April 2010 - Ceramics and Pottery Arts and Resources

Monthly Archives: April 2010

Chinese Ceramic Figurines, Shanghai Museum

April 30, 2010

Shanghai was once known as the “Paris of the East “ due to it being the first cosmopolitan city in China. The city is now home to a Museum recognized as one of the best in China. It has over 120,000 items on display and I’m impressed with its collection of ceramic figurines so I’d like to feature some of them here.

The Qin (221-206B.C.) and Han (206B.C.-220A.D.) dynasties are noted for the high quality and large numbers of pottery figurines they produced. In 1974 the famous terracotta warriors and horses of Qin Shi Huang (the First Emperor of the Qin) were discovered just east of his mausoleum. The excavation is still going on, and Vault No.1 alone is expected to yield 6,000 of them. The life sized figures of men and horses are in neat battle formation, with the men holding real bronze weapons of the time and reflecting the formidable might of the legions of the First Emperor.

It was a common practice to place figurines in tombs, especially with the Emperors. This actually replaced the practice of burying living people ( servants , court attendants ect. }with the Emeoror. Vast numbers of figurines, dating from the Warring States Period(475-221 B.C.) down to the Ming(1368-1644), have been discovered..

They are of various designs but most are made of pottery and porcelain, next came wood and lacquer, and occasionally jade. They represented people of different status and walk—court officials, generals, cavaliers, attendants, musicians, dancers and acrobats. As a rule, they were nicely modeled in different postures, constituting a valuable part of China’s ancient art.

With the flourishing of ceramics during the Tang, Song and Ming dynasties (10th-17th century), the tomb figurines of this long period, among which the “tricoloured glazed pottery of the Tang” are world-famous. Out of the ancient tombs of Xi’an and Luoyang has unearthed many colour-glazed females, horses and camels. Noteworthy especially are the pottery camel drivers with their deep-set eyes, protruding noses and hairy faces, evidently Central Asians who plied the Silk Road with their caravans. The “tricoloured Tangs” represent in effect a special handcrafted art catering solely to the funerary needs of the aristocracy at the heyday of China’s feudalism.

Statue of Heavenly Guardian

Kuan Yin

Eastern Han-Green Glazed Pottery Duck

Silk Rd Trader on a camel

Tang Woman

Man with cucumber

Tang Dynasty

Tang Dynasty Horse

Green Glazed Pottery Dog

Posted in: Pottery – 1 Comment

Japan pottery lineage of Hamada Tomoo

April 23, 2010

It is interesting to observe that Japan has about thirty potters that are considered National Treasures and as such their pieces can command a high price. A pottery piece in Japan can be valued as highly as a framed painting. From a collecting perspective, any signed piece from any of the Japanese potters with a family lineage is usually worthwhile. Pottery from the Edo period or from the famous pottery centers is also collectible.

The Japanese potter, Hamada Tomoo continues to evolve his families techniques, using their legendary Mashiko kiln, in new directions with his original designs using traditional materials.

Hamada Tomoo is the grandson of Hamada Shoji, a Japanese “National Living Treasure” and the major figure of the mingei folk-art movement.

Tawara vase – Tomoo Hamada

As stated by Japanese Art historian, Andrew Maske :

“The world of traditional ceramics in Japan naturally places great emphasis on lineage. Lines of potters that began in the late sixteenth or early seventeenth century are now in their fourteenth or fifteenth generations. A lineage of only three generations may seem insignificant by comparison, but the Hamada family makes it clear that it is not the length of the line that is most important, but rather the quality of the work.“ Hamada Tomoo’s pottery utilize essentially the same materials as those of Hamada Shinsaku(his father) and Hamada Shoji (his grandfather ) – glazes like reddish brown kaki, brown tenmoku, cobalt blue, white rice straw ash, bluish-white namako, green seiji, black kurogusuri, creamy nuka, translucent namijiro, and runny-green wood ash, all used to cover a speckled tan clay dug and formulated right in Mashiko”.

