Practising the art of Ikebana – vintage photo from Japan

 I like the Zen aesthetic of Ikebana flower arrangements where space is as important as the detail. The graceful, clean lines are given room to express their elegance and the favoured asymmetrical forms reinforce the dynamic. Silence was traditionally a prerequisite for practising Ikebana and the Zen masters valued it as a contemplative art form. The art of Ikebna has been taught for over 450 years.  Instead of an array of colourful flower petals, Ikebana often highlights only two or three flowers combined with other parts of the plant, i.e. stems, branches and leaves, to define shape, line and form. The vessel containing the arrangement are also given much consideration.

Ikebana History

From pre-Buddhist times, the Japanese used evergreen trees and flowers to invoke nature gods and some claim this practice is at the heart of secular Ikebana. Japan’s deep connection with nature in the form of flowers, wild plants and trees is apparent even in the earliest of Japanese writings.
Ikebana, first appeared in the Muromachi Period (from the late 14th century to the mid 16th century). It was during this period that much of what was to become viewed as traditional Japanese art and its canon of beauty was established. The Shoin-style of residential architecture, the tea ceremony, Ikebana, noh plays,  renga verse and garden design, all have their beginnings in the Muromachi period. Ikebana was used in the Buddhist temples for altar decorations and worship. The translation of Ikebana is ” priest of the lake ” from  a Buddhist priest who lived next to a lake and was sought out for his skills in flower arrangement .

 Ikabana display at a Japanese tea ceremony

From the Azuchi Momoyama period through to the Edo period, Ikebana, seen as a living art form, went through several transitions. The Doboshu style concentrated on flower arrangements based on a standing branch in the centre of the vase which was called tatebana. The samurai class and aristocracy used Ikebana with their detailed form of tea ceremony. In the Edo period, Ikebana underwent one of its most serious shifts. The Ikenobo style of tatebana, influenced by Senno Rikkyu’s chabana (simplified flower arrangements for tea rooms) spread from the samurai warrior class to townsman or urban merchant culture.The simplicity of the Chabana in turn helped create the Nageire or “thrown-in” style. The ‘non structured’  Nagaire style led to the Shoka style, which focused on the uniqueness of the plant,  and also the Jiyūka style – a free creative design not confined to flowers as all materials could be used.
With the Meiji period modernization, Ikebana experienced an important adaption. The Meiji government committed itself to educating women and decided that Ikabana art should be defined as training women to be “good wives and wise mothers”. The government literally decreed that, as part of this character formation, Ikebana, once a male art form, was now a standard part of women’s education. This ensured the popularity of the art form into modern times.

Atsushi

Atsushi is the first artist I’m featuring and I feel his arrangements really capture the spirit of Ikebana, nicely complimented by his photography.

Box horsetail, shepherd’s purse Ikebana – Atsushi, Japan

Japan Ikebana by Atsushi

Companion – Atsushi

Ikebana by Atsushi

Hitorishizuka - Atsushi

Early Spring by Atsushi

I wait for the rain – Atsushi

Messenger – Atsushi

Moderation is best – Atsushi

Muscari—grape hyacinth by Atsushi

No title – Atsushi

Pioneer - Camellia japonica, Spiraea

Atsushi

Red spider lily Ikebana by Atsushi

Spring Ephemeral – Atsushi

Southeast Asia Earthenware Bowl

Incense - Tsukubai of Awakoganegiku  with Shigaraki vase – Atsushi

Until the equinox – Atsushi, Japan

Goldenrod flower with a ritual implement made of copper  - Atsushi

 Ikebana by Atsushi – Virginia willow, grass-of-Parnassus

Lotus by Atsushi

The fruit of lotus and magnolia, in a miso pot from the Cham in Vietnam.

White campion Bana Matsumoto, Yamaji Roh little cuckoo

’63 Ikebana by Atsushi

Promise  -  Amaryllidaceae—bracket fungus

Atsushi

Red fruit – Atsushi

website - Ichihana one leaf by Atsushi

Sofu Teshigahara and family :

Sofu Teshigahara was born in Osaka as the first son of the Ikebana artist Wafu Teshigahara. He broke away from his father because he questioned the traditional Ikebana of arranging flowers in a routine fashion. In 1927 he founded the famous Sogetsu school, which advocates Ikebana as art that respects the individuality of the person arranging the flowers. There are some rules, but no arbitrary dogmas, and those rules are always flexible.
The Sogetsu School aims to be alive, using plants and flowers to express vividly experiences of the present age. Below are some Ikabana art by Sofu, his son Hiroshi and Hiroshi’s daughter Akane. Some of Sofu’s modernist sculptures re included.

Opening installations for the Exhibition 0f Hiroshi Teshigahara at the Museum of Modern Art, Saitama. (July 2007)

Sogetsu Exhibition “Red and Black” June 2009 (Shinjuku Takashimaya, Tokyo) The big arrangement used coloured driftwood as a framework, and was arranged with a soft line of coloured weeping willow, coloured box tree, smoke tree, and glory lily.

Sogetsu Exhibition, Shinjuku – 2005

The fruiting kaki branches are drastically trimmed to present the vigour of the lines. A sense of volume is created by the bright yellow color of the chrysanthemums in the center - Akane Teshigahara

Commemorative Ceremony for the 20th Anniversary of the Enthronement of His Majesty the Emperor in November 2009 at the National Theatre, Tokyo.
These stage flowers were displayed to express the feeling of celebration with red and white moth orchid, camellia, Japanese hemlock, idesia, Citrus natsudaidai, baby’s breath and statice. Spilt bamboo added a sense of rhythm.

Akane Teshigahara

White lace flowers exude a light feeling while the cheerful colours of the poppy give an impression of joyful dancing. - Akane Teshigahara

 The glossy China root berries and the soft, brush-like fibers of achiote —By combining these materials both red but with different textures, an exquisite contrast is created.  - Akane Teshigahara

Large flowers of soft purple and white hydrangea are placed within free-flowing bottlebrush branches. 2010

Akane Teshigahara

Plenty of delicious-looking persimmons with volume are arranged in a vase with its distinct presence, combined with the beautiful autumn leaves of mountain ash and nerine.- Akane Teshigahara

Akane Teshigahara Ikebna - Golden-apple, Red-hot-poker, Goldenrod
Ceramic vase by Hiroshi Teshigahara

 A strong vase was selected to express the buoyant movement of plants.Pine was combined with hydrangea that offers multiple expressions of colors, and lines - Akane Teshigahara

Sofu Teshigahara exhibited an extra large-scale ikebana, Inochi(Life) in which he used veins of 1000 years old wisteria which weighed 3 tons.

Takashimaya Department store in Nihonbas, Japan

A ceramic sculpture by Sofu Teshigahara called  Vinasu (Venus)  exhibited at the World Modern Art Exhibition, at the Bridgestone Museum.

1957

Two Birds - flamingo lily, dried statice, summer cypress, Oya stone

Sofu Teshigahara, 1951

Sofu Teshigahara - Piacenza SUPERGA 1963

Sofu Teshigahara - Piacenza SUPERGA 1963

(  Giorgio Piacenza Dassu  )

Sogetsu website 

Camellia  & ceramic vase – Kiyoyuki Kato

Byobu & Ikebana; Japanese folding screen and Japanese flower arrangement.

( ConveyorBeltSushi – flickr )

Ikebana 2 – Mochimochi Land

Orange flowering gum with gumnuts

ikebanabyjunko.co.uk

Mid Century Ikebana – two branches of celastrus with an abstract sculptured ceramic vessel.

( nibsblog.wordpress.com )

Lightning Storm from sogetsud, Flickr

Ikebana by Mario Hirama

Ikebana of-Soho Sensei

Junko’s Ikebana class

Still Life with Snowberry  - Tim Helmatel , 1991

Ikebana using dried material and a vintage modernist vase.

Ikebana using curved lines

( sogetsudc on Flickr. )

Old Japanese  TANBA pottery flower vase from  KANJI MEIJI era.

A Japanese painting by KAWAI Gyokudo   (1873-1957)

ENAMI – Man in Mist

Ikebana nirvana – Japan floral arts is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Ikebana nirvana – Japan floral arts

Contemporary ceramicists Ross Auld and Tania Rollond are Aussies based in New South Wales. Their styles are contrasting – Ros uses stoneware, slab built textural surfaces while Tania works with wheel thrown, hand painted, smooth porcelain. Their similarity lies with their spontaneous, free spirited designs and originality.

Ros Auld :

Australian potter Ros Auld works from a studio at  Borenore near Orange, in Central West NSW, specialising in slab-built, or thrown and manipulated, stoneware forms decorated with wood ash glazes and trailed and incised slips, coloured oxides and gold lustre. Both her sculptural and functional work express surface textures and subtle colours that evoke the Australian landscape.

Ros Auld studied painting and ceramics at the National Art Schools in Newcastle and Sydney. In 1975 Auld worked in the ceramic studio of the painter, John Piper in England.

Ros Auld sculpture vessel

Ros Auld

Fragment 2 – Ros Auld sculptural vase

Earth and Sky – Ros Auld slab built vase

Emerge  – Ros Auld sculpture

Escarpment –  42-50-22 cm  - Ros Auld

Fragment 3 by Ros Auld at Janet Clayton Gallery

 Lagoon - Ros Auld

Landscape and Memory – Ros Auld

( Janet Clayton gallery )

Remnant Landscape by Ros Auld

( Janet Clayton gallery )

Ros Auld

Two legged vase –  Ros Auld

( Bemboka )

Bluff – Ros Auld

Ros Auld vase

Landlines - Ros Auld

Futher Afield  – Ros Auld

Terrain by Ros Auld

Tracks - Ros Auld

Weather Report - large sculptural vase by Ros Auld

See more of Ros Auld works here :

www.artsite.com.au

www.janetc;aytongallery.com.au

 Tania Rollond :

As I lean over the wheel, magpie songs swell outside and then flood through the open door. As my pencil searches for a line, the lightning flash of a rosella cuts across the window. As I take up my paintbrush, a passing storm stains the sky and stirs the ants – I take a deep breath as the first swollen drops land.
I shape the forms, draw out the lines and paint the colours that trace these rhythms on each white surface; patterns of this place and time.

Artist Statement for Magpie Songs at Skepsi on Swanston Gallery, 2009

Tania Rollond is a maker of exquisite porcelain vessels. Each is wheel thrown and decorated with drawings and paintings that allude to the natural world. She does not intend for them to directly imitate nature, but hopes that they convey some of nature’s dynamic force. And she loves visual clues that convey the relationships between the infinitely small and the universal. The vessels are beautiful in their own right – refined, elegant and gracefully seductive. However, the very smooth surfaces of those forms are also absolutely necessary because her wonderful drawings on them are an essential, identifying part of each piece.

Much of her work is decorated using a combination of drawing and painting with various oxides and stains – abstracted shapes of leaves, twigs and more touch the surfaces lightly.

