A Million Hands: 2006-02-05

Celadon Porcelain

When it comes to china - that is, porcelain wares - it’s only natural that China be famous for it…I mean, where do you think the name came from? It is true, though, that Chinese porcelain wares have historically been, and still are among the most highly respected in the industry, and are exported with high appraisals around the entire world. It is fitting that the Chinese should be such experts in porcelain wares, as porcelain has been a part of their society through a great part of their history.

Porcelain began in China during the Shang and Zhou dynasties. Though it was still a very primitive form of the wares, archaeologists have found simple porcelain in the middle and lower parts of the Yangtze and Yellow river regions.

True porcelain wares, in the more modern sense appeared during the Han dynasty. From the point where it was first developed, different styles formed throughout the different periods, and they became their own, individual styles. The primary forms that sprung from the Han dynasty were celadon porcelain and black porcelain, as they were the types that were highest in production. Celadon porcelain continued its development throughout the dynasties, reaching an important step in the late Tang dynasty, when celadon porcelain’s production techniques evolved and matured so that large scale manufacture became possible. Simultaneously, white porcelain - having made its appearance in the later Northern and Southern dynasty - also reached its peak.

Celadon porcelain is characterized by its simple, yet quite refined shapes, by its jade-like glaze, by its solid substance, and by its quite distinctive style. As the wares of celadon porcelain were produced in the Longquan County, in the Zhejiang Province, it became the most valued, and became more generally known as longquan qingci. This is its Chinese name, and it means “greenish porcelain.” However, you might wonder why then, it is known as celadon porcelain in the West. Celadon, the person carrying the name, was the hero of a revered French writer Honore d”Urfe, in his romance L’Astrée, of 1610; Celadon was the lover of the heroine Astrée. Celadon was depicted as a young man who dresses all in green, and this fashion became the rage in most of Europe. It was just about this time that the Chinese porcelain qingci made its way into Paris, and won its first acclaims. Therefore, people began to compare the color of the qingci with the color of Celadon’s suit, and began calling the porcelain “celadon,” which spread to other countries.

Yue embroidery

Yue embroidery is the oldest of the four most famous Chinese embroidery styles. Yue embroidery is sometimes called Cantonese embroidery because of its origins in the Guangdong province (the heart of Canton China). Dating back several centuries, the designs produced with this style are complicated and have a variety of stylistic accents to draw attention to the central subject. It is also a style marked by smooth embroidery, with very little of the three dimensional texturing found in other styles. With bright colors and a variety of different threads used, Yue embroidery is perhaps the most eclectic of the four major Chinese embroidery styles, and it is still produced and widely available today.

The style developed and matured during the Tang Dynasty (618-907 A.D.) more than 1,000 years ago, and is said to have originated from the work of an ethnic minority group in the Guangdong area. The style was quickly adopted by many artisans, having undergone many changes and refinements during the intervening years. There has also been supposition that Yue embroidery was developed during the Ming Dynasty (1368-1644). However, it is more likely that the style enjoyed resurgence in popularity during this period, since pieces produced in the Yue style have been found which predate the Ming Dynasty.

Yue embroidered pieces can be done on silk or cotton. Early Chinese Yue artisans used peacock feathers, which had been twisted together as their thread, and this uniquely colorful material is still used as an accenting thread and as a way to blend separate objects in the design together. Another unique thread used is made from the tail of the horse; this coarse material is used to stitch an outline to the piece, which invites the eye to linger on the patterns, colors, and objects, making up the main design. This main design may be produced with either silk or cotton threads, and often features multiple objects or animals such as birds or dragons.

Although Yue embroidery is smooth, Yue crafters sometimes use gold and silver thread to create a three dimensional impression in their designs. As Yue embroidery has developed, it has often borrowed stylistic elements from other Chinese embroidery styles. Yue embroidery can also be sub-categorized into the Guang and Chao styles. These two styles are considered a part of the Yue embroidery "family" and have their own distinct stitching techniques.

The Yue embroidery style is rich and vibrant, and includes many different colors and patterns. It is one of the most eclectic of styles, and yet the works produced are intricate and unbelievably detailed. While older pieces are highly prized by collectors, modern Yue pieces add color and interest to any home. Yue embroidery has been used in many different ways, in pieces ranging from bridal gowns to wall hangings.

Shu embroidery

Shu embroidery is a relatively recent (by Chinese standards) Chinese embroidery style, having been developed around the middle of the Qing dynasty (1644-1911). One of the four great Chinese embroidery styles, Shu embroidery was developed in and around the city of Shengdu in Sichuan province. Although what we now think of as the Shu style matured in the Qing dynasty the Sichuan area has a history of producing embroidery that dates back several hundred years, and Shu embroidery is considered to be one of the end products of the evolution of this long history. With many natural subjects depicted in colorful threads, Shu embroidery is mostly concerned with showing the joys of life, and has been used in many different pieces, both practical and decorative.

Examples of embroidery have been discovered in the Sichuan province dating from more than 2,000 years ago. Fish have been among the most popular subjects for embroiderers from Sichuan; one account from the Western Han dynasty (202 B.C. 9 A.D.) tells of the intricate detailing of a carp taking more than a month for an embroiderer to complete. The production of embroidery was first done by males, but over the years it has passed to young women. The Shu embroidery which matured during the Qing dynasty, which is also called Chuan embroidery, is still produced in China today and has been widely exported to countries all over the world.

Shu embroidery is typically done on the soft satin fabric produced in Sichuan province. It uses brightly colored threads, evenly stitched to produce a delicate picture or pattern. Shu embroidery is particularly characterized by the closeness of its stitching, which allows Shu embroiderers to highlight miniscule details in the subjects they produce. A Shu embroidered piece may include hundreds of thousands of stitches in a single figure or animal, and may take many days or even weeks to complete. One of the most popular subjects for Shu embroiderers is the panda bear, but scenes of nature of any kind are common. The fish which engrossed embroiderers from Sichuan in ancient times are still often seen, as are close-ups of plants, landscapes, and detailed looks at many animals.

Shu embroidery is used for both artistic pieces and for objects which may be used every day. Quilts, sheets, slippers, or clothes may be embroidered in the Shu style, lending color and beauty to the wearer. Equally enjoyable are art pieces produced in the Shu style. These may include wall hangings, screens for separating rooms, or curtains. The rich color and vibrant images found in Shu embroidery are meant to remind the viewer (or wearer) of the joy which can be found in any living thing; it is perhaps because of this joy that Shu embroidery remains popular to this day.

Suzhou or "Su" embroidery

Suzhou or "Su" embroidery is one of the oldest embroidery techniques in the world, with origins stretching back more than 2,000 years. Suzhou embroidery was one of the first embroidery styles to be developed in China, but its detailed needlework and intricate images are still produced today. It is a style characterized by brightly colored silk embroidered with well-proportioned and uncluttered representations of almost any pastoral scene, person, animal, or object. Examples of Suzhou embroidery were so detailed and intricate that many people used the pieces as artwork, and some of the oldest pieces still in existence date back hundreds of years.

