HE R I TAGE

Contemporary Japanese Ceramics and Metalwork

H ERI TAGE

Contemporary Japanese Ceramics and Metalwork

Throughout the centuries, Japanese artists have sought to capture 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 ones 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 Gallery is proud to present a unique
two-part exhibition featuring a brilliant array of contemporary Japanese
ceramics and metalwork. While Japanese ceramics have been a focus of
the Gallerys 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 Japans 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 shows 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 Citys 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

FROM CRAFT TO KGEI

Inquiry into the Essence of Forms

GREETING

By KARASAWA Masahiro, Chief Curator of Crafts Gallery,

the National Museum of Modern Art, Tokyo

I am thrilled and honored that works by Toyama prefectures zawa Kmin,

Hannya Tamotsu, and Hata Shunsai III are being displayed through Onishi
Gallery during this years Asia Week in New York City.
In May 2014, works by zawa Kmin and Hannya Tamotsu received high
praise from critics at an exhibition sponsored by Toyama prefecture, The
Extraordinary Kgei Art and Contemporary Design from Toyama, Japan, at
Onishi 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 zawa Kmin represents Japan as a Living National Treasure,
and is the inventor of a cast-wrapping technique called igurumi, 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 with mysterious patterns. Hata Shunsai III crafts iron teakettles 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 three artists are based in Takaoka, a city which boasts a
metalworking industry with over 400 years of history. Takaokas 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 this exhibition represent advanced
techniques born from Toyamas rich tradition of metalwork. I hope that you
will enjoy them and through them feel the spirit and history of Toyama.

ISHII Takakazu
Governor, Toyama Prefecture

In Japan today, kgei [,craft] refers to works made by both artists

and artisans, and the creations are considered as art or as manufactured
products. In other words, there are kgei that are created by artists and
those manufactured by artisans. It is perhaps not wrong to say that kgei
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
various media in their finished works. What this means is that the materials
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 dart or manufactured products, the medium was already
there. Therefore in the case of Japanese kgei, 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 dart or manufactured products.
This enforced intimacy with materials has led to the development of the
utmost skill in production levels and sophistication of expression in creating
craft objects in Japan. When considering the works made by artists, it has
become questionable whether such works can be simply categorized as
crafts, the English term traditionally used to translate kgei. Due to what the
word craft can bring to mind ranging from exhibited works and utilitarian
vessels to fence posts on a farm the term cannot be accurately defined as
craft, especially with works created by artists producing kgei which are rich
in individual expression.
Hence when discussing kgei, particularly of contemporary artists, instead
of using the Western concept of craft, the established translation of
kgei, I propose to leave the term in Romanized form kgei, 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 apply to a popular Japanese word, dent [], 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 densh [], which is about transmission,
such as in the passing down of folk stories and oral traditions.

When discussing skills and techniques, the term densh is important but
it cannot embody the concepts of tradition associated with artists, their
creativity, and artistry. When the widely used Japanese terms dent and
kgei are combined as dent kgei [], and translated into English
as traditional crafts, they merely become words that imply age. For artists,
when contemplating dent kgei, 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 kgei is perhaps due to the strong sense of the
materials 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 kgei strives to investigate the intrinsic
nature of materials.
The artists represented in this show, Heritage: Contemporary Japanese
Ceramics and Metalwork, are key figures related to dent kgei in Japan
today. By observing their works that represent the pinnacle of the genre,
it is my hope that visitors will appreciate kgei while contemplating the
significance of the materials in the works.

Incense Burner, 2014; porcelain with yuri-kinsai (gold underglaze); h.6 x dia.5 in. (15 x 12.7 cm)

YOSHITA Minori (1932)

The Yoshita family runs the Nishikiyama kiln, which specializes in aka-e kinrande,
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
various traditional techniques characteristic to the Nishikiyama kiln while refining
them in innovative ways.
The artist is recognized for his graceful application of yuri-kinsai, underglazed gold
decorative porcelain. This technique was developed during the 1960s 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. Yoshitas
technique is a perfect marriage of elegant Kutani porcelain traditions with kinpaku
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.

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)

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)

ITO Sekisui V (1941)

Isezaki Jun, the second son of potter Isezaki Yozan (19021961 ) , 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.

