See this at: asia.si.edu| Added on 11/09/09

Online Collection | Freer Sackler Galleries

Online Collection | Freer Sackler Galleries See less

See this at: asia.si.edu| Added on 11/09/09

Online Collection | Freer Sackler Galleries

Online Collection | Freer Sackler Galleries See less

See this at: asia.si.edu| Added on 11/09/09

Online Collection | Freer Sackler Galleries

Online Collection | Freer Sackler Galleries See less

See this at: art-and-archaeology....| Added on 11/08/09

Hollow clay haniwa were placed upon and around kofun as offerings, models, boundary markers, places where the spirits might reside, or all of the above. Some of the shapes seen here include houses, cylinders, and a boat (center back).

Hollow clay haniwa were placed upon and around kofun as offerings, models, boundary markers, places where the spirits might reside, or all of the above. Some of the shapes seen here include houses, cylinders, and a boat (center back). See less

See this at: art-and-archaeology....| Added on 11/08/09

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The form of the Japanese vessel (first photograph) is very old, having predecessors as early as the Chinese Neolithic (second photograph). Its unusual shape seems to be an imitation of a tied-off water skin. Cords attached to the lugs would allow the... See more

The form of the Japanese vessel (first photograph) is very old, having predecessors as early as the Chinese Neolithic (second photograph). Its unusual shape seems to be an imitation of a tied-off water skin. Cords attached to the lugs would allow the pot to be let down into the water for filling and cooling. See less

Highlights: China, Banpo Culture, 4500-4000 BC.

See this at: utm.edu| Added on 11/08/09

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Sturdy unglazed jars made in Bizen province (modern Okayama prefecture) had long been used in kitchens and storerooms. With the emerging popularity of the ritualized form of tea preparation called chanoyu, Bizen jars also came to the attention of... See more

Sturdy unglazed jars made in Bizen province (modern Okayama prefecture) had long been used in kitchens and storerooms. With the emerging popularity of the ritualized form of tea preparation called chanoyu, Bizen jars also came to the attention of urban connoisseurs, who used them to store tea. They also discerned—in the mottled coloration of the unglazed surface and the random deposits of wood ash—an austere beauty that they described as the jar’s “landscape.” This perception of the “landscapes” on jars from Bizen, as well as from Shigaraki, forms the first recorded aesthetic appreciation of unglazed stoneware, a preference that has remained central to Japanese taste in ceramics. See less

See this at: asia.si.edu| Added on 11/08/09

Online Collection | Freer Sackler Galleries

Online Collection | Freer Sackler Galleries See less

See this at: asia.si.edu| Added on 11/08/09

Between 1100 and 1600, more than eighty regional kilns in Japan manufactured unglazed stoneware vessels in a standard repertory of wide-mouth vats, narrow-necked jars, and mortars. The versatile jars were used for any purpose that required a durable... See more

Between 1100 and 1600, more than eighty regional kilns in Japan manufactured unglazed stoneware vessels in a standard repertory of wide-mouth vats, narrow-necked jars, and mortars. The versatile jars were used for any purpose that required a durable and watertight container, from storing seed grain to fermenting wine to interring cremated remains according to Buddhist practice. The makers of these jars were farmers who occasionally made pottery; thus the jars exhibit a range of skill. This gray jar was made at a kiln in a region where the technology of earlier sue ware was adapted to produce heavier, flat-bottomed jars. Potters at such kilns continued to finish the jars with carved wooden paddles, which left their imprint on the textured surface, and the sue-ware firing procedures produced gray surfaces on the jars. Such wares gradually lost their market to kilns producing with more fuel-efficient firing methods, especially to those located near water transportation for efficient... See less

See this at: asia.si.edu| Added on 11/08/09

Even in jars and bowls modeled after Chinese monochrome ceramics, the work of sixteenth-century Seto and Mino potters reflects the emergence of a Japanese preference for asymmetrical forms and lustrous, richly colored glazes. The name Sobokai is... See more

Even in jars and bowls modeled after Chinese monochrome ceramics, the work of sixteenth-century Seto and Mino potters reflects the emergence of a Japanese preference for asymmetrical forms and lustrous, richly colored glazes. The name Sobokai is written on the base of this jar. Iron-rich Sobokai clay, very dark when fired, was preferred for making jars to store tea leaves and tea caddies for the tea powder. A coating of iron-bearing clay solution, called slip, enhances the clay's color. See less