( via Julie Gibbons at iamthelab )

Tania Rollond at studio

Tania Rollond bowl and vases

Tania Rollond spherical bottle

Tania Rollond

Tania Rollond

Tania Rollond spherical bottle vase

Tania Rollond – vases and bottle

Sculpture from  one thing and another series – 2012

Tania Rollond porcelain vase

Tania Rollond

Tania Rollond

Tania Rollond porcelain bottle

Tania Rollond vase

Tania Rollond

Tania Rollond

Tania Rollond – 3 jugs

Tania Rollond

Tania Rollond

Tania Rollond

Tania Rollond

Tania’s website link

Australia pottery – Tania Rollond and Ros Auld is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Australia pottery – Tania Rollond and Ros Auld

The most dominant of Mexico’s crafts is in the pottery arts. Ceramics was considered one of the highest art forms during the Aztec Empire, the knowledge of making pottery is said to have come from the god Quetzalcoatl himself. The cultural trait of using bold mixtures of vivid colours in art and fabrics was also prevalent in the rich pallete of colours used in traditional Mexican pottery decoration.

The abundance of colours in crafts and other constructions extended back into pre-Hispanic times. Pyramids, temples, murals, textiles and religious objects were painted or coloured with ochre red, bright green, burnt orange, various yellows and turquoise.

  Tlaxcala Palacio de Gobierno – Part of a mural  created  by Desiderio Hernandez Xochitiotzin.

Pre-Hispanic pottery was made by coiling the clay into consecutive circles up the sides, followed by scraping and molding the coiled work until the coils could no longer be detected.The Hispanic wares were not glazed, but rather burnished and painted with coloured fine clay slips.  The Spanish introduced the potters’ wheel and new glazing techniques, including Majolica. The colourful Majolica suited the Mexican aesthetic and the Talavera pottery is renowned for its variety of Majolica and its mixture of Arab, Chinese, Spanish and indigenous design influences. Also a “ Baroque “ influence  developed with a predominance of curved lines and intricate detail. This hybrid of styles was adopted by the local folk art pottery scene with most potters working in family workshops, and everyone participating in the process.
In the very early colonial period, the native artisan classes were persecuted and their art traditions were virtually destroyed, as many of the designs and techniques they used were linked to pre-Hispanic religious practices, which the Spaniards wanted replaced with Christianity. However, technically they benefited from the new crafts and new craft techniques which were introduced from Europe which were often taught to indigenous and mestizo people at the missions. Their knowledge of majolica helped them become competitive with pottery exporting. Fortunatel, many of their ancient pottery styles were rediscovered from archaeological excavations which helped the indigenous artists re-connect with some of their lost traditions. The pottery ranged from the purely decorative – religious statues, musician miniatures and muñecas ( dolls )– to the utilitarian: jugs, planters, cazuelas ( cooking pots ), small plates, chargers, salsa dishes and cups.

Mexico Mayan bowl carved with serpents and human forms, most likely a scene of the underworld    539 AD.

( met museum )

Angelica Vasquez Cruz – Angelica infuses indigenous legends and Mexican history into  her pieces.

Arbol Sirena – mexfolkarts

Arnulfo Vasquez charger

  Tall vase decorated with the Virgen de Guadalupe used to decorate a shrine to the Virgin in Santa Maria Atzompa, Oaxaca, Mexico

( Karen Elwell – Flickr )

Colonial Talavera dish

Jose Luis Cortez Hernandez large lidded pot, Mexico

 Jose Luis Cortez Hernandez Mexican folk art pottery

 Dolores Porras

Dolores Porras, an important folk artist from  Oaxaca, Mexico.  She was born in 1937 in Santa Maria Atzompa into a pottery making family. She grew up poor and could not go to school, beginning to make pottery when she was 13 years old and had a career that spanned over 50 years.

( 1937 – 2010 )

Photo Norma Hawthorne

This  pot by Dolores Porras exemplifies her decorative narrative,  with her use of iguanas and flowers.

http://www.doloresporrasdvd.com/

Dolores Porras clay figurine

Dolores Porras pottery figurine -  Artista Artesana de Barro.

( Karen Elwell – flickr )

Miguel Fabian Pedro -San Bartolo Coyotepec, Oaxaca

 Faustino Avelino Blanco Núñez

Galeria del Sol Alexander

Jar Mexico (Puebla), 1700 – 1750

The Museum of Fine Arts, Boston

Jose Garcia Antonio terracotta statue

Juana Gomez Ramirez decorating panthers on a large pot.

Juan-Santos finishing a monumental ceramic vessel.

Nahua Pottery Mexico

Man riding a bull candle holder

 Uriarte Talavera -Virgin of Guadalupe, Puebla

( .marcobeteta.com/blog/mundo )

 Mexican artist Irma García Blanco standing with two of her statues in clay.

Santa María Atzompa, Oaxaca, México.

Pedro Martinez

Sara Ernestina García Mendoza (daughter of José Garcia )

Statuette of the Chupícuaro

Teodora Blanco

Pottery craft of Uruap Tianguis

Tonala or Tlaquepaque lidded bowl with handles

( PocasCosasArts )

Tonala pottery vessel

( Flickr –Dee Kincke )

UriarteTalavera plate

West Mexico Woman ceramic figure

( Saint Louis Art Museum )

San Felipe shard pottery –  Daryl Candelaria

( sarweb.org )

Large twin spout pot   – Angel Ortiz

 Woman with pot garden sculpture by Jose Garcia Antonino who is  a blind Oaxaca Folk Art sculptor.

( http://oaxacaculture.com/ )

Caras de Talavera — Flickr

México Vasija mixteca

Jose Luis Cortez Hernandez – Large lidded jar

José Luis Cortéz Hernández was presented with the “Ángel Carranza Award” at the 2013 Premio Nacional de la Ceramica in Tlaquepaque by Presidente Enrique Peña Nieto.

Jose Luis Cortez Hernandez  cannister

Jose Luis Cortez Hernandez – Large lidded jar with a panther motif

When Jose was asked where he got his inspiration from for his pottery shapes, he said, “I just feel the shape as I work with the clay.”

A Nahua Painted Jar Mexico

Mexican Folk Pottery Tradition is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Mexican Folk Pottery Tradition

Wild Pottery in the woods of Sussex –   a  weekend course in primitive pot making.

After harvesting the clay from the banks of a running stream at  Wapsbourne Farm, it was mixed with some pre-prepared grog (biscuit fired clay that has been ground to a powder) and fashioned into pots using your hands while sitting on logs around the camp fire which was created from wood foraged from the surrounding woods. The primitive technique used were similar to the methods employed by the ancient Romans. The simple procedure employing the most basic resources is outlined below.

 Harvesting clay from the stream at the WoWo campsite in Sussex, England

 Making the pots. Course leader Ruby Tayor provides Roman-style tools: chicken bones and sharpened sticks for shaping the pots and creating patterns on their surfaces

 Once the pots have been made, they’re left to dry for a week before firing

 Pottery being fired in a woodland fire in Sussex :

 Before the firing, the pots are placed around the edge of the fire warm up so the extreme heat change doesn’t damage them

 A platform is built over the embers of the fire to stack the pots on for the firing

 The pots are stacked tightly at the centre of the fire

As the fire burns up through the platform the sticks catch fire. Sticks are piled up around the pots to keep the heat in.

The pots are temporarily blackened by the flames

 The pots cool in the dying fire

Milk can be used to glaze the inside of the hot, newly fired pots, making them less porous

 Final inspection

Photographs above : Frederika Whitehead/Guardian

Wild Pottery

 Native Hands wild pottery course

…

Ceramic Fixation

A certain degree of fixation and obsession is needed to get any creative project up. Even more so if you are forging new techniques and methods and being lead along an inspirational path to your fulfilment. Sometimes that intense focus can lead to attachment. Michael James Hawk from artblog explored the psychology of attachment for an artist : “ You dive into a piece, the piece gets invested over a long period of time with your skill and passion, sweat and blood (and precious dollars). You begin to identify with the piece as a parcel of your thinking, your intelligence; an extension of your corpus. Pride swells on the brain: pride of creation, pride of ownership.

The symbology (content) itself maybe gripping or stunning enough to send you, the artist, into otherworldy states (artist as audience). Anthropomorphic pieces further trick the brain into subconscious attachments and associations, such is the power of mimesis of the human face, body and gestural expressions.
When it’s finally time to divest of the piece — when that decision has been made — often it is difficult to let it go, so great are the attachments.”

” Koan for the day: when an artist gives away their Art, into that dry arms-length marketplace, remember the pain of their bodily spiritual divestment.”

On the contrary, in some instances an artist is glad to release their creation and get closure so they can get back to a normal routine or maybe embrace the joy of starting another project. Then again they might just want to recoup their investment and pay the rent.
Below is a random collection of different innovations in clay from ancient to modern that might have resulted from inspired fixation.

Zuni jar –  earthenware, white slip, pigments

New Mexico,USA   c.1880

Cincinnati Art Museum

Mervyn Gers – Koi swim ceramic plates

Monumental Minton vase – height 24.5 “

( Treadway Toomey )

Sculptural geometric vase  - Andrew Van Assche

 Let it rock :

 Kristine Tillge Lund Copenhagen, Denmark

Kristine Tillge Lund  rocking a ceramic bottle

( http://konsthopp.wordpress.com/ )

Kristine Tillge Lund Vase

Tile project by Kristine Tillage Lund

 Vietnamese sculpture of Sydney Opera house – The artisans from the 400 year old Thanh Ha village spent two months making this piece.

Chinese Fangyi – Ceremonial  Wine Vessel

 ( the original wine cask ? )

Green Gio Ponti table lamp

Root Hound  - Kate MacDowell porcelain sculpture

Moser Karlsbad elephant vase – 20th century

( Heritage Auctions )

Steve Young Lee,-Cups Panel

Deformed vase with scroll pattern – Steve Young Lee

Familia Terracotta Teapot Set by Normann, Copenhagen

Designer Ole Jensen

Culture clash - Coca Cola Vase (1997). A vase from the Neolithic Age (5000 – 3000 BCE) with a Coca Cola logo from the 50′s

From Ai Weiwei’s  Dropping the Urn exhibition.

Ceramic bottle by Nils Thorsson for Royal Copenhagen

Chewing Gum – Haidar Maidh

Emilio Casarotto abstract sculptures

Eva-Champagne – ceramic wall sculpture

 Hybridized biomorphic sculptures highlighting the infinite varieties and unifying order that occur within the natural world.

FOGLIO – Brian Sironi, Italy

FOGLIO – Brian Sironi slab built vase

FOGLIO – Brian Sironi slab built vase

Inalco stoneware porcelain wood textured tiles, Spain

 Inalco stoneware porcelain textured wall panels.

