Japanese American art [lcsh]; Concentration camps -- Arizona [lcsh]; Poston Relocation Center (Poston, Ariz.) -- Pictorial works [lcna]; Japanese Americans -- Evacuation and relocation, 1942-1945 [lcsh]; Watchtowers [lcsh]; Watercolor painting...
Made in Viola Kerber's art class. She was teacher circa 1943/44, Camp II. High School, Poston Relocation Center, Poston Arizona.
Japanese tea ceremony [lcsh]; Tea making paraphernalia [lcsh]
When a cold water jar (mizusashi) sits on a utensil stand, it is left in the tearoom at the end of the temae. A water replacement pitcher is used to replenish the cold water jar at that time. The Katakuchi shape of this piece is more commonly...
Japanese tea ceremony [lcsh]; Trays -- Japan [lcsh];
This square tray with notched corners has multiple functions. It may hold the caddy for thick tea (chaire) in certain temae (tea procedures) or it may be used to serve dry sweets (higaohi) during thin tea. The textured vermillian lacquer surface...
Minidoka Relocation Center [lcna]; Concentration camps -- Idaho [lcsh]; Japanese Americans -- Evacuation and relocation, 1942-1945 [lcsh]; Woodwork [lcsh]; Kimura, Giichi [aacr2]; Chests [lcsh];
Manzanita trees grew around the land at Minidoka Relocation Center. Mr. Kimura pulled them up by the roots and sawed the branches into pieces approximately one-eighth inch thick. He then glued each piece into the wooden chest which was made from...
Japanese tea ceremony [lcsh]; Drinking vessels [lcsh]; Raku pottery [lcsh]
Raku-style chawan generally feature either red or black glazes. This piece, crafted by Waraku, is an excellent example of the red raku style. Red raku ware (akaraku).
Japanese tea ceremony [lcsh]; Drinking vessels [lcsh]
This chawan for thin tea is decorated with vigorous white brushwork over a warm-toned glaze. The brushed pattern is known as hakeme, which originated in Korean pottery kilns. It was probably introduced to Japan through the acquisition of imported...
Japanese tea ceremony [lcsh]; Drinking vessels [lcsh]
This chawan is a classic example of Zeze ware originating from the Kagero-en kiln. The waisted shape is relatively formal, and the piece has been decorated with an abstract brown, black and yellow glaze typical of the genre. Zeze is known as one of...
Japanese tea ceremony [lcsh]; Drinking vessels [lcsh]; Shigaraki pottery [lcsh]
Crafted in classic Shigaraki style, this chawan presents a rustic appearance appropriate to more intimate and informal settings. The piece is provided with a paulownia box bearing calligraphy that describes its provenance.Shigaraki ware...
This style of tray, known as a hanagatabon or flower-shaped tray, is designed for use in the hana (flower) temae, a chabako tea procedure for the spring season. The red-lacquered edges of this tray suggest stylized petals, and the center of the...
Japanese tea ceremony [lcsh]; Tea making paraphernalia [lcsh]; Scoops [lcsh]
This chashaku is crafted from bamboo in the informal (so) style. The maker has given this piece a dignified air, balancing the large node against the straight grooves and pointed tip.
Japanese tea ceremony [lcsh]; Tea making paraphernalia [lcsh]; Tea caddies [lcsh]
This chaire is fashioned in the popular high-shouldered (katatsuki) form with glaze work typical of the Zeze kilns. The shifuku (cover) that accompanies it is fashioned from a satin (donsu) fabric known as Fujitane (a family name), which bears a...
Japanese tea ceremony [lcsh]; Tea making paraphernalia [lcsh]; Tea caddies [lcsh]
This Japanese-made chaire is intended to resemble a highly valued Chinese bunrin or apple-shaped tea caddy. It is paired with a cover (shifuku) of blue and gold sasazuru donsu, bearing the auspicious pine, bamboo, and plum motif which symbolizes...
Japanese tea ceremony [lcsh]; Tea making paraphernalia [lcsh]; tea caddies [lcsh]
The 14th generation Urasenke master Tantansai (1893-1964) designed this unlacquered nakatsugi of mulberry wood to be used by students studying the wakin temae. The wakin temae, created by 11th generation Urasanke master Gengensai (1810-1877),...
This square ceramic dish is perfectly suited for a serving dish during the kaiseki meal that accompanies a formal tea gathering (chaji). Fashioned in the Oribe style, with its distinctive green glaze and bold designs, it depicts a single flower in...
Japanese -- Social life and customs [lcsh]; Shogi [lcsh]
Set iincludes the game board (JC1H:04a) and 41 playing pieces (JC1H:04b). Shogi is a Japanese board game played by two players. The object of the game is to capture the opponent's King. Shogi is played on a nine-by-nine board and each player has...
Japanese -- Social life and customs [lcsh]; Shogi [lcsh];
Wooden box contains forty-one shogi pieces. Shogi is a Japanese board game played by two players. The object of the game is to capture the opponent's King. Shogi is played on a nine-by-nine board and each player has twenty pieces. Shogi is much...
Swords -- Japan [lcsh]; Military weapons -- Japan [lcsh]
A fuchi is an oval piece of metal through which a sword blade passes and fits over the end of the hilt next to the Tsuba. It frequently matches the Kashira in material and decoration. A Kashira is the pommel of a sword hilt.
Japanese tea ceremony [lcsh]; Tea making paraphernalia [lcsh]
The "ears" on this fine mizusashi are fashioned in the shape of shrimp, which suggest a congratulatory theme. The work exhibits pleasing ash marks from the firing and the rich, toffee-colored (amegusuri) glaze which is a special attribute of the...
Japanese tea ceremony [lcsh]; Tea making paraphernalia [lcsh]; Shigaraki pottery [lcsh]
The solid, sturdy form and rustic appearance of this mizusashi is typical of the work of the Shigaraki kilns. Its massive appearance provides a strong visual anchor in the tearoom and its subdued color and feeling are appropriate for a wide variety...
Fans (sensu) are used by guests at a tea gathering, especially when entering or exiting the tearoom, however, they are never opened or used to fan oneself. Men's sensu are slightly larger than those for women. The lacquered frame of this woman's...
