The bowl became valued even more highly because of these large metal staples, which looked like a locust, and the bowl was named 'bakōhan ("large-locust clamp"). On the other hand, according to Bakōhan Saōki (record of tea-bowl with a 'large-locust' clamp), such "ugliness" was considered inspirational and Zen-like, as it connoted beauty in broken things. It is also possible that a pottery piece was chosen for deformities it had acquired during production, then deliberately broken and repaired, instead of being trashed. Collectors became so enamored of the new art that some were accused of deliberately smashing valuable pottery so it could be repaired with the gold seams of kintsugi.
When it was returned, repaired with ugly metal staples, it may have prompted Japanese craftsmen to look for a more aesthetically pleasing means of repair. One theory is that kintsugi may have originated when Japanese shōgun Ashikaga Yoshimasa sent a damaged Chinese tea bowl back to China for repairs in the late 15th century. Kintsugi became closely associated with ceramic vessels used for chanoyu ( Japanese tea ceremony). While the process is associated with Japanese craftsmen, the technique was also applied to ceramic pieces of other origins including China, Vietnam, and Korea. Lacquerware is a longstanding tradition in Japan and, at some point, kintsugi may have been combined with maki-e as a replacement for other ceramic repair techniques.
5 Influence on contemporary art, design, and culture.
0 kommentar(er)
