Keramik kor jp kam
http://www.e-yakimono.net/html/fair-flea-markets-jt.html
Fair and flea market pot-hunting in Tokyo Area
By ROBERT YELLIN
for The Japan Times, Feb. 26, 2000
Return to Fairs/Flea Markets Top Menu
"How can I learn more about Japanese pottery?" is a question I'm often asked. The answer is simple.
Get out and see as much as you can.
Department stores and galleries are always a good place to periodically visit, but another way is to
haunt the antique markets that can be found throughout Japan. That's one thing that I've done. Have
you ever been to one? It's like walking into your grandmother's attic and seeing all kinds of goods
from days gone by, as well as some contemporary items. Not only pottery but glass, textiles, toys,
baskets and much more. You never know what you're going to find -- sometimes a little treasure,
sometimes you walk away empty-handed because nothing caught your eye. I figure that I purchase
something about once or twice in 10 visits but I always learn a lot.
And that's the point. The markets are open libraries and allow you to sharpen your eye as well as
your knowledge about what is good and what is not. Trust what appeals to you and don't rely too
much on the advice of the dealers. After only a short time of observing them I realized that often
they have no clue as to what they're selling. "Buyer beware" never rang truer.
A case in point: Just last week I was at the huge Heiwajima antique fair and I was holding up a small
jar, discussing it with some friends, when the dealer overheard me and came up to me waving his
arms and babbling.
"No, no, Seto, it's a Seto piece, not Shigaraki," he blurted out, to my surprise.
"Well," I replied, "I beg to differ. This is a Meiji Era Shigaraki sweet sake flask."
"No, no," he insisted. "Seto jar for hair tonic."
Just then his son stepped in and tugged at his arm. "Oto-san, the gaijin is right, it's a Shigaraki piece.
Come back behind the counter," he said.
"A, so ka," said the dealer and sheepishly walked away scratching his head.
Yes, it does take a few years to become confident in purchasing from often unscrupulous dealers, but
without taking that first step of getting out there your knowledge and eye will never be raised to a
higher level.
Don't be afraid to buy something you're not sure of. That is important. Again, trust yourself and what
you like. From not knowing, you'll seek out information about the piece and it'll be a little teacher for
you. That has happened so many times with me; I buy something and research it and broaden my
understanding of the complex world of Japanese pottery. Think of the price as a form of tuition. To
really get a grip on the pottery world you have to "go through college" (I think I've graduated twice).
Walking around the open stalls and eyeballing the wares at markets is also a lot of fun in and of itself.
Pick up the pieces, look them over, ask questions.
Check for repairs to items, especially around the lips or shoulders of pots. Sometimes the repairs are
well camouflaged: I often take a coin and tap it on the piece, listening for any changes in sounds. If
one place tings while another spot pings, it most likely has been repaired, thus reducing the value.
At larger fairs like Heiwajima, look around before purchasing -- you might find the same item for a
lesser price. Another case in point: I saw a small Bizen tea canister for 15,000 yen at one stall and an
identical one for quadruple that a few booths away.
I bought a few pots this past weekend from Heiwajima - a large Shigaraki kenjo chatsubo, a
presentation tea-leaf jar dating from the Meiji Era, that I bought for a song. It has a fine beige glaze
and a base with a white crackled glaze.
A pair of lovely Meiji Kutani tokkuri (sake flasks) still in the original box I picked up for a few man. As
a matter of fact, if there was no box with these tokkuri I wouldn't have bought them. The box adds
historical value: The label on it dates it to Meiji 23 (1890), and it was meant for an exposition in
Tokyo.
I also purchased a small hohin teapot by Shunko Nishimura (1886-1953), a very influential Taisho Era
and Showa Era Bizen potter who is only known by connoisseurs and a very few dealers. Lucky for me,
for I purchased this charming piece for a fraction of what it would sell for in Okayama, the home of
Bizen ware.
I don't know where the tall tokkuri is from but I believe it to be from the late Edo Period -- it will
certainly lead me to discover something new.
The markets at temples and shrines almost always begin at sunrise and the veteran hunters are
there at the crack of dawn. For the novice it isn't necessary to get up so early, though; as a matter of
fact, later in the day is probably better. In the morning the dealers are confident, but as the day
progresses and they're faced with the prospect of lugging that big jar or chest back home, a
reduction in price is a better solution.
It's all right to haggle over the price. I usually give a counter offer of about a third of the asking price
and take it from there. Some dealers ask ridiculous prices, thinking to take advantage of the
unknowing gaijin. I once bought a small Kutani cup for 500 yen after I laughed at the initial 8,000 yen
price.
Don't be too tightfisted, though, or you'll probably only collect pieces that really aren't that good.
Sometimes you get a bargain (horidashimono), but other times the dealer is steadfast, and if you
want it there's no choice but to pay up. Do. It's better to be satisfied than to look back a few weeks
later wishing you'd bought that piece that you can't get out of your mind.
Below is a list of a few markets around Tokyo and other places. If you don't see one in your area,
please check out the WHERE section of this site, or search this site using the above search box. Or email me and I'll see if I can find one in your area -- markets are held all over Japan.
Heiwajima is a very large gathering of dealers, about 250, that takes place five times a year. To get
there, take the airport monorail from JR Hamamatsucho Station and get off at Ryutsu Center.
Togo Jinja. The first and fourth Sunday of each month; just a five-minute walk from JR Harajuku
Station
Arai-Yakushi. The first Sunday of each month, near Arai-Yakushi Station on the Seibu-Shinjuku Line
Nogi Jinja. The second Sunday of each month, near Nogizaka Station.
In Shizuoka, near Shizuoka Station. The second Sunday of each month at the small shrine across from
Seibu department store near Shizuoka Station.
Toji Temple. In Kyoto, on the 21st of each month -- a big market.
The Japan Times: Feb. 26, 2000
http://www.ceramicstoday.com/articles/Khmer_pottery.htm
National Center for Khmer Ceramics Revival (NCKCR)
The National Center for Khmer Ceramics Revival (NCKCR) is aimed at the revival of Cambodian
ceramics.
