This summary provides an overview of the document in 3 sentences:
The document discusses the history of American potters' use and interpretation of the Japanese tea bowl form from the early 20th century onward. It examines how potters like Warren MacKenzie, Paul Soldner, and Peter Voulkos engaged with the tea bowl conceptually and materially, seeing it as a vessel that conveyed symbolic and aesthetic significance beyond its functional purpose. The tea bowl came to represent values of Zen Buddhism and Japanese aesthetics for these American studio potters, exemplifying the thingness or material presence of crafted objects.
Tea - A Training Manual by Hemant SharmaHEMANT SHARMA
Â
An amazing informative tool to enjoy everything from its origin, culture, interesting facts & right way to make or serve this awesome potent drink. So, sip in or dunk in to savour important knowledge about "Tea"
YURIKO SAITOThe Moral Dimension of Japanese Aesthetics.docxransayo
Â
YURIKO SAITO
The Moral Dimension of Japanese Aesthetics
Japanese aesthetics was first introduced to the
non-Japanese audience around the turn of the
twentieth century through now classic works, such
as BushidoĚ (1899), The Ideals of the East (1904),
and The Book of Tea (1907), all written in En-
glish and published in the United States.1 Since
then, Japanese aesthetic concepts, such as wabi,
sabi, yuĚgen, iki, and mono no aware, have be-
come better known, some even popularized to-
day.2 Some traditional Japanese art media, such
as flower arrangement, Noh theater, haiku, mar-
tial arts, and, perhaps most prominently, tea cere-
mony, are now widely studied and sometimes prac-
ticed outside of Japan. The authors of all these
studies generally characterize Japanese aesthet-
ics by focusing on aesthetic concepts and phe-
nomena that are âunique toâ Japan and âdiffer-
ent fromâ non-Japanese aesthetic traditions, the
Western aesthetic tradition in particular.
Meanwhile, recent scholarship in Japanese
studies examines the historical and political con-
text during the rapid process of Westernization
(late nineteenth century through early twentieth
century) that prompted Japanese intellectuals at
the time to rediscover and reaffirm the character,
and sometimes superiority, of their own cultural
tradition and values, particularly aesthetics. Some
argue that, whether consciously or not, this pro-
motion of cultural nationalism paved the way for
the political ultra-nationalism that was the ideo-
logical underpinning of colonialism.3
Despite recent efforts to introduce, popularize,
or contextualize Japanese aesthetics, uncharted
territories remain. In this paper I explore one such
area: the moral dimension of Japanese aesthet-
ics. I characterize the long-held Japanese aesthetic
tradition to be morally based by promoting re-
spect, care, and consideration for others, both hu-
mans and nonhumans. Although both moral and
aesthetic dimensions of Japanese culture have, in-
dependently, received considerable attention by
scholars of Japanese aesthetics, culture, and soci-
ety, the relationship between the two has yet to
be articulated. One reason may be that there is no
specific term in either Japanese or English to cap-
ture its content. Furthermore, although this moral
dimension of aesthetic life is specifically incorpo-
rated in some arts, such as the tea ceremony and
haiku, it is deeply entrenched in peopleâs daily,
mundane activities and thoroughly integrated with
everyday life, rendering it rather invisible. Simi-
larly, contemporary discourse on morality has not
given much consideration to this aesthetic mani-
festation of moral values, despite the emergence
of feminist ethics, ethics of care, and virtue ethics.
Although they emphasize humility, care, and con-
siderateness, discourses on feminist ethics primar-
ily address actions or persons, not the aesthetic
qualities of the works they produce.
Japanese aesthetics suggests several ways for
culti.
1
Â
Â
xxxxxxx
ARH2000
Fall 2017
Harn Diversity Project
The Harn Museum of Art at the University of Florida displays an expansive collection of
Asian art from various countries throughout the region. The online exhibit Korean Art:
Collecting Treasures showcases pieces that span a multitude of media and that can trace their
origins to Korea. Many of the pieces were donated to the museum by General James Van Fleet in
1988. Fleet served in the U.S. Army as an officer during the Korean War and influenced the
founding of the Korea Society in New York in 1957. The Korea Society worked to promote
positive relations between American and Korean communities by encouraging a âmutual
understandingâ between the two cultures (âKorean Art: Collecting Treasuresâ). The effect of
Korean Art: Collecting Treasures is very similar; it creates a window into the world that is
Korean culture thus sparking conversation and recognizing and validating the strong Korean
community in Gainesville.
Gainesville, as a whole, is a widely diverse community which is largely due to the
influence of the University of Florida. Educational and research opportunities draw people from
across the globe to this central Floridian town. The Institute of International Education Open
Doors Report of 2016 states that there is a total of 7,107 international students enrolled here at
UF with 267 of these students being from South Korea. The total of South Korean international
students is the third largest group behind only China and India. In addition to international
students, there are, also, eighty-one exchange students from South Korea. The Korean
 2
Â
Â
Undergraduate Student Association (KUSA) provides a way for this community of Korean
students, international, exchange, and American, to engage with each other and find support.
KUSA enhances the social lives of its members by establishing âbigâ and âlittleâ families,
hosting a spring formal dance, and organizing an annual trip to Atlanta (âKUSA at UFâ). Beyond
the social aspects of the club, the Korean Undergraduate Student Association states that their
goal is to âuniteâ the Korean and Korean-American communities and to âpromote the visibilityâ
of these communities âon campus as well as in the greater societyâ (KUSA-GatorConnect). This
stated purpose is extremely similar to the purpose of the aforementioned Korea Society and
mirrors the effect Korean Art: Collecting Treasures has on viewers, particularly the aspect of
âvisibility.â The Korean Undergraduate Student Association with this Korean art exhibit,
together prevent Korean culture from being ignored or neglected on campus by giving it a place
to come together and shine brightly to the public.
Korean Art: Collecting Treasures features pieces whose themes, styles, and media are
iconic to Korean artwork as a whole. Ceramic works are particularly characteristic of Asia
(Frank, 318). Almost all of ...
Tea - A Training Manual by Hemant SharmaHEMANT SHARMA
Â
An amazing informative tool to enjoy everything from its origin, culture, interesting facts & right way to make or serve this awesome potent drink. So, sip in or dunk in to savour important knowledge about "Tea"
YURIKO SAITOThe Moral Dimension of Japanese Aesthetics.docxransayo
Â
YURIKO SAITO
The Moral Dimension of Japanese Aesthetics
Japanese aesthetics was first introduced to the
non-Japanese audience around the turn of the
twentieth century through now classic works, such
as BushidoĚ (1899), The Ideals of the East (1904),
and The Book of Tea (1907), all written in En-
glish and published in the United States.1 Since
then, Japanese aesthetic concepts, such as wabi,
sabi, yuĚgen, iki, and mono no aware, have be-
come better known, some even popularized to-
day.2 Some traditional Japanese art media, such
as flower arrangement, Noh theater, haiku, mar-
tial arts, and, perhaps most prominently, tea cere-
mony, are now widely studied and sometimes prac-
ticed outside of Japan. The authors of all these
studies generally characterize Japanese aesthet-
ics by focusing on aesthetic concepts and phe-
nomena that are âunique toâ Japan and âdiffer-
ent fromâ non-Japanese aesthetic traditions, the
Western aesthetic tradition in particular.
