A group of pots in a shop window show the strong traditional form of Tamba jars. Traditionally made as storage jars, the thick rim allowed a cord to be tied securely around the neck of the jar, to hold a cloth in place to close the mouth of the jar. These bold, simple forms were the result of a direct vocabulary of form handed down through generations of potters over the centuries. The forms were often left totally unglazed and the decoration of the surface would come from the action of the fire and the depositing of ash on the surface, forming a natural glaze, as is the case on the second jar from the left in this photo. The two jars on the right probably had an ash glaze poured on them before they were placed in the kiln and the contrast of the runny dark green ash glaze against the dark iron red of the unglazed clay surfaces creates a dynamic pattern. The two pieces on the right have lugs ("loops" of clay) on their shoulders; originally such lugs were made to allow a lid to be
This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.
This group of finished pieces were on ware boards in the Ichino workshop. To some extent, they may represent experiments with new forms, glazes, or decorative techniques, that may diverge some from traditional Tamba vessels.
Tea leaf storage jar, of modest size (perhaps 12" tall) but strongly articulated as a form. Unglazed stoneware with strong fire markings, characteristic of Bizen ware. Rice straw soaked in sea water salt brine was draped across the form as it was placed in the kiln; at the peak temperatures of the firing, the salt brine would volatilize and combine with the silica in the clay to form an "accidental" natural glaze. This procedure probably was followed initially as a means to keep pieces from fusing to one another in the firing, by separating them with high silica content rice straw, but with the discovery of the result of soaking the straw in brine, it became a frequent decorative technique on Bizen ware. Museum Purchase B67P10
This Fresh water jar ("mizusashi") is a tea ceremony vessel, an example of Iga ware, a style of vessel created in Mie Prefecture and valued highly by tea masters. Approximately 9 or 10 inch tall, wheel thrown using a light stoneware clay body, fired in a wood fueled kiln with resulting flashing coloration and some natural ash glaze deposits. The black lid of the jar is lacquer, rather than clay, as was frequently the case with tea vessels. The soft clay was manipulated, probably while the piece was still on the potter's wheel, deliberately deforming the piece slightly, which has the effect of emphasizing the soft, malleable nature of the material before it is fired.
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.
With the rise in popularity of the tea ceremony in the 15th century, artistic style was utilized in many aspects. The most cherished tea-ceremony utensils were celadon porcelains and tenmoku (tea bowls) from China. Later, various kinds of dazzling tenmoku came to be valued.
Pottery piece dating from circa 5000 BCE. Often referred to as a "flame" vessel due to the elaborate ornamentation on the lip.
Late 17th - early 18th century work produced at the official Nabeshima clan kiln in present-day Saga Prefecture.
This Sake ewer is an example of old Kutani porcelain wares.
Larger teapot with white glaze and painted landscape scenery of mountains in the distance, pavilion in the foreground.
The decoration on this blue and white charger was inspired by Islamic ceramics of the 16th and 17th centuries and influenced the decorative patterns used on 18th century Dutch Delft wares.
This blue and white decorated porcelain bowl is an example of the popular bird and flower decorative motif of the early Qing Dynasty. Made at the Imperial porcelain factories at Jingtezhen in Jiangxi Provence, this bowl is inscribed with the reign mark of the Emperor Kangxi. These porcelain factories flourished during the Ming Dynasty but their output declined in quantity and quality immediately after the Manchu invasion. Under Kangxiâ€™s patronage porcelain manufacture once again flourished and for the next 130 years some of the most exquisite porcelains were created to the delight of three successive Emperors. 8 1/2 inches in diameter.
This is a small pottery spoon probably covered with copper-green lead-silicate glaze, much of which has chipped off. Such a glaze was common in the Han dynasty for changing color when buried in the earth. It becomes iridescent and silvery. This spoon mouth is bumpy and in some places uneven. The end of the handle seems to have been carved into a design but was worn smooth. This pottery spoon was most likely made during the Eastern Han dynasty (25-220 AD).
4" h. Ovate body with two small luted loop handles on either side of the shoulder, narrowing down towards the slightly concave base which is marked with diminishing arcs from the cord used to shear the bottom and also with residue of the kiln spurs. A short, narrow neck surmounted by a dished mouth. The finely crazed yellowish glaze falls partially down the body revealing the buff stoneware on the lower end and bottom.
3 3/8" h x 6 1/4" at widest point. Unusual form of "Samarra" type. Ovate and faceted octagonally with beaded strips strung vertically between the panels, a grooved ring on the flat base forming a wide foot ring, horizontal fluted interior with impressed floral spray at the bottom, one slightly raised semi-circle at the exterior only with 'tear' stains running toward the base.
Cup - 2 1/8" h x 4" w. Stand - 1 1/4" h x 5 3/4" w. Petal - carved, campanulate cup, green-glazed, crazed and pooling thickly in recesses and running down on a solid, slightly splayed base in thicl pools, flat base with traces of spurs, double groove below the rim on the exterior. Design of overlapping petals repeated on the inside of the stand, encircling the cup ring, concave base, buff colored body.
2 3/4" h x 4 5/8" w. Flared side turning upward near the rim and indented toward the footring, the dark brown stoneware is covered with a brown glaze inside and two-thirds of the way down on the outside where it has pooled, thinning too on the lip. In addition to the brown are radiating streaks of black on the interior and exterior.
2 3/4" x 2 3/4". Globular form with white ground glazed all over except for the bottom of the foot ring, painted with copper-red dragons pursuing a pearl amid cloud forms on two sides, a band above the foot ring with floral meander and a band of alternating ruyi heads and bats around the mouth, details picked out with gilding, plus a gilded ring on the lip, marked in red enamel, within an incised ring, with four character mark of Qianlong and of the period.
2 3/4" h x 4 5/8" w. Flared side turning upward near the rim and indented toward the footring, the dark brown stoneware is covered with a brown glaze inside and two-thirds of the way down on the outside where it has pooled, thinning on the lip. In addition to the brown, radiating streaks of black are on the interior and exterior.
Vase with light carving under a milky white glaze. Floral motif wraps around the piece, which has been repaired with a metal band around the lip.
2 1/6" h. Faceted, flared sides molded with raised animals, tigers, deer, etc., octagonal lip, four comma-shape feet, unctuous cream-white glaze, body thick and translucent.
4 7/8" h. Slender ovate form, cylindrical foot ring, tapered shoulder and trumpet horn neck and mouth, raised enamel dÃ©cor from top to bottom, on the neck a band of ruyi heads followed by a band of pendant jewels, on the shoulder band of upright overlapping stiff leaves, a narrow double reciprocating linear band, a wider Greek key band followed by a narrow pendant spear head band, the body with a hawk standing on a rock formation with lotus leaves below and a large setting sun to the left, above the sun is a short poem in black enamel with three red seals, on the foot ring is a band of ruyi heads followed by a band of floral meander alternating with Greek key, the bands in blue enamel, the scene in polychrome enamel, egg shell thin porcelain, red enamel four character mark "made for the hall of cultivation of virtue" - a palace mark in a double line square with rounded corners.
6 3/4" w. Campunulate form with slightly inverted rim, carved with two tiers of overlapping petals just above the foot on the exterior and freely carved floral scrolls in the interior of the bowl, the unglazed base has a shallow narrow foot ring, a blue glaze on the exterior and interior terminating to a mushroom color on the rim, an incised quarter moon on the base. Song Dynasty or later.