delicate interplay of color provided the lavish design elements that were craved along with the diversity of choice. Original styles abounded with entertaining fantasies populated with a remarkable array of exotic motifs, including peacocks, parrots, dragons, beguiling women, lilies, wild roses and butterflies on offer.
The curvaceous, sinuous lines and geometric patterns adapted naturally to the curves of ceramic vases as it did with precious stones and the intricate details of metal jewelry. Art Nouveau ushered in a liberated design era with its influence spreading to subsequent forms of modernist art, style innovation and awareness that has perpetuated to this day.

 

 

ANTIQUE-AUSTRIAN-ART-NOUVEAU-Iris female figurine vase

 Amphora Iris vase

 

 

 

Belle-Epoque-Carved-Agate-Pearl-Gold-Naiad-and-Sturgeons--Jewel

Belle Epoque Carved Agate, Pearl, Gold Naiad (fresh water mermaid) and Sturgeons jewellry brooch

Tadema Gallery

 

 

 

Amphora-Ceramic-Figural-Centerpiece of a girl seated on a leaf

Amphora Art Nouveau figurine

 

 

 

Saules-soleil-couchant-( sun setting Saules ) vase Daum-Nancy

Saules soleil couchant-(sun setting in Saules) vase Daum-Nancy

 

 

 

 

Zsolnay-Art-Nouveau-teapotTurkish coffee server with lid c. 1880Hand-painted majolica undulating leaves and buds...

Turkish coffee server with lid by Zsolnay, Hungry

c. 1880 – Hand-painted majolica with undulating leaves and buds

 

 

Art-Nouveau-nude-female-bronze sculpture

‘Reine Des Pres’ vase – Louis Chalon

1901

 

 

Zsolnay-Three-Graces-figural lustre glaze bowl--Pinter-Auctions

‘Three Graces’ eosin lustre dish – Zsolnay

 

 

 

 

Royal-Vienna-TURN-ERNST-WAHLISS-Art-Nouveau-Slip-Glazed-Majolica-Vase1910

Royal Vienna – Turn Ernst Wahliss Art Nouveau Slip Glazed Majolica Vase

1910

 

 

Royal-Copenhagen-Art-Nouveau-Vase,-Decorated-with-lily Flower

Royal Copenhagen Art Nouveau Vase

 

 

Zsolnay-vase-with-dancing-female-figures and eosin lustre glaze

Zsolnay eosin vase with raised relief dancing female figures

 

 

 

Rosenthal Germany Rare Figurine Temple Dedication by F. Liebermann, circa 1914---City-Antik-Vienna

 ‘Temple Dedication’ by F. Liebermann, Rosenthal Germany

circa 1914—City Antik, Vienna

 

 

 

Paul-Dachsel---Calla-Lily-Vase.-Glazed-&-Gilt-Pottery.-Turn-Teplitz,-Austria.-Circa-1906.-14

Calla Lily Vase. Glazed & Gilt Pottery. Paul Dachsel

Turn Teplitz,  Austria. Circa 1906 – height 14″

 

 

 

Patten-Wilson---Deceit-1898 seated women with serpent

‘Deceit’ – Patten Wilson

1898

 

 

Moon-Alley,-John-Atkinson-Grimshaw,-1878

‘Moon Alley’,-  John Atkinson Grimshaw

1878

 

 

Luis-Masriera,-art-nouveau-brooch

Art Nouveau brooch – Luis Masriera

 

 

wmf-art-nouveau-pewter-twin-handled-vase-circa-1906-christies

wmf Art Nouveau pewter twin handled vase

circa 1906, Christies

 

 

Eduard-Stellmacher-Teplitz-Art-Nouveau-Centerpiece

Teplitz Art Nouveau centrepiece – Eduard Stellmacher

 

 

 

Allégorie-by-Amphora-Werke-ReissnerAllégorie-,-ca

‘Allégorie’ vase by Amphora Werke Reissner

1900

 

 

 

Ernst-Wahliss-Porcelain-Figural-Candle-holder

 Porcelain Figural Candle holder – Ernst Wahliss

 

 

 

amphora_porcelain_figurin_with_Antique-Royal-Dux-Porcelain-Figurine

Royal Dux Porcelain Figurine

 

 

 

 

Georges-Flamand-French-Art-Novueau-Bronze-two-light-Sconce-on-Marquetry-Easel-Macklowe-GalleryNY

Bronze two light Sconce on Marquetry Easel – Georges Flamand French Art Nouveau

Macklowe Gallery NY

 

 

 

Gustav Manz for F. Walter Lawrence Art Nouveau Chimera Brooch-Vintage Luxury

Gustav Manz for F. Walter Lawrence Art Nouveau Chimera Brooch

 

 

 

 

hotel-bouctot-vagniez-amiens--

Hotel Bouctot Vagniez, Amiens

 

 

 

Karl-Rothmuller-An-Eternal-Entwined-Serpent-Brooch-peridot-Tadema-Gallery---1900

Eternal Entwined–peridot and pearl Serpent Brooch  – Karl Rothmuller

Tadema-Gallery—1900

 

 

 

Loïe-Fuller-1900 art-nouveau statue

Loïe Fuller, 1900

 

 

 

Carved-Alabaster-Lamp-of-an-Art-Nouveau-Beauty-O

Alabaster Lamp of an Art Nouveau woman – carved by O. Rossi, Italy circa 1920

 

 

 

Charles-Korschann,-an-Art-Nouveau-Two-Patina-Bronze-Clock,-1897,-LE-Secret-Robert-Zehil-Gallery-Monte-Carlo

 ‘LE Secret’  –  Charles Korschann, an Art Nouveau Two Patina Bronze Clock

1897

Robert Zehil Gallery, Monte Carlo

 

 

 

Black-Lacquer-and-Gold-Screen-Attributed-to-Paul-Feher- hybrid art deco - art nouveau

Black Lacquer and Gold Screen- Art Deco/Art Nouveau – Paul Feher

 

 

 

 

Austrian-Art-Nouveau-Ceramic-Vase-w

Amphora reptile textured ceramic vase

 

 

 

August-Endell-Elvira-Studio,-built-1897-8-in-Munich----

Elvira Studio Art Nouveau facade designed by August Endell

Munich 1897 ( destroyed in 1944)

 

 