See this at: asia.si.edu| Added on 11/08/09

The host planning a gathering for the Japanese tea ceremony, chanoyu, prepares by choosing a hanging scroll with calligraphy or painting, an object for display, and a range of utensils necessary for preparing tea. Such a selection is termed a... See more

The host planning a gathering for the Japanese tea ceremony, chanoyu, prepares by choosing a hanging scroll with calligraphy or painting, an object for display, and a range of utensils necessary for preparing tea. Such a selection is termed a toriawase. Based on subtle associations of history, place, or maker as well as visual correspondences, the toriawase creates the emotional and aesthetic framework for the enjoyment of tea. Peggy and Richard Danziger, collectors and users of tea utensils, have chosen nine remarkable objects associated with chanoyu for the Freer Gallery. The Danziger gift, while not a toriawase in the narrow sense, is a thoughtful choice of harmonious and important tea objects representing the decisive period from the early sixteenth through the early seventeenth century when chanoyu evolved into an intimate and highly focused social activity transcending all boundaries in its accommodation of objects. Some of the Danziger utensils came into existence through... See less

See this at: asia.si.edu| Added on 11/08/09

Sturdy unglazed jars made in Bizen province (modern Okayama prefecture) had long been used in kitchens and storerooms. With the emerging popularity of the ritualized form of tea preparation called chanoyu, Bizen jars also came to the attention of... See more

Sturdy unglazed jars made in Bizen province (modern Okayama prefecture) had long been used in kitchens and storerooms. With the emerging popularity of the ritualized form of tea preparation called chanoyu, Bizen jars also came to the attention of urban connoisseurs, who used them to store tea. They also discerned—in the mottled coloration of the unglazed surface and the random deposits of wood ash—an austere beauty that they described as the jar’s “landscape.” This perception of the “landscapes” on jars from Bizen, as well as from Shigaraki, forms the first recorded aesthetic appreciation of unglazed stoneware, a preference that has remained central to Japanese taste in ceramics. See less

See this at: asia.si.edu| Added on 11/08/09

Projecting sculptural forms on the rim and ornate combinations of incised and relief designs on the body characterize jars made during the Middle Jomon period, one of the five periods of development of the Japanese Neolithic culture known as Jomon.... See more

Projecting sculptural forms on the rim and ornate combinations of incised and relief designs on the body characterize jars made during the Middle Jomon period, one of the five periods of development of the Japanese Neolithic culture known as Jomon. Jomon ("cord-marked") pottery gives its name to the culture. While similarities according to site, region and period can be observed, no two Jomon pots are absolutely identical. This jar is said to have come from the Togariishi site in mountainous Nagano prefecture, an area that was heavily settled during the Middle Jomon period. See less

See this at: asia.si.edu| Added on 11/08/09

As the textured surface indicates, this jar was finished with the potter's tools called paddle and anvil. In addition, the jar's gray surface is the result of the firing procedure. A gray color resulted from the potter's attempt to ensure that the... See more

As the textured surface indicates, this jar was finished with the potter's tools called paddle and anvil. In addition, the jar's gray surface is the result of the firing procedure. A gray color resulted from the potter's attempt to ensure that the vessel would be nonporous for storing liquids. By restricting oxygen during the last stage of the firing, the potter created a smoky atmosphere that deposited carbon on the pot's surface, sealing the pores and causing the minerals in the clay to darken. The jar was fired to a temperature high enough to melt the wood ash that landed on its surface, creating a natural "glaze." Techniques for firing to a high temperature, using a kiln, were introduced to Japan from the Korean peninsula in the early fifth century. Before this innovation, Japanese potters made only low-temperature, porous earthenware. Nonporous pottery made with the new technology, known as sue ware, was the elite ceramic ware of the day and was buried among the grave offerings... See less

See this at: metmuseum.org| Added on 11/08/09

This small, bulbous-shaped bottle with narrow neck is typical of wares found at Late Jomon sites in the Tohoku region. While the southern and western parts of Japan were responding to foreign influences at this time, this area in northern Honshu... See more

