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Unit 88-9 (Kiyomizu Masahiro)
''Unit 88-9'' (Kiyomizu Masahiro) is a glazed stoneware sculpture by contemporary Japanese potter and sculptor Kiyomizu Masahiro, also known by the professional art-name Kiyomizu Rokubei VIII. This piece is held in the collection of the Royal Ontario Museum in Toronto, Canada. Kiyomizu Masahiro Kiyomizu Masahiro (清水 柾博) was born in Kyoto on April 22, 1954. His father was the sculptor Kiyomizu Kyūbei (清水九兵衛), who in 1981 became the seventh head of the Kiyomizu pottery atelier and took the name Kiyomizu Rokubei VII. Kiyomizu Masahiro graduated from Tokyo's Waseda University with a degree in architecture from the Faculty of Science and Engineering in 1979. Although he originally planned to pursue this field, but decided to follow in the family pottery tradition because it gave him "full control of the creative process from start to finish." He returned to Kyoto, where he continued his studies. He spent one year at the Kyoto Prefectural Ceramic Training Institute ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kiyomizu Rokubei
Kiyomizu Rokubei (清水六兵衛) is the name bestowed on the head of the Kyoto-based Kiyomizu family of ceramists. With over 240 years of history, the studio is now into its eighth generation. It is currently headed by contemporary ceramist and sculptor Rokubei VIII. The family was influential in the development and survival of Kyō ware. Kiyomizu family heads Kiyomizu Rokubei I Born Kotō Kuritarō in Settsu, Osaka around 1735, Rokubei was the son of a farmer named Kotō Rokuzaemon (古藤六左衛門). Sometime between 1748 and 1751, he moved to Kyoto and began to study pottery under Ebiya Seibei (海老屋清兵衛), acknowledged as the "first recorded potter of Kyomizu icfaience". In 1771, he opened his own studio in the Gojōzaka district of Kyoto, near Kiyomizu Temple, and took the name Rokubei. The three characters making up this name are a combination of those in his father's and teacher's names. According to some accounts, the name Rokubei was given to him by the ab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
National Museum Of Art, Osaka
is a subterranean Japanese art museum located on the island of Nakanoshima, located between the Dōjima River and the Tosabori River, about 10 minutes west of Higobashi Station in central Osaka. The official Japanese title of the museum translates as the "National Museum of International Art". The museum is also known by the English acronym NMAO (National Museum of Art, Osaka). NMAO history Designed by César Pelli & Associates Japan. The museum originates from the Expo Museum of Fine Arts at Expo'70, held in Suita in the outskirts of Osaka. The site was converted into Expo Commemoration Park after the Expo, but the gallery was preserved for possible future use as a permanent art museum. It re-opened in 1977 as the National Museum of Art, as part of the Expo Commemoration Park. Due to the aging of the building as well as growing space limitations, the museum was temporarily closed in January 2004. The old museum was demolished and turned into a car park, while the exhibits wer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ceramic Sculptures
A ceramic is any of the various hard, brittle, heat-resistant and corrosion-resistant materials made by shaping and then firing an inorganic, nonmetallic material, such as clay, at a high temperature. Common examples are earthenware, porcelain, and brick. The earliest ceramics made by humans were pottery objects (''pots,'' ''vessels or vases'') or figurines made from clay, either by itself or mixed with other materials like silica, hardened and sintered in fire. Later, ceramics were glazed and fired to create smooth, colored surfaces, decreasing porosity through the use of glassy, amorphous ceramic coatings on top of the crystalline ceramic substrates. Ceramics now include domestic, industrial and building products, as well as a wide range of materials developed for use in advanced ceramic engineering, such as in semiconductors. The word "''ceramic''" comes from the Greek word (), "of pottery" or "for pottery", from (), "potter's clay, tile, pottery". The earliest known m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
View Of Tempōzan Park In Naniwa (Gochōtei Sadamasu)
A view is a sight or prospect or the ability to see or be seen from a particular place. View, views or Views may also refer to: Common meanings * View (Buddhism), a charged interpretation of experience which intensely shapes and affects thought, sensation, and action * Graphical projection in a technical drawing or schematic ** Multiview orthographic projection, standardizing 2D images to represent a 3D object * Opinion, a belief about subjective matters * Page view, a visit to a World Wide Web page * Panorama, a wide-angle view * Scenic viewpoint, an elevated location where people can view scenery * World view, the fundamental cognitive orientation of an individual or society encompassing the entirety of the individual or society's knowledge and point-of-view Places * View, Kentucky, an unincorporated community in Crittenden County * View, Texas, an unincorporated community in Taylor County Arts, entertainment, and media Music * ''View'' (album), the 2003 debut album by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bust Portrait Of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)
