google arts culture cultural-institutes

Raku Kichizaemon2003 该作品的收藏者： The name “KEISHU” refers to the phase from a classic Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl with a part of the rim being boldly pushed inward. The whole body is unevenly covered with an ocher engobe. From the notched lip to the low hip, a light green, a black glaze gently flows in several lines. Inside the small, trimmed foot of the piece, the ‘RAKU’ mark of…

Raku Kichizaemon2003 该作品的收藏者： The source of the name “KAZE TADASHIKU IPPAN KAKARU” refers to the phase from a classic Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl with a part of the rim being pushed inward. The piece is coated with many different glazes, such as a vivid cobalt, an ash, a chromium and a black glaze. Short lines flowing in a belt shape look as if sail-fringes are fluttering in the…

Raku Kichizaemon2003 该作品的收藏者： The source of the name “KAISHI” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl. The area of a belt-shaped line is coated with the thoroughly fused a vivid cobalt, a black glaze. It looks as if the water’s edge. From the mouth to the notched hip, a thickly coated green glaze gently flows in a straight line looks like a mirage of…

Raku Kichizaemon2004 该作品的收藏者： The name “JOYABUNE” refers to the phase from a classic Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl and the notched lip is rightly undulated. The whole body is unevenly covered with an ocher engobe. From the mouth to the notched hip, a light green glaze obliquely flows. The area from the low hip to the trimmed foot is covered with a lustrous black glaze. This portrays the poet’s…

Raku Kichizaemon2002 该作品的收藏者： The name “ITOFUNE” refers to the phase from a classic Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl. The notched lip is rightly undulated. The whole body is unevenly covered with an ocher engobe and a black glaze coated a part of gently undulated mouth, from which point to the body a number of threadlike lines are flowing, the figure looks like tears left their trails on one’s cheek….

Raku Kichizaemon2003 该作品的收藏者： The source of the name “IKIIKI TE MIZU NO KIWAMARUTOKORO” refers to the phase from a classical Chinese poem. This is a cylindrical-shaped bowl. It is entirely covered with a transparent glaze including a light green, a cobalt, a black glaze to create a tasteful scenery. The double foot is seen as Karatsu and Shino Ware. 作品介绍 标题: Black Raku Tea Bowl, yakinuki type, called IKIIKI TE MIZU NO KIWAMARUTOKORO 创作者: Raku Kichizaemon 日期: 2003 类型: Ceramic 外部链接: http://www.sagawa-artmuseum.or.jp/ 该作品收藏于： Sagawa Art Museum

Raku Kichizaemon2002 该作品的收藏者： The source of the name “HEKIKAI SEIDO O MIGAKU” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique and sculptural process of trimming, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl. The area of a belt-shaped line is coated with a cobalt glaze. It looks as if boundless ocean. The area from the low hip to the trimmed foot flashing on a light cobalt glaze looks like not only blue water…

Raku Kichizaemon2004 该作品的收藏者： The source of the name “GANJO NI JUKO ARI IV” refers to the phase from Kichizaemon XV poem. One side of the walls is pushed inward to make a heavy distortion, which effectively enhances a tense atmosphere. For the decoration, a spatula is effectively used so that the fluting applied to the body and the lip trimmed dauntlessly give the form a rich move. It is entirely covered with a transparent glaze including a cobalt, a copper, a chromium, a black glaze to create a tasteful scenery….

Raku Kichizaemon2004 该作品的收藏者： The name “GANJO NI JUKO ARI Ⅱ” refers to the phase from a poem of the Ganjo ni Juko Ari by Kichizaemon XV. For the decoration, a spatula is effectively used so that the fluting applied to the body and the lip trimmed dauntlessly give the form a rich move. From the mouth to the low hip, the black glaze is poured slantwise in a belt shape contrasting with the underlying tone of the transparent glaze. The rest is covered with a light green, a chromium, a…

Raku Kichizaemon2004 该作品的收藏者： The source of the name “GANJO NI JUKO ARI Ⅰ” refers to the phase from a classical Chinese poem. Both sides of the wall are pushed inward to make a heavy distortion. For the decoration, a spatula is effectively used so that the fluting applied to the body and the lip trimmed dauntlessly give the form a rich move. It is entirely covered with a transparent glaze including a black, a chromium, a copper glaze to create a tasteful scenery. 作品介绍 标题: Black Raku Tea Bowl, yakinuki…

Raku Kichizaemon2003 该作品的收藏者： The source of the name “BOKOROSUI” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique and sculptural process of trimming, which is the traditional style of Raku ware. From the notched lip to the right beside the trimmed foot, a shiny black glaze is painted contrasting with the underlying tone of the transparent glaze, and, from the notched lip to the trimmed foot, a light cobalt glaze is painted. The sequence of the glaze sceneries looks like a…