There are records of detailed embroidered pieces being produced in the Suzhou area around 200 BC, and of embroidered silk being used as maps in the second and third century AD. But it was during the Song Dynasty (960-1279) that the Suzhou style became prominent. With finely spun silk thread embroiders from the Suzhou area were able to create images that were said to have "rivaled nature," and it became very stylish to have Suzhou embroidery in the home. Embroidery spread to other provinces throughout China, and soon embroiderers all over the country were working were working in the Suzhou style. Although other techniques of Chinese embroidery have appeared over the years, it is the Suzhou style that has set the standard for other styles.

Suzhou embroidery consists of very detailed representations of almost any subject embroidered onto fine silk with silk thread. One of the distinctive features of Suzhou embroidery is that some pieces two-sided; that is, the picture is repeated on both sides of the embroidered piece. The stitching on Suzhou embroidered pieces is done with silk threads that have been divided until the actual thread is almost impossible to see. Through the repetition of stitches a very dense embroidering occurs. Suzhou embroidery has been used in clothing, wall hangings, and even intricate book covers dating back almost 1,000 years.

Suzhou embroidery as a technique has continued to grow and develop. In the years since its first appearance, many crafting schools have taught the technique, and an entire industry has developed to produce Suzhou embroidery pieces for sale both in China and on world markets. However, Suzhou embroidery is not just a commercial enterprise; master Suzhou embroiderers have practiced their craft for hundreds of years, creating some of the most detailed and beautiful pieces.

Whether you buy a Suzhou embroidered piece made recently or search for a piece with more history, Suzhou embroidery remains one of the world's finest techniques. Many people around the world are now discovering the beauty and artistry inherent in these pieces, and it seems clear that the market for Suzhou embroidery will remain strong for years to come.

Thai silk scarves

Silk scarves have been used for a variety of purposes throughout history. Its lightweight warmth caused silk to become one of the most popular materials for things like aviator's scarves and for parachutes. However, the high cost of silk throughout history has meant that silk scarves were often considered a luxury item in Europe and North America. It has only been in the last 20 years that silk scarves have become more widely available. Thai silk scarves are among the most elegant and beautiful scarves, and have been thrilling the fashion world for several years now.

The production of silk stretches back centuries in Thailand. Because Thailand is the only Southeast Asian nation to have never been ruled by a European power, silk production is much more traditional. Additionally, Thai silk is considered exceptionally durable and high quality. This quality silk is washed, and then dyed carefully to produce stunning and memorable colors. One of the most remarkable features of Thai silk scarves is their patterns and artwork, many of which stem from Thai folklore and culture.

Thai silk scarves may feature many different patterns, ranging from tie dying and squares to elaborate representations of stars, moons, and planets. Artwork on Thai silk scarves varies even more. One of the most traditional symbols in Thai culture is that of the Elephant, and so many scarves feature this animal in a variety of settings. Floral pictures are also popular, as are trees and other nature scenes. Other pictures often seen on Thai silk scarves are birds perched on lush tree branches, scenes of traditional village life or of Buddhist temples. Because the price of silk has dropped in recent years, it is now possible for women to wear a beautiful piece of art, both for warmth and as a fashion accessory. Thai silk scarves in white and in solid colors are also popular with men who want to evoke the image of the brave and adventurous aviator.

Thai silk scarves have become one of Thailand's chief consumer exports. In fact, they are now available in stores all over the world. However, many people also travel to Thailand each year and find fabulous silk scarves in the shops and Bazaars of Thailand's major cities. While the Thai silk scarves found in your local area will be of excellent quality, your chances of finding an original design on a scarf increase dramatically by visiting Thailand, which also has many historic sights and beaches to enjoy. The next time you are looking for a fashion accessory that shows your originality and style, be sure to look at Thai silk scarves. These lightweight and surprisingly affordable scarves will both keep you warm and show the world that you have a good eye for fashion.

Ivory, Bone, or Plastic ???

There are many items on the Market today being represented and sold as Ivory that really aren't. This may be due to deception or innocent ignorance. Next to Cinnabar, this is the most abused of all descriptions used to sell Oriental Collectibles. But how do you tell what is Ivory and what isn't, especially if only viewing an image on the Internet. Hopefully this will help.

The most likely imposters are Bone and Plastic ( Resin ) To test for plastic, the easiest and most common method is the pin test. Heat a pin to red-hot and touch it to the bottle. If it melts, its plastic. If it doesn't melt, we narrowed it down to Bone or Ivory. There should be no fear of damaging the piece using this method because Ivory will be undamaged by this test, and if it melts, it wasn't worth much anyway.

Now comes the tough part. You have determined that it is not plastic. So it must be bone or ivory. The coloration of Ivory is usually very consistent throughout the entire piece. ( no light and dark patches ) It has a very fine grain that appears in a wood grain pattern. Black cracks ( age lines ) are not uncommon in very old pieces of Ivory. Bone, on the other hand, tends to have numerous discolorations and distinct feature. Patches of Brown or Black spots resembling a beard, or dark blotches consisting of parallel lines. Another potential clue is that most bone items are made using 3 to 4 pieces of bone. Look for seams.

Due to shortages in available Ivory for artists, other substance have always been sought. The trade in Elephant Ivory has nearly come to a complete stop. The master carvers of China and Japan have turned to alternative substances for the making of Snuff Bottles, Netsuke, and other works of Art. Mammoth Ivory is currently being excavated in areas of Northern Siberia. This is from Mammoth Elephants and Mastodons that live 2,500 to 2 million years ago. The frozen glaciers have preserved there remains in near perfect condition.

Yixing Teapots

Yixing (pronounced “Yee-Shing”) teapots are very special teapots made from zisha clay, a rare type of purplish clay made of iron, quartz and mica. It is found only in Yixing, China; a town located roughly 120 miles north west of Shanghai amidst rolling hills. Zisha clay is so unique in fact, that Yixing is the only place in the world where it can be found. This very rare material gives the Yixing teapot special properties that make it one of the most sought after teapots in the world, for both collectors and tea enthusiasts alike.

Yixing teapots originated during the Sung Dynasty (960 1279) where they were first handmade on a potter’s wheel. As they continued to be produced through the 17th, 18th and 19th centuries, their simple design and unpretentious beauty began to mature. As Yixing teapots grew in popularity, scholars made and collected them with fervor, improving on their designs and craftsmanship.

Traditionally, Yixing teapots are small enough so that an individual can have their own. Interestingly, the teacups that are used with a Yixing teapot are proportionate to the size of the pot itself. Therefore, someone with a very small Yixing teapot could easily drink 100 cups of tea a day.

Zisha clay comes naturally in blue, red and purple colors. When mineral pigments are added to the clay, new colors can be created. For example, mixing blue clay with cobalt oxide creates black teapots. Years of experimentation and development have created a massive range of Yixing teapot colors. Perhaps the most famous type of Yixing teapot is called Zishayao. The clay in this teapot contains a high amount of iron, which creates a deep purple-brown, similar to the skin of a pear.

