ONISHI GALLERY

Yubae (Sunset’s glow), 2011; vase; cast alloy of copper, silver, and tin with copper, silver, and gold inlay; h. 8 1/2 x w. 12 x d. 7 in. (22 x 30.5 x 17.8 cm)

NAKAGAWA Mamoru (1947–)

Nakagawa Mamoru, recognized for his outstanding mastery of zogan (metal-inlay), was designated a Living National Treasure by the Japanese government in 2004. At the age of 56, Nakagawa was the youngest artist ever to receive this honor, as the average recipient is over 80 years old. 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 of the Kaga domain (present-day Ishikawa and Toyama prefectures), during the Edo period (1615–1868). It was known as a center of metal-inlay craftwork, supported by the feudal lords. However, the metal-inlay tradition, like other craftwork traditions withered under the pressures of industrialization and modernization since the Meiji Restoration. Nakagawa has been a seminal figure in a successful initiative to revive metal-inlay as an important genre of craftwork. He has enlivened the traditionally monotone realm of metal casting, for example, with an unprecedented palette of colors.

As the zogan technique is said to have originated around Turkey, the artist has visited the area more than ten times, following the route of the Silk Road, the cultural crossroads between the East and the West. Nakagawa identifies the roots of his metal-inlay techniques there in its 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.

Rinka (Ring of flowers), 2000; plate; porcelain; h. 4 x dia. 22 in. (10.2 x 55.8 cm)

TOKUDA Yasokichi III (1933–2009)

Tokuda Yasokichi III was one of the world’s most famous Kutani potters. Born in Ishikawa prefecture, he was designated a Living National Treasure in 1997 for his mastery of the saiyu glaze technique. Yasokichi III innovated the glaze technique based on traditional Kutani color 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 techniques, Yasokichi III created his own visual world characterized by delicate shading and the beautiful contrast of enamel glaze colors.

Yasokichi III’s 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 acceptance into the Issui-kai Pottery and Porcelain Exhibition (1958), 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 Japanese government (1993).

So (Play), 2012; incense burner; porcelain; h. 4 1/2 x dia. 4 1/2 in. (11.5 x 11.5 cm)

TOKUDA Yasokichi IV (1961–)

Born in 1961, Tokuda Yasokichi IV succeeded her father Tokuda Yasokichi III after his death in 2009. As a female succeeding the head 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 with saiyu glazing whereby the arrangements and gradations of color play a central role in the ornamentation, rather than with 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 the diverse color palette and unique interpretations of form. Her works are housed in public collections in the United States, including the Indianapolis Museum of Art, Indiana.

Sonsu (Reverence), 2012; Ohi ware ceremonial vessel; stoneware with amber-colored glaze; h. 9 x w. 15 x d. 8 1/4 in. (23 x 38 x 21 cm)

OHI Toshio (1958–)

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 of this historic lineage. He shows the characteris- tically 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 master’s degree in fine art 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 tea or chanoyu. In addition, the opportunities of artist residencies, teaching and lecturing in China, Taiwan and South Korea, enabled him to develop his own perspective and comprehension of his family’s multi-generational heritage of Ohi ware.

In recent years, his works have embraced the traditional characteristics of Ohi ware while subtly asserting the individual character and stamp of their creator. His sharp forms and nuanced colors realized in his recent works are the result of both the long Ohi ware tradition and the artist’s inspirational journeys to sites all over the world.

Monochrome work 21, 2012; vessel, stoneware with engobe; h. 7 x dia. 16 1/8 in. (18 x 41 cm)

TSURUTA Yoshitaka (1956–)

Inspired by the abundance of nature surrounding his studio in Yamanashi, namely the majestic Yatsugatake Mountains, Tsuruta recreates fantastic landscapes on the surface of his simple monochrome vessels.

The artist successfully renders natural scenes into abstract forms in a symbolic and austere way in his works, with the gradation of monotone colors and snow- or sand-like textures. He composes images, not by painting directly with the brush, but rather by indirectly applying white diluted engobes in simple belt shapes onto the gray base multiple times, by the meticulous manipulation of masking tape. This particular decorative technique helps the artist organize and abstract his pictures.

Tsuruta has held solo exhibitions in Japan at venues such as the Ginza Matsuya Department Store and his works are widely collected by important private collectors in the United States.