Meanwhile, recent scholarship in Japanese
studies examines the historical and political con-
text during the rapid process of Westernization
(late nineteenth century through early twentieth
century) that prompted Japanese intellectuals at
the time to rediscover and reaffirm the character,
and sometimes superiority, of their own cultural
tradition and values, particularly aesthetics. Some
argue that, whether consciously or not, this pro-
motion of cultural nationalism paved the way for
the political ultra-nationalism that was the ideo-
logical underpinning of colonialism.3
Despite recent efforts to introduce, popularize,
or contextualize Japanese aesthetics, uncharted
territories remain. In this paper I explore one such
area: the moral dimension of Japanese aesthet-
ics. I characterize the long-held Japanese aesthetic
tradition to be morally based by promoting re-
spect, care, and consideration for others, both hu-
mans and nonhumans. Although both moral and
aesthetic dimensions of Japanese culture have, in-
dependently, received considerable attention by
scholars of Japanese aesthetics, culture, and soci-
ety, the relationship between the two has yet to
be articulated. One reason may be that there is no
specific term in either Japanese or English to cap-
ture its content. Furthermore, although this moral
dimension of aesthetic life is specifically incorpo-
rated in some arts, such as the tea ceremony and
haiku, it is deeply entrenched in peopleâs daily,
mundane activities and thoroughly integrated with
everyday life, rendering it rather invisible. Simi-
larly, contemporary discourse on morality has not
given much consideration to this aesthetic mani-
festation of moral values, despite the emergence
of feminist ethics, ethics of care, and virtue ethics.
Although they emphasize humility, care, and con-
siderateness, discourses on feminist ethics primar-
ily address actions or persons, not the aesthetic
qualities of the works they produce.
Japanese aesthetics suggests several ways for
culti.
1
Â
Â
xxxxxxx
ARH2000
Fall 2017
Harn Diversity Project
The Harn Museum of Art at the University of Florida displays an expansive collection of
Asian art from various countries throughout the region. The online exhibit Korean Art:
Collecting Treasures showcases pieces that span a multitude of media and that can trace their
origins to Korea. Many of the pieces were donated to the museum by General James Van Fleet in
1988. Fleet served in the U.S. Army as an officer during the Korean War and influenced the
founding of the Korea Society in New York in 1957. The Korea Society worked to promote
positive relations between American and Korean communities by encouraging a âmutual
understandingâ between the two cultures (âKorean Art: Collecting Treasuresâ). The effect of
Korean Art: Collecting Treasures is very similar; it creates a window into the world that is
Korean culture thus sparking conversation and recognizing and validating the strong Korean
community in Gainesville.
Gainesville, as a whole, is a widely diverse community which is largely due to the
influence of the University of Florida. Educational and research opportunities draw people from
across the globe to this central Floridian town. The Institute of International Education Open
Doors Report of 2016 states that there is a total of 7,107 international students enrolled here at
UF with 267 of these students being from South Korea. The total of South Korean international
students is the third largest group behind only China and India. In addition to international
students, there are, also, eighty-one exchange students from South Korea. The Korean
 2
Â
Â
Undergraduate Student Association (KUSA) provides a way for this community of Korean
students, international, exchange, and American, to engage with each other and find support.
KUSA enhances the social lives of its members by establishing âbigâ and âlittleâ families,
hosting a spring formal dance, and organizing an annual trip to Atlanta (âKUSA at UFâ). Beyond
the social aspects of the club, the Korean Undergraduate Student Association states that their
goal is to âuniteâ the Korean and Korean-American communities and to âpromote the visibilityâ
of these communities âon campus as well as in the greater societyâ (KUSA-GatorConnect). This
stated purpose is extremely similar to the purpose of the aforementioned Korea Society and
mirrors the effect Korean Art: Collecting Treasures has on viewers, particularly the aspect of
âvisibility.â The Korean Undergraduate Student Association with this Korean art exhibit,
together prevent Korean culture from being ignored or neglected on campus by giving it a place
to come together and shine brightly to the public.
Korean Art: Collecting Treasures features pieces whose themes, styles, and media are
iconic to Korean artwork as a whole. Ceramic works are particularly characteristic of Asia
(Frank, 318). Almost all of ...
Due by 8 30 am Friday 10312014Assignment 2 Exploring the Art .docxshandicollingwood
Â
Due by 8 : 30 am Friday 10/31/2014
Assignment 2: Exploring the Art of Indigenous Cultures: Part 2
All of the indigenous cultures that we have explored this week were at one time âdiscoveredâ by European explorers who often connected traditional art objects to take back with them to Europe as âcuriosities.â Â These objets dâart inspired collectors and artists alike and opened the Western world up to new ideas, new cultures, and new art forms.
This is part 2 of a two-part assignment and spans Week 3 and 4. Â Imagine that you are one of these intrepid European explorers who has set out to discover and collect the traditional art forms created by the five cultures we have learned about this week.
The Americas: North, Central, and SouthThe Pacific RimSub-Saharan Africa
As you travel and collect two works created by the indigenous cultures from each of these regions. Â You will collect:
2 traditional works of art representing 2 different cultures indigenous to North America2 traditional works of art representing 2 different cultures indigenous to Central America2 traditional works of art representing 2 different cultures indigenous to South America2 traditional works of art representing 2 different cultures indigenous to the Pacific2 traditional works of art representing 2 different cultures indigenous to sub-Saharan Africa
As you âtravelâ and collect two works from your five cultures, you need to document some important field notes that will help you to explain what these treasures are upon your return home. Â These field notes need to include for each object:
Name of the culture that produced the objectTitle or name of the objectDate of the objectMedium/materials used to create the objectCurrent location
Assignment Instructions
Using the textbook and Internet sources, locate 2 traditional works of art from each of your 5 cultures/areas. Label the following in the document template:Name of the artist (if knownâotherwise, attribute the culture)Title of the workDate of the workMedium/materials used to create the workCurrent locationCapture the image of each example and place it in the document. Once you have done this, examine each object carefully.Use your textbook to find out as much as you can about cultural context for each object. Go online and find some reference sources to provide you with more information.Use the document to help you to organize your thoughts and research for each object. Thoroughly explain and analyze:What each object is.Why is it culturally important.How you think your European friends back home will react to each object, and why.Offer a citation of your sources for each image and the information provided as appropriate.