This small, bulbous-shaped bottle with narrow neck is typical of wares found at Late Jomon sites in the Tohoku region. While the southern and western parts of Japan were responding to foreign influences at this time, this area in northern Honshu became a center of traditional pottery production. Although the red pigment applied to the surface of this vessel is unusual, the sophisticated, incised decoration is typical. The small size of this bottle and its relatively simple, compact profile exemplify Late Jomon ceramic-making trends, which reveal a declining interest in sculptural embellishment and elaborate decoration in favor of greater integration of ornamentation and form. The thin walls of the bottle indicate improvements made in potting methods. Flanking the shoulders and lower section are two sets of apertures, through which a thin cord could be threaded to suspend the container. See less

See this at: metmuseum.org| Added on 11/08/09

The swirling, dynamic appearance of the rim of this deep bowl is one of the most recognizable characteristics of wares made during Japan's oldest known civilization, the Jomon. Forming a dramatic contrast to the flamboyant ornamentation along the top... See more

The swirling, dynamic appearance of the rim of this deep bowl is one of the most recognizable characteristics of wares made during Japan's oldest known civilization, the Jomon. Forming a dramatic contrast to the flamboyant ornamentation along the top is the relatively simple cord-marked lower portion of the vessel. Although most of the pottery containers made during this period were cooking vessels, the eccentric, irregular shape of the rim on bowls of this kind does not appear to be suitable for practical use and may have served a ritual function. This deep bowl was built up with coils of clay that were then smoothed by hand and with paddles. Clay coils and the movement of the potter's fingers formed the undulating "fire-flame" design that decorates the rim. The lower portion of the bowl was impressed while still soft with a length of rough cord wrapped around a stick to create the textured pattern. After the bowl was fully formed, it was fired in an open pit. See less

See this at: metmuseum.org| Added on 11/08/09

Cord-marked pottery is the characteristic ware of the earliest inhabitants of Japan. These Neolithic people, known as the Jomon (cord-marking) culture, existed on the abundant fishing and hunting on the Japanese islands from at least the fifth... See more

Cord-marked pottery is the characteristic ware of the earliest inhabitants of Japan. These Neolithic people, known as the Jomon (cord-marking) culture, existed on the abundant fishing and hunting on the Japanese islands from at least the fifth millennium B.C., surviving in some areas until the third century A.D. During this period handmade utilitarian wares were treated with inventive, often extravagant artistry, and regional separations between groups resulted in a wide range of types and styles. This earthenware food vessel, which came from the Aomori Prefecture in northeastern Japan, is remarkable for the fine quality of its clay and its sophisticated decoration. The cord-marked herringbone pattern was reproduced by cords knotted together and twisted in opposite directions. See less

See this at: metmuseum.org| Added on 11/08/09

This poignant figure of a dead infant boar shows the variety and range of expression achieved by the makers of haniwa figures. Although the reason for making this image is unknown, the large snout, curled body, and bound limbs of this small animal... See more

This poignant figure of a dead infant boar shows the variety and range of expression achieved by the makers of haniwa figures. Although the reason for making this image is unknown, the large snout, curled body, and bound limbs of this small animal are the result of subtle observation and skillful hands. The practice of building sepulchral earthen mounds and burying treasures with the dead was transmitted to Japan from the continent around the third century A.D. and caused a significant change in burial customs. The bodies of the dead were interred in large wooden coffins placed in the tomb chambers. Buried with the deceased were such items as bronze mirrors, tools, weapons, personal ornaments, horse decorations, and clay vessels. The outer part of the burial mounds was lined with stones. Haniwa, sometimes numbering in the thousands, were placed in rows at the base and scattered on the crest of the knolls or on the sloping sides of the mounds. See less

See this at: metmuseum.org| Added on 11/08/09

Large jar, late Kofun or Asuka period (ca. 3rd century–710), 6th–7th century Japan Stoneware with natural ash glaze and comb and cord markings (Sue ware)

Large jar, late Kofun or Asuka period (ca. 3rd century–710), 6th–7th century Japan Stoneware with natural ash glaze and comb and cord markings (Sue ware) See less

See this at: metmuseum.org| Added on 11/08/09

During the second century B.C., an influx of people from the continent brought the first of several waves of foreign influence that have shaped Japanese culture, initiating a more advanced cultural stage known as Yayoi. When rice cultivation and... See more