Besides the Yixing teapot’s beauty, it is also considered to be one of the finest tea brewing pots in the world. It is said that if you pour hot water into an empty Yixing teapot that has been in use for many years, you can brew tea without any tea leaves. Zisha clay is extremely porous and will absorb the flavor of tea, making each brew better and more flavorful every time it is used. Another special quality of zisha clay is its ability to retain heat. It has a low shrinkage rate when the clay is fired in a kiln, and potters can create a tightly fitting lid that will decrease oxidization and further increase tea flavor. What’s more, zisha clay comes free of any toxic materials like lead, arsenic and cadmium, which can found in some other types of clay.

Yixing teapots are arguably among the finest teapots in the world. When evaluating a teapot’s brewing quality, four factors are taken into consideration: The color of the tea produced, and the levels of phenol, caffeine and aminophylline. The Yixing teapot’s performance has been found to be superior to that of standard teapots in all four areas of testing.

Not only are Yixing teapots an important part of Asian culture and sought after by tea enthusiasts and collectors across the world, but they are unique and valuable works of art. Each one is a simplistically beautiful tribute to the Asian arts, and each one brews a healthier, superior, more flavorful cup of tea as well.

Cast Iron Teapots of Japan

Much as Americans and the English have teapots, the Japanese also have a special teapot called a Tetsubin. In Japan, it is believed that drinking tea from an iron kettle brings better tasting tea since the water is boiled differently. Additionally, with the Tetsubin teapot, you will find that the spout will only face to the right, where you will see adornment or ornamentation. In Sencha, this type of teapot would be held in the right hand while in Chanoyu, the left hand would be prominent.

In Japan, the tea ceremony is both historical and important. Often known as Chanoyu, this ceremony is founded on very specific philosophies and procedures. Together, these two create a aura of inner peace. In fact, in the Japanese tea ceremony, everything involved is important to include the types of utensils used to the way in which the table is set. While different classes within Japan favor different types of tea ceremonies, the Chanoyu is definitely the preferred method for the ruling class.

Although the exact date for the start of Tetsubin is unknown, it is believed it first appeared sometime around the time when Sencha drinking became popular in the 17^th Century, during which time this form of drinking was viewed as being symbolic revolt against Chanoyu. Over time, more commoners started drinking tea and soon, it had its own place within society. As the market expanded, the teapot was created as a means of replacing the expensive Chinese styles of drinking tea.

Then by the 18^th and 19^th Centuries, Tetsubin was something seen and enjoyed in most homes. As a way of providing humidity and heat, tea was prepared. Since the affluence aspect was eliminated, it became quite common for Tetsubin to be plainly decorated rather than elaborately like before. It was during this same time that Japanese art was also making a big change, which had a huge influence on how the designs were made.

Using the Tetsubin, a ceremony was created called Ryakubon. With this ceremony, the settings are minimal, including the Tetsubin for making the tea. Another ceremony is called Kaiseki and with this one, a light meal is served just prior to the actual tea ceremony beginning. Whenever a tea ceremony is held outside, this type of ceremony is used.

It is true that the Tetsubin has only a small role in the formal Japanese Tea Ceremony but to most people, Japanese and other nationalities, it is still very fascinating. Additionally, Tetsubin is a beautiful yet functional teapot although the shape and decorations are simple. Remember that the focus of tea and the culture in Japan is focused on the Chanoyu procedures, which is believed to capture all the valued aspects of the Japanese culture.

Tea ceremonies are geared toward esthetics and surroundings as a means of creating inner peace and serenity, which is crucial to the tea ceremony. With the Tetsubin being designed in the likeness of a kettle, along with iron, many are made from copper, which are called Yakkan. Regardless of the style, the type of ceremony, or the simplicity of utensils used, this tea brewing vessel is highly regarded and considered today as a treasured collectible. Since they are hand-cast by master artists found in Japan, the process can take as many as 40 steps to complete, which is why they are so difficult to find.

Tetsubin Teapots

The Tetsubin (pronounced “tet-SUE-bin”) teapot is a Japanese teapot made of cast iron. A typical Tetsubin teapot has a geometric, organic or animal pattern decoration on the side where its spout faces your right. This is because the pot is held in the left hand in Chanoyu, the Japanese tea ceremony. Its design is thought to have been influenced by the kettles of the common Japanese households of the 17^th and 18^th centuries. These kettles were simple in design and undecorated. They were typically hung on the fireplace hearth to provide hot water, warmth and humidity to a household; they were extremely practical pieces of kitchenware.

During this time period in Japan, tea drinking was not popular with the common citizen. Only the wealthy could afford Matcha, a type of powder used to brew tea. When the Chinese method of tea brewing called Sencha (brewing with whole leaves instead of the powder) was introduced to Japan, tea drinking became affordable and more accessible to common people. Despite Sencha, Chinese teapot styles were expensive, and the Japanese people adopted their hearth kettles to brew their tea. Thus, the Tetsubin teapot was created.

The Tetsubin teapot remained largely unmodified and simple until the 19^th century, when Japanese art, which was gradually being influenced by the Chinese mainland as well, exploded in a cultural revolution. Over time, the Tetsubin style and design became more elaborate. Soon, a wide range of Tetsubin teapots were available, from the simple, hearth kettle style, to garishly designed works of art. The Tetsubin teapot gradually evolved into a cultural status symbol for its owner. The more elaborate the teapot one owned, the more prestigious one was (or wanted to be) in social status.

The Tetsubin teapot was also adopted to play a small role in Japanese tea ceremonies despite its common roots. In Ryakubon, a small ceremonial setting requiring a limited amount of tea ware, the Tetsubin is used for preparing tea. In Kaiseki, another setting where a small meal is served before the formal ceremony, the Tetsubin is used with the meal. Also, in outdoor ceremonies, the Tetsubin sometimes replaces the Cha-Gama, due to the fact it is smaller and has a spout. The Cha-Gama is slightly awkward outdoors, because it is much larger, has no spout and requires its water to be ladled into the tea cups.

Today, the Tetsubin teapot is a reflection of an important aspect of Japanese culture and history. Its design and shape is simple and beautiful, and its use is extremely practical. Many tea enthusiasts claim the tea brewed in the cast iron Tetsubin teapot tastes better than tea brewed in any other type of material. Highly collectable, Tetsubin teapots are hand-cast by master artists to this day, and have undergone a marvelous evolution from their early days as common household items into elaborate works of art and true reflections of the Japanese art culture.

Tagua Nut Carving

Did you know that before the introduction of plastic, most of the buttons in the United States were made from Tagua nuts? In the 1920s, the exportation of this nut, also known as "vegetable ivory" brought nearly $5 million dollars into South American county of Ecuador. This South American export is enjoying new popularity today both in the garment industry where it is used for buttons and fasteners, and in the art world.

Why is this plain looking little brown nut so important today? Well, it is a great example of something small having a big impact. There are three primary reasons the world has taken notice of the Tagua nut: ecology, economy and art. From an ecology point of view, the Tagua nut is very much like animal ivory in terms of its texture and appearance. As people became more aware that using animal ivory could result in extinction of entire species of animals, Tagua nut became a suitable replacement. You almost cannot tell the difference between Tagua nut and mammal ivory.

