Studio Pottery, Number 4, pp. 23-26 (Aug./Sept.1993) Studio Pottery is a bi-monthly magazine, intended as a useful and readable companion for all those interested in pottery and ceramic in the U.K. - 15 Magdalen Road, Exeter
The Japanese potter Makoto Hatori works in the Bizen tradition but has developed a contemporary language in sculptural works that links his own lineage with life today. Andy Cordy re- ports. Excerpt from Ceramic Review Number 141, p.10 (May June 1993)
The Beauty of Soul, Beauty of Form: Naturally-glazed Ceramics and HaikuMakoto Hatori
The Log Book, Issue 22. 2005, pp.3-7, The International Publication for Woodfirers and those interested in Woodfired Ceramics - P.O.Box 612, Scariff, Co.Clare, Republic of Ireland
"Communication as information or the intervention of the intellect" was published on a home page Old “Studio Pottery" – www.studiopottery.co.uk --- under the title of “Linearity in Tradition”, October 2003.
The Japanese potter Makoto Hatori works in the Bizen tradition but has developed a contemporary language in sculptural works that links his own lineage with life today. Andy Cordy re- ports. Excerpt from Ceramic Review Number 141, p.10 (May June 1993)
The Beauty of Soul, Beauty of Form: Naturally-glazed Ceramics and HaikuMakoto Hatori
The Log Book, Issue 22. 2005, pp.3-7, The International Publication for Woodfirers and those interested in Woodfired Ceramics - P.O.Box 612, Scariff, Co.Clare, Republic of Ireland
"Communication as information or the intervention of the intellect" was published on a home page Old “Studio Pottery" – www.studiopottery.co.uk --- under the title of “Linearity in Tradition”, October 2003.
Presentation on Chinese calligraphy, given on 16 December 2010 for a high school by Jenny Lee, Chinese/ Taiwanese painting artist and gallery owner in The Hague (Netherlands).
Emilio Belotti - Figurative works (1970s)Aldo Lobozzo
The idea, the technique, the originality of style. Space, time. In this sintesis the art.
I liked to restore ancient techniques, the academic world, the respectful placing in prestigious settings.
I wasn't tied to the distinction abstract/figurative, sacred/profane, but the non-temporal search of the visual synthesis.
I dealt with this knowledge in other to elaborate ideas that would lead to a mature style.
So mantaining the colour firm, light and shade contrasts, the expressive power, i came to my language.
In this introduction my way through the years, the overcoming of forming, my visual achievement.
In fact, this column is also called the Pillar of Form. This is the passive, receptive, containing, feminine component to experience. In some Eastern systems this is Yin. It corresponds to the Vagina in coital union.
When we are discussing the Sephiroth on the Pillar of Severity, we always find these aspects of experience at some level within them. It is described as "Severity" because the constrained nature of the underlying currents of the Sephiroth in this column are consciously experienced as more restrictive and grating than those in the prior column.
Definition of Art and role of Art in Society: Role and meaning of art, various types of arts- fine arts, performing arts, commercial arts, industrial arts, folk arts, abstract art, visual arts, spatial arts, temporal arts, pop art etc., relationship of architecture with other arts like Painting and Sculpture
This presentation is to help students and teachers to have more references in ART APPRECIATION Subject in General Education in Higher Education. Not for sale.
An intriguing reference which some feel could be a type of marbling is present in a compilation done in 986 CE entitled ???? (Wen Fang Si Pu) or "Four Treasures of your Scholar's Study" edited because of the tenth century scholar-official ??? Su Yijian (957-995 CE). This compilation has details on inkstick, inkstone, ink brush, and paper in China, which can be collectively called the 4 treasures on the research. The textual content mentions a kind of decorative paper identified as ??? liu sha jian that means “drifting-sand” or “flowing-sand notepaper" which was produced in what is now the area of Sichuan.
