Podcasts about Pottery

His Pottery Class Affair With Rachel Unraveled Our Seven-Year RelationshipBecome a supporter of this podcast: https://www.spreaker.com/podcast/cheat-stories-official--5689182/support.#CheatingStories #RelationshipDrama #Infidelity #Storytime #Betrayal #cheatstoriesThis episode includes AI-generated content.

Her Pottery Class Affair Hid Months of Locked Doors and LiesBecome a supporter of this podcast: https://www.spreaker.com/podcast/cheat-stories-official--5689182/support.#CheatingStories #RelationshipDrama #Infidelity #Storytime #Betrayal #cheatstoriesThis episode includes AI-generated content.

Yes you can recycle a pottery glaze - before its fired! Join me for this episode of the podcast where I talk about two ways to recycle pottery glaze removed from the base of bisque-ware pots.Watch the video version of this episode on YouTube✨Support the Podcast-------------------------------Resources for Potters:⭐ Pottery Paperback Books available from AmazonFree Pottery Guides:

On this week's episode Melanie and I talk about the weekend in college football, and Melanie's reaction to the Ohio State / Texas game may just surprise you (it surprised me for sure). We discuss the Aggies and the Bulldogs, of course, and in non-football news, Melanie shares an update on her dining room table situation. On top of that, I talk through a new shopping habit that David has developed, and it's Melanie's turn for Five Favorites.Enjoy, everybody! Join Us on Patreon  Our Amazon Shop Big Boo Dallas Live Stream tickets - with special guest Beth Moore (you'll be able to watch for two weeks after the live) If you'd like to listen online, you can do that here. Show Notes: SEC This Morning Steve Sarkisian and Holly Rowe Mississippi State's great game against Minnesota Glen Powell says Kamario is the truth LSU headed to Oxford to play Ole Miss Ryan Day SEC Nation Alyssa Lang Kamario tells the reporter to have a good day Oklahoma State upsets Oregon Texas A&M's defense gets it done against Arizona State Melanie's curated collection with The Collection Texas - launches October 2nd Yesteryear by Caro Claire Burke McCarty's Pottery in Merigold, MS Hey Joe's in the Delta Discount in Oxford, MS (follow them on IG) Peter's Pottery in Mound Bayou, MS Venmo might be a genius Forme ankle guard socks Aerie Offline henley hoodie Casemate jelly tote Oikos Pro Shots dairy drink ASICS Gel Kayano 33  Sponsors: Thrive Market - use this link shop the 25% off Healthy Reset sale through September 19th and get 30% off your first two orders  OSEA Malibu - use code BIGBOO to get 10% off your first order Mint Mobile - use this link to take advantage of their offer Boll and Branch - use code BIGBOO for 15% off your first order 

What if the real danger of AI in schools isn't plagiarism, it's your own child telling you off for not saying "thank you" to Alexa?In this episode, Ben and Steve sit down with Trudi Barrow - Edufuturist of the Year 2026 - to talk about the messy, brilliant middle ground between traditional craft and generative AI. From a late-night Midjourney experiment for a Year 10 design class to co-authoring the DfE's national AI toolkit now reaching over 30,000 schools and colleges, Trudi explains why she refuses to pick a side in education's most polarising debates.About our guest:Trudi Barrow is a former Head of Design & Technology turned AI and creativity specialist, trained at RADA in theatre design before moving into the classroom. She co-authored the Department for Education's national AI toolkit with Chiltern Learning Trust and Charter College, coined the concept of "creative fidelity," and was crowned Edufuturist of the Year 2026 in June.We cover:- How a rushed exemplar for a Year 10 D&T class led Trudi into her first real experiment with AI image generation- Why she refuses to be labelled an "AI evangelist" and how she holds two opposing truths at once- What it's really like being a woman walking into a D&T workshop- Inside the DfE's national AI toolkit: reaching 30,000+ schools, and the subjects still being left out of the conversation- Why anthropomorphised AI - and her daughter telling Alexa to say thank you - worries her more than most classroom AI use- Safeguarding in the AI era: "same risks, different vectors"- The truth about AI and sustainability, beyond viral "one image = boiling a kettle" stats- What it actually felt like to be named Edufuturist of the Year 2026Why you should listenIf you've ever felt caught between the AI hype and the AI fear, or wondered how creativity, craft and technology can genuinely coexist in the classroom, this conversation offers a rare, grounded middle ground from someone who has lived both sides.Chapters0:00 Highlights1:14 Welcome back and Wolfpack community updates2:40 Introducing Trudi Barrow, Edufuturist of the Year 20263:52 From RADA and theatre design to Head of D&T6:35 Discovering Midjourney and Discord as a non-gamer8:06 The Year 10 keyring exemplar that changed everything13:46 Holding two truths: neither AI evangelist nor AI sceptic15:34 Being a woman in a Design & Technology workshop18:29 Pottery wheels and AI awards: why both fit20:37 Knowledge vs skills, and finding a third way23:55 Co-writing the DfE's national AI toolkit27:27 The subjects still missing from the AI conversation30:06 Creativity isn't just for the "creative subjects"31:58 Inside the toolkit: reaching 30,000+ schools35:55 The Alexa story: anthropomorphising AI at home39:03 Safeguarding: same risks, different vectors42:27 Why sustainability has to be part of the AI conversation48:05 What winning Edufuturist of the Year 2026 really meant53:17 Quick-fire questionsConnect with TrudiFind out more about herCheck out the DfE AI Toolkits she co-authoredThanks so much for joining us again for another episode - we appreciate you.Ben & Steve xCheck out all about Edufuturists Want to sponsor future episodes or get involved with the Edufuturists work?Get in touchGrab your copy of the new Pick 'n' Mix Education bookJoin the Edufuturists Wolfpack

Send us Fan MailNina and Simone, friends and partners, quit practicing law and open up a diner in small-town South Carolina. The eatery is a success, but Simone hopes they can spend more of their time traveling. Nina is happy in the rural South and dreams of opening a feminist bookstore.B is for Bisexual - short stories by Laura P. Valtorta

Jimmy DiResta has spent decades building things other people only imagine. Furniture. TV shows. A life that doesn't sit still. In this episode, we get past the shop tour and into what actually shaped him.We talk New York, the city that built his eye for craft and his tolerance for hustle. We talk Hollywood, and what it's like to make things for an industry built on illusion. We talk about how he approaches a problem, any problem, whether it's a broken hinge or a broken plan. And we get into the parts of his life that don't show up in a highlight reel: his hobbies, friends, family, and picking up pottery as a beginner all over again.This one isn't about tools. It's about how a maker keeps making, decade after decade, without losing the parts of himself that got him here. Most people stop learning new crafts once they've mastered one. Jimmy hasn't. This conversation is a case study in staying a beginner on purpose.What we get intoGrowing up in and around New York, and how the city and early years shaped his work ethicHollywood: building for the screen, and what the industry taught him about craftHis approach to problem-solving, on set and in the shopStarting pottery as a total beginner, and what it's like to be bad at something new again00:00 Introduction to Jimmy DiResta02:34 The Art of Making and Teaching04:52 Crafts and Changing Times07:40 Timeless Design Elements10:32 Manufacturing History and Local Craftsmanship13:21 Reflections on High School and Early Influences19:14 From High School to Making Toys22:04 From Art School to Graphic Design23:03 Early Experiences in Advertising23:28 Learning the Craft from Family24:27 Transitioning to Toy Design25:47 The Evolution of Problem Solving28:01 Understanding the Nature of Props and Products29:59 The Balance of Temporary and Permanent Creations31:46 The Pressure of Client Work33:46 Confidence in Problem Solving37:00 The Joy of Troubleshooting38:48 Memorable Moments with Howard Stern41:20 Maker Style F-Marry-Kill43:31 Collaboration in the Maker Community46:16 Exploring Pottery as a New Medium47:22 Embracing Mistakes in Craftsmanship51:05 The Zen of Pottery and Creative Space53:23 Gifts from You, Gifts to Me54:17 The Value of Content as a Legacy58:16 Interacting with Fans and Community Influence01:07:24 Parting Thoughts on Positivity and GratitudeConnect with Product Fields:

Join us as we look back at the heavy defeat at Stoke City and ahead to the home clash with Queens Park Rangers, hearing from Nathan Jones and Lloyd JonesThanks to our sponsors PSF Steel Ltd for making this show possible. Hosted on Acast. See acast.com/privacy for more information.

Have you ever watched the person you love most get everything you ever wanted? Did you harden around envy, or shrink with comparison? Were you able to find happiness for their success? Philippa Northeast, Logie nominated and lead of Netflix’s My Brilliant Career, is a star quickly rising. Her most significant role? The little sister of our producer, Bridge.

His Pottery Class Affair With Joanna Broke Our MarriageBecome a supporter of this podcast: https://www.spreaker.com/podcast/cheat-stories-official--5689182/support.#CheatingStories #RelationshipDrama #Infidelity #Storytime #Betrayal #cheatstoriesThis episode includes AI-generated content.

Raw glazing is where a pot is glazed at the leather-hard or greenware stage before being fired straight up to glazing temperatures! Join me for this episode where I talk you through how I raw glaze pottery.You can watch a series about how to make and glaze a raw-glazed mug here.Watch the video version of this episode on YouTube✨Support the Podcast-------------------------------Resources for Potters:⭐ Pottery Paperback Books available from AmazonFree Pottery Guides:

John's hammering away at the word count of his opinionated column again. This time in his crosshairs it's e-scooters. Politically he's a hard person to work out. Which from a balance perspective is actually very helpful.There's also reports from Pembrokeshire, and we hear from a character who has piqued the boys' interest lately.Plus, when there's news of (yet more) boundary breaking content to be fed into the digestive tract of the British audio industry, sometimes you just need it to sit in the stomach for a few days to build suspense. Because Elis James, will, for the first time will [REDACTED FOR SPOILERS]. You don't want to miss it.Want to get in touch? Once described as post on laxatives. It's email. And our address is hello@elisandjohn.comAnd here's links to the latest exclusive Patreon bits, so go get on those!New Adventures episode! featuring raw sex appeal. Pottery competition!For lots of exclusive EJJR #content, join our Patreon at patreon.com/elisandjohn.For weekly visual highlights, head to youtube.com/@elisandjohn.For everything else, head to elisandjohn.com.The Elis James and John Robins Show is a Significant Production. Hosted on Acast. See acast.com/privacy for more information.

His Affair With Our Closest Friend Destroyed Our Pottery Circle and MarriageBecome a supporter of this podcast: https://www.spreaker.com/podcast/cheat-stories-official--5689182/support.#CheatingStories #RelationshipDrama #Infidelity #Storytime #Betrayal #cheatstoriesThis episode includes AI-generated content.

It's Lou Sanders FM once again and boy has she got Producer Dave sweating. From a pretty much unusable show introduction, to an anecdote that definitely flirts with the term ‘radio friendly', one can only assume that Dave is dreaming of Elis's swift return...But for now it's Big Mummy and her Fact Factory, as Lou dishes up some tasty truths in the form of surprise facts about chickens and hiccups. One thing everyone can agree on: it's a different show when Lou's in town.John has finally met his match in dessert form, there's a brief encounter with the paranormal, and a Made Up Game rule sends shockwaves through the team.Do you have a fact to submit to Big Mummy's Fact Factory? Send it to hello@elisandjohn.com right away.Our next Adventure Elis and John do Pottery is out on Friday here: https://www.patreon.com/elisandjohn/posts/adventure-6-168171679For lots of exclusive EJJR #content, join our Patreon at patreon.com/elisandjohn.For weekly visual highlights, head to youtube.com/@elisandjohn.For everything else, head to elisandjohn.com.The Elis James and John Robins Show is a Significant Production. Hosted on Acast. See acast.com/privacy for more information.

