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作者 Rousmaniere, Nicole Coolidge
書名 Vessels of influence: Chinese ceramics imported into Japan and the formation of the porcelain industry
國際標準書號 0591855992
book jacket
說明 331 p
附註 Source: Dissertation Abstracts International, Volume: 59-05, Section: A, page: 1371
Adviser: John M. Rosenfield
Thesis (Ph.D.)--Harvard University, 1998
This thesis focuses on three points that are central to art and material culture studies: first--the way in which objects mark social position; second--the way in which meaning is constructed from objects; third--the role of taste or fashion in stimulating the economic development of production centers. Chinese porcelain was imported in unprecedented amounts in Japan between 1580-1660. The large volume and uniform design of imported trade wares during this period indicate the high significance of Chinese porcelain to the Japanese. Never before had they possessed porcelain in this amount and on this level; indeed, Chinese ceramics have been excavated from daimyo, upper level samurai and wealthy merchant sites of the early seventeenth century in many areas
The taste for karamono, or things Chinese, had been established in Japan centuries earlier among the elite. It was seen, for example, in the rustic, heavy stonewares produced by kilns in the Seto/Mino district (near Nagoya) and employed throughout the country in the Tea Ceremony. In the last decades of the sixteenth century, despite the turbulence caused by civil war and Hideyoshi's abortive invasions of Korea, the ceramics industry continued to flourish, stimulated by new technologies introduced from the Continent. And in this atmosphere the first Japanese porcelains were produced in the Arita-cho district of western Kyushu in the early 1600s
The various designs that adorn them, influenced by a karamono aesthetic, show a remarkable uniformity of decorative style and technique. In addition, potters wrote on the bases signs that indicate that these wares had been made in China; by the mid-seventeenth century these marks had become quite sophisticated, increasing the association with China. For the present-day researcher, these marks provide a key to unlocking the karamono meaning of the designs in the history of Japanese taste
The Nabeshima daimyo of Saga domain in the early 1620s capitalized not only on the resources of their new domain but also on the trade and fashion market. From 1637 onwards the domain rulers carefully regulated Hizen porcelain in order to develop the industry to their full advantage; an analysis of Hizen porcelain as a whole during the early seventeenth century reveals the importance of the taste of its purchasers. The adaptation of Hizen porcelain to market and stylistic changes was the reason for its remarkable tenacity as an industry that at one point dominated the porcelain field in Japan, much as the Kano workshops dominated the painting field. The interactions between early seventeenth-century Japanese porcelain and Chinese porcelain styles bound for the Japanese market reveal the complexities, if not sophistication, of the trade networks at the time. These factors make a compelling case for the reassessment of the role of porcelain in studies of Japanese early modern art and material culture
School code: 0084
Host Item Dissertation Abstracts International 59-05A
主題 Art History
Design and Decorative Arts
Anthropology, Archaeology
Alt Author Harvard University
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