Global History of Japanese Ceramics

Morgan Pitelka is the Bernard L. Herman Distinguished Professor of Japanese Studies at the University of North Carolina at Chapel Hill. He researches late medieval and early modern Japanese history, focusing on material culture, urban history, and environmental history.Meghen Jones is Professor of Art History at the New York State College of Ceramics at Alfred University. Her research centers on ceramics, modernity, and cultural production in Japan and globally.Seung Yeon Sang is a lecturer at the Korea National University of Arts. Her research centers on the history of Japanese and Korean ceramics with particular focus on Japan-Korea relations.Andrew L. Maske is Professor of History at the University of Nevada Las Vegas. His research interests include cultural exchange and material culture in East Asia, historical production, distribution, and usage of ceramics, the culture of collecting, and museum interpretation and display.

• 'Introduction. Part 1. Origins. 1. Towards a Manifesto for Ancient Japanese Pottery Studies. 2. A New Chronology of Medieval Shigaraki Kilns. 3. Ceramics in Medieval Japan: Insights from the Provincial City of Ichijōdani. 4. Chinese Ceramics and 16th-Century Japanese Tea. 5. Satsuma Tea Caddies in the Letters of Furuta Oribe. Part 2. Circulation. 6. Kyoto Ceramics in the Seventeenth Century. 7. Mapping Ceramic Production in Edo: High, Low, And Hinterland. 8. Chosŏn Korean Potters in Japan: Rediscovering the Female Potter, Hyakubasen. 9. Koryŏ Dynasty (918–1392) Celadons and the Aesthetics of Kōrai Chawan. 10. The Creation of a ‘Neo-Classical Style’ in Korean Teabowls: Situating the Freer Collection’s Celadon Bowl with Chrysanthemum Design in the Context of Early-Seventeenth-Century Japanese Tea Culture. 11. Dutch Export Ceramics: Focusing on Water Jars with Enameled Tobacco Leaf Decoration. 12. Hizen Underglaze Blue Decorated Stonewares. 13. Folk Potters and Folk Users: Insights Gleaned from the “Plate Mountain” Wares of Northern Kyushu. Part 3. Interactions. 14. Interactions Between Kutani Ware and Kyoto Ware from the Late-Edo Period Through the Meiji Period. 15. The Making of the Edward Sylvester Morse Collection of Japanese Ceramics at the Museum of Fine Arts, Boston. 16. Kume Kunitake: Situating and Positioning Arita Ceramics Within the Euro-American Context in the Early Meiji Era. 17. Shaping the Canon: Constructing the ‘Ninsei Narrative’ in Japanese Ceramics Historiography. 18. ‘A Wonder of Pottering’: Charles Lang Freer and Kōetsu Ceramics. 19. The Sustainability of ‘Tradition’ and ‘KUTANism’: The Roles of ‘Outsiders’ including Saga Craftsmen, Kyoto Sinophiles, Christians, and Women Painters. Part 4. Elements. 20. Kitaōji Rosanjin’s ‘Discovery of Clay’ and the Momoyama Revival. 21. Towards an Understanding of Contemporary Ceramic Utsuwa (Vessels). 22. Liberating Fire from the Kiln: Noyaki by Fujita Akiko, Koie Ryōji, and Nagasawa Nobuho. 23. Hayashiya Seizō and the Making of the Contemporary Teabowl. 24. A Lineage of Form-based Porcelain Expression since the 1910s: Ceramic Artists Working in Four Techniques. Part 5. Perspectives. 25. The Akishino Kiln and Three Generations of the Imanishi Family: Transregional and International Creativity, and Untold Stories of Artists’ Synergy. 26. Utsuwa (empty harmony): Large White Porcelain Jar. 27. What is the Future of Crafts? Reflections on the 2021– 22 GO FOR KOGEI Exhibitions and My Work with Crafts Over the Past Decade. 28. Clay–Fire–Body, a performance by Hoshino Satoru, Victoria and Albert Museum, London, 29 June 2001. 29. Searching for Talent: Japanese Ceramic Artists of the 21st Century. 30. The Road Back to Miyama.