.
Slideshow is a companion to Gardner's Art Through the Ages (Global) textbooks. Prepared for Art 102 at Montgomery County Community College. Jean Thobaben - Adjunct Instructor.
At least 250 words per question. Chapter 11The Idea of Craft A.docxmckellarhastings
Â
At least 250 words per question.
Chapter 11
The Idea of Craft Asks the class to try to define the word âcraft.â What items do the students associate with the word âcraftâ? Are these items cheap or expensive? Does it conjure images of utilitarian goods like vases, pots, and rugs or items that are meant to be appreciated as beautiful objects? What is the difference between fine art, decorative arts, crafts, and design? During the Renaissance, craft objects were degraded as mere handiwork, not designed for serious contemplation or for aesthetic value. This distinction did not exist in other parts of the world, such as in Japan where a teacup could be considered a priceless work of art. How did the Industrial Revolution impact attitudes towards crafts and design?
Japanese Tea Ceremony The tea ceremony, a ritual performance in which the audience takes part, is a unique aspect of Japanese culture. The setting, the ceremony, the artwork, and the utensils are all supposed to conform to the principles of harmony, respect, purity, and tranquility, and wabi, the principle of quiet simplicity. Discuss images of the Japanese Tea Ceremony. Are these aforementioned aspects present in the ceremony and the design of the tools used? What is the significance of calligraphy in the ceremony? What is the significance of the floral arrangements?
Chapter 13
Focus on the Figure This chapter contains a variety of figural artwork. Choose several images of figurative work, such as Justinian and Attendants, Walking Buddha, and Gislebertus, Last Judgment. How are the figures included in these works similar? How are they different? Are they realistic or naturalistic? What are the figures most prominent features? What is their purpose? What culture and/or time period are they from? How can you tell? What stylistic differences or similarities do you notice? What types of beliefs could be embodied by these figures?
Justinian and Attendants Walking Budaaha Gislebertus, Last Judgment
Chapter 14
Over on the Dark Side Lewis and Lewis refer to the Northern Renaissance as âThe Darker Side.â What is meant by the dark side? What does it imply? The lack of images in Protestant churches is also referred to as the âdarker side of the Reformation.â Does this imply that the liberal use of imagery and decorations in a church would be the âlighter side?
.
Looking & Learning - telling stories originally posted in SchoolArts Magazine (November 2011)
Developed by the Kutztown University Looking and Learning Team, with Dr. Marilyn Stewart and graduate students Zoe Dehart, Amanda Deibert, Cassie langan, Ellen Pados, and Rhona Tomel.
Written by Marilyn Stewart, professor of art education, and zoe Dehart, art teacher in two sixthe-grade gateway school - Communication and Technology Gateway and Agriculture, Science & Ecology Gateway - Reading, PA.
Powerpoint by C.Pena-Martinez, Jackson Middle School, San Antonio, TX
China is the first country in the world to discover, cultivate and utilize tea. According to historical data, the tea tree originated in China. As early as 5,000 years ago, our ancestors discovered that tea has the effect of detoxification.
Part 1 - WorshipReligion Exhibition(page 303)1. Chapter 9.docxsmile790243
Â
Part 1 - Worship/Religion Exhibition
(page 303)
1. Chapter 9 â Art of South and Southeast Asia before 1200
2. Standing Buddha
3. Gandhara, Pakistan. During the Kushan period
4. Gandhara Style
5. During the third century CE
6. Located in Lahore Museum, Lahore
7. It is carved from schist, a fine-grained dark stone. The body of the Buddha is revealed through the garment. It is broad and massive, with heavy shoulders and limbs a well-defined torso. His left knee bends gently, suggesting a slightly relaxed posture. The robe is especially characteristic of the Gandhara manner.
(page 339)
1. Chapter 10 â Chinese and Korean Art before 1279
2. Altar to Amitabha Buddha
3. During the Sui Dynasty
4. Bronze style, height 30 1/8 (76.5 cm)
5. Located in Museum of Fine Arts, Boston
6. Gifted by Mrs. W. Scott Fitz and Edward Holmes Jackson in memory of his mother Mrs. W. Scott Fitz.
7. The altar that Amitabha is seating on show him in his paradise, seated on a lotus throne beneath a canopy of trees. Each leaf cluster is set with jewels. Seven celestial figures sit on the topmost clusters, and ropes of âpearlsâ hang from the tree trunks. Behind Amitabhaâs head is a halo of flames. To his left, the bodhisattva Guanyin holds a pomegranate; to his right, another bodhisattva clasps his hands in prayer. Behind are four disciples who first preached the teachings of the Buddha. On the lower level, an incense burner is flanked by seated lions and two smaller bodhisattvas. Focusing on Amitabhaâs benign expression and filled with objects symbolizing his power, the altar combines the sensuality of Indian styles, the schematic abstraction of central Asian art, and the Chinese emphasis on linear grace and rhythm into a harmonious new style.
1. Chapter 11 â Japanese Art before 1333
2. Jocho - Amida Buddha
3. During the Heian period, c. 1053 CE.
4. Gold leaf and lacquer on wood, height 9â8â (2.95)
5. National Treasure
6. When reflected in water of the pond before it, the Amida image seems to shimmer in its private mountain retreat. It was not carved from a single block of wood but from several blocks in Jochoâs new joined-block method of construction. This technique allowed sculptors to create larger and lighter statuary. It also reflects the growing importance of wood as the medium of choice for Buddhist sculpture, reflecting the Japanese love for this natural material. Surrounding the Amida on the walls of the Byodoin are smaller wooden figures of bodhisattvas and angels, some playing musical instruments. Everything about the Byodoin was designed to simulate the appearance of the paradise that awaits the believer after death. Itâs remarkable state of preservation after more than 900 years allows visitors to experience the late Heian religious ideal at its most splendid. (page 367)
1. Chapter 12 â Art of the Americas before 1300
2. Moche Portrait Vessel
3. During the Moche culture
4. Peru. c. 100-700 CE.
5. Clay style, height 11â (28 cm)
6. The Moche cultur.
At least 200 words per question. Chapter 11The Idea .docxmckellarhastings
Â
At least 200 words per question.Â
Chapter 11
The Idea of Craft Asks the class to try to define the word âcraft.â What items do the students associate with the word âcraftâ? Are these items cheap or expensive? Does it conjure images of utilitarian goods like vases, pots, and rugs or items that are meant to be appreciated as beautiful objects? What is the difference between fine art, decorative arts, crafts, and design? During the Renaissance, craft objects were degraded as mere handiwork, not designed for serious contemplation or for aesthetic value. This distinction did not exist in other parts of the world, such as in Japan where a teacup could be considered a priceless work of art. How did the Industrial Revolution impact attitudes towards crafts and design?Â
Japanese Tea Ceremony The tea ceremony, a ritual performance in which the audience takes part, is a unique aspect of Japanese culture. The setting, the ceremony, the artwork, and the utensils are all supposed to conform to the principles of harmony, respect, purity, and tranquility, and wabi, the principle of quiet simplicity. Discuss images of the Japanese Tea Ceremony. Are these aforementioned aspects present in the ceremony and the design of the tools used? What is the significance of calligraphy in the ceremony? What is the significance of the floral arrangements?