***The Youtube version of this podcast is recommended due to the visual nature of the recording.***I think one of the greatest and sacred things that you can experience is the firing of Pueblo pottery and I was very fortunate to be able to witness a firing right before the 2026 Santa Fe Indian Market. It was a very famous family of pottery makers too. The family includes Christopher Youngblood, Joseph Youngblood, and Sergio Lugo (who ends up winning Best of Show just a few days after we filmed this firing) and they are all brothers. We also got to speak to the amazing Jennifer Tafoya, (who's married to Chris Youngblood) who won Best of Show three years ago. In fact, Chris's mother, Nancy Youngblood, also won Best of Show in the past (though we didn't get to see her this time around) which makes this one of, if not the most decorated family of potters in the history of Indian Market. It's very obviously a great line of pottery makers, and they all stand on their own. They're all terrific artisans with their own specialties and it's so interesting to watch what's really involved in doing a firing. First of all, it's a dangerous thing to do the way with the constant smoke and flames. It can take decades to really get to the point where you can be a master at firing. It's a truly sacred event. You'll see it. I mean, they literally make blessings to the pottery that they are firing. This is the kind of thing I love to do. It's important to me. It feels important as I'm asking them questions and documenting the process. So if you want to watch experts of their craft do what they do best, watch the Youngblood/Lugo/Tafoya family fire two very important vessels in this special presentation of a firing at their home.

"Good writing should help readers see their own experiences and feel their own emotions through the characters and ideally understand that they are not alone and that they can prevail, survive, triumph even. And the way that we do that is connection to other people." — Ginger Pinholster ABOUT THIS EPISODE Ginger Pinholster returns to Uncorking a Story to talk about her third novel, THE TRAIN TO SANTA FE. A Pushcart Prize nominee and former science writer who spent nearly four decades at institutions like AAAS and Embry-Riddle Aeronautical University, Ginger now splits her time between Florida's Ponce Inlet — where she volunteers with the Volusia Turtle Patrol — and Santa Fe, New Mexico. Her new book is a braided historical novel spanning three generations: a gifted sixteen-year-old Tewa potter who boards one of the first trains from Espanola to Santa Fe in the 1880s, her granddaughter Rose who's ninety-four and desperate to reclaim her stolen Native heritage, and a modern-day love story between a wounded veteran and a cowboy-hat-wearing orderly. Mike and Ginger talk about how a hot cowboy on a work trip inspired the book, the technical challenge of weaving multiple timelines together, using pottery as connective tissue between past and present, the healing power of landscape and community, and why broken things — pottery, bodies, hearts — can still become whole. KEY TAKEAWAYS 1. Sometimes a story finds you. Ginger had already begun working on a Southwestern historical novel when a work trip to Santa Fe introduced her to a real-life cowboy who became the inspiration for her male protagonist, Jonah. The personal and the creative merged. 2. Connective tissue holds a braided novel together. Inspired by Sarah Penner's workshop on dual-timeline fiction (The Lost Apothecary), Ginger needed a physical artifact to link her timelines. Her anthropologist daughter pointed her toward New Mexico's indigenous pottery — and the structure clicked into place. 3. The railroad changed everything for Indigenous communities. The Chili Line Railroad brought opportunity but also exploitation: bisecting irrigation channels, replacing barter with cash currency, and transforming Native artwork for tourist consumption. Ginger imagines what happened to one young woman caught in that upheaval. 4. Broken things are a throughline. Broken pottery, a broken body, broken hearts — the novel keeps returning to the question of how we remain resilient and ultimately heal after trauma. For Ginger, the answer is always community. 5. Writing is healing. Newly divorced and sending a daughter off to college when she began the book, Ginger channeled her own sense of being adrift into Jemi — a wounded veteran who urgently wants to climb a mountain where she once felt whole. 6. Landscape is a character. The purple shawls falling over mountaintops, the luminous butterscotch of cottonwood trees — Ginger makes the physical setting integral to how her characters live and feel. She even hiked Santa Fe Baldy with a roller bag to experience what her protagonist might feel. 7. Readers make the world a better place. Literature is a form of community. Reading about experiences outside our own connects us to one another and enriches the fabric of society. GET THE BOOK THE TRAIN TO SANTA FE by Ginger Pinholster Publisher: Regal House Publishing Release Date: August 25, 2026 ISBN: 978-1646037452 Amazon: https://www.amazon.com/dp/1646037456 Bookshop.org: https://bookshop.org/p/books/the-train-to-santa-fe-ginger-pinholster/21733970 UPCOMING EVENTS September 2 — Tombolo Books, St. Petersburg, FL (with Jessica Handler, author of The World to See), 7 p.m. September 4 — Book Launch at Fern & Fable Bookstore / The Collective, Ormond Beach, FL September (TBD) — Books & Books, Coral Gables, FL (with Christine Jean Chappell) Santa Fe (TBD) — Event with Connie May Fowler CONNECT WITH GINGER Website: gingerpinholster.com Instagram: @gingpin Facebook: @GingerPinholster TikTok: @Ginger_Pinholster LinkedIn: @GingerPinholster CONNECT WITH YOUR HOST Mike Carlon | Uncorking a Story Website: uncorkingastory.com YouTube: @uncorkingastory Instagram: @uncorkingastory Facebook: Uncorking a Story TikTok: @uncorkingastory Twitter/X: @uncorkingastory Subscribe & Leave a Review — It helps more readers and writers find the show! Apple Podcasts: https://podcasts.apple.com/us/podcast/uncorking-a-story/id563636205 Spotify: https://open.spotify.com/show/5HZiAEtFlhAzk60Z4eAkhY Uncorking a Story is produced by Mike Carlon. New episodes drop every Tuesday. Learn more about your ad choices. Visit megaphone.fm/adchoices

Rochelle Hyde is a holistic health practitioner and founder of Hōl Bädē HelTH. She promotes physical and emotional wellbeing through her studio.

