ART 299 - Joliet Junior College

ART 299: International Ceramics: Japan
Tuesday, Thursday: 1:00-3:40
Fall 2012
Instructor Name: Eric Gorder
Email Address: [email protected]
Office Location: k0002
Office Telephone: 815-280-2296
Office Hours: 9am-10am M,W; 430pm-530pm T,R
Ceramics is a comprehensive course for the beginner in the Japanese history and construction of
clay objects, decoration and firing. Historical development and geographical locations of major kiln sites will be explored
within a lecture context. Both hand-building and wheel throwing will be explored as a means to investigate the ceramic
process within the studio. Conceptualization, execution, and analysis of the products are the key activities. This course will
cover both historical and contemporary approaches in the ceramic arts found in Japan.
Course Description:
Credit and Contact Hours
3 = Credit Hours
1 = Lecture/Demonstration
5 = Lab/Studio/Clinical
Prerequisites: None, but previous ceramics experience is helpful.
Books, Supplies, and Supplementary Materials
There is a lab fee for this class, which is used to augment the materials we currently have on hand in the studio.
Students will be responsible for the purchase of the following items:
1) Clay
Clay can be purchased from the service center. You will buy a voucher from them and redeem it in the studio for your
clay. NO clay will be given out unless you have a receipt.
Check for availability of clay before purchasing
Current available clays and prices:
White stoneware $10.00/25lbs.
Porcelain
$12.00/25lbs.
Recycled clay $5.00/25lbs.
2) Tool Kit and Other Supplies:
All students must have the following:
1. Basic pottery tool kit (available at the bookstore ± $6.95); you should have the equivalent of what is contained
in the kit.
2. A hand or bath towel
3. Small “cool-whip” container/bucket/ or equivalent for water.
4. Plastic sheeting or equivalent to cover projects.
5. 3-Ring binder for notes, project ideas, dedicated specifically for this class. You will need the following: clear
plastic sheet protectors, unlined heavy sketch paper and graph paper with holes punched. Pen or pencils.
I will give other options for taking notes, but this is mandatory and will be checked as a part of your grade.
6. Appropriate studio clothing.
1
Each student will be given a small locker for personal items and supplies. Please bring a lock, and use it; this
way there is no confusion or excuses or theft.
3) Required Text:
Inside Japanese Ceramics: Primer Of Materials, Techniques, And Traditions : Wilson, Richard
The Japanese Pottery Handbook: Simpson, Penny
Both Texts are extremely valuable for class information, and also very affordable.
Methods of Instruction:
Lectures and demonstrations will be given on: materials; techniques; historical and contemporary artists. These will
take place in the form of PowerPoint lectures and open forum discussion/lecture. There will also be visual
demonstrations on techniques. In all cases, students are expected to participate, question and take notes.
Student Learning Outcomes
1.
2.
3.
4.
5.
To be able to identify major developments and stylistic approaches within Japanese ceramics.
To be able to geographically locate historically important kiln sites.
A basic understanding of Japanese concepts and vocabulary associated with the ceramic process.
Production of pottery tool making and decorating techniques.
To understand the sequence of events in producing ceramic objects from greenware to a finished glazed and fired
piece.
6. To develop skill in ceramic construction techniques.
7. To formulate a sensitivity and understanding of Japanese culture and the arts.
General Education Student Learning Outcomes
This is a 16-week class that will focus on historical development creation of ceramic art and/or pottery through the use of
several different types of assignments. Our focus for the course will be the development of ceramics in Japan. Critical
thinking, visual analysis and interpretation, and unique problem solving skills will play important roles during the semester.
Graded Assignments and Policies
Your final grade will be based upon the following:
* Lecture and discussion: 60%--An exam will be give following each unit or area of discovery, based on a 50 pt.
scale. Students will also be responsible for a PowerPoint presentation, and written documents.
* Studio Projects: 40%--Refer to list of Assignments and grading rubric. All assignments are graded on a scale of
100. Broken down into four categories valued at 25 points each: Catch; Design; Project Requirements; Craftsmanship,
each equally important to the overall success of a project.
* weekly quizzes may be assessed dependent on class participation.
Midterm: There will be mid-term examination covering a portion of lecture materials. This will consist of glossary
terms, clay types, kilns, glazing and firing.
These will be taken on Angel
Classroom Policies and Procedures
General Information
The instructor has final approval on all pieces to be fired. It is your responsibility to ensure that all projects are fired and
completed.
Students wishing to receive a passing grade must complete the following:
 Satisfactory completion of all examinations and written/oral assignments.
2
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Satisfactory completion of all assigned projects including:
 Finished (beyond the greenware state, with appropriate surface resolution) all projects as assigned.
 A set of bamboo tools and brushes, trimming/decorating tools.
Regular attendance
15+ hours of studio time outside of class
Attendance and participation at all scheduled critiques.
Mandatory attendance and participation at final studio clean-up session.
A. Attendance
Attendance is vital for understanding the material covered and will be taken at the beginning of each class. You must attend
classes corresponding to your official course/section enrollment.
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OFFICIAL ART PROGRAM ATTENDANCE POLICY
Absences allowed without reduction in Final Grade:
MWF Classes - Fall and Spring Semesters
- Three unexcused absences
MW Classes - Fall and Spring Semesters
- Two unexcused absences
TR Classes - Fall and Spring Semesters Two unexcused absences
Once Weekly Classes
One unexcused absence
Summer Classes
- One unexcused absence


