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Japanese pottery strongly influenced British studio potter Bernard Leach (1887–1979), who is regarded as the "Father of British studio pottery". [31] He lived in Japan from 1909 to 1920 during the Taishō period and became the leading western interpreter of Japanese pottery and in turn influenced a number of artists abroad.
Most scholars date satsuma ware's appearance to the late sixteenth [1] or early seventeenth century. [2] In 1597–1598, at the conclusion of Toyotomi Hideyoshi's incursions into Korea, Korean potters, which at the time were highly regarded for their contributions to ceramics and the Korean ceramics industry, were captured and forcefully brought to Japan to kick-start Kyūshū's non-existent ...
Kutani ware (九谷焼, Kutani-yaki) is a style of Japanese porcelain traditionally supposed to be from Kutani, now a part of Kaga, Ishikawa, in the former Kaga Province. [1] It is divided into two phases: Ko-Kutani (old Kutani), from the 17th and early 18th centuries, and Saikō-Kutani from the revived production in the 19th century.
Oribe ware (also known as 織部焼 Oribe-yaki) is a style of Japanese pottery that first appeared in the sixteenth century. It is a type of Japanese stoneware recognized by its freely-applied glaze as well as its dramatic visual departure from the more somber, monochrome shapes and vessels common in Raku ware of the time. [ 1 ]
Shino ware (志野焼, Shino-yaki) is Japanese pottery, usually stoneware, originally from Mino Province, in present-day Gifu Prefecture, Japan. It emerged in the 16th century, but the use of shino glaze is now widespread, both in Japan and abroad. It is identified by thick white glazes, red scorch marks, and a texture of small holes.
Ko-Kiyomizu (old Kiyomizu) lidded brazier (te-aburi) with paulownia and geometric design, stoneware with overglaze enamels and gold, Edo period, 18th century. Kiyomizu ware (清水焼, Kiyomizu-yaki) is a type of Kyō ware traditionally from Gojōzaka district near Kiyomizu Temple, in Kyoto.
It is known mainly for its sometsuke underglaze cobalt blue and white porcelain, with the amount of blue often low, showing off the detailed modelling and the very fine white colour of the porcelain. This has a finer grain than most Japanese porcelains, allowing fine detail and thin and complicated openwork in forms.
The saggar is covered so that the pottery is shielded from direct contact with flames or flying ashes. Protected like this, the pieces in the saggar turn white due to a chemical reaction. Alkalines in the straw combine with the iron in the clay; the straw-covered areas react and create red and brown burn marks. [4] [5]
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