Throughout history, certain techniques and styles have been particularly coveted, including Japanese raku ware, Turkish Iznik pottery, Persian earthenware, Italian majolica, Dutch delftware and Native American pottery.
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These interests heavily influenced his later work. James was a potter and ceramicist, interested in raku ware, and examples of his pottery still exist today.
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This style of tea bowl or chawan was called raku ware after the name of the Korean potter who produced the first pieces for Rikyū's tea ceremonies, and is known for its appropriately wabi look and feel.
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Weatherhill, 1988. . Rikyū also began designing his own tea wares, sometimes having them made by local craftsmen. Raku ware tea bowls originated from Rikyū having the tile maker named Raku Chōjirō create tea bowls for him.Japanese Rikyū Daijiten (Rikyū Encyclopedia).
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Claude Champy (born September 12, 1944) is a French ceramist. In 1988, he received the Grand Prix of the Suntory Museum of Art. At that time he formed links with Japanese ceramists and also created Raku ware. His works are part of the Charles-Adrien Buéno's collection.
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She received several rewards and gained notoriety especially with her work in the Raku ware technique. Her works are displayed in public exhibitions and can be found in various European museums as well as in private collections. Karin Putsch-Grassi’s technique is stimulated by experimenting with new techniques and clays. She works on the relationship between shape and surface, using both throwing and also slap building as her creative technique.
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She often adorns nonsmoked sculptures with tiny raku ware additions, such as elk teeth. While many of her works are figurative, the figures represent the spirituality and do not depict anyone in particular. Fields explains, "I want to show the spirituality of us as women, how we fit into family, how we remain strong yet filled with love, and how we overcome all difficulties." Clothing is a prominent inspiration in Field's clay work.
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During his time at university he worked with the master sculptor Alberto Mainardi. After graduating in architecture, he learned from the ceramist Gabriella Zazzeri the Japanese Raku ware technique. For over 35 years, he has been teaching at the Leon Battisti Alberti high school in Florence. Examples of his art are Processo a Pigmalione (2005) in the Museo degli Innocenti Firenze, (2009) I Baccanali in the Auditorium of the Duomo of Firenze.
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Grete Nash (née Helland-Hansen; 14 February 1939 - 20 March 1999) was a Norwegian ceramist. She was born in Oslo to Eigil Helland-Hansen and Sophie Marie Eeg, and was a granddaughter of oceanographer Bjørn Helland-Hansen. She introduced the Japanese raku ware pottery tradition in Norway. Her wall plate Bysants from 1991 was acquired by the Storting, and she is represented in the National Museum of Art, Architecture and Design, the West Norway Museum of Decorative Art and Sørlandets Art Museum.
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Tea bowl, known as Suchiro, studio of Chōjirō (1516-?1592) is distinguished as the first generation in the Raku family line of potters. According to historical documents he was the son of one Ameya, who is said to have emigrated to Japan from Korea (or possibly Ming China, as asserted on the RAKU WARE website (link below) of the still active line of potters founded by Chojiro). Historical evidence shows that he produced ridge tiles for Toyotomi Hideyoshi's Jurakudai palace in 1574.
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In 2008, Hosokawa made his first solo exhibition at Shibunkaku in Kyoto and made subsequent exhibitions there, including one in 2013. He also made exhibitions at the Kakiden Gallery in Shinjuku, Nanohana in Odawara, Mitsukoshi Department Store in Nihonbashi, Tsuruya Department Store in Kumamoto and Tenmaya in Okamoto as well as others. Hosokawa made further studies under Fukumori in 2014 and worked in Raku ware at Yugawara. Along with Fukumori, he visited the United Kingdom in May 2017 to test the clay and a newly built kiln.
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Modern kilns powered by gas or electricity are cleaner and more easily controlled than older wood- or coal-fired kilns and often allow shorter firing times to be used. In a Western adaptation of traditional Japanese Raku ware firing, wares are removed from the kiln while hot and smothered in ashes, paper or woodchips which produces a distinctive carbonised appearance. This technique is also used in Malaysia in creating traditional labu sayung. In Mali, a firing mound is used rather than a brick or stone kiln.
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Sensō Sōshitsu is particularly remembered for his role in taking the potter Chōzaemon, who worked at the Raku family's workshop in Kyoto, to Kanazawa, and helping him to establish a kiln in the Ōhi section of town. This represented the birth of Ōhi ware pottery, an offshoot of Raku ware pottery. Also, Sensō Sōshitsu is credited with helping the kettle maker Miyazaki Kanchi to establish the Kanchi foundry in Kanazawa. In these ways, Sensō Sōshitsu made major contributions to the art of chanoyu as well as the culture of Kanazawa.