Rock Landscape, 2012; stoneware with natural ash-glaze; h. 8 3/5 x w. 21 3/5 x d. 9 1/8 in. (22 x 55 x 25 cm)

MORIGUCHI Naohiro (1970–)

“The intimidating power of nature appears not only in stormy weather, but also in its serenity. Surrounded by forests, I feel the overwhelming energy of life; facing the magnificent scenery, I see time that cannot be covered by the history of human beings. While I enjoyed innocently as a child [playing in the woods], I often felt the mysterious aura emitted from nature. Rather than being terrified by it, I was overwhelmed by the power and beauty cloaked within the serenity, which I worship deeply and try to communicate through my work.” (Moriguchi Naohiro)

Ceramic sculptor Moriguchi Naohiro received his master’s degree in 1997 from the Ceramics Department at the Tokyo National University of Fine Arts and Music, the most prestigious art school in Japan. Growing up in the mountains of Hiroshima, Moriguchi enjoyed hiking, exploring limestone caves and observing the universe. His artistic inspiration comes from his love of nature and his fascination with its irresistible power. Moriguchi’s ceramic sculptures reveal his deep under- standing of the material clay –his works feature the delicate balance between the power of nature, the raw and rough artistic expressions of clay, as well as the richly crafted surfaces he achieves through his skill in manipulating his medium.

Amorphous, 2012; glass; h. 10 1/4 x w. 23 5/8 x d. 10 1/4 in. (26 x 60 x 26 cm)

KANO Tomohiro (1958–)

Kano Tomohiro was born in 1958 in Tokyo, Japan, and has received worldwide recognition for his sculptural works in glass.

A descendant of the renowned Kano family that served as official painters for samurai rulers from the fifteenth to the late nineteenth centuries, Tomohiro first studied Nihonga painting in college. Although born into a family of historic significance in the world of painting, the artist discovered his passion for art in glass-making.

Kano’s approach to glassware is unique. Materials such as clay or wax are traditionally used for casting glass but dissatisfied with this conventional molding method, the artist developed his own technique: He creates glass molds, thus using glass exclusively in making his forms with no other materials. As a result, his series Amorphous shows distinctive forms that are possible only by this unusual glass casting method. Therefore, his desire to maintain the integrity or purity of glass, to explore how shapes are born through the material is crystal- lized in his glass works.

Transition 46, 2002; cast and kiln-formed lead glass; h. 7 1/2 x w. 13 4/5 x d. 13 4/5 in. (18 x 35 x 35 cm)

SATO Naoko (1964–)

“I have always been interested in the way clothes find form on the human body. I love watching a woman with a pleated skirt walking by, creating wonderful movement.” (Sato Naoko)

Born and educated in Japan, acclaimed glass artist Sato Naoko has developed her art primarily in England. She completed foundation courses in 1993 at Central Saint Martins College of Arts and Design, London, before choosing to specialize in glass art production. After her degree in glass design at Middlesex University, she received her master’s degree from the Royal College of Art in 1999. Her work features ‘transitions’; her works explore movements normally associated with textiles such as folds and ripples. Sato abstracts these features and uses them as inspiration for her striking glass sculptures. Her interest in fabrics and how they respond to the underlying structures or frames, as well as her interest in dance, fuels her works making them arresting and irresistibly tactile.

The method Sato employs is quite unusual and involves several kiln-firings. After the initial lost wax casting in the kiln, considerable cold processing such as cutting and polishing are undertaken. The piece is then fired for a second time during which it is stretched in the kiln to create its unique form. Sometimes she goes through a third firing. Not only is this a risky process due to the increased chances for fracturing each time the work is heated but is also time-consuming. Each work might spend as long as a total of three weeks in the kiln.

Rinne II (Reincarnation II), 2011; oil and gold on black walnut; h. 22 x w. 20 1/4 in. (55.9 x 51.4 cm)

NAGAI Megumi (1951 –)

“Inspired by Japanese fables and Edo period artists, Japanese born artist Megumi Nagai's exquisite renderings of inner fantasies reveal a passionate and humorous soul; a gentle person of enormous strength.” (Elizabeth A. Sackler, President, Arthur M. Sackler Foundation)

In her most recent work, Nagai Megumi revisits the spirituality of her native Japan and the legacy of Italian artist Giuseppe Arcimboldo, evoking her own faith as she endeavors to give form to the Buddhist concept of rinne, or rebirth. Inextricable from the blocks of mahogany and burl on which they are painted, these works express visually the cycle of the soul as it turns, the wooden contours of the grain imbuing each with the inimitable uniqueness of life.