Born in 1941, Ito Sekisui V is recognized for works utilizing mumyoi or a red soil,
he was designated a Living National Treasure in 2003. Mumyoi is a reddish brown,
ferric oxide clay extracted from gold mines native to Sado Island in Niigata prefecture
where he was born.

Isezaki brings back the traditional anagama kiln, that is dug into a hillside similar to
a tunnel. Significant in Bizen pottery production is the yakishime 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. Isezakis 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.

Ito graduated in 1966 from Kyoto Technical University with a degree in ceramics. He
then returned to Sado Island and started experimenting with mumyoi and various
firing methods. He created his signature aesthetic by placing red against black contrasts
and is also known for neriage wares. Characterized by beautiful and delicate patterns,
neriage wares are produced by first making multiple layers of clay with different tones
of reddish brown using mumyoi, 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 artist defines creativity as bringing forth, what has never existed, something new
and attractive. Thats a creators destiny. To this end, Ito has been quite successful
and has been the recipient of many prestigious awards. He continues to experiment
with different techniques and strives to perfect his skills even further. His work can be
seen 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 in Tokyo, the Victoria and Albert Museum in London, the Smithsonian Institute,
Washington D.C., and at the Metropolitan Museum of Art, New York.

Flower Vase with Zuika (Mullein) Flower Patterns, 2014; porcelain with
iro-e polychrome enamel painting with light sumi and sumi-hajiki; h.14
1/2 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)

IMAIZUMI Imaemon XIV (1962)

SAKAIDA Kakiemon XIV (19342013)

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. IroNabeshima, a polychrome, enamel painted porcelain, was developed during the Edo
period (16151868), 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 celebrated
porcelains 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
working in the product design industry. The family reputation and long tradition
came with the challenge to further develop Nabeshima wares. The artists signature
techniques include sumi-hajiki 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 firingpassed 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 patterns such as snowflakes.

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
(16151868 ), Kakiemon porcelains have been exported to Europe and treasured
all over the world.

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.

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 (18781963) and his father, Kakiemon XIII
(1906 1982 ) . In 2001, Sakaida Kakiemon XIV was designated a Living National
Treasure for his excellence in overglazed enamel porcelains. 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 of Kakiemon is in the perfect balance between the richly 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 invented in the late 17th century by the first Kakiemon generation. In 1953,
Kakiemon XII and XIII succeeded in reviving nigoshide and in 1955, this technique
was designated an Intangible Cultural Property by the Japanese government.

Kashin (Pistil), 1998; porcelain with colored glaze; h.1 3/4 x dia.20 1/2 in.
(4.5 x 52.5 cm)

Ancient Red Fuji, 2013; porcelain with colored glaze; h.2 3/4 x dia.16 in.
(7 x 41 cm)

TOKUDA Yasokichi III (19332009)

TOKUDA Yasokichi IV (1961)

Tokuda Yasokichi III was one of the worlds most famous Kutani potters. Born in
Ishikawa prefecture, he was designated a Living National Treasure in 1997 for his
mastery of the saiyu glaze (vivid enamel glaze ) 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 (19071997) . Through his saiyu
glaze technique, Yasokichi III created his own designs characterized by delicate
shading and beautiful color contrasts.

Born in 1961, Tokuda Yasokichi IV succeeded her father Tokuda Yasokichi III after his
death in 2009. As a female leader of a traditional potters 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.

Yasokichi IIIs works have been recognized 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 Chairmans Award (1977), the Grand Prize
of the International Pottery and Porcelain Exhibition (1990), and the Purple Ribbon
Medal given by the Japanese government (1993).

Bowl, 2014; porcelain with enamel and gold in kinrande style; h.10 x dia.17 3/4 in. (25 x 45 cm)

Ceremonial Vessel Sonsu (Reverence), 2014; stoneware; h.9 3/4 x w.16 3/4 x d.8 1/4 in.
(24.8 x 42.5 x 21 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 traditional Kutani overglaze techniques of his native Kanazawa.
At the same time, his works are reflective of his own aesthetic sensibilities; Yoshitas
expressions with colors such as the faded pastel shades that recall frescoes of the
Italian Renaissance and poetic representations of color akin to watercolor drawings
on 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. Yoshitas 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 crafting ceramic works near Kanazawa for the tea ceremony.
Toshio is the eleventh generation head of this historic 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 of Kanazawa, Ohi earned a masters degree in fine arts from Boston University.
While he learned new expressions of ceramics during 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
familys multi-generational heritage of Ohi ware.
Ohis 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
Svres 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.

