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HERITAGEContemporary Japanese Ceramics and Metalwork
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HERITAGEContemporary Japanese Ceramics and Metalwork
Throughout th e centur ies, Japanese art ists have sought to captu re genuine
beauty by applying precise techniques, aesthetic sensibilities, and attention
to detail to a variety of materials. These artists’ heritage has been passed
down from one generation to the next, expressed anew in each one’s work
through recreated form and design. Traditional restrictions offer shared
structure within which each artist seeks new ways to express her or his
contemporary circumstance. This heritage is also intangible. It is the way
of life of a craftsman or a community of craftsmen that reflects aesthetics,
theories, and passions about beauty.
This Asia Week New York 2015, Onishi Gall ery is p roud to presen t a unique
two-part exhibition featuring a brilliant array of contemporary Japanese
ceramics and metalwork. While Japanese ceramics have been a focus of
the Gallery’s exhibitions of years past, this exhibition marks the first that
showcases Japanese metalwork. The metalwork art in this exhibition are
closely related to their regions of origin within Japan’s 47 prefectures, each
prefecture with its own cultural, artistic and industrial traditions. Notably, three
of the seven metalwork artists originate from Toyama prefecture, famous for
producing metalwork objects for centuries.
Of special note in this exhibition, nearly one third of the artwork is created by
nine Living National Treasure artists, carriers of Important Intangible Cultural
Property as designated by the Japanese government. Their creative practices
actualize the show’s theme of “heritage” through time-honored techniques of
hand, eye, and mind.
Since its opening in 2005, Onishi Gallery has dedicated itself to cultivating a
dynamic interplay between Japanese artists and New York City’s international
audience. The Gallery has accomplished this by working closely with
Japanese government offices and international cultural institutions, both in
Japan and the United States.
I extend my sincere gratitude to Dr. Karasawa Masahiro, the chief curator of
Crafts Gallery at the National Museum of Modern Art, Tokyo for his significant
essay contribution to the exhibition catalogue; and to Mr. Ishii Takakazu,
Governor of Toyama prefecture, for his lifetime support of Japanese art and
culture, and for introducing us to leading metalwork artists in his prefecture.
ONISHI Nana
Owner and Director, Onishi Gallery
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GREETING
I am thrilled and honored that works by Toyama prefecture’s Ōzawa Kōmin,Hannya Tamotsu, and Hata Shunsai III are being displayed through Onishi
Gallery during this year’s Asia Week in New York City.
In May 2014, works by Ōzawa Kōmin and Hannya Tamotsu received highpraise from critics at an exhibition sponsored by Toyama prefecture, “The
Extraordinary Kōgei Art and Contemporary Design f rom Toyama, Japan,” atOnishi Gallery. Since it was my desire to build on this success and
continue to promote traditional craftwork of Toyama prefecture in New York,
I was extremely happy to find out that works by these two artists, as well
as a third, will be included as part of the Asia Week exhibitions. I would
like to express my heartfelt appreciation to Onishi Gallery for their
kindness and consideration.
Metal artist Ōzawa Kōmin represents Japan as a Living National Treasure,and is the inventor of a cast-wrapping technique called igur umi , in which
metal decoration is attached to the surface of the mold before molten metal
is poured inside. Hannya Tamotsu is the foremost master of the fukiwake
casting technique, artfully weaving together bronze and brass to create
works wi th myster ious patte rns. Hata Shunsai I II c rafts iron teake ttles and
utensils which are traditionally used in the Japanese tea ceremony; the
elegant design of his work is well suited for modern living spaces, and
has been well-received.
These th ree art ists are based in Takaoka , a city which bo asts ametalworking industry with over 400 years of history. Takaoka’s bronze ware
has a long history of being appreciated throughout the world, including
appearances at the 1862 London Exhibition and the International Exposition
of 1867 held in Paris. Takaoka bronze and copperware has received
countless awards, and is a much sought-after import in Europe and America.
The pieces being presented at th is exhibi tion repre sent advanced
techniques born from Toyama’s rich tradition of metalwork. I hope that you
will enjoy them and t hrough t hem feel the spir it and h istor y of Toyama.
ISHII Takakazu
Governor, Toyama Prefecture
FROM ‘CRAFT’ TO ‘KŌGEI’ – Inquiry into the Essence of Forms
By KARASAWA Masahiro, Chief Curator of Cr afts Gallery,
the National Museum of Modern Art, Tokyo
In Japan today, ‘ kōgei ’ [工芸, ‘craft’ ] refers to works made by both artists
and artisans, and the creations are considered as ar t or as manufactured
products. In other words, there are kōgei that are created by artists and
those manufactured by artisans. It is perhaps not wrong to say that kōgei of Japan established its own identity through the synthesis of these two
trends. In both, the creators sought to understand the essence of the
involved materials and techniques, in order to best exploit the nature of the
vari ous media in t heir fini shed works. What this means is that the mater ials
for the makers’ works are predetermined – such as clay for ceramics and
metals for metal works – and that in conceiving of images or ideas, whether
making objets d’art or manufactured products, the medium was already
there. Therefore in the case of Japanese kōgei , the materials handled by
the makers in fashioning images and ideas are not choices to be made,
but instead, are exclusive to the process of harnessing the nature of the
materials into objets d’art or manufactured products.