Art-Nouveau-vase with face motif and mushrooms on the rim

Amphora art nouveau vase

 

 

 

Art-Nouveau-pendant of a nude female.-Maison-Vever

Art Nouveau pendant -Maison Vever

 

 

 

Red Art-Nouveau-Sang-de-Boeuf-Gourd-Vase-by-Pierre-Adrien-Dalpayrat Jason-Jacques-Gallery-NY

Art Nouveau Sang de Boeuf Gourd Vase by Pierre-Adrien Dalpayrat

Jason Jacques Gallery-NY

 

 

Art-Nouveau-Porcelain-Jardiniere with nude female figure relief-by-Amphora-Teplitz-1900-1910

Art Nouveau Porcelain Jardinière by Amphora, Teplitz

1900-1910

 

 

Parisian Art-Nouveau-facade

Parisian Art Nouveau entrance

 

 

 

Art-Nouveau-Blood-Vine-Pitcher-by-Léon-Kann-for-Sèvres

Art Nouveau Blood Vine Pitcher by Léon Kann for Sèvres

1stDibs Jason Jacques Gallery-NY

 

 

Art-Nouveau-Art-Deco-marble-Mantelclock---Ruyten

Art Nouveau/Art Deco marble mantel clock—Ruyten

 

 

 

Art-Nouveau---Amphore-Vase---Autriche---1900

Art Nouveau figural  vase – Amphora

 

 

 

Art-Nouveau-Amphora-Figurative-Vase-Center-Bowl-A-Touch-of-The-Past-Antiques

Art Nouveau Amphora Figurative Vase Centerpiece Bowl

A Touch of The Past Antiques

 

 

 

Art-Nouveau-Amphora-Blow-Out-Portrait-Vase,-Austria,-1900

Art Nouveau Amphora Blow Out Portrait Vase

Austria, 1900

 

 

Art-Nouveau-~-Lalique-1899-1900-'Sweet-Pea-with-Bust-of-a-Woman'-Lorgnette-Handle-gold-enamel-cast-glass

 ‘Sweet Pea with Bust of a Woman’ Lorgnette Handle gold-enamel-cast glass. Art Nouveau ~ Rene Lalique 1899-1900

via ‘The Jewels of Lalique’ Yvonne Brunhammer

 

 

 

 

Arial---Graal-Vase-by-Edvin-Ohrstrom-for-Orrefors

Arial—Graal Vase by Edvin Ohrstrom for Orrefors

 

 

 

AN-ART-NOUVEAU-BRONZED-METAL-FIGURAL-TABLE-LAMP-probably-Austrian-circa-1900-of-a-winged-nymph,-after-a-model-by-R

Austrian Art Nouveau figural winged nymph lamp

 

 

Amphora-Winter-Snow-Art-Nouveau-Vase-by-Ernst-Wahliss

Amphora Winter Snow Art Nouveau Vase by Ernst Wahliss

 

 

 

Amphora-Shaped-Vase-with-an-Owl,-Viennese,-Austria--

Ceramic footed vase with owl – Amphora

 

 

 

Amphora face motif ovoid vase - -Philip-Chasen-Antiques

Amphora vase – crowned female motif

 

 

 

Art-Deco-Art Nouveau Medallion-by-Pierre Turin

Octagonal medallion sculpted by Pierre Turin

 

 

Amphora-Klimt-gold, blue and white Vase-1901

Amphora Klimt vase

1901

 

Amphora-Ceramic-Gourd Vase-w--Applied-Dragon-Handles

Amphora ceramic gourd vase twin dragon old handles

 

 

 

Amphora-Art-Nouveau-LARGE-art-pottery-vase-with-mermaid

Art Nouveau bird motif vessel with mermaid handle

 

 

 

Amphora-Ceramic-Stylized-Vase

Amphora vase

 

 

Vase-soliflore-by-Amphora-Werke-Reissner-1900

Vase soliflore by Amphora Werke Reissner

1900

 

 

Amphora-Ceramic-Secessionist-4-Handled-Vase

Quad gold handled Amphora vase

 

 

 

Amphora-Ceramics-Art-Nouveau-Figural-Vide-Poche

Amphora Ceramics Art Nouveau Figural Vide Poche dish

 

 

 

Amphora-Ceramic-Gres-Bijou-Pitcher

Amphora Gres Bijou Pitcher

 

 

 

Amphora-Ceramic-Green Dragon-Vase

Amphora dragon vase

 

 

 

Amphora-Art-Nouveau-Vase-Circa-1898 Very-Vintage-LA-Gallery

Amphora Art Nouveau Vase

Circa 1898

1stDibs Very Vintage LA Gallery

 

 

Amphora,-face-motif-vase

Amphora Allegory Portrait vase

Chasen Antiques

 

 

 

Pierre-Adrien Dalpayrat

Art Nouveau Gourd Vase by Pierre-Adrien Dalpayrat

19th C.

1stDibs Jason Jacques NY

 

 

18k-Gold-Diamond-Plique-A-Jour-Butterfly-Nude-Lady-Brooch-Art-Nouveau

Plique A Jour Butterfly Nude Lady Brooch

 
 

 
 
 

 

 

NEXT POST  —  The ceramic recreations of Munemi Yorigami

 

Art of the Buddha

 

 

Gautama-Buddha-in-Padmasana.-Bas-relief-on-copper-plate--

Gautama Buddha in Padmasana (lotus pose). Bas relief on copper plate

photo – Francis Chung-Flickr

 

Buddha and bodhisattva arts and wisdom    

 

I always enjoy studying the statues of the Buddha, especially when in Asia. Not only because of the quality of the art that goes into their creation. but because they invariably reflect a presence of calm, and serve as a glimpse into the state of enlightenment.

The Buddhist’s believe that in Kama Loka ( the sensual realm on Earth ), contentment is elusive, suffering is imminent and our prime motivator is desire, so it is not surprising that the Buddha, when he ventured from his sheltered palace life, was disturbed by what he witnessed. As Garfinkel described in his book ‘Buddha or Bust’, the Buddha, as the “original baby boomer, indulged by his parents’ opulence and depressed by their empty materialism, became a guy who was in need of a long road trip to clean out his head.”
Fortunately for Buddhist art, the Buddha’s extensive travels and the ongoing spread of his teachings throughout most of Asia and more recently in the West, has contributed to its rich diversity and like most religious arts, has attracted the funding, along with devoted artisans with dedication, to achieve exceptional results. Most images of the Buddha are a vision of contemplation and he is usually displaying various mudras (hand gestures), each conveying a particular spiritual quality.