This is a special episode talking about the newest UNESCO World Heritage cultural site: The Asuka and Fujiwara Ancient Capitals. This is particularly relevant as it is directly related to the history we are currently examining in this podcast. For more information, check out the blogpost at: https://sengokudaimyo.com/podcast/episode-unesco  Rough Transcript: Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is a special episode on Japan's newest UNESCO world heritage site: the Ancient Capitals of Asuka and Fujiwara. Rarely do I focus too much on current events in this podcast.  After all, we are still dealing with the events of the 7th century, and that is hardly "current" in any sense.  However, just last month, at the end of July 2026, the UNESCO World Heritage Convention met and made a ruling on inducting the Ancient Capitals of Asuka and Fujiwara as one of the newest World Heritage sites. Given the obvious relevance of this to this podcast, I thought it was worth talking about. As such we'll go into a little history of the UNESCO world heritage convention, what it means, and how sites get added—or even removed—from the list.  And then we'll talk about the addition of the Ancient Capitals of Asuka and Fujiwara, what is included in that description, and what part those various locations play in the story of Japan's history, which we've been laying out for the past several years.  Warning up front:  This is probably going to be a longer episode than usual, as there is a lot to cover, but it still didn't seem to make sense to break it up into two parts. Before we get into the background of UNESCO more generally, let's talk briefly about the news.  The Ancient Capitals of Asuka and Fuijwara had been on UNESCO's tentative list since 2007, and following an on-site evaluation in September of 2025, the International Council on Monuments and Sites, or ICOMOS, made a recommendation in June 2026 that the property be inscribed on the World Heritage list. On 26 July, 2026, the UNESCO World Heritage Committee met in Busan, South Korea and accepted the recommendation.  This becomes Japan's 22nd cultural World Heritage site, and the 27th World Heritage property in Japan, since the World Heritage program is also inclusive of natural heritage sites, such as Yakushima, Amami-Ohoshima, the Ogasawara islands, and the mountainous regions of Shirakami-Sanchi, and Shiretoko, in Hokkaido. The recommendation for Asuka and Fujiwara was not just for a single site, but includes 19 individual sites and over 1,100 hectares of "buffer zone".  The individual sites are listed on the UNSECO World Heritage website as follows: •             Asuka Palace Site •             Asuka Pond Garden Site •             Asuka Water Clock Site •             Sakafuneishi Ritual Site •             Asuka-dera Temple Site •             Tachibana-dera Temple Site •             Yamada-dera Temple Site •             Kawara-dera Temple Site •             Hinokuma-dera Temple Site •             Ishibutai Mounded Tomb •             Shobuike Mounded Tomb •             Kengoshizuka Mounded Tomb •             Fujiwara Palace Site •             Daikandaiji Temple Site •             Motoyakushiji Temple Site •             Mounded Tomb of Emperor Temmu and Empress Jito •             Nakaoyama Mounded Tomb •             Kitora Mounded Tomb •             Takamatsuzuka Mounded Tomb So these are the specific locations, that were included in the single designation.   And these are how they are officially listed on the UNESCO World Heritage site in English, so for anyone who is going to comment that saying Asuka-dera Temple is redundant, because "Tera" already means "Temple", let's just not, shall we?  They are all in the Asuka and Kashihara area, and easily accessible, one from the other, so you can go and visit them if you would like.  I suspect that there is going to be a bit of push for that area in the coming tourist season as they now put up official UNESCO world heritage site markers.  And you may have noticed that a lot of these site names may sound very familiar, because the majority of them are places we've already mentioned on the podcast – but more on that later. But first, what does it mean to be a UNESCO World Heritage Site? UNESCO is the "United Nations Educational, Scientific and Cultural Organization".  It was founded in 1945, with the stand-up of the UN itself, as a successor to the League of Nations' International Committee on Intellectual Cooperation.  That said, the idea of a "World Heritage Site" didn't come about until 1975, with the Convention Concerning the Protection of the World Cultural and Natural Heritage, with the first sites being designated in 1978. Prior to this, UNESCO had been involved in various attempts to help preserve various monuments of historical significance.  They begin working with various museums and other organizations, and in 1965 UNESCO created ICOMOS, an international professional association to work towards the conservation and protection of cultural heritage.  A site designated as a World Heritage Site must be considered to be of "outstanding universal value" and can fall under one of two categories.  The first, and perhaps the one that most often comes to mind, are the cultural sites.  The second are natural sites considered of outstanding value.   With the 1975 convention, UNESCO had leaned heavily on ICOMOS as an advisory body regarding sites of particular cultural significance.  A similar body, the World Conservation Union, provides input on sites of natural significance. To be determined a World Heritage site, there is a set of ten criteria, and a site must meet at least one of the ten.  This means that a site must: i.            Represent a masterpiece of human creative genius ii.           Exhibit an important interchange of human values iii.          Bear a unique or at least exceptional testimony to a cultural tradition or to a civilization iv.           Illustrate a significant stage in human history v.            Be an outstanding example of a traditional human settlement, land-use, or sea-use vi.          Be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance; or it must vii.         Contain superlative natural phenomena viii.        Be an outstanding example representing major stages of earth's history ix.          Be an outstanding example representing significant on-going ecological and biological processes in the evolution and development of ecosystems and communities of plants and animals; or it must x.           Contain the most important and significant natural habitats for conservation of biological diversity. I abbreviated that list, but it gives you an idea of what the committee is looking for. To be placed on the list, a site must first be nominated.  Nominations are made by UN member countries and placed on a Tentative List.  From there, they can be selected into a Nomination File, which is then evaluated by the advisory organizations as appropriate.  The World Heritage committee meets once a year, at which time they may determine whether a nominated site will be added to the World Heritage list or if more information is needed. Having a site listed as an UNESCO world heritage site carries prestige and can drive tourism and revenue to help protect the site.  Members can request financial assistance with some conservation projects, and signatory nations are expected to contribute to the conservation of world heritage sites.  At the same time, the host country is expected to provide regular reports on the conditions of the site and efforts being undertaken to conserve it.  Should the situation change so that key aspects of the site's intrinsic value are lost, the World Heritage Committee may choose to revoke a designation.  This has only been done a few times, but it is always a possibility. All of this means that the Asuka and Fujiwara capital sites are now eligible for certain types of financial assistance and international aid to help further preserve and even restore certain aspects, such as the tomb murals in the Takamatsuzuka and Kitora kofun.  But let's talk about the sites that have actually been included, and to do that, we'll go through in roughly chronological order, based on the timeline that was given by Japan in the nomination documents, and what makes the most sense for narrative cohesion.   That said, it is important to note that the dates on the timeline in the UNESCO nominating document are where we first see mentions of the monuments, not necessarily when the temples were first constructed or anything like that.  If you want to learn more, check out the documentation submitted on the UNESCO world heritage website. And speaking of learning more, many of the sites we are about to discuss we have covered in previous episodes—though some more than others.  We'll call out relevant episodes as we can, but you can also find out more by searching on our website, sengokudaimyo.com, for more information about any of these topics. Let's start with Asukadera, or Asuka Temple.  The nominating document notes that it was completed in 596, though it had been started quite a bit earlier.  We discussed Askua-dera and many of the other temples back in episode 142, though Asuka-dera itself has been a part of the story since at least Episode 92, with the rise of Soga no Umako.  Asuka-dera, as you may recall, started off as a private temple for the Soga family, though they were so intertwined with the royal family that it almost didn't make a difference.  For the longest time it was the primary temple site at least in the Asuka region, and defined what Buddhism looked like early on.  Later it would be included as one of the Four Great Temples, and it would eventually move to Nara, though a temple would continue to operate on the site until the modern day.  That said, through fires and reduced patronage, the current temple is much reduced from its former glory.  Still, archeologies have found indications at the site demonstrating the true extent of the temple at the height of its power and influence, and how it truly played a key role in numerous events surrounding the building of a continental style state government. Speaking of the Soga family, the next site on the list, dated to 626, is Ishibutai kofun.  Ishibutai kofun was originally a square kofun, or Houfun, thought to be the resting place of Soga no Umako, the Grand Minister and head of the Soga family who led it to prominence in the age of Kashikiya Hime, aka Suiko Tenno.  We talked about his passing in episode 103.  Excavations have suggested that the tomb took up an area about 85 meters to a side.  This included an outer moat and an inner, platform, about 50 meters square.  The burial chamber is a horizontal stone chamber created with impressive megaliths—a fancy word that just means "big stones".  In this case we are talking about stones that rival or even dwarf those at monuments like the famous Stonehenge, in England.  The stones are part of what give it its name, Ishibutai, or Stone Stage, because unlike in other kofun, these ones are exposed.  There is a theory that after the fall of the Soga family, and the deaths of Soga no Iruka and Soga no Emishi, the tomb was deliberately uncovered as a form of posthumous punishment. Because it is not a tomb under the care of the Imperial Household Agency, Ishibutai kofun has seen extensive excavation from 1933 to 1975.  That said, most of the funerary goods were likely stolen a long time ago.  There were some various bits and pieces found here and there—gilt and bronze implements and earthenware shards, but otherwise nothing truly significant.  They did find evidence of other tombs, nearby.  Perhaps ironically it seems that these other tombs were leveled to make room for Ishibutai kofun, making its own uncovering feel somewhat karmic, in a way. The next site, if we were to follow the timeline, is the Asuka Palace site.  This actually encompasses the site of at least four different palaces, which we discussed back in episode 134, with a blogpost showing the various palace remains, if you want to compare them.  In 630 we have the construction of the Okamoto Palace of Kashikiya Hime.  Then, in 643, we have the Itabuki Palace built for Takara Hime during her first reign as Kogyoku Tenno.  This was the location of the famous Isshi Incident, when Takara Hime's son, Naka no Oe, instituted the coup against Soga no Iruka and his father, killing Iruka in court in front of his mother.  For more on that, check out episode 106.  It was later used when she and Naka no Oe left the Toyosaki Naniwa Palace and returned to Asuka.  It may be during the time of the Itabuki Palace that another one of the monuments was built.  This is the Shobuike Kofun.  The nomination document doesn't give a precise date for this one, and we really only know for certain that it was built in the 7th century, but they place it on the timeline shortly after the events of 643.  Like Ishibutai kofun, it is a hofun, or square kofun, surrounded by a moat with a horizontal burial chamber.  At only 30 meters long, it is not as large or as prominent as Ishibutai Kofun, possibly indicating that the occupants were not as prominent or that kofun building as a whole was falling out of fashion.  Inside, there were two stone coffins, in the "house shape", meaning the lid had a peaked roof appearance.  In addition, the interior of the coffins was lacquered, making these unique in the archipelago.  Finally, perhaps as is the case with Ishibutai kofun, the mound appears to have been deliberately dismantled at some point in the early 8th century, when Fujiwara-kyo was still the capital. We do not know who was buried at Shobuike Kofun, but there are two theories.  One theory proposes that, given the unique features, it may have been a member of the royal family.  Another theory suggests that it may be a tomb for members of the Soga family.  This theory is connected to the idea that Ishibutai is the tomb of Soga no Umako.  Given its shape and similarities, perhaps this tomb is for a relative?  In addition, though not part of the World Heritage Site nomination, there is a nearby square kofun known as Koyamada Kofun.  There is a theory that this other tomb might also have been a royal tomb—perhaps even a first burial for Tamura no Ohokimi, aka Jomei Tenno.  However, there is another theory that these two tombs, together, make up the tombs of Soga no Emishi and Soga no Iruka.  That would explain them both being of similar shapes, and similar to the kofun thought to be that of Soga no Umako.  It could also explain why Shobuike kofun was later destroyed, like with Ishibutai Kofun. Shortly after Shobuike Kofun was thought to have been built, the court moved to Naniwa for a time, before eventually returning to the Itabuki Palace.  Then, in 656, we have the Nochi-no-Okamoto Palace, aka the Later Okamoto Palace, built after the Itabuki palace burned down.  It was repurposed by Ohoama when he brought the court back from Ohotsu, and then expanded with the Ebinoko Enclosure, among other changes, turning it into the Kiyomihara palace, where Ohoama and then Uno no Sarara ruled until the completion of the Fujiwara Palace around 694. Around the same time as the Later Okamoto Palace was the construction of the Sakafuneishi Ritual Site.  This site is located on a hill on the east side of the Asuka valley, overlooking the Asuka palace site.  There they have found stone walls, a strange carved stone with channels for what appears to be water or liquid for some kind of ritual purpose, and, towards the bottom of the hill, a stone turtle basin and water spout that appears to have once been connected to a spring.  Of all of the included sites, this is perhaps the most enigmatic in terms of how it was used and what was going on there.  It is likely that this is what is referred to in the Chronicle as the Tou no Mine site, where it is said that they built an enclosure encircling two tsuki trees, calling the site the Futatsuki Palace.  That said, today the name "tou-no-mine" is applied to a peak some distance further up the valley and into the mountains, and I do not believe that any concrete evidence of a "palace" has been found at either location.  Still, it demonstrates that there was something going on that was important enough to build walls and create intricate stone carvings—not something we necessarily find everywhere, though they are particularly prolific in the Asuka region once you consider all the various stone carvings that have been located there.  Current thinking seems to suggest that it was a site where sovereigns from Kashikiya Hime through Uno no Sarara conducted rites associated with ascension to the throne.  The walls show evidence of being built earlier in the 7th century, which we discussed in Episode 118, and then damaged during the incredibly powerful Nankai earthquake during the Hakuho era.  We talked about this earthquake back in episode 139, along with other natural disasters.  This was an earthquake of immense power, known as a Nankai Megathrust Earthquake, that caused destruction across the archipelago, from Shikoku up through the Kanto region.  Walls show evidence of being repaired in Temmu's time and the site appears to have been in use up through the 9th century.  This means it was still being used in some capacity even after the court had moved up to Heian-kyo, in modern Kyoto, but who knows by whom. By the way, I feel like I should address something here.  Often times there is a bit of an archaeological joke that if you don't know what something is it gets termed a "ritual site" or a "ritual implement".  And, granted, "ritual" does not necessarily mean "religious".  Brushing your teeth each day could be considered a ritual.  So is the inauguration of a new president or prime minister.  It just refers to something that we do regularly, usually as part of a societal tradition.  Often it is symbolic, though sometimes it can have a greater function.  So in all likelihood whatever was happening at the Sakafuneishi site probably was a kind of "ritual", whether it was religious or not, but we just don't have enough info to know what that might have looked like.  The physical evidence does not conform to any other well known practice, so we are left guessing. Compare this to another "ritual" site, the next on our list:  The Mizuochi site.  When it was first discovered in 1972, it was clear that it was important.  