Modern Japanese Ceramics
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An eccentric crusty bowl, very different, by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku Yaki Yohen Chawan. Unlike his normal burnished and color ridden surfaces, this bowl is ominous, matte, shot through with pin-hole-textures and rivulets streaming from the rim. It is like something from deep within the universe, an ancient traveler which has been charred and scarred on its way through the atmosphere. Not only that but it is slightly deeper than his normal bowls, 10.5 cm (4 inches) to the rim, and misshapen, 10.5 to 11.5 cm ((4-4-1/2 inches) diameter, making it fit better in the hand. On a recent visit to the artist, after viewing a number of his newest bowls, I had to ask: Which one is your favorite? Without hesitation he went straight to this one.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. He is held in the collection of the V&A London and Los Angeles County Museums.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. He is held in the collection of the V&A London and Los Angeles County Museums.
Modern Japanese Ceramics
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Crackled green glass pools in the center of this humble tea bowl by Ezaki Issei enclosed in the original signed wooden box titled simply Chawan. The works of Issei personify the humble virtues of the tea ceremony. They are imbued with a sense of Musakui (Lack of intention), a bowl that has come to be, rather than a bowl that was created. It is 15.5 cm (6 inches) diameter, 5.5 cm (2-1/4 inches) tall and in excellent condition.
Ezaki Issei (also Esaki, 1918-1992) was born in Tokoname, but came to the road of the potter later in life, establishing himself as an artist in 1956. It was he who set the pattern for the research and revival of medieval techniques. His work was exhibited and awarded at the National Art Exhibition (Nitten), National Traditional Crafts Exhibition (Nihon Dento Kogeiten), Asahi Crafts Fair (Asahi Kogeiten) and the Modern Japanese Ceramics Exhibition (Gendai Nihon Togeiten) among others. He taught both Osako Mikio and Takeuchi Kimiaki, making him likely the most influential 20th century Tokoname artist. After ten years battling sickness and on the slate to be named a living national treasure, he succumbed to illness at the age of 74. Several works by him is held in both the National Museums of Modern Art in Tokyo and Kyoto.
Ezaki Issei (also Esaki, 1918-1992) was born in Tokoname, but came to the road of the potter later in life, establishing himself as an artist in 1956. It was he who set the pattern for the research and revival of medieval techniques. His work was exhibited and awarded at the National Art Exhibition (Nitten), National Traditional Crafts Exhibition (Nihon Dento Kogeiten), Asahi Crafts Fair (Asahi Kogeiten) and the Modern Japanese Ceramics Exhibition (Gendai Nihon Togeiten) among others. He taught both Osako Mikio and Takeuchi Kimiaki, making him likely the most influential 20th century Tokoname artist. After ten years battling sickness and on the slate to be named a living national treasure, he succumbed to illness at the age of 74. Several works by him is held in both the National Museums of Modern Art in Tokyo and Kyoto.
Modern Japanese Ceramics
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Wow, this Iga Shinogi Mizusashi by Atarashi Manabu is as good as it gets. The torn and slabbed surface is rough, accentuating the particular grains of Iga clay, covered in a smattering of smokey charring and spattered ash. The vessel comes enclosed in the original signed wooden box titled Iga Shinogi Mizusashi. It is 17.5 cm (7 inches) diameter, 20 cm (8 inches) tall and in perfect condition, directly from the artist this summer. It compliments perfectly the Chawan from the same firing.
Atarashi Manabu has been growing in popularity as one of the leaders in the Iga pottery tradition since the first time I saw his work nearly 20 years ago when visiting the family showroom in Iga village. Born in 1973 in Osaka son of the second generation artist and one of the leading revivalists of the Iga tradition in post war Japan, Atarashi Kanji. He graduated the literature department of Kansai University in 1995, moving to apprentice under his father a few years later. In 2002 he built his first anagama Kiln, and held his first of a multitude of solo exhibitions. Intensely fired multiple times to achieve the bidoro glass puddles and landscape effects which define his aesthetic, the geometric works add a contemporary sensibility to the traditional Iga style and transcend the realm of utilitarian crafts breaking into the sculptural domain. His work has proven innovative and challenging to the norm, taking his fathers tradition into the 21st century.