Economically speaking, the Tagua nut, which grows in the rain forest, is a sustainable natural resource. This means that the valuable rain forest is not harmed in the cultivation and harvesting of this material. It allows the people who inhabit the rain forest to engage in profitable trade without destroying their lands. As you know, everyone on the planet benefits from keeping the rain forest intact since it is so important to the atmosphere of the earth!

Artistically, because it is so much like ivory both in appearance and in texture, Tagua nut has become quite popular as a raw material. Art forms like scrimshaw, traditionally reserved for mammal ivory are now being practiced using the Tagua nut. Figurines and animals are among the art objects you can find created from Tagua nut. Tagua nut is also used to make intricate designs that are used to inlay boxes, for jewelry for example.

Before it is processed, the Tagua nut does not look like anything special. The Tagua nut is a small nut that measures about one to two inches with a brownish exterior. Taguas grow on palm trees in several regions of South America. Probably the best-known producer of Taguas is Ecuador. It is inside the Tagua nut that the real beauty is found! The interior material, which is used to manufacture practical objects and art, ranges in color from white to amber. The composition of the Tagua nut is so similar to mammal ivory that it is difficult to tell them apart.

If you were in the market for scrimshaw or other items historically made from mammal ivory, just be sure to have the piece checked out by an expert. There are cases where a dishonest merchant has been known to sell items made from Tagua nut as mammal ivory. These items made from Tagua nut instead of mammal ivory are lovely to be sure, but are probably not antiques. Most of the mammal ivory you would find for sale these days would have to be antique or obtained from an illegal source. It is the rare nature of animal ivory that fetches the sky high prices. The other reason ivory has such a great value is its sheer beauty, and that is something the Tagua nut is able to match.

Therefore, the little brown Tagua nut has many advantages over mammal ivory, becoming popular enough to stand on its own. Tagua nuts can be grown and harvested economically, and so art and other items made from Tagua nut are reasonably priced, meaning more people can enjoy their beauty and durability. Tagua nuts are a resource that seems to benefit just about everyone!

Ojime Beads

Beads have forever been a part of history, covering virtually every culture. Although most beads are used to embellish and adorn, they also serve a number of other functions, which covers political events, social circumstances, religious beliefs, symbolism of curative powers, and have even been used as currency. Beads are also made in a huge variety of colors and designs, and can be made from all types of materials to include wood, metal, glass, ivory, and plastic.

Many of the ojime beads made from ivory were first carved in China’s Heibei province. However, during the mid-1980s, ivory was banned at which time ojime beads were made from boxwood. These beads are not carved by just anyone, but actual master carvers who consider this a very valuable art form. Many master carvers can create up to five to ten designs and while some will vary in color, the density and fine grain are what makes them unique. For a single ojime bead to be crafted by a skilled master carver, approximately four to six hours is required. Once the carving is complete, the beads are then signed by the artist, hand polished, and waxed to bring out their lustrous shine before being sold.

With Ojime beads, these first originated in Japan. The beads are meant to work with the netsuke so the Japanese people could hang items on a sash from their kimono. Although these small beads are beautiful and intricately made, they had a very distinct purpose for every day life. Because of the amazing carving of the ojime beads, they soon became somewhat of a fashion statement.

Now keep in mind that during the 17^th Century in Japan, pockets were not a part of clothing design. Therefore, the Japanese people had no way to carry tobacco, currency, medicines, and other small personal items. Over time, the tobacco pouch was created along with a writing set to keep things together and organized. The Inro for example was a box with anywhere from two to seven layers, which were used to store small objects. To keep the Inro together, cords made of silk were braided and then run through the box vertically.

As a way of maintaining the integrity of the braid, ojime beads were used. Then to close off the end of the cord, a small toggle called the netsuke was placed. With this design, the Inro could dangle from the kimono out of the way yet within close reach. Soon, the beautifully designed ojime bead became a piece of art expressed by the artist. With so many different designs, the Japanese individual could choose the style, color, and design that best matched his or her personal preference. For instance, some of the designs included whales, dogs, monkeys, snakes, crabs, tigers, dogs, dragons, mice, bats, roosters, owls, and much more.

While you can still find authentic ojime beads, today, many reproductions are also available, which are quite charming and typically carved from boxwood found in China, but following the traditions of the Japanese. The design of the ojime bead consists of a hole drilled from the top all the way down through the bottom. Additionally, depending on the design of the bead, there may also be some holes running lengthwise. The original and reproduced ojime beads are indeed amazing, refined pieces of art that are actually very sophisticated.

Netsuke

Netsuke (pronounced “net-ski” or “net-skeh”) are tiny sculptures that originated in Japan as an accessory to traditional Japanese clothing. They have since evolved over a time period of three hundred years into works of art that are both collected and revered by art aficionados across the globe.

Originally, Netsuke served both functional and aesthetic purposes. The Japanese kimono did not have pockets, so women would hold small objects in their sleeves, and men would wear a silk cord on their obi, or sash. From the cord, they would hang items such as tobacco pouches and coin purses. These items were known as sagemono. To stop the silk cord from slipping under the weight of their sagemono, they would attach a small toggle to the cord. These toggles were known as netsuke, which literally means, “root for fastening”.

All three items (the obi, sagemono and netsuke) were beautifully decorated with carvings, lacquer work and inlays of precious metals, ivory, coral and other rare or expensive materials. Netsuke were often carved into different designs, and were shaped as everything from animals to humans to abstract patterns. Because of their individuality and uniqueness, netsuke quickly became highly collectable and their design became a coveted art form. Netsuke were also a sign of social status, as the craftsmanship and the quality of materials used varied between individual pieces. The wealthy tended to own better quality netsuke.

Netsuke can be made from a large variety of material, the most popular being ivory. However, it is not uncommon to find netsuke made from wood, animal tusks and antlers, amber, pottery, bamboo and more. There are many different styles of netsuke as well. The most common style is called katabori, or figural netsuke. These are the netsuke that resemble people or animals. Another type of netsuke are sashi, which are long and thin. Manju netsuke are named after a bean paste dish because of their round shapes that look similar to buttons. Kagamibuta, which means “mirror lid”, are netsuke that consist of a metal lid and a bowl. Finally, mask netsuke are fashioned after the masks in the Noh or Kyogen style plays that were popular in Japan at the time. Common netsuke subjects included the animal characters taken from the Asian zodiac as well as mythological figures, heroes and scenes from everyday life, but netsuke subject matter was hardly limted to these and they could take the form of anything the artist could possibly imagine.

By the 19^th century, netsuke were no longer needed in their functional role. Japanese culture, and thus dress, was heavily influenced by European styles, and the kimono and obi fashion fell out of favor. They still remained highly collectable however, as the startling amount of detail that went into each netsuke was a true jewel in the crown of Japanese art development. Today, netsuke fetch hefty prices from collectors around the world who admire the intricate and delicate craftsmanship, and the uniqueness and individuality of these beautiful works of Japanese art.

