#18th century pottery

[amatesura]

Moon Toad, end of the 18th to 1st half of the 19th century Guangzhou, China

[blueiscoool]

An important white-glazed moon jar Joseon dynasty, late 17th / early 18th century Height 45.2 cm; Diameter 45.4 cm.

[whats-in-a-sentence]

The famous anti-slavery token made by the Wedgewood pottery in 1787 entitled 'Am I not a Man and a Brother?' was popular among abolitionists in England. But it would be 1838 before a coin was struck for enslaved women's rights – 'Am I not a Woman and a Sister?' – and then it was made for the American Anti-Slavery Society and popular in America.

English elite women did not feel a sisterhood with women of a lower class or another race. Elite women called for political rights for their own class, not for anyone else. They even used the example of slavery to support their campaign – comparing their inequality to slavery.

"Normal Women: 900 Years of Making History" - Philippa Gregory

[desolatus]

Pair of potpourri vases, C. 1760

Manufactory Veuve Perrin Factory

[aworldofpattern]

'How was it made? An Agate Teapot' by the Victoria & Albert Museum (2013)

Ceramicist Michelle Erickson recreates, from scratch, an 18th century agateware teapot in the collection of the V&A Museum.

Lead-glazed 'agate' earthenware teapot, 'pectin shell' form. Made in Staffordshire, England, c. 1750-1765. In the collection of the V&A Museum.

[arthistoryanimalia]

#TwoForTuesday:

Pair of Parrot Pitchers manufactured by Holiçs (Hungary), late 18th c. tin-glazed earthenware a) H x W x D: 22.8 × 14.3 × 20 cm (9 in. × 5 5/8 in. × 7 7/8 in.) b) H x W x D: 22.8 × 14.6 × 20 cm (9 in. × 5 3/4 in. × 7 7/8 in.) Cooper Hewitt, Smithsonian Design Museum collection

[quo-usque-tandem]

Bowl - China, 18th century

[proartsblog]

Sacred to Bacchus. Josiah Wedgwood and Sons, c. 1785. The MET

[neechees]

Historical Indigenous Women & Figures [6]:

Queen Nanny: the leader of the 18th century Maroon community in Jamaica, she led multiple battles in guerrilla war against the British, which included freeing slaves, and raiding plantations, and then later founding the community Nanny Town. There are multiple accounts of Queen Nanny's origins, one claiming that she was of the Akan people from Ghana and escaped slavery before starting rebellions, and others that she was a free person and moved to the Blue Mountains with a community of Taino. Regardless, Queen Nanny solidified her influence among the Indigenous People of Jamaica, and is featured on a Jamaican bank note. Karimeh Abboud: Born in Bethlehem, Palestine, Karimeh Abboud became interested in photography in 1913 after recieving a camera for her 17th birthday from her Father. Her prestige in professional photography rapidly grew and became high demand, being described as one of the "first female photographers of the Arab World", and in 1924 she described herself as "the only National Photographer". Georgia Harris: Born to a family of traditional Catawba potters, Harris took up pottery herself, and is credited with preserving traditional Catawba pottery methods due to refusing to use more tourist friendly forms in her work, despite the traditional method being much more labour intensive. Harris spent the rest of her life preserving and passing on the traditional ways of pottery, and was a recipient of a 1997 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the highest honor in the folk and traditional arts in the United States. Nozugum: known as a folk hero of the Uyghur people, Nozugum was a historical figure in 19th century Kashgar, who joined an uprising and killed her captor before running away. While she was eventually killed after escaping, her story remains a treasured one amongst the Uyghur. Pampenum: a Sachem of the Wangunk people in what is now called Pennsylvania, Pampenum gained ownership of her mother's land, who had previously intended to sell it to settlers. Not sharing the same plans as her mother, Pampenum attempted to keep these lands in Native control by using the colonial court system to her advantage, including forbidding her descendants from selling the land, and naming the wife of the Mohegan sachem Mahomet I as her heir. Despite that these lands were later sold, Pampenum's efforts did not go unnoticed. Christine Quintasket: also known as "Humishima", "Mourning Dove", Quintasket was a Sylix author who is credited as being one of the first female Native American authors to write a novel featuring a female protagonist. She used her Sylix name, Humishima, as a pen name, and was inspired to become an author after reading a racist portrayal of Native Americans, & wished to refute this derogatory portrayal. Later in life, she also became active in politics, and helped her tribe to gain money that was owed them. Rita Pitka Blumenstein: an Alaskan Yup'ik woman who's healing career started at four years old, as she was trained in traditional healing by her grandmother, and then later she became the first certified traditional doctor in Alaska and worked for the Alaska Native Tribal Health Consortium. She later passed on her knowledge to her own daughters. February 17th is known as Rita Pitka Blumenstein day in Alaska, and in 2009 she was one of 50 women inducted into the inaugural class of the Alaska Women's Hall of Fame Olivia Ward Bush-Banks: a mixed race woman of African American and Montaukett heritage, Banks was a well known author who was a regular contributor to the the first magazine that covered Black American culture, and wrote a column for a New York publication. She wrote of both Native American, and Black American topics and issues, and helped sculptor Richmond Barthé and writer Langston Hughes get their starts during the Harlem Renaissance. She is also credited with preserving Montaukett language and folklore due to her writing in her early career.