Flower Vase in Blue, 2014; porcelain; h.13 1/2 x dia.7 1/4 in. (34 x 18 cm)

Silky White VaseJewel Line, 2012; porcelain; h.10 x dia.8 1/2 in.
(25.4 x 21.6 cm)

SHOMURA Ken (1949)

SHOMURA Hisaki (1974)

Shomura Ken is the fifth generation head of the Banko kiln in Arita, Saga prefecture,
which dates back to the Meiji period (18681912) . 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 with the leading expert of white porcelain production, Inoue Manji (1929),
designated a Living National Treasure in 1995. Shomura trained with Inoue, making
vessels on a potters wheel which became the foundation for his eventual works
of clear and sleek porcelains. Shomuras celadons quickly gained recognition in
juried competitions and in 1980, at the young age of 31, he won a high prize at the
prestigious Japan Traditional Art Crafts Exhibition.

Shomura Hisaki, son of Ken, studied industrial chemistry in college, then attended
Arita College of Ceramics before starting to work at his family kiln. His original works
called shirotae-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 artist from Arita, Shomura has won numerous awards at
competitions, such as the Japan Traditional Art Crafts Exhibition, and has shown
works at solo exhibitions in various cities in Japan.

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.

Plate with Clematis Design, 2013; stoneware; h.4 1/2 x dia.22 in. (11 x 56 cm)

Faceted Box with Small Patterns, 2014; stoneware; h.5 1/2 x dia.11 1/2 in. (13.5 x 29 cm)

KOYAMA Koichi (1960)

YAMAJI Kazuo (1949)

Koyama Koichi studied ceramics at Tamagawa University. He set up his kiln, Ryusenyo, in the Yanaka district of downtown Tokyo where he was 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 1990s after receiving the Special Award at the Asahi
Ceramic Art Exhibition.

Yamaji Kazuo was born in Tokyo in 1949. As a young adult, his infatuation with 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 (18941978), and in 1967, Yamaji
started studying at the ceramists studio. He stayed there for five years and then
returned to Japan in 1972.

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 pigmentform 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 colors and techniques. The distinct 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.

After two years of training in Mashiko, he started his own kiln 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 1985 he moved back to Kasama, a rural area 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
various sources, including the Japanese checker- board design used in everyday
kimonos from the Edo Period, Islamic mosques, and Western cathedrals.

Blue Bizen Triangular Vessel with White Clay Patterns, 2014; stoneware; h.19 1/2 x dia.16 3/4 in.
(49 x 42 cm)

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)

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 outside of his hometown, he went to Kyoto and studied at the Ceramic
Training School. After graduation, he went on to study with the ceramist Okamoto
Akira (1941).

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 color, first discovered in the town of Arita in the 17th century, have long
been adored by ceramic collectors and connoisseurs. The artist adds this traditional
red 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.

His most recent invention is ao-Bizen 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 itchin, a decorative technique
that creates curvilinear white patterns of hakudei-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 in the 5th or 6th
century. Suzukis 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 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.

Vase with Textile Patterns, 2012; porcelain; h.10 x dia.15 in. (25 x 38 cm)
Tenmoku Andromeda Water Jar, 2014; stoneware,
wood; h.13 3/4 x w.6 1/2 x d.6 3/4 inches
(34.5 x 16 x 17 cm)

UWATAKI Koichi (1968)

KIMURA Moriyasu (1935)

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 ).

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 layers of shimmering blues on Kimuras ceramics are a testimony 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 and
requires a lot of experimentation, knowledge, and patience.

Uwataki Koichi uses the nunozome saiji 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.
Uwatakis works have been exhibited in both group and solo shows in Japan; in
2009 his work was purchased for the Imperial Household Agency.