Metavoid by Akiyama Yo

Takuro Kuwata vase

Pottery in India – making a Ganesha statue

Stephen Bird – “ Persian blue shoot out “

Modernist ceramic bathroom furniture ( Basin, bidet, toilet ) - Ceramica FLAMINIA, Viterbo, Italy

Automotive cookie jar – Mainly Art

1951 Buick Le Sabre clay model

A 1951 Buick Le Sabre

Archaic ritual vessel (Greece )

Chinese Kangxi Style  Double Moon Flask

Wild Pottery and Ceramic Fixation is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Wild Pottery and Ceramic Fixation

Plates have been around ever since our distant ancestors conceived the idea of a dinner party for the tribe and felt a need to create a few clay plates to enhance the presentation.
As far as practical innovations go, the current trend of large, volumous plates in restaurants for extra presentation possibilities has to be questioned. I’m sure the chefs get themselves into an artistic fervour when they are confronted with that large white ceramic canvas, begging to be adorned with some Zen streaks of the sauce and a dash of garnish.

Almost simultaneously, as nouveau cuisine became minimalist in quantity, the plate doubled in size. A knee jerk reaction to the age old standard of piling food on a small plate. At least the elegant white expanses invite contemplation while waiting for the second course or if one gets stuck in an awkward dinner conversation. As table space is a premium in most restaurants, the waitresses must be cursing this challenge for arranging the plates on the table. Not to mention the acrobatic skills involved in carrying several plates simultaneously.

Strawberry cometa nuovo presentazione

I do have to concede though, these monumental dinner pieces have added an appealing aesthetic to the the dining experience. But beware of attending a Greek wedding, the flying shards at the plate bust finale can be life threatening.

Ceramic plates, dishes and chargers have been a fantastic vehicle for ceramicists that have a flair with the brush and a desire for that extra space to strut their strokes.

Steven Hill

A Mexican vintage  octagonal pottery plate featuring a  Mexican maiden carrying fruit in a basket, Tonala or Tlaquepaque, Jalisco, c. 1920-30′s

( pocascosasarts.com )

Tony Norris, Poole Pottery – Mid Century

Cibaldi Silvia charger

Tony Norris Poole Pottery

Marsha Rafter platter with handles

Warren Mckenzie plate

Waylande Gregory charger, USA  pre-1939

 An early example of Gregory’s ceramics and glass fusion technique with melted glass in the background area around the horses.” Dia.  21.75  inches

( maineantiquedigest.com )

Chinese Famille Rose Porcelain  Plate

Kashan Minai pottery dish, Persia, 12th-13th century

Ai Hanazuka

Persian Safavid Blue and White plate

André Methey plate

Antique Japanese Kutani Akimari dish

Rene Buthaud plate – 1930, France

Circular dish in stoneware – beige sandstone with craquelure enamelled motifs.

Cibaldi Silvia -1939

David MacDonald incised geometric design dish inspired from a Nigerian tradition.

USA

 Earthenware dish – incised and painted with polychrome glazes – Afghanistan  12th-13th century

Josh Deweese large platter

Ellamarie Woolley

Jackie Lynd,-  Rörstrand

John Glick

Schaller Gallery

Martina Lantin

Marc Bellaire – Mardi Gras 3 dancers

Ulisse Pagliari charger

Moorcroft ‘Trout’  Plate

Sanam Emami – green serving dish

Swimmer – Vanni Saltarelli

17 inch abtsract ceramic charger characterized at the top by a human figure with outstretched arms and legs drawn up in the act of swimming

La Belle Jardiniere – polychrome faience yellow, blue, brown embossed

Sèvres, Musée national de Céramique.  Photo :  Paul Starosta

Victoria Christen – large oval dish

Schaller Gallery

Plate with king hunting rams, late 5th–early 6th century; Sasanian period

Pozzi Giancarlo charger, Italy

Edwin and Mary Scheier, Glazed & Incised Earthenware Charger

Steve Fullmer

Shoji Hamada dish

Stepanova platter –  Jaquailne Thompson

Japanese Kutani polychrome porcelain dish – 1900

Jenny Mendes hand painted dish

Randy Johnson plate

Randy Johnston has been working in ceramics in his Wisconsin studio for more than forty years.

Pucker Gallery, Boston

Mexican Folk Art plate with turquoise inlay

Sandra Bowkett. square scraffito dish

Japanese Satsuma porcelain plate

Alexandra Tollet sgraffito dish – long haired women

Carl Cooper, oval dish

Dish, Charger, Plate is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Dish, Charger, Plate

La Triennale di Milano is a design museum and events venue located at Park Sempione in Milan, Italy. It hosts exhibitions highlighting contemporary Italian design, architecture, music, and media arts, highlighting the relationship between art and industry. The museum also features the Collezione Permanente, a permanent collection of art objects in contemporary Italian design.

Like searching for a hidden chamber in an ancient temple, I came across a Mid-Century collection of photos from La Triennial di Milano deep in the archives of the Lombardy Cultural Heritage collection. Getting there was a challenge as I don’t read Italian and Google Translate abandoned me, but my intuition prevailed on my hunch in the end. It was worth the perseverance as some really intriguing images representing some of the  artists of this era were on display. Most of the images are from the fifties and are in Black & White which was de rigueur  for a lot of photographers then. Excellent composition and use of shadows characterise the photos of modernist inspired ceramics, furniture and sculpture.

X Triennale - Sempione Park. 1954

 Ceramic High Relief “Madonna and child enthroned” – Angelo Biancini

X Triennial 1954  Scandinavian exhibit

Federico Patellani

 XI Triennale 1957

Abstract design dish with wrought iron tripod in the section of the Exhibition of Ceramic Art Productions

photo: Sergio Bersani

 X Triennale – France display – Plaster Sculpture “El’ll think” – Ossip Zadkine

Photo: Giancolombo

 Ceramic pencil holders

Photo Aldo Bailo

Museum of Contemporary Photography

 Quatterini  Oreste – Careerism

MAGA – Museum Art Gallarate, Milan, 1974

 ”Le marin à la guitare” – Jacques Lipchitz

XI Triennial

Foto Mercurio

 X Triennial  - Stig Lindberg modernist ceramic forms

Constantin Brancusi – Portrait of Mademoiselle Pogany

The Embracers  - Henri Gaudier-Brzeska

Vases from the Spainish section. XI Triennial 1957

 X Triennale – Giovanni Gariboldi

Photo Dainesi

 X Triennial – ceramic amphora vase – Ernestine Cannon

1954

 1957 XI Triennial - Vase in the shape of fish in the section of the Exhibition of Ceramic Art Productions

photo: Sergio Bersani

 Ceramic vase/pitcher by Leon Ferrari

X Milano Triennial – 1954

 Henri Gaudier-Brzeska’s Hieratic Head of Ezra Pound, carved in 1914.

The writer Ezra Pound recognised Gaudier’s genius and was keen to promote and support him, and so commissioned the artist to do a portrait bust and bought a block of stone for the purpose. Pound understood the importance of direct carving as a marker of modernism.

Sculpture Portrait of H. Rouart - Medardo Rosso

XI Triennale – Parco Sempione

 X Triennale – Exhibition of art schools – Ceramic Vase

Foto:  Ancillotti

XI Milano Triennale – 1957

Mid-Century modernist bottles

XI Triennale – modern ceramic vessels 1957

 Sergio Bersani - Giornalfoto

 1954 X Triennale – Germany ceramic exhibit

 Marcello Fantoni tall pitchers

Anthropomorphic sculpture ‘ Scream ‘ by Aldo Zuliani

1973

 Reliquary Bust of Saint’Ottaviano silver and gold of the fifteenth century

XI Trienniel 1957 – photo: Sergio Bersani

 Terracotta display of Lazio and Campania in the  Italian Show Productions section

1957

  XI Triennale – abstract ceramic vessel   ( maybe a teapot )

Milan 1957

 XI Triennale Ceramic Ornaments in the Yugoslavia display

1957

 XI Triennale – French exhibition – Sculpture and bowl by Charles Zublena

XI Trienniel 1957 – photo: Sergio Bersani

 Sculpture “Mushrooms blacks” by Alexander Calder

International Exhibition of Sempione Park, Milan 1957

photo: Sergio Bersani

XI Triennale –   – International exhibition of sculpture in the park Sempione- Sculpture “Draped reclining figure” – Henry Moore

Photo Mercury

 XI Triennale  Scandinavian exhibit

Sculpture “Bouquet”  – Pablo Picasso

Park Sempione XI Triennale 1957

 An exhibit at the Triennale di Milano reconstructs, 50 years later, the fundamental moments in the construction of Brazil’s new capital.

Sculpture “Grand Cheval” – Raymond Duchamp-Villon

Park Sempione XI Triennale 1957

 Vases designed by Angelo Mangiarotti

Photo : Aldo Bailo

 Milano – VII Triennale d’Arte – 1940 (?) Angelo Biancini, Diana,

 XI Triennale – Section of Yugoslavia – Porcelain Pitcher – Majda Kumar

1957

X Trienniel 1954 - Ceramic bottles Guido Gambone

X Trienniel 1954 –  Ceramiche Guido Gambone

 X Trienniel 1954 ceramic vessel - Guido Gambone

 X Triennale – France – Sculpture in bronze and brass lined – Antoine Pevsner

Farabola

X Milan Trienniel 1954 - Ceramic wall plaques-Sweden – Stig Lindberg

XI Triennale  1957 - Alabaster sculpture by Mirko Basaldella.

photo: Sergio Bersani

XI Triennial selection of ceramics – 1957

Milan – VII Art Triennial. Guido Andloviz, two ceramic pots

1940

 Photo – Simone Magnolini

Forms Symbol - Pasquale Martini

 X Triennial  Stig Lindberg ceramic vases

Storage cabinet modernist – Mrio Tedeschi 1951

Emilio Scanavino Italian ceramic vessel

Emilio started working with clay in the early Fifties, in Tullio Mazzotti’s studio in Albissola Marina.

The sign of the memory - George Robustelli

Column n. XXVII
Lucio Del Pezzo

‘ The wonder’ - Cornini Marco

In the land of Persephone

Borghi Paolo

Middle finger salute – Maurizio Cattelan

MAGA

Fernanda Borio – 1951

‘ Portrait of Silvio Zanella ‘

Mario Galvagni

 MAGA – Museum Art Gallarate

Portrait of a Man – Klaus Zaugg, 1980 -  Milan

( Shot with a film camera, the falling car hasn’t been created in photoshop )

Rognoni Franco

Exposition – BUSATO Gualtiero

Aldo Bailo  - Optical Projection

Costantino Nivolaz – Mothers Secret

Cubist Torso,- 1987 – Jim di Rich

All above images sourced from  www.LombardiaBeniCulturali.it

Milano Art in the Mid-Century is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Milano Art in the Mid-Century

I love seeing sculptures in a sea landscape setting. The uncluttered open expanses are a symbiotic environment for the presentation of sculptures and they don’t have to compete as much with their backgrounds as in an urban/city location. The pure vibrancy of the ocean settings seem to lift the sculptural aesthetic. Having lived by the Pacific Ocean on both sides, ( Whale Beach, Sydney and Santa Monica, LA ) I was really pleased to see the success of Sculpture By The Sea at Bondi Beach which has now been running for 16 years. The temporary annual outdoor exhibition showcases over one hundred sculptural works and contemporary practices, including site-specific and ephemeral works, along an iconic coastal walk between Bondi and Tamarama beaches. The myriad of natural plinths in the landscape provided an ideal setting.