“Unlike his elders, however, Tomoo has become much more daring in the use of unconventional shapes, extensive application of overglaze enameled decorations, and surface textures. In particular, his tiered flasks are very progressive, and unlike anything seen before in a mingei genre. It is clear that Tomoo has been looking beyond the works of his forebears, examining works from the early English Arts and Crafts movement, and even from art nouveau.”

Shoji Hamada ceramic bottle

Mashiko Museum of Ceramic Art

Shoji Hamada

Below are some pieces created by Hamada Tomoo reflecting quality and innovation :

Salt Glaze Bottle – Tomoo Hamada

Tomoo Hamada plate

Tomoo Hamada

Mashiko woodfired plate – Tomoo Hamada

Mashiko Plate Tomoo Hamada

( Robert Yellin Gallery )

Tomoo-Hamada—Vase

Mashiko Guinomi Sake Cups

Tomoo Hamada

Mashiko Guinomi Saki Cups

Hamada Tomoo Mashiko Henko jar

Two chawans – Tomoo Hamada

Blue bottle – Tomoo Hamada

Tomoo Hamada Vase, Black glaze with akae decoration stoneware

Pucker-Gallery

Tomoo Hamada Footed Bowl Salt glaze stoneware Pucker Gallery

Stoneware Vessel – Matsuzaki Ken

Tomoo Hamada

Large Plate, Kaki glaze with akae decoration – Tomoo Hamada

Tomoo Harada Japanese vase

White glaze vase with akae decoration Tomoo Hamada

Shoji Hamada :

Faceted vase and lidded jar- Shoji Hamada

Shoji Hamada

Hamada show – Asahi Beer Oyamazaki Villa Museum Kyoto, Japan

Saimo_mx70 flickr

Hamada Shoji–salt glaze bottle

The Horio Mikio Collection

1952

Shoji Hamada teapot

Hamada Shoji ash glaze bowl with inlay and iron black painted decoration

1944

The Horio Mikio Collection Asian Art

Stoneware covered jar, Tetsue brushwork – Shoji Hamada

1945

Shoji Hamada

–

Posted in: Pottery – 4 Comments

Teapot rituals: tea for Tao

April 17, 2010

Porcelain Teapot -Melanie Brown

Clarice Cliff Teapot in the Blue Chintz pattern

Decodance.com

Boy sitting on dragon teapot – Kangxi reign (1662-1722)

The evolution of tea drinking

The ancient Chinese Emporer, Shen Nung, is credited with discovering tea as a recreational beverage, around 2737 BC . Known as the “ Father of Chinese Medicine”, he tested hundreds of herbs in the pursuit of natural remedies and was sometimes exposed to poisons in the process. He found that tea, in some instances, acted as a natural antidote. He also observed its mild stimulative qualities, along with its refreshing nature .

The tradition of drinking tea as a social occupation has existed in countless cultures for centuries. From the ritual of drinking mint tea in Morocco for cooling oneself, to the drinking of Masala Chai ( spice tea ) in India to the elaborate tea ceremonies in Japan.

It wasn’t until the 16th century that this tea elixir was introduced into Europe, and was originally only affordable to the wealthy.

The ritual of “afternoon tea “ only became a widespread pastime after one of Queen Victoria’s ladies in waiting, the 7th Duchess of Bedford, promoted the habit of having tea and cakes in the late afternoon. It became a daily event where formal attire was de rigueur. The Victorians called a tea service a tête-à-tête. This consisted of a cups and saucers, teapot, sugar bowl, cream pitcher and the finest silverware. What began as a leisurely ritual for the wealthy quickly caught on as an essential afternoon pastime with the working class, especially because supper time was around 9pm.

Being a lifelong tea drinker, I’ve always enjoyed the appearance of a teapot, possibly because of the promise of a fine brew. Sadly the teabag now dominates habits, but the noble ritual is not forgotten. My teas of choice are of the Japanese varieties. Genmai … this is a green tea combined with roasted brown rice and is an excellent tea if you have to maintain long spells of mental concentration. My other favourite is Kukicha … a roasted twig tea – this yang tea is rich in calcium and grounding in nature. An occasional Earl Gray also doesn’t go astray.