Chinese Fans

CHINESE FANS - The Chinese elevated the common fan to an art form. We know that leaves and bird feathers were used as early fans but China gets credit for being the first place where fans were manufactured. King Wu of the Zhou Dynasty (11^th century B.C.) is credited as the inventor of the Chinese fan. We believe that the idea for the hand-held Chinese fan came from the umbrellas that were fixed to the top of carriages of the Shang dynasty period (1600 - 1100 B.C.). The oldest Chinese hand-held fan, which was found in the Hubei province in 1982 dates back about 2,300 year ago to the Warring States period.

Early fans were made of bamboo "spokes" arranged in a half circle with silk wrapped around them. These fans did not fold up, as we know them today. Fans were primarily reserved for the member of the royal court and it was not until the Han dynasty (206 B.C. - 220 A.D.) that fans became widely available among the general population. Fans became so wildly popular that in the Jin dynasty (317 - 420 A.D.) the emperor forbade them to be made out of silk since so many fans were being made that silk production could not keep up! Chinese fans were made in many different forms. For example, a fan's base could be square or round, or shaped like a familiar object, for example a duck's beak or fish tail.

Here is an interesting fact you probably did not know. The Chinese did not invent the folding version of the fan most commonly known. This type of fan, or Zhe Shan, was brought to China from Japan in the 11^th century. Today, Chinese fans are made of many materials such as palm tree leaves, bamboo, and paper. Other materials include bone, feather, ivory, carved lacquer ware, paper, and silk. Additionally, you will find fans made of precious materials such as mother-of-pearl.

Chinese fans grew beyond the realm of being ordinary household artifacts as fans became integrated with traditional Chinese painting and calligraphy to become works of art. Chinese fan culture developed hand in hand with Chinese history until the modernization of the mid twentieth century. Of the hundreds of fan artisans in historical Shanghai - only two remain today. The main allure of the Chinese fan today is its value as a collector's item, especially for two types of Chinese fans - the Tuan Shan (reunion fan) and the Zhe Shan (a plaited fan that can be folded).

Tuan Shan fans are made of silk and can be round as well as square, or rectangular with rounded edges. They were carried by both men and women until the Ming dynasty when they became identified as a fashion accessory for women. The Zhe Shan became popular in China during the Ming dynasty, reaching a peak of popularity during the Qing era (1644-1911). This is the time when the folding fan became known as a symbol of social status. It was also during this time that the culture of using fan gestures as a way to express moods developed.

The most valuable examples of Zhe Shan fans are those which are decorated with art and/or calligraphy. The shape of the fan - narrow at the bottom and wide at the top - made them a challenge for artists to decorate. One method used by calligraphers was to alternate short and long sentences on the panels of the fan. That way, the writing did not look crowded or cramped and remained artistically appealing. Writing was done both horizontally and vertically, depending on the preference of the artist and the patron.

While art and calligraphy were the main means of decoration, there are examples of fans that have gold or other precious stones added to their faces. The extra time and effort required to work on this type of medium is why decorated fans are the most prized. The Qing dynasty was also a time when the Chinese fan was first brought to Europe. Traders imported fans made of ivory which became popular with European women. As Chinese Fans grew in popularity, Chinese manufacturers made and exported fans made of a variety of material.

We are still intrigued by fans today. They are a great way to cool off to be sure but there is more to it than that. There is something special about holding a fan. Maybe it is a reminder of history or that slightly exotic feeling you get when you unfold a fan. In any case, the Chinese fan is likely to enjoy a timeless popularity.

Cloisonné

Cloisonné is a famous traditional enamelware with a history of over 500 years. Cloisonné is one of the famous arts and crafts of Beijing. The making of cloisonné requires rather elaborate and complicated processes: base-hammering, copper-strip inlay, soldering, enamel-filling, enamel-firing, polishing and gilding. Base-hammering of body is the first step in the making of cloisonné. The material used for making the body is copper, because copper is easily hammered and stretched. This step requires a sound judgment in the shaping and uniformity of thickness and weight. It is in fact the work of the copper-smith. The only difference is that when an article is shaped, the copper-smith's work is finished, whereas the cloisonné craftsman's work has just begun. The second step is filigree soldering. This step requires great care and high creativeness. The artisan adheres copper strips onto the body. These strips are of 1/16 inch in diameter and of lengths as the artisan desires. The strips of filigree thus adhered make up a complicated but complete pattern. The artisan has a blueprint in mind and he can make full use of his experience, imagination and aesthetic view in setting the copper strips on the body. The third step is to apply color which is known as enamel filling. The color or enamel is like the glaze on ceramics. It is called falang. Its basic elements are boric acid, saltpeter and alkaline. Owing to the difference in the minerals added, the color differs accordingly. Usually one with much iron will turn gray, with uranium, yellow, with chromium, green, with zinc, white, with bronze, blue, with gold or iodine, red. The colors are ground into minute powder and applied in the cells separated by filigree. The fourth step is enamel firing. This is done by putting the article, with its enamel filling, into a kiln. After a short moment, the copper body will turn red. But after firing, the enamel in the little compartments will sink down a bit. That will require a re-filling. This process will go on repeatedly until the little cells are filled. The fifth step is polishing. The first polish is with emery. Its aim is to make the filigree and the filled compartments even. The whole piece is again put to fire, then polished once more with a whet-stone. Finally, a piece of hard carbon is used to polish again so as to obtain some luster on the surface of the article. The sixth step is gilding. This is done by placing the article in fluid of gold or silver, changed with electric current. The exposed parts of the filigree and the metal fringes of the article will again undergo another electroplating and a slight polish.

Kalagas of Burma

Kalagas, which are embroidered Burmese tapestries, have been around for about 150 years. Some of the techniques used in making kalagas are much older. For example, the techniques of attaching gold thread and jewels called "shwe-chi-doe" were known to have existed in Burma over 1,000 years ago. Items made using the "shwe-chi-doe" method were and still are rare because they were made from real gold and jewels, making them prohibitively expensive for the common person or every day use.

Kalagas evoke in us a sense of the exotic and- for good reason. Originally developed in the Mandalay court, they reflected the designs found at that time in the palace and in the pagodas. Popular design themes for kalagas included art typically seen on temple walls. Interestingly, these types of designs are still popular today. This is one reason it is common for people to think that the kalaga art form is much older than it is since the most popular subjects illustrated on these tapestries are taken from tales and legends of ancient history.

By the way, a word of caution for the collector. Even though the kalaga art form is only 150 years old, you may come across kalagas that may be misrepresented to you as antiques. The authenticity of these pieces is doubtful. The materials used to make kalagas 150 years ago were not designed to withstand the test of time. Some folks selling them distress them to make them look old in the hopes that the kalaga will fetch a higher price.

The most popular stories illustrated on kalagas have some sort of religious significance. One popular theme is astrology; another is auspicious animals. Elephants, especially white elephants are common. You will also find the Burmese symbol for purity and good character, the hintha (often confused with a duck), depicted. Another popular animal is the peacock, which is a symbol of beauty and also represents the sun.