Raku Kichizaemon2004 该作品的收藏者： The source of the name “ASHIFUNE” refers to the phase from a classic Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl. The notched lip is rightly undulated. The whole body is unevenly covered with an ocher engobe. From the notched lip to the low hip, a light green glaze gently flows alongside of the orbicular piece. It looks as if a shallow water plant. Inside the trimmed foot of…

Raku Kichizaemon2002 该作品的收藏者： The source of the name “ASA HAJIMETE TATSU” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique and sculptural process of trimming, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl. A spatula is effectively used so that the lip trimmed dauntlessly give the form a rich move. There are expressive decorations with many different layered glazes. A geometric pattern is scratched with a pointed tool. As a whole, it becomes a…

Raku Kichizaemon2006 该作品的收藏者： The source of the name “AME SUDDEN SUGI” refers to the phase from a classical Chinese poem. For the decoration, a spatula is effectively used so that the fluting applied to the body and the lip trimmed dauntlessly give the form a rich move. It is entirely covered with a transparent glaze including a cobalt, a copper, a black glaze to create a tasteful scenery. It looks as if the craggy mountains appear after the heavy rain is blown over. The work is one of the “Ha…

Raku Kichizaemon2003 该作品的收藏者： The source of the name “AIDAI ISSEI SANSUI MIDORI” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl. The notched lip is rightly warped like mountain roads. From the mouth to the low hip, a cobalt, a black glaze is poured in a belt shape contrasting with the underlying tone of an ash glaze. The area from the low hip to the trimmed…

Raku Kichizaemon2007 该作品的收藏者： The source of the name “KONOTOKI FUU SUGU” refers to the phase from a classical Chinese poem. The body is coated with a thickly black glaze and the notched hip is scraped off the glaze, which looks like looking at the uncapturable scene of a foothill after the rain. Inside the small, trimmed foot of the piece, the ‘RAKU’ mark of Kichizaemon XV is impressed. This work is one of the “HA no SHU” series.　 作品介绍 标题: Black Raku Tea Bowl, KONOTOKI FUU SUGU 创作者: Raku Kichizaemon…

Raku Kichizaemon2007 该作品的收藏者： The source of the name “YORU UMI O WATARU” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. It is uniformly coated with a black glaze and some points are scraped off it to create a tasteful scenery. It looks as if the moonlight peeks out between clouds. Inside the large, trimmed foot of the piece, the ‘RAKU’ mark of Kichizaemon XV is impressed. The work is one of the…

Raku Kichizaemon2007 该作品的收藏者： The source of the name “YORU TATTE TSUKI NI TAISU” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. A rather shiny, blocky black glaze covered whole body even around the trimmed foot. It is a tasteful scenery that impresses us the tranquil flow of time in a serene night under the moonlight. Inside the large, trimmed foot of the piece, the ‘RAKU’ mark of Kichizaemon XV is impressed. The…

Raku Kichizaemon1999 该作品的收藏者： The source of the name “SHIKINDA” refers to the phase from a classical Chinese poem. The notched lip is rightly undulated. The thickly coated black glaze of the lower part looks like the calmed Red Sea after a storm, and the area of around the middle, a lively line of cobalt glaze is painted. It looks as though a gold-purple snake is being danced by lighting. Inside the large, trimmed foot of the piece, the ‘RAKU’ mark of Kichizaemon XV is impressed. The work is one of…

Raku Kichizaemon2001 该作品的收藏者： The source of the name “KIKKA TEKIREKI” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. From the trimmed foot to the notched lip, a shiny black glaze is painted contrasting with the underlying tone of a transparent, an ash glaze. It looks as if mandarin orange flowers bloom outside the gate, like the glaze scenery of Edo Rinpa (One of the traditional Japanese schools succeed from the middle age)….

Raku Kichizaemon2006 该作品的收藏者： The source of the name “GETSUYAKO” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. The piece is entirely covered with a thin copper glaze, upon which a thick black glaze is painted. There are some scraped off parts at which a chromium glaze is painted. A lively wavy line is carved with a spatula one downside of the tea bowl. Like a classic metaphor ‘the moon comes over the…

Raku Kichizaemon2004 该作品的收藏者： The source of the name “FUNGAKU” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. It is entirely covered with an ash glaze and the area of a belt-shaped line is coated with a copper glaze. From the notched lip to the trimmed foot, there are a number of black glaze lines, which seems representing a moment that the waterfall, flowing a rock cliff, directly crashes into a giant rock…

Raku Kichizaemon2001 该作品的收藏者： The source of the name “BAIKA TEKIREKI” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. The whole body is uniformly coated with a transparent, a copper, a black, a chromium glaze even around the trimmed foot. It looks as if white blossom flowers of Japanese apricot are in a lush area, like the glaze scenery of Edo Rinpa (one of the traditional Japanese schools succeed from the middle age)….