Atarashi Manabu has been growing in popularity as one of the leaders in the Iga pottery tradition since the first time I saw his work nearly 20 years ago when visiting the family showroom in Iga village. Born in 1973 in Osaka son of the second generation artist and one of the leading revivalists of the Iga tradition in post war Japan, Atarashi Kanji. He graduated the literature department of Kansai University in 1995, moving to apprentice under his father a few years later. In 2002 he built his first anagama Kiln, and held his first of a multitude of solo exhibitions. Intensely fired multiple times to achieve the bidoro glass puddles and landscape effects which define his aesthetic, the geometric works add a contemporary sensibility to the traditional Iga style and transcend the realm of utilitarian crafts breaking into the sculptural domain. His work has proven innovative and challenging to the norm, taking his fathers tradition into the 21st century.
Modern Japanese Ceramics
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A trumpeting vessel, the closed top split open dripping with thick Oribe copper glaze and iron patterns by Tanahashi Jun enclosed in the original signed wooden box. it is 18.5 cm (7-1/4 inches) diameter, 16.5 (6-1/2 inches) tall and in excellent condition.
Tanahashi Jun was born in Gifu prefecture in 1959. He established his kiln in Seto in 1990, and has exhibited with the Nitten, and awarded at the Nihon Shin Kogei Ten (New Crafts Exhibition) as well as the Asahi Togeiten Ceramics Exhibition and been collected by the Ministry of Foreign Affairs.
Tanahashi Jun was born in Gifu prefecture in 1959. He established his kiln in Seto in 1990, and has exhibited with the Nitten, and awarded at the Nihon Shin Kogei Ten (New Crafts Exhibition) as well as the Asahi Togeiten Ceramics Exhibition and been collected by the Ministry of Foreign Affairs.
Modern Japanese Ceramics
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A proud Shino bowl licked by flame by legendary artist Hori Ichiro enclosed in the original signed wooden box titled Shino Chawan. Red tendrils leap up the deeply fissured white glaze. The bowl is hefty yet comfortable to hold, perfectly formed with slightly tapering sides and a wavy rim. It is 14 cm (5-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and in excellent condition.
Hori Ichiro (b. 1952) graduated the Tajimi School of Industrial Design and apprenticed under Kato Kozo. He has been awarded the Governors prize at the Asahi Ceramics Exhibition, and has been displayed at the Chunichi Kokusai Togei Ten as well as Nihon Dento Kogei Ten. He says, “I believe in making pottery which is born of nature…”
Hori Ichiro (b. 1952) graduated the Tajimi School of Industrial Design and apprenticed under Kato Kozo. He has been awarded the Governors prize at the Asahi Ceramics Exhibition, and has been displayed at the Chunichi Kokusai Togei Ten as well as Nihon Dento Kogei Ten. He says, “I believe in making pottery which is born of nature…”
Modern Japanese Ceramics
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Red and Blue Rivulets drip down over green melding into the ashen gray textured glaze on this Tea Jar by Sakuchi Ensen enclosed in the original signed wooden box. It is 25.5 cm (10 inches) diameter, 28.5 cm (11-1/4 inches) tall and in excellent condition. The box top is lightly stained.
Sakuchi Ensen (B. 1922) began on the path of the potter in 1946, searching to create something unusual in the hills of Okayama. His research led him to create this highly decorative yet wildly natural glaze he came to call Hishhoku Nanban Yaki.
Sakuchi Ensen (B. 1922) began on the path of the potter in 1946, searching to create something unusual in the hills of Okayama. His research led him to create this highly decorative yet wildly natural glaze he came to call Hishhoku Nanban Yaki.
Modern Japanese Ceramics
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A Shigaraki vase by Furutani Kazuya enclosed in the original signed wooden box titled Shigaraki Konsei Hanaire. The Konsei blended clay creates a unique texture. The coloration on thi piece makes it stand apart from its contemporaries. Very unusual and striking combination of raw clay, orange, black and a few crystaline beads of green glazz around two white eyes. It is 29 cm (11-1/2 inches) tall, 15 cm (6 inches) diameter and in excellent condition, directly from the artist.
Furutani Kazuya was born the son of Anagama legend Furutani Michio in 1976. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.
Furutani Kazuya was born the son of Anagama legend Furutani Michio in 1976. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.