Definition of Excused/Unexcused Absences
* Excused Absences - College-sponsored field trips, documented emergency treatment, or death of
immediate family members.
* Unexcused Absences - Routine doctor’s appointments, traffic court, minor illnesses, death of other
than immediate family members.
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

An excess of the allowed absences results in the lowering of your final grade, with one letter grade per additional
absence.
Arriving late, leaving early, and poor student behavior such as sleeping in class, texting, being disruptive or not
participating, will be considered an ½ absence for each incident and result in the lowering of your final grade; it may
result in removal from the course.
B. Make-up Policy
It is the responsibility of each student to ensure that all material is complete and finished. Due to firing
schedules, all course work must be completed and on the proper shelves for the finishing process, on or
before the assigned dates.
C. Extra-credit Policy
I do not give extra credit.
D. Final Exam Information
We will have a mandatory Final critique during scheduled finals time.
E. Academic Honor Code
The objective of the academic honor code is to sustain a learning-centered environment in which all
students are expected to demonstrate integrity, honor, and responsibility, and recognize the
importance of being accountable for one’s academic behavior.
It is expected that students in this course will maintain the highest standards of intellectual honesty. Anyone involved in
dishonesty—i.e. plagiarism, granting or receiving assistance on quizzes, exams and written assignments, and falsifying
class attendance lists—will receive a failing grade. (See Student Handbook for further information on Academic
Misconduct.)
3
F.
College Statement about grades of “F” and withdrawal from class.
o
Students may withdraw from a course by processing an add/drop form during regular office hours
through the Registration and Records Office at Main Campus or Romeoville Campus, or by phone
at 815-744-2200. Please note the withdrawal dates listed on your bill or student schedule. Every
course has its own withdrawal date. Failure to withdraw properly may result in a failing grade of “F”
in the course.
o
At any time prior to the deadline dates established, an instructor may withdraw a student from class
because of poor attendance, poor academic performance or inappropriate academic behavior,
such as, but not limited to, cheating or plagiarism.
G. Intellectual Property
Students own and hold the copyright to the original work they produce in class. It is a widely accepted
practice to use student work as part of the college’s internal self-evaluation, assessment procedures, or
other efforts to improve teaching and learning and in promoting programs and recruiting new students.
If you do not wish your work to be used in this manner, please inform the instructor.
H. Student Code of Conduct
Each student is responsible for reading and adhering to the Student Code of Conduct as stated in the
college catalog.
I. Sexual Harassment
Joliet Junior College seeks to foster a community environment in which all members respect and trust
each other. In a community in which persons respect and trust each other, there is no place for sexual
harassment. JJC has a strong policy prohibiting the sexual harassment of one member of the college
community by another. See Catalog or Student Handbook.
J.
Student Support http://jjc.edu/services-for-students/pages/default.aspx
a. Disability Services: http://jjc.edu/services-for-students/disability-services/Pages/default.aspx.
Student Accommodations and Resources (StAR): If you need disability-related
accommodations, specialized tutoring, or assistive technology in this class, if you have
emergency medical information you wish to share with me, or if you need special arrangements
in case the building must be evacuated, please inform me immediately. Please see me privately
after class or at my office. New students should request accommodations and support by
scheduling an appointment with the Student Accommodations and Resources (StAR) Office,
Campus Center 1125, (815) 280-2230.
b. Tutoring: http://jjc.edu/services-for-students
