Potters and Patrons in Edo Period Japan: Takatori Ware and the Kuroda Domain traces the development of one of Japan's best-documented ceramic types, from its beginnings around 1600 until the abolition of the domain system in 1871. Using historical records, archaeological material from early kilns and consumer sites, and the results of comparative chemical analysis, this study explores the operation of Takatori as the official ceramic workshop of the Kuroda, lords of one of the largest domains in Japan. Spanning cultural, aesthetic, economic and practical aspects, this book presents Takatori ware as an ideal archetype with which to compare developments in elite ceramics in other parts of Japan throughout the Edo period. In addition to its scholarly examination of the operation of a domain-sponsored ceramics workshop over more than 250 years, the book includes illustrations of examples from each of the seven Takatori workshop locations, including beautiful pieces that have never before appeared in print.

Potters and Patrons in Edo Period Japan: Takatori Ware and the Kuroda Domain traces the development of one of Japan's best-documented ceramic types, from its beginnings around 1600 until the abolition of the domain system in 1871. Using historical records, archaeological material from early kilns and consumer sites, and the results of comparative chemical analysis, this study explores the operation of Takatori as the official ceramic workshop of the Kuroda, lords of one of the largest domains in Japan. Spanning cultural, aesthetic, economic and practical aspects, this book presents Takatori ware as an ideal archetype with which to compare developments in elite ceramics in other parts of Japan throughout the Edo period. In addition to its scholarly examination of the operation of a domain-sponsored ceramics workshop over more than 250 years, the book includes illustrations of examples from each of the seven Takatori workshop locations, including beautiful pieces that have never before appeared in print.

Recognized as one of China’s most accomplished and innovative artists, Li Hongwei first became well known for his early series “Weight of Meditation.” His recent work combining porcelain and stainless steel has given him increased widespread attention and praise. Li Hongwei’s works have been exhibited in the National Art Museum of China, the Louvre, the New Mexico Museum of Art, the Fox Art Gallery of the University of Pennsylvania, and the Dublin Castle in Ireland, and elsewhere. In 2013, he received the Taylor Prize from the 2013 France International Salon. Essays in this volume include a foreword by Li Hongwei entitled “Materiality and Thing: A Comment on Li Hongwei’s Ceramic Sculptures”; a piece by Wayne Higby entitled “Self-Portrait: The Art of Li Hongwei”; an essay by Mary Drach McInnes entitled “Summoning Eternal Life”; an essay by Michaël Amy entitled “Li Hongwei: Tradition and Change”; and an essay by Andrew L. Maske entitled “Inner Reflection, Outer Transformation: The Art of Li Hongwei