Modern Japanese Ceramics
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A colorful pair of hips by Matsuda Yuriko enclosed in the original signed wooden box titled Kinsai Aka-e Shiri -Goo- (Red and Gold Decorated Porcelain Buttocks, -Goo-. It was exhibited at the Ilmin Museum of Art exhibition: “Its Horizontal Its Vertical” in Seoul South Korea in 1997 and retains the original artist made stand as well as the exhibition pamphlet. The piece is 43 x 32.5 x 14 cm (17 x 13 x 5-1/2 inches) excluding the stand, and is in excellent condition.
Matsuda Yuriko was born in Ashiya, Hyōgō Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japan (Nihon Togei Ten, Gendai Togei Ten etc.) and without she has an impressive list of exhibitions in a host of countries. She received the Yagi Kazuo prize in 1986 among many others. According to the book “Touch Fire”, Many of the women artists included in this exhibition are independent innovators who work outside the constraints of Japanese ceramic traditions. However, several of the artists, including Matsuda Yuriko, continue to use traditional techniques with skills that rival, if not exceed, those of their predecessors, and in doing so they create new and challenging contemporary ceramic Sytg art. They reinterpret the traditional decorative technique for porcelain vessels, called iro-e over-glaze enameling, and transposes its motifs onto nonfunctional objects. Her beautifully enameled iro-e porcelain sculptures are witty odes to two favorite subjects: the female body and Mount Fuji. For more information on this artist and examples of her work see the books Contemporary Japanese Ceramics, Fired with Passion by Beatrice Chang and Samuel Lurie. Also see Contemporary Clay, Japanese Ceramics for the New Century based on the Museum of Fine Arts Boston exhibition or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2010).
Matsuda Yuriko was born in Ashiya, Hyōgō Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japan (Nihon Togei Ten, Gendai Togei Ten etc.) and without she has an impressive list of exhibitions in a host of countries. She received the Yagi Kazuo prize in 1986 among many others. According to the book “Touch Fire”, Many of the women artists included in this exhibition are independent innovators who work outside the constraints of Japanese ceramic traditions. However, several of the artists, including Matsuda Yuriko, continue to use traditional techniques with skills that rival, if not exceed, those of their predecessors, and in doing so they create new and challenging contemporary ceramic Sytg art. They reinterpret the traditional decorative technique for porcelain vessels, called iro-e over-glaze enameling, and transposes its motifs onto nonfunctional objects. Her beautifully enameled iro-e porcelain sculptures are witty odes to two favorite subjects: the female body and Mount Fuji. For more information on this artist and examples of her work see the books Contemporary Japanese Ceramics, Fired with Passion by Beatrice Chang and Samuel Lurie. Also see Contemporary Clay, Japanese Ceramics for the New Century based on the Museum of Fine Arts Boston exhibition or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2010).
Modern Japanese Ceramics
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A double gourd shaped covered water jar by Tsukigata Nahiko enclosed in the original signed wooden box titled Oni-Shino Mizusashi and inside named Robai-ju (Robai is a type of early blossoming plum, Ju is ball). It is just under 7 inches (17.5 cm) diameter, 6 inches (15 cm) tall and in excellent condition.
Tsukigata Nahiko (1923-2006) was not only an accomplished ceramic artist, but also a painter, calligrapher, sculptor and musician. Born in Niigata prefecture, he was at Waseda University in 1941 when he was summarily drafted into the Army. After the war he attended the Arts course of Nippon Daigaku University and was struck by the works of Living National Treasure Arakawa Toyozo, to whom he apprenticed in the arts of Shino and took his mentors work to a new level. Like all art, his was alive and always evolving. Starting with the replication and research of Momoyama techniques to the culmination of his efforts in Oni-shino, Nahiko has taken Shino beyond all others. It was not an easy road, for the first 15 years he worked for a ballet school, spent time as a recluse priest at Myoanji temple, and wandered the country playing the shakuhachi. It was a time of great change in Japan, starvation was rampant immediately after the war and supporting oneself through the little-known art of Shino-yaki was difficult. However, he persevered, along with Toyozo, Kato Juuemon, Kato Kohei and others, to bring Shino to the forefront of ceramic arts. Heavily prized domestically and abroad in his lifetime, his low output and unique quality make his work a must have for collectors.
