Museographs: Japanese Satsuma Pottery

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Sign in to Purchase Instantly. Explore Now. Buy As Gift. Overview High atop the Southern mountains lived the Appalachian settlers. They were people unconcerned with convention who lived removed from the throes of civilization for more than a century. From mighty blacksmiths to prized basket-makers, their crafts were well suited to a remote existence, giving them 'the tools to tame the wilderness.

Cornhusk dolls lent amusement to children's playtime. Chair making and woodcarving added beauty and functionality to the home, and the celebrated art of the coverlet was a legacy of tradition and hard work. Though early Appalachian society was prosperous, the technology of the Industrial Revolution presented new challenges.

Potters fell victim to highway robbers and was then replaced by glass and metal containers. These new materials infiltrated rural markets and served as better storage alternatives. In addition, the one-person art of the coverlet was forever changed when Francis Goodrich's Allanstand Cottage Industries sought to commercialize its production and circulate the coverlet to the general public.

This increased exposure led to the development of faster production techniques and resulted in economic hardship for the hill country. Museographs' Appalachian Handicrafts records the development of these American craftsmen and —women, from humble beginnings to modern success stories. Extensive biographies introduce you to major figures within the society, such as Daniel Boone and Alvin and Trevele Wood.

This cleverly written document illustrates, with personal flair, how evolving Highland art has thrived in both its early and its current forms.

Product Details About the Author. During her career she has studied art; taught art, art history and history; created art; sold art; helped to plan and build two repositories for art; written art programs; published art; and designed art catalogues and installations.

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She taught interdisciplinary studies accredited in the International Baccalaureate program and was part of the team for IB program development. A student of and intern to Dr. Joseph Campbell, she has traveled, studied and lived extensively in the third world focusing on art, culture, mythologies and religion. She is the author of books and CDs on Character through Art, Classics and Culture as well as Museographs, a monographic series focusing on world culture and history. Lazar is a frequent speaker, seminar and workshop leader and continues to write and teach about the world and the people who make it what it is.

Pt. 1 Meiji Period(1868-1912)-Japanese Metalworks and Pottery

Show More. Average Review. Write a Review. Related Searches. Longer and Better Living with Homecare Benefits from. Eager to tap into the burgeoning foreign market, producers adapted the nishikide Satsuma model. The resulting export style demonstrated an aesthetic thought to reflect foreign tastes. Items were covered with the millefleur -like 'flower-packed' , hanazume pattern or 'filled-in painting' , nuritsubushi [27] to the point of horror vacui.

They were typically decorated with "'quaint' There was new interest in producing decorative pieces okimono , such as figurines of beautiful women bijin , animals, children and religious subjects. The mids saw the beginning of an export slump for many Japanese goods, including Satsuma ware, linked in part to a depreciation of quality and novelty through mass production. By the s, contemporary Satsuma ware had become generally denigrated by critics and collectors. It was negatively received at Chicago's Columbian Exposition of , but remained a popular export commodity into the twentieth century, becoming "virtually synonymous with Japanese ceramics" throughout the Meiji period.

The response of critics and collectors to mass-produced Satsuma ware was and is overwhelmingly negative. According to art historian Gisela Jahn, "in no other style of ceramics did the Japanese go to such extremes in attempting to appeal to Western tastes, and nowhere else were the detrimental effects of mass production more clearly evident". In addition to the nishikide and export ware types, there are various categories of Satsuma ware, each with their own distinct aesthetic.

Not all producers of late nineteenth and early twentieth century Satsuma ware sacrificed quality to pander to the export boom. Some prominent artists of the Meiji and Taish? Most of these artists set up etsuke workshops around , coinciding with the export slump. Although they did export, stylistically their pieces demonstrated a wish to return to tradition.

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Their works are recognized for a "restrained style" and "sparing distribution of motifs. Early in the twentieth century these artists also began to incorporate western techniques and styles, including perspective and muted colours, [43] as well as the use of liquid gold , suikin , which was originally developed by Germany's Meissen. While older Japanese ceramics often do not feature any stamps or signatures, items made after in particular, can bear a variety of marks in addition to that of the artist. Many pieces of Satsuma ware--regardless of age or authenticity--feature the kamon family crest of Satsuma's ruling Shimazu clan : a red cross within a red circle.

While it was originally an indication of a link to the Satsuma domain and the Shimazu clan's direct involvement in the items' production, in the age of mass production and export, the crest simply became a marketing convention. All genuine examples are hand-painted rather than stamped or machine-printed, though hand-painting is not a guarantee of legitimacy.

It can be written in kanji characters, hiragana , or with the Latin alphabet. The " Dai Nippon " 'Great Japan' mark was applied to items during the Meiji period as an indication of their place of origin during a period of fomenting nationalism. These characters often appear immediately to the right of the maker's mark. Plate, Ch? The incredible popularity of Satsuma ware and the eagerness of collectors to find pre-Meiji pieces led some manufacturers and dealers to deliberately misrepresent items' age and origins.

Some sold other types of ceramics such as Awata or Seto ware as Satsuma. Satsuma Ware. Get Satsuma Ware essential facts below. View Videos or join the Satsuma Ware discussion.

Add Satsuma Ware to your PopFlock. Ribbed lidded incense jar, earthenware with overglaze and gold, Seikozan workshop, undated. Teapot, earthenware with overglaze and gold, Shutsuzan workshop, undated. Classic Japanese Porcelain. Kodansha International.

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