Makoto Hatori’s Ceramics: Embracing Non-Color and Tradition in Artistic Evolu...Makoto Hatori
My artistic journey and philosophy are deeply rooted in a profound exploration of ceramics and its connection to nature, materials, and the human experience. Through various subtopics and insights, we can gain a comprehensive understanding of my unique approach and vision:
Presentation on Chinese calligraphy, given on 16 December 2010 for a high school by Jenny Lee, Chinese/ Taiwanese painting artist and gallery owner in The Hague (Netherlands).
Emilio Belotti - Figurative works (1970s)Aldo Lobozzo
The idea, the technique, the originality of style. Space, time. In this sintesis the art.
I liked to restore ancient techniques, the academic world, the respectful placing in prestigious settings.
I wasn't tied to the distinction abstract/figurative, sacred/profane, but the non-temporal search of the visual synthesis.
I dealt with this knowledge in other to elaborate ideas that would lead to a mature style.
So mantaining the colour firm, light and shade contrasts, the expressive power, i came to my language.
In this introduction my way through the years, the overcoming of forming, my visual achievement.
In fact, this column is also called the Pillar of Form. This is the passive, receptive, containing, feminine component to experience. In some Eastern systems this is Yin. It corresponds to the Vagina in coital union.
When we are discussing the Sephiroth on the Pillar of Severity, we always find these aspects of experience at some level within them. It is described as "Severity" because the constrained nature of the underlying currents of the Sephiroth in this column are consciously experienced as more restrictive and grating than those in the prior column.
Definition of Art and role of Art in Society: Role and meaning of art, various types of arts- fine arts, performing arts, commercial arts, industrial arts, folk arts, abstract art, visual arts, spatial arts, temporal arts, pop art etc., relationship of architecture with other arts like Painting and Sculpture
This presentation is to help students and teachers to have more references in ART APPRECIATION Subject in General Education in Higher Education. Not for sale.
An intriguing reference which some feel could be a type of marbling is present in a compilation done in 986 CE entitled ???? (Wen Fang Si Pu) or "Four Treasures of your Scholar's Study" edited because of the tenth century scholar-official ??? Su Yijian (957-995 CE). This compilation has details on inkstick, inkstone, ink brush, and paper in China, which can be collectively called the 4 treasures on the research. The textual content mentions a kind of decorative paper identified as ??? liu sha jian that means “drifting-sand” or “flowing-sand notepaper" which was produced in what is now the area of Sichuan.
Makoto Hatori’s Ceramics: Embracing Non-Color and Tradition in Artistic Evolu...Makoto Hatori
My artistic journey and philosophy are deeply rooted in a profound exploration of ceramics and its connection to nature, materials, and the human experience. Through various subtopics and insights, we can gain a comprehensive understanding of my unique approach and vision:
A Reaffirmation of Materiality in Contemporary CeramicsMakoto Hatori
In this brief essay, I explore the idea that contemporary plastic arts have become excessively detached from "objects" as materials. I argue that this loss of materiality has serious consequences for the significance of plastic art. Needless to say, "objects" in this context refer to physical things that exist in the world. And "forms" refer to the shapes and structures of those objects. I hope that this essay will provide a starting point for discussion on the role of objects in contemporary ceramic art. I believe that This is an important issue that deserves more attention.
Ma Passion began its journey in 2001, when a love for history met a passion for art. We aim to preserve, nurture and revive the priceless historical traditions of India’s rich art and craft heritage that are at risk of dying out in this modern age, like the sublime art of gemstone carving, that currently exists mainly in India, China and Germany.