This enfo rced intimacy with mater ials has led to th e development of th e
utmost skill in production levels and sophistication of expression in creating
craft objects in Japan. When considering the works made by ar tists, it has
become questionable whether such works can be simply categorized as
‘crafts,’ the English term traditionally used to translate kōgei . Due to what the
word ‘craf t’ can b ring to mind – ranging from exhibi ted works and u tili tari an
vessels to fence posts on a farm – the term cannot be accura tely defi ned as
craft, especially with works created by artists producing kōgei which are rich
in individual expression.
Hence when discussing kōgei , particularly of contemporary artists, instead
of using the Western concept of ‘craft,’ the established translation of
‘ kōgei ,’ I propose to leave the term in Romanized form kōgei , as I have
done essentially in this essay. This, for example, follows words such as
‘manga’ and ‘karaoke,’ which have now been incorporated into the English
lexicon. I feel that such terms serve to better signify some distinct aspects
of Japanese culture.
This can also appl y to a popula r Japanese word , ‘dentō’ [ 伝統 ], commonly
translated in English as ‘tradition.’ The term ‘tradition’ in English is partially
defined as, “the transmission of customs or beliefs from generation to
generation, or the fact of being passed on in this way.” In Japanese, this is
closer in definition to that of denshō [伝承 ], which is about ‘transmission,’
such as in the passing down of folk stories and oral traditions.
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YOSHITA Minori (1932–)
Incense Burner, 2014; porcelain with yuri- kinsa i (gold underglaze); h. 6 x dia. 5 in. (15 x 12.7 cm)
The Yoshita fami ly runs the Nish ikiy ama kiln , wh ich spec iali zes in aka-e k inrande,
a highly decorative porcelain tradition involving gold and red enamel painting in
brocade-patterns on Kutani wares from Ishikawa. In 1951, Yoshita Minori, who had
been making pottery since high school, took over the family business and became
the third generation head of the family. Since then, he has been experimenting with
vari ous tradi tional te chniques character isti c to the Nish ikiy ama kiln whil e re fini ngthem in innovative ways.
The art ist is recog nized for his graceful appl icati on o f yuri-kinsai , underglazed gold
decorative porcelain. This technique was developed during the 1960’s in
Kanazawa; gold-leaf cutouts in patterns are applied prior to glazing, rather than by
the traditional process of painting patterns in gold pigments by brush. Yoshita’s
technique is a perfect marriage of elegant Kutani porcelain traditions with kinp aku
or gold-leaf, the highly prized local product of Kaga domain, present day Ishikawa
prefecture. This method opened up a new frontier in the world of gold-colored
porcelains in Japan and Yoshita is regarded as the premier artist executing
the technique. In 2001, he was awarded the Medal of Purple Ribbon and was
designated a Living National Treasure.
When discussi ng s kill s and techni ques , the te rm denshō is important but
it cannot embody the concepts of tradition associated with artists, their
creativity, and artistry. When the widely used Japanese terms dentō and
kōgei are combined as ‘dentō kōgei ’ [ 伝統工芸 ], and translated into English
as ‘traditional crafts,’ they merely become words that imply age. For artists,
when con templ ating dentō kōgei , they are not simply thinking of the
transmission of a tradition, but are seeking to individualize and enhance their
creations by instilling them with their own creative spirit and expression.
In the art world today, it seems that creation is occurring separate from
pondering the resoluteness of various materials, resulting in the
diminished importance of materials in objects. In recent years, the wide
interest in Japanese kōgei is perhaps due to the strong sense of thematerials used in the works, which are expressions that were driven by the
materials themselves, then transformed into myriad shapes and textures by
artists. Placing value on works that can harness the essence of materials,
one can perhaps say that Japanese kōgei strives to investigate the intrinsic
nature of materials.
The arti sts represen ted in t his show, “Herit age: Contempora ry Japanese
Ceramics and Metalwork,” are key figures related to ‘dentō kōgei ’ in Japan
today. By observing their works that represent the pinnacle of the genre,
it is my hope that visitors will appreciate kōgei while contemplating the
significance of the materials in the works.
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Mumyoi Jar Sado Island, 2012; stoneware with yohen (color change by fire); h. 14 x w. 15 3/4 x d. 15
1/2 in. (35.5 x 40 x 39 cm )
ISEZAKI Jun (1936–)
Isezaki Jun, the second son of potter Isezaki Yozan (1902–1961), is one of the
most renowned masters of Bizen pottery, a traditional ware that emerged nearly a
thousand years ago in the Inde district of Bizen, Okayama prefecture. Isezaki Jun is
the fifth Bizen artist to be designated a Living National Treasure by the Agency for
Cultural Affairs in Japan.