 

The-Dazu-Grottoes Buddhist sculpture Bao Ding Mountain Circle of Life.

 Bao Ding Mountain Circle of Life.

The Dazu Grottoes, China

 

 

Buddha garden statue - Pavel Bobrovskiy photo

Stone Buddha garden sculpture

 

Sentimental journeys thru the past, wishful flights of fancy into the future, all deflections from embracing the moment and relishing our gifted sublimity in the present.

The Buddha says, “Praise and blame, gain and loss, pleasure and sorrow come and go like the wind. To be happy, rest like a giant tree in the midst of them all.”

At certain times, a silent mind is very important, but ‘silent’ does not mean closed. The silent mind is an alert, awakened mind; a mind seeking the nature of reality.  —–  Lama Yeshe

 

 

rare-hand-carved-red coral-statuette-displaying-the-four-armed-Bodhisattva-of-Compassion

Rare hand carved coral statuette displaying the four armed Bodhisattva of Compassion

thokcha.blogspot.com.au/

 

 

Antique-Iron-Amitayus-Statue Buddha Amitayus or Buddha of Limitless Life is a Buddha aspect or a deity associated with meditations and mantras for a long life

Antique Iron Amitayus Buddha Statue

Also known as Buddha of Limitless Life, a Buddha aspect or a deity associated with meditations and mantras for a long life

 

 

 

Antique-clay-Tārā-Tsa-Tsa

Female Bodhisattva ‘Tara’

 

 

A-WOODEN-PAINTED-BUDDHA-HEAD-WITH-TURQUOISE

Handpainted turquoise Buddha bronze head

 

 

Antique-miniature-Chenrezig-statue

Antique Chenrezig statue, Tibet

 

 

 

Birth of Buddha in Lumbini Sahri Bahlol, 2nd-3rd Century AD. Slate

Carved slate panel depicting the birth of Buddha in Lumbini   Sahri Bahlol, 2nd-3rd Century AD.  Slate

Peshawar Museum

www.adhikara.com

 

 

 

A-Buddha-Photo---Zen-meditating Buddha garden statue---Kyoto-Japan

Meditating Buddha statue, Kyoto

 

 

 

Beautiful-Kannon-statue - The Yumedono Kannon of Horyuji

The Yumedono Kannon of Horyuji, Japan

6.5 feet tall

 

 

Bodhisattva,-Japan

Spring blossom and Buddha statue in Kamakura, Japan

 

Japan developed an extremely rich figurative art for the pantheon of Buddhist deities, sometimes combined with Shintō influences. Kami, Japan’s indigenous religion, dated back to the prehistoric times, and foreign Buddhism never quite fused, but a combination of Buddhist and Taoist elements, and the incorporation of shamanistic features of the indigenous religion remained however, inextricably linked all the way to the present day, always interacting ― It is quite unusual that an indigenous polytheistic belief including nature worship, animism, ancestor worship, shamanism, and myth still prevails in a modern society like Japan. Shintō’s strong aesthetic component, a reverence toward materials and processes, continues to permeate the crafts and the arts. (cool-jp.com)

 

 

 

Seated Buddha sculpture-with-his-hand-in-the-teaching-mudra

Bronze Buddha statue displaying teaching mudra

 

 

“The recognition that essentially you are the world, that there is no subject/object split, that there is no separation between you and “all that is” – this realization, even at the conceptual level, changes consciousness.

When this realization gets in deeper and becomes more self evident, consciousness changes again, and again, as one lives their life more consciously. And this elevated state of consciousness affects all consciousness around it – like ripples on the pond of collective consciousness.

Ripples can become waves and waves become tsunamis. And it begins with willingness, with intention, with you, right here, right now. The quality of your awakening, awakens the world around you.” – Eric Allen Bell

 

 

Buddhist-monk-carrying Buddha shrine on his back in-Tibet

Buddhist monk, Tibet

 

 

Buddhist-stone-statue interior decorating

Seated Buddha sculpture,  Axel Vervoordt’s Castle, Belgium

 

A lifetime is not what is between the moments of birth and death. A lifetime is one moment between my two little breaths. The present, the here, the now, That’s all the life I get. I live each moment in full, In kindness, in peace, without regret.    ….   Chade Meng, Taoist poet

 

 

 

Buddha-head -Thailand embedded in a tree trunk

Ancient Buddha head – Ayutthaya Kingdom, Ancient Capital of Thailand

 

 

budha_Koya---Rolfe-Horn-Weston-Gallery

Buddha statue at Koyasan (Mount Koya) — Photo Rolfe Horn

Weston Gallery

 

 

 

Carving-in-the-Fairy-Cave-temple-Keelung

Wall relief Kuan Yin – Keelung Temple  cave

 

 

Gamin’ the aggressor

While giving a lecture, the Buddha was interrupted by a man who was vocally hostile towards the Buddha’s teachings, interjecting throughout the talk. The Buddha was unmoved by this display and after he had finished, calmly asked the rowdy person, how do you respond to the situation where, after having a guest for dinner, there is unfinished food. He replied that they always eat the food because it’s not good to be wasteful. The Buddha responded – “likewise,  I didn’t choose to taste your anger so you will also have to consume it. However, out of compassion, I welcome your hostility. Being fully detached from it, I will gratefully absorb the misguided emotions you have gifted me and transmute it into love. You might feel somewhat depleted for this act of folly and even agitated because I was unfazed, but hopefully, the empty space you created within yourself might absorb some of my consciousness, which could help you find the WAY. I am aware you desired a response of fear or mutual aggression, but I can’t offer either knowing this will deplete me and be of little benefit to you. Peace always dwells inside you.”

 

red robed ceramic-Buddha-figurine-sculpture

Seated porcelain Buddha figurine

 

 

 

felice_beatos_japan_places_people_1_1

 Bronze Statue of Jeso-Sama, Hakone Lake – photo by Felice Beato

ca 1865

 

“Buddhism also explains that the fundamental nature of human consciousness is pure and clear; that the nuclear essence of human beings is their mind, not this body of flesh and blood. Furthermore, we believe that recognizing our lives as pleasurable or miserable depends largely on how our mind interprets them. If you think your life is miserable, it becomes miserable.” -Lama Yeshe.