Ma Passion began its journey in 2001, when a love for history met a passion for art. We aim to preserve, nurture and revive the priceless historical traditions of India’s rich art and craft heritage that are at risk of dying out in this modern age, like the sublime art of gemstone carving, that currently exists mainly in India, China and Germany.
epub 500 Figures in Clay Ceramic Artists Celebrate the Human Form (500 Series) tiffinsrewwtu
When potters throw clay onto a stone they make a connection across centuries to ancient workshops. The techniques and traditions of these early craftsmen especially those of China FULLBOOK 8217Reads Sung dynasty still inform many of the pottery practices in use today thanks to the seminal work of Bernard Leach. Leach FULLBOOK 8217Reads A Potter FULLBOOK 8217Reads Book was among the first to collect ancient workshop traditions for modern use in studios emphasizing functional work. It became an immediate hit among potters who embraced its ideal of unity spontaneity and simplicity of form. Leach considered the father of British studio pottery went on to establish of one of the most respected studios in the world with the ideas of A Potter FULLBOOK 8217Reads Book at its foundation. With this classic book potters can learn everything from how to set up their workshop to how to adapt pigment and glaze recipes to how to design custom kilns. It spotlights four types of pottery Japanese raku En
Mogulinterior imports vintage doors, architectural arches , antique furniture from India, embroidered textiles and bohemian clothing creating a vast array of design for interiors.
THE ANTOINETTE & PATRICK J. MURPHY COLLECTION
AUCTION
Wednesday 23rd October 2019 at 6pm
VENUE
Adam’s Salerooms,
26 St. Stephen’s Green, Dublin
D02 X665,
Ireland
SALE VIEWING
18TH - 23RD OCTOBER
ADAM’S
26 St. Stephen’s Green Dublin D02 X665 Tel +353 1 6760261
Friday Saturday Sunday Monday Tuesday Wednesday
18th October 19th October 20th October 21st October 22nd October 23rd October
10.00am - 5.00pm 2.00pm - 5.00pm 2.00pm - 5.00pm 10.00am - 5.00pm 10.00am - 5.00pm 10.00am - 5.00pm
Exploring Chaos and Certainty: The Enduring Vision of Makoto HatoriMakoto Hatori
In 1969, I presented a conceptual work that incorporated the externality of "sand" as a non-self-contained material. The exhibition embraced "sand" as a medium, intentionally inviting randomness and disrupting the delicate balance between things that are inherently difficult to define. This artistic exploration reflects the recognition of an emerging unknown externality, embodying the age of chaos. This was a pivotal moment that shaped my subsequent creative philosophy. During this period, Makoto Hatori's sensibility gravitated toward traditional Japanese ceramics.
Fusion of Beauty and Philosophy: Makoto Hatori's Artist Statement.pdfMakoto Hatori
The decision to forgo glazes and focus on clay qualities is likened to the delicate texture of white Japanese papers. This choice adds layers of symbolism and visual depth to my ceramic work, creating a multidimensional experience for the viewers.
Artist Biography and Creative Philosophy of Makoto HatoriMakoto Hatori
Makoto Hatori learned about Japanese ceramics, including designs that were created without human intervention and the natural glazing process, while working as an apprentice under a master potter of traditional ceramics in 1968 and 1974. Since then, he has continuously strived to recognize the coexistence of subjects and objects and follow the natural flow of things at every opportunity. His approach explores the relationship between nature and human beings, and his works are founded on a professional ethic and aesthetic that place value on spirituality and contemplate a shared identity with nature. Hatori's philosophy is rooted in the expressive value of the body itself, which is remembered and in motion. His approach is influenced by Japanese traditional ceramics discourse, particularly the concept of "kata" or form. He views the "work" as a "material" a "ready-made product," transformed through a change in perspective, and embraces the unknown effects that can result from this approach. Ultimately, Hatori's approach illuminates the possibilities of spurring diverse perspectives.
Contemporary plastic arts are extremely detached from "objects" as materials, and their loss of materiality is serious. When "things" as materials, which should firmly support forms, are adrift, it is nothing more than "plastic arts" in which only forms are floating. In other words, the disconnection between "object" and "form," the loss of a sense of materiality, is also the drifting away of the relationship between "thing" and "person. To recover its artistic mission from the tendency, especially in contemporary ceramics, to be dwelled on the decoration without looking at the object, it is necessary to confirm the will of handwork to the "object" as a material. The question is why do I need such materials?