Fibreglass giant ‘I-Sea’  by Australian sculptor Tim Kyle

Over a third of the field now includes exhibitors from Germany, Italy, South Korea, Spain, Japan, Norway, New Zealand, the Czech Republic, Sweden, China, England, the United States, Finland, Iceland, Switzerland, Canada, Mexico, the Netherlands, France and India. This visual arts event has recently been expanded to Cottesloe Beach in Perth and the Aarhus coastline in Denmark. Along with the Sculpture By The Sea images I have also included sculpture visuals from French and USA coastal cities and a few other locations.

Yee Chee Kiong – Series #2

Sculpture by the Sea, Aarhus

photo – Clyde Yee

Sir Anthony Caro – Om eastern

Cottesloe Beach 2013,  pohto – Clyde Yee

 Ewen Coates – Multiverse

Bondi 2013

photo – William Patino

Subodh Kerkar – chicken cafreal

Bondi 2013,  photo – Clyde Yee

Rebecca Rose - lookatme

SxS Bondi 2013

Photo – Samantha Burns

Chris Bailey, NZ  - the majestic

Cottesloe Beach

To Be or Not to Be by Keld Moseholm… bronze, granite

Sculpture By The Sea  2009

photo Shyaman

Sculpture By The Sea Aarhus, Denmark

BethKin Flickr

Bondi Venus… Dennis Kalous… recycled sandstone boulders.

Sculpture By The Sea 2010

Sculpture By The Sea Aarhus, Denmark

BethKin Flickr

Chen Wenling – Games

Sculpture by the Sea-  Cottesloe, Perth 2013

Photo Jarrad Seng

Château de La Napoule in Mandelieu – American artist, Henry Clews

West of Cannes, France

Inspiration by sculptor Harry Weinbrenner, 1922

Venice Boulevard, Venice, California.

The  re-creation of this statue was  sculpted by Ernest Shelton in 2010

Ferme basque – Jorge Oteiza

Biarritz, France

( Pierre flickr )

Emblem ( kangaroo ) - Geoffrey Ricardo

Sculpture By The Sea , Bondi, Sydney

2 rings by Keizo Ushio – SxS Bondi

Bondi 2013,  photo – Clyde Yee

Intuition - sculptror Erickh

Alpes Maritimes, Provence Alpes Côte d’Azur, France

King Neptune statue – Virginia Beach, USA

Benmjamin Storch, UK – Cycles

Sculpture by the Sea-  Cottesloe

Wave by Blaze Krstanoski Blazeki

Sculpture By The Sea 2008

Musiciens de jazz – Roger Flores

 Saint-Jean Cap-Ferrat Avenue, Séméria

Opatija Statue, Croatia

Paul Bégué sculpture

Saint-Jean Cap-Ferrat avenue, Séméria

( Pierre Flickr )

Penny & John Smith – The Keepers

Sculpture By The Sea

Tasman Peninsula 1998 – photo Clyde Yee

Puerto Vallarta boardwalk sculptures, Mexico

Richard Howie - Swell Sculpture Festival

Currumbin beach, Australia

‘sitting-hen’ - Tae Geun Yang

SxS Bondi

Steve Croquett, Heads Up

SxS Bondi

The Kiss – San Diego

Toshio Ezumi – Bondi 2013

Mark Grey-Smith – Centrefoldpic

SxS Cottesloe

photo – Karen Castle

Ben Fasham,- Jewel de la Mer

Sculpture By The Sea ( SxS )

photo – Howard Jones

Nexus by Alex Kosmas

SxS  Bondi

Australian artist Fatih Semiz’s steel Isometric Trinity overlooks Mackenzie Bay, Sydney

92-feet-tall sculpture by Aristides Demetrios – it is one of the world’s largest aeolian harps.

Named for Aeolus, the Greek god of the wind, and invented by the 17th-century polymath Athanasius Kircher, an aeolian harp is a passive instrument played by the movement of the wind.

Oyster Point, San Fransisco

( http://laprincipessaerrante365.blogspot.com.au/ )

Andrew Burton Jug  

Aarhus Sculpture By The Sea

…

Sculpture By The Sea  website   

This post will have future updates.  

Sea Sculptures is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Sea Sculptures

Ever since it was discovered that mud was malleable in around the year dot, clay has been modelled into shapes for the amusement of others. Novelty ceramic giftware, which is quite often quirky and kitsch, sometimes become desirable to collectors purely by virtue of its audaciousness and originality. It’s ability to hold its colours and surface gloss longer then plastic giftwares also keeps it in the favourable stead with collectors despite its  fragility. There is always a steady stream of fun ceramic pieces from low art to high art entering the giftware market, sometimes with marketing campaigns that are as entertaining as the product.

Sally Meekins ceramic teapot

Southdowns ceramic toast rack

Exquisite Pottery coffee set

Swineside mantle teapot

The Guest by Jaime Hayon for lladro

Vintage Floral Ceramic Bunny

 Enesco Giftware

Virgil Ortiz – Siamese Twins

Wiggly Box - Julia Roxburgh, UK

Wenchang Wang, god of literature and scholarship – Caxistreet, China

Suffering from writers block?  Put a figure of Wenchang on your desk .

Rhino eggcup by Canterbury Cross Collections

Tiki absinthe stein skull drinkware

Clive Michael’s store, Fujian

 Flush away that morning fatigue with your ceramic toilet coffee mug.

ACDC headbanger gift vase – Pierre Blanc

Dupenny 50′s Housewives Mugs – Peggy

Diego Romero –  Bowl with Chongo Brothers

Ceramic teapot

( artintenrnational.ru )

Rare ROBJ Paris Art Deco Lady Figural Powder Box  c. 1925

Ceramic Afro Mug with lid

 Retro atomic bowl – Herta Gerz, BC Ceramics, Vancouver, late 1950’s

BC Ceramics was British Colombia’s largest manufacturer of ceramic giftware, including vases, lamps, bowls, and figurines. Their distinctively shaped and decorated products were sold nationally.

Blue Fire Studio – etsy

 Mexican hand painted ceramic Talavera toilet ‘Acapulco Oro’

( www.terraartesana.com )

Jingdezhen ceramic handbag  41cm x 23cm

Can be used as a vase or an actual handbag !

Frog Figurines – Damon Gift

I wonder what’s in that pipe

Garden Gnome - Battersea’s Spring Decorative Fair

Asian lady bust designed by Helen Liedloff – Goldscheider – 1950′s

Jingdezhen ceramic Japanese wind chime

 Be very wary of what you say in the morning when the missus is holding her knuckleduster coffee mug.

La Bottega Wonderland – Livellara  day  mood  tea pot  Carmen 

Italy

Laurel Burch-1999

Laurel Burch  - Ceramic Cats

Véronique Didierlaurent figurine

Intarsio Art Nouveau jug  vase designed by Frederick Rhead for Wileman & Co. circa 1898

Murrine Foglio – David Patchen

Aloha Hawaiian Girl  Maile  on Pineapple

( mahalotiki.com )

Penguin Pair  - Natural World Animal Collection

Noi Volkov Teapot – Botero

Nordic Porcelain Hen – Gongyuta

Life inside a pot – Keiko Masumoto

Orange Box – Vaughan Nelson

Ceramic crab bowl – Caroline Selmes

Patricia Lazar Geisha Girl Teapot

Some mud stuff :

Mud Stuffing Pottery –  Keith Phillips

My name is Keith Phillips and I make stuff. I make a lot of stuff. I’m a human factory of stuff making goodness. Most of the stuff I make is made from mud-like stuff, but sometimes I make stuff from other stuff. Some of the stuff I make isn’t real stuff, it’s virtual stuff, but most of the stuff I make is real stuff you use to drink stuff from. I’ve even made stuff that had stuffing in the stuff I made. That’s where the name MudStuffing Pottery came from.

Mud Stuffing Pottery – etsy

Keith Phillips teapot – MudStuffing pottery

Keith Phillips – Sandblasted Dessert Cup

Keith Phillips Cup

Mud Fun is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Mud Fun

Exploring the abstract.

Having abandoned the certainty of a known form and its expected details, the biggest challenge when engaging in abstract designs is being able to assemble a cohesive whole from the choices of shapes, colours and spaces. The liberation from not having to exactly interpret a defined reality unleashes a spontaneity and improvisation that can produce engrossing results. From the manipulation of shapes and the breaking down of a structured reality into more simplistic details, the suspension of  the order of symmetry for more asymmetrical forms to the creation of  movement and unpredictability with the flow of the shapes, lines, textures and colours. The resulting tension delivers a heightened dynamic from a form striving for balance. Reflecting the fluid reality of the subconscious with its mystique and temporal, less fixated presence, the abstract can arouse an array of perceptions. Abstract art is interactive in the sense that it invites the viewer to participate with their interpretations of the sculptural works.

Featured here are five contemporary American ceramic artists who use abstract concepts in their decorative styles.  I feel they present a skilful and intuitive representation of this deep and fascinating medium.

Michael Gustavson

“Clay has been an art form that man has used since the beginning of time.  Every culture that has been discovered through archaeology has a historic record of uses for clay.  From utilitarian to sculpture this ancient historical record has always intrigued me.  Since my discovery of clay I have been learning and exploring the many different qualities of clay.

  As you look at my works you will note that I use many different techniques to manipulate clay to express my personal aesthetic views. Clay itself has a lot to do with my aesthetic viewpoint.