The NCKCR is a non-profit and non-governmental organization aiming to rediscover and reintroduce
Khmer ancestral pottery techniques and support the development of contemporary Khmer ceramic
art. In the process, NCKCR creates economic opportunities, helping to decrease poverty in Cambodia.
Serge Rega established NCKCR in Siem Reap-Angkor, renowned for the Angkor temples. Tourists
abound, creating substantial incomes, but paradoxically Siem Reap remains one of the poorer
provinces of Cambodia. Siem Reap is emerging as a developed city, but geographically, poverty is
displaced by about only 2 kilometers.
NCKCR is involved in Vocational training, which helps the poor rural population and will decrease
poverty. Training is provided free of charge. Students are given an allowance to compensate for 'lost'
time, which would otherwise be spent earning a living. Vocational training includes working with
clay, but also technical skills, such as building a potter’s wheel, a kiln, tools etc. A student finishing a
vocational training session with NCKCR must be able to establish his/her own studio. After training,
students may be hired by NCKCR, or NCKCR may provide help to the young potter to install a studio.
Vocational training All crafts are hand made Vocational training
Vocational training Throwing on the potter's wheel Cleaning & sieving clay
Serge Rega says “rural workshops will help the poor and will allow women to express themselves,
play a role in society and become participants in an economic activity”. The first rural workshop will
be installed in August 2007 in Koh Ker (80 km north-east of Siem Reap) in collaboration with Heritage
Watch NGO. A second rural workshop will be installed in May 2008 in Pouk Area, 30 km west of Siem
Reap. Rural studios will provide economic assistance for poor peoples but will also play a role in the
prevention of looting of Khmer Archaeological sites.
Research on Khmer Antique glazing and techniques - Antique Khmer ceramics are renowned, but the
technology was lost during the recent terrible upheavals in Cambodia. NCKCR has sought to
rediscover this technology, researching antique Khmer glazing, bisque, kilns, potters language etc.
NCKCR wants to soon start the construction of an antique Khmer kiln (Dragon kiln). A first firing is
scheduled for December 2007-January 2008. It will be the first time in 500 years such a kiln will be
fired in Cambodia - a 10 day and night event. We will make this an international event, in order to
facilitate exchange with potters from all around the world. For many years international potters have
had exchanges with each other. Khmer potters rarely have the opportunity to travel outside of
Cambodia to meet their peers, so this meeting will be held in Cambodia at the NCKCR. The kiln will
allow us to fire our reconstituted antique Khmer glaze under the same conditions that it was made in
Angkor. Such a kiln is a major tool in the research of antique Khmer techniques.
Construction Bourry box Kiln Before firing (1500 litre kiln) Refractory bricks for antique kiln
Unloading Unloading
Revival of contemporary Khmer Ceramic Arts - NCKCR has rediscovered ancestral techniques, which
it now teaches. When this knowledge is established, students are encouraged to develop
contemporary Khmer ceramic art, with the support of a French volunteer designer. Contemporary
Khmer ceramic art consists of stoneware, salt-glazed wares and raku. Different technologies will be
used in the future.
Fight against illicit trade of Khmer Antiques - Looting of archaeological evidence is catastrophic for
the understanding of our past, our roots. Looting of antiques include two actors: the looter of the
archaeological site trying to support his family, and the buyer. If NCKCR can offer the buyer high
quality Khmer antique replicas, it can help to avoid the purchase of originals. Looting of archeological
sites destroys potential income from tourism in rural areas, while it’s a unsustainable source of
income for poorer peoples. Serge says “Installation of rural workshops will offer a chance to get
sustainable money incomes for populations”.
Ash-glazed ware Iron blue ware Khmer antique
contemporary Khmer ware Big size ceramics contemporary Khmer ware
The goal of self-financing will ensure the sustainability and independence of NCKCR - NCKCR is not a
cursory project - it’s aim is the long-term promotion of Khmer ceramics. This includes establishing a
Khmer potter’s library with books translated into Khmer language, workshops, raw material
furniture, research etc. In order to reach this goal, NCKCR’s target is to be self-supporting within two
years,
NCKCR is in need of support for its work. You can find more information on our website
http://www.khmerceramics.com or to make a financial contribution please contact us at
support@khmerceramics.com. Text & images © NCKCR.
http://www.ceramicstoday.com/articles/onggi.htm
The Onggi Potters of Korea
by Ron du Bois
(color only)
This article consists of three parts:
Article: The Onggi Potters of Korea (this page)
The work of Korean folk potter Heo Jin Kyu
The work of Korean folk potter Yon Shik Bae
Korean pottery today is still largely produced as it was in the past. For a practicing potter it provides
a living case study of historical ceramic processes and techniques. Potter's wheels, kilns, tools and
other equipment are still made as they were in years past. Machinery is too expensive to warrant its
purchase and maintenance relative to the cost of man power. Glaze materials are still ground from
the parent rock materials using ingenious two-man pounders. Within a period of six days, two men
working full time can only produce about sixty pounds of pulverized material. No ceramic supply
houses offer ready made equipment or processed materials suitable for instant use. Immense
quantities of wood must be transported, chopped and split. In the Vi dynasty the proximity of kilns to
forests was more important than to kaolin deposits. Today the forests-are seriously depleted; special
permits are issued for the purchase and burning of wood. It is an expensive fuel but less so than
either oil or propane which are imported products. Natural gas does not exist.
The complexity of the ceramic process is taken for granted, as is the necessity for a division of labor.
Chopping wood, mixing and decanting clay, slicing, stacking and firing are assigned to specialists. The
authorship of the pottery when it emerges from the kiln is diffuse, since it is the result of the
coordinated effort of many hands.
There are four major categories of ceramics produced in Korea today:
Onggi, or earthenware utensils, used for a variety of purposes, but primarily for the storage of
pickled vegetables, bean pastes and soy sauces - staple items of the Korean diet.