Expression of Mind and Body "Physicality: Sumi-e/ Suiboku Sansui"Makoto Hatori
“Physicality: 墨絵Sumi-e/ 水墨山水Suiboku Sansui (07-03-1),” (W)110.0- (D)49.0- (H)19.0 cm. Stoneware (non glaze), pigment, iron rod, epoxy. Stoneware (the pieces have textures of lusterless tones, such as a Japanese paper tone), pigment, iron rod, epoxy. Electric kiln and charcoal smoked, fired 1250 degrees C. in reduction, mixed media. Year of production 2021.
"Non-color; Otherness (10-28-6)," (w)122.0–(d)75.0–(h)13.5 cm, hand-built stoneware elements assembled over some threaded iron rod, non glaze with slip, silicon tube, iron rod and epoxy, electric kiln, fired 1250 degrees C. in reduction. 8th Gyenggi International ceramic Biennale 2017, Rep. of Korea. Exhibited at Icheon World Ceramic Center 263, Gyeongchung-daero 2697 beongil, Icheon-si, Gyeonggi-do, 17379, Rep.of Korea. April 22-October 9, 2017.
"Parasitism," (w)34.0-(d)19.0-(h)205.0 cm, wheel-thrown and stoneware with slip, wood-fired, and charcoal smoked, 1280 degrees C. in reduction, wood, and epoxy. Gyeonggi International Ceramic Biennial 2015, Rep. of Korea. Exhibited at Icheon World Ceramic Center 167-29, Gyeongchung-daero 2697 Beon-gil, Icheon-si, Gyeonggi-do, 467- 020, Rep. of Korea, April 24- May 31, 2015.
"Barley Field," (w)102.0-(d)16.5-(h)38.5 cm, stoneware and slip painting, traditional way fired to 1250 degrees C. oxidation, eight-day firing. World ceramic Biennial 2003 Korea, International Competition. Exhibited at Ichon World Ceramic Center, South Korea, September 1- October 30, 2003.
"On the Impulse of Curiosity," (w)99.0-(d)39.0-(h)44.0 cm, stoneware with slip, sprayed solution of salt, wire additions, traditional way fired to 1250 degrees C., oxidation, eight-day firing. The mass of small wheel-thrown tubes cements another reality. The 1st World Ceramic Biennial 2001 Korea, International Competition. Exhibited at World Ceramic Center, Ichon, Korea, August 10- October 28, 2001.
The relationship between traditional food culture (kaiseki) and ceramics.
CPA News, The Newsletter of the Craft Potters Association of Great Britain, Number76, p.6 (March/April 2001).
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
1. http://www2r.biglobe.ne.jp/~makoto-h/
Makoto Hatori
Shane Enright
Makoto Hatori is a very Japanese potter. Whether traditional or modern in style, his work is
rooted in Japan's ancient Bizen tradition of pottery making. At first sight his work may appear
unfamiliar to those for whom mention of the Japanese ceramic heritage conjures up images of
the work of Leach, or Hamada. In the first half of the century, through Leach, Hamada and their
associates, the ancient ceramic traditions of Korea, China and especially Japan came to
dominate the aesthetic of British potters. In the process, the folk craft traditions of both Japan
and England were simultaneously revived and renewed, laying the ground for much of the
current studio pottery movement and establishing connections between Japanese and British
Ceramics.
The picture of Japanese ceramics shown by this revival, though, is incomplete. The Leach and
Hamada aesthetic, based on a search for harmony, balance and simplicity, is reflected in
symmetrical forms, perfect glazes, careful brushwork and a palette of colors drawn from nature.
The resulting pots convey a strong sense of simple rustic beauty.
But there were other cultural values at large in Japan during its ceramic heyday in the 15th and
16th centuries, values that were to encourage a much wilder route in pottery making. Japanese
pottery production was highly fragmented at the time, with each valley or kiln site having its
distinctive techniques and using local clays, glazes, and firing techniques. The result was the
emergence of distinct regional styles.