Isezaki brings back the traditional anagama kiln, that is dug into a hillside similar to
a tunnel. Significant in Bizen pottery production is the yaki shime style glaze, which
results from the natural wood ash and burn-products that occur in the kilns during
the firing process. Isezaki therefore emphasizes the importance of the placement of
his works inside the kiln during the firing process. Even as an experienced potter,
the artist cannot always predict how the works will turn out; the firing process often
brings out beauty that even the artist does not expect. The finest works are often a
result of the combination of careful design and fortuity. Isezaki’s works, which have
bloomed from tradition, continue to emerge and expand in exciting new ways.
His works are collected and exhibited by major museums in the world such as the
British Museum in London and the Museum of Fine Arts, Boston.
Born in 1941, Ito Sekisui V is recognized for works utilizing mumyo i or a red soil,
he was designated a Living National Treasure in 2003. Mumyo i is a reddish brown,
ferric oxide clay extracted from gold mines native to Sado Island in Niigata prefecture
where he was born .
Ito graduated in 1966 from Kyoto Technical University with a degree in ceramics. He
then returned to Sado Island and started experimenting with mumyo i and various
ring methods. He created his signature aesthetic by placing red against black contrasts and is also known for neri age wares. Characterized by beautiful and delicate patterns,
neri age wares are produced by first making multiple layers of clay with different tones
of reddish brown using mumyo i , followed by the patching together of many pieces.
In order to bring out the vibrancy of the red color, Ito does not apply glazes; instead,
his firing technique, called yohen, utilizes different flame streams inside a wood-fired
kiln. The areas directly hit by the flames turn to a black hue.
The art ist denes creativ ity as bringing forth, “what has never existed, someth ing newand attractive. That’s a creator’s destiny.” To this end, Ito has been quite successful
and has been the recipient of many prestigious awards. He continues to experiment
with die rent techniques and strives to perf ect his skills e ven fur ther. His work can beseen at many museums around the world, including the Niigata Prefectural Museum
of Modern Art, the Ibaraki Ceramic Art Museum, the National Museum of Modern
Art i n Tokyo, the Vic toria and Albert Museum in London, the Smi thsonian Institute ,
Washing ton D.C., and at the Metropoli tan Museum of Ar t, New York.
Vase Fusetsu (Wind and Snow), 2014; wood-fired stoneware; h. 23
1/4 x w. 12 x d. 9 1/4 in. (59 x 30 x 23 cm )
ITO Sekisui V (1941–)
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IMAIZUMI Imaemon XIV (1962–) SAKAIDA Kakiemon XIV (1934–2013)
In 2014, Imaizumi Imaemon XIV received the ultimate distinction: at the age of 51,
he became the youngest artist to be designated a Living National Treasure. Iro-
Nabeshima, a polychrome, enamel painted porcelain, was developed during the Edo
period (1615 –1868), under the support of the Nabeshima domain in current-day Saga
prefecture. Highly praised for the meticulous enamel painting that illustrates both Asian
and Western motifs, Nabeshima wares have been one of the most celebratedporcelains in Japan and abroad. The Imaizumi family passed down the techniques of
Nabeshima during the Edo period. Imaizumi Imaemon became the fourtheenth generation
head of the family upon completing his studies in traditional metal work in college and
work ing in t he p roduc t design industry. The famil y rep utati on and l ong tradi tion
came with the challenge to further develop Nabeshima wares. The artist’s signature
techniques include sumi -haj iki — a dyeing technique that takes advantage of the
repellent nature of sumi ink applied onto a white porcelain base to create patterns or
motifs prior to firing—passed on since the Edo period, and a new overglaze painting
technique using platinum (platinum coloring). Imaizumi adds his personal tastes to
decorative designs by rendering classical favorites such as plum and hydrangea motifs
with more modern pa tterns su ch as sn owfla kes.
His works are represented in many museums, including the National Museum of
Modern Art, Tokyo, the Kyushu Ceramic Museum in Saga, the Museum of Ceramic Art
in Hyogo, the British Museum in London, and the Auckland Museum in New Zealand.
Kakiemon is a colorful and decorative style of porcelain, named after the illustrious
family who perfected porcelain wares in Arita, Kyushu. Since the early Edo period
(1615–1868), Kakiemon porcelains have been exported to Europe and treasured
all over the world.
Sakaida Kakiemon XIV specialized in porcelains that show strong compositional
motifs. He trained in Nihonga, or Japanese-style painting, prior to working in porcelain
production with his grandfather, Kakiemon XII (1878 –1963) and his father, Kakiemon XIII
(1906 –1982). In 2001, Sakaida Kakiemon XIV was designated a Living National
Treasure fo r hi s excelle nce in o vergl azed enamel p orce lains. His works harmoniously
combine traditional colors and motifs in the Kakiemon style with his own contemporary
aesthetic, which he cultivated through his training as a Nihonga painter.
The appeal o f Kakiemon i s in the per fect balance between the rich ly colored and
delicately executed enamel paintings against the pristine white negative space.
Nigoshide (milk-white base), a white porcelain base unique to Kakiemon porcelain,
was inven ted i n the la te 17 th centu ry b y the firs t Kak iemon genera tion . In 1953,
Kakiemon XII and XIII succeeded in reviving nigoshide and in 1955, this technique
was designated an Intangib le Cultu ral Prope rty by th e Japane se government.