Burma had both Buddhist and Hindu influences throughout its history, and so stories from both traditions such as the Hindu epic Ramaya stories and the Buddhist Jataka tales, often grace kalaga art. The kalagas we see today were influenced by several factors of the time. The extensive use of sequins comes from the influence of artisans brought from Thailand after the conquest of Ayuthaya in 1767. The materials used to make kalagas, which include wool, glass, beads, and sequins were readily available then, resulting from trade with British merchants. Therefore, as kalagas became more popular, it was relatively easy for artists to respond to the demand.

Kalagas are still made in the traditional mode. Access to higher quality materials has improved overall quality of the finished product as evidenced by neatly cut glass, sequins that are rust and tarnish resistant and durable backing cloth. A kalaga begins by stretching a backing onto a frame and attaching it. Next, cloth is cut in the shape of the figures that will be included in the design. The figures are decorated and then attached to the backing. The figures are raised by stuffing them with cotton or a similar material, giving them a quilted quality. The last step in making the kalaga is to fill in the background. Kalagas are famous for having backgrounds crafted in beautiful swirled patterns of sequins.

If you have the good fortune to acquire a kalaga during your travels or as a gift from a considerate friend - here are some suggestions on how to best display your treasure. If you wish to frame your kalaga, do not put glass or plastic over it. One way you can display a kalaga is to hang it between a pair of curtain rods, top and bottom. One feature of this art form that really stands out is how the sequins and metallic thread reflect light. This will create a wonderful effect, no matter where in your home you place your kalaga.

Snuff Bottles

Both Chinese snuff bottles, as well as the tobacco powder contained by the Chinese snuff bottles were at the very core of a fashion whose popularity had never before been experienced in China’s extensive history. Due to it’s exceptional versatility of style, technique and material, all in one small object, as well as the fine craftsmanship, these tiny masterpieces quickly became one of the most notable representations of the use of artistic skill throughout the Qing Dynasty.

There are many different beliefs as to who introduced the use of tobacco to the Chinese. I have read that the Russians, Manchu, Portuguese, and the Jesuit Priests brought tobacco to China. I would venture to say that it is likely that different people, around the same time, introduced it in different regions. That time would be the early to mid 1600's.

Although legally, the smoking of tobacco was not permitted, its use as snuff was considered perfectly acceptable, as it was thought to have valuable medicinal applications. Tobacco was thought to be a great way to treat colds, headaches, stomach disorders and many other symptoms and illnesses. Powdered tobacco, as well as the majority of other Chinese medications, was dispensed in bottles, as opposed to the boxes that were used in Europe.

Though snuff was originally only a luxury experienced by the elite of the new Qing Dynasty house, its popularity, along with the popularity of the snuff bottle, became much more available in and around the Beijing court by the close of the seventeenth century. The heart of the recognition of snuff and snuff bottles remained in and around Beijing’s court until the end of the eighteenth century, developing the use of snuff into a common social ritual for the upper classes. The snuff therefore had to be contained in something that would contribute to this newfound fashion, and therefore, large amounts of art, taste and money were spent on the acquisition of attractive snuff bottles. Snuff bottles also started being used for the attainment of favors, positions, status as well as advancement in government.

During the 1700's snuff increased in popularity among the Chinese, which created a great demand for Snuff Bottles. They became conversation pieces and collectable items almost immediately. Collecting snuff bottles became the newest nationwide habit, and it spread to all of the social classes with the actual snuff-taking, at the very end of the eighteenth century. The finer the snuff bottle, the more respected was its owner.

Snuff bottles were made out of every material of which the Chinese knew. This included glass, porcelain, jade and other hardstones, ivory, coral, lacquer, amber, wood, etc.

Asian Lacquerware

Asian lacquer ware is well known to art collectors worldwide, and is the result of some of the finest craftsmanship techniques in the world. Lacquer ware is created by applying lacquer to wooden objects to give it a fine finish and luster. Although the craft was developed in both China and Japan, Japanese craftsmen are generally credited with taking Chinese lacquer techniques and maturing them to create the highly regarded art form that lacquer ware creation has become today.

The History of Lacquer Ware

Evidence indicates that the practice of lacquering objects began over 4000 years ago, where it was used to coat common objects like furniture, and personal items like earrings and combs. This type of lacquering was more functional in nature, as the lacquer added sturdiness and smoothness to the objects. It was an important technique however; important enough for lacquer tradesmen to form a guild called Urushi-he to help develop their techniques.

At the same time, Chinese artisans were developing lacquering techniques along more artistic lines, they added color to their lacquer and were using lacquer to make items more aesthetically pleasing. These techniques were introduced to Japan in the 5th and 6th centuries, and Japanese craftsmen not only incorporated Chinese lacquering techniques into their works, but also improved and matured them into a true art form.

One improvement the Japanese created was the technique of Makie (gold and silver lacquer finishes). Makie was a very high-caliber artistic form that surpassed any artistic techniques developed by the Chinese up to that point. Because most objects were still being made from wood and not ceramic (glaze had not been developed yet), Makie techniques became an extremely popular method of adding both beauty and sturdiness to common household objects such as tables and utensils. Items with Makie finishes were especially sought after by the upper class. Thus, lacquer ware objects quickly became much more than common household items. They evolved into highly sophisticated art pieces and status symbols.

The Process of Creating Lacquer ware

Lacquer comes from the sap of the tree species, Rhus Veniciflua, commonly known as the Varnish Tree. This tree can be found throughout China and Japan, but it originated in Central Asia. It is a member of the Anacardiaceae family, and shares relations with the cashew, mango and pistachio tree.

Harvesting lacquer from the Varnish Tree is relatively simple: The technique varies depending on what region of Asia you are in, but generally, in Japan, five to ten horizontal cuts are made in the tree’s trunk parallel to one another. As the sap oozes out of these cuts, it is scraped and collected.

After being treated to remove impurities, the lacquer sap is called crude lacquer. Crude lacquer is used as a primer on most lacquer ware. To increase the quality of the crude lacquer, it is heated between 35 and 45 degrees Celsius. It is then known as Kurome lacquer. Another type of lacquer can be created when crude lacquer is heated at 60 degrees Celsius, this is called Hosezu lacquer and will not dry and harden. Hosezu lacquer is mixed into Kurome lacquer to help speed up or slow down the drying process. The speed of the drying process can vary, depending on lacquer quality, heat and humidity.

Color can then be added to the lacquer by mixing oil or color pigments, and then it can be used as a top layer, giving the object a sturdy and glossy shine. If color is not added, the natural state of lacquer gives the object a transparent, rich brown hue.

Satsuma Porcelain

Satsuma porcelain has been traced to 17th century Japan, taking its name from the southern province of Kyushu Island. Interestingly enough, this type of pottery was actually developed by Korean potters. You will hear Satsuma referred to alternatively as "pottery" and "porcelain" but it is actually somewhere in between. This type of porcelain is produced at lower temperatures than porcelain but higher temperatures than you would typically use to make pottery.

Following Japan's invasion of Korea in the 17th century, the Prince of Satsuma brought potters from Korea, where they established a now famous kiln for making pottery. The ongoing patronage of the prince's family, the Shimazu family was the daimyos (feudal lords) at the time that resulted in the great popularity of Satsuma porcelain.