The newly rich merchant class, enthralled by the rituals of the tea ceremony, and looking forward
to a mythical golden age of natural harmony, was concerned about authenticity in ceramics. They
wanted their pots to reflect local folk traditions, and their taste encouraged an enhancement,
sometimes exaggeration, of the various distinct styles. Influenced by Buddhism, they sought
organic, unrestrained pots in which the natural elements that had gone into their making-clay,
fire, ash-would be evident in the finished vessel, and in which the naive hand of the maker would
be revealed in rough and unrefined forms.
The most sought-after ceramics were Bizen, the tradition that Hatori has made his own. Bizen
pots are unglazed before firing, acquiring an uneven green or brown glazed surface from flying
ash during the long firing process, and further marked, in many cases, by red scorch marks
2. caused by straw packed round the vessels. While the potter can innocence the likely surface
qualities of the work by deciding where to place pots in the kiln, and by controlling the firing,
there is always an element of chance in the result. Natural haphazard qualities are reinforced by
the forms of Bizen vessels. Bizen was highly regarded for its water jars and flower vases. These
are typically very roughly thrown, with turning marks prominent, and with wobbly mouths and
rims, sags and indentations that emphasize their authentic folk quality.
Hatori has taken these qualities fully on board. His traditional pots, for which he is famous in
Japan, range from small evenly thrown cups to large water jars, tea bowls and vases, with evident
turning marks, undulating rims or roughly-hewn facets. All these vessels show the coloring that
can only be achieved after slow firing in a climbing kiln. In Hatori's hands the results are truly
spectacular: the reddish-purple clay streaked with lines of orange-brown or mashes of red,
purple-grey or green from the firing. Each vessel is genuinely unique, raw and immediate. Some
are more evenly thrown than others, in some the surface color is more uniform, but all depart
from any romantic notion of simplicity. These pots have been created rather than made, the
artist's handling of the clay and kiln contributing to, rather than controlling, the finished product.
Like their sculptural counterparts, they actively incorporate chance into the process of making.
Indeed they depend on accident to an extent that Leach and Hamada never countenanced.
In his sculptural pieces Hatori makes the random, the accidental element, central. Many of his
sculptures are made out of recognizably Bizen vessels, such as sake bottles or cups, but these
have been fused together, in small groups or larger heaps, just as pots in a kiln which had
accidentally fallen on each other would be welded together by a thick coating of ash glaze. In
some cases the image these bring to mind is precisely of a 'kiln happening' , a chaotic jumble of
elements, each one individually recognizable and functional, but the whole being abstract and
sculptural. The shift of perspective from the familiar detail to the abstract whole can be quite
uncanny, giving the pieces tension and excitement.
Asked whether he finds any tension between his traditional work and the more sculptural pieces,
Hatori comments:
All my elements are traditional. I am deeply influenced by Bizen, but I want to make
something new out of these traditions. There is no distinction between the traditional
forms and the more modern work. All of these are connected, my work is developed in
parallel, simultaneously.
3. What made this exhibition rewarding was seeing those connections; the traditional translating
into a modern and abstract idiom in a way that built bridges between old new. The result was a
renewal and rediscovery of Bizen, a truly beautiful tradition in ceramics.
NOES:
Two pieces by Hatori were purchased by Far Eastern Dept of the Victoria & Albert Museum as
part of its program in acquiring contemporary Japanese crafts. One is a traditional Bizen water
jar, the other a sculpture made from assembled sake bottles. Commenting on these, Rupert
Faulker, Deputy Curator of the Far Eastern Collection, said: " Hatori's work is good for our
collection, not only because we have not had any contemporary work from Bizen until now, but
because of his ability to extend from the tradition. He is trying to do something different and
interesting within Bizen".
Studio Pottery, Number 4, pp. 23-26 (Aug./Sept.1993) Studio Pottery is a bi-monthly magazine, intended as a useful
and readable companion for all those interested in pottery and ceramic in the U.K. - 15 Magadalen road, Exeter
Makoto Hatori's exhibition is at Leigh Gallery, 17 Leigh Street, London WC1 June 15-27, 1993.