Cover image for The art of emptiness = 余白の美
The art of emptiness = 余白の美
The art of emptiness = 余白の美

余白の美. eng


Japan library.

Yohaku no bi Sakaida Kakiemon.

Japan library (Shuppan Bunka Sangyō Shinkō Zaidan)
Sakaida, Kakiemon, XIV, 1934-2013, author.
Uniform Title:
余白の美. eng
First English edition.
Physical Description:
207 pages : illustrations (some color), portraits ; 22 cm.
Japan library.

Japan library (Shuppan Bunka Sangyō Shinkō Zaidan)
General Note:
"Originally published in Japanese under the title of Yohaku no bi Sakaida Kakiemon by Shueisha, Inc., in 2004"--Title page verso.
Translated from the Japanese.
Myself. Regarding the character of a craftsman -- Kakiemon XII and XIII -- Three generations to make a single potter -- The art of emptiness -- Impurities play an important role -- From my grandfather to me -- The potter's bane : salt -- Science is no match for nature -- Just prepare the enamels! -- Red produces salt deposits -- The household of "Kakiemon the Potter" -- Magarikawa National School -- The workshop was my playground -- My mother's hometown -- Memories of Kubara -- Playing in Arita -- Memories of the war -- Imari Senior High School years -- Memories of Benjara -- Athletics and drawing -- With older students at university -- My university friends and members of faculty -- An abundance of sketching -- My student days in downtown Tokyo -- Concerning the Asoka Hospital -- Imported rice, Nattō and Miso soup -- Running away from home -- The learning years -- Larger than life : Ōasa Yūji Sensei -- The circumstances leading to my wedding -- My grandfather's death-- My father's love of Jōruri -- My father's death -- Losing my name and becoming Kakiemon XIV -- A "present" from my ancestors -- Transmission and tradition -- Continuing tradition -- Return to the rice bowl -- Boss of the kiln -- My job is to train new craftsman -- The criteria of the Kakiemon style -- Production. Arita ceramics -- Crushing the stone -- Izumiyama stone -- The magic stone of Amakusa -- Nigoshide bodies -- The stone is alive -- The process of creating the clay -- The essence of ceramic beauty -- Maturing the clay -- "Inconsistencies" that are not present in Meissen -- You can't fool a craftsman's hand -- The kick wheel is best -- Wheel work and molding -- Rate of drying, "wiping down" -- The significance of bisque firing -- Applying underglaze design -- Dami -- Using winter hazel ash -- Cut and adjust -- The glaze on Nigoshide must be kept as thin as possible -- The main kiln -- Loading and firing the kiln -- Aburidaki, Nerashidaki, and Semedaki-- The kiln requires great care -- Heat-resistant bricks and kilns -- Samples -- Regarding firewood -- Profit is not our main concern -- Good defects and bad defects -- The work of the flames -- Kakiemon "white" -- The origins of Aka-e decoration -- Mixing the overglaze enamels -- The excellence of old designs -- Drawing outlines -- Remaining true to the style -- It must not be pictorial -- A craftsman's traits -- Thinking one is a full-fledged craftsman is a sickness -- Various brushes -- Half working creatively, half creating workers -- Ceramics within food culture -- Aka-e kiln -- A job that involves a lot of time and effort -- Appreciation. The Kakiemon kiln and its style -- Characteristics of the style -- Lidded jar with peony and chrysanthemum design : iro-e (late 17th century) -- Chrysanthemum-form bowl with plum, peony, pomegranate, and dragon design : iro-e (1670s-90s) -- The remaining clay molds -- Fuyode-style plate with grass and flower design : iro-e (late 17th century-- Plate with flower-basket design : somenishiki (late 17th century) -- Temple lion figurines (pair), iro-e (1670s-90s) -- Flower-shaped plate with pine, bamboo, plum and bird design : iro-e (1670-90s) -- Jars with chrysanthemum, peony, and bird design : iro-e (late 17th century) -- Figurine of standing woman with grape design : iro-e (1690-1710) -- Flower-shaped plate with pine, bamboo, plum and bird design (modern) : Meissen -- Jar in imitation Kakiemon style with metal base : Chantilly -- Vase with strawberry-flower design : iro-e (1986) : produced jointly with the Meissen factory -- Vase with dragon and phoenix in arabesque design : somenishiki (1860-1910), Kakiemon XI -- Octagonal bowl with grass and flower design : nigoshide (1955), Kakiemon XII -- Vase with camellia design : nigoshide (1979) Kakiemon XIII -- Bowl with knotweed design : nigoshide, Kakiemon XIII-- Large bowl with fish and grass design : iro-e (1971), Sakaida Massashi ; Vase with cherry blossom design : nigoshide (2003), Kakiemon XIV -- The real reason why Nigoshide works are unsigned : in lieu of an afterword.
"For several hundred years, Japanese porcelain has been highly acclaimed and sought after around the world. Sophisticated porcelain ware has long been produced in the Arita area of Kyushu, and artisans from the Kakiemon family have gained particular renown for their skill in enamels and their artistic designs. Now, for the first time, the techniques and tradition behind the creation of their ceramic works are disclosed through the words of the late Kakiemon XIV. Starting with his childhood memories, he talks about his father and grandfather and what he inherited from them; how the craftsmen work at the kiln; and how materials such as stone, clay, and firewood play a crucial part in creating the works. Most striking of all are the explanations of aka-e overglaze enamels and nigoshide porcelain, the characteristics that make Kakiemon ware so phenomenal. With more than twenty color plates depicting Kakiemon pieces from museums and private collections, this volume provides rare insight into one of the world's most famous kilns"--Publisher's description.
Bibliographical References:
Includes bibliographical references (pages 206-207)
Field 805:
npmlib 10902758 NK4399 K3 S3513 ysh
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