Yixing ware teapot – ca. 1900, China

Indian style Tea Set – Nini Violette – ( Flickriver )

Belleek Pottery, glazed porcelain, slip-cast

Ireland, Co. Fermanagh
1869-82

( V & A Museum )

Photo Peter Jackson

–

“The tea awakens the good spirit and wise thoughts. Tea refreshes my soul. If you are overwhelmed and feel despondent, tea will pacify. ” – Emperor Shen Nung (2700 god.pr.Hr.).

–

Teapot ( Qianlong_Reign_Period )

Tea caddy-(circa-1698)

©Bridgeman-art-library

Chinese porcelain teapot

Nancy Adams

Two Koi Tea – Nancy Adams

–

Japanese Tea Ceremony

Traditional Raku ware was favored for this refined ritual. Due to the fragile nature of some of the Raku ceramics they were only used once. All ingredients used were as organic or natural as possible. The water was preferably heated on a charcoal fire, as this had the purest Yang energy, as opposed to a gas fire or in these times electric or microwave which have the lowest quality Yang energy.

–

” Big Ben” teapot

John Pollex

” Asparagus Teapot ” by Trisha Coates

Black ” porcelain noire ” teapot with silver and wooden handle, designed by Taipo Wirkkala for Rosenthal

Natalya Sots teapot with cup and saucer

” My Growing Passion For Green Tea “

by Jaques Vesery, 2008

” Stripey Teapot ” Lucia Pottery

Elegant Russian Teapot made of rock crystal, trimmed with gilt filigree with emeralds and ruby

Iced teapot made of rock crystal, trimmed with gilt filigree with emeralds and ruby – Nachalo

Teapot by Samantha Henneke

English Staffordshire red teapot with botanical green leaf decoration

Staffordshire – 1740-1760

Algerian Teapot ( The Met Museum )

Wood Fired Scorpion King Ceramic Teapot by Julie Atelier ( etsy )

Moore Bros. – 1876

( V & A Museum )

Sevres Teapot ( French 1740 to present )

Dusk till Dawn 2008

Ceramic Glass,Czech Gems,Metal

by Lynn Casenerio

Shojji Hamada

Jaroslav Ježek – Modernist Czech Pottery tea set

Chinese enameled porcelain puzzle pot, late Qing/early Republic period, in the form of the character ‘fu’

Jeffrey Klechner

Burgess & Leigh – 1896

Large Green Pumpkin Teapot by Laura Kolinski Schultz

( Terra Ki Teaware )

Qing Famille Rose teapot

–

Posted in: Creative – No Comments

Clay abuse or tuff love ?

April 16, 2010

Simon Leach- moisturising hardish clay tip !

This is a simple but effective way to bring back your clay into a more usable / kneadable / throwable state .

———————————————————————————————–

Another moisturising tip ( for the hands ).

According to the Ayurvedic classic ” Charaka Samhita “, the cure par excellence for an excess of Vayu ( wind element ) is Til oil. Traditional Chinese Medicine claims the same fact : Sesame oil ( Til ) helps to pacifiy Feng ( wind element ).

So how is this related to curing dry hands developed from making pottery? Well, any exposure to cold or local air movement or physical straining will agitate the Feng and can lead to skin dryness. The reason sesame oil is the most effective to alleviate dryness is because it is highly water soluble and penetrates deeply into the skin. Sometimes it becomes absorbed within a few minutes of applying. It also possesses a high quality Yang Chi. Sesame seeds as old as 3000 years have been discovered still intact, indicating a powerful life force ( Chi ) ). This gives the oil rejuvenating qualities.

So applying Sesame oil on a regular basis will go a long way to helping the skin stay supple. Always use oil that is warmish in temperature and preferably organic.

Another point worthy of mention is that the Feng can cause dryness of the joints, which combined with dampness can lead to arthritis. Once again, application of sesame oil naturally lubricates the joints and is effective in preventing this ailment.

◊

Posted in: Pottery – No Comments

Traditional Glazing: David Fry explores ancient glazes of China, Japan & Korea

April 12, 2010

Vase with a beautiful pale chun glaze and a splash of copper red, with combed and drawing work beneath.

