COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1989.70
amicoid
CMA_.1989.70
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Decorative Arts and Utilitarian Objects
oty
Decorative Arts and Utilitarian Objects
Object Type
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japan
cdt
Japan
Creator Dates/Places
false
Creator Name-CRT:
Japan, Muromachi Period
crt
Japan, Muromachi Period
Creator Name-CRT
false
Title:
Storage Jar, Echizen Ware
otn
Storage Jar, Echizen Ware
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
15th Century
oct
15th Century
Creation Date
false
Creation Start Date:
1400
ocs
1400
Creation Start Date
false
Creation End Date:
1499
oce
1499
Creation End Date
false
Materials and Techniques:
stoneware with natural ash glaze
omd
stoneware with natural ash glaze
Materials and Techniques
false
Classification Term:
Ceramic
clt
Ceramic
Classification Term
false
Classification Term:
Ceramic
clt
Ceramic
Classification Term
false
Dimensions:
Overall: 49.8cm
met
Overall: 49.8cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1989.70
ooa
1989.70
ID Number
false
Credit Line:
John L. Severance Fund
ooc
John L. Severance Fund
Credit Line
false
Inscriptions:
Incised artisan's mark
oin
Incised artisan's mark
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Since the 1960s Japanese archaeologists and ceramic scholars have excavated an impressive number of production sites throughout Japan. Among these, more than a hundred of varying size and complexity have been identified as from medieval times (twelfth to sixteenth centuries), revealing the presence of an active ceramic production and distribution network throughout the provinces. Japan's economy was primarily focused on agriculture, especially rice and other grains, and clay storage jars played an integral role in that production system with its numerous regional centers. Echizen, a fertile area along the Sea of Japan coast, emerged as a major pottery center in the fourteenth century. Utilitarian vessels for residential as well as agricultural needs were increasingly in demand, and distant ceramic production sources could not always keep pace with local demand reliably and economically. Individual artisan-farmers thus became the first producers of Echizen's earliest ceramics, succeeded by true, full-time village or regional potters in due course. By the fourteenth century ceramic production became centered in a village to the west of modern Fukui, where substantial deposits of high-quality clay material and an abundant wood supply existed. This large jar is constructed from piling successive bands of clay on top of one another. Each section was built from clay coils pinched together by hand to form a wall, paddled with a wooden spatula, and allowed to dry before the next section was then added on top. The interior wall was paddled as well, then smoothed to help compact the clay fabric and seal it before the neck and mouth were added using a potter's wheel. The vitality of the jar's robust shape is, no doubt, due in large part to this vigorous construction technique. The rich lustrous surface of the vessel is the result of its long (perhaps two weeks) firing in a kiln: wood ash present in the combustive atmosphere of the kiln settled on the jar's surface, accumulated, and then became molten, covering theentire vessel. In this way it became "sealed," the ideal container for protecting fragile grains and grain seeds from moisture and rotting. The abundance of natural glaze and the richness of its palette is extraordinary here and, as in most medieval wares, is fortuitous. While the Echizen farmer and potter no doubt held its durability as an object of everyday use in highest esteem, later generations have come to admire its natural, rugged beauty. M.R.C.
cxd
Since the 1960s Japanese archaeologists and ceramic scholars have excavated an impressive number of production sites throughout Japan. Among these, more than a hundred of varying size and complexity have been identified as from medieval times (twelfth to sixteenth centuries), revealing the presence of an active ceramic production and distribution network throughout the provinces. Japan's economy was primarily focused on agriculture, especially rice and other grains, and clay storage jars played an integral role in that production system with its numerous regional centers. Echizen, a fertile area along the Sea of Japan coast, emerged as a major pottery center in the fourteenth century. Utilitarian vessels for residential as well as agricultural needs were increasingly in demand, and distant ceramic production sources could not always keep pace with local demand reliably and economically. Individual artisan-farmers thus became the first producers of Echizen's earliest ceramics, succeeded by true, full-time village or regional potters in due course. By the fourteenth century ceramic production became centered in a village to the west of modern Fukui, where substantial deposits of high-quality clay material and an abundant wood supply existed. This large jar is constructed from piling successive bands of clay on top of one another. Each section was built from clay coils pinched together by hand to form a wall, paddled with a wooden spatula, and allowed to dry before the next section was then added on top. The interior wall was paddled as well, then smoothed to help compact the clay fabric and seal it before the neck and mouth were added using a potter's wheel. The vitality of the jar's robust shape is, no doubt, due in large part to this vigorous construction technique. The rich lustrous surface of the vessel is the result of its long (perhaps two weeks) firing in a kiln: wood ash present in the combustive atmosphere of the kiln settled on the jar's surface, accumulated, and then became molten, covering theentire vessel. In this way it became "sealed," the ideal container for protecting fragile grains and grain seeds from moisture and rotting. The abundance of natural glaze and the richness of its palette is extraordinary here and, as in most medieval wares, is fortuitous. While the Echizen farmer and potter no doubt held its durability as an object of everyday use in highest esteem, later generations have come to admire its natural, rugged beauty. M.R.C.
Context
false
Related Image Identifier Link:
CMA_.1989.70.tif
ril
CMA_.1989.70.tif
Related Image Identifier Link
false