 

Garden-meditation-Buddha with small waterfall

Garden Buddha statue

 

 

 

Japanese-national-treasure-Hanka-Shiyui-statue

Japanese National Treasure Maitreya Buddha statue with Hanka Shiyui (thinking) pose

Chūgū-ji (中宮寺) temple, Japan

 

“Meditate more and more deeply, until calmness and joy become second nature to you. To be ecstatic is not difficult. It is thinking that it is difficult that holds you apart from it. Never think of divine joy as distant from you, and it will be with you always. Our innate nature is unconditional joy, clarity and knowledge. This is accessible to all.” – Paramhansa Yogananda

 

 

 

Jingdezhen-Kiln-Qingbai-Glaze-Porcelain-Kuanyin-Buddha-1-Song-Dynasty

Qingbai Glaze Porcelain Kuanyin Buddha

Jingdezhen Kiln, Song Dynasty

 

 

 

cloisonne-standing-buddha-statue

Red patina bronze Buddha standing on a lotus-shaped pedestal, mandorme cloisonne decorated with flowers

Late 19th – early 20th century

Height: 80 cm www.aguttes.com/

 

 

 

Kuan-Yin-@-Green-Gulch-Zen-Center-by-edwinsail-on-Flickr

Kuan Yin @ Green Gulch Zen Center by edwinsail on Flickr

 

 

At the center of your being you have the answer, you know who you are and you know what you want. – Rumi

 

 

Kuan-Yin,-China,-19th-century,

Bowenite Carving of Kuan Yin, China, 20th century

Height 8.5 inches

 

“When you look upon another human being and feel great love towards them, or when you contemplate beauty in nature and something within you responds deeply to it, close your eyes for a moment and feel the essence of that love or that beauty within you, inseparable from who you are, your true nature. The outer form is a temporary reflection of what you are within, in your essence. That is why inner love and beauty can never leave you, although all outer forms will.” — Eckhart Tolle

 

 

White Kuan-Yin-Garden-statue- Wellington Heights

Kuan Yin statue, Taipei

Taiwan

 

 

Kuan-Yin----Goddess of compassion standing statue

Kuan Yin

 

 

 

Kuan-Yin-wood-carving---Female-Buddha-of-Compassion

Wood carving of Kuan Yin in a Thailand temple

 

“When you keep your inner calm; you will not be carried away by your emotions and the opinions of the majority”. ~ Thich Nhat Hanh

 

 

Long-Journey

This bronze Buddha statuette was discovered in 1954 on the  small island of Helgo, located in Lake Malaren, to the west of Stockholm It  was an important Viking trading center in the 6th-11th centuries AD.

 

 

Buddhist cave temple - Marble-Mountains,-Vietnam---Ngũ-Hành-Sơn---Five-elements-mountains

Buddhist cave temple – Marble Mountains, Vietnam

Five Elements Mountain in Danang

 

 

Marble-Mountains--Vietnam---Ngũ-Hành-Sơn---Five-elements-mountains--

Five Elements Mountain in Danang, Vietnam

 

 

 

5-element-Mountain-Danan-Vietnam

White Buddha statue, Five Elements Mountain in Danang

Sparkling ripples through the pines
transient jewels, dancing random rhymes
time suspension, the true dimension
take the plunge, no apprehension

 

 

5-element-Mountain-Danang

Wall of Buddhas, raised relief

Five Elements Mountain in Danang

 

 

 

Gilded Ming-Dynasty-Buddha,-16-inches,-sold-to-Internet-bidder-for-$54,900.-I.M.-Chait-image

Ming Dynasty Buddha

 

 

 

gampopa - was the foremost disciple of Milarepa,dressed in red

Gampopa statue –  disciple of Milarepa

 

 

National-treasure-of-Japan Miroku Bosatsu statue

Japanese National Treasure, Miroku Buddha statue at Koryu-ji Temple, Kyoto, Japan

 

 

 

GILT-WOOD-FIGURE-OF-AMIDA-BUDDHA,-JAPAN,-19TH-CENTURY

Japanese Amida Buddha  sculpture, 19th century

 

 

 

Odilon-Redon-(1840-1916),-Bouda-marchand-à-travers-les-fleurs,1905,-huile-sur-toile.Collection-privée

‘The Buddha’. Odilon Redon. 1905.

Musée D’Orsay, Paris

 

 

 

Probably_Maitreya_(Mile),_the_Buddha_of_the_Future_LACMA_M.74

 Maitreya Buddha – Carved marble sculpture with traces of paint and gilding

China, Six Dynasties period, Northern Qi dynasty, 550-577

LACMA

 

 

 

Rare-hand-carved-Lapis-Lazuli--Medicine-Buddha

Rare hand carved Lapis Lazuli Medicine Buddha sculpture

 

 

 

Raku-Buddha-Statue-Seated-in-the-Clouds-Sculpture-AnitaFeng-buddhabulider

Raku ‘Buddha Statue Seated in the Clouds’ Sculpture-Anita Feng – The buddhabulider

 

 

 

 

Odilon-Redon,-The-Buddha,-c

‘Buddha’ – Odilon Redon

 

 

 

S4176-23-China-Buddhism-Copper-Bronze-GuanYin-Kwan-yin-Bodhisattva-font-b-Buddha-b-font-font

Copper Bronze Kuan Yin

 

 

 

Shoton-Festival-Thangka,-Drepung,-Tibet - huge thanka in the Himalayas

Shoton Festival Buddha Thangka, Drepung, Tibet

 

 

 

see-notes

‘Kyaiktiyo Pagoda’

Also known as ‘Golden Rock’, it is a well-known Buddhist pilgrimage site in Mon State, Burma. It is a small pagoda (7.3 metres (24 ft)) built on the top of a granite boulder covered with gold leaves pasted on by devotees. According to legend, the Golden Rock itself is precariously perched on a strand of the Buddha’s hair. The balancing rock seems to defy gravity, as it perpetually appears to be on the verge of rolling down the hill. The rock and the pagoda are at the top of Mt. Kyaiktiyo.