Chapter 13Â
Focus on the Figure This chapter contains a variety of figural artwork. Choose several images of figurative work, such as Justinian and Attendants, Walking Buddha, and Gislebertus, Last Judgment. How are the figures included in these works similar? How are they different? Are they realistic or naturalistic? What are the figures most prominent features? What is their purpose? What culture and/or time period are they from? How can you tell? What stylistic differences or similarities do you notice? What types of beliefs could be embodied by these figures?Â
Chapter 14
Over on the Dark Side Lewis and Lewis refer to the Northern Renaissance as âThe Darker Side.â What is meant by the dark side? What does it imply? The lack of images in Protestant churches is also referred to as the âdarker side of the Reformation.â Does this imply that the liberal use of imagery and decorations in a church would be the âlighter side?
.
Due by 8 30 am Friday 10312014Assignment 2 Exploring the Art .docxshandicollingwood
Â
Due by 8 : 30 am Friday 10/31/2014
Assignment 2: Exploring the Art of Indigenous Cultures: Part 2
All of the indigenous cultures that we have explored this week were at one time âdiscoveredâ by European explorers who often connected traditional art objects to take back with them to Europe as âcuriosities.â Â These objets dâart inspired collectors and artists alike and opened the Western world up to new ideas, new cultures, and new art forms.
This is part 2 of a two-part assignment and spans Week 3 and 4. Â Imagine that you are one of these intrepid European explorers who has set out to discover and collect the traditional art forms created by the five cultures we have learned about this week.
The Americas: North, Central, and SouthThe Pacific RimSub-Saharan Africa
As you travel and collect two works created by the indigenous cultures from each of these regions. Â You will collect:
2 traditional works of art representing 2 different cultures indigenous to North America2 traditional works of art representing 2 different cultures indigenous to Central America2 traditional works of art representing 2 different cultures indigenous to South America2 traditional works of art representing 2 different cultures indigenous to the Pacific2 traditional works of art representing 2 different cultures indigenous to sub-Saharan Africa
As you âtravelâ and collect two works from your five cultures, you need to document some important field notes that will help you to explain what these treasures are upon your return home. Â These field notes need to include for each object:
Name of the culture that produced the objectTitle or name of the objectDate of the objectMedium/materials used to create the objectCurrent location
Assignment Instructions
Using the textbook and Internet sources, locate 2 traditional works of art from each of your 5 cultures/areas. Label the following in the document template:Name of the artist (if knownâotherwise, attribute the culture)Title of the workDate of the workMedium/materials used to create the workCurrent locationCapture the image of each example and place it in the document. Once you have done this, examine each object carefully.Use your textbook to find out as much as you can about cultural context for each object. Go online and find some reference sources to provide you with more information.Use the document to help you to organize your thoughts and research for each object. Thoroughly explain and analyze:What each object is.Why is it culturally important.How you think your European friends back home will react to each object, and why.Offer a citation of your sources for each image and the information provided as appropriate.
.
Slideshow is a companion to Gardner's Art Through the Ages (Global) textbooks. Prepared for Art 102 at Montgomery County Community College. Jean Thobaben - Adjunct Instructor.
At least 250 words per question. Chapter 11The Idea of Craft A.docxmckellarhastings
Â
At least 250 words per question.
Chapter 11
The Idea of Craft Asks the class to try to define the word âcraft.â What items do the students associate with the word âcraftâ? Are these items cheap or expensive? Does it conjure images of utilitarian goods like vases, pots, and rugs or items that are meant to be appreciated as beautiful objects? What is the difference between fine art, decorative arts, crafts, and design? During the Renaissance, craft objects were degraded as mere handiwork, not designed for serious contemplation or for aesthetic value. This distinction did not exist in other parts of the world, such as in Japan where a teacup could be considered a priceless work of art. How did the Industrial Revolution impact attitudes towards crafts and design?
Japanese Tea Ceremony The tea ceremony, a ritual performance in which the audience takes part, is a unique aspect of Japanese culture. The setting, the ceremony, the artwork, and the utensils are all supposed to conform to the principles of harmony, respect, purity, and tranquility, and wabi, the principle of quiet simplicity. Discuss images of the Japanese Tea Ceremony. Are these aforementioned aspects present in the ceremony and the design of the tools used? What is the significance of calligraphy in the ceremony? What is the significance of the floral arrangements?
Chapter 13
Focus on the Figure This chapter contains a variety of figural artwork. Choose several images of figurative work, such as Justinian and Attendants, Walking Buddha, and Gislebertus, Last Judgment. How are the figures included in these works similar? How are they different? Are they realistic or naturalistic? What are the figures most prominent features? What is their purpose? What culture and/or time period are they from? How can you tell? What stylistic differences or similarities do you notice? What types of beliefs could be embodied by these figures?
Justinian and Attendants Walking Budaaha Gislebertus, Last Judgment
Chapter 14
Over on the Dark Side Lewis and Lewis refer to the Northern Renaissance as âThe Darker Side.â What is meant by the dark side? What does it imply? The lack of images in Protestant churches is also referred to as the âdarker side of the Reformation.â Does this imply that the liberal use of imagery and decorations in a church would be the âlighter side?
.
Looking & Learning - telling stories originally posted in SchoolArts Magazine (November 2011)
Developed by the Kutztown University Looking and Learning Team, with Dr. Marilyn Stewart and graduate students Zoe Dehart, Amanda Deibert, Cassie langan, Ellen Pados, and Rhona Tomel.
Written by Marilyn Stewart, professor of art education, and zoe Dehart, art teacher in two sixthe-grade gateway school - Communication and Technology Gateway and Agriculture, Science & Ecology Gateway - Reading, PA.
Powerpoint by C.Pena-Martinez, Jackson Middle School, San Antonio, TX
China is the first country in the world to discover, cultivate and utilize tea. According to historical data, the tea tree originated in China. As early as 5,000 years ago, our ancestors discovered that tea has the effect of detoxification.
