ASIA-Booklet 2015 v2 FINAL Web

8/19/2019 ASIA-Booklet 2015 v2 FINAL Web

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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

[email protected]

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

ASIA-Booklet 2015 v2 FINAL Web

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