c. Counseling and Advising: http://jjc.edu/services-for-students/counseling-advising
d. Academic Resources: http://jjc.edu/services-for-students/academic-resources
e. Support Programs: http://jjc.edu/services-for-students/support-programs-services
f.
Technology Support: http://jjc.edu/services-for-students/Pages/technology-support.aspx
K. Safety
Students with an impaired ability to concentrate may jeopardize safety in this classroom for themselves,
their classmates and their instructor. If your ability to concentrate is impaired you should discuss this
matter with your instructor prior to operating equipment or performing a laboratory procedure. Students
are responsible for reporting to their instructor any condition that would impair the ability to
concentrate. Failure to notify your instructor of this issue may be a violation of the Student Code of
Conduct.
4
Topical Outline
Week
1,2
Lecture/Studio
“Lay of the land”
Classroom introduction, geographical identification, The Six Great
Kilns.
Studio assignment#1:
Tools, stamps, rollers, and the clay medium: The use of materials with slips
and texture. Begin tools: ribs, scrapers and texture makers.
3
L
S
300b.c.-300a.d.------Jomon & Yayoi
Jomon pottery, made using coils or slabs, and fired in outdoor bonfires/ditches;
characterized by chord-marked pottery; hunting and gathering lifestyle.
Introduction of iron/bronze; development of coil-built pottery known as Yayoi.
Haniwa Tomb figures beginning in the third century.
L
Studio assignment#2: Recreation of a Jomon period vessel, or Haniwa figure or
house. Continue tools, Introduction of the potters wheel.
S
3,4
300 A.D. -- 794 A.D..
Introduction of anagama (sloping tunnel kiln) from Korea; introduction of
the potter's wheel; introduction from Korea of Sueki ware; introduction from
Korea of three-color ware (green, brown, white); introduction of Buddhism
552 A.D.; Sui and Tang Dynastys in China.
L
Nara Sansai style (three-color glaze); Japanese fully start using glaze to
decorate their wares with colors; flowering of Buddhism
Studio assignment#3: throwing off the hump: small cups plates and bowls
Woodfiring!
S
5
5
794 A.D. to 1192 A.D: Heian
Major period of creativity; introduction of Tokoname (9th century); spread
of China's celadon and green glaze (ryokuyuto) to Japan during China's
Sung Dynasty (960-1270); introduction of Bizen; Shiki-style pottery introduced
); Korea's Korai jawan style (slip inlay, or zogan) appears (see Mishima);
green glaze and ash glaze become more popular than three-color glaze;
Sanage ware (green glaze) becomes widespread .
L
Studio assignment #3: Slabware, lids, pouring forms, and water Jars
Choose a Style, Use your tools
S
6
1192A.D.—1573A.D.: Kamakura, Muromach, Momoyama
L
Introduction of Shigaraki style and Seto style; further development of Bizen;
new Buddhist sects introduced, including Zen and Lotus Sutra sect of
Nichiren; Yuan Dynasty China; Magna Carta signed in England
Seto ware reaches its golden age in early 14th century; Bizen enters golden
age in late Muromachi Period; Mishima-style chawan first mentioned in
Japanese records; Japanese tea ceremony becomes major conduit of
cultural taste, and together with Zen, causes great interest in Bizen, Tanba,
Shigaraki and Echizen tea ware; Columbus discovers America
Golden Age of Bizen pottery continues; introduction of Hagi style; tea
utensils become more popular; introduction of Iga; introduction of Karatsu,
Takatori, Agano, and Satsuma wares; start of Mino Ware (Shino, Oribe, KiSeto, Setoguro)
Studio assignment #4: “Traditional” teabowls, teawares and Raku
S
Choose a Style, Use your tools: The Tea Ceremony
6
7
Museum trip: The Art institute of Chicago. This will be an all-day field
trip, departing school at 9a.m. and returning at approximately 4 p.m.
FIELD TRIP
L
1603 – 1867: Edo
Introduction of porcelain with Imari, Ko-Kutani, Nabeshima, Kutani, and
Sometsuke); start of Kyo-yaki style by Ninsei and Kenzan; nobirigama kilns
and porcelain kilns largely replace the anagama (see Kilns); popularity of
Mino and Bizen wares declines
6
8
1868-1926: Meiji Restoration and beyond
L
Japan undergoes industrialization World War I; representative potters
include Kusube Yaichi (1897-1984), Kawai Kanjiro (1890-1966) and Hamada