She possesses a deep respect for wood as a medium, and says, “Wood contains spirit; it is alive, an element.” Her style and technique change according to the wood she uses, based on the texture, grain, color, and irregularities that make each piece unique. In doing so, she combines ancient Japanese artistic traditions dating from before the Heian period (c. 794–1185) with Western techniques to express her own singular vision of the world.

Born in Japan in 1951, Nagai received her degree from Tokyo National University of Fine Arts and Music in 1975. She lives and works in Brooklyn, New York. Public collection includes the Brooklyn Museum.

Ginsetsu (Silver snow) (detail), 2012; black and gold ink on paper; h. 84 x w. 18 in. (213.4 x 45.7 cm)

INKYO Masako (1972–)

Inkyo Masako began practicing shodo or Japanese calligraphy from the age of three. She studied at Yasuda Women’s College with the master Inoue Masao, chairman of the prestigious Japan Calligraphy Education Association. The only institution with an exclusive shodo program in Japan, their focus is not only on Chinese characters but also on Japanese hiragana writing.

Inkyo strives to go beyond the demands of the rigid structures of orthodox calligraphy and to bridge the traditional with contemporary creative forms. She is inspired by nature albeit not by objects and images but by feelings and ambiance such as the peacefulness and harmony within nature. In her works these themes often serve as the basis, if not the backdrop to a scene; Inkyo creates her own harmonious world on paper with the gradations, spatial relationships, and rhythm of characters, choosing between the five calligraphic scripts in expressing aspects of nature.

The artist is a member of the three largest shodo professional associations in Japan. In all three, Inkyo holds the highest rank based on her submitted works. She has received numerous awards, including first prizes in national competitions sponsored by the Japanese Ministry of Education. In 2010 Inkyo was selected to be the official artist for Nissan Infiniti and she has been a shodo instructor at the Japan Society in New York for over ten years.

Nigoshide white plate with dianthus patterns, 2012; porcelain; h. 1 4/5 x dia. 15 9/10 in. (4.6 x 40.6 cm)

SAKAIDA Kakiemon XIV (1934–)

Kakiemon, the colorful and decorative style of porcelain is named after the illustrious family that perfected the wares in the Arita area of Kyushu. It is well-known that since the early Edo period, Kakiemon porcelains have been exported to Europe and treasured all over the world.

Sakaida Kakiemon, the current fourteenth generation head of the family is known for works that showcase strong compositional motifs based on his studies in Nihonga or Japanese-style painting prior to his training in porcelain production with both his grandfather (Kakiemon XII, 1878–1963) and his father (Kakiemon XIII, 1906–1982). He was designated a Living National Treasure in 2001 for his excellence in overglazed enamel porcelains. His works display the harmonious combination of traditional colors and motifs in the Kakiemon style infused with his own contemporary artistic sensibilities that he cultivated through his training as a Nihonga painter.

The beauty of Kakiemon porcelain lies not only in the finished product; the appeal of Kakiemon is in the perfect balance between the richly colored and delicately executed enamel paintings against the pure white grounds of negative space. The special white porcelain base called nigoshide (milk-white base), specific to Kakiemon porcelain, was invented in the late seventeenth century by the first generation of Arita ware producers. There was a time in the eighteenth century when porcelain production by the Kakiemon family came to a halt but it was Sakaida Kakiemon’s father, Kakiemon XIII who succeeded in reviving the tradition. In 1955 the nigoshide technique itself received the designation Intangible Cultural Property by the Japanese government.

Plate with peony and dry-grass patterns, 2012; porcelain with gold underglaze; h. 4 3/10 x dia. 19 2/5 in. (11 x 49.5 cm)

YOSHITA Minori (1932–)

The Yoshita family runs the Nishikiyama kiln which specializes in aka-e kinrande, the highly decorative porcelain tradition using gold and red enamel painting in brocade patterns of Kutani wares in Ishikawa. By 1951 Yoshita Minori, making pottery since high school, took over the family business and became the third generation head of the family. Since then, he has explored numerous traditional techniques characteristic of the Nishikiyama Kiln while refining them in his innovative ways.

The artist is recognized for his graceful works using yuri-kinsai (underglazed gold decorative porcelain). This method itself was first developed in the 1960’s in Kanazawa. The method incorporates the application of gold leaves in cut-out patterns prior to applying glazes, rather than the traditional process of painting patterns in gold pigments by brush.

His technique is a perfect marriage of the elegant Kutani porcelain tradition with kinpaku or gold-leaf, the highly prized local product of Kaga domain, Ishikawa. His techniques opened up a new frontier in the world of gold colored porcelain in Japan and, with its sophistication and perfection, Yoshita is regarded as the leading figure in this field. In 2001 he received the Medal of Purple Ribbon and was designated a Living National Treasure.

