Oribe-ware Ewer, from the early 17th century in Japan, Momoyama Period. The piece is high-fired stoneware, a buff colored body, probably fired in a neutral or oxidizing atmosphere, with the typical Oribe glaze combination of white glaze and a copper green poured on parts of the piece. There is pattern, design, painted on the piece, again, typical of Oribe style wares. The design was painted on the piece with an iron pigment or slip, probably painted on the piece prior to the glaze application. The resulting all-over surface decoration is typical of the exuberant energy of Momoyama art and culture. -- Gift of Robert Allerton, 1959.5 -- This piece was one of ten ceramic pieces in a special exhibition at the Art Institute of Chicago, East Asian Ceramics: Then and Now, held July 2 - November 6, 2005. The exhibit was curated by Janice Katz, assistant curator of Japanese Art, and Jay Xu, Pritzker Curator of Asian Art. An overview of the exhibition states, "Contemporary ceramic artists in East Asia continually draw upon their cultures' highly developed traditions. An artist may use a glaze that became popular centuries earlier or experiment with a traditional glaze by changing the resulting color. Contemporary artists also quote wares of the past through form and technique. In this exhibition featuring works from China, Korea, and Japan, pairs of contemporary and premodern objects are on display. In each case, the artist of the contemporary piece consciously adopts aspects of the earlier ware while creating a thoroughly modern work of art."
A fairly large porcelain piece, very full in form. The surface of the piece functions as a canvas for the very bold, energetic brush decoration that covers the entire surface. The image is that of a dragon, a frequent theme in east Asian art, twisting as it moves through the air between clouds. The brush decoration is iron oxide applied under the glaze.
Large spherical jar of the sort known as a "Moon" jar. The museum label comments, these jars "...were loved by Korean people not only because of their white color, which was suggestive of Confucian virtues, but also because the form was thought to represent the fertility and gentle, embracing qualities associated with women during the Joseon dynasty." This example presents an interesting comparison with the jar presented in file ecasia000358, another "Moon" jar from the collection of the Art Institute of Chicago. The one in Chicago has a more matte glaze surface, while this one has a transparent glaze. The difference in the glaze may be the result of placement in different locations in a kiln, with the matte surface possibly resulting from a slightly cooler temperature and the transparent glaze from a slightly higher temperature, as might result at the different ends of a tube kiln. (The Avery Brundage collection, B60P110+ )
A large storage jar in the characteristic Shigaraki form. Produced with the coil and throw technique, as can be seen on the right side profile of the piece. Typical rough Shigaraki clay with bits of feldspathic rock in it, which fused in the kiln to create the smooth white bits of "glass" in the the surface of the piece. The surface shows a slight gloss, the result of "natural glaze" from the firing, as wood ash from the kiln fire would combine with silica in the clay of the piece to form a silicate compound, a natural glass.
Porcelain jar with underglaze cobalt decoration, wisteria design. Imari-type Arita ware. (The Avery Brundage Collection, B67P7)
Porcelain jar with bird design painted in underglaze cobalt. Kakiemon-type Arita ware. (The Avery Brundage Collection, B64P37)
Stoneware with white and copper-green glazes, underglaze iron brushwork. - This image shows the opposite side of the vessel shown in image ecasia000366. It is an Oribe-ware ewer, showing the characteristic contrasting elements of Oribe-wares - white glazed areas with underglaze iron brushwork, often geometric patterns based on motifs from nature, contrasted with the freely poured patterns of copper green glaze. -- The image presented in ecasia000366 [enter that i.d. as a keyword search to view the image easily] was photographed in an Art Institute exhibit, "East Asian Ceramics, Then and Now," summer, 2005. It was placed in such a manner that it could be viewed from one side only [no reference to the MOMA Duchamp...]. The view presented here, ecasia000943, was photographed in a different Art Institute exhibit, "The Practice of Tea from the Edo Period to Today," on view during the spring and early summer, 2007. The vessel was placed in a case that allowed the viewing of both sides of the vessel in the second exhibit, permitting this second view, which provides an interesting look at the different nature of the design patterns on the two sides of the spout. On one side, the pattern is entirely the geometricized pattern of the hexagonal motif, perhaps derived from the abstraction of a flower form. On the other side of the spout is a combination of simplified, naturalistic flower motives and geometric abstractions of that form (the five lobed set of dots set around a central dot) and a pattern of straight linear strokes that may be an abstraction of the pattern formed by a fence. All of that activity is combined, of course, with the richness of contrast of created pattern / poured glaze, discussed in reference to image ecasia000366. -- One other point of interest to note in comparing the two views is the different position of the lid in the two views and the very different sense of patterning created by the different positions. -- Coll. Art Institute of Chicago (Gift of Robert Allerton, 1959.5) -- [Note also the difference in the color rendering between the two views, showing dramatically and unfortunately the difficulty of achieving accurate color representation in situations such as these, where the lighting in artificial and over which the photographer has no control. Both images have been edited somewhat to adjust the color balance in the image, but they remain different from one another and it is probably true that neither image is a truly accurate representation of the color of the actual object. This will be compounded by the fact that very few computer monitors are calibrated the same way, meaning that, even if the online images were completely true in color representation, it is likely that they would appear different on every monitor used to view them. Hence, in discussing images viewed online, one must be very careful and somewhat skeptical in discussing color; it is rarely accurate.]
This print and five following are from a series of 21 night scenes published by Nishinomiya Y?saku of the Hasegawa publishing house between 1910 and 1920. They are fine examples of Shin-hanga â€œNew Printmaking,â€ a movement reviving the studio/workshop methodology of earlier ukiyo-e. All the works are darkly inked, indicating night settings, and feature bokashi techniques to create atmospheric effects. Like most of the others, this print shows a traditional subjectâ€”a woman of the entertainment world walking to an assignmentâ€”with a subtle reference to Hiroshige in the firewatcherâ€™s ladder and bell in the distance.
One of nineteen prints which illustrate the process of making a multi-block multicolor woodblock print.The print reproduced is the view of Asakusa Kinryuzan (Asakusa Kannon Temple) from Ando Hiroshigeâ€™s Toto yukimi hakkei (Eight Views of Snow in the Eastern Capital).