Part 1 - WorshipReligion Exhibition(page 303)1. Chapter 9.docxsmile790243
Â
Part 1 - Worship/Religion Exhibition
(page 303)
1. Chapter 9 â Art of South and Southeast Asia before 1200
2. Standing Buddha
3. Gandhara, Pakistan. During the Kushan period
4. Gandhara Style
5. During the third century CE
6. Located in Lahore Museum, Lahore
7. It is carved from schist, a fine-grained dark stone. The body of the Buddha is revealed through the garment. It is broad and massive, with heavy shoulders and limbs a well-defined torso. His left knee bends gently, suggesting a slightly relaxed posture. The robe is especially characteristic of the Gandhara manner.
(page 339)
1. Chapter 10 â Chinese and Korean Art before 1279
2. Altar to Amitabha Buddha
3. During the Sui Dynasty
4. Bronze style, height 30 1/8 (76.5 cm)
5. Located in Museum of Fine Arts, Boston
6. Gifted by Mrs. W. Scott Fitz and Edward Holmes Jackson in memory of his mother Mrs. W. Scott Fitz.
7. The altar that Amitabha is seating on show him in his paradise, seated on a lotus throne beneath a canopy of trees. Each leaf cluster is set with jewels. Seven celestial figures sit on the topmost clusters, and ropes of âpearlsâ hang from the tree trunks. Behind Amitabhaâs head is a halo of flames. To his left, the bodhisattva Guanyin holds a pomegranate; to his right, another bodhisattva clasps his hands in prayer. Behind are four disciples who first preached the teachings of the Buddha. On the lower level, an incense burner is flanked by seated lions and two smaller bodhisattvas. Focusing on Amitabhaâs benign expression and filled with objects symbolizing his power, the altar combines the sensuality of Indian styles, the schematic abstraction of central Asian art, and the Chinese emphasis on linear grace and rhythm into a harmonious new style.
1. Chapter 11 â Japanese Art before 1333
2. Jocho - Amida Buddha
3. During the Heian period, c. 1053 CE.
4. Gold leaf and lacquer on wood, height 9â8â (2.95)
5. National Treasure
6. When reflected in water of the pond before it, the Amida image seems to shimmer in its private mountain retreat. It was not carved from a single block of wood but from several blocks in Jochoâs new joined-block method of construction. This technique allowed sculptors to create larger and lighter statuary. It also reflects the growing importance of wood as the medium of choice for Buddhist sculpture, reflecting the Japanese love for this natural material. Surrounding the Amida on the walls of the Byodoin are smaller wooden figures of bodhisattvas and angels, some playing musical instruments. Everything about the Byodoin was designed to simulate the appearance of the paradise that awaits the believer after death. Itâs remarkable state of preservation after more than 900 years allows visitors to experience the late Heian religious ideal at its most splendid. (page 367)
1. Chapter 12 â Art of the Americas before 1300
2. Moche Portrait Vessel
3. During the Moche culture
4. Peru. c. 100-700 CE.
5. Clay style, height 11â (28 cm)
6. The Moche cultur.
At least 200 words per question. Chapter 11The Idea .docxmckellarhastings
Â
At least 200 words per question.Â
Chapter 11
The Idea of Craft Asks the class to try to define the word âcraft.â What items do the students associate with the word âcraftâ? Are these items cheap or expensive? Does it conjure images of utilitarian goods like vases, pots, and rugs or items that are meant to be appreciated as beautiful objects? What is the difference between fine art, decorative arts, crafts, and design? During the Renaissance, craft objects were degraded as mere handiwork, not designed for serious contemplation or for aesthetic value. This distinction did not exist in other parts of the world, such as in Japan where a teacup could be considered a priceless work of art. How did the Industrial Revolution impact attitudes towards crafts and design?Â
Japanese Tea Ceremony The tea ceremony, a ritual performance in which the audience takes part, is a unique aspect of Japanese culture. The setting, the ceremony, the artwork, and the utensils are all supposed to conform to the principles of harmony, respect, purity, and tranquility, and wabi, the principle of quiet simplicity. Discuss images of the Japanese Tea Ceremony. Are these aforementioned aspects present in the ceremony and the design of the tools used? What is the significance of calligraphy in the ceremony? What is the significance of the floral arrangements?
Chapter 13Â
Focus on the Figure This chapter contains a variety of figural artwork. Choose several images of figurative work, such as Justinian and Attendants, Walking Buddha, and Gislebertus, Last Judgment. How are the figures included in these works similar? How are they different? Are they realistic or naturalistic? What are the figures most prominent features? What is their purpose? What culture and/or time period are they from? How can you tell? What stylistic differences or similarities do you notice? What types of beliefs could be embodied by these figures?Â
Chapter 14
Over on the Dark Side Lewis and Lewis refer to the Northern Renaissance as âThe Darker Side.â What is meant by the dark side? What does it imply? The lack of images in Protestant churches is also referred to as the âdarker side of the Reformation.â Does this imply that the liberal use of imagery and decorations in a church would be the âlighter side?
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Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
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This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
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Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
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⢠The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
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American Potters Interventions with the Tea Bowl Using Thing Theory to Problematize Cultural Appropriation.pdf
1. 111
1.1 Territories in the Scene of Globalised Design: Localisms and Cosmopolitanisms
American Pottersâ Interventions
with the Tea Bowl: Using Thing Theory
to Problematize Cultural Appropriation
Meghen Jones
Alfred University, New York
Craft / Ceramics / Thing Theory / Cultural appropriation / Japan
Contemplating things according to subjectâobject
relations and presence offers a basis for analysis of
objects that embody particular values. For potters
in the United States today, the tea bowl is general-
ly understood as an idiom of strong symbolic and
aesthetic significance. This analysis considers the
trajectory of tea bowl discourse in the US, in which
the tea bowl was regarded as a model form and an
embodiment of values intrinsic to post-World War II
American studio pottery. These values included the
importance of recording process, privileging effect
over functionality, and conceiving of clay as an artis-
tic medium. Complicating this history are questions
of cultural appropriation. The works of Warren Mac-
Kenzie, Paul Soldner, and Peter Voulkos exemplify
how for American ceramists the tea bowl has con-
veyed a sense of thingness.
