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Brother
Thomas |
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Brother Thomas Bezanson, an American citizen, was born in Halifax,
Nova Scotia, in 1929. He was a Benedictine monk at Weston Priory,
Weston, Vermont, for twenty-five years and has worked as an artist-in-residence
with the Benedictine sisters of Erie since 1985. Thomas' porcelains
can be found in over fifty national and international public collections,
including the Metropolitan Museum of Art, New York; the Art Institute
of Chicago; the Victoria and Albert Museum, London; the Renwick
Gallery of the Smithsonian Institute, Washington, D.C.; the Osaka
Municipal Museum; and the Museum of Fine Arts, Boston. His work
is also in numerous private collections in the United States and
abroad. Brother Thomas is represented by the Pucker Gallery, Boston.
Selected
Objects
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Bottle
China, Jiangxi Province
Quing period, Yongzheng era, 1723-1735
Porcelain painted with overglaze enamels (Jindezhen ware)
H. 13 1/2 in. (34.3 cm), D. 8 3/4 in. (22.2 cm); 1979.189 |
This mei p'ing
vase is a glorious work of art but not primarily the art of the potter.
The glory of this piece comes from the heart and hand of a painter.
Whoever he or she
was, whether an anonymous artist in a production line at Jingdezhen, or
a recognized court painter, this is a priceless piece of overglaze enamel
painting.
But the work of the
potter, is in the background like a canvas for a painter. Without the
painting this pure white pot would look equally as blank as a canvas.
Is it then just like
a canvas, only a means to the art of the painter? Or is it really a work
of ceramic art? It is a question.
Then there is something
magically integrated about the piece which raises another question. Was
there a third person involved, a designer-mind bringing together the potter's
skill and the painter's hand?
It remains a question;
meantime we have the reality of a moving work of art. And there is no
question about that.
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Bowl
China, Henan Province
Northern Song period, 12th century
Stoneware with glaze with suffusions from copper filings (Jun ware)
H. 1 3/4 in. (4.4 cm), D. 3 3/8 in. (8.6 cm); 1979.137
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I don't think there
is another glaze in the early years of a potter's career that could make
him/her more aware of the greatness of the ceramic art than an exquisite
sample of Jun (Chün) ware like this one in the Asia Society collection.
And any potter who
tries to duplicate this glaze soon realizes how difficult it is to do.
The color is derived
from copper, ceramics most protean mineral but also its most fugitive.
Since these glazes were regional phenomena they are hard to reproduce
elsewhere. Even with our technical ability today to analyze the constituents
of these ancient glazes, they remain elusive.
One thing is obvious,
there must have been a copper deposit in the region of the Jun ware kilns,
as well as other minerals sympathetic to producing copper colors in their
glazes. The intriguing purple and red passages found on Jun ware are splashes
of copper in some form, perhaps a finely ground copper oxide or carbonate,
or a soluble salt of copper. Because copper migrates in a glaze it can
wick through the wall of the body while it is in an absorbent state. This
accounts for the color found inside this bowl as well as the outside-the
copper has migrated through its wall.
How they did these
amazing glazes is a technically fascinating subject. But why they did
it is the mystery of artistic intuition aided by some fortuitous
things like location and some mystical things like genius.
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Censer
China, Zhejiang Province
Southern Song period, late 12th-early 13th century
Stoneware with glaze (Ge ware)
H. 3 1/4 in. (8.3 cm), D. 4 5/8 in. (11.7 cm) at mouth; 1979.146
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We may take the colored
crackle glaze on this Song vessel for granted because we have seen it
so often in Asian ceramics. But in this piece and pieces like it from
this period, we are seeing the origins and the originality of it.
Technically the cracking
or crazing of a glaze is considered a defect in ceramics. The co-efficients,
the measure of expansion and contraction of the glaze and body, should
be the same, but in the case of this censer they are not; the glaze in
the cooling process has contracted more than the stoneware body of the
piece. The glaze is said not "to fit" the body. The result is that the
glaze cracks or crazes under the compression. A technical mind would correct
this defect.
But turning "defects""into
aesthetic effects seems to have been a special gift of the song potters.
This piece is a wonderful example of this gift, an intuitive original,
the work of an artistic mind, not a technical mind. Whatever prompted
that artist potter to color the crackle with ink or some carbonaceous
material does not come from any technical knowledge, it has nothing to
do with his skills. It is spontaneous artistic intuition. Why did
he/she think of it at all is the mystery of originality and art. Even
to use the word "think" is inaccurate. It came to that artist from some
contact with a field of reality of which we only have the vaguest awareness
at this stage of our humanization.
The artist's real
medium is not paint or stone or clay, but the mystic substance of the
universe. This artist was in touch with it.
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