Flower Vase with Zuika (Mullein) Flower Patterns, 2014; porcelain with iro-e polychrome enamel painting with light sumi and sumi-h ajiki ; h. 141/2 x dia. 12 1/2 in. (36.6 x 31.2 cm)
Nigoshide White Vase with Cherry Blossom Patterns, 2012; porcelain; h. 7 2/5 x dia. 8 3/5 in.
(18.8 x 22 cm)
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TOKUDA Yasokichi III (1933–2009) TOKUDA Yasokichi IV (1961–)
Tokuda Yasokichi I II w as o ne o f the wo rld’s most famous Ku tani potte rs. Born in
Ishikawa prefecture, he was designated a Living National Treasure in 1997 for his
mastery of the saiyu glaze ( vivid enamel g laze) technique. Yasokichi III innovated
the glaze technique based on traditional Kutani colored glaze enamels. He
developed techniques handed down from his grandfather, Tokuda Yasokichi I
(1873 –1956) and later his father, Tokuda Yasokichi II (1907–1997). Through his saiyu glaze technique, Yasokichi III created his own designs characterized by delicate
shading and beautiful color contrasts.
Yasokic hi I II’s works ha ve been recognize d widely and shown in numerous museums
including the British Museum, the Metropolitan Museum of Art, the Sackler Gallery,
and the Smithsonian Institute. His honors include the acceptance into the Issui-kai
Pottery and Porcelain Exhibition (1958), and the receiving of multiple prizes such as
the Japan Traditional Art Crafts Association Chairman’s Award (1977), the Grand Prize
of the International Pottery and Porcelain Exhibition (1990), and the Purple Ribbon
Medal given by the Japanese government (1993).
Born in 1961, Tokuda Yasokichi IV succeeded her father Tokuda Yasokichi III after his
death in 2009. As a female leader of a traditional potter’s family, she is a remarkable
figure in Japan and also recognized in the international arena. She inherited the
techniques and methods of the Tokuda family style of Kutani porcelain production,
especially saiyu glazing, whereby the arrangements and gradations of color play a
central role in the ornamentation, rather than the usual pictorial designs of birds,flowers, and figures seen in conventional Kutani wares. In addition, her personal
sensibility as a female artist gives her a novel perspective on tradition that is reflected
in her diverse choice of colors and unique interpretations of form. Her works are
housed in public collections in the United States, including the Indianapolis Museum
of Art, Indiana and the Art Complex Museum in Duxbury, Massachusetts.
Ancient Red Fuj i , 2013; po rcelain with colored glaze; h. 2 3/4 x dia. 16 in.
(7 x 41 cm)
Kashin (Pistil), 1998; porcelain with colored glaze; h. 1 3/4 x d ia. 20 1/2 in.
(4.5 x 52.5 cm)
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Bowl, 2014; porcelain with enamel and gold in kinran de style; h. 10 x d ia. 17 3/4 in. (25 x 45 cm)
YOSHITA Yukio (1960–) OHI Toshio (1958–)
Born into the Yoshita family of porcelain artists and as the son of Yoshita Minori
(1932– ), a Living National Treasure, Yoshita Yukio forged an independent style in his
works that echoes tradit iona l Kut ani overg laze techn iques o f hi s na tive Kanazawa.
At the same time, his works a re reflective of h is o wn aesthetic sens ibil ities ; Yoshi ta’s
expressions with colors such as the faded pastel shades that recall frescoes of the
Italian Renaissance and poetic representations of color akin to watercolor drawingson porcelain surfaces, are his special achievements. His works are standouts among
the bold-colored and smooth surfaces of traditional Kutani wares. Yoshita applies
pastel matte glazes to the white porcelain bodies of elegant vessels, often painted
in overlapping or blurring abstract patterns. He also uses metallic gold overglaze to
highlight the designs. Yoshita’s works are housed in museums both in and outside
of Japan, such as at the Ishikawa Prefectural Museum of Art, Kanazawa and the
Indianapolis Museum of Art.
Ohi Toshio inherited an artistic tradition that dates back to 1666 when the first Ohi
ware potter began crafti ng cerami c wo rks near Kanazawa for the tea ceremony.
Toshio is t he eleve nth gene ratio n head o f thi s hi stori c family lineage. He shows the
characteristically lustrous effects of Ohi ware in bowls and other items for the tea
ceremony and in a vast range of other works, both utilitarian and purely artistic.
A native o f Kanazawa, Ohi earned a master’s degree in ne ar ts from Boston University. While he l earne d new expressions of ce ramics du ring his studies in the United States ,
he became more consciously aware of the unique beauty and character of Japanese
pottery and the practice of the tea ceremony. In addition, the experiences as artist in
residency, teaching and lecturing in the United States, Europe, China, South Korea
and Taiwan enabled him to develop his own perspective and understanding of his
family’s multi-generational heritage of Ohi ware.