Tenmoku tea bowls were first produced in China during the Song Dynasty (9601279),
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 (13691395).
As Kimura says, There is a richness and depth of hue that one never tires of; it is
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 riveting beauty of this style has won the admiration of many around the world 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 British Museum in London; the Harvard Art Museums/Arthur M.
Sackler Museum, Cambridge, Massachusetts, the Peabody Essex Museum, Salem,
Massachusetts; and the Portland Art Museum in Oregon.

From the Earth, From the Sky, 2012; yakigata metal casting; h.15 1/2 x w.11 1/2 x d.4 1/2 in.
(40 x 30 x 12 cm)

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)

OZAWA Komin (1941)

NAKAGAWA Mamoru (1947)

Ozawa Komin, metal artist from Takaoka, holds the honor of being Toyama prefectures
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 of
traditional metal casting.

Nakagawa Mamoru, recognized for his outstanding mastery of zogan (metal-inlay),

was designated a Living National Treasure in 2004. The title Living National 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 by
the feudal lords.

The artist takes inspiration from the interplay of light and water in his 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 seensuch
as the wind, sound, electromagnetic waves, and airare 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.

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 tradition and innovation. In 2008, one of his masterpieces, Sekisei,
was acquired by the Metropolitan Museum of Art 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.

Mokume-gane (wood-grain metal) Jar, 1991; hammered silver, copper and sekido; h.6 x dia.7 in.
(15 x 18 cm)

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)

TAMAGAWA Norio (1942)

OSUMI Yukie (1945)

Designated a Living National Treasure for his unique metal hammering technique
mokume-gane in 2010, Tamagawa Norio is one of the most respected and well
known artists of his field in Japan. He was born in 1942 in Niigata prefecture and
is a descendent of Tamagawa Kakubei ( 17991871 ), who founded Gyokusendo
in 1816. Gyokusendo creates functional and decorative copperware in the tsuiki or
hand hammered method.

Osumi Yukie is a metal artist who specializes in tankin or hammered vessels. Osumi
graduated in 1969 from the Faculty of Fine Arts, Tokyo University of the Arts. Afterwards,
she studied under Kashima Ikkoku (18981996 ), Sekiya Shiro (19071994 ), and
Katsura Moriyuki (19141996). She also trained as an artist 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 first to be awarded a residency
at the Freer Gallery of Art and Arthur M. Sackler Gallery, the Smithsonians Museum
of Asian Art in Washington, D.C.

Tamagawa studied the hammering technique in Tokyo from 1963 to 1965 as an

apprentice under Sekiya Shiro ( 19071994 ) , 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.

She applies the traditional technique nunome-zogan or textile imprint inlay. This
involves hammering metal leaf or wire into a fine, mesh-like grid incised into the
surface of metal surfaces. 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.

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, gold and brass; h.4 x w.21
1/2 x d.9 1/4 in. (11 x 56 x 23 cm)

HATA Shunsai III (1976)

HANNYA Tamotsu (1941)

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 work
since he was a young boy.

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
within five seconds of each other. Due to the different melting points of the three
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.

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.

His work is in the collection of the National Museum of Modern Art, Tokyo.

Onishi Gallery Asia Week New York 2013 Exhibition View

Zansho (Lingering Light ) , 2010; silver, copper and shibuichi 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

OSHIYAMA Motoko (1958)

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 artists works straddle between craft and art; indeed Oshiyamas
works are artistic but she believes that if her designs become too personal, 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 (19141996) and the Living National Treasure,
Okuyama Hoseki (1935 ) . Oshiyama currently teaches metalwork and jewelrymaking at her alma mater. This is her first time to exhibit works in the United States.

HERITAGE: Contemporary Japanese Ceramics and Metalwork

March 1321, 2015
Opening Reception: Friday, March 13, 6 9pm
Open House Weekend: March 1415, 10am 6pm
On View:10am 6pm, daily
Erarta Galleries, 1043 Madison Avenue, 1st Floor, New York, NY 10075
917.214.8108
Chelsea, NYC

Tenmoku: Japanese Tea Bowls by Kimura Moriyasu

March 1227, 2015
On View: TuesdaySaturday, 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
nana@onishigallery.com
onishigallery.com

AFFILIATE

521 West 26th Street, New York, NY10001

212 695 8035 / info@onishigallery.com
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