Reproduced Koryo and Vi dynasty forms, for sale primarily to the Japanese market.
Tea bowls, again for the Japanese market.
Pottery produced within university ceramic departments, reflecting, in varying degrees, exposure to
outside influence.
Of the above categories, onggi is of the greatest interest to the Occidental potter. The techniques
and methods used are virtually unknown in the West. The Korean potter is able to produce
monumental size jars with a speed that seems incredible when witnessed by a Western potter. The
methods of coil, paddle and wheel construction are outside the spectrum of ceramic skills in the
West, particularly in terms of speed and size.
Because of recent developments in the use of various metals, artificial resins, and the growth of
in9ustrial ceramics in Korea there is a danger that the production and use of hand· crafted vessels
will die out. Moreover, modern materials and processes may be found to be preferable to onggi
ware, which is less durable, heavier and higher in price than mass produced pots. Working against
this possibility, however, is the conservative character of Koreans and their firm belief that the taste
of kimchi would be adversely affected by storage in anything but onggi ware. On the other hand, the
new reforestation laws pose a fundamental danger to the continued firing of onggi kilns. Wood is
scarce and expensive and imported oil is more so. There seems to be no solution to the high
ecological and financial costs of fuel. Thus, it is difficult to predict the future of onggi pottery in
Korea. But, for the present, at least, the Western potter is still able to observe the traditional skills of
the Korean potter.
Clay Preparation
Beginning in the 1950's, the onggi potters started to adopt a traditional Korean technique of refining
clay that had hitherto only been used in the manufacture of high-quality white ware. Thus, the
methods described below are essentially the same both for onggi and porcelain ware manufacture.
About twenty years ago, some onggi workshops on Kanghwa Island adopted that technique, and its
use spread gradually to Kyonggi and South Ch'ungch'ong provinces.
A field approximately 75' x 75' is used for the drying of clay. At each corner of the field a round hole
approximately eight feet in diameter is dug out. These are settling vats. Today they are sometimes
lined with cement. A smaller rectangular vat approximately two by four feet is built tangential to
each of the circular vats. Small wooden connecting dykes allow water from each settling vat to flow
back into the mixing vat as water is needed. Raised earth levies divide the ground between the
mixing and settling vats into drying fields. In addition they serve as dry footpaths from which workers
are able to remove the dried chunks of clay.
Refining Procedures
Drying. The raw clay is dried in order to assure that it will slake more quickly in the refining vat. The
clay is scooped up with a "three-men shovel" and piled in a sunny place to dry. It is then spread and
evened with a wooden rake or hoe. Lumps of clay are broken with the hoe and large stones are
picked out. The clay, in the form of soft shale, does not break or slake easily. The dried clay, broken
roughly into lumps no larger than apples, is taken to the refining area in a basket or cart. Often an Aframe is used to carry about two hundred pounds to the mixing vats.
Mixing and slaking. The clay is dumped from the cart or A-frame into the mixing vat containing water.
After the clay has begun to dissolve in the water, it is stirred with a wooden paddle to which is affixed
a handle with a cross bar at the end. The clay is levered up and down using the edge of the mixing vat
as a fulcrum. The soft shale does not slake easily and a constant up-and-down motion of the paddle
is necessary to partially dissolve the clay and produce a watery slip. The mixing process involves long
and repetitive labor; women are assigned to this task since they can be paid less. To the Western
observer it seems incredible that so much labor is expended on a process that could be accomplished
easily and quickly by an electric blunger.
Screening the clay. The thin slurry thus produced is scooped out with a bucket and poured through a
thirty-mesh screen into the second or settling vat. The screening assures that clumps of clay, sand
and pebbles do not enter the second vat. When more water is needed to continue the mixing
process, that gate of the small dyke is removed. The relatively pure top layer of water from the
second vat flows back into the mixing vat.
By repeated mixing, screening and return water flow the clay in the vat is eventually used up, leaving
only stones and sand. These are removed with a shovel; more water and raw clay are added, and the
process is begun again. Approximately a week is required to fill the settling tank with thick slurry.
When the second vat has been filled with screened clay slip, it is scooped out with buckets and taken
to the drying field, using the raised levies as walkways.
Drying the slip to the plastic stage. The ground of the storage area is first covered with a layer of
hemp or cotton cloth about 15' x 15' in order to prevent impurities from the ground getting into the
clay and to facilitate removing it when it dries to a plastic stage. The clay slurry is spread on top of
the cloth and the moisture in the clay is evaporated by the sun and wind. When the clay has been
dried to a plastic stage, it is scored with a small scythe and the chunks approximately 12" x 12" x 6"
are carried to a cart, in which they are transported to the workshop.
Further preparation of the clay. In the workshop the chunks of clay are stacked to form a rectangular
mass approximately six feet in length, four feet in width and four feet high. Water is sprinkled on the
clay and it is beaten with a long wooden mallet, first with he head, then with the side, by workers
mown as saengjilggun. The clay that has been tacked on the workshop floor is then cut into thin
slices about 1/8" in thickness with a scythe-like knife. This part of the second processing is performed
by workers known as 'hardy lads" or "clay slaves." The main reason for slicing the clay is to
homogenize the distribution of soft and dry clay.
The "hardy lads" next roll the clay into balls weighing forty or fifty pounds. In some workshops, a
sheet of cotton cloth is laid on part of the workshop floor and the balls of clay are put on top of this;
in others kaolin is spread directly on the earthen floor.
The balls of Clay are stacked up until a rectangular mass 10' x 10' x 3', i.e., about two and one half
tons, is formed. The clay is always beaten first with the head of the mallet, then with the side of the
mallet. The mass of beaten clay is then sliced a second time into balls and, for the second time,
pounded. After the second pounding the mass of clay is then cut into chunks using a wooden shovel
which is carved monoxylously, i.e., from a single piece of wood. These chunks are turned over to
form a new mass which is again pounded and cut with the wooden shovel into about hundred-pound
squares of plastic clay.