Tsukigata Nahiko (1923-2006) was not only an accomplished ceramic artist, but also a painter, calligrapher, sculptor and musician. Born in Niigata prefecture, he was at Waseda University in 1941 when he was summarily drafted into the Army. After the war he attended the Arts course of Nippon Daigaku University and was struck by the works of Living National Treasure Arakawa Toyozo, to whom he apprenticed in the arts of Shino and took his mentors work to a new level. Like all art, his was alive and always evolving. Starting with the replication and research of Momoyama techniques to the culmination of his efforts in Oni-shino, Nahiko has taken Shino beyond all others. It was not an easy road, for the first 15 years he worked for a ballet school, spent time as a recluse priest at Myoanji temple, and wandered the country playing the shakuhachi. It was a time of great change in Japan, starvation was rampant immediately after the war and supporting oneself through the little-known art of Shino-yaki was difficult. However, he persevered, along with Toyozo, Kato Juuemon, Kato Kohei and others, to bring Shino to the forefront of ceramic arts. Heavily prized domestically and abroad in his lifetime, his low output and unique quality make his work a must have for collectors.
Modern Japanese Ceramics
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Tarnished silver glows dully inside this raw clay bowl by female pottery pioneer Ogawa Machiko enclosed in the original signed wooden box titled simply Wan. It is 14 cm (5-1/2 inches) diameter, 7 cm (3 inches) tall and in excellent condition.
Ogawa Machiko was born in Sapporo on the Northern Island of Hokkaido in 1946. She studied under future Living National Treasures Fujimoto Yoshimichi, Tamura Koichi and Kato Hajime at the Tokyo University of Arts, graduating in 1969, then went on to further studies in France and Africa, returning to Japan in 1975. She began garnering attention in the mid eighties, and has since become one of the leading female figures in Japanese pottery. She was awarded the JCS prize in 2001, one of Japans most prestigious awards. Work by her is held in the Brooklyn Art Museum, LACMA, New York Metropolitan Museum of Art, Smith College, MIA, MOMAT and a host of others. For more see “Touch Fire, Contemporary Ceramics by Women Artists” (2009) or Toh, volume 67 (1993).
Ogawa Machiko was born in Sapporo on the Northern Island of Hokkaido in 1946. She studied under future Living National Treasures Fujimoto Yoshimichi, Tamura Koichi and Kato Hajime at the Tokyo University of Arts, graduating in 1969, then went on to further studies in France and Africa, returning to Japan in 1975. She began garnering attention in the mid eighties, and has since become one of the leading female figures in Japanese pottery. She was awarded the JCS prize in 2001, one of Japans most prestigious awards. Work by her is held in the Brooklyn Art Museum, LACMA, New York Metropolitan Museum of Art, Smith College, MIA, MOMAT and a host of others. For more see “Touch Fire, Contemporary Ceramics by Women Artists” (2009) or Toh, volume 67 (1993).
Modern Japanese Ceramics
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A very elegant swirling bowl inflated like a balloon in dark lapis with applied silver basin by rising female star Takemura Yuri enclosed in the original signed wooden box titled Sora Fune (Air Ship). It is 13.5 cm (just less than 6 inches) diameter, from 4.5 to 7.5 cm (2-3 inches) tall at the high end and in excellent condition, dating circa 2017.
Takemura Yuri was born in Nagoya, Aichi prefecture in 1980, daughter of a graphic designer. She came to ceramics after first working with oil paints. Frustrated at the two dimensional limitations of the canvas, the free form of pottery was a perfect medium to express her sense of design. She graduated the ceramics department of the Aichi Prefectural University of Fine Art in 2004, then was accepted as an artist in residence at the Shiga Prefectural Togei no Mori Ceramics Research Facility, where she stayed until 2006. Again, she moved to the Udatsuyama Ceramic center in Kanazawa city until 2009, and remains in that area today. She has been awarded at the National Crafts Exhibition, the Kikuchi Bienale, the Kanazawa Crafts Exhibition and the International Mino Exhibition (Kokusai Tojikiten Mino). Work by her is held in the Aichi Prefectural Ceramics Museum, The Kanazawa 21st Century Museum, as well as the Portland Art Museum among others.