There was a large building foundation, in the shape of a square podium, faced with paving stones.  It was also near to Asukadera and the location where various stone figures had been found at the turn of the century.  It would take several more years to discern enough features to come to the realization of what it was for.  This was due to the discovery of highly unusual features and artifacts. For instance, there is the central building, designated SB200.  It had pillars set on base stones, forming a grid pattern in a square—four spans long on each side.  This is unusual compared to other buildings on the site, which had more conventional pillars embedded in the ground.  Each span of the pillars at SB200 was a uniform distance.  The podium on which the building was placed was just under 11 meters on each side, and a little more than a meter in height.  The pillar bases were further strengthened under the floor level, meaning that the resulting structure would have been remarkably sturdy.  In the center of the building was a stone platform, set about a meter below the surface, where they found the remains of a large and small lacquered wooden boxes.  Around the platform were buried wooden culverts and copper pipes, which would have been able to carry water to and from the site. There was nothing else like this discovered anywhere else, but given the nature of everything, it seemed to make sense that this was the site of the clepsydra, the water clock, which Naka no Oe is said to have built.  Pottery shards from around the 650s and 660s seem to back up this identification, and simulations have demonstrated how the water clock may have actually worked.  As such, the site seems to have been fairly well identified, which is really remarkable, and provides an incredible link to that era.  Not only that, but the technology demonstrated was incredibly advanced for its time.  As such, it truly is a remarkable site.  For more, check out Episode 127, where we talked more in depth about the importance of time and direction in Ancient Yamato. The next site on the list is the Kengoshizuka Kofun.  This mounded tomb is said to have been built around 667 CE—around the time that Yamato was supporting Baekje in a failed attempt to stave off that country's destruction at the hands of the Silla-Tang alliance.  This is an octagonal shaped kofun—a shape which is thought to have only been used by members of the royal family.  The academic position is that this is the tomb of Takara Hime—aka Saimei Tennou—who had died just as Yamato was starting to send troops to the Korean peninsula.  This theory is at odds with the Imperial Household Agency, which has designated a different tomb—Kurumaki-Kenno Kofun—as Saimei Tennou's mausoleum The story as it is recounted in the Nihon Shoki goes something like this.  As Yamato was gathering forces to defend Baekje—see episodes 123 and 124 for what happened—Takara Hime passed away at the temporary court set up in Asakura, in modern Kyushu.   With Yamato just about to launch a military campaign, they couldn't also hold a royal funeral, so they had her body taken back to the Nara basin..  Takara Hime's remains were temporarily interred at the plain of the Asuka River—Asuka-gawara.  It wouldn't be until after the conflict was over—a little more than 5 years later—that she would be buried.  At that time, we are told that she was buried together with Royal Princess Hashibito, her sister-in-law, at Wochi Hill—little market hill—and that the royal granddaughter, Princess Ohota, was buried in front.  And indeed, the layout of Kengoshizuka Kofun  has space for two coffins, and the archeologists found evidence of another burial in "front" of the kofun.  So in all ways this  seems to accord with the Chronicles, though the Imperial Household Agency has not chosen to change its designation.  I suspect that if they did it might cause some issues due to the limits of what archaeologists are allowed to do with tombs designated as royal mausoleums. Kengoshizuka Kofun has been remarkably reconstructed, so that you can go and see what it probably looked like when it was first built.  Since it was not designated as an imperial mausoleum by the Imperial Household Agency, archaeologists were able to excavate Kengoshizuka, and they found some remarkable finds, including a particularly spectacular coffin fitting made of cloisonne hexagonal plates with images of flowers that were connected to each other.  There also appears to have been a coffin made with lacquered linen, rather than the stone or tuff coffins found elsewhere.  So that's Kengoshizuka Kofun.  That's #7 on our list.  Moving on to #8, on the timeline at 673, it is Kawara-dera, and I'm going to lump this in with Tachibana-dera, which is noted on the timeline at 680.  In fact, the nominating document proposes a much earlier timeline for the start of Tachibana-dera, starting in the 640s, with Kawara-dera in the 660s, about two decades later. These two temples sit across from one another, and at one time they appear to have been coupled together as a monastery and a nunnery.  In fact, the nominating documents call out Tachibana-dera as Japan's oldest nunnery. The actual founding of these two temples is somewhat in dispute.  Let me start with Tachibana-dera.  Tachibana-dera claims to have been founded by none other than the legendary Shotoku Taishi.  It is said that the land of Tachibana-dera was the area of the palace where Prince Umayado, aka Shotoku Taishi, was born, and that in 606 he had the property turned into a temple.  As such, it claims to be one of seven major temples built by the Prince.  However, we don't have any actual documentation for the temple until it shows up in 680, due to the report of a fire.  We do see it in numerous poems in the Man'yoshu, which is one of the ways we can also tell that it was a nunnery. More information can be gleaned from the archaeological excavations at the site.  The original temple was clearly built on the same Baekje designs as others of that period.  In an interesting twist, it appears as though the temple was not oriented north to south, as others were, but rather it was oriented west to east.  This would have had it facing the royal palace, initially, in a configuration very similar to that of Shitennoji, in Osaka, or Yamadadera, which is also one of the sites included in UNESCO World Heritage designation. The original temple had a middle gate, a pagoda, a main hall—or kondo—and a lecture hall (Koudou).  It was surrounded by a walled corridor.  Some of the roof tiles that have been found appear to be from the first quarter of the 7th century, but there are many more from the mid-7th century, suggesting that full-scale construction wasn't carried out until that period.  None of the original buildings appear to have survived, though there is an Asuka era stone statue, as well as various important cultural properties that have been preserved, and excavations have given us an idea of what it looked like, originally. Compare that to Kawara-dera, which sits to the north of Tachibana-dera.  We've talked about Kawara-dera before, as it was eventually designated one of the four national temples.  It was clearly built at a later date than Tachibana-dera, though when, exactly, is still unclear. There is mention of a Kawara-dera in an entry for 653, but even then, the Chronicles note that may have actually been at Yamada-dera, on the other side of Asuka, indicating that even the Chroniclers weren't entirely sure.  That leaves the first clean mention of the temple at 673, in the reign of Ohoama, aka Temmu Tenno.  There is a note, prior to this, in about 656, which talks about "Kawara no Miya", or the Kawara Palace. This is where Takara Hime briefly moved after the fires damaged the Itabuki Palace, which was rebuilt into the Later Okamoto Palace.  It is thought that Kawara-dera is on the site of that temporary palace, and it is possible that the building of that palace lent something to the eventual creation of Kawara-dera. Kawara-dera has a unique layout, known specifically as the Kawara-dera style temple layout.  Although the overall temple is built on a north-south axis, the west main hall faces east, towards the pagoda, in the southern courtyard.  There was then a central main hall, and then the northern courtyard, with the koudou, or lecture hall, facing south.  There is also evidence that the east gate was sizeable—possibly larger than the south gate.  If so, it may be that this temple, like Tachibana-dera, was also facing east—facing the palace—but it was, at the same time, also on the same north-south access as other buildings and facilities.  This almost seems like they were perhaps compromising between facing the palace and utilizing the continental idea of a north-south alignment.  I almost wonder if the pagoda and western kondou weren't first built and then someone decided to change the orientation mid-way through the building process.  Either way, it is definitely unique. Although Kawara-dera was designated as one of the four national temples, it is the only temple that was not eventually moved up to Heijo-kyo, or Nara, when the capital eventually moved up there.  There are numerous theories as to why, but regardless of that, it stayed in Asuka and was no longer considered a national temple.  Over time it declined, and repairs could not be maintained across the entire complex.  Today, a successor temple, Gufuku-ji, sits on the site, but it is much reduced.  Fortunately, you can still see many of the exposed footings and get an idea for just what this temple was like back in its heyday. Now since we've mentioned it, it is probably worth talking about Yamada-dera, which is also on the list.  Like the others, there is a small successor temple to the north, but most of the ancient Yamada-dera grounds are visible, and if you go out there you can clearly see where all the buildings were.  There are signs and raised platforms depicting where the various buildings were at, so you can easily see what was there.  Furthermore, if you check out the Asuka Historical Museum, they have a remarkably well-preserved section of one of the walls of the gallery from the temple, including some roof elements.  It appears to have fallen down during a fire, and other material must have fallen on top of it so that the fire could not consume that section, leaving it in incredible shape. Yamada-dera is part of the Hosso sect—that is the sect following the teachings of the monk Xuanzang.  We talked about Xuanzang, and the monks who studied with him, back in episodes 120 to 122.  It is said to have been founded by Soga no Kurayamada no Ishikawa no Maro.  He was a relative of Soga no Emishi who supported Prince Naka no Oe in his coup in 645.  Soga no Kurayamada eventually became Udaijin, or Minister of the Right, and he was essential in implementing the Taika reforms.  Long story short, he was slandered, and fled to Yamada-dera, which was still under construction.  Rather than being taken by government forces, he took his own life, as well as that of his wife and eight children.  You can listen to the whole story back in Episode 112.  All of that is said to have happened here at that temple, in the year 649.  Perhaps because of the stain of that incident, the temple construction appears to have been halted for a time.  It wouldn't be completed until 685, when Ohoama and his wife, Uno no Sarara, a direct descendant of Soga no Kurayamada, were on the throne. Finally, there is one more temple from this early period that is mentioned, and that is Hinokuma-dera.  Of all of the temples so far, this one we probably have mentioned the least in the main podcast.  Hinokuma-dera is located to the southwest of the main Asuka valley, south of the famous Takamatsuzuka kofun.  It is first mentioned in a record dated to 686.  That indicates it must have been built some time prior, and archaeological excavations seem to place it at the second half of the 7th century, with the pagoda and main hall being completed in the late 7th century.   The temple continued to be maintained through the 8th century, but declined after the Heian period when the pagoda and lecture hall collapsed.  In the early 20th century a local Shinto shrine was relocated here, and remains, today. Hinokuma-dera was built as a private temple by the Yamato no Aya.  The Yamato no Aya are an intriguing group of people.  The name "Aya" implies a group that was originally employed as weavers, a technology brought over from the continent.  Indeed, they are said to have been largely immigrants who came and brought the technology with them.  The Aya were broken into different groups, with the Yamato no Aya being one of the more powerful.  The name appears again and again in the Chronicles, though in the time of Ohoama they were put on notice as a clan.  We aren't told what they did, exactly.  They seem to have made their way back into the court's good graces over time, however. Hinokuma-dera is interesting in that it is much smaller than the other temples we have discussed, and the form is quite different.  It isn't organized along cardinal directions, but rather with the koudou, or lecture hall, in the northwest and the kondou, or main hall, in the southeast.  The pagoda was between the two, slightly off-center to the northeast, directly across from the main gate, which faced southwest.  This means that you would enter from the southwest into a large, rectangular courtyard.  You could be facing a pagoda near the rear wall, with a lecture hall to your left and the main image hall to your right.  This is compared to Baekje temples that were on the periphery of the Baekje capital, and this may have been in a similar situation.  Based on the surrounding geography, it appears that some of the choices may have been made to conform with local geologic features, such as the ridge that it is on. It is interesting, however, for its uniqueness, especially as a private temple that did not have the resources of the court.  There were probably quite a few of these kinds of temples that we just don't see or hear about in the record.  When the court moved, first up to Heijo-kyo, but later on to Heian-kyo, in modern Kyoto, the head of the Yamato no Aya no doubt moved as well, and that probably led to the temple's decline, over time. Speaking of the court, there is one more part of the Asuka court that we should touch on before we leave the era of the Asuka palace.  At some point, probably related to the Later Okamoto Palace, the court created a pond and garden.  This Asuka Pond Garden site is first mentioned in 685, though it likely existed for some time.  Evidence suggests that it was built around the same time as the later Okamoto Palace, so sometime around 656, and based on excavations, we know that there was a south and north pond, divided by a middle bank.  Water flowed from the south pond to the north pond through a wooden pipe in that middle bank.  The south pond had a pentagonal shape, about 65 meters long, east to west, and 55 meters wide, north to south.  It was only 30 cm at its deepest point, with two islands in the pond itself.  The north pond was 36 meters east to west and 52 meters north to south, and it was up to 4 meters deep.  There was a stone overflow channel that was built for water to flow back into the Asuka river.  There was also a stone fountain, like that found at the Sakafuneishi site, and evidence of buildings and a wall around the site.  There has also been analysis of seed pollen, indicating what kinds of vegetation might have been grown in the garden. This was a lavish area that was purpose-built for entertainments of various kinds.  This is the area that the royal family and various nobles likely adjourned to at the end of the day for relaxation and for various banquets and other such gatherings. Of course, not all the court proceedings were so joyful.  In 686, Ohoama died, and for the next couple of years the court business was taken up with eulogies and memorials.  This is also when they built the next site included in the list: The mounded tomb of Temmu Tennou and, eventually, Jitou Tennou.  The tomb is an octagonal kofun, similar to the Kengoshizuka kofun for Takara Hime.  It is built to the southwest of the Asuka basin, a fair distance from the palace.  However, this positioning also puts it directly south of the site of the new Fujiwara Palace.  As the Fujiwara capital and palace site had already been selected, they would have been able to build this tomb in relation to the future palace, creating a direct north-south link between the two.  It is also along the same ridgeline as the tomb of Kengoshizuka and the tomb attributed to Kinmei Tennou and Princess Kibi no Himemiko. The octagonal tomb was built in five tiers.  It is about 42 meters on a side, built with rammed earth and then covered, originally, with dressed stones, while the surrounding area was paved.  Ohoama was buried in a sealed stone burial chamber in a dry-lacquered linen-made coffin, similar to what was found, again, at Kengoshizuka.  Later, when Uno no Sarara passed away, her urn was added to the tomb. Speaking of that, I cannot believe I didn't mention this in the last episode on Queen Uno no Sarara, but yes, she was cremated.  In fact, she is the first Yamato sovereign to have been cremated in the Buddhist style, rather than to have her body buried intact.  Today, almost cremation is the default in Japan—to the point that it actually has caused some issues with people who, for religious reasons, request a different type of burial.  However, at this point, it was still somewhat new.   Prior to Buddhism, all indications are that bodies were simply buried.  Buddhism brought in the concept of at least four different types of funerary rites.  There is dosou, or earth burial, but there was also suisou, water burial; fuusou, wind—or "air"—burial; and then kasou, fire burial.  Suisou would be committing a body to water, and fuusou generally means leaving the body on a stand, out in the open, to allow the body to decompose while birds, ideally vultures, come and do their work.  Of these, "kasou", fire burial or cremation, is linked to the historical Buddha, whose physical body is said to have been cremated, with the bones and teeth left behind considered holy relics.  