Shoji (1894-1978)
9
1926- current: Into the Present
L
World War II; start of Mingei Movement in 1926 (folk craft movement); start
of Sodeisha Movement in 1948 and its focus on sculptural forms, led by Yagi
Kazuo (1918-1979) and Suzuki Osamu (1926-); revival of anagama kilns
starting in the 1960s; representive potters of Showa Era include Itaya Hazan
(1872-1963), Tomimoto Kenkichi (1886-1963), Kanashige Toyo (1896-1967),
Arakwa Toyozo (1894-1985), and Kato Tokuro (1898-1985)
S
Studio assignment #5:
Choose a Style, Use your tools: The Mingei Movement. Create a dinner set
with service bowls with Mingei principles in mind.
WOODFIRING!
10
L
Influences on the West
Studio pottery in America. The “Mingeisota” movement and its followers.
Present
11,12
PowerPoint Presentations
13,14
Completion of all glazing
15
WOODFIRING!
16
Final Exam scheduled on Angel
S
Studio Potluck using your “Japanese” wares
7
Please refer to assignment sheets on Angel and posted in the
ceramics classroom. New information is given out daily, thus
attendance and participation are mandatory. All assignment
deadlines, dates and pertinent information will be clearly displayed
Effective Date: 8/22/2011
8
List of Assignments
An assignment sheet for each assignment will be posted on Angel.
All Assignments will show initial development in a sketchbook. I will go over your ideas with you, before any project is
started in clay. This is mandatory and sketchbooks should be brought to every class, with several ideas for each
assignment.
Please be aware: The last two weeks of the semester are dedicated to glazing and studio clean-up. No new work will be
made after the “Last day for wet clay date”
10 forms—This is our first project and will be used for investigation into slips, carving, additions, and glazing. You will be using
virtually all of the colored slips for this assignment. These “forms” will be built using your immediate response to the material. You
must have evidence of both additive and reductive decoration techniques. All forms must be kept in the “leather-hard” state until slip
decoration is complete.
1 Pinch “Form”—this is the starting point of learning to work with your hands in clay. As stated in class, these do not
need to be “pots.” Use your imagination; they simply need to be made using your hands as primary tools. The project must
have a minimum of 4 different pinch forms to comprise its construction.
In addition, the form must have a lid system, and show evidence of faceting or fluting. These will be fired using the Raku
process.
1 Extruded form—this project will be using the extruder as a primary means of development. Your finished project must be
a minimum of 12” in height or width and be comprised of a minimum of 5 extruded and altered pieces.
4 Cylinders, minimum 6” in height—thrown requirement:
Using the potters wheel, complete 4 cylinders, a form taller than they are wide. You must still be able to get your fingers
inside to the bottom when dry; i.e. no candle sticks. It must be more like a cup with straight sides. This will be one of your
more difficult assignments, do not wait until the last week of class; you will never get them done.
1 Coil Pot—“History Repeats Itself”.
Using the coil building method, recreate a form that is at least 100 years old. Find an image from a book preferably, of an
artist or culture that can be documented as a viable and important work of art. Do not bring me an image from a Pottery
Barn catalog; it must be from a book or a very good web source. Your coil form must be a minimum of 14” in height. This
assignment is 50% research. You need to have a minimum of ten different examples in your sketchbook. Five must be
from cited book sources.
1 Slab Project— “Animal, Vegetable, Mineral”
Using the slab process as the framework for construction, create an object based upon the theme—Animal, Vegetable,
Mineral. This is a very open-ended assignment, and amount of time spent in the development and building stage will be
most evident. Your project should be a minimum of 10” in height or width.
1 “Matching” place setting—“Cup, Bowl and Plate: these can either be hand-built or thrown, they just need to match in
decoration and form and size. Bowls need a foot and cups need handles. Hand-built forms must look hand-built and not