Raku Kichizaemon2003 该作品的收藏者： The source of the name “SHUCHU YORU OKU Ⅱ” refers to the phase from a classic Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl. The notched lip is rightly undulated. The whole body is unevenly covered with an ocher engobe. The antipodes line of a black glaze, gently flowing from the notched lip to the low hip. It looks as though a human is playing with his/her figure. Inside…

Raku Kichizaemon2006 该作品的收藏者： The source of the name “MIZU TENJO YORI KITARU” refers to the phase from a classical Chinese poem. The piece is made by using a hand-forming technique and sculptural process of trimming, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl. The notched lip is rightly warped like mountain roads and partially trimmed with a spatula. An ash glaze coating the body is quite gentle and the area from the mouth to the low hip is covered with a cobalt glaze…

Raku Kichizaemon2003 该作品的收藏者： The source of the name “KAZAFUNE” refers to the phase from a classic Chinese poem. The piece is made by using a hand-forming technique, which is the traditional style of Raku ware. This is a thin, shoe-shaped tea bowl. The whole body is unevenly covered with an ocher engobe. From the mouth to the low hip, the lustrous coated a green, a black glaze gently flowing creates an impressive scenery. Inside the trimmed foot of the piece, the ‘RAKU’ mark of Kichizaemon XV is impressed. This work…

Raku Kichizaemon2001 该作品的收藏者： The source of the name “SHUNKO” refers to the phase from a classical Chinese poem. The piece strongly sticks with the traditional Raku style, taking a hand-forming technique. The body is coated with a thickly black glaze, partially being scraped off it and being painted with a vivid yellowish green, called a 'moegi' glaze. It looks as if the glaze scenery is the Chang Jiang in Spring. Inside the large, trimmed foot of the piece, the ‘RAKU’ mark of Kichizaemon XV is impressed. The work is one…

Raku Kichizaemon2005 该作品的收藏者： The source of the name “YARAI NO AME WA” refers to the phase from Kichizaemon XV poem. This is a cylindrical-shaped bowl. For the decoration, a spatula is effectively used so that the fluting applied to the body and the lip trimmed dauntlessly give the form a rich move. It is entirely covered with a transparent glaze including a cobalt, a copper, a yellowish green, a black glaze to create a tasteful scenery. The double foot is as seen in Karatsu and Shino Ware. The work is…

UnknownJoseon Period 该作品的收藏者： Kundika is one of the Buddha artefacts which is used for keeping cleanwater ‘淨水’. The handle is tower high up. There is a liquor hole on the shoulder side. It is mainly black coloured but there are exfoliated bits in the whole body. 作品介绍 标题: Black Glazed Ware Kundika 创作者: Unknown 日期: Joseon Period 实际尺寸: h36 cm 出处: Seokdang Museum of Dong-A University 类型: Earthenware 该作品收藏于： Seokdang Museum of Dong-A University

late 3rd century B.C.E.-early 3rd century C.E. 该作品的收藏者： 作品介绍 标题: Black bead 位置: China 外部链接: For more information about this and thousands of other works of art in the Freer|Sackler collection, please visit http://www.asia.si.edu/. 材质: Ceramic Historical Period: Han dynasty Credit Line: The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and Humanities, and the Children of Arthur M. Sackler Collection: Arthur M. Sackler Gallery…

Anonymousc. 1850 – c. 1899 该作品的收藏者： 作品介绍 标题: Black baluster vase 创作者: Anonymous 创作日期: c. 1850 – c. 1899 实际尺寸: h 25.6cm – d 11.3cm 外部链接: See more details about this work on the Rijksmuseum Website 材质: porcelain (material) 该作品收藏于： Rijksmuseum

Unknown100 B.C. – A.D. 200 该作品的收藏者： 作品介绍 标题: Bird-Shaped Vessel with Single Spout 创作者: Unknown 位置: Peru, South Coast 实际尺寸: 3 1/2 x 4 1/2 in. (8.89 x 11.43 cm) 材质: Ceramic, hand built, slip painted, burnished and fired Object Classification: Furnishings Full Title: Bird-Shaped Vessel with Single Spout Curatorial Area: Art of the Ancient Americas Culture: Early Nasca Credit Line: Gift of Nasli M. Heeramaneck Chronology: 1st – 9th centuries, 499 BC – AD 1 Artwork Accession Number: M.73.48.21 该作品收藏于： Los Angeles County Museum of Art