Introduction
Traceable to Kantâs dualism of the âthing-in-itselfâ versus âthe
thing for usâ and Heideggerâs description of a thing as âsome-
thing that possesses something else in itselfâ, recent inquiries
into thingness have sparked interest amongst scholars from a
number of disciplines (Heidegger, 1967: 5, 33). Bill Brownâs
seminal essay âThing Theoryâ describes âthe story of objects
asserting themselves as thingsâ as âthe story of how the thing
really names less an object than a particular subjectâobject re-
lationâ. Brown argues that things have two aspectsââthe amor-
phousness out of which objects are materialized by the (ap)per-
ceiving subjectâ and âwhat is excessive in objects, as what exceeds
their mere materialization as objects or their mere utilization as
objectsâtheir force as a sensuous presence or as a metaphysical
presence, the magic by which objects become values, fetishes,
idols and totemsâ (Brown, 2001: 4â5). Contemplating things
according to subject-object relations and presence offers a basis
for analysis of objects that embody particular values.
For potters in the United States today, the tea bowl is gener-
ally understood as an object type of strong symbolic and aes-
thetic significance. As Arthur Danto described:
For a great many ceramists, the tea-bowl, as the distilla-
tion of Zen, has served as a model and measure for their
own work. As a ceremonial vessel, the tea-bowl implies a
metaphysics, a code of conduct, and a mode of life, as well
as a reduced and austere aesthetic, and in making the tea-
bowl focal, these artists have sought to make their own an
entire set of attitudes and values (Danto, 1996: 24).
How did the tea bowl earn such prominence in the US? What
are the tea bowlâs metaphysics, and what values does it em-
body? How can we best interpret the processes and facets of
cultural appropriation for this object type? This paper will ex-
plore how the thingness of the tea bowl offers insights into
particular subject-object relations, presence, and values within
the American discourse of tea bowls.
Bowls for Tea: Use and Form
The generally accepted definition of the tea bowl (in Japanese,
chawan) is that it is a vessel roughly the size of two cupped
palms pressed together, without handles, to hold hot tea. One of
the earliest extant mentions of tea bowls is by eighth-century
Chinese scholar-official Lu YĂź, who wrote that utensils for pre-
paring tea should only be used for tea (Benn, 2015: 18). Al-
though a tea bowl is a rather universal vessel form, a tea bowl is
for tea. By the late nineteenth century, Americans could sample
Japanese-style powdered green tea from tea bowls at interna-
tional expositions. Collectors such as Isabella Stewart Gardner,
who visited Japan in 1883, chose a nineteenth-century Kenzan
style tea bowl for her collection (Fig. 1). It bears a boldly brushed,
abstract motif of cormorant fishing in iron pigment on a cracked
and repaired formâthe effect highlights the breakage and ag-
ing properties of the medium. Gardnerâs friend and author of
the popular Book of Tea, Okakura Kakuzo, might have used it at
tea ceremony gatherings at her home. He described chanoyu, or
the ceremonial drinking of tea codified in sixteenth-century Ja-
pan, as âa religion of aestheticismâ (Okakura, 1906: 1).
Although many American art potters in the early twentieth
century were influenced by Japanese design, their tea bowl pro-
duction was limited. One of the earliest US-based ceramists
Fig. 1 Style of Ogata Kenzan (Kyoto 1658â1716), Tea Bowl (chawan), 19th century. Ceramic
with cobalt and iron pigments under clear glaze and repaired with gold-sprinkled
lacquer, 6.35 x 12.8 cm. Isabella Stewart Gardner Museum.
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2. 112 Back to the Future [icdhs 10th+ 1Conference] Proceedings Book
whose works reference tea bowls was Charles
Fergus Binns, known as the âfatherâ of Amer-
ican studio pottery for his role as founder of
the New York State School of Clay-Working
and Ceramics (now the New York State Col-
lege of Ceramics at Alfred University). His
interest in Chinese Song dynasty forms and
glaze effects extended to making dark brown
âhareâs-furâ glazed bowls that reference Jian
ware tea bowls. Like many of his contempo-
raries in the US and Europe, Binnsâs pursuit
was one of aesthetics and technique, not func-
tionality according to the structure of chanoyu.
Warren Gilbertson, who studied in Japan in
1938â1940, likely also made tea bowls within
his study of raku. A fast firing process in
which pots are removed from a hot kiln rather
than left to slowly cool, raku dates to six-
teenth-century Japan where it is associated
with highly coveted red or black tea bowls of
the family lineage named Raku. In the late
1940s, Gilbertsonâs study at Alfred University
overlapped with that of ceramist Robert Turn-
er who, according to his later colleague Daniel
Rhodes, made âat least a hundred variations
on a small tea bowl, searching for the form
which would be âjust rightâ. The ârightâ
form⌠had the most subtle turn imaginable
from base to lip. He is still producing this
shape. Turnerâs pots are always characterized
by harmony and the subordination of the
parts to the wholeâ (Rhodes, 1957: 15). Tea
bowls by Binns, Gilbertson, and Turner were
thus springboards for dedicated explorations
of form.
Later potters continued to see the tea bowl
as a formal exercise. Kenneth Ferguson, who
received his mfa from Alfred in 1958 and
travelled in Japan in the 1970s, said, âI make
teabowls as an exercise. Theyâre a lot of fun
to play with, just to get some ideas outâ
(Kleinsmith, 1984: 26). Over the course of
his career as Executive Director of the Archie
Bray Foundation for the Ceramic Arts and
Professor of Ceramics at the Kansas City Art
Institute, Ferguson influenced an extraordi-
nary number of students. Ceramist Andrea
Gill, a student of Fergusonâs in 1972â73, re-
counts that his tea bowl assignments were
meant to train aspiring potters in judging a
potâs balance, form, and weight (Gill, 2018).
In workshops throughout the country such
as one at a California community college in
1984, he would begin the event by demon-
strating how to make tea bowls on the wheel
(Kleinsmith, 1984: 25).
Beauty, Presence, and Zen
Post-World War II tea bowl discourse in the US emphasized Japanese aesthetics
and Zen Buddhism. In 1946, Americans had access to Bernard Leachâs Potterâs
Book, the most influential book in the history of Euro-American studio pottery.
Leach, who took up pottery in Tokyo, described the Japanese ceremonial drink-
ing of tea as âharmonizing life and beautyâ (Leach, 1991: 8). The book featured
images of a seventeenth-century red raku bowl by Donyu, two seventeenth-cen-
tury raku bowls by Honâami Koetsu, and three stoneware tea bowls by modern
folk craft movement potter Hamada Shoji. Although tea bowls were not dis-
cussed at length in the book, Leachâs views on them came forth in 1950 when
he demonstrated tea bowl throwing techniques to Alfred students. Among
them, Susan Peterson noted that Leach said Japanese people âcouldnât be badâŚ
because they came from a long history of aesthetic concerns and ceramic appre-
ciationâ (Peterson, 1981: 57â59). Such a comment made during the ongoing US
Occupation of Japan must have been particularly memorable for the many vet-
erans of World War II enrolled at Alfred at the time.