directly slapped off a mold. Incorporated into your design should be a “theme” that also heightens and strengthens the idea
of a set.
9
Student Evaluation:
All assignments must be completed to receive a passing grade. Completed refers to a finished state beyond bisque-ware or
glaze fired.
The A:
Students that display a strong attention to craft, innovative and creative problem solving skills, are attentive,
punctual, inquisitive and interested. Participate in class discussions and critiques.
The B
Students that attempt good craft, display above average use of materials, and are attentive, punctual, inquisitive
and interested. Participate in class discussions and critiques.
The C
The D
Show little attention to craft, few problem-solving skills and are generally uninterested in their own performance and
that of others. Are attentive, punctual, and participate in class discussions and critiques.
Exhibit very little attention to craft, show very little innovation and problem solving skills, are uninterested and simply
go through the motions. Are not attentive, punctual, and rarely participate in class discussions and critiques.
The F
Students who do not complete all assignments, have more than five absences, and forgot to try for sixteen weeks.
Grading Criteria
Your final grade will be based upon the following.
* Studio Projects 60%
* Class participation 20%
* quiz/exam 20%
Quiz: There will be one quiz covering a portion of lecture materials at midterm. This will consist of glossary terms, clay types,
kilns, glazing and firing.
This will be taken on Angel
10
Studio Rules:
When you enter the classroom, turn off your phone and put it away, take out your
earbuds and put them away. You will not need them for the duration of scheduled
meeting time.
Studio Hours: A room schedule and studio hours will be posted.
Cleanliness: You must and will clean up after yourself. Each student is expected to clean any table, wheel or
equipment or tools thoroughly after use. When finished, put everything back in its appropriate place. Because several
classes use this space it is imperative that everyone do their part. Do not leave any projects out in the general studio
work space; they may get damaged or thrown out. Any tools, clay or materials left after class may be thrown out or
become property of the studio.
Respect:
1. Be kind to each other, be courteous, use and show good judgment. If you say or do something wrong or act
inappropriately, unintentionally or not, please say you are sorry or excuse yourself.
2. Do not touchP or handle other people’s projects unless directed or given permission.
3. Do not use equipment or tool you have not been thoroughly trained in safety and procedures.
Registered students only in studio: Only registered students may be in the Art Studios at any time (including lab
time). Brief visits by non-registered students, significant others, children, and family members is ok.
No Food or Drinks: Some of the materials we use can be toxic. Eat before or after class. Beverages with lids are
acceptable anywhere but the glazing and chemical areas. Please make sure you recycle or put in appropriate when
finished.
Music/Conversation: The studio needs to be a place where everyone feels comfortable exploring creatively. If an
individual is offended by choices in music or conversations, they can ask that they be turned off or taken out of the
classroom.
I do not like angry music or conversations.
Studio Safety:
There are things in the ceramic studio which can be dangerous if used incorrectly or are ingested. Kilns can be HOT,
some chemicals are poisonous, dust is harmful, and tools can hurt if used improperly. I will fully explain the use and
safety procedures of all equipment which will be used.
11
Eric Gorder
Assistant Professor of Art/Ceramics
Joliet Junior College
12/2/2011
Topical outline of lecture and studio assignments:
Topical Outline
Week
1,2
3
“Lay of the land”
Classroom introduction, geographical identification, The Six Great
Kilns.
Studio assignment#1:
Tools, stamps, rollers, and the clay medium: The use of materials with slips
and texture. Begin tool making: ribs, scrapers and texture makers.
300b.c.-300a.d.------Jomon & Yayoi
