A Global History of Japanese Ceramics

Introduction

Section 1: Origins

1. Towards a Manifesto for Ancient Japanese Pottery Studies

Simon Kane

2. A New Chronology of Medieval Shigaraki Kilns

INOUE Kikuo

3. Ceramics in Medieval Japan: Insights from the Provincial City of Ichijōdani

Morgan Pitelka

4. Chinese Ceramics and 16th-Century Japanese Tea

Andrew M. Watsky

5. Satsuma Tea Caddies in the Letters of Furuta Oribe

MATSUMURA Makiko

Section 2: Circulation

6. Kyoto Ceramics in the Seventeenth Century

OKA Yoshiko

7. Mapping Ceramic Production in Edo: High, Low, And Hinterland

Richard L. Wilson

8. Chosŏn Korean Potters in Japan: Rediscovering the Female Potter, Hyakubasen

Seung Yeon Sang

9. Koryŏ Dynasty (918–1392) Celadons and the Aesthetics of Kōrai Chawan

Sol Jung

10. The Creation of a ‘Neo-Classical Style’ in Korean Teabowls: Situating the Freer Collection’s Celadon Bowl with Chrysanthemum Design in the Context of Early-Seventeenth-Century Japanese Tea Culture

KATAYAMA Mabi

11. Dutch Export Ceramics: Focusing on Water Jars with Enameled Tobacco Leaf Decoration

NISHIDA Hiroko

12. Hizen Underglaze Blue Decorated Stonewares

OHASHI Koji

13. Folk Potters and Folk Users: Insights Gleaned from the “Plate Mountain” Wares of Northern Kyushu

Andrew L. Maske

Section 3: Interactions

14. Interactions Between Kutani Ware and Kyoto Ware from the Late-Edo Period Through the Meiji Period

MAEZAKI Shinya

15. The Making of the Edward Sylvester Morse Collection of Japanese Ceramics at the Museum of Fine Arts, Boston

Ai Fukunaga

16. Kume Kunitake: Situating and Positioning Arita Ceramics Within the Euro-American Context in the Early Meiji Era

Mary Redfern

17. Shaping the Canon: Constructing the ‘Ninsei Narrative’ in Japanese Ceramics Historiography

Akiko Takesue

18. ‘A Wonder of Pottering’:  Charles Lang Freer and Kōetsu Ceramics

Louise Allison Cort

19. The Sustainability of ‘Tradition’ and ‘KUTANism’: The Roles of ‘Outsiders’ including Saga Craftsmen, Kyoto Sinophiles, Christians, and Women Painters

Yuko Kikuchi

Section 4: Elements

 20. Kitaōji Rosanjin’s ‘Discovery of Clay’ and the Momoyama Revival

KIDA Takuya

21. Towards an Understanding of Contemporary Ceramic Utsuwa (Vessels)

Meghen Jones

22. Liberating Fire from the Kiln: Noyaki by Fujita Akiko, Koie Ryōji, and Nagasawa Nobuho

Bert Winther-Tamaki

23. Hayashiya Seizō and the Making of the Contemporary Teabowl

Natsu Oyobe

24. A Lineage of Form-based Porcelain Expression since the 1910s: Ceramic Artists Working in Four Techniques

TODATE Kazuko

Section 5: Perspectives

25. The Akishino Kiln and Three Generations of the Imanishi Family: Transregional and International Creativity, and Untold Stories of Artists’ Synergy

IMANISHI Hirotake

26. Utsuwa (empty harmony): Large White Porcelain Jar

KONDO Takahiro

27. What is the Future of Crafts? Reflections on the 2021– 22 GO FOR KOGEI Exhibitions and My Work with Crafts Over the Past Decade

AKIMOTO Yuji

28. Clay–Fire–Body, a performance by Hoshino Satoru, Victoria and Albert Museum, London, 29 June 2001

Rupert Faulkner

29. Searching for Talent: Japanese Ceramic Artists of the 21st Century

Joan Mirviss

30. The Road Back to Miyama

Leila Philip

Biography

Morgan Pitelka is the Bernard L. Herman Distinguished Professor of Japanese Studies at the University of North Carolina at Chapel Hill. He researches late medieval and early modern Japanese history, focusing on material culture, urban history, and environmental history.

Meghen Jones is Professor of Art History at the New York State College of Ceramics at Alfred University. Her research centers on ceramics, modernity, and cultural production in Japan and globally.

Seung Yeon Sang is a lecturer at the Korea National University of Arts. Her research centers on the history of Japanese and Korean ceramics with particular focus on Japan-Korea relations.

Andrew L. Maske is Professor of History at the University of Nevada Las Vegas. His research interests include cultural exchange and material culture in East Asia, historical production, distribution, and usage of ceramics, the culture of collecting, and museum interpretation and display.