That Uno no Sarara requested cremation would seem to indicate her own support of Buddhism and Buddhist institutions. The tomb of Temmu and Jitou has remained largely intact—at least compared to some that we have discussed this episode-- but not inviolate.  Over time, the site was allowed to become overgrown with trees and other vegetation.  In 1235 the tomb was robbed and in 1881 it was officially designated as an Imperial Mausoleum by the Imperial Household Agency, which now manages the site.  You can approach up to a point, but the tomb itself is largely off-limits to the public. Speaking of Uno no Sarara's support of Buddhism, we've already talked about her connections to Yakushi-ji, the next site on our list.  This temple was commissioned by Ohoama when his wife, Uno no Sarara, grew unexpectedly ill in 680.  She did recover, and the temple would eventually be considered one of the four National temples of the Yamato state.  It appears to have been built—possibly shifted slightly—specifically in line with the new avenues being laid out for Fujiwara-kyo, the new capital, and it fits neatly into place, taking up an entire city block.  When the capital moved, the temple was also moved.  The new temple sits up near modern Nara, in the area known as Nishi-no-kyou—the West (side of the) capital.  For the new site, the court may have used some of the materials from the original temple, though there does seem to have been a continued presence at the Fujiwara capital site until the 11th century.  To avoid confusion, the temple in the old Fujiwara capital site is referred to as "Moto-Yakushiji", meaning the Real or Original Yakushi Temple. Yakushiji was commissioned in 680, but work on the temple wasn't completed until 698, four years after the move to the new Fujiwara Palace.  Key features at this time were its size and its double pagodas, rather than just the single pagoda common in earlier temples.  This mimicked temple innovations happening on the continent, and was later adopted by several temples in the new capital of Heijo-kyo. Another national temple from around this time, also included in the nomination letter, is Daikandaiji.  Like Yakushiji, this temple was a grand statement of the Yamato state's ambitions.  Both were large temples that would have stood out, and as national temples they were symbols of state power and authority in matters both secular and spiritual. We discussed all of this in a previous episode, Episode 142, where we covered the four national temples, so I don't want to belabor it too much other than to give a brief overview.  In summary, what we know as Daikandaiji today is very likely the old Kudara Ohodera,  Kudara, in this instance, being spelled with the same kanji as for "Baekje".  Kudara Ohodera was the largest of the Asuka and Fujiwara era temples.  Its pagoda was over 80 meters tall, one of the tallest in Yamato at that time, and the main hall rivaled that of the Daigokuden, the main hall of the Fujiwara palace.   It also appears to have been moved twice.  First it was moved from its original location closer to the Asuka palace.  And then it appears to have been shifted to align with the avenues of the new Fujiwara capital.  The name was also changed.  "Kudara Ohodera" likely referred to the location where the temple was first founded by Tamura, aka Jomei Tennou.  It was then moved to Asuka and took on the name "Takechi Ohodera", given its new location, but then was renamed to Ohotsukasa no Ohodera, the Great Temple of the High Officials, or something like that.  This same name, read with the on'yomi reading, becomes "Daikandaiji". The temple was later moved to Heijo-kyo, where it was renamed to "Daianji", which means something like the Temple of Great Safety or Protection.   There is another story that says that the temple actually originated in the Kumagori dojo created by the legendary Shotoku Taishi, but, like so many such stories, that may have been added later to increase the temple's prestige.  As with so many of these temples, when the move was made to Heijo-kyo, the temple lost its national status, but remained active.  Without the upkeep by the court, it eventually declined, finally disappearing almost entirely.  Remains were rediscovered in the Edo and Meiji period, with major excavations in the 1970s and 80s.  From this, there is evidence of fire, even before construction was completed.  Indeed, there is a record of fire in 711.  The temple was likely under construction for much of the period of the Fujiwara capital's existence. This is probably as good a point as any to talk about the Fujiwara Palace itself.  I would note that the World Heritage site designation only includes the palace site, and not the entire capital city of Fujiwara-kyo.  That is probably for the best, as findings have suggested that the ancient capital was built on a plan far grander that previously thought. Initially, it was believed that the Fujiwara capital was built similar to Heijo-kyo and Heian-kyo, which is to say that it was modeled after the Tang capital of Chang'an.  This model creates a rectangular city with the main palace complex at the far north of the city.  Lower classes are typically housed in the southern regions while upper classes and nobility are provided land in the northern areas of the city.  Part of the reason to believe that the city was laid out like this has to do with the three mountains:  Mt. Unebi, Mt. Miminashi, and Mt. Kagu.  If the palace were located at the northern end of the city, then the city would fit rather nicely in the plains between these three mountains.  However, it appears that the plans for Fujiwara-kyo were much grander, and it appears that the Fujiwara palace sat not at the northern top of the capital, but instead it was in the middle.  This more closely approximates the ideal Confucian model, which created a square city divided into nine districts with the palace in the center.  However, it also means that the city grid is interrupted by the mountains, particularly by Mt. Miminashi, in the north.  To cover all of that land would be untenable, and much of it has been built up or under cultivation for centuries.  Furthermore, it is unclear how built up Fujiwara-kyo ever was.  Imagine trying to just create a city from scratch.  Not only was it about building the temples and the palace, but about all of the other houses, which would have been organized by the individual owners.  One also has to wonder just how many workers there were, and materials, to do all of this.  If much of this was done as traditional wooden buildings, then many of the blocks may not have left any significant remains, though new construction in the area does perform exploratory archaeology just in case.  There are a lot of interesting features that have been found. However, let's focus just on the Fujiwara Palace.  As I've previously pointed out—just back in Episode 152, for example, the Fujiwara Palace was, in many ways, getting back to the type of palace that the Toyosaki Naniwa Palace had tried to be.  This was a massive State complex.  The overall property appears to have been a square, with nine gates—once again, mimicking the geometric perfection suggested in ancient sources.  That wall, which was defined by post-holes in the ground, was also surrounded by a moat.  The south central gate was known as the Suzaku-mon, or Suzaku gate, named for Suzaku, the crimson bird of the south.  This was at the north end of Suzaku Oji, or Suzaku Avenue, the central road of the Fujiwara capital. This road was 24 meters wide, with 4 meter ditches on either side.  The ditches would have carried water throughout the city, while also allowing the city to drain water during large rains.  From the Suzaku gate to the north the palace opened up to the first courtyard, with two building where officials could prepare for the day.  Originally this would have been the place for officials to change into their formal robes, though later they were commanded to show up to work already dressed.  From there, once it opened, they would pass through another gate into the Choudouin, or State Hall.  Here, the 8 bureaus, or ministries, each had a Choudou, or court hall, where they would perform their work.  There were also four other halls for other governmental work. Besides the southern gate, there were gates on the east and west, which led to further government offices to the west and east of the court.  A fourth gate, at the north end of the Choudouin enclosure, would lead to the Daigokuden, the Great Audience Hall.  This was part of a reduced enclosure.  Two buildings have been discovered to the east and west of the enclosure, and north of the enclosure would have led to the private quarters of the sovereign and their family. The government buildings are more obvious than some others—many of the buildings were built in the continental style, meaning with stone footings, leaving a lot of evidence of their existence.  Meanwhile, the buildings of the sovereign's private residence were likely still in the indigenous style—plain wood with posts sunk directly into the ground, and thatched roof.  That would all leave a lot fewer traces, not to say that they haven't ever found anything. Today, the Fujiwara Palace site is a large open area where many of the features that have been found are indicated with modern crimson colored pillars, demonstrating where the various pillars were found.  At the same time, any above-ground reconstructions would have be conjectural, as we don't have enough remaining to know exactly what the palace looked like beyond the pillar locations. This palace and the city was ambitious.  It was huge and clearly meant as a permanent capital.  The fact that it was only occupied until about 710, when the capital moved north, to Heijou-kyou, is something we'll talk about in a later episode.  But still, it was absolutely an incredible move.  Think of how much labor this took and what kind of costs were involved?  This was truly a flex of the state's ability to mobilize labor to be able to do all of this, and generally marks the moment where the Yamato government really came into its own.  It also marks the period where the name "Yamato" is thought to have been officially changed to refer to "Nihon", the "Origin of the Sun", the name by which Japan would be known ever since.  It really is a symbol of Japan's changing state. There are only three more monuments included in the World Heritage Site designation, and they are all tombs. The first is Nakaoyama Kofun.  This is another octagonal kofun, approximately 19.5 meters from one side to the other.  It is only three tiers, as opposed to the five tiers of the tomb of Temmu and Jitou, and similarly covered in stone and surrounded by stone pavement.  The sealed burial chamber is narrow—designed for an urn rather than for a full-body coffin.  This is the first such mound clearly built to accommodate Buddhist style cremation, rather than a coffin.  While the keyhole shaped kofun had stopped being utilized for some time, this appears to put the final seal on the coffin, as it were, of the kofun building period, which had started back in the mid-3rd century.  Certainly, royal tombs continued to be built in the form of mountains, but they would stop having the same kind of artificial mound. It is unclear who was buried in the mound.  It was plundered around the 13th century, and there was considerable damage noted in the Edo period.  However, given Kengoshizuka Kofun and the kofun of Temmu and Jitou Tennou, it seems hard to deny the general consensus that this is the tomb of none other than Karu—that is to say Monmu Tennou.  However, as with Kengoshizuka Kofun, the Imperial Household Agency has named a different kofun, that of Kurihara-tsuka'ana Kofun, slightly to the south of Nakaoyama.  I would note that while this is an octagonal kofun, similar to the others we have seen, the Kurihara kofun, aka the Hinokuma Anko Misasagi, is a round kofun, which, in the consideration of modern scholarship, is not generally thought to have been a shape used for a royal tomb. There are two other tombs on the world heritage list that are round tombs, however—though they are not thought to have been royal tombs.  These are the Takamatsuzuka and Kitora kofun, and both of them have incredible features that are considered of particular importance to the indication of the development of the state.  This is because in both tombs elaborate tomb mural paintings were discovered. The murals of the Kitora kofun are perhaps the simpler between the two.  The Kitora murals have the four directional guardians on the walls of the tomb.  Again, we talked about this back in episode 127.  It was the idea that there was a directional guardian for each of the four cardinal directions.  This includes Genbu, the black tortoise of the north; Byakkou, the White Tiger of the West; Seiryuu, the Blue (or green) Dragon of the East; and Suzaku, the Red Bird of the South.  These descriptions were heavily tied in with various continental ideas of what would be known as "feng shui", including different ideas of color, direction, and concepts of yin and yang.  The Kitora kofun clearly shows these four guardians.  Based on the style of the tomb and the paintings, it is assumed that this tomb was built in the very beginning of the 8th century.  Combined with tomb goods found, while we don't know who was buried there it is very likely that it was either a royal prince or high ranking noble.  It has been suggested that this could have been the tomb for the Minister of the Right, others have suggested that it could be Royal Prince Takechi, who died in the late 7th century, or possibly even a high ranking member of the Baekje nobility living in the archipelago since the fall of their country, given some of the continental features of the tomb and its murals. In addition to the spectacular directional guardians, on the ceiling of Kitora Kofun is a depiction of the stars.  This star chart has been the focus of considerable study, as it depicts the stars in the sky as they might have been seen from the ground.  Though there are some errors, it is remarkably accurate, and it has been heralded as the oldest such star chart in the world.  There are earlier depictions of the sky, like the Nebra Sky Disc, from modern Nebra, in Germany, which dates to about 1800-1600 BCE, but those are more like an astronomical rule, rather than a chart.  It is also interesting that the positions of the stars don't exactly correspond with the sky over the Fujiwara capital: instead, it seems that the latitude better fits with the capital of Pyongyang in Goguryeo.  This opens up lots of intriguing possibilities about how this star chart came to be, and who created it.  It may be that some of the errors we see in the star positions come from taking a star chart possibly from the Tang court, and then localizing it to the Goguryeo capital in Pyongyang.  That chart then appears to have made its way to Japan where it was used in the Kitora kofun.  That means that the artist  wasn't necessarily directly looking at the sky at the time, but rather looking at a depiction, probably drawn on paper which has since been lost.  All of this points to the availability of, and importance placed on, astronomical information at the time.  In the Takamatsuzuka Kofun we similarly have directional animals, although in that case Suzaku, in the south, has been lost.  There is also a depiction of the stars, though it is more based on the zodiac, with constellations depicted in the various "houses" of the sky, rather than a true chart of the sky.  Most significantly in this tomb, however, are depictions of courtiers – groups of male and female attendance - in what appears to be court clothing, and indeed this is the best depiction we have of what court clothing may have looked like at this time.  It very much is in keeping with the clothing we see on the continent.  It is possible that the clothing depicted is not actually what was in use in the court, but possibly clothing from the continent as it was depicted in drawings and the like.   However, the style of clothing does seem to match the continental style clothing we see later in the Nara period, and so it does seem to be our best source for the clothing of the time barring us finding actual garments or further depictions. Both of these tombs are stunning, and have greatly increased our knowledge of the world of the court of 8th century Japan.  However, they are also both extremely fragile and in need of conservation.  Since being opened, humidity levels in the tombs have risen, which has led to the deterioration of the paintings themselves.  Japanese historians and conservators have gone to great lengths to preserve what they could before any more was lost, and there are depictions of what they looked like when they were originally found.  One of the goals of the World Heritage determination appears to be the conservation of these incredible paintings for future generations to be able to see. And there you have it.  Those are the sites  that were recently listed together on the UNESCO World Heritage list as the Ancient Capitals of Asuka and Fujiwara.  I hope that everyone gets a chance to go see them in person some day—it really is a beautiful and rather bucolic area with history strewn all about.  It isn't difficult to walk most of it, either, though to see everything you probably want at least a couple of days, not including various museums and other institutions.  And, of course, the rest of the Nara basin is full of even more treasures, such as Horyuji temple, the Makimuku Palace site, Mt. Miwa, and then the ancient capital of Nara, just to name a few. But that will have to be for another day.  For now, I think I've gone on long enough.  This has been a bit longer than most episodes, so I hope that you enjoyed it.  We'll be back with our regularly scheduled episodes in a couple of weeks. Until then if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through either our Ko-Fi or BuyMeACoffee sites—just look up SengokuDaimyo. For all of that, you can also find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, you may have noticed that there are advertisements running on the podcast—that is so that we can keep this free to everyone, but if you want an ad-free version, we have uploaded our entire back-catalog to Patreon, where we will be releasing early and ad-free episodes for anyone who wants to sign up. Finally, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