Unknown8th-10th century 该作品的收藏者： 作品介绍 标题: Bird-Shaped Vessel 创作者: Unknown 位置: Greater Iran (Afghanistan) 实际尺寸: Height: 5 9/16 in. (14 cm); Width: 4 3/8 in. (11 cm); Length: 5 9/16 in. (14 cm) 材质: Ceramic Object Classification: Furnishings Full Title: Bird-Shaped Vessel Curatorial Area: Art of the Ancient Near East Credit Line: Gift of Kate Fitz Gibbon and Andrew Hale Chronology: 10th-12th centuries, 1st – 9th centuries Artwork Accession Number: AC1997.253.12 该作品收藏于： Los Angeles County Museum of Art

UnknownModern 该作品的收藏者： 作品介绍 标题: Bird Shaped As Drinking Vessel 创作者: Unknown 位置: Iran 实际尺寸: Height: 14 1/8 in. (35.88 cm) 材质: Ceramic Object Classification: Furnishings Full Title: Bird Shaped As Drinking Vessel Curatorial Area: Art of the Ancient Near East Credit Line: Gift of Alice A. Heeramaneck Chronology: 10,000-500 BC Artwork Accession Number: M.75.62.21 该作品收藏于： Los Angeles County Museum of Art

乌斯特瓷器early 19th century 该作品的收藏者： 作品介绍 标题: Bird Plaque 日期: early 19th century 实际尺寸: w19.1 x h13.3 x d2.5 cm (with frame) Manufacturer: Worcester Porcelain Manufactory (Flight, Barr & Barr Period) Credit Line: The Museum of Fine Arts, Houston, gift of Jas A. Gundry 类型: Ceramics 材质: Porcelain 该作品收藏于： The Museum of Fine Arts, Houston

Unknownlate 19th century 该作品的收藏者： 作品介绍 标题: Bird in a cage 创作者: Unknown 位置: Japan 实际尺寸: Height: 9 3/4 in. (24.77 cm); Diameter: 6 in. (15.24 cm) 材质: Hirado ware; porcelain with underglaze blue and light-green-tinged glaze Object Classification: Sculpture Full Title: Bird in a cage Curatorial Area: Japanese Art Credit Line: Gift of Allan and Maxine Kurtzman Chronology: 1851-1900 Artwork Accession Number: M.2005.79.2 该作品收藏于： Los Angeles County Museum of Art

Unknown500-800 该作品的收藏者： 作品介绍 标题: Bird Effigy 创作者: Unknown 位置: Panama, Veraguas 实际尺寸: Height: 7 in. (17.8 cm); Diameter: 6 1/2 in. (16.5 cm) 材质: Ceramic Object Classification: Furnishings Full Title: Bird Effigy Curatorial Area: Art of the Ancient Americas Credit Line: Gift of Drs. Alan Grinnell and Feelie Lee Chronology: 1st – 9th centuries Artwork Accession Number: M.2001.168.6 该作品收藏于： Los Angeles County Museum of Art

Unknown8th-10th century 该作品的收藏者： 作品介绍 标题: Bird 创作者: Unknown 位置: Greater Iran (Afghanistan) 实际尺寸: Height: 5 15/16 in. (15 cm); Width: 4 3/8 in. (11 cm) 材质: Ceramic Object Classification: Sculpture Full Title: Bird Curatorial Area: Art of the Ancient Near East Credit Line: Gift of Kate Fitz Gibbon and Andrew Hale Chronology: 10th-12th centuries, 1st – 9th centuries Artwork Accession Number: AC1997.253.4 该作品收藏于： Los Angeles County Museum of Art

206 B.C.E.-220 C.E. 该作品的收藏者： 作品介绍 标题: Bird 位置: China 外部链接: For more information about this and thousands of other works of art in the Freer|Sackler collection, please visit http://www.asia.si.edu/. 材质: Ceramic Historical Period: Han dynasty Credit Line: The Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and Humanities, and the Children of Arthur M. Sackler Collection: Arthur M. Sackler Gallery 该作品收藏于： Freer and Sackler Galleries