David Fry

For more than 37 years David Fry, has experimented with recipies gleaned from the ancient glazing techniques of the East. Combining extensive research and intuition he has successfully reproduced their form and styles. He has developed a ‘Lang-Yao’ or Flambé, a copper red glaze, a rich blue ‘Jun’, a green Celadon, and a Black ‘Tea Dust’ Tenmoku along with Shino and Wood Ash glazes.

Using a 40 cu.ft gas fired kiln, which he built himself, his prime firing technique is “Reduction” firing. ie. he reduces the amount of oxygen entering the kiln and introduces wood to to create a smokey atmosphere at the end of the firing process. All his glazes contain some wood ash, which are utilised to introduce Phosphorous and Calcium. ( absent form standard glaze materials.) This wood ash is obtained from burning recycled wood and hedge cuttings ( Wild Rose & Hawthorne ). Each pot is overlayed with up to 5 glazes to enhance their colour depth and variety of colour mixes. The firing takes about 24 hours, where a temperauture of 1340C is reached , followed by a cooling stage of 48 hours. During the cooling stage , changes still occur in the colour tones of the glaze as the crystals oxidise. Some of his glazes have a crackle pattern within the glaze structure, much loved by collectors of Oriental ceramics.

David claims that “my glazes or materials do not contain any toxic materials, and the glazes have a high percentage of Silica and Alumina being fired at high stoneware temperatures. The principle fluxing element in my glazes is Calcium combined with smaller amounts of Potassium, Sodium and Magnesium. Therefore my work is safe for the user, the maker, and the environment .The colours of my glazes come from very small amounts of copper and iron in the glaze mix – reduced copper turns red and iron blue/green.”

David Fry is currently based in a sudio at the new Arts Centre in Newcastle, Britain. He is continuing his quest to discover more exciting colours and textures, drawing his inspiration from the endless variety of unique outcomes he attains from his combination of glaze mixtures and firing methods.

8″ dia. jar , copper red glaze overlaid with ash and iron.

Current work – David Fry

14″ sq. pressed platter, with a gold Shino and copper red glaze.

David Fry

Stoneware tiles –David Fry

Shaped vase 9″ high, in a rich mix of wood ash and iron over a copper red glaze – David Fry

Woodfired ceramic vessel with twin handles – David Fry

Square dish rolled and pressed clay with a rather nice chun and iron

David Fry footed bowl

The Inglewood Jar. on display at Hutton in the Forest

Jar with handles, with a copper red glaze overlaid with wood ash to get a nice run.

Pencil Pot – David Fry

Small bottle vase – David Fry

David Fry jar

Double handled vase with overlaid drip glaze – David Fry

Polychrome plate – David Fry

Square dish – David Fry

David Fry having a sitting with Chris Madge

David Fry display at Potfest 2013

Red Ceramic bottle – David Fry

David Fry current work

David Fry footed cup, blue rim

David Fry footed vase, UK

See more at www.davidfryceramics.com

Posted in: Creative – 1 Comment

Feng Shui Pottery: wind, water, clay.

April 5, 2010

Home and office feng shui :

Feng Shui Harmony

Feng shui is basically the practice of achieving harmony with the elements and the environment through proper placement and arrangement of space and matter. The above Baqua represents the interactive nature of the 5 elements in nature. As earth is obviously the element connected with pottery , I will only analyse this element and the elements directly influencing it.

Firstly Earth occupies the centre of the Baqua. Why? Because all the other elements are born from this element and of all the elements, it is the most stable and capable of bringing balance.

The elements of Fire, Metal, Water and Wood are respectively represented by the seasons Summer, Autumn, Winter, Spring but Earth is seemingly missing. However, on the cusp of each season change for a period of one month the element changes to Earth. At this time both the external elements and our internal elements go back to Earth for rebalancing. Interestingly, all the elements are employed in the creation of pottery: earth clay, water, wood or gas fire, wood and metal tools and metal kiln.