 

 

 

small-hand-carved-nephrite-jade-statue-of-Milarepa

Beautiful hand carved nephrite jade statue of Milarepa

The Tibetan Saint Milarepa was famous for his spontaneous songs of realisation. During his 12 years of strict retreat in the mountains he subsisted on nettle tea and eventually it turned his skin green, hence the reason he is often crafted in a green colour.

 

 

 

CHINE-Buddha-Vairochana-with-the-wisdom-fist--the-right-fist-enclosing-the-index-finger-of-the-left

Chinese Buddha Vairochana with the wisdom mudra: the right fist enclosing the index finger of the left.

A celestial Buddha important in Asia from the 8th to the 12th Century

 

 

 

Bronze Standing Buddha, Hakuho period, Japan, ca. 710-794

Standing Buddha, Hakuho period, Japan, ca. 710-794

 

 

 

Statue-of-a-Standing Buddhist-monk,-located-in-a-garden-within-Seven-Star-Park,-Guilin,-China

Statue of a Buddhist monk, located in a garden within Seven Star Park, Guilin, China.

 

 

 

stone_carvings_give_innovation_and_inspirationfd48934e4062288a0cf8

Buddha statues –  Longmen limestone caves. Luoyang, China. Tang Dynasty. 493–1127 C.E.

 

 

 

THE-OLD-STONE-JIZO-CARVED-INTO-A-HIDDEN-MOUNTAIN-NEAR-HAKONE

Buddha carved into a mountain at Hakone, Japan

 

 

 

black and white Kuan Yin painting

Kuan Yin painting

 

 

 

garden- buddha-stone-statue

Padmasana Buddha stone statue

 

 

A monk asked, “What is the great perfect mirror?”

The master said, “A broken earthen pot.”

Ch’an Master Yung-ming Yen-shou (904 – 975 CE):

 

 

buddha-spiritual-guanyin-bodhisattva-buddhism-Liao-Dynasty-Guan-Yin-statue

 The Bodhisattva Guanyin of the Southern Sea (Nelson-Atkins Museum of Art, Kansas City)

 

 

 

Underwater-Statue-In-Bali

Submerged statue, Bali

 

 

 

Chinese-classical-Buddhist-culture-and-creative-hands-Buddha-lamp-bedside-lamp-living-room-town-house-feng

Classical Buddhist culture creative hands Buddha ceramic lamp

 

 

buddha-saria-stupa-inner Kingold Museum

Buddha Saria Stupa Inner  – Kingold Museum

Jewel encrusted portable temple for transporting the crystallised ashes of Shakyamuni Buddha

 

 

manjushri-bodhisattva-whose-flaming-sword-of-wisdom-cuts-through-all-ignorance

Manjushri Bodhisattva

 

 
 

 
 

 

 

NEXT POST  —  Elegant design nuance of Art Nouveau

 

London international ceramics exhibition

 

 

Erskine, Hall and Coe – International Ceramics exhibition 

 

A collection of contemporary ceramics from 12 renown artists is currently showing at the Erskine, Hall and Coe gallery up until the 8th September, 2016.

The earliest work in the exhibition is a trio of bowls by Lucie Rie, dating back to 1949, and the most recent is from last year by renowned Japanese artist Machiko Ogawa. Classic tea bowls by Ryoji Koie can be seen alongside abstract sculptural forms by Catalan artist Claudi Casanovas. Works by Hans Coper, one of the giants of 20th century ceramics, are within sight of emerging artist Zung-Lung Tsai, showing outside of his native Taiwan for the first time.

 

Opening hours: Tuesday to Saturday, 10am – 6pm

15 Royal Arcade
28 Old Bond Street
London W1S 4SP

020 7491 1706
mail@erskinehallcoe.com

Website

 

 

Exhibiting artists

 

Claudi Casanovas

 

Claudi-Casanovas-Black-Squared-Form,-1990---International-Ceramics---Erskine-Hall---Coe

Claudi Casanovas-‘Black Squared Form’, 1990

 

Gordon Baldwin

 

‘The role I take is Artist as explorer with the vessel as my basic structure (like the structure of a Haiku) Each piece begins out of a strange compulsion to take certain action. I suppose the compulsion comes from things heard, things seen, things read, things done by drawing and previous work. I usually work in a series constructing by the traditional method of coiling discovering the piece as I proceed. It is an intuitive process carried on without analytical thought, The piece is made when the resonances are right (for me). The Titles hint at the effect the pieces have on me and the contacts that have been made within the soup of my experience. The surfaces are dealt with weeks or months later. A lot of staring at the pieces is involved – a sort of thoughtless gaze until there is necessary action. Of course each new piece is informed by the experiences I have already had in the studio. Different sorts of darkness and different sorts of silence are concepts that interest me. I work from an inner compulsion to explore my identity by working.’

 

Gordon-Baldwin-GB-0043---International-Ceramics---Erskine-Hall---Coe

Gordon Baldwin ‘Torso Pot’, 1964

Earthenware, slips and copper, 57.5 cm

 

 

Gordon-Baldwin-Torso-Pot-1964--International-Ceramics---Erskine-Hall---Coe

Gordon Baldwin ‘Torso Pot’, 1964

 

 

Gordon-Baldwin-Warrior,-1950s-International-Ceramics---Erskine-Hall---Coe

Gordon Baldwin ‘Warrior’, 1950s

Earthenware, 76 cm (h)

 

Gwyn Hanssen Pigott

 

Gwyn-Hanssen-Pigott-Group-of-early-work,-circa-1970---International-Ceramics---Erskine-Hall---Coe

Gwyn Hanssen Pigott

 

Hans Coper

 

Hans-Coper-Bowl-1950's--International-Ceramics---Erskine-Hall-Coe

Hans Coper Bowl – 1950’s

 

 

Hans-coper-mid-century-bowl with internal abstract motif

Hans Coper Bowl – 1950’s

 

 

Hans-Coper-Digswell-Form,-c

Hans Coper – ‘Digswell Form’ 1963

Stoneware with black manganese

 

 

Ian Godfrey

 

Ian-Godfrey-Cornucopia-Lidded-Vessel,-1970s-International-Ceramics---Erskine-Hall---Coe

Ian Godfrey- ‘Cornucopia Lidded Vessel’, 1970

 

 

Ian-Godfrey-IG-0001---International-Ceramics---Erskine-Hall---Coe

Ian Godfrey- ‘Cornucopia Lidded Vessel’, 1970

 

 

Jacqueline Lerat

 

Jacqueline-Lerat-Chateau-Japonais,-1994--International-Ceramics---Erskine-Hall---Coe

Jacqueline Lerat – ‘Chateau Japonais’, 1994

Stoneware, 30 cm (h)

 

 

Lucie Rie

 

“To make pottery is an adventure to me, every new work is a new beginning. Indeed I shall never cease to be a pupil. There seems to the casual onlooker little variety in ceramic shapes and designs. But to the lover of pottery there is an endless variety of the most exciting kind. And there is nothing sensational about it only a silent grandeur and quietness.
If one should ask me whether I believe to be a modern potter or a potter of tradition I would answer, I don’t know and I don’t care. Art alive is always modern, not matter how old or young. Art theories have no meaning for me, beauty has. This is all my philosophy. I do not attempt to be original or different.”

