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Kintsugi (Japanese: 金継ぎ, lit. 'golden joinery'), also known as kintsukuroi (金繕い, "golden repair"), [1] is the Japanese art of repairing broken pottery by mending the areas of breakage with urushi lacquer dusted or mixed with powdered gold, silver, or platinum. The method is similar to the maki-e technique.
The Japanese aristocracy preferred plain silks over woven or dyed designs. [121] A total of seven National Treasures have been designated in the weaving and dyeing category, including: two mandalas , two monk's surplices or kesa , one brocade, one embroidery with a Buddhist motif and a set of garments presented to a shrine.
Blue porcelain vase decorated with red and yellow flowers and green foliage with geometric design around the neck and foot rim, by Imaemon Imaizumi XII (Living National Treasure). It was gifted by Emperor Shōwa and Empress Kōjun on the occasion of their first visit to the United States to President Gerald R. Ford in 1975.
Kutani ware (九谷焼, Kutani-yaki) is a style of Japanese porcelain traditionally supposed to be from Kutani, now a part of Kaga, Ishikawa, in the former Kaga Province. [1] It is divided into two phases: Ko-Kutani (old Kutani), from the 17th and early 18th centuries, and Saikō-Kutani from the revived production in the 19th century.
Tokanabe ware was typically black with a stippled texture and hand-painted raised relief designs. Some pieces were also produced in brown, gold or orange. It was stamped Nippon until 1921, when the US Congress passed legislation requiring all products manufactured in Japan for export to the United States to be marked Made in Japan.
Kakiemon (Japanese: 柿右衛門様式, Hepburn: Kakiemon yōshiki) is a style of Japanese porcelain, with overglaze decoration called "enameled" ceramics. It was originally produced at the kilns around Arita, in Japan's Hizen province (today, Saga Prefecture) from the Edo period's mid-17th century onwards. [1]
The term Tianqi porcelain is mostly used of these types for the Japanese market, from the Tianqi Emperor (r. 1620–1627). The transitional ware of the early Kangxi decades witnessed a move away from designs and aesthetic standards of the painter Dong Qichang to newer tastes typified by the artist Shen Shitong and his use of western perspective ...
Some of his works showed the influence of European graphic design, while he combined traditional Japanese and Chinese techniques with new technologies from the West. [50] The collection illustrates how he and his son Hanzan became increasingly ambitious, introducing new colours, designs and sculptural effects in works sent to international ...