History of Majolica

It all began with a gift. In the 10th Century Persia received a gift of some 2000 pieces of porcelain from the Emperor of China. Whereas, the Persians could not duplicate the white and blue glazes, because they had neither the raw material (Kaolin or porcelain stone clay) nor the technical capability to generate firing temperatures above 1250 C, they did invent their own techniques to duplicate the effects. The Persian potters created a tin-oxide glaze for a white surface to decorate. The potters and the pottery trade eventually brought the tin-glaze techniques to Italy.

Until about 1500 Florence and Faenza dominated the tin-glaze manufacture in Italy. By the 16th century the palette for Isoriato –ware included: Copper green, purple-brown manganese, new cobalt blue, yellow from antimony oxide, iron red and orange (antimony and iron).

History of Sumi-e

Even thought this form of painting is Japanese, it is based on Chinese painting. Scholars brought the painting style to Japan in the seventh century A.D. The Japanese term Sumi-e means, “ink picture.” The original Sumi-e paintings were without color, emphasizing the brush strokes.

Because, the artist must have complete control of his mind and brush to master the stokes used in Sumi-e painting, it was used as a way to teach discipline in Zen exercises. There are no preliminary sketches done in order to keep the painting fresh, you just have to picture the design in your head.

To the ancient Chinese, Sumi-e embodied the Tao, the constant principle of the universe. That same spirit has remained in the minds of painters for eons.

History of Celadon

Sometimes known as greenwares because of the color, obtained by adding small amounts of iron to the glaze. The western name for these wares is Celadon. That name in turn comes from a character in a 17th century French play, who always wore green clothing.

The celadon pottery first came from China during the Song dynasty (960-1279). The best celadon pieces called Ru ware where made exclusively for the court of Emperor Huizong (1101 –1125). Few pieces have survived, but they were simple, well-proportioned forms with a smooth, opaque, pale bluish-green glaze. When the Northern Song Dynasty perished, the Ru ware perished with it.

Celadon continued to be produced in China, but during the Kin Dynasty (1115-1234) the kilns underwent great change and the body became thicker and the glaze less lustrous with simplified pressed designs. Celadon production fell into a state of decline, but a style called Longquan ware came into prominence and this pottery was produced for export. The forms became larger and more varied with thick glaze. Decoration became important and could come in the form of carved, impressed, appliqué, hollowed designs and colorful dots.

The celadon we know today, produced in Jingdezhen during the Ming (1368-1644) and Qing (1644-1911) Dynasties were called imitation Longquan ware. The bluish-green glaze was called “holly green glaze.”