 

Lucie-Rie-Bowl-1960-International-Ceramics---Erskine-Hall---Coe

Lucie Rie Bowl -1960

 

 

Lucie-Rie-Small-Vase,-c 1980

Lucie Rie-Small Stoneware Vase, c 1980

 

 

Lucie Rie contemporary Turquoise Bowl with Bronze Rim, c. 1983

Lucie Rie Turquoise Bowl with Bronze Rim, c. 1983

 

 

Lucie-Rie-LR-0046---International-Ceramics---Erskine-Hall---Coe

Lucie Rie

 

 

Lucie-Rie-Vase,-c.-1959--International-Ceramics---Erskine-Hall-Coe---Stoneware,-Height-13

Lucie Rie contemporary Vase, c. 1959

 

 

 

 

Machiko Ogawa

 

Machiko-Ogawa-MO-0002---International-Ceramics---Erskine-Hall---Coe

Machiko Ogawa, 2015

 

 

Machiko-Ogawa-MO-0027---International-Ceramics---Erskine-Hall-Coe

Machiko Ogawa, 2015

 

 

Machiko-Ogawa-MO-0027----International-Ceramics---Erskine-Hall---Coe

Machiko Ogawa, 2015

 

 

 

Machiko-Ogawa-Porcelain-with-silica-sand-and-Feldspar,-11.2-x-26

Machiko Ogawa, 2015

Porcelain with silica sand and Feldspar

 

 

 

Machiko-Ogawa-Untitled,-2015---International-Ceramics---Erskine-Hall---Coe

Machiko Ogawa, 2015

 

Magdalene Odundo

 

Magdalene-Odundo-Polished-and-carbonised-terracotta,-Height--30-cm--1984-International-Ceramics---Erskine-Hall---Coe

Magdalene Odundo Polished and carbonised terracotta, Height – 30 cm  1984

 

“Magdalene Odundo is an artist whose ceramics not only effortlessly bridge the ancient and modern but also relate to African and European culture, her vessels offering an understanding of the ‘pastness of the past,’ but also of the present,”

“Her pieces conjure all these images and particularly those that depict marking occasions and ritual because she has grounded them in her African/Kenyan roots where the process of life was shadowed by pots.” – Emmanuel Cooper

 

 

Ruth Duckworth

 

“Play is the essence of creativity. Creative play and gut reaction, instinct. When I work on a piece I play. I have a whole huge section of the studio where I have an inventory of sculptural forms, simple abstract, non-specific shapes that I find beautiful and enjoy making. Then I start building these shapes together. And then I find myself smiling. I say “hello! I think I‟ve got something.‟ The process is intuitive, not intellectual. You have to learn to be spontaneous and trust yourself.”

 

 

Ruth-Duckworth-1985--International-Ceramics---Erskine-Hall---Coe

Ruth Duckworth – contemporary ceramic vessels

 

 

Ruth-Duckworth-Wall-piece-2006---International-Ceramics---Erskine-Hall---Coe

Ruth Duckworth Wall panel -2006

“Form is what matters to me in any material… Pattern intrigues me. Colour can give me pleasure, but form moves me. When I was still a student in London, I went to a big Indian exhibition. Two large rooms with sculpture, stone and bronze mostly, and one room with paintings. Beautiful miniature paintings. That day I decided I would be a sculptor, not a painter. The three-dimensional nature of the sculpture grabbed me and hasn‟t let go yet. That was more than 60 years ago.”

 

 

Ryoji Koie

 

Ryoji-Koie-Tea-Bowl,-c1990

Ryoji Koie Tea Bowl, 1990

 

 

Ryoji-Koie-Tea-Bowl,-c-

Ryoji Koie Tea Bowl, 1990

 

 

Zung Lung Tsai

 

“The hidden tranquil space in the work is like a cave: it has incredible power. It is not just a visibly real space, but also builds and strengthens the work’s content. There the eyes can find rest, the brain can think in peace, and moods can turn around and settle inside.”

 

Zung-Lung-Tsai-Phototropism-1405,-2014--Ceramic-&-natural-ash-glaze-International-Ceramics---Erskine-Hall---Coe

Zung Lung Tsai – ‘Phototropism 1405’, 2014

 

 

zung-lung-tsai-The-Temperature-of-Tranquility-0904,-2009

Zung Lung Tsai – ‘The Temperature of Tranquility’, 2009

Ceramic & natural ash glaze, 30 cm (h)

 

Zung-Lung-Tsai-ZLT-0003---International-Ceramics---Erskine-Hall---Coe

Zung Lung Tsai – ‘The Temperature of Tranquility’, 2009

 

 

Zung-Lung-Tsai-Phototropism,-2014---International-Ceramics---Erskine-Hall---Coe

Zung Lung Tsai – ‘Phototropism 1408’, 2014

Ceramic & white glaze, 30 cm (h)

 

Zung-Lung-Tsai-Phototropism-1408,-2014-International-Ceramics---Erskine-Hall---Coe

Zung Lung Tsai – ‘Phototropism 1408’, 2014

 

 

Zung-Lung-Tsai-Phototropism-1408,-2014--International-Ceramics---Erskine-Hall---Coe

Zung Lung Tsai – ‘Phototropism 1408’, 2014

 

 

Zung-Lung-Tsai-Phototropism-1408,-2014---International-Ceramics---Erskine-Hall-----Coe

Zung Lung Tsai – ‘Phototropism 1408′, 2014

 

 

Zung-Lung-Tsai-Phototropism-1408,-2014-International-Ceramics-=--Erskine-Hall-Coe--

Zung Lung Tsai – ‘Phototropism 1408’, 2014

 

 
 
 

 

 

NEXT POST  —  Art of the Buddha

 

Shino glaze diversity – Adam Whatley

 

 

Adam-Whatley-shino footed vessel

Adam Whatley

 

Adam Whatley is a ceramic artist based in Escondido California. Each of his pieces features different glazes, washes and clay additives and are fired between cone 6 – 10. His methods and techniques are documented on his flickr page at texasadam and I’ve included some here to highlight the diversity of his wares.