Her Pottery Gift Covered Up a Months-Long Affair With a Studio PartnerBecome a supporter of this podcast: https://www.spreaker.com/podcast/cheat-stories-official--5689182/support.#CheatingStories #RelationshipDrama #Infidelity #Storytime #Betrayal #cheatstoriesThis episode includes AI-generated content.

She Marked Every Pottery Piece With Her Lover's SymbolBecome a supporter of this podcast: https://www.spreaker.com/podcast/cheat-stories-official--5689182/support.#CheatingStories #RelationshipDrama #Infidelity #Storytime #Betrayal #cheatstoriesThis episode includes AI-generated content.

She Marked Every Pottery Piece With Her Lover's SymbolBecome a supporter of this podcast: https://www.spreaker.com/podcast/cheat-stories-official--5689182/support.#CheatingStories #RelationshipDrama #Infidelity #Storytime #Betrayal #cheatstoriesThis episode includes AI-generated content.

Ryan and Becca are back with another listener Q&A, tackling questions about the realities of making and selling pottery. They discuss wholesale pricing, communicating the value of handmade ceramics, finding your place at NCECA, expanding your product line, and making enough work to fill your market booth. They also dig into pottery burnout, getting out of a creative rut, and a listener question about their use of AI as working artists.

Ashlee Springer shares her inspiring journey from theater to pottery, highlighting her creative process, community involvement, and tips for beginners. Discover how her passion for art and community is shaping Elizabethton's vibrant arts scene.Connect with Ashlee: https://springerpots.com/View events at Crossroads Craftworks: https://crossroadscraftworks.square.site/-------------------------------------------------------------Buy your next home, or list your current home with us!https://www.thecolinandcarlygroup.com/Be a guest on the Johnson City Living Podcast: https://www.johnsoncityliving.com/guests

Brian Hoogeveen, The Cash Man from Americash Jewelry & Coin Buyers, joins Jon Hansen to discuss items that could be worth money. Looking to sell valuable pottery? How about vintage dolls or a signed copy of Casey at the Bat? Brian can help you and answer your questions!

Hunter Vargo started Hucks Pottery shortly after a life changing crash while speed flying his parachute. As Hunter went through recovery tea had become a huge part of his daily routine. As it became apparent that Hunter's physical body wouldn't allow him to return to flying professionally it was time for him to pursue another interest. Teaware! https://ThePottersCast.com/1252

The Pottery Mug That Didn't Belong in Our HomeBecome a supporter of this podcast: https://www.spreaker.com/podcast/cheating-all-the-time-cheat-stories--5689182/support.

If you feel broken or imperfect, trust God and His love and vision for you.

The Pottery Mug That Didn't Belong in Our HomeBecome a supporter of this podcast: https://www.spreaker.com/podcast/cheating-all-the-time-cheat-stories--5689182/support.

Mark and Professor Mike Dillon discuss the 1995 action film Crying Freeman. Directed by Christophe Gans and starring Mark Dacascos, Julie Condra, Tchéky Karyo, and a bunch of pottery, the movie focuses on an assassin who cries after each kill. In this episode, they also talk about circular sunglasses, unique action scenes, and the excellence of Byron Mann.

[Native American Art] Joining us in our Scottsdale headquarters is Charles King, the owner of King Galleries in Scottsdale and Santa Fe. Charles represents some of the top Native American potters in the country, and his gallery is known for its top-quality contemporary works from the pueblos. We talk about his 30 years in business, the madness that is August in Santa Fe, and what makes pueblo pottery so remarkable. The episode is sponsored by Native American Art magazine, the official magazine of Santa Fe Indian Market, held this year on August 15 and 16 in New Mexico. Visit nativeamericanartmagazine.com to subcribe.

Ashton Keen creates sets of pouring pots and dinnerware that have subtle flashes of orange, yellow, and white. In our interview we talk about ways to approach being thoughtful in the studio, making soda fired pots at cone 4, and her residency at Harvard Ceramics. Her solo show All Things Considered is up now through August 7th. To see images follow Ashton on Instagram.   Have you checked out the Tales from the Vault podcast feed? Become a supporter on Patreon to gain access to dozens of episodes that are no longer available on major podcast apps. To make your donation go to patreon.com/redclayrambler.   Today's episode is brought to you by the following sponsors:  Kiln Fire kilnfire.com

www.TheMasonAndFriendsShow.com https://thejuunit.bandcamp.com/releases https://www.youtube.com/@SuperStationWJDL-TV5 A Ridiculous Fever Dream of Pro Wrestling Presented by J Dub https://www.glass-flo.com Great Pipes for Sure Pottery Painting, Crazy Lady, only a week wait, nice spot, Staring, Raising a mean Girl, Shit Parents, take ya time, who cares? driving madness, Passin, Bison Toss, crazy Folks. Electrical Sockets, wire and tape, giant spark, drive productive, freer poor, not sided, no political cap, black panthers, math teacher bitch, how to think over what. income needed, shit winter time job, the music of this episode@ https://open.spotify.com/playlist/2K5Li8qGm5KxkHyJRqzoHw?si=2b655ab94ca34e4f support the show@ www.patreon.com/MperfectEntertainment

On this episode of Kingdom Pursuits, Robby welcomes three guests whose unique passions are advancing God's Kingdom in creative ways. Jennifer Duncan Taylor shares how God transformed her pottery into a powerful ministry, revealing biblical lessons through the potter's wheel and her book, Master Potter, Simple Clay. Jim Klinger discusses using artificial intelligence to set Scripture to music, helping listeners hide God's Word in their hearts, while Jim Corbett introduces Faith Resource Community and its mission to equip believers for ministry. This inspiring conversation reminds us that God can use every talent, passion, and even new technology to glorify Him and reach others with the gospel.

The Pottery Class Was Where I Discovered Their AffairBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-cheating-wives-and-girlfriends-stories-2026-true-cheating-stories-podcast--5689182/support.

Today I am joined by Susan Gordon! Susan is truly a creator at heart. She is dedicated to bringing timeless beauty into everyday life, and her love of clay and commitment to lifelong pieces set the tone for her journey with ceramics. Keeping classic taste at the core of her design, what began as handmade pottery and jewelry has become so much more. Susan will tell you, once she is able to get clay into her hands a conversation begins as the clay responds to her movements. This ability to mold a conversation into a creation has also helped grow her collection to include curated collaborations with other creators. She thrives on her desire to create — to create her art, to create a collaborative environment, and to create a community for others to engage and share. In this episode Susan and I talk about how she started her pottery business, hiring her first employee, scaling a business with a handmade product, her iconic wavy bowls, and so much more!Bell CenterSusan's WebsiteSusan's InstagramSusan's TikTok