Ohi’s works are in museum collections such as the Los Angeles County Museum
of Art; the Honolulu Museum of Art; the Everson Museum of Art, Syracuse; the
Sèvres Ceramics Museum, France; the Ariana Museum, Geneva; the Ghent Design
Museum, Belgium; the Jingdezheng Ceramics Museum, China; the Taipei Fine Arts
Museum; the Japan Foundation; and the 21st Century Museum of Contemporary
Art, Kanazawa, Japan.
Ceremonial Vessel Sonsu (Reverence), 2014; stonewa re; h. 9 3/4 x w. 16 3/4 x d. 8 1/4 in.
(24.8 x 42.5 x 21 cm)
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Shomura Ken is the fifth generation head of the Banko kiln in Arita, Saga prefecture,
which da tes b ack to the Me iji peri od (1868 –1912). Although polychrome enamel
painted porcelains and blue-and-white porcelains ( sometsuke ) are most prevalent
in Arita, the artist first worked with white and blue celadons. He studied for seven
years wi th th e le ading expert of white porcelain produc tion , In oue Manj i (1929 –),
designated a Living National Treasure in 1995. Shomura trained with Inoue, making vessels on a potte r’s whee l wh ich became t he f oundation fo r hi s eventual works
of clear and sleek porcelains. Shomura’s celadons quickly gained recognition in
juri ed competitions and i n 1980, at t he young age of 31, he won a high prize at t he
prestigious Japan Traditional Art Crafts Exhibition.
Shomura continued to challenge himself and developed his signature techniques,
ai-zome or indigo-dyeing and beni -zome or red-dyeing. This he attributes to his
prior experience with stoneware production, albeit for a short period of time. The
exploration of glazes for stonewares allowed the artist to take the bold approach of
applying them for the first time to porcelains. Shomura works with much ingenuity
and creativity to produce new types of porcelain in Arita.
Shomura Hisaki, son of Ken, studied industrial chemistry in college, then attended
Arita Coll ege of Ceramics b efore star ting to wo rk at h is f amily kiln . His or iginal w orks
called shir otae- ji are works in which the artist seeks to perfect the silky white hue
of porcelain. To bring about infinite subtle expressions solely in white, the artist
experimented with transparent glazes and simple patterns on austere vessel forms.
As an emerging young art ist from Arita , Shomura has won numerous awards a tcompetitions, such as the Japan Traditional Art Crafts Exhibition, and has shown
works a t so lo exhibi tions in vario us c ities in Japan.
Flower Vase in Blue, 2014; po rcelain; h. 13 1/2 x dia. 7 1/4 in. (34 x 18 cm)
SHOMURA Ken (1949–)
Silky White Vase—Jewel Line, 2012; po rcelain; h. 10 x dia. 8 1/2 in.
(25.4 x 21.6 cm)
SHOMURA Hisaki (1974–)
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KOYAMA Koichi (1960–)
Faceted Box with Small Patterns, 2014; stoneware; h. 5 1/2 x dia. 11 1/2 in. (13.5 x 29 cm)
YAMAJI Kazuo (1949–)
Yamaji Kazuo was born in Tokyo i n 1949. As a young adu lt, h is in fatuati on wit h the
hippie culture in North America took him to Montreal, Canada where he worked at
a Japanese restaurant. A year after arriving in Montreal, a chance encounter with a
Japanese speaking Canadian ceramist changed his life. The ceramist had trained
under the Living National Treasure, Hamada Shoji (1894 –1978), and in 1967, Yamaji
started studying at the ceramist’s studio. He stayed there for ve years and thenreturned to Japan in 1972.
After two years of train ing in M ashi ko, he s tar ted h is o wn k iln in Kasama, Ibaraki
prefecture. In 1981 he moved with his family to Hiroshima where a job opportunity
at a ranch awaited him. There, he divided his time between farming and making
ceramics. One day he found textile stencils at a museum and became fascinated
with them. In 1 985 he moved back to Kasama, a rura l ar ea outside Tokyo, and
started to incorporate stencil patterns onto his ceramic works. The stencil paper
sheets he uses are made with persimmon tannin. His patterns are influenced by
vari ous sources, incl uding the Japane se checker- board design used in everyday
kimonos from the Edo Period, Islamic mosques, and Western cathedrals.
Koyama Koichi studied ceramics at Tamagawa University. He set up his kiln, Ryusen-
yo, in t he Yanaka d istr ict of downtown Tokyo wh ere he w as born and raised, and has
been working there independently. While teaching ceramics at local community
and adult programs, he participated in juried exhibitions and competitions, quickly
gaining recognition in the late 1990’s after receiving the Special Award at the Asahi
Ceramic Art Exhibition.
Seeking novel colors and textures, the artist does not hesitate to explore new materials
and methods in his overglaze painted works previously not used in Japanese
ceramic production. For example, metals are conventionally used in leaf- or pigment-
form in creating decorative surfaces, but Koyama applies them in innovative ways
using chloride fluid. The artist creates ceramic work by uniting fresh abstract patterns
with new colo rs and techn iques. The dist inct and subdued blue tones , unlike the
typical cobalt and enamel blues, are among his technical and artistic achievements
that are highly regarded. In 2013, his work became part of the permanent collection
of the Los Angeles County Museum of Art.