Clay prepared in this way is as well mixed as by a pugmill. In addition, the pounding of the clay may
account for the peculiar wet strength and toughness of onggi clay. Several squares, which will be put
to use immediately, are set aside and the rest are covered with a damp cloth or plastic sheeting to
keep them from drying. The thick sod walls, heavy thatch roof and small windows of the workshops
are deal for retaining the moisture content of these "mountains" of clay.
The squares of clay that have not been covered are taken to a place just beside the potters' wheels
where they are cut by wire into oblong shapes about 18" x 3" x 3" weighing some twenty pounds.
Coil Construction
A "hardy lad" quickly moves one of these oblongs to a relatively flat area of the earthen floor where
he begins to make lateral throws of the clay, quickly extending its length to some 36 inches. This bar
is slightly twisted to form a spiral cylinder of clay. The techniques of twisting the clay bar assures the
easy transition from bar form to a smooth even coil. The coil is next reduced to a diameter of 1 V2"
and extended about 6 feet in length by rolling it backwards and forwards on the earth floor. A pile of
these coils is laid next to the potter's wheel ready for use.
Forming the Base of the Vessel
A ball of clay about eight pounds in weight is hand wedged into a cylinder about 41/2" in diameter
and 6" long. This roll of clay is picked up and given several throws on the earth floor so that a thick
disc is formed. This is expanded to about 16" in diameter and 3" in thickness by a series of rotations
and lateral throws. The disc is placed next to the potter's wheel. The process is repeated until a stack
of discs are made.
Flattening the Disc
The potter now positions himself at the wheel and rapidly dusts the wooden throwing head with dry
kaolin powder. The powder prevents the disc from adhering too strongly to the wheel head and
allows the finished pot to be lifted from the wheel. No cutting wire is used.
Next the potter centers the disc on the wheel head. While slowly turning the wheel in a
counterclockwise direction, he quickly beats the clay disc with the pangmangi, or beating stick, which
he holds in his right hand. This thoroughly compresses the particles of clay and removes air pockets.
The potters place great emphasis on learning this; if it is not done correctly, the bottom will crack
either in the drying or firing stage.
Wall Formation - First Stage
The potter inscribes a circle in the disc to mark off the base size desired; then he revolves the wheel
and cuts off the excess clay with a wooden knife. Next comes the task of fashioning the walls of the
vessel. At the present time there are three methods of constructing the walls, each differing slightly
from the others. The most common are the "coil" method, used in Kyonggi province, and the "spiral
coil" method used in Kyongsang province. The third, even more startling to the Westerner, is the
"slab" method, used in Cholla province. In this technique, long "slabs" of clay, about three times the
diameter of the pot, 8 inches wide and 3/8 inch thick, are set one on top of the other to form the
vessel wall. These slabs are constructed in approximately the same fashion as the clay coils except
that the bars of clay, rather than being twisted and rolled into coils, are flipped in the air and slapped
on the ground to form wide "ribbons" of clay.
The first stage of wall construction consists of connecting the base of the vessel with the bottommost part of the vessel wall. This portion of the vessel wall may be fashioned of the excess clay from
the disc of the clay used in making the base or it may be constructed of a cylinder of clay made
especially for this purpose. A coil of clay approximately three times the diameter of the base is put on
the wheel. The wheel is rev91ved slowly and the coil beaten flat. In either case, the flat strip of clay is
then attached to the edge of the base. After this has been accomplished a thin coil of clay is taken
and pressed along the inner seam between the base and the lower part of the wall. This procedure is
done in, order to strengthen the joint between these two pieces of clay. It is executed with amazing
skill, the knuckle of the right hand pressing the coil into the joint, the left hand providing exterior
support. At the same time the wheel is rotated slowly with a rapid heel action of the left foot a
method requiring motor skills entirely unknown in the West.
In the next step the potter takes a coil of clay and attaches it to the lower part of the wall already
constructed. The technique used in coil joining involves a coordinated pressure of the left palm on
the outside surface of the coil together with a series of half rotations on the right hand exerting a
downward and opposing lateral pressure. This is performed with virtuoso speed and skill. The left
foot, the toes and ball placed against the pit wall, function as a fulcrum for the heel of the foot to
again perform a rapid series of forward motions, moving the wheel forward at a speed coordinated
with the work of the hands. The process is repeated until three or four coils have been applied. In
Kyongsang Province, where the "spiral coil" method is used, the coil, more than six times the
diameter of the pot, drapes over the shoulder of the potter and down his back. He feeds it
continuously for two or more revolutions of the wheel before the coil is used up.
Beating Techniques
The next step involves the use of a wooden anvil, or togae, and a wooden paddle. The potter beats
against the inner and outer surfaces of the vessel wall with these two implements while at the same
time revolving the wheel with his left foot in a counterclockwise direction. In this way the coils of clay
are completely homogenized and the walls are thinned. In addition, the clay is compressed and thus
becomes stronger. This completed, the potter takes up two scrapers. The one used as an inside
scraper is usually a sea shell, although stiff metal scrapers are also used; the other is an outside
wooden scraper which is larger. The latter is held in the right hand and the former in the left and
applied to the inner surface. The potter, holding the scrapers rigidly opposed to each other, turns the
wheel rapidly, "pulling" at the wheel with his left leg. To maintain this sort of strength in the muscles
of the left leg requires constant exercise of these muscles. Sore leg muscles are inevitable if the
potter begins to work again after a period of inactivity.
The next stage is the construction of the mid-section of the wall using the same sequence of coil
application, paddling, and scraping. The same sequence is repeated to complete the top section of
the vessel. This completed, the potter takes the wooden knife to trim the top edge. He then takes a
moistened strip of cloth, the central section of which is laid on the top edge, the rest of the strip
falling downwards on the inner and outer surfaces. Holding the strip firmly in both hands he turns
the wheel, allowing the cloth to create a thickened lip form.