 The last 38 years I have used the forms that I create, whether vessel or wall slabs, as a vehicle to express myself as a painter using glaze as my paint.  My most recent works are a series of large hand built tectonic forms.  With these forms I will continue to explore and express the language of clay. “

” As is the case with most artists, the analyzing and verbalizing of their works is really not the statement, the statement truly is the work itself.”

website HERE

Blue Rythym – Michael Gustavson

Day and Night – Michael Gustavson

Masquerade – Michael Gustavson

Solar Flare – Michael Gustavson

Caribbean Blue- – Michael Gustavson

74″ Height

Evening Walk – Michael Gustavson

Beautiful Thought – Michael Gustavson

Artifact – Michael Gustavson

Abstract vase  Ancient Journey – Michael Gustavson

Square Dance  - Michael Gustavson

Solitary Dancer - Michael Gustavson

South Window – Michael Gustavson

Light Sculpture – Michael Gustavson

Glazing a vessel – Michael Gustavson

Epiphany – Michael Gustavson

Sea Creature – Michael Gustavson

Eloquence – Michael Gustavson

Earth Watch T en – Michael Gustavson

Crescent Tower - Michael Gustavson

Chromatic Afternoon – Michael Gustavson

Asia – Michael Gustavson

 Eric Knoche

” My current work ranges from small puzzles to human size outdoor works to manipulatable sculpture to large installations with many pieces.  I make things I am curious to see. The work tends to evolve out of itself and I often feel like I am an archaeologist excavating my own subconscious.  Here are some things that I think influence my work:  male and female figures, bones, machine parts, houses, clouds, landscapes, algebra equations, micro-facial movements, fact and truth, alphabets and foreign languages, spacial relationships, tools I don’t know how to use, the distortional nature of memory, the limits of ocular perception, plants, neutron stars, dancing, running water, and songbirds. ”   

” I think some physical forms and arrangements of space are simply pleasing to humans at a sort of meta-level. ”

website HERE

Raku vessel –  Erich Knoche

photo-Tim-Barnwell

Vessel Eric Knoche

photo-Tim-Barnwell

Tuning Fork - Eric Knoche

2012

Eric Knoche

photo by Matt Rose

Vessel  – Eric Knoche

Switcharoo - Eric Knoche

Red Spiral  – Wood fired stoneware by Eric Knoche

…

 Sheryl Zacharia

” As a child I was captivated by old things. I realize now much of that had to do with their handmade quality. My clay work is influenced by the material itself, its history and the intimacy of its interaction with the hand and touch. This is why my surfaces reveal the process; and the process becomes the surface.
The sculptural forms focusing on shape and surface are inspired by my love for ancient relics and modern abstract paintings. The textured and stamped areas help the eyes travel deliberately around the forms. The combination of raw and refined surfaces echoes the inevitable marriage of new and old. “

” Pattern and form are rhythm, palette is harmony, lines and shapes are lyrical. I’m striving to make a visual poetry. ”

website -HERE

Dancers – Sheryl Zacharia

18x19x5

( Tansey Contemporary Gallery, Santa Fe ) -sold

Sky Dwelling – Sheryl Zacharia

Woman  in the window - Sheryl Zacharia

Jane Sauer Gallery – sold

Black Sail Black Moon - Sheryl Zacharia

18 x 13 x 4

Summer Fling - Sheryl Zacharia

18″ x 22″ x 5″

 In a permanent collection at Racine Art Museum, Racine Wisconsin

Autumn Winds – Sheryl Zacharia

( Tansey Contemporary Gallery, Santa Fe )

Egghead Face – Sheryl Zacharia

Eye of the Storm – Sheryl Zacharia

Devilish – Sheryl Zacharia

Sun Travels – Sheryl Zacharia

Squared Off  - Sheryl Zacharia

Fantasy Foliage – Sheryl Zacharia

Liquid Woman – Sheryl Zacharia

17″ x 8″ x 6″

Sheryl Zacharia, NY-USA

Asymmetrical bottles  -Sheryl Zacharia

…

 Wayne Higby

The  pieces below were displayed at the Renwick Gallery retrospective  “Infinite Place: The Ceramic Art of Wayne Higby”  at the Smithsonian American Art Museum. Wayne Higby’s vision of the American landscape appears in ceramic forms ranging from vessels and sculptures to architectural installations.

  Large hand-thrown raku-fired glazed ceramic footed vessel, “Green Water Afternoon”

Wayne Higby -  12″ x 21″ x 14 1/2″

Stone Gate  - Wayne Higby

2007 – photo by Brian Oglesbee

( SmithsonisnAmericanArtMuseum )

Wayne Higby  - Yellow Rock Falls

1975

Photo – JohnCarlano

Untitled Bowl  –  Wayne Higby

( franklloyd.com )

Wayne Higby with Pictorial Lake

1986 – glazed earthenware, raku-fired
collection of Sarah H. Morabito
photo by Brian Oglesbee

( Smithsonisn American Art Museum )

Green Terrace Canyon – Wayne Higby

From the exhibition  A Vision of the American Landscape in Ceramic Forms and Porcelain Jars.

1975 – glazed earthenware, raku-fired
collection of Marlin and Regina Miller
photo by John Carlano

Wayne Higby Raku Bowl

Wayne Higby Ceramic Boxes with lids

Wayne Higby–Triangle Springs 1972

Lauren Mabry

” I make painterly, abstract, ceramic objects. Primarily my work communicates directly through its formal and aesthetic qualities, but it may also be understood in relationship to abstract painting, minimal work, and process art. Sometimes the surfaces look weathered and aged, but at the same time colorfully lush and wet. There is a sense of immediacy to the mark making, and at moments a quality of action. I exploit the intrinsic characteristics of ceramic materials to produce pieces with a magnetic dissonance. Ultimately, my work is a synthesis of intuitive, expressive surfaces and elemental forms. “

” The absence of representation in my work allows the marks, brush strokes and colour to communicate. I’m compelled by the scintillating, seductive energy created through formal dualities. ”

website HERE

Earthenware cylinder with  slips, glaze, china paint - Lauren Mabry

Cylinder with hand painted absrtact decoration – Lauren Mabry

Lauren Mabry

Ceramic cylinder -Lauren Mabry

Contemporary ceramic art - Lauren Mabry

Lauren Mabry

Earthenware, slips, glaze, china paint 2012

11″ height x 12″ diameter

Lauren Mabry studio glazing, Philadelphia

Abstract ceramics in the USA is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Abstract ceramics in the USA

  Above is the  impressive entrance to a museum titled  “ small palace ”, which only becomes small relative to the monumental Grand Palais, which it stands opposite to. The Petit Palais is located close to the Champs Elysees and houses the Museum of Fine Arts of the City of Paris, and was built for the Universal Exhibition of 1900. The  architect Charles Girault based its design on the forms of a trapezoid and it has an internal garden, with ponds edged with sweeping mosaics and columns.

Aside from the remarkable collections on view inside , the building itself is worthy of a visit The Petit Palais holds a significant collection of nineteenth century French art and one of the largest collection of icons from France. Ancient Greece, Rome and the Renaissance. It has on display a unique collection of art from the Eastern Christian church donated by Roger Cabal. Troubadour, Romantic and Symbolist art along with contemporary works are also present. I put together a collection of mainly decorative pieces from both the permanent collection on display and the archives.

Walter Almeric – Helianthus

Petit Palais, Paris

Paris Petit Palais

Capucines  Art Nouveau vase  - Eugene Michel, 1895

Poems De Cristal Exhibition, 2012

 Petit Palais, Paris

Emile Decoeur, pitcher – France

1904 - Petit Palais, Paris

The Resigned  - Joseph Mougin, Nancy and Ernest Wittmann

1911 © Magali Porcel Petit Palais

 Adalebrt Szabo – Art Nouveau fireplace screen

The Woman with Monkey - Camille Alaphilippe

Sandstone and bronze

1914- height 184 cm

Amazon - Henry Cros

Petit Palais, Paris

Paris Petit Palais- interior

Greek cratere -Dionysus Heracles in the Garden of Hesperides.

360BC

Bearded mask – Petit Palais Musee

Birthwort vase- Circa 1909

Petit Palais, Paris

Decor De Orchide   Emile Galle

1898

Petit Palais, Paris

Calamelli  - Saint Francis of Assisi Receiving the Stigmata 

1550

Petit Palais, Paris

Carafe –François Decorchemont,

1912

Celadon Vase-37cm height

Petit Palais, Paris

Georges Despret - Jeumont. Bust of a faun, c. 1900.

Petit Palais, Paris

Di Merlino – Dianne and the nympths

Petit Palais, Paris

Emile Diffloth

1918

Compotier – Felix Bracquemond  1866

Ginkgo vase - Francois Dercorchemont, 1913

Petit Palais, Paris

Drip glaze vase – Jean Carriès,- 1892

Petit Palais, Paris

Deruta Assiette creuse – 1537

Adrien Dalpayrat (1844-1910)

Ceramic spherical art nouveau twin handled vessel. This piece is from the Musée de l île de France

Musee Petit Palias

Vase “Les Métaux” -Henry Cros

Photo Roger Viollet

Lidded Japanese Imari  bowl 1902

Petit Palais, Paris

The Planter of the Titans 

The vase has been attributed to Albert Carrier-Belleuse and the base of four  Atlanteans and their Michelangelesque poses attributed to  Auguste Rodin

Petit Palais, Paris

Le Festin de Didon et d’Enée - 1530

© Phillipe Ladet Petit Palais  Photo – RogerViollet

 Madame Pascal Blanchard at a party (1903) - George Desvallières

Petit Palais, Paris

Muller Frères – pitcher

Petit Palais, Paris

A Pierre Adrien Dalpayrat vase which was presented at the Universal Exhibition of 1900.

( http://chemindetables.over-blog.com/ )

Penelope – Antoine Bourdelle

Petit Palais

Perfume bottle and cap - Maurice Marinot

1920

Petit Palais Art Nouveau staircase

Ugolin statue by Jean Baptiste Carpeaux

Petit Palais mosaic courtyard – Paris, France

Judgment of Paris - Pierre Adrien Dalpayrat

Glazed stoneware design for Limoges

Petit Palais

Pine Cone goblet – Rene Lalique

Petit Palais

 Portrait of Miss Sarah Bernhardt ( looking nonchalant ) – Georges Henri Clarin

1876 - Petit Palais

Reliquary of the True Cross - Circa 1170-1180

Petit Palais

Fame  - River Theodore Louis Auguste, Toulouse

Petit Palais

Immortality  – Georges Henri Lemaire

Lapis lazuli, agate, jasper, opal and gold – Paris 1900 Collection

1905 - Petit Palais

The Hurdy Gurdy – ceramic figurine

Louis Comfort Tiffany ceramic bowl

Henri Vallombrosa ceramic bottle with white craquelure glaze.

Petit Palais

Jules Dalou  - Triumph of the Revolution

Petit Palais

Musee Petit Palais advertising banner for Jean Louis Forain exhibition 2011

Jacob Petit  - Mameluke Mantel clock

The porcelain figure of the Mameluke horseman was inspired by a work by Debucourt,The Retreating Mameluke.

Petit Palais

Albert Louis Dammouse 1927

The son of porcelain painter at the Sèvres factory, Albert Dammouse trained at the Ecole Nationale des Arts Décoratifs and the Ecole Nationale des Beaux-Arts.

All archive photos by Roger Violett

©  Petit Palais

See the  Petit Palais website here 

Parisian museum Petit Palais is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Parisian museum Petit Palais

Tanzanite from Merelani Hills

Lelatema Mountains., Arusha Region, Tanzania

ψ

On a trip to Taiwan I saw a large dreamstone on display in an antique shop in Taichung, which apparently came from a region in the Yunnan mountains which is famous for them. It was around 3 feet in diameter and was mounted on a carved wooden frame. It had an ethereal like visage and seemed to have hidden depths to it. These dreamstones have been revered since the Tan Dynasty ( 618 – 907 AD ) for their unique appearance and were highly valued by ancient emperors, scholars, religious figures, and the aristocracy. Some Chinese scholars believed that dreamstones conveyed the essence of nature more powerfully then a painting. The Chinese word for marble is Dali, which is the name of the main region in Yunnan where the dreamstones were quarried. There are only a few established master revealers living today who have the ability to intuit where to find the marble stone and how to cut it to reveal the hidden art inside.

