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Lacquerware is a longstanding tradition in Japan [6] [7] and, at some point, kintsugi may have been combined with maki-e as a replacement for other ceramic repair techniques. . While the process is associated with Japanese craftsmen, the technique was also applied to ceramic pieces of other origins including China, Vietnam, and Kor
Ko-Kiyomizu (old Kiyomizu) lidded brazier (te-aburi) with paulownia and geometric design, stoneware with overglaze enamels and gold, Edo period, 18th century. Kiyomizu ware (清水焼, Kiyomizu-yaki) is a type of Kyō ware traditionally from Gojōzaka district near Kiyomizu Temple, in Kyoto. The history of Kiyomizu ware dates back to the ...
Yūri-kinsai (釉裏金彩) is a gold leaf-application technique used in Japanese pottery and porcelain. It forms a transparent overglaze on gilded porcelain. [1] Yūri-kinsai is a complicated under look technique. It uses two kinds of gold leaf that consists of one thick and one thin layer.
The list of Japanese ceramics sites (日本の陶磁器産地一覧, Nihon no tōjiki sanchi ichiran) consists of historical and existing pottery kilns in Japan and the Japanese pottery and porcelain ware they primarily produced. The list contains kilns of the post-Heian period.
Mino ware (美濃焼, Mino-yaki) is a style of Japanese pottery, stoneware, and ceramics that is produced in Mino Province, mainly in the cities of Tajimi, Toki, Mizunami, and Kani in Gifu Prefecture, central Japan. [1]
Japanese pottery strongly influenced British studio potter Bernard Leach (1887–1979), who is regarded as the "Father of British studio pottery". [31] He lived in Japan from 1909 to 1920 during the Taishō period and became the leading western interpreter of Japanese pottery and in turn influenced a number of artists abroad.