Takemura Yuri was born in Nagoya, Aichi prefecture in 1980, daughter of a graphic designer. She came to ceramics after first working with oil paints. Frustrated at the two dimensional limitations of the canvas, the free form of pottery was a perfect medium to express her sense of design. She graduated the ceramics department of the Aichi Prefectural University of Fine Art in 2004, then was accepted as an artist in residence at the Shiga Prefectural Togei no Mori Ceramics Research Facility, where she stayed until 2006. Again, she moved to the Udatsuyama Ceramic center in Kanazawa city until 2009, and remains in that area today. She has been awarded at the National Crafts Exhibition, the Kikuchi Bienale, the Kanazawa Crafts Exhibition and the International Mino Exhibition (Kokusai Tojikiten Mino). Work by her is held in the Aichi Prefectural Ceramics Museum, The Kanazawa 21st Century Museum, as well as the Portland Art Museum among others.
Modern Japanese Ceramics
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A stratified bloc of hollowed out Shigaraki clay by female pottery pioneer Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen Yu Kaku Hanaire. A thick coating of blown natural ash glaze has settled on the shoulders, while the layers of earth below show a dusting of color on top, but rich red in the shadows with plenty of small inclusions for the eye to play with. It is 22.5 cm (9 inches) tall, roughly 10 cm (4 inches) square and in excellent condition.
Koyama Kiyoko was the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan. Born in Sasebo, Nagasaki in 1938, she went to Shigaraki village, home of one of Japan’s Six Ancient Kilns. There she studied the traditional techniques, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993
Koyama Kiyoko was the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan. Born in Sasebo, Nagasaki in 1938, she went to Shigaraki village, home of one of Japan’s Six Ancient Kilns. There she studied the traditional techniques, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993
Modern Japanese Ceramics
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A stunning and unusual Chawan tea bowl in burnt orange glaze with abstract splashes of black by Kawamoto GOro enclosed in the original signed wooden box. Perfectly formed, with a wide base and slightly concave sides leading to a pouty rim, all draped in this haunting ochre with poured black graffiti. A masterpiece by this important artist. It is 11.5 cm (4-1/2 inches) diameter, 8 cm (3-1/4 inches) tall and in excellent condition.
Kawamoto Goro (1919-1986) was born in Seto to a family of potters. He studied in Kyoto at the same institution as Kawai Kanjiro and Hamada Shoji. Returning to work at the family kiln, he was later adopted by Kawamoto Rekitei, a famous decorator of pottery. In 1953 he gained first recognition, accepted into the Nitten National Exhibition and garnering top prize at the Asahi Modern Ceramics Exhibition. In 1958 he would be awarded in Brussels, and in 1959 in California and at home was granted the 1959 JCS award winner. Much lauded the list is much too long for this article. work by him is held in the Kyoto National Museum of Modern Art as well as the The National Museum of Modern Art, Tokyo among many others.
Kawamoto Goro (1919-1986) was born in Seto to a family of potters. He studied in Kyoto at the same institution as Kawai Kanjiro and Hamada Shoji. Returning to work at the family kiln, he was later adopted by Kawamoto Rekitei, a famous decorator of pottery. In 1953 he gained first recognition, accepted into the Nitten National Exhibition and garnering top prize at the Asahi Modern Ceramics Exhibition. In 1958 he would be awarded in Brussels, and in 1959 in California and at home was granted the 1959 JCS award winner. Much lauded the list is much too long for this article. work by him is held in the Kyoto National Museum of Modern Art as well as the The National Museum of Modern Art, Tokyo among many others.
Modern Japanese Ceramics
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Product of the pure spirit of Shigaraki tradition and the pure winds of the inferno and impurities of the clay is this fabulous chawan tea bowl by the inspiring Furutani Kazuya enclosed in the original signed wooden box titled Shigaraki Chawan. It has a rugged complexion with raw sunburnt clay dappled with spattered ash and a wide, solid, base. Enjoy the weight of it in your hands, then turn it over and marvel at the glistening jade gem clinging to the bottom. It is 12 cm (5 inches) diameter 8 cm (3 inches) tall and in excellent condition, directly from the artist.
Furutani Kazuya was born the son of Anagama legend Furutani Michio in 1976. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues. He was just preparing for a solo exhibit at the prestigious Kuroda Toen Gallery when we met him late in the autumn.
Furutani Kazuya was born the son of Anagama legend Furutani Michio in 1976. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues. He was just preparing for a solo exhibit at the prestigious Kuroda Toen Gallery when we met him late in the autumn.
Modern Japanese Ceramics
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An organic form by young female artist Tanaka Tomomi enclosed in the original signed wooden box titled Mimi-nari and dating from 2017. It is 6 x 6 x 5-1/2 inches (15 x 15 x 14 cm) and is in excellent condition.
