Flickwerk: The Aesthetics of Mended Japanese Ceramics

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Contents ...............…...............…..............…..............…..............…........ Foreword Monika Kopplin ...............…...............…..............…..............…..............…........ ESSAYS ...............…...............…...............................…..............…........ A Tearoom View of Mended Ceramics Christy Bartlett ...............…...............…..............…..............…..............…........ Mending Ceramics – An Anthropological Context James-Henry Holland Ceramics Mended with Lacquer – ...............…...............…..............…..............…..............…........ Fundamental Aesthetic Principles, Techniques and Artistic Concepts Charly Iten ...............…...............…..............…..............…..............…........ CATALOGUE ...............…...............…..............…..............…..............…........ Glossary ...............…...............…..............…..............…..............…........ Imprint 6 7 8 14 18 25 46 48 FLIC KW ERK
Foreword The reciprocal infl uences in the artistic design of porcelain and lacquer; the enthusiasm, which culminated in the eighteenth century, for ceramic product s with deep black, lacquer-like glazes; and the less common use of lacquer to imitate porcelain: all three testify to the fact that both materials are closely connect ed in European culture. Furthermore, the display of these artifact s side by side within the narrow spatial confi nes of a porcelain and lacquer cabinet takes into account the relatedness of the two substances and their vying with one another to produce surfaces with the most impressive gleam. Chinese art- ists simultaneously pursued comparable intentions in the eighteenth century, e.g. the use of porcelain to imitate red carved lacquer or the decoration of porcelain with lacquer and with ornamental techniques borrowed from the art of lacquer. Another aspect of the interact ion between these two materials, and one which has been seldom considered in the past, occupies the foreground of attention in the exhibition entitled “Flickwerk – The Aesthetics of Mended Japanese Ceramics.” The usage of lacquer to artfully repair damaged or broken ceramics, however, is a specifi cally Japanese phenomenon that transcends the eff ect s immanent in the materials and is based on aesthetic ideals which evolved in the culture of tea. The extremely creative exploration of the aesthetic potentials that become availa- ble through ennobling ceramics with “lacquer veins” or re-conceiving damaged vessels by inserting shards or “lacquer patches” is highlighted by a private collect ion which focuses on this fi eld and which Thomas Bachmann and Gabriel Eckenstein, Basel, Switzerland arranged to have exhibited at Cornell University in Ithaca NY, USA and at the Museum of Lacquer Art in Münster, Germany. We express our gratitude to the lenders, to the authors Ms. Christy Bartlett, Dr. Charly Iten and Prof. James-Henry Holland for their contributions to the exhibition and its catalogue, and to Dr. Patricia Frick for coordinating the project . Dr. Monika Kopplin Direct or of the Museum of Lacquer Art
Page 1: FLIC The Aesthetics of Mended Japan
Page 4 and 5: June 28th - August 10th, 2008 Herbe
Page 8 and 9: ES SAY S
Page 10 and 11: Furthermore the bowl stood as talis
Page 12 and 13: likely to have made a rather subdue
Page 14 and 15: precedence in Japan’s poetic trad
Page 16 and 17: Some of the puzzles are easy, some,
Page 18 and 19: themselves of details every time th
Page 20 and 21: ageing, and imperfect ions in gener
Page 22 and 23: Compared to the aforementioned kind
Page 24 and 25: ings. The specifi c feature of the
Page 26 and 27: 25 CAT ALO GUE
Page 28 and 29: → TEABOWL (chawan), Kato Shirozae
Page 30 and 31: → SAKE SAUCER (sakazuki), “Bamb
Page 32 and 33: → DISH (zara), 16th century, Kore
Page 34 and 35: → SAKE FLASK (tokkuri), 17th cent
Page 36 and 37: → TEABOWL (chawan), 18th century,
Page 38 and 39: → DISH WITH HANDLE (tetsukibachi)
Page 40 and 41: → DISH (zara), 17th century, Kara
Page 42 and 43: → FLOWER VASE (hanaire), 17th cen
Page 44 and 45: → TEA CONTAINER (chaire), 18th ce
Page 46 and 47: → FLOWER VASE (hana tsutsu), Ohi
Page 48 and 49: mugi urushi �� grain
Page 51: A division of BASF Coatings AG

Flickwerk: The Aesthetics of Mended Japanese Ceramics

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