part [1], [2], [3], [4], [5] Transphobes & any other bigots need not reblog and are not welcome on my posts.

[smithsonianlibraries]

18th century vase from R.L. Hobson's Chinese pottery and porcelain (1915).

Full text here.

[yoga-onion]

[Photo above: an Ainu woman in 1920s]

Legends and myths about trees

Forest spirits and natives (4)

Korpokkur (or Korbokkur) – ‘People under the butterbur leaves’

Korpokkur are the tribes of dwarfs in folklore of the Ainu people of the northern Japanese islands, meaning 'people under the butterbur leaves'.

The Ainu believe that the korpokkur were the people who lived in the Ainu's land before the Ainu themselves lived there. They were short of stature, agile, and skilled at fishing. They lived in pits with roofs made from butterbur leaves.

Long ago, the korpokkur were on good terms with the Ainu, and would send them deer, fish, and other game and exchange goods with them. The little people hated to be seen, however, so they would stealthily make their deliveries under the cover of night.

One day, a young Ainu man decided he wanted to see a korpokkur for himself, so he waited in ambush by the window where their gifts were usually left. When a korpokkur came to place something there, the young man grabbed it by the hand and dragged it inside. It turned out to be a beautiful korpokkur woman with a tattoo on the back of her hand (the tattooing of Ainu women is said to be based on this). She was so enraged at the young man's rudeness that her people have not been seen since. Their pits, pottery, and stone implements, the Ainu believe, still remain scattered about the landscape.

[History of Ainu]

The Ainu are an indigenous people from Sakhalin in the north to the Kuril Islands and Kamchatka Peninsula in the north-east and around the northern Japanese archipelago, especially in Hokkaido. The Ainu have long had an economic zone around the Sea of Okhotsk region.

They worshipped bears and wolves, as well as gods embodied in the elements of nature, such as water, fire and wind.

Ainu is the Ainu language for 'human' and is believed to have originally meant 'human' as a concept as opposed to 'kamui' (a designation referring to nature based on the spirit that everything in nature has a heart).

The Ainu people were conquered and their land confiscated by neighbouring Japan and Russia between the 15th and 18th centuries. Later, in the 19th century, forced them to convert, apply their customs and belong. During the Soviet era, hundreds of Ainu were executed or forcibly relocated. Today, the population and the Ainu language are in decline and there are revival efforts for their traditional culture.

木にまつわる伝説・神話

森の精霊たちと原住民 (4)

コロポックル (又はコロボックル) 〜「蕗の葉の下の人々」

コロボックルは、アイヌ語で「蕗の葉の下の人」という意味を持つ、アイヌに伝わる小人族のこと。

アイヌがこの土地に住み始める前から、この土地にはコロボックルという種族が住んでいた。彼らは背丈が低く、動きがすばやく、漁に巧みであった。又屋根をフキの葉で葺いた竪穴にすんでいた。

昔、コロボックルはアイヌと仲が良く、鹿や魚などの獲物を送ってもらったり、品物を交換したりしていた。しかし、小人たちは人目につくのを嫌い、夜陰に紛れてこっそりと配達していた。

ある日、アイヌの青年がコロボックルを一目見たいと思い、いつも贈り物を差し入れる窓際で待ち伏せしていた。そのコロボックルがそこに何かを置こうとすると、青年はそれを手で掴んで屋内に引きずり込んだ。すると、それは美しい女性のなりをしておりその手の甲には刺青があったという (なおアイヌの婦人のする刺青はこれにならったものであるといわれている)。コロボックルは青年の無礼に激怒し、一族を挙げて北の海の彼方へと去ってしまった。以降、アイヌの人々はコロボックルの姿を見ることはなくなったという。現在でも土地のあちこちに残る竪穴や地面を掘ると出てくる石器や土器は、彼らがかつてこの土地にいた名残である。

[アイヌの歴史]

