A Report On Japanese Art: The History Of Pottery

Japanese pottery was well discovered before the Neolithic period, dating back 30,000 years ago. In the article, Vessels of Culture: A Brief History of Japanese Ceramics it states, “The practice of forming vessels with clay, then solidifying by drying or firing in high temperatures, was essential as humans shifted from hunting and gathering food to cultivating it, as it allowed more sophisticated cooking and storage. ” People, animals, and symbols were the development of ritual and spirituality. In 14,500 BCE, in Japan, was the earliest pottery found before the Jomon period. In the article its also states, “Unglazed ceramics found after this time are characterized by marks made by cords or ropes pressed into the wet clay before firing in an open fire. ” The pattern name that is given is “Jōmon,” meaning “cord-marked. ” This period stretched until the 300 BCE, while the Yayoi followed until 300 AD over those millenia, the Japanese archipelago shifted from hunter-gatherers to settled agricultural communities. After 300 AD more useful things were made like the potterʻs wheel and kilnʻs came to use. Vesselʻs, figurines, and funerary objects that could be more in shape and color. The products were still “earthenware” and “stoneware”, and had rough surfaces from being unglazed.

Glazing happened in the Heian era when artisans brought the Tang dynasty China technique back. In the 13th century Katō Shirōzaemon studied in China and found a kiln at Seto which is a center for ceramic production. In the article, Vessels of Culture: A Brief History of Japanese Ceramics, it states, “Of course, Chinese ceramics, especially refined green celadon from Longquan and blue-and-white porcelain from Jingdezhen, continued to be widely imported by Japanese nobility, as well as inspiring trends in local production. ” It also states, “Ceramics and tea-ware were prized as part of the tea ceremony, which had evolved as part of Buddhist practice, but had also become extremely lavish, orchestrated by ruling elites as a powerful tool of politics and diplomacy. ” There has been a big shift in the Muromachi period (1336 – 1573), when Sen no Rikyu a famed tea master went old-fashioned and used unglazed styles of Japanse pottery. It was his desire to make tea ceremonies more “austere”, localized, more humble, spontaneous, and rugged than itʻs counterpart. Earthenware tea bowls gained reputation and were a representation of “wabi sabi. ” The aesthetics find the beauty in the most simple, raw, and understand. This style was designated “raku ware” – first produced by a single family of artisans, and later adopted with variations by other kilns and even exported abroad. Centuries later, two of the tendencies were in dialogue with one another in Japanese ceramics. On one hand, luxurious and elegant porcelain at times blue and white (Arita), or blue, red and gold (Imari) used brilliant lacquers also designs. One the other, rough facades, and imperfected asymmetrics were the attraction for “wabi sabi” ceramics. Political and upheavals in the early 20th century, crafts were on decline. The “mingei” movement, headed by philosopher Yangai Sōetsu (20s-30s) helped with valorizing “the hand crafted art of ordinary people”. “Mingei” criteria were: made from anonymous people, made by hand quantity, and representative of their home region.

In the 19th century the Japanese productions were common in other parts of the world and it was greatly deteriorated in taste. Typical in the period was the Satsuma pottery. Not only was it made in Satsuma but also Kyōto sent to Tokyo for designs and exporting especially. Designs were debased, and popularity was undoubtedly retarded. Among western students and collectors, true Japanese tastes were an appreciation of work.

Western pottery manufacture in the 21st century, Japan is one of the largest industrialized, most products are derivative, but Japaneese tradition is held in smaller places and continue on. In May and October fairs are held for pottery at pottery-producing areas. People from other places get to spend and maybe even get a chance to see the potters themselves. The major fairs in Japan for pottery are for Mino ware, Imari or Arita, and Seto ware. Lovers of ceramics plan trips so they can enjoy the styles of pottery in their own eyes and the history in that area.