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2005 – Cerâmica e Porcelana do Japão: A Geração Emergente

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In the early 20th century, the English potter Bernard Leach brought to London to experience that had experienced with Japanese Shoji Hamada, establishing the “ceramic studio”, which quickly spread throughout Europe and the Americas. It was a response to the ceramic industry, which, like that of Germany and France, which have invested to achieve the technical development of oriental porcelain, brought many foreign exchange for the country. He raised up a bridge, clay, between East and West. A Potter’s Book, best known book of Leach, while unaware that certain European traditions, including specific types of Japanese ceramics, as practiced by Hamada, whose work has been recognized internationally, and other artists from the region of Mashiko, a producing center of folk pottery, endorsing its importance.

Among other factors, showed that in the East, instead of partitioning the work of Western workshops, activity was centered in the ceramic potter. There was an almost kinesthetic involvement in the process of making a piece, valuing the art of turning. At the same time they were establishing links between Eastern and Western philosophies, proclaimed himself a way of life in which reason and emotion, mediated by the hands, coexisted in balance and harmony. While Leach demonstrated the virtues of handmade pottery, living in a rural environment, the industry sought ways to manufacture industrial parts of good design.

Leach, commanding presence for over 60 years, is considered the father of British handmade pottery. His colleague, Professor William Staite-Murray, the activity developed in art school, the Royal College of Art, he believed, ceramic, to reconcile art and craft reached the status of art, pure and simple. In Europe, influence of Japanese ceramics is evident, to the point of terms which designate Japanese traditional glazing techniques are known popularly. For example, timoku, enamel with high concentrations of iron; raku, firing process which allows to obtain a crackle effect …

Diffusely through the potters who were trained in Europe, the Eastern influence arrived in Brazil. But country strong Japanese presence, this way of producing pottery also reached by direct, with immigrants. They brought the tradition of Japanese ceramics (Shoko Suzuki, Akinori Nakatani) or, graduating in Brazil, also took advantage of Japanese roots (Kimi Nii, Megumi Yuasa). Potters, critics, curators, teachers decisively influenced the production of ceramic arts in Brazil (xxx Nakato).

The pottery from Portugal had the first manufactures in Vila Rica, with the arrival of the royal family in the 19th century. Saramenha pottery was made at the estate Saramenha, producing pots for everyday use of fine shapes, coated in a thick layer of varnish, found today in antique and collectors.

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