This is a study of a group of potters living in a small community in the south of Japan, and about the problems they face in the production, marketing and aesthetic appraisal of a kind of stoneware pottery generally referred to as mingei, or folk art. It shows how different people in an art world bring to bear different sets of values as they negotiate the meaning of mingei and try to decide whether a pot is 'art', 'folk art', or mere 'craft'. At the same time, this book is an unusual monograph in that it reaches beyond the mere study of an isolated community to trace the origins and history of 'folk art' in general. By showing how a set of aesthetic ideals originating in Britain was taken to Japan, and thence back to Europe and the United States - as a result of the activities of people like William Morris, Yanagi So etsu, Bernard Leach and Hamada Sho ji - this book rewrites the history of contemporary western ceramics.

This compact reference explains the basic terms, processes, classifications, tools, materials and techniques of Japanese potters. Everyone interested in pottery and crafts will find this practical guide a valuable addition to both bookshelf and workshop. Penny Simpson, an English potter living in Japan, and Kanji Sodeoka, her Japanese colleague, have compiled a step-by-step manual of the way pots are made in Japan, their forms, and their decorations. The authors give a thorough account of both traditional and modern techniques and also describe in detail tools,

For more than 30 years, Dr. Anneliese and Dr. Wulf Crueger--guided by Saeko It�--have devoted themselves to studying, understanding, and collecting Japanese ceramics. Today, they share the rich fruits of their knowledge with this lavishly illustrated volume based on their own collection. The equivalent of Roberts Museum Guide, devotees of beautiful ceramics can pick it up and use it to select and visit potters as they undertake an artistic tour of the country. Organized geographically, it goes from kiln to kiln--which in Japan may refer to a lone site or an entire ceramics region that contains hundreds of workshops. Along the way, they outline the history, development, and unique stylistic characteristics of each area’s work, and the traditions that inspired it.

Ceramics and Modernity in Japan offers a set of critical perspectives on the creation, patronage, circulation, and preservation of ceramics during Japan’s most dramatic period of modernization, the 1860s to 1960s. As in other parts of the world, ceramics in modern Japan developed along the three ontological trajectories of art, craft, and design. Yet, it is widely believed that no other modern nation was engaged with ceramics as much as Japan—a "potter’s paradise"—in terms of creation, exhibition, and discourse. This book explores how Japanese ceramics came to achieve such a status and why they were such significant forms of cultural production. Its medium-specific focus encourages examination of issues regarding materials and practices unique to ceramics, including their distinct role throughout Japanese cultural history. Going beyond descriptive historical treatments of ceramics as the products of individuals or particular styles, the closely intertwined chapters also probe the relationship between ceramics and modernity, including the ways in which ceramics in Japan were related to their counterparts in Asia and Europe. Featuring contributions by leading international specialists, this book will be useful to students and scholars of art history, design, and Japanese studies.

The Japanese Pottery Handbook, first published by Kodansha in 1979, has become a classic, beloved by anyone interested in pottery for its practical, step-by-step approach, and homespun charm. Now, thirty-five years since its publication, authors Penny Simpson and Lucy Kitto have refreshed their work, expanding and adding to the material, re-designing the pages, and re-drawing many of the delightful illustrations. The book has a cleaner, more modern look, yet retains the simple, friendly, and distinctively Japanese sensibility of the original. In addition to the new layout and drawings, the authors have tweaked the text and expanded several sections (including the discussion of underglazing and overglazing, and the Tea Ceremony and its utensils). There’s also a new page showing different types of brushes; and the Information chapter has been updated to include websites and recent books. The book is a manual to the way pots are made in Japan, their forms, and their decorations.The authors give a thorough account of both traditional and modern techniques and also describe in detail tools, materials, glazes, and the setup of workshops and kilns. Lucy Kiitto’s sprightly drawings infuse each page with life and clarity. Pottery terms and expressions are listed with their Japanese equivalents, and the new edition keeps the bi-lingual text, making it easier for the exchange of ideas between foreign students studying in Japan and Japanese potters.

Focusing on the ancient Jomon pottery of Japan, this book offers a comprehensive and illustrated overview of this early Japanese art, and its relation to the ancient pottery of other countries