Bowl with snow flower patterns, 2012; porcelain with iro-e polychrome enamel painting with light sumi and sumi-hajiki; h. 5 1/10 x dia. 17 9/10 in. (13 x 45.6 cm)

IMAIZUMI Imaemon XIV (1962–)

Iro-Nabeshima (polychrome enamel painted porcelain) developed during the Edo period (1615–1868) under the support of the Nabeshima domain in current-day Saga prefecture. Highly praised for its meticulous enamel painting techniques which illustrate both Asian and Western motifs, Nabeshima wares have been one of the most celebrated porcelains both in and outside of Japan. The Imaizumi family is the one who has handed down this tradition of Nabeshima wares since the Edo period.

Imaizumi Imaemon became the fourteenth generation head of the family upon completing his studies in traditional metalwork in college, followed by working in the product design industry. He inherited the reputation and a long tradition but along with them, the challenge to further the development of Nabeshima wares.

His signature techniques include both the classical sumi-hajiki technique—a dyeing technique that takes advantage of the repellent nature of sumi ink applied onto the 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 patterns such as snowflakes.

Celadon vase with wood grain patterns, 1986; porcelain; h. 4 x dia. 17 2/5 in. (10.2 x 44.4 cm)

TSUTSUI Hiroaki (1951–)

Tsutsui Hiroaki's career as a ceramic artist evolves around his life-long fascination with celadons. After his first apprenticeship in Kutani ware production, Tsutsui moved to Kyoto in 1976 to study with the acclaimed ceramic artists Shimizu Uichi (1926–2004) and Kawase Mitsuyuki (1933–). In 1980 he established his own kiln in the Mount Hotaka region of Nagano where the artist has been persistently seeking the mastery of porcelains and experimenting with new possibilities. His wide-ranging ouevre is the result of his exploration of various techniques and expressions in porcelain, including hoko-saiji or polychrome porcelains, employing matt glazes and shallow relief techniques. Another specialty of the artist is celadon work in clean and sharp forms composed of curves. Applying original mokuri-mon, or wood grain patterns, and soft colored celadon glazes to those forms, the artist succeeds in rendering both softness and sharpness to his porcelains. His works have been exhibited at museums such as the National Museum of Modern Arts, Tokyo, and the Ibaraki Ceramic Art Museum.

Octagonal box with wild bird designs, 2012; porcelain with overglaze enamel and gold; h. 4 2/5 x w. 12 1/5 x d. 12 in. (11.3 x 31.2 x 30.8 cm)

TAKAHASHI Makoto (1950–)

Takahashi is known for his iro-e, or richly-colored overglaze enamel paintings, depicting lively motifs from nature such as wild birds and flowers on his porcelain vessels. The artist combined his experience, knowledge, and skills to express his artistic world with the highly demanding materials of enamels, first through his mentor Fujimoto Yoshimichi (1919–1992), the renowned ceramist designated a Living National Treasure in 1986 for his innovative color enamel techniques on porcelain.

Takahashi first met him when he trained as an artist at the Tokyo National University of Arts and Music, where Fujimoto was a professor of ceramics courses. After graduating with a master’s degree in 1976, Takahashi continued to study with Fujimoto and worked closely with him for ten years. In 1986 Takahashi established his own kiln in Odawara city, Kanagawa, where he continues to live and work, pursuing his artistic vision through enamel-painted porcelains for nearly four decades leading the field of iro-e production in Japan.

Water jar with pseudo-camellia design, 2012; porcelain with colored glazes; h. 4 1/10 x dia. 3 4/5 in. (10.5 x 9.7 cm)

ENO Masatake (1965–)

Eno Masatake explores the technique yu-byo (glaze-painting) in his polychrome porcelain works. This unique method of porcelain painting whereby colors are applied on glazed bisque ware before firing was first developed by the porcelain artist pioneer Fujimoto Yoshimichi (1919–1972).

Fujimoto received the title Important Intangible Cultural Asset in 1986 for perfecting this technique which allowed for more nuanced pictorial expressions on porcelain, akin to Japanese- style or ink painting which was unattainable with conventional porcelain painting techniques. Eno inherited this technique from Fujimoto’s student, Sueoka Nobuhiko.

