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Longquan celadon (龍泉青瓷) is a type of green-glazed Chinese ceramic, known in the West as celadon or greenware, produced from about 950 to 1550. The kilns were mostly in Lishui prefecture in southwestern Zhejiang Province in the south of China, and the north of Fujian Province. Overall a total of some 500 kilns have been discovered, making the Longquan celadon production area one of the largest historical ceramic producing areas in China. "Longquan-type" is increasingly preferred as a term, in recognition of this diversity, or simply "southern celadon", as there was also a large number of kilns in north China producing Yaozhou ware or other Northern Celadon wares. These are similar in many respects, but with significant differences to Longquan-type celadon, and their production rose and declined somewhat earlier.
Earthenware is glazed or unglazed nonvitreous pottery that has normally been fired below 1,200 °C (2,190 °F). Basic earthenware, often called terracotta, absorbs liquids such as water. However, earthenware can be made impervious to liquids by coating it with a ceramic glaze, which the great majority of modern domestic earthenware has. The main other important types of pottery are porcelain, bone china, and stoneware, all fired at high enough temperatures to vitrify.
Celadon is a term for pottery denoting both wares glazed in the jade green celadon color, also known as greenware or "green ware" ), and a type of transparent glaze, often with small cracks, that was first used on greenware, but later used on other porcelains. Celadon originated in China, though the term is purely European, and notable kilns such as the Longquan kiln in Zhejiang province are renowned for their celadon glazes. Celadon production later spread to other parts of East Asia, such as Japan and Korea as well as Southeast Asian countries such as Thailand. Eventually, European potteries produced some pieces, but it was never a major element there. Finer pieces are in porcelain, but both the color and the glaze can be produced in stoneware and earthenware. Most of the earlier Longquan celadon is on the border of stoneware and porcelain, meeting the Chinese but not the European definitions of porcelain.
Korean ceramic history begins with the oldest earthenware from around 8000 BC. Throughout the history, the Korean peninsula has been home to lively, innovative, and sophisticated art making. Long period of stability have allowed for the establishment of spiritual traditions, and artisan technologies specific to the region. Korean ceramics in Neolithic period have a unique geometric patterns of sunshine, or it's decorated with twists. In Southern part of Korea, Mumun pottery were popular. Mumun togi used specific minerals to make colors of red and black. Korean pottery developed a distinct style of its own, with its own shapes, such as the moon jar or Buncheong sagi which is a new form between earthenware and porcelain, white clay inlay celadon of Goryeo, and later styles like minimalism that represents Korean Joseon philosophers' idea. A lot of talented Korean potters were captured to Japan after the porcelain war in 1592–1598. Arita ware, founded by Yi Sam-pyeong opened a new era of porcelain in Japan. Another Japanese representative porcelain, Satsuma ware was also founded by Dang-gil Shim and Pyeong-ui Park. 14th generation of Su-kwan Shim have been using the same name to his grandfather and father to honor they are originally Korean, 14th Su-kwan Shim is honorable citizen of Namwon, Korea.
Medieval Islamic pottery occupied a geographical position between Chinese ceramics, the unchallenged leaders of Eurasian production, and the pottery of the Byzantine Empire and Europe. For most of the period it can fairly be said to have been between the two in terms of aesthetic achievement and influence as well, borrowing from China and exporting to and influencing Byzantium and Europe. The use of drinking and eating vessels in gold and silver, the ideal in ancient Rome and Persia as well as medieval Christian societies, is prohibited by the Hadiths, with the result that pottery and glass were used for tableware by Muslim elites, as pottery also was in China but was much rarer in Europe and Byzantium. In the same way, Islamic restrictions greatly discouraged figurative wall-painting, encouraging the architectural use of schemes of decorative and often geometrically-patterned titles, which are the most distinctive and original specialty of Islamic ceramics.
Chinese ceramics show a continuous development since pre-dynastic times and are one of the most significant forms of Chinese art and ceramics globally. The first pottery was made during the Palaeolithic era. Chinese ceramics range from construction materials such as bricks and tiles, to hand-built pottery vessels fired in bonfires or kilns, to the sophisticated Chinese porcelain wares made for the imperial court and for export. Porcelain was a Chinese invention and is so identified with China that it is still called "china" in everyday English usage.
Villeroy & Boch is a German manufacturer of ceramics, with the company headquarters located in Mettlach, Saarland.
Rudolf Harry "Rudi" Staffel was an American ceramic artist and educator.
Bolesławiec pottery, also referred to as Polish pottery, is the collective term for fine pottery and stoneware produced in the town of Bolesławiec, in south-western Poland. The ceramics are characterized by an indigo blue polka dot pattern on a white background or vice-versa.
Art pottery is a term for pottery with artistic aspirations, made in relatively small quantities, mostly between about 1870 and 1930. Typically, sets of the usual tableware items are excluded from the term; instead the objects produced are mostly decorative vessels such as vases, jugs, bowls and the like which are sold singly. The term originated in the later 19th century, and is usually used only for pottery produced from that period onwards. It tends to be used for ceramics produced in factory conditions, but in relatively small quantities, using skilled workers, with at the least close supervision by a designer or some sort of artistic director. Studio pottery is a step up, supposed to be produced in even smaller quantities, with the hands-on participation of an artist-potter, who often performs all or most of the production stages. But the use of both terms can be elastic. Ceramic art is often a much wider term, covering all pottery that comes within the scope of art history, but "ceramic artist" is often used for hands-on artist potters in studio pottery.
