siavosh's blog

Jul 22

japaneseaesthetics:

Water Pitcher.  Wood; lacquerwork.  Early 19th century, Japan.    NationalMuseum of Ethnology, Leiden, the Netherlands .  The extreme simplicity of this pitcher, with, as seen above, hardly any specific treatment nor any adornment, results in something which even today strikes us as a perfect design. Seemingly not misplaced in some exhibition of contemporary Scandinavian design, yet, it dates back from the early decades of the nineteenth century. It is, I would say, that even today, impossible to improve on this red-lacquered water pitcher. The manufacturing and execution are built on a tradition of several centuries: the basic shape consists in a plywood structure to which a wooden handle and spout are attached. This construction is then covered with many layers of lacquer, made from the sap of the lacquer tree, the Rhus vernicifera. Adding green vitriol or acetous ferric oxide to the purified lacquer produces the common black, applied to the inside of the pitcher. The red lacquer used on the outside derives from adding cinnabar or, more likely in this case, colcothar, benigara. In both the black and the red, the lustre of it depends on the quality of the purified raw lacquer.  Text by Prof. Matthi Forrer, curator Japanese arts, Leiden.

japaneseaesthetics:

Water Pitcher.  Wood; lacquerwork.  Early 19th century, Japan.    NationalMuseum of Ethnology, Leiden, the Netherlands .  The extreme simplicity of this pitcher, with, as seen above, hardly any specific treatment nor any adornment, results in something which even today strikes us as a perfect design. Seemingly not misplaced in some exhibition of contemporary Scandinavian design, yet, it dates back from the early decades of the nineteenth century. It is, I would say, that even today, impossible to improve on this red-lacquered water pitcher. The manufacturing and execution are built on a tradition of several centuries: the basic shape consists in a plywood structure to which a wooden handle and spout are attached. This construction is then covered with many layers of lacquer, made from the sap of the lacquer tree, the Rhus vernicifera. Adding green vitriol or acetous ferric oxide to the purified lacquer produces the common black, applied to the inside of the pitcher. The red lacquer used on the outside derives from adding cinnabar or, more likely in this case, colcothar, benigara. In both the black and the red, the lustre of it depends on the quality of the purified raw lacquer.  Text by Prof. Matthi Forrer, curator Japanese arts, Leiden.

(Source: masterpieces.asemus.museum, via tetsuichi)

Jul 21

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Jul 14

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Jul 03

The Imperfect

"Why should one reject the perfect in favour of the imperfect? The precise and perfect carries no overtones, admits of no freedom; the perfect is static and regulated, cold and hard. We in our own human imperfections are repelled by the perfect, since everything is apparent from the start and there is no suggestion of the infinite. Beauty must have some room, must be associated with freedom. Freedom, indeed, is beauty. The love of the irregular is a sign of the basic quest for freedom."

Soetsu Yanagi, The Unknown Craftsman

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Jun 10

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Jun 09

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Jun 02

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May 30

Making my toolbox.

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