アイヌ民族は、北は樺太から北東の千島列島・カムチャツカ（勘察加）半島、日本列島北部周辺、とりわけ北海道の先住民族である。アイヌ民族は永くオホーツク海地域一帯に経済圏を有していた。彼らは、熊やオオカミ、さらに水、火、風といった自然の要素に具現化された神を崇拝していた。

アイヌとはアイヌ語で「人間」を意味する言葉で、もともとは「カムイ」(自然界の全てのものに心があるという精神に基づいて自然を指す呼称) に対する概念としての「人間」という意味であったとされている。

アイヌ民族は、15世紀から18世紀にかけて、近隣国の日本とロシアに征服され、土地を没収された。その後、19世紀には改宗、慣習の適用、帰属を余儀なくされた。ソ連時代には数百人のアイヌが処刑されたり、強制移住させられた。現在、人口やアイヌ語は減少しつつあり、伝統文化の復興に向けた取り組みが行われている。

[softsoundingsea]

By Luke Gentile

The FBI announced last week its recovery of at least 22 historical artifacts taken after the American victory at the Battle of Okinawa in World War II.

A deal to return the artifacts to the Government of Japan, Okinawa Prefecture, was arranged via the FBI, and a repatriation ceremony will be held after the artifacts return for the first time in nearly eight decades, according to a release from the FBI Boston Division.

Several artifacts date back to the 18th and 19th centuries and hold a place in the long history of Okinawa, including portraits, a hand-drawn map, pottery, and ceramics, the release noted.

“It’s incredibly gratifying when the FBI is able to recover precious cultural property that has been missing for almost 80 years,” Jodi Cohen, the special agent in charge of the FBI Boston Division, said.

“This case highlights the important role the public plays in recognizing and reporting possible stolen art. We’d like to thank the family from Massachusetts who did the right thing in reaching out to us and relinquishing these treasures so we could return them to the people of Okinawa,” Cohen said.

Multiple artifacts now returning to Okinawa were registered with the FBI’s National Stolen Art File in 2001 by the Okinawa Prefectural Board of Education, according to the release.

In 2023, the family of a late World War II veteran (who did not serve in the Pacific) discovered some of the valuable Asian art while they went through his personal items, and they found at least four of the works in the National Stolen Art File, according to the FBI.

“It’s an exciting moment when you watch the scrolls unfurl in front of you and you just witness history, and you witness something that hasn’t been seen by many people in a very long time,” Geoffrey Kelly, an FBI Boston special agent and Art Crime Team member, said.

“These artifacts are culturally significant, they’re important pieces of Japan’s identity. These were especially important because they were portraits of Okinawan kings dating back to the 18th, 19th centuries. This case really illustrates part of the work we do on the Art Crime Team. It’s not always about prosecutions and putting someone in jail. A lot of what we do is making sure stolen property gets back to its rightful owners even if it’s many generations down the road,” Kelly said.

Assisting the FBI in the return of the items was the Smithsonian Institute’s National Museum of Asian Art, according to the release.

“The FBI reached out, asked us for some help making sure they knew how to care for the works and that they had a safe place to store them while they worked out the repatriation details. It’s an honor to be able to help the works go back to their home,” Danielle Bennett, the head of collections management at the National Museum of Asian Art at the Smithsonian Institute, said.

You can see all of the recovered artifacts here.

[blueiscoool]

A celadon-glazed vase Qing dynasty, 18th century

Height 6⅞ in., 17.6 cm.

[catilinas]

mudlarking haul in full, left to right top to bottom:

my beautiful commemorative clay pipe for a naval victory that never happened. 1741

mid-late 17th century pipe bowl

vulcanite bottle stopper that says BEST because i am. the best. late 19th- early 20th century

idk it's blue it has a little building on it

sunderland slipware rim that looks like commas to me. 19th century

bit of flint that looks like a fish :)

rock with a cool texture

tessera. victorian?

pottery with a painted bird :) 18th century maybe but idk im bad at porcelain

under the cut: ship pipe next to a ship; bird pottery next to birds; I'm The Best Bottle-Stopper; The River Has Given Ada the Gift Of An Entire Trowel

[worldhistoryfacts]

The Qianlong Emperor of China, who ruled the empire for most of the 18th century, was a skilled artist.

We can see his skill in these renderings of deer antlers — the accompanying calligraphic essays, also written by the emperor, show an impressive knowledge of the natural world and celebrate Manchu hunting practices.

His poetry also appeared on pottery that could be found in fine homes throughout China:

{WHF} {Ko-Fi} {Medium}

[aworldofpattern]

Pair of Wedgwood & Bentley agateware vases and covers. Made in the Etruria factory in Staffordshire, England, c. 1775.