During the second century B.C., an influx of people from the continent brought the first of several waves of foreign influence that have shaped Japanese culture, initiating a more advanced cultural stage known as Yayoi. When rice cultivation and bronze and iron metallurgy were introduced, probably through Korea, the isolated and self-sufficient life of the Jomon gave way to a communal society organized to carry out the demanding agricultural cycle. Architectural styles and ornamental motifs reflect other influences from southern China and the Pacific islands stretching from Kyushu to Taiwan. The social and aesthetic character of the transformed culture of Yayoi is vividly reflected in its ceramic vessels. The finely articulated shape of this storage jar from the Nagoya area, with its bulbous form rising from a small, flat base to the flaring rim of its wheel-turned neck and mouth, is enhanced by the burnished surface of its warm red body. The irregular, vigorous shapes of Jomon vessels... See less

See this at: metmuseum.org| Added on 11/08/09

Formally attired in a breastplate and studded metal helmet, this haniwa (circle of clay) bust of a warrior vividly attests to the world of early Japan. Boldly potted from fragile earthenware, his broad face, triangular nose, and the oval perforations... See more

Formally attired in a breastplate and studded metal helmet, this haniwa (circle of clay) bust of a warrior vividly attests to the world of early Japan. Boldly potted from fragile earthenware, his broad face, triangular nose, and the oval perforations for his eyes and mouth evoke an impassive resolve. The earliest haniwa, dating to the late third century A.D., were simple clay cylinders. Houses and animals as well as ceremonial and other objects appeared in the late fourth century, while figural haniwa were created in the fifth, sixth, and seventh centuries. The traces of red paint found on this figure indicate that it was made in the Kanto region (around Tokyo). Haniwa were placed at the top of the burial mound, in the center, along the edges, and at the entrance of the burial chamber of enormous tombs constructed for the ruling elite during the Tumulus, or Kofun (ca. 3rd century–538), period. These tombs were generally covered with large mounds of earth and were often shaped like... See less

See this at: asia.si.edu| Added on 11/08/09

The formal metaphor for this sake bottle is "the first dream of the New Year," which, in order to be considered extremely lucky, must include three objects: first, Mt. Fuji; second, a falcon; third, an eggplant. In this mold-formed vessel - quite... See more

The formal metaphor for this sake bottle is "the first dream of the New Year," which, in order to be considered extremely lucky, must include three objects: first, Mt. Fuji; second, a falcon; third, an eggplant. In this mold-formed vessel - quite suitable for pouring a toast at the end of the old year - the bottle itself is shaped as an eggplant, Mt. Fuji appears as a decoration on the side of the bottle, and "Taka" is the character in the seal placed appropriately to the left of the mountain image. See less

See this at: asia.si.edu| Added on 11/08/09

Approximately 200 diverse and visually striking ceramic vessels from Southeast Asia are on long–term view April 1 through the year 2010 in "Taking Shape: Ceramics in Southeast Asia." The clay pots and jars form the most enduring record of human... See more

Approximately 200 diverse and visually striking ceramic vessels from Southeast Asia are on long–term view April 1 through the year 2010 in "Taking Shape: Ceramics in Southeast Asia." The clay pots and jars form the most enduring record of human activity in this part of the world, during the prehistoric period to the present. Donated to the Sackler between 1996 and 2005 by brothers Osborne and Victor Hauge and their wives Gratia and Takako, these remarkable objects provide the focus for a detailed narrative of the migration of pots from their makers to their users. Included in the Hauge gift are more than 800 vessels made in Thailand, Cambodia, Vietnam and Laos, together with Chinese bowls and jars exported to Southeast Asia. "Taking Shape" presents the two basic types of ceramics produced in Southeast Asia–soft, porous earthenware and high–fired stoneware. Earthenware continues to be used to cool drinking water, cook rice and curries over a wood fire and heat water for reeling silk.... See less

See this at: metmuseum.org| Added on 11/08/09

Burial chambers and sarcophagi in the early tombs were simple and unadorned. Painted decorations began to appear by the sixth century. The bodies of the dead were interred in large wooden coffins; burial goods–bronze mirrors, tools, weapons, personal... See more