Elizabeth Fritsch CBE MA (RCA) is a British studio potter and ceramic artist born into a Welsh family in Whitchurch on the Shropshire border. Her innovative hand built and painted pots are often influenced by ideas from music, painting, literature, landscape and architecture.
Masahiro Mori was a Japanese ceramic designer born in Saga Prefecture, Japan. The well known "G-type Soy Sauce Bottle" he designed in 1958 won the 1st Good Design Award in 1960 and its production and sales have continued until today. He won the Good Design Award more than 110 times in his life. In describing his design philosophy, he stated, "My pleasure as a designer is to conceive of forms for daily use, and to create pieces for production in the factory, so that many people can appreciate and enjoy using them". He worked to design ceramic dishes suitable for the Japanese lifestyle in post-World War II.
Vase with carved peony scrolls is a Cizhou-type stoneware vase of the Northern Song dynasty, made about 1100 and now in the Asian collection of the Indianapolis Museum of Art, where it is currently on display in the Richard M. Fairbanks Gallery.
The Fulham Pottery was founded in Fulham, London, by John Dwight in 1672, at the junction of New King's Road and Burlington Road, Fulham, not far from Putney Bridge. Dwight is the earliest clearly documented maker of stoneware in England, although immigrant Dutch or German potters were probably active several decades before. By 1690 there was a rival stoneware operation in Fulham, run by the Dutch Elers brothers, who after a few years went off to become important early figures in transforming the Staffordshire pottery industry.
Ann Agee is an American visual artist whose practice centers on ceramic figurines, objects and installations, hand-painted wallpaper drawings, and sprawling exhibitions that merge installation art, domestic environment and showroom. Her art celebrates everyday objects and experiences, decorative and utilitarian arts, and the dignity of work and craftsmanship, engaging issues involving gender, labor and fine art with a subversive, feminist stance. Agee's work fits within a multi-decade shift in American art in which ceramics and considerations of craft and domestic life rose from relegation to second-class status to recognition as "serious" art. She first received critical attention in the influential and divisive "Bad Girls" exhibition, curated by Marcia Tucker at the New Museum in 1994, where she installed a functional, handmade ceramic bathroom, rendered in the classic blue-and-white style of Delftware. Art in America critic Lilly Wei describes Agee's later work as "the mischievous, wonderfully misbegotten offspring of sculpture, painting, objet d'art, and kitschy souvenir."
Kitamura Junko is a Japanese ceramic artist. Examples of her work are in the Museum of Fine Arts, Houston, The Brooklyn Museum, the British Museum, the Museum of Fine Art, Boston, and the Arthur M. Sackler Gallery, Smithsonian. She has won prizes for her work from the Siga Prefecture Art Exhibition in 1983, the Kyoto Art and Crafts Exhibition in 1984 and 1985, and the World Triennial Exhibition of Small Ceramics in Zagreb, Croatia in 1997. Kitamura completed her MFA at the Kyoto City University of Art. She is married to artist Yo Akiyama, and was the student of two prominent Japanese artists: Suzuki Osamu and Kondo Yutaka.
Karin Putsch-Grassi is a potter.
Ceramic art is art made from ceramic materials, including clay. It may take forms including artistic pottery, including tableware, tiles, figurines and other sculpture. As one of the plastic arts, ceramic art is one of the visual arts. While some ceramics are considered fine art, such as pottery or sculpture, most are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artefacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery". In a one-person pottery studio, ceramists or potters produce studio pottery.
Rose Kerr is an English art historian specializing in Chinese art, especially Chinese ceramics, on which she has written a number of books. After studying Mandarin and Chinese art at the School of Oriental and African Studies (1971–75), she worked at the Percival David Foundation (1976–78). She joined the Far Eastern Department of the Victoria and Albert Museum in 1978. She became the Keeper of the Far Eastern Department in 1987, a post she held until her retirement in 2003.
Hitomi Hosono is a London-based ceramicist who won the inaugural Perrier-Jouët Arts Salon Prize. She is known for intricate ceramic pieces that are inspired by botanical studies and her memories of the Japanese landscape and the greenery of East London.
References
- 1 2 Adelson, Ryan "Watch and Learn How Vanessa Hogge Shapes Her Intricate Ceramic Flowers," Martha Stewart, 2017
- 1 2 3 "Makers’ Stories – Vanessa Hogge – ceramic artist," Cockpit Arts, 2018
- ↑ O, The Oprah Magazine, "The Perks of Making a Wallflower," June 2018
- ↑ Clanford, Darren "Vanessa Hogge on self-employment, career changes and staying true to your passion," Creative Boom, 2017
- ↑ "A Porcelain Garden," Tenderfoot Design, 2015
- ↑ "Vanessa Hogge," 2017, Great Scott Films, motion picture
- ↑ "New designers and ceramicists to watch out for," Evening Standard Homes&Property, 2019
- ↑ "Vanessa Hogge," Vessel Gallery, 2017
- ↑ Allaire, Christian, "Stylish Fake Flowers That Will Flourish Well Beyond Valentine’s Day," Vogue, 2018
- ↑ Finney, Elizabeth, "Gardening in Clay: How Vanessa Hogge Creates Flowers That Last Forever," IN London Magazine, 2018
- ↑ Boyer, Angie "Vanessa Hogge," craft&design, 2018
- ↑ Homo Faber Best of Europe
- ↑ Isaac-Goizé, Tina, "Venice’s Debut ‘Homo Faber’ Exhibition Promises Two Weeks of Multimedia Artisanship," The New York Times, 3 Sept. 2018 (print version)
- ↑ Ceramic Review Magazine, "Vanessa Hogge," August 2018
- ↑ UK Crafts Council