Plate with Clematis Design, 2013; stoneware; h. 4 1/2 x dia. 22 in. (11 x 56 cm)
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SUZUKI Miki (1970–) MOCHIZUKI Shu (1960–)
Suzuki Miki was born in Bizen, Okayama and is the oldest son of the distinguished
ceramist Suzuki Koichi (1942–). Eager to learn about different traditions of ceramic
works ou tside of h is h ometow n, h e went to Kyoto and stud ied at t he C eramic
Training School . Af ter gradu ation , he went on t o st udy w ith the ceramist Okamoto
Akira (1941–).
His most recent invention is ao-Bi zen or blue-Bizen, a specific blue color achieved
by a delicate firing process, not by glazing or applying pigments. He is also known
for applying white clay to the blue surfaces, using itchi n, a decorative technique
that creates curvilinear white patterns of haku dei-mon, or clay. This method is new
to Bizen wares, which have a long history, beginning with Sue-ki or the gray and
unglazed stone wares that Korean immigrants brought to Japan i n the 5th or 6th
century. Suzuki’s goal is to harmoniously combine traditional Bizen with new and
ambitious techniques. He wishes to embrace history while still seeking to explore
many exciting possibilities.
In 2013, his work became part of the permanent collection at the Worcester Art
Museum, Massachusetts.
Mochizuki Shu was born in Tokyo and studied ceramics at the Tokyo University of
Fine Arts. A Tokyo native, he also built his first kiln in the Nakano district there. His
signature ceramic works are decorated with red paintings called aka-e, one of the
traditional under-glaze painting techniques used in Japanese pottery. Wares with this
warm red colo r, fi rst disc overe d in the town of Ar ita in t he 17th cen tury, have long
been adored by ceramic collectors and connoisseurs. The artist adds this traditionalred hue by using more brick red in order to depict seasonal flowers highlighting
their freshness. On its milky white surface, the glaze shows characteristic feldspar
spots which are unpredictable until the firing process is finished. The clay, original
to Mochizuki, peeks through the glaze, giving the vessels a lively, organic, and
earthy aesthetic.
Mochizuki has had solo exhibitions at many galleries, including the Tokyo Mitsukoshi
Department Store Gallery, and his work is in the permanent collection of the Museum
of Art and Design, New York.
Flattened Vase with Design of Peonies, 2013; stoneware; h. 20 x w. 18 x
d. 9 in. (51.3 x 45.3 x 22.8 cm)
Blue Bizen Triangular Vessel with White Clay Patterns, 2014; stoneware; h. 19 1/2 x dia. 16 3/4 in.
(49 x 42 cm)
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UWATAKI Koichi (1968–)
Born in 1968 in Sakura, Chiba Prefecture, Uwataki Koichi is from a long line of
ceramic artists. He graduated from the Toyo Institute of Art and Design with a
focus in graphic design. However, following graduation, he went to Arita to study
ceramics. In 1993 he returned to Sakura and started to train under his father,
Uwataki Katsuji (1941–).
Uwataki Koichi uses the nunozome saij i technique to apply his designs and color
to white ceramic surfaces. This technique involves the use of nonwoven fabrics to
decorate vessels. While underglaze decoration and patterns are commonly painted
or drawn with a brush on works, with nunozome fabrics are cut into shapes and
placed on surfaces and transferred using a brush to bring out colors.
Uwataki’s works have been exhibited in both group and solo shows in Japan; in
2009 his work was purchased for the Imperial Household Agency.
KIMURA Moriyasu (1935–)
Tenmoku Andromeda Water Jar, 2014; stoneware, wood ; h. 13 3/ 4 x w. 6 1/ 2 x d . 6 3/4 in ches(34.5 x 16 x 17 cm)
Kimura Moriyasu is a Kyoto-based tenmoku glaze specialist. He is known for his
originality in creating exquisite surfaces and his hallmark glaze is called ‘sky tenmoku.’
The layer s of shimmering blues on Ki mura’s ceram ics are a tes timony to his fifty years
of dedication exploring the beauty of tenmoku glazes. Tenmoku refers to the technique
of melting iron into the glaze during the firing process. The resulting color variations
depend upon the amount of iron; achieving the desired result is challenging andrequires a lot of experimentation, knowledge, and patience.
Tenmoku tea bowls were first produced in China during the Song Dynasty (960 –1279),
and brought to Japan by a Japanese priest. The first mention of tenmoku occurs in a
Japanese document in 1335 by Onkei Soyu. During the 14th century, the Ashikaga
shoguns held tenmoku and Chinese celadons in the greatest esteem and this reverence
reached its peak during the reign of the eighth shogun Ashikaga Yoshimasa (1369 –1395).
As K imura says , “There is a ri chness and depth of hue t hat one neve r ti res of; it i s
like looking into a beautiful night sky full of stars or gazing at photos of Andromeda.”
In fact, Kimura has created a new style of tenmoku that he calls Tenmoku Andromeda.
