On view: 2023 Spring Gallery Collection

MIHARA KEN 三原研 (b. 1958)

GrowingupinIzumo,MiharaKenisinspiredbythebeautyofthevastnatural landscape Heusesaniron-ladenclayandhigh-firedtemperaturestocreate beautifullytexturedpiecesthatmimicthesoftlyaged,gradatingsurfacesofnatural stone.Hispiecesareunglazedandmulti-fried.Seriousandmeditative,hisceramics contemplateshapesinspiredbycraftformsoutsideofceramicssuchas lacquerware,papercrafts,bronzes,andancienttraditions.Theshapeofthisvessel callstomindearlybronzewarewithintegrityandmight Itprojectssuchaquiet grandeur;oneviewsitwithawe Thepieceisarchitecturallybuiltwithmultiple firings,sothattheashoverflowsnaturallyontheobject.Allthelinesonthisobjectis simpleandstraight,thetiltedbottom.MiharaKenisadecoratedceramicist,with acquisitionsinover40leadinginstitutionssuchastheMetropolitanMuseumandthe Victoria&AlbertMuseum

三原研

1958)

Flower Vessel 炻器花器,

KOYAMA YASUHISA 神山易久 (b. 1936)

Inadditiontoitsforcefulform,thenaturalshigarakisurfaceonthisvaseissensitiveandsubtle The coolandwarmhuesgraduatefromonetoanother,creatingasymphonyofalternatingtones Not onlythat,buttheartisthasutilizedafacetedsurfaceinordertocapturethesubduedsideof Shigarakiindifferentlights.Ifseeninnaturallight,thepiecetakesonadifferentlookatvarioustimes oftheday Itdemandsslow-lookingfromthebeholder

Koyamawasbornin1936,andinhislifetime,hehasbeenaforerunnerofrevivingtheartofshigaraki, bringingitintothestageofcontemporarycraft Hispioneeringspiritcomesthroughinallstagesof hiscraft.Hewasthefirstpottertoconstructamodernanagama(tunnel“cave”kiln)forhisashglazedandunglazedsurfaces,revivingmedievalceramictechniquesimportedfromChinatoJapan duringtheTangdynastyviamaritimetrade Koyamahasagreatsenseforsurfacetextureandits relationshiptoform,asdemonstratedinthisvase;Histalenthasearnedhimwidespreadpraiseand anillustriouscareerspanningover3decadesofsoloexhibitions Hisworksareheldinthepermanent exhibitionsoftheMetropolitanMuseumofArt,theBrooklynMuseumofArt,theClevelandMuseum ofArt,theStedelijkMuseum,andmore.

Object metadata: KOYAMA Yasuhisa 神⼭易久 (b. 1936) "The Wind" Shigaraki Flower Jar 信楽⾃然釉

花

H14.5" x W14" x D4" H36.8 x W35.5 x D10.1 cm

MORI TOGAKU 森 陶岳 (b. 1937)

AleadingpotteroftraditionalBizenfiringtechniques,MoriTogaku森 陶岳(b.1937)has epitomizedwood-firingtechniqueswiththelargeMomoyama-inspiredclimbingkilnsthathe hasbuilt.Notonlyhavehisspiritualinclinationsinfluencedhisworks,buthisworksarealso historicallyinformed HiskilnsaremadeusingMuromachi-inspiredfiringtechniques,and heavilyinspiredbyChineseSuewareforms HisreintroductionoftheOgamatomodernand contemporarypotteryhasrevivedtheBizencraft

Formisdevelopedinpreferencetosurfaceeffects:Thisexquisitejarshowsthediversetalent ofthisBizengiant.Thejar'sopeningisbeautifullyadornedwithBizenGoma(aneffectfrom firingthatcreatesatextureresemblingsesameseedsscatteredonasurface)ononeside.The geometricandpatterningwrapsthiscylindricalvase,givingacontemporaryfeeltothis ancientobject

Object metadata: MORI Togaku 森 陶岳 (b. 1937)

A Black Stoneware Rectangular Jar 黒瓷 扁壺, 1990 With Signed Wood Box Stoneware H11.5" X W8.4" X D8" H29.2 x W21.3 x D20.3 cm

MORINO TAIMEI 森野泰明 (b. 1934)

MorinoTaimeihopesthatviewersreadbetweenthelineandshapethatplayfullystretch acrossthesurfaceasonewouldreadapieceofliteratureorpoetry,andthereforecometo betterunderstandhisworkanditsconnectiontoma(theideaofexistingduringanintervalor emptinessinspace).