Production of Satsuma pottery is no longer limited to one area of Japan. In fact, you will find three major yakis or kilns, which includes a famous one in Kyoto. Satsuma was and still is made from brown clay, and the pottery today retains the cream colored body and crackled gaze. Many pieces include a trademark deep blue color, calls "Goso blue". Experts share that you can tell where a particular piece of Satsuma pottery was made by certain characteristics.

For example, the Satsuma that is made in Kyoto will be lighter in body color, which was close to the color of cream whereas the Satsuma made in Kyushu is darker in tone. All Satsuma pottery has what is called 'crackle', which are fines lines crisscrossing the pottery in a random matrix pattern, the result of the glazing and kiln firing process. Satsuma pottery made in Kyushu has more pronounced crackle that is darker.

The Shimzu family introduced the world to their beautiful earthenware pieces at the Paris International Exposition of 1867. Attracted by their fine craftsmanship and gorgeous designs, Satsuma porcelain was an instant hit and their debut at the Paris International Exposition created a demand for the pottery in Europe. It was not long before a strong export market developed.

Old Satsuma pottery retains great value and antiques are highly prized. If you are shopping for antique Satsuma porcelain, be sure to consult and expert to make sure you are truly getting what you paid for! The first Korean potters made simple but elegant clay pottery that was used in the highly structured Japanese tea ceremony. The pieces tended to be small, which is why they were used as incense burners and boxes, jars for water, and vases for use in the Ikebana, the Japanese art of floral arrangement.

The first vessels were characterized by a cream-colored body, covered by a glaze, usually yellow in color. The potters of Satsuma began using decorative approaches to their art in response to competition from Imari porcelain. Imari porcelain was also made on the island of Kyushu, in the Arita area. Near the end of the 18th century, tot wanting to lose consumers to the Imari potters, a famous Japanese potter named Ninsei learning the Imari techniques. He in turn taught the Satsuma artists how to decorate their plain pottery using different colors of enamel as well as gold.

Satsuma porcelain of today displays strong, thickly applied colors. Popular patterns originally included floral designs, geometric patterns as the ever popular phoenix and dragon designs. With the advent of the 19th century, landscapes and life-like figures became more common.

The characteristics of the body are sometimes helpful in determining where a piece of Satsuma was made. The products of Kyoto often show a lighter creamy-white body whereas the Satsuma from Kyushu bears a somewhat darker tone and stronger crackle lines in the glaze.

Cinnabar Lacquer

Lacquered art pieces have been produced in China for many centuries. Lacquer is produced from the sap of the lac tree, which is commonly found in central and southern China. Various pigments are added to the resulting lacquer to change its color, and then the lacquer is applied in many coats to an art object. After many coats, the lacquer is carved, producing unique designs, patterns, and subjects. On lacquer, which was prominent throughout China, was cinnabar lacquer, which was made by mixing a seemingly innocuous mineral called cinnabar with lacquer. Cinnabar lacquer was used on a wide variety of pieces ranging in size from jewelry pieces to large ceramic or metal vases.

Cinnabar is a mineral that appears near volcanoes or hot springs. It is rich in mercury and, when ground into a fine powder, produces a deep red tint. It was believed at one point that the mercury's toxic effects could be neutralized with heat, but it appears that science has proven this theory incorrect. However, Cinnabar lacquer was produced and carved for many years before the toxic effects of mercury were discovered.

The production of a cinnabar lacquer piece is a fascinating and time consuming process. First, the base work was produced, whether it was a vase or a brooch. Next, layer after layer of cinnabar lacquer was applied. Often layers would alternate in color to achieve a multicolor effect in the design, and some pieces would feature more than 300 coats of lacquer. Each layer would have to dry before a new one was applied, so some pieces could take almost half a year to prepare some larger pieces could take years! Once the lacquer layers had reached the correct depth, the carving process could begin.

Carving a cinnabar lacquer piece was a very delicate process, and could take the artist many years to complete. Care was needed, since a slip could require filling with many new layers of lacquer or could necessitate a complete re-do of the entire project. Once the carving was finished, another layer of lacquer would be added to seal the carving. Clear lacquer with no cinnabar was often used in this final step to keep the piece from spreading mercury to the skin this was especially important for jewelry pieces.

Many cinnabar lacquer pieces are still available at auction, and are highly prized for the richness of color and intricacy of carving. Minimizing exposure to these older pieces is essential to prevent any contamination, but pieces kept behind glass can still be a valuable part of any collection. While true cinnabar lacquer pieces are hardly ever produced today, many carvers work with simulated chemical cinnabar in their lacquer. This has allowed carved lacquer pieces to remain in production, without the harmful effects possible when working with cinnabar.

Japanese Lacquer

Lacquer in its natural form actually comes from the sap produced by the Rhus verniciflua tree found in Japan. Interestingly, lacquer has been used for more than 1,500 years as a material to coat objects. Although lacquer was originally used for preservation, it later became a substance used to decorate and enhance furniture and accessories.

For maki-e, which is gold lacquer, the designs are produced by a variety of small gold flecks that are applied. The gold is sprinkled from a tube that has a tiny screen cover on the top so the design is created only in the top portions of the lacquer. Once this is done, a layer of translucent lacquer is brushed over the gold speck layer, which is then polished after it hardens to show the magnificent decoration.

Keep in mind when using lacquer that in between each layer, it must cure in a humidor for the hardening to be achieved. Once the lacquer is hardened, the surface is then polished. This process is repeated for each layer used until the final goal is met. The one challenge with lacquer is that this material has a natural toxic component that is very similar to poison sumac.

Depending on how the lacquer is used, it can resemble a painting, incorporating pictorial imagery. However, lacquer is different from painting since the images are made from precious metals. As mentioned, lacquer is commonly made using gold specks, silver, or other types of metal particles. The lacquer works with these particles to adhere to them and once hardened, the two materials create an amazing, lustrous adamantine image.

In addition to the metal, another method was used, consisting of the use of Paper Mache. For this, a box made of Paper Mache was primed with a specific type of glue along with stone powder. The next step involved putting a layer of burn clay on the wood or frame with wet lacquer and water. Once dried, the surface was scrubbed using a pumice stone. Finally, the surface was polished using delicate powder of whet. From there, the color tone was determined by the ingredient added, which could be cinnabar, gum-gut, or Indian ink.

The nice thing about lacquer is that not only is it beautiful but extremely strong. Because the lacquer pieces designed in Japan are so intricate, they would fit nicely into any décor and because of the material used, they are durable, providing you with years of enjoyment.

Chinese Health Balls

The word, “Komboloi” is a type of Chinese stress ball designed to reduce and eliminate stress. In today’s society, things move at sonic speed. Between work, school, raising kids, and just day-to-day living, stress mounts quickly. By using Chinese stress balls, you can have some peace and quiet in your life rather than constant chaos.

These stress/health balls have been in use for around 2,000 years. Although they started out primarily to be used in martial arts training, today they can be used everywhere you go and for all purposes and levels of stress.