Jomon pottery, made using coils or slabs, and fired in outdoor bonfires/ditches;
characterized by chord-marked pottery; hunting and gathering lifestyle.
Introduction of iron/bronze; development of coil-built pottery known as Yayoi.
Haniwa Tomb figures beginning in the third century.
3,4
4
5
Studio assignment#2: Recreation of a Jomon period vessel, or Haniwa figure or
house. Continue tools, Introduction of the potters wheel.
300 A.D. -- 794 A.D.
Introduction of anagama (sloping tunnel kiln) from Korea;
introduction of the potter's wheel; introduction from Korea of Sueki
ware; introduction from Korea of three-color ware (green, brown,
white); introduction of Buddhism 552 A.D.; Sui and Tang Dynastys in
China.
Nara Sansai style (three-color glaze); Japanese fully start using glaze to
decorate their wares with colors; flowering of Buddhism
Studio assignment#3: throwing off the hump: small cups plates and bowls
Woodfiring!
6
794 A.D. to 1192 A.D: Heian
Major period of creativity; introduction of Tokoname (9th century); spread
of China's celadon and green glaze (ryokuyuto) to Japan during China's
Sung Dynasty (960-1270); introduction of Bizen; Shiki-style pottery introduced
); Korea's Korai jawan style (slip inlay, or zogan) appears (see Mishima);
green glaze and ash glaze become more popular than three-color glaze;
Sanage ware (green glaze) becomes widespread .
12
Studio assignment #3: Slabware, lids, pouring forms, and water Jars
Choose a Style, Use your tools
6
1192A.D.—1573A.D.: Kamakura, Muromach, Momoyama
7
8
9
Introduction of Shigaraki style and Seto style; further development of Bizen;
new Buddhist sects introduced, including Zen and Lotus Sutra sect of
Nichiren; Yuan Dynasty China; Magna Carta signed in England
Seto ware reaches its golden age in early 14th century; Bizen enters golden
age in late Muromachi Period; Mishima-style chawan first mentioned in
Japanese records; Japanese tea ceremony becomes major conduit of
cultural taste, and together with Zen, causes great interest in Bizen, Tanba,
Shigaraki and Echizen tea ware; Columbus discovers America
Golden Age of Bizen pottery continues; introduction of Hagi style; tea
utensils become more popular; introduction of Iga; introduction of Karatsu,
Takatori, Agano, and Satsuma wares; start of Mino Ware (Shino, Oribe, KiSeto, Setoguro)
Studio assignment #4: “Traditional” teabowls, teawares and Raku
Choose a Style, Use your tools: The Tea Ceremony
10
Museum trip: The Art institute of Chicago. This will be an all-day field
trip, departing school at 9a.m. and returning at approximately 4 p.m.
11,12
13,14
15
16
1603 – 1867: Edo
Introduction of porcelain with Imari, Ko-Kutani, Nabeshima, Kutani, and
Sometsuke); start of Kyo-yaki style by Ninsei and Kenzan; nobirigama kilns
and porcelain kilns largely replace the anagama (see Kilns); popularity of
Mino and Bizen wares declines
1868-1926: Meiji Restoration and beyond
Japan undergoes industrialization World War I; representative potters
include Kusube Yaichi (1897-1984), Kawai Kanjiro (1890-1966) and Hamada
Shoji (1894-1978)
1926- current: Into the Present
World War II; start of Mingei Movement in 1926 (folk craft movement); start
13
of Sodeisha Movement in 1948 and its focus on sculptural forms, led by Yagi
Kazuo (1918-1979) and Suzuki Osamu (1926-); revival of anagama kilns
starting in the 1960s; representive potters of Showa Era include Itaya Hazan
(1872-1963), Tomimoto Kenkichi (1886-1963), Kanashige Toyo (1896-1967),
Arakwa Toyozo (1894-1985), and Kato Tokuro (1898-1985)
Studio assignment #5:
Choose a Style, Use your tools: The Mingei Movement. Create a
dinner set with service bowls with Mingei principles in mind.
WOODFIRING!
Influences on the West
Studio pottery in America. The “Mingeisota” movement and its followers.
PowerPoint Presentations
Completion of all glazing
WOODFIRING!
Final Exam scheduled on Angel
Studio Potluck using your “Japanese” wares
Please refer to assignment sheets on Angel and posted in the
ceramics classroom. New information is given out daily, thus
attendance and participation are mandatory. All assignment
deadlines, dates and pertinent information will be clearly displayed.
14
December 2, 2011
List of books and materials for new course—International Ceramics