Tanaka Tomomi was born in Hyogo prefecture, near Kobe, in 1983, and graduated advanced courses at the Aichi University of Education in 2008, however her work has been garnering attention in various exhibitions since 2005. She has received the Kyoto Mayor’s Award at the “39th Women’s Association of Ceramic Art” in 2005, and been prized at the 2006 and 2007 Asahi Togeiten Ceramic Art Exhibition. In 2014 she was given Silver at the 10th International Ceramics Competition Mino. Highly sought after, her work is held in the Ibaraki Ceramic Art Museum.
Tanaka Tomomi was born in Hyogo prefecture, near Kobe, in 1983, and graduated advanced courses at the Aichi University of Education in 2008, however her work has been garnering attention in various exhibitions since 2005. She has received the Kyoto Mayor’s Award at the “39th Women’s Association of Ceramic Art” in 2005, and been prized at the 2006 and 2007 Asahi Togeiten Ceramic Art Exhibition. In 2014 she was given Silver at the 10th International Ceramics Competition Mino. Highly sought after, her work is held in the Ibaraki Ceramic Art Museum.
Modern Japanese Ceramics
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A striking design of swirling dots decorates this wide low chawan by female porcelain legend Ono Hakuko enclosed in the original signed wooden box titled Yuri Haku-kin Sai Hira Chawan (White Gold Decorated Wide Tea Bowl). Blue and Green Dots swirl in a vortex from the center of the bowl. It is 16.2 cm (6-3/8 inches) diameter, 4.7 cm (2-7/8 inches) tall and in excellent condition retaining the original shiori.
From Aichi prefecture, Hakuko was trained by her father initially in the ceramic arts. However she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)
From Aichi prefecture, Hakuko was trained by her father initially in the ceramic arts. However she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)
Modern Japanese Ceramics
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A white porcelain bowl with silver lining by the young female artist Itaya Narumi enclosed in the original signed wooden box titled Chawan (flower). Stylized floral motifs are raised off the raw white porcelain surface, richly textured, while the inside is sheer as gilded silk. About the delicate foot ring is glazed and sculpted with petals. The bowl is 12 cm (4-3/4 inches) diameter and in excellent condition, from the artist this year.
Itaya Narumi was born in Gifu in 1991. She graduated the Kanazawa University of Art in 2013 then graduated the Tajimi city Ceramics Research Facility in 2015. She has participated in several exhibitions since, with an emphasis on natural forms and tactile senses.
Itaya Narumi was born in Gifu in 1991. She graduated the Kanazawa University of Art in 2013 then graduated the Tajimi city Ceramics Research Facility in 2015. She has participated in several exhibitions since, with an emphasis on natural forms and tactile senses.
Modern Japanese Ceramics
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Thick iron and feldspar cover the Iga glaze of this small vase by Ayukai Kogetsu enclosed in the original signed wooden box titled Oni Iga Ko Tsubo. It is 13 cm (5 inches) tall, roughly 9 cm (3-3/4 inches) diameter and in excellent condition. I think it would also make a nice tokkuri.
Ayukai Kogetsu is a female artist from Miyagi prefecture. During a trip to Nara after graduating university, she was struck by a calligraphy exhibition, and became a student of calligraphy under Onodera Hosen in Kessennuma. From 1969-1979 she exhibited calligraphy in a number of venues including the Shodo Geijutsu Inten, and received a number of awards. In 1979 she became a student and follower of the ceramic artist of Oni Shino fame Tsukigata Nahiko, who was also known for his painting and sculpture, all of which she absorbed over a ten year apprenticeship. She opened her own kiln in Gifu prefecture in 1992. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.
Ayukai Kogetsu is a female artist from Miyagi prefecture. During a trip to Nara after graduating university, she was struck by a calligraphy exhibition, and became a student of calligraphy under Onodera Hosen in Kessennuma. From 1969-1979 she exhibited calligraphy in a number of venues including the Shodo Geijutsu Inten, and received a number of awards. In 1979 she became a student and follower of the ceramic artist of Oni Shino fame Tsukigata Nahiko, who was also known for his painting and sculpture, all of which she absorbed over a ten year apprenticeship. She opened her own kiln in Gifu prefecture in 1992. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.