Morino'sworkisfirmlyrootedinthetraditionsofhisnativeKyoto,yethisexposureto internationalarttrendsduringthefouryearshespentteachingattheUniversityofChicagoin the1960sandhisawarenessofmoreavant-gardeJapanesepracticesbothaffectedhiswork Morino'sworkcontinuestocombinetraditionandinnovationwhileexpressinghisdedication tothedeeplycomplexconceptof"ma",or"negativespace" Object

MORINO TAIMEI 森野泰明 (b. 1934)

MorinoTaimeihopesthatviewersreadbetweenthelineandshapethatplayfullystretch acrossthesurfaceasonewouldreadapieceofliteratureorpoetry,andthereforecometo betterunderstandhisworkanditsconnectiontoma(theideaofexistingduringanintervalor emptinessinspace)

Morino'sworkisfirmlyrootedinthetraditionsofhisnativeKyoto,yethisexposureto internationalarttrendsduringthefouryearshespentteachingattheUniversityofChicagoin the1960sandhisawarenessofmoreavant-gardeJapanesepracticesbothaffectedhiswork. Thispieceechoesthepatternsonhisblackandredglazesreminiscentoftraditionaliron worksonlacquerboxesandcheststherebytranslatingthattraditionintoanewmedium. Morino'sworkcontinuestocombinetraditionandinnovationwhileexpressinghisdedication tothedeeplycomplexconceptof"ma",or"negativespace"

KAWASE SHINOBU 川瀬 忍 (b. 1950)

TheelegantceladonporcelainworksbyKawaseShinobuoriginatedintheartist’sgreatlove anddeepappreciationfortraditionalChineseceladon.Hehasspentnumeroushoursinthe galleriesofTaiwan’sNationalMuseum,tryingtosoakinthelessonsofcenturiesofceramic tradition

Overhisyearsofresearch,KawaserealizedthatmuchofthebeautyandgraceofChinese celadonceramicscomesfromtheiruseoforganicforms Thesenaturalformsfoundtheirway intoKawase’swork.Inthisvase,thesilhouetteofapenguin'spuffedchestiscapturedinthe form.Thecurvatureofthevaseisbisected,recallingthepointofapetal.Theclaybodyis skillfullythrown,perfectlyglazed.Thequalityofceladonglazeachievedbytheartistis unmatchedinitspurity,aformalachievementthatmirrorshistranquilsubjects

Object metadata: KAWASE Shinobu 川瀬 忍 (b. 1950)

Celadon Jar “Jin-cho (Penguin)”⼈⿃, 1996

With signed wood box

Celadon glazed stoneware

H8.6” x D6.2” x W6.3”, H22 x D16 x W16.2cm

KAWASE SHINOBU 川瀬 忍 (b. 1950)

Descendedfromalonglineofceramicists,KawaseShinobu’sworksadheretotraditional ChineseSongdynastyceladonglazes Kawaseseeksinspirationinnature,oftentakingformal cluesfromfloraandfaunaandtranslatingthemintoelegantlyminimalworksofart The elegantceladonporcelainworksbyKawaseShinobuoriginatedintheartist’sgreatloveand deepappreciationfortraditionalChineseceladon.Hehasspentnumeroushoursinthe galleriesofTaiwan’sNationalMuseum,tryingtosoakinthelessonsofcenturiesofceramic tradition