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Oribe Black (Oribe-guro), early Edo period, c. 1620 Cornered bowl, Mino ware, Oribe type, early Edo period, 1600s Oribe ware (also known as 織部焼 Oribe-yaki) is a style of Japanese pottery that first appeared in the sixteenth century. It is a type of Japanese stoneware recognized by its freely-applied glaze as well as its dramatic visual departure from the more somber, monochrome shapes and vessels common in Raku ware of the time. The ceramics were often asymmetrical, embracing the eccentricity of randomized shapes.
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For his sculptural work, he developed a technique of assembling clay panels, which can be compared to a dress-maker putting together pieces of material to make a garment.This process is illustrated by a series of photos in La Revue de la céramique et du verre, n° 56, janvier/février 1991, p. 33. He also used molds in which he laid layers of clay so as to create different designs and textures especially for his Stèles (Stelae) and Bétyles (Baetuli). Most of his works were made from clay, but he also made porcelain and raku ware.
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Horse hair vase Horse hair raku is a method of decorating pottery through the application of horsehair and other dry carbonaceous material to the heated ware. The burning carbonaceous material creates smoke patterns and carbon trails on the surface of the heated ware that remain as decoration after the ware cools. Although preparation is similar to pit fired pottery and other primitive firing techniques, horsehair raku is generally considered an alternative form of Western-style Raku ware, because it uses Western-style Raku kilns, firing techniques and tools. Horsehair raku usually utilizes burnishing and/or Terra sigillata techniques to prepare the unglazed surface before Bisque firing.
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Both artists came from families of cultural significance; Kōetsu came from a family of swordsmiths who had served the imperial court and the great warlords, Oda Nobunaga and Toyotomi Hideyoshi, in addition to the Ashikaga shōguns. Kōetsu's father evaluated swords for the Maeda clan, as did Kōetsu himself. However, Kōetsu was less concerned with swords as opposed to painting, calligraphy, lacquerwork, and the Japanese tea ceremony (he created several Raku ware tea bowls.) His own painting style was flamboyant, recalling the aristocratic style of the Heian period. Sōtatsu also pursued the classical Yamato-e genre as Kōetsu, but pioneered a new technique with bold outlines and striking color schemes.
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Most raku ware, where the final decoration is partly random, is in this tradition.Smith, Harris, & Clark, 116–120, 124–126, 130–133 The other tradition is of highly finished and brightly coloured factory wares, mostly in porcelain, with complex and balanced decoration, which develops Chinese porcelain styles in a distinct way.Smith, Harris, & Clark, 163–177 A third tradition, of simple but perfectly formed and glazed stonewares, also relates more closely to both Chinese and Korean traditions. In the 16th century, a number of styles of traditional utilitarian rustic wares then in production became admired for their simplicity, and their forms have often been kept in production to the present day for a collectors market.
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As well as making pots, Dick participated in the studio pottery movement, being involved with the Crafts Council, the UK Craft Potters Association (Board Member for a period) and the Northern Potters Association (of which he was a founder member.) Jill Frances Dick (née Smith) was an artist and noted potter in her own right. Having studied art at Gloucestershire College of Art, she established her own small pottery in Winchcombe. In the early years of the Coxwold Pottery, she actually produced more pottery than Peter, before family commitments reduced her activity. When she resumed her active potting, she developed an interest in raku ware. Her pottery was shown in various exhibitions and sold through outlets such as ‘Contemporary Ceramics’ and the ‘Craftsmen Potters Shop and Gallery’ in London.
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Writing Box with Pontoon Bridge by Kōetsu Although trained as a swordpolisher (not a "swordsmith" in the standard Western sense; in Japan the tasks of forging and finishing a blade are performed by different craftsmen), Hon'ami became accomplished in pottery, lacquer, and ceramics as a result of his interest in Japanese tea ceremony, which had been revived and refined only a few decades earlier by Sen no Rikyū. In this art, he is regarded as one of the top pupils of the tea master Furuta Oribe and of the style known as Raku ware. Koetsu was given clay by Donyu II, the grandson of the first Raku potter, Chōjirō I. Even though Kōetsu form was inspired by the Raku family tradition, he was such a great artist he added his own character to his tea bowls. One of these (called "Fuji-san") is designated a National Treasure.
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