A presence perceived when handling tea bowls was also of note. Ceramic sculp-
tor Ken Price, who studied at Alfred in the late 1950s, recounted one particular
Japanese black raku tea bowl:
[It] set a standard for me⌠[with its] nice form with lift and a good, inside
shape, a waxy surface, nice tong mark and stamp, good weight, a great foot
and that eccentric drip glaze⌠Holding this bowl for the first time ran a
chill down my back and made my neck hairs stand up. It has real presence
when you hold it (Higby, 1993: 38).
Daniel Rhodes, who taught at Alfred University from 1947 to 1973 and had
researched pottery in Japan in 1962â63, wrote in his widely-read 1976 book
Pottery Form:
In Japan the tea bowl has the status of an art form⌠Bowls used for tea are
not merely pots to be bought, used, discarded; they are symbols of nature,
time, beauty, feeling, friendship, and hospitality⌠[Tea bowls] represent the
quintessence of the Japanese sensibility and their genius for investing a sim-
ple object with an inner mystical spirit⌠Of all the worldâs pots, the Raku
bowl is perhaps the most inviting to the touch (Rhodes, 2004: 128â133).
Rhodesâs positioning of the tea bowl as a complex aesthetic and social object
with a spiritual quality transformed the object from vessel to thing.
The tea bowl has often been discussed as connected to Zen, which has fur-
ther increased its perceived metaphysical attributes. In his 1938 book Zen and
Japanese Culture, Daisetz Suzuki described tea drinking as âa momentous event
that leads directly up to Buddhahood and its absolute truthâ (Suzuki, 1959: 293).
Danto described the tea bowl as âa lesson in applied Buddhism⌠[that] connects
us to the abstract background of what Oriental philosophy designates as the
Wayâ (Danto, 1996: 25). There could also be a conflation between âmaster pot-
tersâ and âZen mastersâ. Ceramist Hal Reigger wrote, âwhile most raku potters
in America do not assess their pots in the same manner as a Japanese Zen
master, there are aspects of a good ceremonial tea bowl that apply and are indeed
valuable for the Western potter to understand and assimilateâ (Reigger, 2009:
4â5). As Morgan Pitelka has argued, although the first tea bowls brought to Ja-
pan were in association with Zen monks having traveled in China, the connec-
tion between Zen and tea bowls is âinconsistent and historically contingentâ and
âdrinking tea from a bowl may indeed trigger satori, but for others, a bowl is just
a bowlâ (Pitelka, 2017: 70).
Warren MacKenzie, Paul Soldner and Peter Voulkos
Warren MacKenzie, who trained with Leach in 1949â52, influenced a large
number of American potters infusing their functional wares with Japanese-style
forms and processes. Over the course of his career he made bowls sometimes
ICDHS_1.1.indd 112 13/09/18 20:53
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1.1 Territories in the Scene of Globalised Design: Localisms and Cosmopolitanisms
labeled by gallerists and collectors âtea bowls,â and often with
Japanese style glazes (Fig. 2). According to MacKenzie:
I know Iâve been accused of making pots which are very
Japanese. Theyâre influenced by Japanese qualities, but
theyâre certainly not Japanese pots. In fact, I think Jap-
anese would findâthe Japanese, let me say, are unusu-
ally chauvinistic about pottery, and they believe, and
perhaps rightly so, that Japan is a very important ce-
ramic nation. But they are also jealous of the fact that
people, in a sense, imitate Japanese pottery. I donât im-
itate Japanese pottery, and the Japanese people who Iâve
known are well aware of this fact. They say, âOh no,
your pots are American pots; theyâre not Japanese pots,â
even with a strong influence. (Warren MacKenzie
Oral History Interview, 2002)
While observers may describe them as âtea bowls,â it is clear
that MacKenzie has not sought to copy Japanese tea bowl mod-
els directly, but reflect their fluid forming processes on the pot-
terâs wheel and gestural glazing.
Like those of MacKenzie, the âtea bowlsâ of Paul Soldner
(Fig. 3) and Peter Voulkos occupy a realm outside of aesthetic or
formal mimesis, but both were Japanophiles. Three years Peter
Voulkosâs senior, Soldner was Voulkosâs first student at the Los
Angeles County Art Institute (now Otis Art Institute) begin-
ning in 1954, and both shared a love of Japanese pottery.
Voulkos had observed Hamada Shojiâs throwing method in
1952 at the Archie Bray Institute. Their interest was further
kindled by trips to Los Angelesâs âJapanese town [to] check out
the pottery.â Soldner imagined he âhad spent past lives as a Jap-
anese peasant potterâ (Berman, 1983: 2â3). Voulkos similarly
mused, âI had a vision once that I was a potter out of Kyoto
someplace, dressed in those weird robes and stuff. The year was
about 1250 A.D. I swear to Christ that I was around at that time.
The Kamakura periodâ (Berman, 1996: 14). In 1953, Voulkos
taught a summer course at Black Mountain College where John
Cage lectured about Zen and art. Voulkosâs later emphasis on
materiality and recording processes of clay manipulation re-
lates to what Cage had observed about Hamadaâthe process of
wheel throwing was the primary pursuit (Perchuk, 2016: 32).
Their tea bowls have not been the most critically evaluated
works in their oeuvres, but the tea bowl clearly was an impor-
tant thing for Soldner and Voulkos. While his early tea bowls
in the 1950s conformed to the requirements of utilitarian ves-
sels, Voulkosâs later versions defy function with holes, tears,
and sharp edgesâhe irreverently called them âtooth chippersâ
(Balistreri, 2018). Like his larger scale âice bucketsâ and
âstacks,â his tea bowls of the 1970sâ90s were fired in wood-fue-
led kilns that produced natural ash glaze in a manner recalling
that of medieval Japanese pottery. For Voulkos, the tea bowl
served as reference not only for the works he labeled âtea bowls,â
but also for his larger scale âstackedâ sculptures. Voulkos called
attention to the thingness of his vessels by making them defy
function and highlight the process of grappling with the mate-
rialâin doing so he was seen as having elevated the ceramic
pot to art object status. Process itself could be the âthingâ when
performed at workshops, where Voulkos would often execute
several types of pieces simultaneously to allow them to dry suf-
ficiently (Balistreri, 2018).
Similarly, works like Soldnerâs 1964 tea bowl (Fig. 3), fired in
a raku kiln, emphasize the idea of the tea bowl more than a
promise of function. For him, making tea bowls went hand in
hand with raku firing, a technique he popularized in the US
Inspired by Leachâs instructions in A Potterâs Book, Soldner first
publicly experimented with this method in 1960 at the Lively
Arts Festival in Claremont California (Levin, 1991: 18). Soldnerâs
1964 tea bowl, however, is not a copy of a Japanese Raku bowl,
but rather an embodiment of reverence for the objectâs throwing
and glazing processesâan homage to Raku bowls.
