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The Japanese have a saying that calls the ceramics town of Mashiko to mind: daido shoi ? ?big similarity, little difference?. In the eighty years since the legendary Hamada reinvigorated its trade in clay, generations of potters have established their workshops here as they strive to make a name for themselves. Each strikes out to find an individual voice, to offer a ?little difference? in a town of tradition, but what remains at the core of every Mashiko potter?s work is that ?big similarity? of spirit: a desire to use local materials; to extract as much potential from those materials as one can; and to merge the essences of art and craft, form and function, into a coherent whole.00Exhibition: Goldmark Art, Uppingham Oakham, UK (03.-18.06.2017).
An in-depth portrait of the life and work of Shoji Hamada, one of the key figures behind the development of studio pottery in the 20th century, and the legacy he left. Shoji Hamada was one of the seminal figures in 20th century ceramics. Along with the British potter Bernard Leach, he was instrumental in the development of the international Studio Pottery movement in the early 1900s. Their dramatic influences are still felt today, particularly in the United States and Great Britain. Hamada, also a major figure in Japan's folk art revival, was designated a 'Living National Treasure' by the Japanese government in 1955 and awarded the Order of Culture in 1968. Shoji Hamada is an ebullient and f...
In this collection of nineteen case studies, edited by John Singleton, the contributors describe the transferral of knowledge and practice within particular communities of Japanese artisans, workers, artists, musicians, and professionals. Together, the essays aim to demonstrate the rich variety of pedagogical arrangements and learning patterns, both historical and contemporary, through which the Japanese pass on both cultural and practical knowledge.
Broad coverage in text and photographs of the modern and historical ceramic techniques of Japan.
Featuring dozens of color photographs and extensive commentary, this Japanese ceramics guide is an comprehensive resource for collectors and art enthusiasts. For the collector of Japanese ceramics, the chief value of the book will lie in the author's very practical advice on what, where, and how to collect; what to pay; how to choose a dealer; how to distinguish between the genuine and the imitation; and similar matters of importance. For the non-collector who nevertheless admires Japanese ceramics, the main interest will undoubtedly lie in the concise and highly readable background information that Mr. Munsterberg presents and in his amiable manner of leading the reader to an appreciation of Japan's ceramic art. For both the collector and the non-collector, the abundance of illustrations, many of them in color, will provide an aesthetic treat.
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This compact reference explains the basic terms, processes, classifications, tools, materials and techniques of Japanese potters. Everyone interested in pottery and crafts will find this practical guide a valuable addition to both bookshelf and workshop. Penny Simpson, an English potter living in Japan, and Kanji Sodeoka, her Japanese colleague, have compiled a step-by-step manual of the way pots are made in Japan, their forms, and their decorations. The authors give a thorough account of both traditional and modern techniques and also describe in detail tools,