Final Procedures
With a shorter and thinner piece of cloth pinched between the fingers of the right hand he creates a
raised linear decoration just above and below the "body" of the vessel. He supports the inner wall
with his left hand as the wheel turns. The vessel is now completed, save for its removal from the
wheel. He then trims the bottom of the vessel with "bottom cutter" or wooden knife, turning the
wheel at the same time. For a large pot the potter gets the help of one of the "hardy lads" to lift the
vessel from the wheel with a piece of cloth. The cloth, measuring about two by four feet, is wrapped
around the vessel. The two men, positioned on opposite sides of the vessel, simultaneously pull
upwards on the cloth, hereby lifting the vessel from the wheel. It is hen moved to a special shed
called the iongch'im, constructed with thatch roof but without walls, where it is set down. The cloth
is removed and the vessel is allowed to dry for several days, depending on temperature and
humidity. It should be noted that the method of construction makes it unnecessary to trim the
bottom of the vessel; even so, the walls of a pot four feet in height are uniformly thin from top to
bottom.
Ron du Bois, potter and instructor of ceramics at Oklahoma State University, spent 18 months in
Korea on a Fulbright scholarship. His work with the folk potters of Korea resulted in an award
winning film, The Korean Potter, which can be obtained through The Daniel Clark Film Library, Box
315, Franklin Lakes, NJ 07417.
http://www.ceramicstoday.com/articles/japanese_terminology.htm
Japanese Ceramics Terminology
by Morgan Pitelka.
The following article was originally published on Morgan Pitelka's website: http://employees.oxy.edu/mpitelka/index.html.
Below you will find rough definitions for a number of words commonly used in discussions of Japanese ceramics.
I suggest using English equivalents whenever possible. If neccessary, give the Japanese term in italics with an
English definition in parentheses.
If you have suggestions, comments, or criticism, please email Morgan Pitelka.
NOTE: Accent marks over vowels indicate long vowels. For example, the "ô" in "ôgama" indicates that the "oh"
sound is two times longer than the normal "oh" vowel. Otherwise each syllable should be given equal weight.
Sources include Louise Cort, Seto and Mino Ceramics (University of Hawaii Press, 1992); Louise Cort. Shigaraki,
Potters' Valley (Kodansha, 1979); Sekai tôji zenshû [Catalog of world ceramics] (Shôgakukan, 1975); Penny
Simpson, Lucy Kitto, and Kanji Sodeoka, The Japanese Pottery Handbook (Kodansha, 1979); Tôki daijiten [Great
dictionary of ceramics] Tôki Zenshû Kankôkai, ed. (Gogatsu Shobô, 1980; reprint of 1934 edition); Richard
Wilson, Inside Japanese Ceramics (Weatherhill, 1995)
************
guinomi (sake cup; image Tokkuri & cups (image courtesy
courtesy Robert Yellin)
Robert Yellin)
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Anagama kiln (image courtesy
Milton Moon)
Agano: Japanese ceramic ware produced in Fukuchiyama on the island of Kyushu (southern Japan,
present-day Fukuoka Prefecture); begun by Korean potters in late 16th to early 17th centuries; easily
confused with Karatsu ware; see "Takatori"
ame: amber glaze
anagama: sloping tunnel kiln; imported from China, first used in Japan around fifth century
Arita: Japanese porcelain ware produced in Arita on the island of Kyushu (southern Japan, present-day
Saga Prefecture); location of discovery of first porcelain deposit in Japan, by Korean potters in 17th
century; center of the porcelain industry in Japan
Asahi: Japanese high-fired ceramic ware produced in the city of Uji, south of Kyoto; originated in late
16th to early 17th centuries
Bizen: Japanese unglazed, high-fired ceramic ware produced in the city of Bizen (town of Imbe, presentday Okayama Prefecture); known for long firings in climbing kilns, with resulting heavy ash deposits and
other effects; originated in 12th century
cha: tea
chadamari: "tea pool" in the bottom of a tea bowl
chadô: the way of tea
chaire: tea caddy; small container used to hold powdered tea (matcha)
chanoyu: the tea ceremony
chatô: tea ceramics
chawan: tea bowl
Echizen: Japanese unglazed, high-fired ceramic ware produced in Echizen domain (present-day Fukui
Prefecture), influenced by the Sue wares of the Heian Period (794-1192)
fude: brush
gosu: natural cobalt, or asbolite
guinomi: sake cup
Hagi: Japanese high-fired ceramic ware produced in Hagi in southwestern Japan (present-day
Yamaguchi Prefecture); famous for milky, white-glazed teawares; originated in late 16th to early 17th
centuries with Korean potters
hakeme: slip brushing
hanaire: flower vase
haniwa: ceramic figurines produced during the 4th to 7th centuries, C.E.; these figurines marked the
surface of above-ground tombs; see "kofun"
hebigama: snake kiln (also called "jagama")
Hizen: broad term for Japanese ceramics and porcelains produced in the Hizen domain on the island of
Kyushu (present-day Nagasaki and Saga Prefectures) during the Tokugawa Period (1603-1868)
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Iga: Japanese unglazed, high-fired ceramic ware produced in the Iga domain (present-day Mie
Prefecture) beginning in the 16th century
ikebana: flower arranging
Imari: Japanese porcelain wares produced in Arita, named "Imari" after the port from which they were
shipped to other Japanese cities, Southeast Asia, and Europe during the Tokugawa Period (1603-1868);
see "Arita" and "Hizen"
jiki: porcelain
Jômon: coil/slab-built, cord-marked, low-fired ceramic wares of prehistoric Japan; first made on
Japanese archipelago around 10,000 years ago
Karatsu: Japanese high-fired ceramic ware produced in Karatsu and surrounding areas on the island of
Kyushu (southern Japan, present-day Saga and Nagasaki Prefectures); originated in 16th century with
Korean potters
Kenzan: Japanese high-fired ceramic ware produced largely in Kyoto; founded by Ogata Kenzan (16631743) a poet, painter, calligrapher, and potter who specialized in elegant brushwork on ceramic forms;
see "Kyôyaki"
ke-rokuro: kick wheel
ki-seto: "yellow seto"; Japanese high-fired ceramic ware; glaze is yellowish in color, perhaps began as
an attempt to produce celadon glaze; originated in 16th century; see "seto"
ko: "old," "historical." Used as a prefix, as in Kogaratsu (old Karatsu ware), Koseto (old Seto ware)
Koimari (old Imari ware), and so on.
