Ceramics and Modernity in Japan offers a set of critical perspectives on the creation, patronage, circulation, and preservation of ceramics during Japanâ s most dramatic period of modernization, in the Meiji to mid-Showa eras.
Ceramics and Modernity in Japan offers a set of critical perspectives on the creation, patronage, circulation, and preservation of ceramics during Japanâ s most dramatic period of modernization, in the Meiji to mid-Showa eras.
Meghen Jones is Assistant Professor of Art History and Director of Global Studies at the New York State College of Ceramics of Alfred University, USA. Her research centers on ceramics, design, and modern art in Japan and in global perspective. Louise Allison Cort is Curator Emerita for Ceramics, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, USA. Her primary research interests are historical and contemporary ceramics in Japan, Mainland Southeast Asia, and India.
Inhaltsangabe
1 A potter's paradise: The realm of ceramics in modern Japan. PART I. 2 Tradition, modernity, and national identity: Celadon production at the Makuzu ceramic workshop 1870-1916. 3 More than "Western": Porcelain for the Meiji Emperor's table. PART II. 4 Modernizing ceramic form and decoration: Kyoto potters and the Teiten. 5 Unifying science and art: The Kyoto City Ceramic Research Institute (1896-1920) and ceramic art education during the Taisho era. PART III. 6 The spark that ignited the flame: Hamada Sh¿ji, Paterson's Gallery, and the birth of English studio pottery. 7 Okuda Seiichi and the new language of ceramics in Taisho (1912-1926) Japan. 8 The nude, the empire, and the porcelain vessel idiom of Tomimoto Kenkichi. PART IV. 9 Veiled references: The role of glaze in Japanese avant-garde ceramics. 10 Koyama Fujio's view of modern Japanese ceramics and his role in the creation of "Living National Treasures". EPILOGUE. 11 Found in translation: Ceramics and social change.
1 A potter's paradise: The realm of ceramics in modern Japan. PART I. 2 Tradition, modernity, and national identity: Celadon production at the Makuzu ceramic workshop 1870-1916. 3 More than "Western": Porcelain for the Meiji Emperor's table. PART II. 4 Modernizing ceramic form and decoration: Kyoto potters and the Teiten. 5 Unifying science and art: The Kyoto City Ceramic Research Institute (1896-1920) and ceramic art education during the Taisho era. PART III. 6 The spark that ignited the flame: Hamada Sh¿ji, Paterson's Gallery, and the birth of English studio pottery. 7 Okuda Seiichi and the new language of ceramics in Taisho (1912-1926) Japan. 8 The nude, the empire, and the porcelain vessel idiom of Tomimoto Kenkichi. PART IV. 9 Veiled references: The role of glaze in Japanese avant-garde ceramics. 10 Koyama Fujio's view of modern Japanese ceramics and his role in the creation of "Living National Treasures". EPILOGUE. 11 Found in translation: Ceramics and social change.
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