麦森瓷器c. 1730 – c. 1735 该作品的收藏者： 作品介绍 标题: Bierpul, veelkleurig beschilderd met chinoiserie‘n en het wapen van de familie Von Zobel 创作者: Meissener Porzellan Manufaktur 创作日期: c. 1730 – c. 1735 实际尺寸: h 14.3cm – w 16.7cm – d 11.6cm 外部链接: See more details about this work on the Rijksmuseum Website 材质: porcelain (material) 该作品收藏于： Rijksmuseum

UnknownArchaic period (circa 700-600 B.C.) 该作品的收藏者： 作品介绍 标题: Bichrome Pitcher 创作者: Unknown 位置: Cyprus 实际尺寸: Height: 10 in. (25.4 cm) 材质: Ceramic Object Classification: Furnishings Full Title: Bichrome Pitcher Curatorial Area: Art of the Ancient Near East Credit Line: Gift of Harvey Mudd Chronology: 10,000-500 BC Artwork Accession Number: M.49.14.23 该作品收藏于： Los Angeles County Museum of Art

unknownGoryeo dynasty, 12th century – Goryeo dynasty, 12th century 该作品的收藏者： 作品介绍 标题: BEVELED LONG-NECKED VASE, Celadon with carved and incised peony and lotus design 创作者: unknown 日期: Goryeo dynasty, 12th century – Goryeo dynasty, 12th century 实际尺寸: w15.0 x h36.8 cm (complete) 出处: The Museum of Oriental Ceramics, Osaka ; Gift of SUMITOMO Group (The ATAKA Collection) 类型: ceramic 权利: KAZUYOSHI MIYOSHI 外部链接: The Museum of Oriental Ceramics, Osaka Object Title(japanese): 青磁陽刻 牡丹蓮花文 鶴首瓶(せいじようこく ぼたんれんかもん かくしゅへい) Object Rights(japanese): 大阪市立東洋陶磁美術館?住友グループ寄贈（安宅コレクション） Object Notes(japanese): 八角に面取された胴に、鶴のような細長い頸がついた瓶を、日本では「鶴首瓶」と呼びます。長い頸の先端に鐶状のつまみが見られることから、本来は蓋を伴っていたのでしょう。こうした造形は、中国?唐代の越窯（えつよう）青磁などにその原型があるとされますが、頸が細く長く、丸みを帯びた胴もほっそりとし、肩の線もなだらかで、高麗独自の変容をとげた優雅な姿が見どころとなっています。胴の八面には、蓮唐草と牡丹唐草文が交互に表わされています。高麗独自の「翡色（ひしょく）」青磁としての釉色も美しく、最盛期の作例です。全羅北道扶安郡柳川里窯や保寧市元山島で細く長い頸の陶片が発見されています。 Object Date(japanese): 高麗時代?12世紀 该作品收藏于： The Museum of Oriental…

unknownJoseon dynasty, first half of the 18th century – Joseon dynasty, first half of the 18th century 该作品的收藏者： 作品介绍 标题: BEVELED JAR, Blue-and-white with floral plants design 创作者: unknown 日期: Joseon dynasty, first half of the 18th century – Joseon dynasty, first half of the 18th century 实际尺寸: w27.0 x h23.0 cm (complete) 出处: The Museum of Oriental Ceramics, Osaka ; Gift of SUMITOMO Group (The ATAKA Collection) 类型: ceramic 权利: KAZUYOSHI MIYOSHI 外部链接: The Museum of Oriental Ceramics, Osaka Object Title(japanese): 青花 窓絵草花文 面取壺(せいか まどえそうかもん めんとりつぼ) Object Rights(japanese): 大阪市立東洋陶磁美術館?住友グループ寄贈（安宅コレクション）…

UnknownGreco-Roman Period (332 BCE – 337 CE) 该作品的收藏者： 作品介绍 标题: Bes 创作者: Unknown 位置: Egypt 实际尺寸: Height: 3 in. (7.62 cm) 材质: Ceramic Object Classification: Sculpture Full Title: Bes Curatorial Area: Egyptian Art Credit Line: Gift of Mrs. William Leon Graves Chronology: 1st – 9th centuries, 499 BC – AD 1 Artwork Accession Number: 45.23.50 该作品收藏于： Los Angeles County Museum of Art

塞佛國立瓷器廠c. 1810 该作品的收藏者： after Jean-Antoine Houdon (1741-1828), 1778 作品介绍 标题: Benjamin Franklin 创作日期: c. 1810 实际尺寸: w219.202 x h447.802 x d152.4 mm (overall) Manufacturer: National Porcelain Manufactory of Sévres 类型: Sculpture 权利: Gift of the Richard King Mellon Foundation, 1971、 White House Historical Association (White House Collection) 材质: Unglazed porcelain 该作品收藏于： The White House