The rivet ing beau ty of this style has won the admira tion of many around the w orld and
his works can be found in numerous museums, such as the Palace Museum in Beijing;
the Museum of Fine Arts Boston; the Dallas Museum of Art; the Museum of Fine
Arts in Houston; the Briti sh Museu m in London; the Harvard Art Muse ums/Arth ur M .
Sackler Museum, Cambridge, Massachusetts, the Peabody Essex Museum, Salem,
Massachusetts; and the Portland Art Museum in Oregon.
Vase with Textile Pat terns, 2012; porcelain; h. 10 x dia. 15 in. (25 x 38 cm)
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Ozawa Komin, metal ar tist from Takaoka, holds the honor of being Toyama prefecture’s
sole Living National Treasure. Born in 1941 in an area known for its copperware,
Ozawa is recognized today as a master of the yakigata casting technique. He is also
the inventor of a cast-wrapping technique called igurumi in which metal decorations
are attached to the surface of a mold before molten metal is poured inside. Ozawa
blends innovative technology with creative designs to push the boundaries oftraditional metal casting.
The art ist takes insp irati on f rom the interplay of l ight and water in h is works. He
believes that they provide the sources for life itself and that their harmonious
relationship results in the earth and the cosmos. Even what cannot be seen—such
as the wind, sound, electromagnetic waves, and air—are manifestations of the
harmony between light and water for Ozawa. On his vessels, the red streaks
represent light while the white lines are expressions of water.
Nakagawa Mamoru, recognized for his outstanding mastery of zogan (metal-inlay ),
was desi gnated a Livi ng National Treasure in 2004 . Th e ti tle Livin g Na tional Treasure
is awarded to individuals who have demonstrated abilities and skills deemed to be
critical to the essence of Japanese culture. Kanazawa, his native city, developed as
a castle town in Kaga domain (present-day Ishikawa and Toyama prefectures), during
the Edo period. It was known as a center of metal-inlay craftwork, supported bythe feudal lords.
However the metal-inlay tradition, like other craft and decorative art traditions, withered
under the pressures of industrialization and modernization during the Meiji Restoration.
Nakagawa has been a seminal figure in a successful initiative to revive metal-inlay
as an important genre of decorative arts in Japan. He has enlivened the traditionally
monotone realm of metal casting, for example, with an unprecedented palette of
colors. Since the zogan technique is said to have originated around Turkey, the artist
has visited the area more than ten times, following the Silk Road, the cultural crossroads
between the eastern and western reaches of Asia. Nakagawa identifies the roots of
his metal-inlay techniques there, as an expression of the amalgamation of East and
West, as well as of traditi on an d innovation. I n 2008, one of his masterpieces, Sekisei ,
was acqu ired by t he Metropoli tan Museum o f Ar t in New York.
Other significant works by him are in collections such as at the 21st Century
Museum of Contemporary Art, Kanazawa, the British Museum, London, and the
Shanghai Art Collection Museum.
From the Earth, From the Sky , 2012; yakig ata metal casting; h. 15 1/2 x w. 11 1/2 x d . 4 1/2 in.
(40 x 30 x 12 cm)
OZAWA Komin (1941–) NAKAGAWA Mamoru (1947–)
Mado (Window), 2009; cast of alloy of copper, silver, and tin with copper, silver, and gold
inlay; h. 11 x w. 13 3/4 x d. 7 in. (28 x 35 x 18 cm )
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Osumi Yukie is a metal artist who specializes in tankin or hammered vessels. Osumi
graduated in 1969 from the Faculty of Fine Ar ts, Tokyo University of the Arts. Afterwards,
she studied under Kashima Ikkoku (1898 –1996), Sekiya Shiro (1907–1994), and
Katsura Moriyuki (1914 –1996). She also train ed as an ar tist in the United Kingdom for
a year under sponsorship of the Agency for Cultural Affairs. She has received many
honors and awards, and most recently in 2014, was the rst to be awarded a residency at the Freer Gallery of Art and Arthur M. Sackler Gallery, the Smithsonian’s Museum
of Asian Art in Washington, D.C.
She applies the traditional technique nuno me-zogan or textile imprint inlay. This
involves hammering metal leaf or wire into a fine, mesh-like grid incised into the
surface of metal sur faces. Osumi creates decorative and functional objects, such
as vases and tea utensils. Through her designs of the wind, waves, clouds, and
streams, she strives to express nature as formless and flowing.
Her works are in collections such as at the National Museum of Modern Art, Tokyo,
the Victoria & Albert Museum, London, and the Royal Museum, Edinburgh.
OSUMI Yukie (1945–)TAMAGAWA Norio (1942–)
Designated a Living National Treasure for his unique metal hammering technique
mokume- gan e in 2010, Tamagawa Norio is one of the most respected and well
known artists of h is field in Japan. He was born in 1942 in Niigata prefecture and
is a descendent of Tamagawa Kakubei (1799 –1871), who founded Gyokusendo
in 1816. Gyokusendo creates functional and decorative copperware in the tsuiki or
hand hammered method.