Overhisyearsofresearch,KawaserealizedthatmuchofthebeautyandgraceofChinese celadonceramicscomesfromtheiruseoforganicforms Thesenaturalformsfoundtheirway intoKawase’swork Greattechnicalskillisrequiredtosuccessfullyfiresuchalargepiece,and Shinobuhasdonesoexpertly.Faintlinesemergefromtheblue-greenceladonglazedbodyof thissakejar Meanwhile,thetopofthisjarrecallstheshapeofalotusleafrestingonastone Thepieceisextremelymeditativeandevokesimagesofflorainharmonywithwater,a refreshingcontainerusedforcarryingsake

Object metadata:

ISEZAKI JUN 伊勢崎淳 (b. 1936)

BizenhashadatotaloffiveLivingNationalTreasuresovertheyearsand themostrecenthasbeenIsezakiJun,whowasdesignatedin2004.A moderntwistisgrantedtoacenturiesoldtechniquebyhandsofaskilled contemporarypotter

IsezakiisalsoknownforhavingrevivedtheAnagama(singlechamberfiring) in1961.Theanagamaisatypeofsingle-chambertunnel-likekilnthatisdug intoahillside It’safiringmethodthatsuitsnaturalwood-ashfiring,from whichsuccessfulresultsarearesultofbothcarefuldesignandfortuitous chance.Hisworksreflectthisdualityinhisplannedpatterningwhich frequentlytakesonamodern,geometricquality,aswellasthesubtle surfacequalitiesoftraditionalBizenclay

FUKAMI SUEHARU 深見 陶治 (b. 1947)

ArguablyJapan’smostpopularceramicceladonartist,FukamiSueharu beautifullyutilizespureceladonbluetogreatandoriginaleffect Hismasteryof celadonglazeallowshimtoproduceawidevarietyofblues:clearskyblue,deep richaqua,paleblue-grey,andapurebluethatisalmostwhitehaveallappeared inhisoeuvre Hemakesbothfunctionalandsculpturalworks,butallofhis ceramicsillustrateapurityofdesignandoriginalityofspiritthatarethemarkof atruemaster.Fukami’sceramicsarewidelycollectedandcanbefoundinmany museumcollectionsaroundtheworld Heistrulyatreasuredinnovatorofthe ceramicarts.

Thispieceisbeautifullybalancedwithanasymmetricalelegance Itisenclosed initsoriginalsignedwoodenboxbytheartist.

Object metadata:

FUKAMI Sueharu 深⾒ 陶治 (b. 1947)

Untitled 無題 , 1985 With signed wood box

Celadon Porcelain on Wood Base

H6.2" x W18" x D2"

H15.7 x W45.7 x D5.0 cm

HIGASHIDA SHIGEMA 東田茂正 (b. 1955)

Characterizedbyvibrantglazesandincrediblytexturedclay,HigashidaShigemasa's powerfulOribeceramicsfeaturelushpoolsandflowsofglazeacrosscraggylandscapes Thesestunninglandscapesbecomedramaticplatesandmonumentalboxes Thisplatter hasadeepgreen,recallingthecolorofsummer.

Higashida'selegantOribeandShinoceramicshavereceivedravereviewsfromcollectors andconnoisseursalike,andhavebeenexhibitedwidelythroughoutJapanandabroad, includingatGalleryMiyasakaandTakashimaya,Sogo,andWakodepartmentstores Dai IchiArtshasbeenproudtoshowhisworkmanytimes,andcontinuestofinddelightinhis stunningcreations Higashidaslowlyrevealshis"accidentalbeauty"tous Inhisown words:

Object metadata: HIGASHIDA Shigemasa 東⽥茂正 (b. 1955)

Oribe Large Platter 織部⻑⽅⽫, 2020

Oribe Stoneware H3.5" x L38.3" x D12.5" H9 x L97.5 x D32cm

YAMAGUCHI MAKOTO 山口真人 (b. 1978)

YamaguchiMakotoisthesixthgenerationofaceramicfamilyinSeto.Hefacesthechallenge ofbringinghisfamilytraditionstoacontemporaryvisioninasaturatedSetopotteryscene. ThechallengehehassetouttoachievespecificallyencompassestheglazesofMino-yaki (Shino&Oribe),andKisetoyaki Indeed,heismovingcloserandclosertothisachievement witheveryexhibitionandfiring ThisOribepiececapturesthegrandeurofgrassyearthen landscapeswithturquoiseandTurkishblueglazepools Itisalsocomplimentedbya contemporaryform.