Koishiwara: Japanese high-fired ceramic ware produced in Koishiwara on the island of Kyushu
(southern Japan, present-day Fukuoka Prefecture); originated in Agano wares and Takatori wares in
17th century; see "Agano," Takatori," and "Onta"
Kutani: Japanese porcelain ware produced in the Kaga domain (present day Ishikawa Prefecture)
beginning in the 17th century
Kyôyaki: "Kyoto ceramics"; Japanese high-fired and porcelain wares produced in Kyoto; originated in
17th century; see "Kenzan"
maki: firewood, pieces of wood
Mashiko: name of a town outside of Tokyo that has become famous as a folk-craft village, pottery
community, and home of Hamada Shoji,
matcha: powdered green tea for the tea ceremony; see "sencha"
mingei: folk craft or folk art; the Folk Craft Movement (Mingei undô) was started by Yanagi Sôetsu
(1889-1961; also Yanagi Muneyoshi)
Mino: Japanese high-fired ceramic ware produced in the Seto and Mino domains (Gifu Prefecture);
famous for production of shino, yellow seto, black seto, and oribe; originated in late 16th century
mishima: slip inlay
mizusashi: water jar; a lidded fresh water container used in the tea ceremony
neriage: patterned loaves of colored clays
nerikomi: marbling with colored clays
noborigama: multichambered climbing kiln; appropriated from Korea or China in early seventeenth
century
ôgama: "great kiln"; wide, sloped, single-chamber kiln with side door; originated in Seto/Mino region in
early 16th century
Ôhi: Japanese low-fired ceramic ware produced in Ôhi, near Kanazawa, in the Kaga domain (presentday Ishikawa Prefecture) by the Ôhi family; founded in 1666 by the potter Chôzaemon, a worker in the
Raku workshop in Kyoto; wares (mostly tea bowls and other tea ceramics) are similar to those produced
by the Raku family, but are famous for their amber (ame) glaze
Onta: Japanese high-fired ceramic ware produced in the town of Onta on the island of Kyushu (southern
Japan, present-day Fukuoka Prefecture); origins in Agano wares and Takatori wares in 17th century; see
"Koishiwara"
oribe: Japanese high-fired ceramic ware; this term (named after the tea master and warrior, Furuta
Oribe, 1545-1615) has come to be applied to a wide range of ceramics; general characteristics include
rectangular and circular shapes, use of clear glaze, white slip, underglaze brush work, and a dark green
copper glaze; originated around 1600; see "seto"
Raku: Japanese low-fired ceramic ware produced in Kyoto by the Raku family; famous for tea bowls and
food dishes for use in the tea ceremony; originated in the late 16th century; this term also applies to
wares made by a wide variety of amateur and professional potters in the tea community
rokuro: wheel (for making pots); see kerokuro and terokuro
sake: a Japanese alcoholic beverage made from rice; this term also refers to alcoholic beverages in
general
Sanage: a Japanese ash-glazed, high-fired ceramic ware produced in Sanage, Aichi Prefecture; inspired
by Chinese celadons; originated around the 9th century; see "Tokoname"
sansai: three-color ware; originated in China around the 8th century, A.D.
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sara: plate
Satsuma: a Japanese high-fired ceramic ware produced in southern Kyushu (southern Japan);
originated in 17th century with Korean potters
seiji: celadon; loosely refers to a wide range of blue and green feldspathic glazed wares; originated in
China during the Song Dynasty (960-1270), and spread throughout East and Southeast Asia
sencha: steeped tea (as opposed to the powdered tea of the tea ceremony); see "matcha"
Seto: Japanese high-fired ceramic ware produced in the Seto and Mino domains (Gifu Prefecture);
famous for production of shino, yellow seto, black seto, and oribe; originated in late 16th century
seto-guro: black seto; Japanese high-fired ceramic ware; Japan's first truly black glaze, made when iron
glazed pots were removed when red-hot; originated in late 16th century; see "seto"
Shigaraki: Japanese high-fired, unglazed ceramic ware produced in Shigaraki, Shiga Prefecture;
famous for ash deposits and distinctive forms; originated around 12th century, spread from Tokoname
and Atsumi
shino: Japanese high-fired ceramic ware produced in the Seto and Mino domains (Gifu prefecture);
consists of a white, secondary clay body covered by a milky-translucent ash/feldspar glaze; the term
eshino (picture shino) indicates wares with iron-oxide designs applied under the shino glaze; nezumi
shino (grey shino) indicates wares with designs carved into an iron slip, with the entire piece covered in
the shino glaze.