Tamagawa st udied the hammeri ng te chnique in Tokyo from 1963 to 1965 as an
apprentice under Sekiya Shiro (1907–1994), also a Living National Treasure. After his
apprenticeship, Tamagawa returned home and rejoined Gyokusendo. He continued
to master his craft and was chosen to show his works at many prestigious exhibitions
in Japan and in Europe, and received many prizes and awards. In 1996, he decided
to devote all his time to art and resigned from the company.
Sound of Wind , 2014; hammered silver with nunome-zogan ( textile imprint inlay ) decoration in lead
and gold; h. 11 x dia. 12 in. (27.5 x 30.2 cm)Mokume-gane (wood-grain metal) Jar , 1991; hammered silver, copper and sekid o; h. 6 x dia. 7 in.
(15 x 18 cm)
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HATA Shunsai I II (1976–) HANNYA Tamotsu (1941–)
Faceted Tea Kettle, 2012; iron and copper; h. 7 1/2 x dia. 8 1/2 in. (19 x 21.6 cm) Fukiwake Leaf-Shaped Tray, 2013; metal casting with copper, silver, go ld and brass; h. 4 x w. 21
1/2 x d. 9 1/4 in. (11 x 56 x 23 cm)
Hannya Tamotsu, metal master, was born in 1941 in Takaoka, Toyama prefecture.
Hannya is a sixteenth generation metal worker who creates art in the fukiwake
casting technique, in which three different metals are individually poured into a mold
withi n fi ve seconds o f each o ther. Due to the di fferent meltin g po ints of th e th ree
metals, they do not blend together when combined, but form a unique pattern
instead. Hannya is the only known artist to have ever made a three-metal cast work.
His work is in the collection of the National Museum of Modern Art, Tokyo.
Born in 1976, Hata Shunsai III is a metal artist whose family has been rooted in
Kanaya-machi for generations. Kanaya-machi is a district in Takaoka, a city in Toyama
prefecture that is steeped in history. This area of Japan has been well known for
centuries for its exceptional metalware crafts. To this day, some of the best metal
artists, including Living National Treasures, are from this area. Hata has carried on his
family tradition of creating tea kettles, learning the craft by observing his father at worksince he was a young boy.
In the past few years, he has started to challenge himself by experimenting with
creating more modern and artistic works rather than utilitarian wares. He has received
several prestigious awards in Japan, including the President of NHK Prize on the
occasion of the 60th Japan Traditional Crafts Exhibition which was held at the National
Museum of Modern Art, Tokyo in December 2013.
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OSHIYAMA Motoko (1958–)
Zansho (Lingering Light), 2010; silver, copper and shibu ichi alloy; h. 3 x w. 9 1/2 x d. 4 1/2 in.
(7.5 x 23.5 x 11 cm )
Exhibition Schedule
Upper East Side, NYC
HERITAGE: Contemporary Japanese Ceramics and MetalworkMarch 13 – 21, 2015
Opening Reception: Friday, March 13, 6 – 9 pm
Open House Weekend: March 14–15, 10am– 6 pm
On View :10 am – 6 pm, daily
Erarta Galleries, 1043 Madison Avenue, 1st Floor, New York, NY 10075
917.214.8108
Chelsea, NYC
Tenmoku: Japanese Tea Bowls by Kimura MoriyasuMarch 12 – 27, 2015
On View : Tuesday – Saturday, 11am – 6 pm
Onishi Gallery, 521 West 26th Street, New York, NY 10001
212.695.8035
Contact
Nana Onishi / Onishi Gallery
212.695.8035 / 917.214.8108
Onishi Gallery, 521 West 26th Street,
New York, NY 10001
onishigallery.com
Oshiyama Motoko uses aspects of nature, such as animals, plants, and natural
phenomena, as inspiration for much of her work. She is fascinated by the challenges
and beauty of metals, and rather than controlling the medium seeks to work with the
idiosyncracies. Her technique involves welding two or more metals together, such as
shakudo (mixture of gold and copper ) and silver, which creates swirling patterns.
Unlike theme based paintings and sculptures which can be readily attributed to an
artist, Oshiyama believes that “craft” work should not be so personalized. Rather,
she strives to distinguish herself from other contemporary metal artists by expressing
herself through a modern sense of design focusing on geometric and abstract
patterns. The artist’s works straddle between “craft” and “art”; indeed Oshiyama’s
works are a rtis tic but she beli eves that if her d esigns b ecome too perso nal, then
they become sculptures or works of art, and not craft. Instead, her goal is to create
objects we live with that will enrich the environment aesthetically and therefore
our lives as well.
Oshiyama studied metal carving, chasing, and hammering techniques at the Bunka
Gakuen University in Tokyo, where she graduated from in 1981. Following graduation,
she studied further with Katsura Moriyuki (1914 –1996) and the Living National Treasure,
Okuyama Hoseki (1935 – ). Oshiyama currently teaches metalwork and jewelry-
making at her alma mater. This is her first time to exhibit works in the United States.
Onishi Gallery Asia Week New York 2013 Exhibition View
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AFFILIATE
521 West 26th Street, New York, NY10001
212 695 8035 / [email protected]
onishigallery.com