According to the 5 Element interrelationships, Earth is nurtured by Fire but controlled by Wood. As all pottery and ceramics are fired in a kiln their earthiness is enhanced in the process.

Lidded dragon jar

So in a practical Feng Shui application, if an offiice has an abundance of Wood ( desk, bookshelves, cabinets ), as this element fuels creative/expansive energy and feeds nervous energy, an excess can lead to tension. The presence of Earth will help to calm this element. ie. some of the Wood energy is absorbed by the Earth by virtue of the Wood controlling it. So the presence of a stone statue or a large ceramic vase or pottery will pacify the wood and bring harmony.

The central region of a house is where the Earth element prevails, so displaying vases, ceramic figurines and sculptures in this area is also useful. Using a blend of earthy tones and yellows for color also contributes to the Earth harmony and having this space sparse and uncluttered is supportive.

–

Feng Shui in the bedroom

Likewise, as the bedroom features wood, ( bed, wardrobes, drawers ) , the presence of the Earth Element assists in pacifying the Wood Element and can actually assist in a more peaceful sleep. Also the use of candles or oil lamps will help to rejuvinate the Earth element which could become exhausted trying to absorb excess Wood energy. Placing a large, heavy ceramic vase or sculpture ( preferably with gentle curved lines ) on the bedside table can aid relaxation.

Dried flowers in a vase will attract a depleted chi ( energy ) so this would not be advisable for the bedoom or central region of the home. Also, leaving stagnant water in a vase creates a negative chi. (Sha chi )

Trees and plants with rounded leaves such as the Oak tree ( traditionally regarded as sacred ) and the Jade plant, are recognized as having a good Feng Shui influence. This is because the round shape is seen as being all inclusive, expansive and compassionate. As opposed to a pointed leaf which creates Sha Chi due to it being exclusive and contracting, They are ideal for the central Earth sector.

As the bulk of pottery and ceramics are created on a pottery wheel, they posses curved lines which also create a great Feng Shui chi and their innate symmetry also favours positive chi. Sharp, protruding corners and edges also create Sha Chi but are sometimes unavoidable so a round sided pot in close proximity can help counteract this.

The presence of water features ( fishtank, fountain ) in the Earth centre of your home is also problematic. Earth controls water ( just like a dam ) so this can weaken the Earth element. Favour features like marble coffee tables and red sculptures

Sometimes it’s difficult to determine the position of the peripheral elements but it generally easy to determine the location of the Earth in the centre. Getting the Earth element established is the first step towards creating harmony in your home.

Korean Blue Flared Vase

Yellow Porcelain Dragon Vase with flared mouth

Japanese Courtyard Garden

Red high relief deity vase

Chinese Blue & White Vessel – Gao Zhen Hua

Four Footed Pillow Vase

Théodore Deck

feng shui garden landscape

19th century Chinese porcelain jar with lid

Oriental stone pagoda

Chinese Carved Tianhuang Stone

Martin McWilliam

Chinese Imari Style Covered pot

Huaqing Hot Springs

Chinese Famile Yellow Porcelain

Double Happiness Teraccotta Teapot

A pair of Late Qing Dynasty Landscape Kwai mouth bottles

( Shuobao.com )

Jon Anderson Turtle

Chinese Carved Kuan Yin

Peng Jingqiang

Porcelain art of some traditional Feng Shui symbols for prosperity, luck and health by Chinese ceramicist Peng Jingqiang who studied at the Jiangxi Jingdezhen Ceramic Institute.

Peng Jingqiang – Bamboo

Peng Jingqiang – Butterfly Lotus

Peng Jingqiang – Sonfhe Figure

Peng Jingqiang – Leaves cicada

Peng Jingqiang Magnolia

Chinese porcelain plate by Peng Jingqiang – Murmer

I wish Antu vase by Peng Jingqiang

Hydrangea Embroided Clear – Peng Jingqiang

Silver Wood River by Peng Jingqiang

Porcelain vase Monkey Figure – Peng Jingqiang

–

Posted in: Creative, Pottery – 1 Comment

Newark Museum – 100 Masterpieces of Art Pottery, 1880-1930

April 3, 2010

The Centennial Exhibition of 100 Masterpieces of Art Pottery ( 1890 -1930 ) drawn from the extensive collection of ceramics at the Newark Museum ( New Jersey), is featured below in this video.