The shopkeeper suggested that dreamstones reflect the possibility of windows or portals into other realms of consciousness. They are a reminder of deeper mystical worlds that are there to explore and contemplate. Usually the dreamstones are characterized by an ethereal, abstract appearance and an alluring mystique that invites closer scrutiny. They are sometimes chosen if their appearance encapsulates nature forms like mountains, forests and clouds or if they display a fluid dimensionality and mystery. It is only recently that the ancient aesthetic of the dreamstone has been revived in China with the collecting of marble forms in the region of Dali in the Yunnan Province.

Just like the Eastern mandala is designed to invite prolonged concentration, leading to a meditative state, dreamstones have a similar absorbing appeal. Ceramic art and sculpture  also capture this principal, when they have the power to draw you in with their creative design and hold your attention. Raku, which is essentially a random process almost invariably produces ethereal looking results that convey mystique. Other ceramic glazing techniques can also conjure up intriguing surface patterns and features. The appeal of this art is subjective and even a simple shape has the ability to be transcendental. I chose the following pieces based on these dreamstone concepts.

Wedgewood Fairyland Lustre Vase

The Art Nouveau fantasy ware of Wedgwood always moved through mysterious worlds.

Dreamstone panel from Dali, China

( Christies – sold  $77,277 )

Rookwood vase, unusual folded form covered in a Vista Blue glaze, 1959

( Treadway Toomey Galleries )

Priscilla Mouritzen, Denmark

On the Outskirts – ” vessel of galaxies and nebulae twirling through an iridescent cosmos. Stars and saffron and bright white,fire red and gold “

Luster pottery by Paul J Katrich, USA

Awakening Lingam  – Ann Mallory

Australian opal

Davis Edwards

( Monte Sano Art Festival )

Mark Goudy –  water soluble metal salts glaze vessel

Mark states that his pieces are designed to manipulate your perception. ” They make you want to keep looking at them, but you can’t understand what you’re seeing. It’s almost meditative. The Mandala is an example of meditative art: complex patterns that seem to fold into themselves. There’s a whole science in Buddhism about creating these images you can stare at and meditate.”

Framed Chinese Dreamstone

( Potomac Viewing Stone Group )

Michael Wein Raku bottle

 A Japanese “Ume” pattern stone

( Potomac Viewing Stone Group )

Hand built  wood fired ceramic bell shaped pot salt glazed by Janet Mansfield, Australia

 Cosmic Form 

Saggar and horse hair stoneware

( Steven Allen – Flickr )

Green Dangao Shi Qing Figure plaque

Golden Constellations - Paul J Katrich

Paul Katich likes to explore his ceramic fantasies using  luster, lava, and volcanic glazes.

A  marble ovoid form quarried from the towering Cangshan Mountain Range which surrounds the ancient city of Dali in the province of  Yunnan

Elegant and typically Cocle style of polychrome ceramic plate, depicting dancing Jaguar, crocodile, or supernatural-creature, or even a shaman wearing a mask.

Raku – Earthsong Pottery Rachel Coward

Antique Japanese porcelain vase

 Greg Daly – footed bowl with rich lustre glaze in cobalt blue, copper, red and gilt,  1988

( Bemboka Gallery )

Chinese Dreamstone

Deb Satbley eathernware hand painted ceramic art

David Crane Raku Jar

 Huang yu-ying

Just Before Dawn – Paul J Katrich

Ossip Zadkine sculpture in Paris

Chinese Meditation Stone

( Red Pagoda, Chicago )

Cesar Navarrete –  Green and Red Beauty

( sandiafolk.com )

A Chinese Meditation Stone

Ceramic Dreamcatcher Gourd by Empress Lilandra

( deviantart )

” Park Guell “  - Carl Peverall raku ovoid sculpture

12″ x9″ x 7″

Sylvia Tell Trumbull

Bihn Pho -  thin walled wooden vessel

 Dawn Whitehand, Australia

The ceramic sculpture has been pit fired: a process where the unglazed ceramics are placed in a pit in the ground with organic materials that fume the surface of the sculpture to create dramatic yet soft organic tonal hues.

 Amethyst knife

Cloud, misty, intangible and unattainable while constantly in motion; and its movement has the distinction of becoming another. “….

Puisaye Forterre

 Shiva – Carl Peverall

” l use  clay, fired in the raku technique, as a medium to express a very personal language that draws upon eclectic influences like quantum physics, the architecture of Antoni Gaudi and the sublime, elemental sculpture of Isamu Noguchi.”

Pierres de Rêve  – Stones Of Dreams

Dreamstones by Isabelle Debruyere, France

Anemoon Blue by Sandrina Kreek

Peter Voulkos

AMOCA – American Museum Of Ceramic Art

Clementina van der Walt

Acinipo –  Juan Ramon Gimeno

( http://tanneryartscenter.org/ )

French Art Nouveau vase by Massier

Reclining slumber Chinese figurine

Dreamstones Contemplation is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Dreamstones Contemplation

The annual Potfest In The Park exhibition is held  in the grounds of Hutton-in-the-Forest at Penrith, Cumbria on the edge of the Lake Districts National Park. Over 100 exhibitors from around the globe participate bringing together an eclectic mix of pottery and statues. The medieval castle setting seems appropriate for pottery artists plying their wares, this ancient art from has graced the outdoor marketplace since time immemorial.

Potfest provides the opportunity of meeting ceramic artists of international repute sell their pottery in the midst of a community rather then through a gallery exhibition. Initially organised by Christine and Geoff Cox, 2014 will mark its 21st anniversary of the Potfest festival. The marvelous photos here were taken by Christine Cox.

ψ

Hutton In The Forest Potfest, UK

Potfest 2014

Sue Crossfield  - Potfest 2010

Britain Potfest In The Park – International outdoor ceramics festival

Alan Ball

via- Christine Cox@ potfest on Flickr

Alison Dash

via- Christine Cox@ potfest on Flickr

Alistair Danhieux

Alvin F Irving transfixed by his teapot

via- Christine Cox@ potfest on Flickr

Andrew Richards at Potfest

via- Christine Cox@ potfest on Flickr

>

Ben Nichols

via- Christine Cox@ potfest on Flickr

Chiu-i-Wu sculpture artist

via- Christine Cox@ potfest on Flickr

Chris Lewis UK pottery

via- Christine Cox@ potfest on Flickr

Christine Hester Smith

via- Christine Cox@ potfest on Flickr

Vilija with Lithuanian pottery

David & Margaret Frith

via- Christine Cox@ potfest on Flickr

David Pantling

via- Christine Cox@ potfest on Flickr

Dylan Bowen pottery

via- Christine Cox@ potfest on Flickr

Emili Biarnes

via- Christine Cox@ potfest on Flickr

Footsteps of Time -  Lina Bekeriene

via- Christine Cox@ potfest on Flickr

Hannah Belfield with her Potfest display

via- Christine Cox@ potfest on Flickr

David Beard at Potfest in the park

Isabelle Daucourt

via- Christine Cox@ potfest on Flickr

Jean Paul Landreau

via- Christine Cox@ potfest on Flickr

Jon Barrett Danes

via- Christine Cox@ potfest on Flickr

Lis Holt at Potfest 2010

via- Christine Cox@ potfest on Flickr

Lost 45 AD by Phil Jolley

Maggie Thomson

via- Christine Cox@ potfest on Flickr

Marie Prett

Marin by Jean Paul Landreau

Markers by Geoff Cox

Guy Routledge with his ceramic sculptures

via- Christine Cox@ potfest on Flickr

Peter Wareing – Standing Stones

Pim & Niek-Hoogland

via- Christine Cox@ potfest on Flickr

Ralph Jandrell

Nature takes its time by Jess Newton

Rob Hand

via- Christine Cox@ potfest on Flickr

Roger Cockram

Sally MacDonell — Family Snapshot

via- Christine Cox@ potfest on Flickr

Sigi Bohmer

Sue Sharp

via- Christine Cox@ potfest on Flickr

Time flies–Carla-Pownall

Toff Milway

Tony Laverick

Tony White

via- Christine Cox@ potfest on Flickr

Christy Keeney’s figurative work

ψ

Other Potfest Festivals :

 Potfest Scotland
Fri. June 6th – Sun. June 8th 2014
Marquee event at Scone Palace, Perth

Potfest In The Pens 2014

ψ

See more Potfest photos by Christine Cox HERE

Potfest artists websites can be found HERE

Potters show pots at British Potfest is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Potters show pots at British Potfest

 Barb Gregoire tree vase

Trees have commanded a reoccurring presence in many artworks, both landscape and portrait, whether it be  as a central figure or in a supporting role. Their majestic grandeur is hard to ignore in a landscape and they have often been integrated into an aspect of the storyline, for example, reflecting a graceful solitude or conversely a stoic hardness.

Landscape scenes were popular with Chinese porcelain art, the willow, plum trees and bamboo were especially featured. Japanese decorative pottery arts favored flowering blossom and pine trees. As a spiritual and religious symbol, the Tree Of Life was represented almost invariably in all ancient cultures, and it had an ongoing presence in ancient arts. The Art Nouveau movement had botanical and nature themes interwoven through most of its designs, the free flowing shapes adapting easily to rounded pottery forms. The typically vertical orientation of vases and bottles were also a natural fit for decorative tree art.
I don’t have any doubts about the sacred reputation of some trees. I find the spiritual resonance of an oak tree to be quite palpable, invigorating and refined.  Hermann Hesse summed it up aptly in Bäume. Betrachtungen und Gedichte.

“ For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfil themselves according to their own laws, to build up their own form, to represent themselves. Nothing is holier, nothing is more exemplary than a beautiful, strong tree. “

 Debbie Barber Ceramics

 Teresa Wooden – Stone Forest Pottery

Terance Painter jar – Piedmont Craftsmen

Claire Basler –  Barbotine 29

Belgium

 Chinese  Lapis lazuli carved panel

 A French Art Nouveau ceramic vase by Emile Gallé, featuring a Japoniste styled sculpting of a bamboo stalk handle.

