دانلود کتاب The Art of Emptiness

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Cover
CONTENTS
My Father, Kakiemon XIV
Part One: Myself
Regarding the Character of a Craftsman
Kakiemon XII and XIII
Three Generations to Make a Single Potter
The Art of Emptiness
Impurities Play an Important Role
From My Grandfather to Me
The Potter\'s Bane―Salt
Science Is No Match for Nature
Just Prepare the Enamels!
Red Produces Salt Deposits
The Household of \"Kakiemon the Potter\"
Magarikawa National School
The Workshop Was My Playground
My Mother\'s Hometown
Memories of Kubara
Playing in Arita
Memories of the War
Imari Senior High School Years
Memories of Benjara
Athletics and Drawing
With Older Students at University
My University Friends and Members of the Faculty
An Abundance of Sketching
My Student Days in Downtown Tokyo
Concerning the Asoka Hospital
Imported Rice, Natto and Miso Soup
Running Away from Home
The Learning Years
Larger than Life: oasa Yuji Sensei
The Circumstances Leading to My Wedding
My Grandfather\'s Death
My Father\'s Love of Joruri
My Father\'s Death
Losing My Name and Becoming Kakiemon XIV
A \"Present\" from my Ancestors
Transmission and Tradition
Continuing Tradition
Return to the Rice Bowl
Boss of the Kiln
My Job Is to Train New Craftsmen
The Criteria of the Kakiemon Style
Part Two: Production
Arita Ceramics
Crushing the Stone
Izumiyama Stone
The Magic Stone of Amakusa
Nigoshide Bodies
The Stone Is Alive
The Process of Creating the Clay
The Essence of Ceramic Beauty
Maturing the Clay
\"Inconsistencies\" That Are Not Present in Meissen
You Can\'t Fool a Craftsman\'s Hand
The Kick Wheel Is Best
Wheel Work and Molding
Rate of Drying, \"Wiping Down\"
The Significance of Bisque Firing
Applying Underglaze Design
Dami
Using Winter Hazel Ash
Cut and Adjust
The Glaze on Nigoshide Must Be Kept as Thin as Possible
The Main Kiln
Loading and Firing the Kiln
Aburidaki, Nerashidaki, and Semedaki
The Kiln Requires Great Care
Heat-Resistant Bricks and Kilns
Samples
Regarding Firewood
Profit Is Not Our Main Concern
Good Defects and Bad Defects
The Work of the Flames
Kakiemon \"White\"
The Origins of Aka-e Decoration
Mixing the Overglaze Enamels
The Excellence of Old Designs
Drawing Outlines
Remaining True to the Style
It Must Not Be Pictorial
A Craftsman\'s Traits
Thinking One is a Full-Fledged Craftsman Is a Sickness
Various Brushes
Half Working Creatively, Half Creating Workers
Ceramics Within Food Culture
Aka-e Kiln
A Job That Involves a Lot of Time and Effort
Part Three: Appreciation
The Kakiemon Kiln and Its Style
Characteristics of the Style
Lidded jar with peony and chrysanthemum design; iro-e (1660-80)
Chrysanthemum-form bowl with plum, peony, pomegranate, and dragon design; iro-e (1670-90s)
The Remaining Clay Molds
Fuyode-style plate with grass and flower design; iro-e (late 17th century)
Plate with flower-basket design; somenishiki (late 17th century)
Hexagonal jar with flower and bird design; iro-e (17th century)
Lidded box with rabbit knob and chrysanthemum design; iro-e (late 17th century)
Temple lion figurines (pair), iro-e (1670-90s)
Flower-shaped plate with pine, bamboo, plum and bird design; iro-e (1670-90s)
Plate with flower and bird design; iro-e (1670-90s)
Jars with chrysanthemum, peony and bird design; iro-e (late 17th century)
Figurine of standing woman with grape design; iro-e (1690-1710)
Flower-shaped plate with pine, bamboo, plum and bird design (modern); Meissen
Jar in imitation Kakiemon style with metal base; Chantilly
Vase with strawberry-flower design; iro-e (1986); produced jointly with the Meissen factory
Vase with dragon and phoenix in arabesque design; somenishiki (1860-1910), Kakiemon XI
Octagonal bowl with grass and flower design; nigoshide (1955), Kakiemon XII
Vase with camellia design; nigoshide (1979), Kakiemon XIII
Bowl with knotweed design; nigoshide, Kakiemon XIII
Large bowl with fish and grass design; iro-e (1971), Sakaida Masashi
Vase with cherry blossom design; nigoshide (2003), Kakiemon XIV
The Real Reason Why Nigoshide Works are Unsigned―In lieu of an afterword
Chronological Table
Bibliography