Eno has been fascinated by this distinctive yu-byo technique because it enables him to work with both the austerity of porcelain and softer motifs by matt-glazing and pigment absorption on glazes through several firings for a work. Also, he is interested in exploring the interrelationship between the vessel’s form and designs which are often of flowers and plants covering the surfaces. Since 2009 the artist has been operating his own kiln in Yoshida-cho, Shizuoka prefecture, and continues his endeavors in polychrome porcelain production.

Blue Bizen vessel with white clay patterns, 2012; stoneware; h. 13 3/10 x w. 18 4/5 x d. 18 4/5 in. (34 x 48 x 48 cm)

SUZUKI Miki (1970–)

Suzuki Miki was born in Bizen, Okayama, as the first son to the famed ceramist Suzuki Koichi (1942–). Eager to learn about ceramics of different traditions outside of his native Bizen, he went to Kyoto and studied at the Ceramic Training School. Following his schooling, he studied for years with the ceramist Okamoto Akira (1941–), including one year in Jingdezhen, China.

His most recent endeavor is called ao-Bizen (Blue Bizen), in which a peculiar blue color is achieved solely through firing, and not by glazes or by applying pigments. It was Suzuki’s determination and persistence through the process of trial and error that he was able to achieve the high skills required for this delicate firing process. In addition, his application of white clay to this blue surface using the itchin decorative technique (applying slip with a bamboo tube to a vessel’s surface), adds the interesting effects of convex white patterns of hakudei-mon, or white clay patterns, on his vessels.

This is the artist’s original creation and also new to Bizen wares, which have a long history beginning with Sue-ki, the gray unglazed stonewares, first said to be introduced to Japan in the fifth or sixth century by Korean immigrants. Suzuki believes his goal as a ceramist of a younger generation in tradition-laden Bizen, is to embrace history while challenging himself to explore stoneware creation to its fullest potential.

Vase with Japanese zelkova tree design, 2012; stoneware with silver inlay; h. 16 1/5 x w. 9 3/5 x d. 6 in. (41.2 x 24.5 x 15.3 cm)

SAEKI Moriyoshi (1949–)

Born to a sculptor father in Utsunomiya city, Saeki Moriyoshi began studying ceramics in the Department of Crafts at the Tokyo National University of Fine Arts and Music where he graduated with a master’s degree in 1977. His talents were quickly recognized even as a student through participation in juried competitions such as the Japan Traditional Art Crafts Exhibition. After working at a commercial pottery studio in Mashiko, Saeki established his own kiln in 1981 and has since been working there independently.

Saeki is one of a handful of ceramists who work with inlays or zogan, a decorative technique in which incised motifs on the surface of the bisque are filled with different colors or types of clay. He is, however, fluent in both pictorial and abstract patterning in his works and is especially known for the poetic landscape imagery he creates on vessels with the exquisite inlay techniques. Saeki’s signature images on his vessels are Japanese landscapes of lakes, forests (especially of Japanese zelkova trees), and mountains executed in this inlay technique, and not with enamel painting techniques typically used to create such images.

In addition to ceramic production, Saeki is involved with education of the younger generations through academic programs and by participating in artist exchange programs in China, Korea and Japan.

Large Bowl with Galaxy Design in Blue, 2007; porcelain; h. 4 7/10 x dia. 20 4/5 in. (12 x 53 cm)

SHOMURA Ken (1949–)

Shomura Ken is the fifth generation head of the Banko kiln which dates back to the Meiji period (1868-1912) in Arita. Although polychrome enamel painted porcelain and blue-and-white porcelain (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, designated a Living National Treasure in 1995. Shomura trained with Inoue making vessels on a potter’s wheel, which became the foundation for his eventual works of clear and sleek porcelain. Shomura’s celadon works quickly gained recognition in juried competitions and at the young age of 31 won a high prize at the prestigious Japan Traditional Art Crafts Exhibition in 1980.

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 a short period of time. The exploration of glazes for stonewares allowed Shomura to take the bold approach of applying them for the first time to porcelains. Shomura works with such ingenuity and creativity towards new types of porcelain production in Arita.

Silky White Vase – Jewel Line, 2012; porcelain; h. 9 4/5 x dia. 9 2/5 in. (25 x 24 cm)

SHOMURA Hisaki (1974–)

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 sought to perfect the silky white hue of porcelain on his own. 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 at the Japan Traditional Art Crafts Exhibition, and has shown works at solo exhibitions in various cities of Japan.