Adam Whatley’s Website 

 

Shino Glaze

 

The shino glazes have properties that make them ideal for wood firing. They are very reactive and offer a plethora of textural and colour responses to the variation of temperature and atmospheric conditions present in a wood fired kiln. The reduction phase of every stoke cycle encourages carbon trapping in the soda rich glazes and the shino glazes thrive in long sustained temperature firing and the slow cooling cycle typical of wood firing. The appealing rich shino surface is the result of the sympathetic melding of a clay body and feldspathic during a long firing and slow cooling process. The natural colour responses to the ash glaze deposits are endless and traditionally soft and radiant colours of white, peach, gray, blue and red surfaces were created. Over the years a multitude of shino glaze recipes have been developed, most being a combination of various soda fluxes and clay.

 

Tsurara-(氷柱-Icicle-1930)-Kato-Tokura

Tsurara-(氷柱 ‘Icicle’ -1930) Kato Tokura

 

Shino was the first white glaze used in Japanese ceramics and was fired in Anagama kilns. The Japanese word for white is ‘shiro’ which is probably the origin of the descriptive term for the glaze, but it has also been attributed to the tea master Shino Soshin, who had a favorite white-glazed, ‘shoe-shaped’ bowl, imported from South Asia, which he used as a teabowl.
In Japan in the 1930s and 1940s, two Japanese potters, Toyozo Arakawa and Hajime Kato, developed the first modern Shino glazes by studying Monoyama Shino pots. The subtle appearance and beauty of the original shino ware glazes also acted as a stimulus for potters outside of Japan to recreate these glazes using different soils and firing techniques, which resulted in many fascinating variations. The natural colour responses to the ash glaze deposits are endless.
In the 70’s, Virginia Wirt developed a glaze formula that combined soda ash and spodumene to the base of feldspar and clays with the objective of emulating the Japanese Shino. This came to be known as ‘American Shino’ and spawned numerous variations. Although many different colorants and fluxes can be added, creating a wide range of effects, Shino glazes in America tend to be characterized by the use of soda ash and by a high ratio of alumina to silica.
Saggers were used in Japan to protect the glaze from ash deposits and flames and in some instances they weren’t employed to encourage the likelihood of interesting yohen ( accidents) which led to rich colours and surface texture. Additional materials such as straw, oyster shells and rice husks were placed near the clay pieces to also enhance colours and textures.

 

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Adam-Whatley-ceramics footed shino cup

Adam Whatley

 

 

 

Cup-Tinure-by-Adam-Whatley cup with textural glaze

‘Cup Tinure’ by Adam Whatley

Powder blue grey to deep walnut brown exterior from oxide wash. Very textured surface from burned out organics. Inside is white with burnt orange and dark areas from clay body where glaze has been removed.

 

 

 

Adam-Whatley--Rosslare shino rice bowl

‘Rosslare’ rice bowl – Adam Whatley

Shino and glass combine with cobalt blue and iron oxide to make a great surface on this cup/bowl. The inside is a bright white glaze with spots of orange iron oxide showing through. Turquoise glass drips surrounded by a deep maroon border run down the outside. Made from clay pulled from Texas soil and fired to cone 10. Perfectly holds whatever you choose.

 

 

 

Shino-Bowl-Arvagh stacked clay strip bowl - Adam Whatley

‘Arvagh’ Shino Bowl – Adam Whatley

Hand built shino glaze and dark green glass are combined for a shiny and beautiful exterior of stack clay strips. Orange iron oxide shows on edges. Inside the shino glaze combines with a clear glaze too create a blistered effect around the rim and a smooth white interior.

 

 

Shino-Cup-Ardmore by Adam Whatley - Shino and glass combined with cobalt and iron oxide

‘Ardmore’ Shino Cup by Adam Whatley

Shino and glass combined with cobalt and iron oxide to make a great surface on this larger size cup/small bowl. Made from clay pulled from Texas soil and fired to cone 10. Perfectly holds whatever you choose. Microwave and dishwasher safe.

 

 

Shino-Cup-Clon by Adam Whatley

‘Clon’ Shino Cup by Adam Whatley

Twice fired surface with a matt turquoise over a shino glaze and cobalt blue wash. The inside is a glossy white with small areas where the cobalt pushed through from the outer clay surface during firing. In the sun small reflective mica particles show up.

 

 

Tall-Bowl-Furbo-H6 inches - Adam Whatley

‘Furbo’ bowl – Adam Whatley

A tall curved semi bowl perched on top of a base with tiny vertical cuts that has been dipped in spodumene glaze. Lime green, grey, and a pale yellow all show up in the beautiful glaze. Where the glaze gets thin is a burnt orange stripes from iron oxide. The inside of the bowl is a solid clear glaze showing the bright white clay underneath. This is a great decorative item or you can use it to hold some small items like nuts or candy.with stoneware clay pulled from Texas soil and fired to cone 10.

 

 

 

Shino-Cup-Rerrin

‘Rerrin’ shino cup by Adam Whatley

 

 

 

Soda-fired-lamp assembled with clay strips by Adam Whatley

Soda fired lamp – Adam Whatley

 

 

 

Adam-Whatley shinp tiered cup

‘Ballon’ oribe bowl – Adam Whatley

Glass frit combines with a deep oribe green glaze to make a really interesting surface on this bowl. Inside is a clear coat over a two types of stoneware clay marbled together. Amazing purples, deep ruby red, powder blue and aqua green all show up and gather around the bottom of the bowl to form drops.

 

 

Coolmine1 - shino cup by Adam Whatley

‘Coolmine 1’ – shino cup by Adam Whatley

Extremely textured shino surface with crawling glaze on exterior. Dark areas of iron oxide and manganese. Inside is a smooth surface with white wood ash shino and creamy opal glass frit.