More ceramics from the Newark Museum :

George E. Ohr (Biloxi Art Pottery) 1897-1900

George Ohr (1857–1918) was unquestionably the best thrower in the world in his day, and possibly even today. He was one of the first studio potters in America, working largely alone and overseeing every aspect of his work directly. Although his roots were in Southern folk pottery, Ohr was a scholar of historic ceramics, traveling to museum collections and expositions around the country.

Earthenware planter with iridescent glaze.

Clément Massier (1845–1917) Jardinière with figure of a woman, 1900.

Clément Massier (1845–1917) established his first ceramic studio in 1872 in Vallauris in the Golfe Juan area of the French Riviera. From the start the studio was famed for its metallic luster glazes, which Massier used to great effect with the art nouveau style toward the end of the century.

Riessner, Stellmacher and Kessel, Amphora Pottery
Turn-Teplitz, Bohemia ( Czech republic )

Urn with multicolored glaze and gilt bronze mounts, 1899–1905
Slip-cast stoneware with applied decoration, brass
23 in. high x 12 in. diameter
Gift of Theresa Cwierzyk, MD, to museum in loving memory of her husband Sidney Gordon, 2007

Maria Longworth Nichols for the Rookwood Pottery
Cincinnati, Ohio
Monumental “Oriental” vase, 1883
Thrown earthenware with slip underglaze decoration.

Mathilde Oestrich Bequest Fund
and Eva Walter Kahn Bequest Fund

Maria Longworth Nichols (1849–1932) started china painting in 1873, joining affluent women all over the country in this newly fashionable hobby. In 1880 Nichols established the Rookwood Pottery, considered America’s first official art pottery.

Makuzu Kozan studio
Ota, Japan
Vase with design of cascading blossoms, 1900–1916
Carved and painted porcelain.

John Kunsman for Fulper Pottery Company
Flemington, New Jersey
Two-handled bottle vase with “ashes of rose” glaze, 1915

Melville P. White for Gates Potteries (TECO)
Terra Cotta, Illinois

“Chrysanthemum,” ca. 1905
Stoneware with green glaze
Gift of American Decorative Art 1900

Founded by William D. Gates in the late 1880s, Gates Potteries launched its line of Teco art pottery in 1901. . The combination of stylized organic forms with a monochromatic glaze had many parallels in both America and Europe early in the century.

Alexander Blazys for Cowan Pottery
Rocky River, Ohio
Vase of stylized Oriental bird, 1927–30
Cast porcelain with “Egyptian blue” glaze.

This vase, merging Art Deco design with an ongoing interest in Chinese ceramic forms, showcases Cowan’s “Egyptian Blue” glaze, which was developed in 1927.

Carl Schmidt for the Rookwood Pottery
Cincinnati, Ohio
Vase with decoration of irises and “black iris” glaze, 1909
Thrown white earthenware with underglaze slip decoration.

Christian Neureuther for Wächtersbacher Steingutfabrik

Vase with design of brown vines, ca. 1911
Molded earthenware, Wächtersbach, Germany

Christian Neureuther (1869–1921) produced remarkable modernist designs for an established old stoneware factory, where from 1903 until his death he maintained his Wächtersbach Ceramic Studio.

Adelaide Alsop Robineau Syracuse, New York Vase with crackled white glaze, 1924 Thrown and carved porcelain.

Maria Martinez (1887–1980) and Julian Martinez (1879–1943)
San Ildefonso Pueblo, New Mexico
Bowl with plumed serpent, ca. 1925
Coiled and burnished earthenware.

Maria Martinez (1887–1980) and Julian Martinez (1879–1943) San Ildefonso Pueblo, New Mexico Bowl with plumed serpent, ca. 1925 Coiled and burnished earthenware Gift of Amelia Elizabeth White,1937 ( Newark Museum)