 Amphora Austria Scenic Motif Vase

 Amphora ceramic monumental blow out portrait vase

Anna Lambert Swallows in Flight Bowl

Ann Robinson Tree forest vessel

Antique Japanese Banko ware carved 3D scenic vase

20th Century American art pottery Rockwood vase by Frederick Hurten Rhead

( fetched $516k at David Rago Auctions  in 2006 )

Beth Tarkington - Alive in the Dark of the Night

Moriyoshi Saekia

kasakayugallery.com

Calco bookends

( Treadway Toomey Galleries )

Daum vase, Nancy France

Carol Alleman  Trinity

Eddie Dominguez - Grasslands

Moriyoshi Saekia

kasakayugallery.com

‘Fountain of the Water Nymph’ Rookwood Pottery Company

Cincinnati Art Museum

Cedric & Christy Brown tree vase

Chickadee jar  - Ray Makie and Debra Kuzyk

DeerVase – LuckyRabbitPottery

Fairyland Lustre Ship and Tree Vase

Chinese hand painted porcelain vessels

Owl Figurine by Zhou Guozhen, China

French Limoges Enamel Vase with a realistic landscape scene

Glass vase decorated with a landscape in ochre, green and black, etched and cut French, Lunéville, by Muller Frère

BonsaiFocus.com

Moriyoshi Saekia  kasakayugallery.com

Janet De Boos bottle

Jiangxi Wu –  Porcelain Bottle

 Dennis O’Connor Vase and Tumblers

( Shapiro Auctions )

Michael Bauermeister — Green Offering -linden wood with paint and stain

Modern shelves with a tree theme

 Maria Yasko

Tree Hugger

Newtone Pottery glazed vase with a hand painted decoration of a koala in a gum tree, stamped on base and signed ‘Hand Painted’, attributed to Daisy Merton

Daisy Merton (1889-1972), Newtone Pottery glazed ovoid vase, circa 1935, painted with gumtrees by a river, signed DV Merton, 21 cm high

Pair of Legras Parrot vases

Pink Kiss Pottery mug on Etsy

Rika Herbst ceramic dish

Rika Herbst  - Ou Lettere

Roelna Louw Africa series sculpture

Tim Bassett –  hand blown glass vase

Bronze and Geode Tree Sculpture by Belva Ball (1933-2009)

George Lafayette sculpture

Roseville Pottery — Della Robbia Wisconsin Art Pottery Association

Royal Winton – Grimwades -Byzanta Lidded Bowl

Sheila Richards -  Tree Of Life

Stephanie Young vase

Jan Kolenda – Sticks and Stones Studio teapot, Florida

Patrick Dragon — Dragon Clay Studio

Patrick Dragon — Dragon Clay Studio

Ceramic Sparrow Sculpture from Andersen Studio

Wedgwood Fairyland lustreware tall vase designed by Daisy Makeig-Jones , 1923

V&A

Tree Hug is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Tree Hug

The French have always been intrinsic style innovators in fashion and the arts and have readily adapted to new trends. In the ceramic arts, there has been a consistent tradition of invention, research, and the adoption of new techniques through the ages.  Bernard Palissy, Theodore Deck, Edmond Lachenal, Roger Capron,Clement Massier,Jean Mayodon and Andre Metthey are just a few of the French ceramicists that contributed to the development of contemporary French pottery with their exploration of different clays and glazing techniques.
The local market have eagerly embraced and supported the contemporary ceramic purveyors and some of the current crop of contemporary ceramicists are featured in this post. Also being displayed  is a tasteful video by Luke Riolon on the Ceramique Cafe at the  les journees de la ceramique  ( ‘Days of the ceramic ‘) in Paris. This is an annual ceramics street market held in Paris over 4 days. At the Ceramique Cafe, visitors have the opportunity to choose from a diverse array of cups, provided by the many exhibitors, to use and admire while they drink their coffee.

Love Nest  - Pascale Proffit

Nicolas Rousseau

( galerie.ceradel.com )

Mireille Mallet

( www.ateliersdart.com )

Michel Tequi

Therese Lebrun

Raphaelle Lambert

( www.ateliersdart.com )

Isabelle Leclercq

Karima Duchamp

( passion-ceramique.blogspot.com.au )

Frida – Sabine Stenert

( galerie.ceradel.com )

Séverine Lefranc

Valérie Guidat

Jean Girel—Seaux paysages

A ceramic seat at les journees de la ceramique.

( betsysbriefings.blogspot.com )

Gutter AIRE Allikmets

Gaëlle GUINGANT CONVERT

Gabrielle Baecile

Gabrielle Baëcile

 French Patisserie chef

Florence Pauliac

From the series “Mineral Veils”, which combines the flexibility of the earth and folding “Origami”. It is a balance between research and tension. 

Florence Pauliac

From Florence’s series of sculptures “Armor Poetic” which were inspired by the traditional Japanese costumes of the kimono and yukata.

Gentle Rain  - Pascale Proffit

Dominique Dalloun

Dominique Dalloun

Dominique Dalloun

 Robert Deblander – ( 1924 – 2010 )

Clémentine Dupré

Claudia Napoleone

 Volcanic rock texture in white from porcelain enamel – Claudia Napoleone

Claire Bogino

Christine Ladeveze

( www.ateliersdart.com )

Christine Ladeveze

Christine Fabre

Christina Guwang

 Le Vase by Christian Ghion; “Fanatic of microcellular worlds, this design refers to my passion for the organic universe, where empty spaces have the same importance as full spaces, where beauty is singular, and where the invisible is familiar to visible”

Chantal Cesure

( passion-ceramique.blogspot.com.au )

Chantal Cesure

Maria Bosch – Spain

Maria Bosch, Spain

 Anne Longchamp

( galerie.ceradel.com )

Camille Rollier

Caroline Barbet

Francoise Dufayard – Landscape dish

Anne Marie Bauer

( www.ateliersdart.com )

Anne Laure Charlier

( passion-ceramique.blogspot.com )

Ananda Aragundi Hanus

Ananda Aragundi Hanus

Ananda Aragundi Hanus

Ananda Aragundi Hanus began her career as an agricultural engineer in Ecuador. On visiting France she decided to devote her time to ceramics and in 2003 she graduated at the French Institute of Ceramics in Sevres. The shape of Ananda’s ceramic sculptures are the result of a subtle marriage between asymmetry and imbalance and their appearance resembles  textures of the natural world as if the wind had blown them or they had been shaped by water, snow or volcanoes.

Alexandra Tollet

Alexandra Tollet

Céline Huteau

Two handled vase, enamel crystalline glaze. – Alain Fichot

( www.ateliersdart.com )

Vincent Potier

( galerie.ceradel.com )

Gutter Aire Allikmets, Paris

Les journees de la ceramique :

Dates: Thursday 3 Friday 4 Saturday 5 and Sunday 6 July 2014
Hours: 11:00 a.m. to 8:00 p.m.
Location: Place Saint Sulpice, 75006 Paris

café céramique from Luc Riolon on Vimeo.

Contemporary ceramiques of France is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Contemporary ceramiques of France

The Egyptian Goddess Isis – 1st century AD

Photo © Joan Ann Lansberry

The Roman rule of Egypt from 30 BC to 395 AD led to Roman decorations incorporating Egyptian motifs and an increased interest in Egyptian culture. During the Italian Renaissance “Egyptomania” resurfaced again when ancient Roman artifacts reflecting an interest in Egyptian culture along with actual Egyptian artifacts were discovered and exhibited and elements of Egyptian art were used by Italian artists. Travellers took theses Egyptian themed designs back to other parts of Europe in the 18th century.

Napoleon’s Egyptian occupation in 1798 lifted exposure of Egyptian art in the West after he assembled a contingent of over 500 scholars including biologists, archeoloigists, historians, artists and scientists, who were employed to catalogue their sights and new discoveries in Egypt. This was considered as an indication of Napoleon’s devotion to the principles of the Enlightenment. The results of their labours appeared in the monumental 20-volume Description del’ Égypt, completed in 1828, and in the course of their research Egyptology was born.
The British confiscated most of the French collection of Egyptian artifacts after the defeat of the French in Egypt in 1802 and most ended up in the British Museum. However the grandiose scale of Napoleons research project and their discoveries in Egypt gave rise to an increased fascination with the ancient Egyptian culture.

Statuette of a standing woman with crossed arms Naqada III– early Dynasty 1 (ca. 3300– 3000 BC)

Ashmolean Museum of Art and Archaeology, Oxford,

The mysteries of Egypt also captured the imagination of many artisans and designers and its influence filtered through to architecture, furniture, ceramics and  jewellery where Egyptian symbols like obelisks, hieroglyphs, scarabs, pyramids and the sphinx appeared in numerous designs. Organic and plant forms such as lotus flowers and papyrus reeds appeared in the geometric decorative patterns.
Monumental Egyptian-inspired sculptures were erected throughout Paris in the ten years after Napoleon’s invasion of Egypt..The literal translations of ancient Egyptian art eventually merged into other styles such as Art Deco, in the 1920‘s, and Egyptian motifs would become an integral part of the language of Art Deco, a style that dominated the decorative arts until the late 30‘s. The discovery of King Tut’s tomb in 1922 also fed the public imagination and desire for Egyptian art.

Architecturally, the Egyptian Revival style attempted to recreate the appearance of Egyptian temples, especially with the use of massive columns and details referring to ancient Egyptian symbols—the phoenix, the sphinx, and the vulture and sun disk.

Charles Cocteau Art Deco vase

 20th c. Egyptian Revival Pharaoh Table

( 1st Dibs – Newel, NY )

Wall  painting fragment from the Tomb of Nebamun

( British Museum )

Piel Freres  - Egyptian Revival Scarab Buckle

Belle Epoque Period

Brown-Westhead, Moore & Co. majolica Egyptian Revival garden seat.

Large 19th century Egyptian Charger

Continental porcelain Egyptian revival plaque in a giltwood decorated frame – 1880

( 1stDibs )

Twin handled Egyptian Pottery – marked FG

Longwy Vase

Egyptian revival – Wedgwood Jasperware Egypt collection – canopic jar.

Egyptian revival statue

Egyptian Revival marble, slate, and bronze-mounted mantel Temple Clock

Egyptian Revival enamelled pendant

Egyptian Museum, Cairo

 Perfume bottle with Egyptian dancers – Rene Lalique

‘The Temptation’ table lamp - Edgart Brandt and Daum

( Southebys )

 Carltonware Egyptian Revival Fan Vase

( reissantiques.co.uk )

Wings of Isis clock - Toscano

Amphora Egyptian Revival vase

Demetre Chiparus – Egyptian Dancer

Bastet, the Cat Goddess

Austria,late 19th-century Egyptian Revival vase

Art Nouveau Scarab and Papyrus brooch

Art Deco Egyptian Urn Vase

Large Carlton Ware Art Deco vase

( carltonwareworld.com )

French Art Deco Egyptian revival gem-set plaque brooch

( Skinner Auctions )

Two kneeling Egyptian maidens holding chains attached to a flaring vase.- Dagoty, Paris

( Christies.com )

Women at a Banquet, Tomb of Rekhmire - New Kingdom, Dynasty 18

( The Met, NY )

Antinea by Demetre Chiparus, ca.1928.

The ” Scarab Vase ” by Adelaide Alsop Robineau

( Everson Museum )

Carved Egytpian Revival armchair made in Egypt, circa 1925-30.

Art Deco Egyptian Papyrus inspired elevator entrance

1950s Italian Pottery Lamps Egyptian Revival style

1920′s Egyptian revival scarab jewellry

Vantines Art Deco Egyptian revival Incense Burner

Minton Egyptian Revival vase

Wedgwood Rosso Antico Egyptien revival teapot

Antique Centrepiece Egyptian Revival Art Deco- Czechoslovakia

Vintage 40′s red pharaoh earings

 Early 19th century Coalport Porcelain Classical Urn or Vase with Egyptian Hieroglyphics, 1810

( RubyLane )

Sarreguemines French ceramic vase

 Late 19th c. French Porcelain Egyptian Revival Lidded Box

Nippon Egyptian revival dish

An antique French Egyptian revival mantel clock set with Sphinx’s and Griffon’s.