 

 

umami2 ceramic platter by Adam Whatley

‘Umami 2’ – Adam Whatley

 

 

Adam-Whatley-ceramics - ribbed shino bowl

Adam Whatley shino bowl

 

 

 

Cashel-Adam-Whatley

‘Cashel’ – Adam Whatley

 

 

 

Adam-Whatley-ceramics shino vessel

‘Sunna’ shino bowl – Adam Whatley

 

 

Shino-Cup-Black-Adam-Whatley - footed ceramic drinking bowl

‘Shino Cup Black’

Heavily textured shino surface with crawling glaze on exterior. Dark areas of iron oxide and manganese. Inside is a white wood ash shino with creamy opal glass frit and areas of raw clay with iron oxide spots.

 

 

Adam-Whatley-ceramics--shino vessel

Textured shino cup – Adam Whatley

 

 

Adam-Whatley-ceramics - Nass shino cup - combination of iron oxide and cobalt to create a black stain

‘Naas’ – Adam Whatley

Shino and glass combine to make a great surface on the inside and outside of this small tea cup. The exterior has a combination of iron oxide and cobalt to create a black stain that is then carved to create a very unique pattern. Inside the glaze runs down in a deep maroon to the bottom where it turns a clear turquoise. Made from clay pulled from Texas soil and fired to cone 10. Perfectly holds whatever you choose. Microwave and dishwasher safe.

 

 

Oribe-Cup-killala by Adam Whatley

 ‘Killala’ Oribe Cup – Adam Whatley

Glass combines with a deep oribe green glaze to make a really interesting surface on this cup / bowl. Inside is a coat of bright white porcelain over a stoneware clay body. Amazing purples, deep ruby red, powder blue and aqua green all show up in this glaze.

 

 

Aughrim-with-mushrooms by Adam Whatley

‘Aughrim’ with mushrooms

 

 

Ashbourne shino tea bowl - Adam Whatley

‘Ashbourne’ – shino bowl – Adam Whatley

 

 

 

Balboa-Park-Adam Whatley - Texasadam flickr

‘Balboa Park’ – Adam Whatley

 

 

Ikebana-Vase-Nenagh by Adam Whatley

‘Nenagh’ Ikebana Vase by Adam Whatley

An Ikebana vase with an iron rich clay body with black gosu and a milky clear glaze running across the surface. A moss green speckle shows up in some areas from a iron oxide over / under glaze and deep blue areas around the mouth from cobalt.

 

 

Adam Whatley shino tea bowl

Adam Whatley shino vessel

 

 

Quin shino footed vessel---Adam-Whatley

‘Quin’ –  Adam Whatley

 

 

 

Ruan 2 shino bowl - Adam Whatley

‘Ruan 2’ – Adam Whatley

Colors of dark tobacco and deep walnut show through the shino glaze that runs over a thick coating of iron oxide inside and out. This cup shows a lot of surface character from pitted clay created from burned out organic matter. Lots of inky oil spots and areas of gold and bronze on the lip.

 

 

 

moher1ceramic vase by Adam Whatley

Moher 1 ceramic vase – Adam Whatley

 

 

 

Shino-Bowl-Keadue by Adam Whatley

‘Keadue’ by Adam Whatley

Extra thick Iron rich clay with perlite added for texture and strength in the building process. The inside of this bowl has a layer of porcelain covered with a clear glaze. A bright shino glaze combined with green glass is applied to the outer edge of this bowl and runs on all sides with a vertical line pattern as a complement .

 

 

shino black footed vessel - Adam Whatley

 Adam Whatley

 

 

 

 Adam Whatley shino bowl with horizontal gosu lines

‘Omeath’ –  Adam Whatley

A matte shino exterior with deep orange where closest to the open flame. Assembled from layers of clay, the seams are joined using a “gosu” mixture of cobalt and iron oxide. These horizontal gosu lines wash down the exterior and bleed into the shino glaze. The inside is a glossy clear glaze over brushed on porcelain clay with marbling of two different stoneware clays underneath.

 

 

 

Shino-Cup-Bangorn by Adam-Whatley

‘Bangorn’ Shino Cup – Adam-Whatley

Dry white cracked shino glaze combined with turquoise glass on the lip make for a great surface on this smaller sized cup. Inside is a clear glaze showing the extremely textured surface from the burned out organic material. Bubbles in the glass and the glaze along with a lots of pitting and cracking .This cup has an exceptionally distressed surface and would make an great tea cup.

 

 

 

Shino-Pettigo-Adam-Whatley

 ‘Pettigo’ Shino – Adam Whatley

This bowl has a raw exterior with each layer of stacked clay being joined with iron oxide and a shino glaze. The crisp, white, porcelain interior is covered with a shiny smooth clear glaze. and made from clay pulled from Texas soil and fired to cone 10.

 

 

Footed Shino-Cup-Brittas by Adam Whatley

‘Brittas’ Shino Cup – Adam Whatley

Exterior has a very textured shino surface with heavily crawling glaze. Dark areas of iron oxide and manganese. Inside is a white wood ash shino with creamy opal glass frit. Drips of exterior wash run under interior glaze.

 

 

Adam Whatley Shino-Cup-Mendelssohn--Exterior has a very textured shino surface with heavily crawling glaze. Dark areas of iron oxide and manganese.

‘Mendelssohn’ Shino Cup – Adam Whatley

 

 

 

tuam 2 shino vessel - Adam Whatley

‘Tuam’– Adam Whatley

 

 

 

Shino-Bowl-Tulrahan- Adam Whatley

‘Shino Bowl Tulrahan’ – Adam Whatley

 

 

twoup shino bowl - Adam Whatley

Adam Whatley

 

 

 

Choyo-(朝陽-Rising-Sun-1969)by-Arakawa-Toyozo

Choyo (朝陽 ‘Rising Sun’ 1969) by Arakawa Toyozo

 

 

Kato-Tokuro---Akane-Shino-Chawan-(茜志野茶碗-Crimson-Shino-Tea-Bowl-1985)

Kato Tokuro—Akane Shino Chawan-(茜志野茶碗  ‘Crimson Shino Tea Bowl’ 1985)

 
 

 
 

 

 

NEXT POST  —  London international ceramics exhibition