Voulkos and Soldner clearly held the tea bowl in high es-
teem. When asked âIf you had a chance to own any piece of art
in the world, what would it be?â Voulkos replied, âI do love the
old Japanese tea bowls. Millions of bowls were made to get to
Fig. 2 Warren MacKenzie (1924), Tea bowl. Stoneware with glazes, 8.6 cm. x 10.2 cm. Alfred
Ceramic Art Museum.
Fig. 3 Paul Soldner, Tea bowl, 1960s. Earthenware, 13.97 x 12.7 cm. Los Angeles County
Museum of Art.
ICDHS_1.1.indd 113 13/09/18 20:53
4. 114 Back to the Future [icdhs 10th+ 1Conference] Proceedings Book
that one. It takes them days and days and days, just like me workinâ on a stack,
to get the whole universe in a tea bowlâ (Berman, 1996: 14). Soldner said:
When you look at a tea bowlâŚyou can look at it and say, well, itâs just a bowl
to hold tea, period; thatâs the only reason it exists. But if somehow or oth-
er the person making it was able to imbue other qualities, aesthetic qual-
ities that others recognize, then I think it becomes an art object, not just
a tea bowl. And itâs confusing sometimes to beginnersâŚbecause some-
times when they look at it and all they see is a rough surface, I mean a
blemished surface or even a crack running down through it, and theyâre
confused as why itâs worth $50,000, and, of course, the problem is they
have not grown their own aesthetic appreciation, understanding of what
makes that tea bowl different from an ordinary tea cup. Theyâre both
made of the same material, but one transcends the making and the mate-
rial and all of that and gets recognized by a tea master as being aesthetic
or an art object, more worthy of protecting and only using for special
events like a tea ceremony than commonplace in the kitchen. (Paul
Soldner Oral History Interview, 2003)
Soldner notes his appreciation of the aesthetics of imperfection, the elevation
possible from pot to art, and, importantly, valuation. How important is mone-
tary value in the tea bowlâs thingness? As Karl Marx stated, when an object
becomes a commodity âit is changed into something transcendentâ (as quoted in
Mitchell, 2005: 111). Such a sense of tea bowlsâ transcendence was reinforced
when the Japanese government in the 1950s designated eight tea bowls as na-
tional treasures. American potters were well aware of high prices paid for Japa-
nese ceramics. Of his solo exhibition in 1956 at Bonnierâs in New York City,
Robert Turner remarked, âI realized I was getting about a tenth of the price on
my floor, the first floor, as compared to what somebody from Japan was getting
up on the second floorâ (Miro and Hepburn, 2003: 76).
Cultural Appropriation and Things
Tea bowls by the makers mentioned above, and others, are subject to analysis
that considers cultural appropriation and Orientalism. These objects fall into
the category of what James Young terms âcontent appropriationâ in which âan
artist has made significant reuse of an idea first expressed in the work of an
artist from another cultureâ (Young, 2010: 6). But do they result inâas how
Bruce Ziff and Pratima Rao have described, referencing Orientalismâexam-
ples of âcultural damage through the flawed rendering of the Otherâ? Should
ceramists and artists avoid removing objects and practices from their âoriginal
settingâ? (Ziff and Rao, 1997: 12). These and other questions arise when con-
textualizing tea bowls against the backdrops of World War II, Japanâs surrender
to the Allies, and the US Occupation of Japan. Voulkos, Soldner, MacKenzie,
Ferguson and others who rose to prominence in the postwar American ceramics
field served in the US military, and for MacKenzie and Ferguson in Japan itself.
Unlike other highly contentious forms of cultural appropriation, American
ceramistsâ naming of their vessels âtea bowlsâ has not been the subject of wide-
spread public debate. Should it? In a 2012 roundtable discussion published in
the Japanese ceramics journal Tosetsu, the well-known author and curator Inui
Yoshiaki said, âWesterners praise tea bowls, but really none of them truly under-
stand themâŚ.Tea bowls all look the same to Westerners, since Japanese aesthet-
ics are so different. If Japanese people do not touch, drink, and use [tea bowls],
it is no good.â Ceramist Morino Taimei added, âIn the West, one looks only with
oneâs eyes, but in the East, it is not only the eyes, but the five sensesâ (Inui, 2012:
33). Related is a commonly heard comment by American ceramists who studied
at university ceramics programs in the 1950sâ70sâthat exposure to Japanese
ceramics occurred mainly through photographs reproduced in books.
This brings us to a final pointâis some-
thing a âtea bowlâ if it is not used for tea? What
is the identity of the object if it is removed
from a perceived âoriginalâ context? Since a
bowl is a universal form, naming is key to the
thingness of the tea bowl. In a recent exhibi-
tion catalog, Solderâs bowls are irreverently
labeled âtea bowl (peanut bowl)â (Jenkins,
2009). This naming suggests an awareness
of the inherent expectation of the audience to
treat the object with reverenceâsee it as a
thingâif it is labeled âtea bowl.â More broadly,
if we see the tea bowls discussed above by
MacKenzie, Voulkos, and Soldner operating
primarily as things, not copies, we may grasp
their embodiments of underlying values such
as the importance of recording process, privi-
leging effect over functionality, and conceiv-
ing of clay as an artistic medium.
Conclusion
This study has addressed the place of the tea
bowl within contemporary American ceram-
ics discourse by considering its complexity
beyond processes of cultural appropriation or
copying of particular forms or styles. Writ
large, tea bowls in American pottery discourse
rose in prominence in part through attempts
by makers to position the ceramic medium
such that it embodied their contemporary val-
ues. Ceramists required a means to convey
the presence, the thingness, of the objects
they were making. For students, amateur
practitioners, and experienced ceramists
alike, to distinguish a primordial bowl form
from a âtea bowlâ opens up a wider field of per-
ceived aesthetic and spiritual gravitas. For
many American ceramists, tea bowls are
things with values for studio pottery and ce-
ramic sculpture praxis, manifest most clearly
by the naming of objects as tea bowls.
ICDHS_1.1.indd 114 13/09/18 20:53
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1.1 Territories in the Scene of Globalised Design: Localisms and Cosmopolitanisms
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Meghen Jones is Assistant Professor of Art History at
Alfred University. Her research interests center on ce-
ramics and craft theory of modern Japan and in inter-
national perspective. Currently she is working on a
co-edited volume of essays, Ceramics and Modernity
in Japan.
jonesmm@alfred.edu
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