Sueki: high-fired ceramic ware produced in Japan by potters who immigrated from Korea (and possibly
China?); originated around the 4th century, B.C.; led to the spread of high-fired ceramic production
throughout Japan; early wares were not glazed, but blackened; later glaze technology arrived from Tang
China, leading to the use of lead-based glazes on low-fire wares, and feldspar-based glazes on high-fire
wares
sûyaki: bisque firing
Takatori: Japanese ceramic ware produced in Chikuzen domain on the island of Kyushu (southern
Japan, present-day Fukuoka Prefecture); begun by Korean potters in late 16th to early 17th centuries;
see "Agano"
takebai: bamboo ash
Tamba: Japanese ceramic ware
temmoku: Japanese term for a type of tea bowl produced in China during the Song Dynasty (960-1279);
known for a variety of black, brown, tan, and blue glazes, and a distinctive shape with a flaring mouth
and narrow base; these tea bowls were also produced in Japan beginning in the Kamakura Period
(1192-1336)
teppôgama: rifle kiln
te-rokuro: hand wheel
tôgei: ceramic arts
tôji: ceramics, clay
tôjiki: ceramics (literally ceramic and porcelain objects; see also jiki)
tôki: ceramics (specifically, ceramic objects)
tokkuri: bottle, flask: usually used to hold sake
Tokoname: a Japanese high-fired, ash-glazed ceramic ware produced in the region of Sanage,
(present-day Aichi Prefecture); inspired by Chinese celadons; originated around the 9th century; see
Sanage and Atsumi
tsubo: storage jar
yakimono: pottery
Yayoi: low-fired ceramic wares made on the Japanese archipelago during the period ca 300 B.C.E. to ca
300 C.E.; differentiated from Jômon ceramics on the basis of a finer-grained clay body, a smooth, thin,
symmetrical, and less ornamented style, the aesthetic influence of cast metal, and the appearance of
gendered production patterns
yunomi: tea cup
What is the difference between the following terms: yunomi, guinomi, chawan, senchawan, banchawan,
and matchawan?
The basic problem is that three separate tea drinking traditions exist in contemporary Japan, and they do not
employ the same labels for ceramics. This causes a great deal of confusion among foreign collectors and potters.
The most common tea tradition in Japan is not really a codified, organized tradition at all: the daily consumption of
tea in almost every household in the country. On a daily basis, most Japanese drink steeped green tea (sencha),
course tea (bancha), or some form of roasted tea (hojicha) or stem tea (kukicha). More and more also drink
coffee, black tea with milk or lemon, or Chinese fermented tea such as Oolong tea. These distinctions are
described in more detail in the introduction of my book Japanese Tea Culture. The point is, although most people
drink these teas out of what we would call a “cup” in English, a variety of Japanese terms are used to describe
these vessels, and they are not standardized in any way. The best term is probably “yunomi,” which basically
means tea cup.
The second most important tea tradition in Japan is chanoyu, also referred to (particularly by practitioners) as
Chado or Sado (homophones meaning “the way of tea”). This ritualized, performative tradition is the one most
potters know something about, because it is the source of so many of the styles and aesthetic innovations that
influence American and global ceramics today. Chanoyu practitioners drink powdered green tea from a medium to
large bowl. These are NOT cups: they are distinctly shaped liked bowls.
The third tea tradition in Japan is sencha or “steeped tea.” This tradition became popular in the 18th century,
when a small group of Japanese artists and intellectuals appropriated literati customs from China and invented a
tea-drinking ritual to rival chanoyu. The vessels in this tradition are called “chawan” or “meiwan,” but are often
smaller than chanoyu’s tea bowls and look more like cups.
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Yunomi (literally “[for] drinking hot water”): tea cup, usually taller than wide and smaller in diameter than
the smallest of tea bowls. Often mistakenly called “tea bowl” by American potters.
Guinomi (literally one gulp): a small cup, often wide with a narrow base, used exclusively for drinking
sake. Sometimes imitates the shape of a tea bowl.
Chawan (literally tea bowl): a small to medium sized bowl used for drinking hot tea (usually powdered
green tea or “matcha”). Historically, shapes were limited to the following forms: conical (like temmoku tea
bowls imported to Japan from China, and their Japanese reproductions); half-cylindrical (the vertical
walls are not as tall as the bowl’s diameter); and cylindrical (the vertical walls are taller than the diameter
of the bowl).
In Japanese, tea practitioners frequently refer to more than 26 different shapes of tea bowls, but these
are difficult to translate into English and not very meaningful in a non-chanoyu cultural context.
The important fact to note is that historically, most tea bowls were not smaller than 9 cm and not larger than 14
cm in the diameter of the mouth.
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Senchawan (bowl for steeped tea): Chinese literati-style steeped tea drinking became very popular in
Japan in the 18th century and continues to have a small following in contemporary Japan. To learn more
about Sencha, see Pat Graham’s book Tea of the Sages: The Art of Sencha.
Matchawan (bowl for powdered tea): The term “chawan” almost always refers to a tea bowl to be used
to consume powdered green tea or “matcha,” so I have always found the term “matchawan” to be highly
redundant.
Banchawan (bowl for coarse tea): Course tea (bancha) is usually drunk out of a tea cup (yunomi) rather
than a tea bowl, so this term also seems a bit strange. I have noticed that some potters in Japan use this
term to describe their tea bowls, but the difference escapes me.
http://www.ceramicstoday.com/articles/emomm.htm
E-MOMM - The Development of Contemporary Tableware in Korea
A Collaborative Project to Develop a Tableware Brand Appropriate for the Korean Life Style and Diet,
including an exhibition organized by the Ewha Ceramics Research Institute at Ewha Womans
University, Seoul, Korea.
The Objective of Organizing the Emomm Exhibition
The past twenty years has seen a considerable change in the ceramic tendency within the
contemporary ceramic movement of Korea. Although the Korean tradition and custom is deeply
rooted in the Korean mentality, most people today have been influenced by the abundance of
imported utility wares found in our current ceramic market. In general, most Korean people possess
at least one type of traditional ceramic ware – be it a celadon, buncheong, onggi jar, white ware. Yet
despite such phenomenon, more and more people are turning their eyes towards purchasing
imported ceramics in the likes of Royal Doulton, Wedgwood, Rosenthal or Royal Copenhagen. The
last ten years has seen an increase in preference towards such imported ceramics.
The basis of the Korean culture is still dominated largely by Confucian philosophy, which began in the
Joseon Period (late 14th century – early 20th century). Even today many of the rites that we practice
daily descend from Confucianism and neo-Confucian mentality. Therefore our customs root back to
the past and much of it has been preserved in our current life style. The Korean people rely more on
the Lunar Calendar and many of our major national holidays coincide with the 12 Solar Systems of
this calendar.