''Bust portrait of Actor Kataoka Ichizō I'' is an ''ukiyo-e'' Japanese woodblock printing, woodblock print belonging to the permanent collection of the Royal Ontario Museum, Canada. The print dates to around the mid nineteenth century, and is an example of kamigata, ''kamigata-e'', prints produced in the Osaka and Kyoto areas. The ROM attributes the print to Utagawa Sadamasu II, but other institutions identify Utagawa Kunimasu—also known as Sadamasu I—as the artist. Print details * Medium: ''kamigata nishiki-e'' [上方錦絵] woodblock print; ink and colour on paper * Size: ''chūban'' * Format: ''tate-e'', right sheet of diptych * Genre: ''yakusha-e'', ''ōkubi-e'' * Japanese title: none * Exhibit title: ''Bust Portrait of Actor Kataoka Ichizō I'' * Subject character name: Tetsugadake Dazaemon * Subject play name: ''Sekitori Senryō Nobori'' [関取千両幟] (''The Rise of the 1000 Ryō Wrestler'' / ''The Sumo Wrestler's Banner'') * Inscription: Tetsugadake Dazaemon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eijudō Hibino At Seventy-one (Toyokuni I)
''Eijūdō Hibino at Seventy-one'' is an ''ukiyo-e'' woodblock print dating to around 1799 by Edo period artist Utagawa Toyokuni I. According to its inscription, the print was produced in commemoration of the featured subject, print publisher Nishimuraya Yohachi I's, seventy-first year. The print is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada. Utagawa Toyokuni I Utagawa Toyokuni (歌川豐國), also known as Toyokuni I, was the second head of the Utagawa school, and one of the most influential and prolific print-makers of the Edo period. From early adolescence, he apprenticed with Utagawa Toyoharu, studying the style of his mentor, as well as those of Chōbunsai Eishi, Utamaro and Eishōsai Chōki. He achieved his greatest commercial success within the genres of ''bijinga'' (prints of beautiful women) and, more significantly, ''kabuki-e'' and ''yakusha-e'' (kabuki and kabuki actor prints). The latter constitute the "overwhelming majority" of his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ichikawa Omezō As A Pilgrim And Ichikawa Yaozō As A Samurai (Toyokuni I)
''Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai'' is an ''ukiyo-e'' woodblock print dating to around 1801 by Edo period artist Utagawa Toyokuni I. Featuring two of the most prominent actors of the day as characters in a contemporary kabuki drama, it is a classic example of the ''kabuki-e'' or ''yakusha-e'' genre. The print is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada. Toyokuni and kabuki Utagawa Toyokuni (歌川豐國), also known as Toyokuni I, was the second head of the Utagawa school, and one of the most influential print-makers of the Edo period. From early adolescence, he apprenticed with Utagawa Toyoharu, studying the style of his mentor, as well as those of Chōbunsai Eishi, Utamaro and Eishōsai Chōki. Although his initial attempts met with failure, Toyokuni achieved commercial success in 1786 with illustrations for the ''kibyōshi'' novelette ''Tsugamonai hanashi no oyadama'' (無束話親玉). He soon discovered his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fan Print With Two Bugaku Dancers (Kunisada)
''Fan print with two bugaku dancers'' is an ''ukiyo-e'' woodblock print dating to sometime between the mid 1820s and 1844 by celebrated Edo period artist Utagawa Kunisada, also known as Toyokuni III. This print is simultaneously an example of the ''uchiwa-e'' (fan print) and '' aizuri-e'' (monochromatic blue print) genres. It is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada. ''Uchiwa-e'' ''Uchiwa'' (団扇) are non-folding, flat, oval fans. They are still used today for cooling rice in the preparation of sushi, in dance performances, and as a cooling tool. Historically, ''uchiwa'' were a predominantly female accessory, men typically carrying folding fans known as ''ōgi'' (扇), ''suehiro'' (末広) or ''sensu'' (扇子).Salter 2006, 25 They are associated with summer, traditionally having been sold only during the summer months, and decorated with summer imagery. At least one modern critic argues that, due to their use by women during periods of he ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Female Ghost (Kunisada)
''Female Ghost'' is an ''ukiyo-e'' woodblock print dating to 1852 by celebrated Edo period artist Utagawa Kunisada, also known as Toyokuni III. ''Female Ghost'' exemplifies the nineteenth century Japanese vogue for the supernatural and superstitious in the literary and visual arts. The print is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada. ''Yūrei-zu'' This print belongs to a genre of Japanese painting and ''ukiyo-e'' known as ''yūrei-zu'' (幽霊図), ghost pictures, which peaked in popularity in the mid-nineteenth century. Literally 'faint (幽- yū) spirit (霊- rei),' ''yūrei'' is just one of several Japanese words used to refer to spirits. Other terms include: ''obake'' (お化け), ''yōkai'' (妖怪), ''bōrei'' (亡霊), ''shiryō/ shirei'' (死霊), ''yūki'' (幽鬼), ''yōma'' (妖魔), ''yūkai'' (幽怪), ''rei'' (霊), ''bakemono'' (化け物), ''konpaku'' (魂魄), ''henge'' (変化), ''onryō'' (怨霊) and ''yūreijinkō'' (幽 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