To use the Chinese stress/health balls, you can hold them in your hands while closing your eyes and envisioning a harmonious world. The goal is to bring your mind and body into unity so that calmness can be achieved. To achieve this, you must focus on something subconscious, something that does not preoccupy your mind or body.

The stress balls used back in history were used in pairs and were actually very exotic in design. In fact, the Chinese saw these balls as a form of art. These balls were designed for wearing all the time and were difficult to break. Although the balls are a bit on the heavy side, they are constructed with a bell type mechanism on the inside, which produces a therapeutic sound when using.

Chinese stress balls are available in a number of sizes so whether you have a small, dainty hand or a large, muscular hand, you will find stress balls that fit perfectly. The benefits of using the Chinese stress/health balls are many. In fact, the Chinese will tell you that using these balls is similar to acupuncture of the hands in that they exercise the same points. This stimulation is what helps reduce the stress and promote good health. Other benefits include:

Improves memory
Stimulates blood circulation
Relaxes muscles and joints
Relieves joint stiffness and muscle soreness
Relieves stress
Promotes sleep

Chinese Calligraphy

Calligraphy literally means ‘Beautiful Writing’ and has been accepted and acknowledged as an art form in various cultures throughout the world. But the ancient Chinese Calligraphy is unparalleled. Chinese calligraphy is a unique oriental art form to Asian cultures with a brilliant tradition as ancient as the culture itself. It is similar to painting and makes use of Chinese characters as an elementary vehicle to communicate and spread the divine world of the artist. All the way through, Calligraphy uses a basic media, brush handling techniques, scripts, presentation and style to express the emotions, culture, artistic/creative feelings, and moral principles of the artist to the readers who are overwhelmed by the power of application and the pleasure of beauty. Calligraphy is not just another way of writing Chinese characters, but also a beautiful, elaborate and a stylish art of interpretation and a branch of learning.

The origin of Chinese Calligraphy is not very precise. According to a tale in ancient Chinese history, Chinese calligraphy is approximately 4000 years old and originated during the reign of the Yellow Emperor a man named Cang Jie. Earlier periods of the Chinese history reveal that calligraphy was viewed as a matchless and independent visual art form rather than merely an ornamental art and was highly regarded over painting and sculpture, and paralleled alongside poetry as a means of self-expression and cultivation. Calligraphy became an art during the reign of Qin Dynasty and started to blossom in the Han Dynasty. Jin Dynasty saw the emergence of some great calligraphers, including Wang Xizhi and Wang Xianzhi. Achievements in the field of calligraphy were also seen in the North and South Dynasty and the calligraphy works in this period were called as Wei Bei. During the rule of Tang dynasty, calligraphy was taken more seriously; hence a lot of great calligraphers appeared during their reign, including Yan Zhenqing. With the fall of the Tang Dynasty, the decline of calligraphy began and the worst period was Ming Dynasty.

A brush, ink, paper and ink stone are the basic tools required to learn calligraphy. In order to learn calligraphy and to become a calligraphy expert, it is necessary to learn about these tools, select them carefully and take care of them and practice word by word and stroke by stroke. Chinese language has a set of different writing styles and scripts. The writing techniques basically revolve around the ways to hold and use the brush to write characters. The Chinese term qi bi implies beginning your stroke and the term shou bi means end your stroke. To write characters each stroke involves qi bi and shou bi.

The most effective and the traditional way of practicing handwriting comprises of three basic steps: mo, Lin and xie. Mo means tracing and to practice holding the brush. While practicing calligraphy, the main areas of focus should be stroke, structure and style of calligraphy. The next step, Lin is to put the model on the desk for you to copy and take a conscious approach to understand because mere copying never helps. After a few months of detailed study, the next step lin xie follows, wherein you have a specimen on a stone tablet of which you are required to make a copy on paper. It also involves studying the specimen ad memorizing strokes. To learn the rudiments of calligraphy is not too difficult. To become an expert calligrapher, the learner must spend at least a few years in learning and detailed study.

With a history in between four to five thousand years, Chinese calligraphy is rich, thoughtful, and far-reaching in content and has been admired and has received the utmost attention of the artists worldwide. Most recently, industrial art has adapted the elements of traditional calligraphy. The best example of application of Chinese calligraphy in modern times is the Lucent logo, a red circle done with a Chinese brush denotes the 0-bit of machine language. In this era of supercomputers and artificial intelligence, it is heartening to see the free form calligraphy reign

More about Batik

Batik is an ancient art that reached its peak of development on the Indonesian island of Java. Dutch traders were so impressed by this craft that in 1835, they brought Batik artists back to Holland with them when they returned from trading trips. These 'imported' batik artists taught the process to factory designers and workers so the beautiful Batik fabrics could be produced to meet the European demand for it.

The batik process was modified for use in textile factories and quickly adopted in Europe since there was a great demand for this beautiful and exotic fabric. As production methods became more advanced, Europeans mastered the art and soon the Swiss and Germans were mass producing batik fabric. Modern batik patterns and processes can now be controlled by computers, a development that is giving rise to interesting, new and never before seen geometric designs.

We have evidence of batik being practiced over 2,000 years ago in the Far East, Middle East, Central Asia, and India. Historians believe the art traveled along the caravan trade routes. Batik fabrics have been found in China that date to around the time of the Sui dynasty (581 - 618 AD) and also in Japan from the Nara period (710 - 794 AD).

What is Batik? It is a textile art that involves a specialized method of applying dye to fabric, usually cotton or silk. There are about 3,000 recorded batik patterns, some of which include flowers, plants, birds, animals, insects, and geometric forms are all popular motifs. The use of computers in developing batik designs promises to add many more new and exciting designs to this library.

Think of batik as the reverse of painting. Instead of painting an area where you wish there to be color or a design on a piece of fabric, wax is applied to the area to keep it color free. The fabric is then immersed in dye, coloring all the areas of the fabric that are wax free. The fabric is dried and then the wax is heated in order to remove it.

The intricate and colorful batik we normally see is a complicated, multi-step process. The more colors a batik fabric has, the more times it has been through the process of applying wax, dying, and drying, then removing the wax. The process has to happen in a precise order that will produce the pattern or figures that are desired. Additionally, the order of which colors to apply also has to be followed.

The old method of batik involved drawing on the cloth with a wooden pen that could be filled with wax, calling a "canting". Because the art of batik, as well as wearing items made from batik fabric were reserved for the upper classes and royalty, this art used to be a pastime of female courtiers.

As a result of the Industrial Revolution of the 19th century, batik crafters developed large copper stamps, or "caps" that allowed for larger scale application of wax. This also meant that the batik industry was able to keep pace and compete with the textile fabrics of Europe. It might not have been much of a competition, though given how popular batik fabrics were, and are today!

Batik fabrics and garments made for them were originally reserved for the upper classes, for example royalty or highly placed government officials. The designs that were created at the time had significance. One motif called "Satrio Wibowo" means "man with dignity". That pattern would be reserved for a gentleman who was suitably qualified to wear it.

Over time, the fabric became more available to the general population, being used in home decoration as well as in wearable garments. Today, batik is widely available, and something we can all enjoy!

Batik Tapestry