( Antikolga.com )

Egyptian Revival Art is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Egyptian Revival Art

Practising the art of Ikebana – vintage photo from Japan

 I like the Zen aesthetic of Ikebana flower arrangements where space is as important as the detail. The graceful, clean lines are given room to express their elegance and the favoured asymmetrical forms reinforce the dynamic. Silence was traditionally a prerequisite for practising Ikebana and the Zen masters valued it as a contemplative art form. The art of Ikebna has been taught for over 450 years.  Instead of an array of colourful flower petals, Ikebana often highlights only two or three flowers combined with other parts of the plant, i.e. stems, branches and leaves, to define shape, line and form. The vessel containing the arrangement are also given much consideration.

Ikebana History

From pre-Buddhist times, the Japanese used evergreen trees and flowers to invoke nature gods and some claim this practice is at the heart of secular Ikebana. Japan’s deep connection with nature in the form of flowers, wild plants and trees is apparent even in the earliest of Japanese writings.
Ikebana, first appeared in the Muromachi Period (from the late 14th century to the mid 16th century). It was during this period that much of what was to become viewed as traditional Japanese art and its canon of beauty was established. The Shoin-style of residential architecture, the tea ceremony, Ikebana, noh plays,  renga verse and garden design, all have their beginnings in the Muromachi period. Ikebana was used in the Buddhist temples for altar decorations and worship. The translation of Ikebana is ” priest of the lake ” from  a Buddhist priest who lived next to a lake and was sought out for his skills in flower arrangement .

 Ikabana display at a Japanese tea ceremony

From the Azuchi Momoyama period through to the Edo period, Ikebana, seen as a living art form, went through several transitions. The Doboshu style concentrated on flower arrangements based on a standing branch in the centre of the vase which was called tatebana. The samurai class and aristocracy used Ikebana with their detailed form of tea ceremony. In the Edo period, Ikebana underwent one of its most serious shifts. The Ikenobo style of tatebana, influenced by Senno Rikkyu’s chabana (simplified flower arrangements for tea rooms) spread from the samurai warrior class to townsman or urban merchant culture.The simplicity of the Chabana in turn helped create the Nageire or “thrown-in” style. The ‘non structured’  Nagaire style led to the Shoka style, which focused on the uniqueness of the plant,  and also the Jiyūka style – a free creative design not confined to flowers as all materials could be used.
With the Meiji period modernization, Ikebana experienced an important adaption. The Meiji government committed itself to educating women and decided that Ikabana art should be defined as training women to be “good wives and wise mothers”. The government literally decreed that, as part of this character formation, Ikebana, once a male art form, was now a standard part of women’s education. This ensured the popularity of the art form into modern times.

Atsushi

Atsushi is the first artist I’m featuring and I feel his arrangements really capture the spirit of Ikebana, nicely complimented by his photography.

Box horsetail, shepherd’s purse Ikebana – Atsushi, Japan

Japan Ikebana by Atsushi

Companion – Atsushi

Ikebana by Atsushi

Hitorishizuka - Atsushi

Early Spring by Atsushi

I wait for the rain – Atsushi

Messenger – Atsushi

Moderation is best – Atsushi

Muscari—grape hyacinth by Atsushi

No title – Atsushi

Pioneer - Camellia japonica, Spiraea

Atsushi

Red spider lily Ikebana by Atsushi

Spring Ephemeral – Atsushi

Southeast Asia Earthenware Bowl

Incense - Tsukubai of Awakoganegiku  with Shigaraki vase – Atsushi

Until the equinox – Atsushi, Japan

Goldenrod flower with a ritual implement made of copper  - Atsushi

 Ikebana by Atsushi – Virginia willow, grass-of-Parnassus

Lotus by Atsushi

The fruit of lotus and magnolia, in a miso pot from the Cham in Vietnam.

White campion Bana Matsumoto, Yamaji Roh little cuckoo

’63 Ikebana by Atsushi

Promise  -  Amaryllidaceae—bracket fungus

Atsushi

Red fruit – Atsushi

website - Ichihana one leaf by Atsushi

Sofu Teshigahara and family :

Sofu Teshigahara was born in Osaka as the first son of the Ikebana artist Wafu Teshigahara. He broke away from his father because he questioned the traditional Ikebana of arranging flowers in a routine fashion. In 1927 he founded the famous Sogetsu school, which advocates Ikebana as art that respects the individuality of the person arranging the flowers. There are some rules, but no arbitrary dogmas, and those rules are always flexible.
The Sogetsu School aims to be alive, using plants and flowers to express vividly experiences of the present age. Below are some Ikabana art by Sofu, his son Hiroshi and Hiroshi’s daughter Akane. Some of Sofu’s modernist sculptures re included.

Opening installations for the Exhibition 0f Hiroshi Teshigahara at the Museum of Modern Art, Saitama. (July 2007)

Sogetsu Exhibition “Red and Black” June 2009 (Shinjuku Takashimaya, Tokyo) The big arrangement used coloured driftwood as a framework, and was arranged with a soft line of coloured weeping willow, coloured box tree, smoke tree, and glory lily.

Sogetsu Exhibition, Shinjuku – 2005

The fruiting kaki branches are drastically trimmed to present the vigour of the lines. A sense of volume is created by the bright yellow color of the chrysanthemums in the center - Akane Teshigahara

Commemorative Ceremony for the 20th Anniversary of the Enthronement of His Majesty the Emperor in November 2009 at the National Theatre, Tokyo.
These stage flowers were displayed to express the feeling of celebration with red and white moth orchid, camellia, Japanese hemlock, idesia, Citrus natsudaidai, baby’s breath and statice. Spilt bamboo added a sense of rhythm.

Akane Teshigahara

White lace flowers exude a light feeling while the cheerful colours of the poppy give an impression of joyful dancing. - Akane Teshigahara

 The glossy China root berries and the soft, brush-like fibers of achiote —By combining these materials both red but with different textures, an exquisite contrast is created.  - Akane Teshigahara

Large flowers of soft purple and white hydrangea are placed within free-flowing bottlebrush branches. 2010

Akane Teshigahara

Plenty of delicious-looking persimmons with volume are arranged in a vase with its distinct presence, combined with the beautiful autumn leaves of mountain ash and nerine.- Akane Teshigahara

Akane Teshigahara Ikebna - Golden-apple, Red-hot-poker, Goldenrod
Ceramic vase by Hiroshi Teshigahara

 A strong vase was selected to express the buoyant movement of plants.Pine was combined with hydrangea that offers multiple expressions of colors, and lines - Akane Teshigahara

Sofu Teshigahara exhibited an extra large-scale ikebana, Inochi(Life) in which he used veins of 1000 years old wisteria which weighed 3 tons.

Takashimaya Department store in Nihonbas, Japan

A ceramic sculpture by Sofu Teshigahara called  Vinasu (Venus)  exhibited at the World Modern Art Exhibition, at the Bridgestone Museum.

1957

Two Birds - flamingo lily, dried statice, summer cypress, Oya stone

Sofu Teshigahara, 1951

Sofu Teshigahara - Piacenza SUPERGA 1963

Sofu Teshigahara - Piacenza SUPERGA 1963

(  Giorgio Piacenza Dassu  )

Sogetsu website 

Camellia  & ceramic vase – Kiyoyuki Kato

Byobu & Ikebana; Japanese folding screen and Japanese flower arrangement.

( ConveyorBeltSushi – flickr )

Ikebana 2 – Mochimochi Land

Orange flowering gum with gumnuts

ikebanabyjunko.co.uk

Mid Century Ikebana – two branches of celastrus with an abstract sculptured ceramic vessel.

( nibsblog.wordpress.com )

Lightning Storm from sogetsud, Flickr

Ikebana by Mario Hirama

Ikebana of-Soho Sensei

Junko’s Ikebana class

Still Life with Snowberry  - Tim Helmatel , 1991

Ikebana using dried material and a vintage modernist vase.

Ikebana using curved lines

( sogetsudc on Flickr. )

Old Japanese  TANBA pottery flower vase from  KANJI MEIJI era.

A Japanese painting by KAWAI Gyokudo   (1873-1957)

ENAMI – Man in Mist

Ikebana nirvana – Japan floral arts is a post from: Ceramics & Pottery Arts & Resources

The Original Post is Located Here: Ikebana nirvana – Japan floral arts

Contemporary ceramicists Ross Auld and Tania Rollond are Aussies based in New South Wales. Their styles are contrasting – Ros uses stoneware, slab built textural surfaces while Tania works with wheel thrown, hand painted, smooth porcelain. Their similarity lies with their spontaneous, free spirited designs and originality.

Ros Auld :

Australian potter Ros Auld works from a studio at  Borenore near Orange, in Central West NSW, specialising in slab-built, or thrown and manipulated, stoneware forms decorated with wood ash glazes and trailed and incised slips, coloured oxides and gold lustre. Both her sculptural and functional work express surface textures and subtle colours that evoke the Australian landscape.

Ros Auld studied painting and ceramics at the National Art Schools in Newcastle and Sydney. In 1975 Auld worked in the ceramic studio of the painter, John Piper in England.

Ros Auld sculpture vessel

Ros Auld

Fragment 2 – Ros Auld sculptural vase

Earth and Sky – Ros Auld slab built vase

Emerge  – Ros Auld sculpture

Escarpment –  42-50-22 cm  - Ros Auld

Fragment 3 by Ros Auld at Janet Clayton Gallery

 Lagoon - Ros Auld

Landscape and Memory – Ros Auld

( Janet Clayton gallery )

Remnant Landscape by Ros Auld

( Janet Clayton gallery )

Ros Auld

Two legged vase –  Ros Auld

( Bemboka )

Bluff – Ros Auld

Ros Auld vase

Landlines - Ros Auld

Futher Afield  – Ros Auld

Terrain by Ros Auld

Tracks - Ros Auld

Weather Report - large sculptural vase by Ros Auld

See more of Ros Auld works here :

www.artsite.com.au

www.janetc;aytongallery.com.au

 Tania Rollond :

As I lean over the wheel, magpie songs swell outside and then flood through the open door. As my pencil searches for a line, the lightning flash of a rosella cuts across the window. As I take up my paintbrush, a passing storm stains the sky and stirs the ants – I take a deep breath as the first swollen drops land.
I shape the forms, draw out the lines and paint the colours that trace these rhythms on each white surface; patterns of this place and time.

Artist Statement for Magpie Songs at Skepsi on Swanston Gallery, 2009

Tania Rollond is a maker of exquisite porcelain vessels. Each is wheel thrown and decorated with drawings and paintings that allude to the natural world. She does not intend for them to directly imitate nature, but hopes that they convey some of nature’s dynamic force. And she loves visual clues that convey the relationships between the infinitely small and the universal. The vessels are beautiful in their own right – refined, elegant and gracefully seductive. However, the very smooth surfaces of those forms are also absolutely necessary because her wonderful drawings on them are an essential, identifying part of each piece.

Much of her work is decorated using a combination of drawing and painting with various oxides and stains – abstracted shapes of leaves, twigs and more touch the surfaces lightly.

( via Julie Gibbons at iamthelab )

Tania Rollond at studio

Tania Rollond bowl and vases