Dark Side of Seoul Podcast Episode 316 The Weird Science Behind Korean Food Nationalism   Episode Description A 2023 paper published in the Journal of Ethnic Foods argues that Korean cuisine developed in isolation, authentic Korean food isn't spicy, and even that royal court cuisine isn't truly Korean. In this episode, we examine the paper's historical, linguistic, archaeological, and scientific claims to see where the evidence supports the authors and where nationalism appears to outweigh scholarship. Topics Discussed Why Korean food doesn't need exaggerated origin stories The concept of food nationalism The "Hermit Kingdom" myth Did Korean cuisine really develop in isolation? Is banchan unique to Korea? Claims that Korean food has no sugar or oil Korean language and the outdated Ural-Altaic theory Ancient DNA and whether genetics can explain cuisine The debate over chili peppers and Korean food history Why the paper argues royal court cuisine isn't Korean How academic papers should distinguish evidence from advocacy Timestamps 00:00 Introduction 03:12 Why this paper caught our attention 08:45 "Correcting" Korean food history 15:20 Korea as an isolated civilization 22:08 Is banchan unique? 28:41 The claims about sugar, oil, and Korean cooking 35:15 Pottery, archaeology, and food history 42:10 Genetics, language, and extraordinary conclusions 49:55 The chili pepper controversy 56:30 Royal court cuisine and cultural identity 1:02:45 Final thoughts Mentioned During the Episode Science and Philosophy of Korea Traditional Foods (K-food) (Journal of Ethnic Foods, 2023) Traditional Korean cuisine Kimchi Banchan Joseon royal cuisine Korean food history The Columbian Exchange Ural-Altaic language theory Listen & Follow Website: https://darksideofseoul.com Apple Podcasts: https://podcasts.apple.com/us/podcast/the-dark-side-of-seoul-podcast/id1504623984 Spotify: https://open.spotify.com/show/1lZBXNX79kwH2NXcJWNcb8 Patreon: https://patreon.com/darksideofseoul YouTube: https://youtube.com/@darksideofseoul Instagram: https://instagram.com/darksideofseoul Facebook: https://facebook.com/darksideofseoul Contact: info@darksideofseoul.com About The Dark Side of Seoul The Dark Side of Seoul explores Korea's darker history, folklore, true crime, urban legends, supernatural traditions, forgotten places, and the cultural stories that don't usually appear in guidebooks. New episodes include deep historical dives alongside our "Fun Sized" discussions of current events, controversies, and unusual aspects of life in Korea.   Notes Science and philosophy of Korea traditional foods (K-food) Dae Young Kwon,  Kim Soon-Hee,  Kyung Rhan Chung,  James W. Daily &  Sunmin Park    https://link.springer.com/article/10.1186/s42779-023-00194-3 Introduction Why This Paper Matters On the surface, this looks like an ordinary academic paper. It was published in 2023 in the Journal of Ethnic Foods, an open-access journal published by BioMed Central. It has multiple authors, references dozens of sources, and presents itself as a scientific examination of Korean food history and philosophy. But once you start reading it closely, something becomes obvious. The paper repeatedly makes sweeping historical, linguistic, archaeological, genetic, and anthropological claims that either go well beyond the available evidence or directly contradict mainstream scholarship. Rather than weighing competing explanations, it almost always arrives at the same conclusion: Korean food is uniquely independent, uniquely original, and fundamentally separate from neighboring cultures. That is what makes this paper interesting. Not because it's simply "wrong." Plenty of academic papers contain mistakes. It's interesting because it reflects a broader pattern that occasionally appears in Korean public discourse, media, and even academia: the desire to demonstrate Korean exceptionalism through scientific language. The Bigger Pattern Much of the paper revolves around proving things don't merely exist in Korea. They must be: older than everyone else's more original than everyone else's scientifically superior impossible to have borrowed from neighboring cultures It's the same pattern behind claims that: Korean is uniquely logical. Korean relationships are deeper because of speech levels. Metal chopsticks create better surgeons. Koreans excel at archery because of chopsticks. Kimchi predates chili peppers. Everything distinctive must have originated in Korea. Some of these are harmless internet folklore. Others find their way into books, museums, newspapers, documentaries, and occasionally academic publications. Why This Happens None of this appeared in a vacuum. Modern Korea emerged from colonization, war, dictatorship, and decades of being culturally overshadowed by larger neighbors. Building a strong national identity was an understandable project. The problem comes when pride begins driving the research instead of the research informing the pride. Good scholarship starts with evidence and follows wherever it leads. Nationalistic scholarship often starts with the conclusion and works backwards. That doesn't make every conclusion false. It does make readers ask a very different question: "Is this trying to discover the truth?" Or "Is this trying to prove something?" This paper often feels like the latter. 1. The Authors Set Themselves Up as the Correctors of History Page 1 "Nevertheless, until now, the history of food on the Korean Peninsula has been mainly studied by history scholars who can read Chinese characters rather than by natural scientists, resulting in errors and distortions in our understanding of the identity, history, and originality of Korean food. In this paper, we aim to correct these errors and distortions and to present scientifically validated research... Furthermore, we also aim to provide scientific truths..." Problems The paper begins by declaring that historians have distorted Korean food history while positioning the authors as the ones who possess the "scientific truths." Throughout the paper they continue using historical texts whenever those texts support their conclusions while dismissing them when they do not. It's an unusual way to frame an academic paper. Most research begins with questions, not with a declaration that previous scholarship is fundamentally wrong. 2. Korea Developed in Isolation Page 2 "The early Korean population developed their characteristic foods in relative isolation from other regions of Asia due to the oceans and rugged mountains surrounding the country. Therefore, we must be very careful when discussing the culture and history of Korean food through Chinese books... Korea has historically been geographically isolated... it was also so historically resistant to outside influences and interactions that it was commonly called the 'Hermit Kingdom.'" Problems This compresses thousands of years of Korean history into an isolation narrative. Korea maintained continuous contact with China, Japan, Jurchens, Mongols, and others through diplomacy, trade, religion, migration, and warfare. "Hermit Kingdom" describes a particular period of late Joseon diplomacy, not Korea's entire historical development. 3. Banchan Exists Nowhere Else Page 2 "Another distinctive feature of Korean cuisine is the unique presentation of bap and banchan... We call this banchan culture, and it is a food culture that does not exist in any other country in the world." Problems Korea's version is distinctive. The concept of eating a staple grain with multiple shared side dishes exists throughout East and Southeast Asia. The paper turns a distinctive tradition into an absolute claim. 4. Korea Had No Sugar or Oil Pages 2-3 "Not only do we have a different ethnic root than China, but we also do not have oil or sugar as elements to make food delicious agriculturally." ... "In an environment where livestock and dairy products did not exist, where sugar to provide a sweet taste was unavailable, and where there was no oil to enhance the flavor..." Problems Traditional Korean cooking uses sesame oil, perilla oil, honey, rice syrup (조청), and malt syrup. Traditional desserts like yakgwa depend on both oil and sweeteners. The paper repeatedly describes Korea as lacking ingredients that are well documented in Korean culinary history. 5. Tasteless Vegetables Are the Soul of Korean Food Page 3 "As with all vegetables and herbs, they have less flavor when they do not contain salt, fat, or protein. The essence of Korean cuisine lies in the spirit and wisdom of Korean ancestors on how to eat these tasteless vegetables deliciously, which can be said to be the soul of Korean food." Problems This is philosophy rather than food science. It's a perfectly reasonable cultural reflection. It should not be presented as scientific evidence. 6. Pottery Alone Proves Independent Food Culture Page 4 "The earthenware vessels found in Korea during the ancient times were... mostly different from that of China. From this alone, we can tell that the food culture of ancient times in Korea was independently formed from that of China." Problems "From this alone" is an enormous leap. Archaeologists do not infer entire culinary traditions from pottery styles alone. Different pottery demonstrates different pottery. 7. Korean and Chinese Are Completely Different Peoples Pages 4-5 "The Korean and Chinese peoples are ethnologically different nations." ... "Korea has continued to develop independently thereby developing and preserving its own culture and history without being culturally absorbed by the country of China." Problems Korean civilization certainly developed its own identity. But history also documents centuries of exchange in religion, administration, philosophy, literature, technology and cuisine. The paper repeatedly frames influence as something that either happened completely or not at all. 8. Korean Is Related to Hungarian and Finnish Page 5 "Korean is classified as Ural-Altaic (Trans-Eurasian), which is completely different from the Chinese language system (India-Europe). Korean belongs to the same linguistic family as Manchurian, Mongolian, Japanese, Hungarian, and Finnish." Problems Chinese is not Indo-European. The Ural-Altaic hypothesis has largely been abandoned by historical linguists. This entire linguistic discussion has little bearing on culinary history. 9. Ancient DNA Proves Korean Food Didn't Come from China Pages 5-6 "The rapid decline in male genetic diversity... suggests that during the war, the invaders slaughtered men and humiliated women." ... "Therefore, it is a false claim that Korean food came from either China or Japan through men's communication. Wars have not advanced the development of food. Had mothers' languages not changed after the war, their food would not have changed either." Problems This is probably the biggest logical leap in the paper. Population genetics cannot determine where recipes originated. The authors move directly from Bronze Age Y-chromosome bottlenecks to twentieth-century arguments about Korean cuisine. 10. Korea Had No Livestock, Dairy, Sugar or Oil Page 6 "In an environment where livestock and dairy products did not exist... where sugar... was unavailable... and where there was no oil to enhance the flavor..." Problems This repeats and expands an earlier claim. Historically Korea had livestock. It had oils. It had traditional sweeteners. The statement is presented far more absolutely than the historical record supports. 11. Korean Food Is Never Spicy Page 16 "Foreigners who do not understand this come to believe that Korean food is very spicy. In reality, authentic Korean food is never hot because chili pepper varieties cultivated in Korea are not hot." Problems Korean peppers are generally milder than many Southeast Asian varieties. That does not make Korean food "never hot." This swings from one extreme myth to the opposite extreme. 12. Royal Court Cuisine Isn't Korean Page 16 "Royal court cuisine and jongka cuisine are not Korean food; they are based on Chinese food." Problems One of the paper's most extraordinary conclusions. Royal cuisine developed inside Korean courts, by Korean cooks, over centuries. Cultural influence does not erase cultural identity. 13. The Paper Contradicts Itself About Foreign Influence Pages 16-17 The paper argues wars and foreign influence did not shape Korean food. Then later it writes: "Inexpensive wheat flour from the USA replaced the more expensive rice with flour, which has greatly contributed to the development of pajeon, tteokbokki, and kuksu." Problems This is exactly the kind of foreign influence the paper spends earlier chapters minimizing. It acknowledges that American food aid transformed important Korean dishes after the Korean War. Structural Problems Heavy self-citation Many of the paper's key citations are previous publications by the lead author. The article often cites earlier books and papers by Kwon to support Kwon's current arguments. Personal communications as evidence One of the key claims about ancient Korean chili peppers relies on an unpublished personal communication rather than peer-reviewed evidence. Conclusions precede the evidence Throughout the paper, the conclusion remains remarkably consistent: Korean food is uniquely independent. Korean food is uniquely original. Korean food is uniquely healthy. Korean food is fundamentally separate from neighboring cuisines. The evidence is then selected and interpreted to support those conclusions. Closing Korean cuisine is extraordinary. It doesn't need exaggerated origin stories. It doesn't become less Korean because chili peppers came from the Americas. It doesn't become less Korean because Buddhism came through China. It doesn't become less Korean because dumplings arrived with the Mongols. Every great cuisine is built through centuries of borrowing, adapting, refining, and making ideas its own. Ironically, that's exactly what makes Korean food so interesting. The strongest case for Korean cuisine isn't that it developed in complete isolation. It's that Korea took influences from around the world and transformed them into something unmistakably Korean. That story is both more believable and far more impressive.   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

I Thought Her Pottery Was for Me but the Real Gift Was the LieBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-cheating-wives-and-girlfriends-stories-2026-true-cheating-stories-podcast--5689182/support.

Michelle Grimm approaches clay with curiosity, experimentation, and patience. Shaping by hand, Michelle explores diverse glazing and firing techniques, often incorporating organic materials and research. Embracing unpredictability, Michelle's work balances control and surrender. The resulting vessels—both functional and sculptural—are original forms that reflect a connection to nature, history, and the elemental forces of making. https://ThePottersCast.com/1241

Send us Fan MailAs makers, we're told to define our ideal audience and nail our strategy before we ever start — but what if the real strategy reveals itself only after you've already begun? Robin Corradino of Rob Ceramics joins to unpack how she built a thriving wholesale and consignment-based business almost by accident, never doing a single craft market until years into selling her work. Her approach challenges the conventional wisdom around audience-building entirely: by simply making what she loved and paying close attention to who responded — and where those orders were coming from — her path revealed itself gradually instead of through any grand plan. It's a reminder that strategy doesn't have to come first; sometimes the most sustainable business decisions come from trusting the slow burn and letting your people find you.---Looking for support in building your own creative life? Come join over 100 other makers from around the world, having these very discussions, inside of The Community. Click here to learn more.---Love this podcast? Support an episode!  Follow The Maker's Playbook on Instagram @themakersplaybook

I Discovered My Fiancée s Double Life in Our Pottery ClassBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-cheating-wives-and-girlfriends-stories-2026-true-cheating-stories-podcast--5689182/support.

Today I am speaking with Maureen Kilpatrick of Guard Archaeology, a Scottish archaeology firm that has dug sites all over Scotland, but today we are focusing on one site called Guardbridge, in Fife, where the timespan the finds ranged from is astounding: from the Stone Age to the 13th century. Several finds were food-related.The site is amazing – there's an Iron Age fort, there are field demarcations, evidence of food and how it was processed and cooked, as well as lots of evidence of the community moving from a nomadic hunter-gatherer lifestyle to a settled farming one.We talk about the material objects found on site, such as saddle querns, axes and ploughing tools, food remains like emmer wheat, barley, cockles and the indestructible hazelnut, non-slip pottery and the surprisingly late appearance of oats, amongst many other things.Those listening to the secret podcast get some bonus material where we discuss whether modern agriculture with its mechanised ploughs is a help or a hindrance to archaeologists these days.Read the full report: ARO61: Guardbridge, Fife: A multi-period settlement with a multi-vallate fortFollow Guard Archaeology in X/Twitter @GUARD_ArchaeolSeason 10 of the podcast is sponsored by Netherton Foundry, makers of high-quality kitchen and outdoor cookware. Netherton Foundry ships to several countries outside of the UK, including the USA and Canada. Visit www.netherton-foundry.co.uk to find out more about their wonderful products – approved not just by me but by folk such as Tom Parker-Bowles, Diana Henry and Nigella Lawson.The mixing and sound engineering were done by Thomas Ndinas of The Delicious Legacy podcastIf you can, support the podcast and blogs by becoming a £3 monthly subscriber, and unlock lots of premium content, including bonus blog posts and recipes, access to the easter eggs and the secret podcast, or treat me to a one-off virtual pint or coffee: click here. Things mentioned in today's episodeARO55: Excavations at the site of Bell's Pottery, Stafford Street/Kyle Street, GlasgowBBC News Article: 'Whole prehistory of Fife' found in one field, experts sayServe it Forth Food History Festival EARLY BIRD TICKETS AVAILABLE NOW!Ludlow Food Festival 2026My appearance on the Offscript podcast as part of their Albion seasonPrevious pertinent podcast episodesBronze Age Food & Foodways with Chris Wakefield & Rachel BallantyneNeil's blogs and YouTube channel:‘British Food: a History'The British Food History Channel‘Neil Cooks Grigson' Neil's books:Before Mrs Beeton: Elizabeth Raffald, England's Most Influential HousekeeperA Dark History of SugarKnead to Know: a History of BakingThe Philosophy of PuddingsDon't forget, there will be postbag episodes in the future, so if you have any questions or queries about today's episode, or indeed any episode, or have a question about the history of British food please email me at neil@britishfoodhistory.com, or on twitter and BlueSky @neilbuttery, or Instagram and Threads dr_neil_buttery. My DMs are open.You can also join the British Food: a History Facebook discussion page: https://www.facebook.com/groups/britishfoodhistoryThis podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

Jacqueline Wei is a Los Angeles–based architect and part time ceramicist. Jacqueline established Wei.ware in 2018 as an extension of her architectural voice. Influenced by brutalism, Jacqueline's ceramic work explores structure and sensory experience through intentional studies of form, scale, and texture, translating architectural ideas into tactile objects. https://ThePottersCast.com/1240