Inside Japanese Ceramics: Primer Of Materials, Techniques, And
Traditions [Paperback]

Paperback: 192 pages

Publisher: Weatherhill; 1st Pbk. Ed edition (October 1, 1999)

Language: English

ISBN-10: 0834804425

ISBN-13: 978-0834804425

Product Dimensions: 10 x 7.2 x 0.6 inches
Folk Art Potters of Japan: Beyond an Anthropology of Aesthetics
(Anthropology of Asia Series) [Hardcover]

Hardcover: 272 pages

Publisher: Univ of Hawaii Pr (August 1997)

Language: English

ISBN-10: 0824820223

ISBN-13: 978-0824820220

Product Dimensions: 9.5 x 6.4 x 0.8 inches
Quiet Beauty: Fifty Centuries of Japanese Folk Ceramics from the
Montgomery Collection

Paperback: 255 pages

Publisher: Art Services Intl (January 2003)

Language: English

ISBN-10: 0883971364

ISBN-13: 978-0883971369
Japanese Art: Masterpieces in Painting, Sculpture and Architecture

Publisher: Barnes & Noble (2005)

ISBN-10: 0760788847

ISBN-13: 978-0760788844
15
Mingei: Japanese Folk Art

Publisher: Universe Books, NY (1985)

ISBN-10: 0876638817

ISBN-13: 978-0876638811
The Unknown Craftsman: A Japanese Insight into Beauty [Paperback]

Paperback: 232 pages

Publisher: Kodansha USA; Revised edition (January 15, 1990)

ISBN-10: 0870119486

ISBN-13: 978-0870119484
Classic Stoneware of Japan: Shino and Oribe

Hardcover: 128 pages

Publisher: Kodansha USA (November 8, 2002)

ISBN-10: 4770028970

ISBN-13: 978-4770028976
Contemporary Japanese Ceramics: Fired with Passion [Hardcover]

Hardcover: 254 pages

Publisher: Eagle Art Publishing, Inc. (November 9, 2006)

ISBN-10: 1891640380

ISBN-13: 978-1891640384
DVD
Potters At Work - Rural Japanese Pottery Documentary (DVD)
http://www.martygrossfilms.com/potteryfilms/index.html
Mashiko Village Pottery (DVD)
http://www.martygrossfilms.com/potteryfilms/index.html
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International ceramics
Pre-test evaluation
1.) Locate and circle Japan
2.) What is the major religion of Japan?
A.) Buddhism
B.) Christianity
C.) Muslim
D.) Shinto
E.) Hindi
3.) 1. What is the capital of Japan?
A.) Osaka
B.) Tokyo
C.) Kyoto
D.) Yokohama
Answer: Tokyo
4.) Which ocean lies to the east of Japan ?
Ο Atlantic
Ο Indian
Ο Pacific
Ο Arctic
Answer: Pacific
5.) Identify the following ceramic types/style from the given list:
Shigaraki, Oribe, Tamba, Imari, Yayoi, Bizen, Jomon, Iga
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A:
C:
B:
D:
6.) Name the major Islands of Japan: Draw a line to the appropriate place.
Honshu
Shikoku
Kyushu
Hokkaido
7.)About how many islands does Japan consist of (40, 50, 200 or 2000)
?
A.) 40
B.) 50
C.) 200
D.) 2000
Answer: 2000
8.)About what percent of Japan is hills and mountains (to the nearest multiple of 5) ?
A.) 25
B.) 40
C.) 60
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D.) 75
Answer: 75
9.) Which City was the first capital of Japan:
A.) Osaka
B.) Kyoto
C.) Nara +
D.) Tokyo
E.) Nagasaki
10.) What is a rough population of Japan:
A.) 100,000,000
B.) 125,000,000 +
C.) 175,000,000
D.) 200,000,000
11.) The earliest white people purported to set foot on the shores of Japan were:
A.) Americans
B.) Greeks
C.) Norwegians
D.) Portuguese +
E.) Spanish
12.) The earliest known ceramic wares produced in Japan are called:
A.) Jomon
B.) Iga
C.) Shigaraki
D.) Kofun
E.) Nara
14.) Traditional Raku ware is important for what task:
A.) Brewing soy sauce
B.) Offerings at a Shinto Shrine
C.) The Tea Ceremony
D.) Cooking
E.) Fancy meals
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