Burial chambers and sarcophagi in the early tombs were simple and unadorned. Painted decorations began to appear by the sixth century. The bodies of the dead were interred in large wooden coffins; burial goods–bronze mirrors, tools, weapons, personal ornaments, horse trappings, and clay vessels–accompanied the coffins into the tomb chambers. Burial mounds were circled with stones. Packed in rows at the base, scattered on the crest of the knoll, or placed on the sloping sides of the mound were haniwa (clay cylinders). These hollow clay tubes served as stands for offering vessels when the tombs were the focus of community ritual. Although most haniwa are unadorned, some are topped with sculptures. A notable contribution to pottery during the Kofun period was Sueki ware, first produced in the mid-fifth century. Sueki pottery is usually made of blue-gray clay and is often thin-bodied and hard, having been fired at temperatures of roughly 1,100 to 1,200° C, a range similar to that used to... See less

See this at: e-yakimono.net| Added on 11/08/09

Some of the most fascinating pottery ever made in Japan dates back to the Jomon period (10,000 BC to 300 BC). The open-pit fired large vessels had the most amazing decorative features and continue to inspire potters today, most notably the late Okabe... See more

Some of the most fascinating pottery ever made in Japan dates back to the Jomon period (10,000 BC to 300 BC). The open-pit fired large vessels had the most amazing decorative features and continue to inspire potters today, most notably the late Okabe Mineo, Mashiko's Shimaoka Tatsuzo, and Bizen's "kiln god" Mori Togaku. In 1990, the Shigaraki Ceramic Park Museum hosted an exhibition entitled Primitivism in Contemporary Ceramics highlighting many Jomon works and how they relate to what's happening now. The grand flowing traditions of Japanese ceramic art thrive today due to the living presence and inspiration that past works impart. There is no now without the past and there is no future without the now. Some of the most intriguing works from the Jomon period are clay figurines called dogu (pronounced dough-goo). There are many theories on what they were used for with the main agreement being they were a talisman for good health or safe childbirth. As many were excavated in fragments,... See less

See this at: en.wikipedia.org| Added on 11/08/09

The Jōmon period (縄文時代 Jōmon jidai?) is the time in Japanese prehistory from about 14,000 BCE[1] to 400 BCE. The term "Jōmon" means "cord-patterned" in Japanese. This refers to the markings made on clay vessels and figures using sticks with cords... See more

The Jōmon period (縄文時代 Jōmon jidai?) is the time in Japanese prehistory from about 14,000 BCE[1] to 400 BCE. The term "Jōmon" means "cord-patterned" in Japanese. This refers to the markings made on clay vessels and figures using sticks with cords wrapped around them which are characteristic of the Jōmon people.[2] See less

See this at: metmuseum.org| Added on 11/08/09

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See this at: archaeology.about.co...| Added on 11/08/09

The Early and Middle Jomon lived in hamlets or villages of semi-subterranean pit houses, excavated up to about one meter into the earth. By the late Jomon period and perhaps as a response to climate change and a lowering of sea levels, the Jomon... See more

The Early and Middle Jomon lived in hamlets or villages of semi-subterranean pit houses, excavated up to about one meter into the earth. By the late Jomon period and perhaps as a response to climate change and a lowering of sea levels, the Jomon moved into fewer villages sited mainly on the coastlines and there relied increasingly on river and ocean fishing, and shell fish. The Jomon diet was based on a mixed economy of hunting, gathering and fishing, with some evidence for gardens with millet, and possibly gourd, buckwheat, and azuki bean. See less

See this at: earlywomenmasters.ne...| Added on 11/08/09

"It is thought that Jomon pottery was made by women, as was the practice in most early societies, especially before the use of the potter's wheel." ~ ART HISTORY, edited by Marilyn Stockstad. ___ ___ ___ from the Metropolitan Museum of Art website:... See more

"It is thought that Jomon pottery was made by women, as was the practice in most early societies, especially before the use of the potter's wheel." ~ ART HISTORY, edited by Marilyn Stockstad. ___ ___ ___ from the Metropolitan Museum of Art website: "All Jomon pots were made by hand, without the aid of a wheel, the potter building up the vessel from the bottom with coil upon coil of soft clay. As in all other Neolithic cultures, women produced these early potteries." (...more at MMA.) See less