Misha Glenny and guests discuss an ancient civilisation who lived over 2000 years ago in the southwest of modern-day Libya. During prehistoric times, the Sahara Desert was greener and even had large lakes, but for the last 5000 years it has been a hyperarid environment. Extreme swings of temperature and limited surface water might make the Sahara seem like an inhospitable place to live, but an ancient people in North Africa known to us as the Garamantes thrived there. Following descriptions of the Garamantes in Roman and Greek texts, the Garamantes have often been seen as pastoral nomads, or as tribal barbarians on the periphery of the Mediterranean world. But the work of archaeologists in recent decades has revealed something different. Evidence suggests a society with flourishing towns and cities, complex underground irrigation systems, a key role in trade routes across the Sahara – and may give us a broader view of ancient history.WithDavid Mattingly Emeritus Professor of Roman Archaeology at the University of LeicesterFarès Moussa Visiting Fellow at the University of Southampton and Cultural Heritage ConsultantAndJosephine Quinn Professor of Ancient History and Fellow of St John's College, University of CambridgeProducer: Martha OwenReading list:C.M. Daniels, The Garamantes of Southern Libya (Oleander Press, 1970)C. Duckworth, A. Cuénod and D.J. Mattingly (eds), Mobile Technologies in the Ancient Sahara and Beyond (Trans-Saharan Archaeology Volume 4, Cambridge University Press, 2020)M.C. Gatto, D.J. Mattingly, N. Ray and M. Sterry (eds), Burials, Migration and Identity in the Ancient Sahara and Beyond (Trans-Saharan Archaeology Volume 2, Cambridge University Press, 2019)R.B. Hitchner (ed.), A Companion to North Africa in Antiquity (Wiley-Blackwell, 2020), especially ‘Beyond barbarians: the Garamantes of the Libyan Sahara' by D.J. MattinglyD.J. Mattingly, Between Sahara and Sea: Africa in the Roman Empire (Michigan University Press, 2023)D.J. Mattingly (ed.), The Archaeology of Fazzan, Volume 1, Synthesis (Society for Libyan Studies, 2003) D.J. Mattingly (ed.), The Archaeology of Fazzan, Volume 2, Site Gazetteer, Pottery and other Survey Finds (Society for Libyan Studies, 2007) D.J. Mattingly (ed.), The Archaeology of Fazzan, Volume 3, Excavations Carried out by C.M. Daniels (Society for Libyan Studies, 2010) D.J. Mattingly (ed.), The Archaeology of Fazzan, Volume 4, Survey and Excavations at Old Jarma (Ancient Garama) Carried out by C. M. Daniels (1962–69) and the Fazzan Project (1997–2001) (Society for Libyan Studies, 2013)D.J. Mattingly, V. Leitch, C.N. Duckworth, A. Cuénod, M. Sterry and F. Cole (eds), Trade in the Ancient Sahara and Beyond (Trans-Saharan Archaeology Volume 1, Cambridge University Press, 2017)D. Mattingly, S. McLaren, E. Savage, Y. Fasatwi and K. Gadgood (eds), The Libyan Desert: Natural Resources and Cultural Heritage (Society for Libyan Studies, 2006), especially ‘The Garamantes: The First Libyan state' by D. Mattingly P. Mitchell and P. Lane (eds), The Oxford Handbook of African Archaeology (Oxford University Press, 2013), especially ‘Roman Africa and the Sahara' by A. Leone and F. Moussa M. Sterry and D.J. Mattingly (eds), State Formation and Urbanisation in the Ancient Sahara and Beyond (Cambridge University Press, 2020)Some of these books are available for free from Open Access Books: British Institute for Libyan & Northern African StudiesIn Our Time is a BBC Studios productionSpanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Misha Glenny and expert guests explore the characters, events and discoveries that have shaped our world.

Misha Glenny and guests discuss an ancient civilisation who lived over 2000 years ago in the southwest of modern-day Libya. During prehistoric times, the Sahara Desert was greener and even had large lakes, but for the last 5000 years it has been a hyperarid environment. Extreme swings of temperature and limited surface water might make the Sahara seem like an inhospitable place to live, but an ancient people in North Africa known to us as the Garamantes thrived there. Following descriptions of the Garamantes in Roman and Greek texts, the Garamantes have often been seen as pastoral nomads, or as tribal barbarians on the periphery of the Mediterranean world. But the work of archaeologists in recent decades has revealed something different. Evidence suggests a society with flourishing towns and cities, complex underground irrigation systems, a key role in trade routes across the Sahara – and may give us a broader view of ancient history.WithDavid Mattingly Emeritus Professor of Roman Archaeology at the University of LeicesterFarès Moussa Visiting Fellow at the University of Southampton and Cultural Heritage ConsultantAndJosephine Quinn Professor of Ancient History and Fellow of St John's College, University of CambridgeProducer: Martha OwenReading list:C.M. Daniels, The Garamantes of Southern Libya (Oleander Press, 1970)C. Duckworth, A. Cuénod and D.J. Mattingly (eds), Mobile Technologies in the Ancient Sahara and Beyond (Trans-Saharan Archaeology Volume 4, Cambridge University Press, 2020)M.C. Gatto, D.J. Mattingly, N. Ray and M. Sterry (eds), Burials, Migration and Identity in the Ancient Sahara and Beyond (Trans-Saharan Archaeology Volume 2, Cambridge University Press, 2019)R.B. Hitchner (ed.), A Companion to North Africa in Antiquity (Wiley-Blackwell, 2020), especially ‘Beyond barbarians: the Garamantes of the Libyan Sahara' by D.J. MattinglyD.J. Mattingly, Between Sahara and Sea: Africa in the Roman Empire (Michigan University Press, 2023)D.J. Mattingly (ed.), The Archaeology of Fazzan, Volume 1, Synthesis (Society for Libyan Studies, 2003) D.J. Mattingly (ed.), The Archaeology of Fazzan, Volume 2, Site Gazetteer, Pottery and other Survey Finds (Society for Libyan Studies, 2007) D.J. Mattingly (ed.), The Archaeology of Fazzan, Volume 3, Excavations Carried out by C.M. Daniels (Society for Libyan Studies, 2010) D.J. Mattingly (ed.), The Archaeology of Fazzan, Volume 4, Survey and Excavations at Old Jarma (Ancient Garama) Carried out by C. M. Daniels (1962–69) and the Fazzan Project (1997–2001) (Society for Libyan Studies, 2013)D.J. Mattingly, V. Leitch, C.N. Duckworth, A. Cuénod, M. Sterry and F. Cole (eds), Trade in the Ancient Sahara and Beyond (Trans-Saharan Archaeology Volume 1, Cambridge University Press, 2017)D. Mattingly, S. McLaren, E. Savage, Y. Fasatwi and K. Gadgood (eds), The Libyan Desert: Natural Resources and Cultural Heritage (Society for Libyan Studies, 2006), especially ‘The Garamantes: The First Libyan state' by D. Mattingly P. Mitchell and P. Lane (eds), The Oxford Handbook of African Archaeology (Oxford University Press, 2013), especially ‘Roman Africa and the Sahara' by A. Leone and F. Moussa M. Sterry and D.J. Mattingly (eds), State Formation and Urbanisation in the Ancient Sahara and Beyond (Cambridge University Press, 2020)Some of these books are available for free from Open Access Books: British Institute for Libyan & Northern African StudiesIn Our Time is a BBC Studios productionSpanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Misha Glenny and expert guests explore the characters, events and discoveries that have shaped our world.

Through her multifaceted work, the Bulgarian-born, Brooklyn-based writer, reader, and researcher Maria Popova, founder of the “free, ad-free, A.I.-free, fully human” website and newsletter The Marginalian, braids together literature, science, philosophy, poetry, and art in beautiful, alchemical ways. Traversing centuries, she approaches various ideas and thinkers, living and dead, as active references in the expansive, ongoing project of learning what it means to be human. Now, nearly 20 years since the site's founding, she continues to cultivate a singular space on the internet—one devoted not so much to information but to illumination. Her latest book, Traversal, which links figures such as Mary Shelley and Walt Whitman, alongside other writers, poets, physicists, and philosophers, serves as an intellectual journey and an across-time meditation on creativity, consciousness, and interconnectedness. On this episode of Time Sensitive, Popova discusses the idea of “spiritual ancestors,” why today's A.I. debates are fundamentally modern versions of age-old questions about the soul, and the mystery of being alive. Show notes:  Maria Popova [4:58] Traversal (2026) [5:43] René Descartes [6:50] Aristotle [6:50] Susan Sontag [7:03] Alan Lightman [8:16] Mary Shelley [8:16] Walt Whitman [9:42] Frankenstein (1818) [14:08] Frances “Fanny” Wright [17:13] Freeman Dyson [17:13] Maker of Patterns: An Autobiography Through Letters (2018) [16:04] Rube Goldberg [22:26] Nina Simone [23:28] Dan Frank [23:29] Figuring (2019) [34:24] The Marginalian [43:18] T.S. Elliot's “The Love Song of J. Alfred Prufrock” (1915) [55:00] Dacher Keltner's Awe (2023) [45:17] Iris Murdoch [45:33] The Universe in Verse (2024) [45:55] Patti Smith [45:57] Rebecca Elson [45:58] Vera Rubin [47:23] “Urns for Living” [48:54] Sylvia Plath [59:35] Leaves of Grass (1855)

Long overdue, but we managed to get Tristan on the podcast. We've wanted him to come on for a long time. Tristan is a really strong climber from the south east who also has a witty and dry sense of humour which we really appreciate. Known for his hot takes and funny way of phrasing things he was great fun to have on and we enjoyed the chat immensely. Tristan recovered from Leukaemia a couple of years back and we talk about that at the start of the podcast if that's something that you wouldn't like to listen to then you can skip the first 40 minutes or so. If you're enjoying the podcast and would like to support us: https://www.patreon.com/user?u=70353823 Support the show

Get ready for a craft-tastic debate. One side serves up cuddly, cozy creations. The other, hardy, handy homeware. It's knitting versus pottery! Both are fun, useful crafts that have been loved for centuries by countless people. So which will come out on top? Yearning for yarn, it's comedian Katie McVay for Team Knitting. And craving the kiln, it's science writer Menaka Wilhelm for Team Pottery. Find out who wins, and vote for your pick at smashboom.org.Click here to read a transcript of this episode. Want to support the show? Join Smarty Pass to listen to ad-free episodes or donate!

Ryan is joined by Heidi Fahrenbacher for a conversation about balancing growth, production, and sustainability while building a ceramics business. Prompted by listener questions about burnout, workflow, and scaling a pottery side hustle, they discuss structuring making schedules around kiln cycles, managing inventory and multiple sales channels, and recognizing when momentum is supported versus unsustainable. Together, they reflect on the realities of building a long-term creative business without letting every opportunity push the rest of life to a breaking point.Maker of the MomentRachael DePauw - @depauwpotteryJohn Brown - @johnbrown.ceramics -----Find more about Heidi's business below-----Instagram - @bellajoypotteryWebsite - bellajoypottery.com

A potter who just had their biggest sales day ever calls in to talk about what life has been like since their political post went viral. They talk about the simultaneous blessing and curse of viral attention as a small business owner, the economics of online rage, and the emotional whiplash of suddenly having thousands of strangers invested in your life. Plus, if you stick around behind the paywall, so much Avatar: The Last Airbender. Sign up for Beautiful/Anonymous+ to get ad free episodes and access to exclusive audio including 5 Random Questions with this week's caller. Leave us a voicemail at (973) 306-4676 Refresh your wardrobe with Quince. Go to Quince.com/beautiful for free shipping on your order and 365-day returns. Now available in Canada, too. Visit Upwork.com right now to post your job for free and connect with top talent ready to help your business grow. Get 20% off your DeleteMe plan when you go to joindeleteme.com/ BEAUTIFUL and use promo code BEAUTIFUL at checkout.

Today's callers: Mia from Germany wants to know how to balance her pottery business between an online shop and a YouTube channel. Then, Jen from Connecticut is looking for ways to reach more families with her print magazine for tweens and teens. And Anagha from California wonders how to convince people to embrace the time required for her globally-inspired baking kits.Plus, Julia reflects on Eventbrite's recent acquisition announcement, and how in-person events can help brands and creators build community in today's digital world. Thank you to the founders of Pottery to the People, Anyway Magazine, and Aunty Misri for being a part of our show.If you'd like to be featured on a future Advice Line episode—where Guy and former show guests take questions from early-stage founders—leave us a one-minute message that tells us about your business and a specific question you'd like answered. Send a voice memo to hibt@id.wondery.com or call 1-800-433-1298. And be sure to listen to Eventbrite's founding story as told by Julia on the show in 2020. This episode was produced by Chris Maccini with music by Ramtin Arablouei. It was edited by John Isabella. Our audio engineer was Cena Loffredo.You can follow HIBT on X & Instagram and sign up for Guy's free newsletter at guyraz.com and on Substack.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.