When we examine the life style of the Korean people today, it is evident that many of the ceramic
wares appear to be inappropriate for our inherent habits. This applies to both imported ceramic
wares and those that are made nationally by our own companies. Until now there has not been a
production line that best accommodate our custom and daily diet.
Consequently, the professors of the Ewha College of Art and Design, renowned national designers
and ceramic artists have gathered together at the Ewha Womans University’s Ceramics Research
Institute to design a contemporary tableware that is most apt for our customs with reference to the
modern transitions in life style. Furthermore, the initiative commemorates the 46th anniversary of
the Ewha Ceramics Research Institute, the pioneer of contemporary ceramics movement in Korea
and also the leader of ceramics as an academic subject in universities.
With the leading specialists in design and crafts, the Ewha Ceramics Research Institute has planed an
exhibition on ceramic tableware. It is an attempt to redefine the contemporary Korean table setting
with the different ceramic wares designed by the Ewha Ceramics Research Institute as a glimpse into
the contemporary tendency and preference.
The exhibition has been titled E-MOMM after Ewha Womans University's E and MOMM meaning
spirit and embracement. From ancient times, the Koreans believed that the spirit has been vesseled
by our physical body. Therefore to accommodate both the importance of Ewha Womans University
and the spirit of craftsmanship, the exhibition has been titled E-MOMM. This title is also used as the
Brand Identity for the ceramic wares on display in the exhibition. The brand name integrates the
current social tendency simultaneously as representing the Korean mentality in crafts.
Like a mother preparing a hearty meal for her family, the maternal spirit and mentality has been
vesseled in all of the objects on display for the E-MOMM exhibition.
The Role of the Ewha Ceramics Research Institute
The Ewha Ceramics Research Institute was the first to be established within an academic
environment along with its ceramic art department. It was founded in 1958 and this year marks its
46th anniversary. It began as an organization researching on methods to modernize traditional wares
of Korea. Its founder, Hwang, Jong Gu came from a long line of ceramic tradition and he is looked
upon as the father of contemporary Korean ceramics. His achievements are highly praised as he
attempted to start the contemporary ceramics movement during a period when any cultural
preservation was bleak in Korea. He pushed to develop the existing traditional wares a step further
for modern appeal.
Today the director of the Ewha Ceramics Research Institute, Kang Suk Young, is an artist who is
referred to as the pioneer of the slip-casting movement in Korean contemporary ceramics. With
specialists such as Professor Kang, Ewha continues to be in the forefront of introducing new ideas
and creative expressions in contemporary Korean Ceramics.
Professor Kang hopes that the Emomm exhibition will contribute to the development of current
contemporary ceramics while influencing Korea’s tableware.
The Concept behind the Emomm Exhibition
Emomm is a collaborative initiation to redefine the existing tableware of Korea. The subject for the
exhibition is based on Korea’s 12 main Solar Seasons. Our national holidays are connected to these
Solar Seasons and they usually announce seasonal changes in the weather. In general, many of the
Korean custom, is closely tied to these 12 main seasons and they are usually about paying respect to
ancestors, evil spirits, maintaining an opulent life, good health and fortune. Furthermore, special
dishes and foods are eaten on national occasions, which are often celebrated with formal rites. For
instance a year begins by celebrating the Lunar New Year’s Day and on this day we eat a soup dish
with rice cakes in addition to specially made desserts. Each dish is served on a particular type of
ceramic ware as they have different significance, color and taste. These aspects of the Korean diet
and food serving, has been taken into consideration in the designs for the Emomm Exhibition.
Spring is welcomed by serving different herbal dishes as they act as medicines to preserve the health
so that the body is able to prepare itself for the hot season to come. Even the herbs and vegetables
have different significances. Some are said to heal the body and some for boosting certain organs.
In Korea it is important to pay respect to the deceased ancestors as they protect the family
descendents from evil spirits while bringing good fortune. Subsequently, respect is paid by laying a
table filled with delicious food, on specific ceramic wares for the spirit to return and enjoy some of
their favorite dishes.
The Korean way of life is closely related to such rites and practices. Therefore it is necessary to design
ceramic wares that can serve the rites properly.
The Significance of the Emomm Exhibition for the Development of Korean Contemporary Ceramics
Korea possesses a remarkable ceramic history and culture that is more than 5 000 years old. It is
renowned for its own celadon, buncheong and white wares. Yet despite the nation's rich historical
inheritance, most of its people are unaware of its cultural value. There is a lack of national support
given to the preservation and the development of contemporary ceramics. The Japanese
Colonization severed Korea's ceramic tradition leaving the nation in loss of its own identity. This was
further aggravated by the intervention of foreign troops and the Korean War. Therefore, it is not
until the 1980's that Korea began to raise the standard of its overall lifestyle and to begin
concentrating on the preservation of its culture. The 1980's saw a sudden acceleration in Korea's
economy but this continued to affect the Korean culture as it underwent many radical transitions.
Consequently, the advancement from Korea's fundamental ceramic wares has been considerably
difficult. Until now there has not been a contemporary substitute that is able to best represent
Korea’s rich tradition simultaneously as possessing a universal appeal that can contribute to Korea's
ceramic development.
Today, the social tendency is to integrate cultures. It is an era where styles are crossing over and
where cultures are being shared to understand one another. In art, there have already been
attempts to move away from existing principles and genres. Instead of following any one concept, art
is crossing boundaries taking on a more interdisciplinary form. The same phenomenon is making a
mark in culture and economy in search of a brand that can accommodate the contemporary trend.
The Emomm exhibition is an initiative to create a variation of ceramic tableware that relate to
tradition simultaneously as making an advancement by fulfilling the requirements of modern life.
Furthermore it hopes to contribute to the development of contemporary Korean ceramics.
The EMOMM exhibition will be on view at the EWHA Art Center, EWHA Woman's University, 11-1
Daehyun-Dong, Soedaemun-Gu, Seoul, from the 9th of May 2005.