Vase with carved pattern, 2009; wheel-thrown and altered blue-white porcelain; h. 11 2/5 x dia. 9 3/5 in. (29 x 24.5 cm)

Peter Mark HAMANN (1956–)

Peter Hamann has been a resident of Japan for more than 30 years although he was born in Nebraska and first studied ceramics in the United States. Upon his arrival in Japan, he re-educated himself in ceramics and at the same time was introduced to chanoyu or the Japanese tea ceremony. After his diligent studies of tea in the Yabuuchi style with the master Fukuda Chikuyu, he obtained the license to teach chanoyu in 2010.

At the annual tea ceremony he holds in his traditional Japanese-style residence in the Tanba region of Hyogo where he also established his kiln, the artist welcomes more than 200 guests with tea and his own ceramic works. Thus his creation of ceramics is strongly connected to his tea ceremony practice; Hamann believes that the appreciation and respect for objects of quality that chanoyu teaches is an important aspect of Japanese culture that permeates through its society. In the same context, Hamann believes in the utility of the vessels he creates.

The artist specializes in refined carved porcelain works and his own interpretation of the medium developed over time since his early encounters of his ceramist career. Hamann's recent works show that the bold curvilinear patterns of the works themselves have in turn affected and transformed the vessels’ shapes. His works have been recognized at juried shows such as the Traditional Japanese Art Crafts exhibitions. In 1996 he joined the prestigious Japan Art Crafts Association and remains its only Western member.

Vase, 2010; porcelain with enamel and gold in the kinran-de style; h. 9 1/5 x dia. 18 1/10 in. (23.5 x 46 cm)

YOSHITA Yukio (1960–)

Born into the Yoshita family of porcelain artists, Yukio has forged an independent style in his works that echoes traditional Kutani overglaze techniques of his native Kanazawa and at the same time reflective of his own aesthetic sensibilities. Yoshita’s expressions with colors such as the faded pastel shades that recall frescoes of the Italian Renaissance and poetic expressions of color akin to watercolor drawings on porcelain surfaces, are his special achievements and the works stand out amongst the bold-colored smooth-surfaced wares 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 over-glaze gold 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, Indiana.

Vessel, 2012; stoneware with indigo Shino glaze; h. 15 1/2 x dia. 15 3/10 in. (39.5 x 39 cm)

SAKAI Hiroshi (1960–)

Sakai Hiroshi has pursued his own artistic expressions in Shino wares by integrating traditional and innovative techniques with his aesthetic tastes. Since completing courses at the Tajimi City Ceramic Design Research Center in Gifu, he continued his studies with Kato Kozo (1935–), named a Living National Treasure. While Sakai’s use of kairagi, the sharply textured hallmark glaze of Shino wares, pays homage to his respected master, he developed his own distinct coloring using blue zaffer, perfecting the “indigo Shino” glaze. The combination of exquisitely rendered shades of indigo with the crackled kairagi surfaces on his boldly designed vessels are highly regarded both in and outside of Japan. The artist has also been a frequent participant in international ceramic competitions and exhibitions in Faenza, Italy, Taiwan, and Korea. His works are represented in collections such as the Tajimi Mino Pottery Museum in Japan, the International Museum of Ceramics in Faenza, Italy, and the World Ceramic Exposition Foundation in Korea.

Vessel, 2012; stoneware with sprayed slip decoration and gold overglaze; h. 14 9/10 x w. 17 9/10 x d. 9 in. (38 x 45.5 x 23 cm)

SHIMIZU Ichiji (1961–)

Born in the Tanba area of Hyogo, Shimizu Ichiji established his own kiln Hakuyo- gama in 2004, after studying ceramics not only in his hometown but also in other historic kiln sites such as Seto and Bizen. His works using delicate gold lines and scarlet colors along with sprayed slip decorations, are highly praised for their contemporary twists on rustic and earthy conventional Tanba wares. Since 2003 his works have been acknowledged in mainstream exhibitions such as the one sponsored by the Japan Traditional Art Crafts Association, but also at others such as the Japan Ceramic Exhibition, a biannual competition held since 1971 not limited to artists belonging to specific schools and associations. As a rising artist, Shimizu won a special award sponsored by the Ibaraki Ceramic Art Museum at their twentieth exhibition in 2009.

Vase with geometric pattern, 2012; stoneware with copper painting; h. 12 1/5 x dia. 12 1/2 in. (31 x 32 cm)

KOYAMA Koichi (1960–)

Koyama Koichi studied ceramics at Tamagawa University. He set up his kiln Ryusen-yo in the Yanaka district of downtown Tokyo where he was born and raised, and has since 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 by applying them in innovative ways using chloride fluid, the artist is able to achieve the creation of original ceramic works 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.