Yamaguchi'sworkshowacontemporarytakeoftraditionalglazes InhisOribeglazes,heisin pursuitof“Utsushiうつし”,whichmeans“reproductionorcopyfromtraditionalpiece,in ordertostudytechniques”Yamaguchithinksthere’stoomuchegoincontemporaryworks, andone’scharacterissupposedtoarisenaturallyinanyform,heisexpressinghimselfin classicform.

Object metadata: YAMAGUCHI Makoto ⼭⼝真⼈ (b. 1978)

Oribe Flower Vessel雷鳴, 2022 With Signed Wood Plate

Glazed Stoneware H17" xW22" xD21” H43.1x W55.8x D53.3 cm

YAMAGUCHI MAKOTO 山口真人 (b. 1978)

YamaguchiMakotoisthesixthgenerationofaceramicfamilyinSeto.Hefacesthechallenge ofbringinghisfamilytraditionstoacontemporaryvisioninasaturatedSetopotteryscene. ThechallengehehassetouttoachievespecificallyencompassestheglazesofMino-yaki (Shino&Oribe),andKisetoyaki Indeed,heismovingcloserandclosertothisachievement witheveryexhibitionandfiring ThisOribepiececapturesthegrandeurofgrassyearthen landscapeswithturquoiseandTurkishblueglazepools Itisalsocomplimentedbya contemporaryform.

Yamaguchi'sworkshowacontemporarytakeoftraditionalglazes InhisOribeglazes,heisin pursuitof“Utsushiうつし”,whichmeans“reproductionorcopyfromtraditionalpiece,in ordertostudytechniques”Yamaguchithinksthere’stoomuchegoincontemporaryworks, andone’scharacterissupposedtoarisenaturallyinanyform,heisexpressinghimselfin classicform.

Object metadata: YAMAGUCHI Makoto ⼭⼝真⼈ (b. 1978)

Oribe Flower Vessel織部花器, 2022

With Signed Wood Plate

Glazed Stoneware

H14.5" xW17.5" xD12.5” H36.8x W44.4x D31.7 cm

MURATA GEN 村田 元 (1904-1988)

BornasthesecondsonofMurataTasaburoandRetsuin1904,MurataGengrewupwiththeearthina farmingfamilyintheIshikawaprefecture HestudiedclassicalpaintinginKyotosuntilheenteredthe KansaiBijutsuGakuin(KansaiArtAcademy)in1922 However,theonsetofwarshatteredhisdreamsof beingapainter Hisfirstencounterwithpotterywaswhenhevisitedafolkcraftexhibitionshowcasing Mashikowaresin1934inMatsuzakaya,Tokyo Itwasthenthathehaddecidedtorelocatepermanently toMashikoin1924,studyingunderHamadaShoji Hedebutedwithhisfirstsoloexhibitionin1955at IzumiKogeicraftshop,Tokyo;atlast,MuratawasconsummatedasaMashikopotter Hedisplayedhis honedmasteryovertraditionalglazessuchasNuka(rice-husk),kaki-yu(persimmon),andvariousiron glazesthataredisplayedinascrollingpatternoverhisfunctionalclaywares

Hisfunctionalformswithhighshouldersaremarkedwithdecisivefacetsandpatchmarks,whilehisuse ofricehuskglazesandmultipleironglazesdepictterrestrialscenesandpowerfulnaturalphenomena. WhileMurata’ssurfacescapesclothehisworkswithformallyorganizedimageryandsoulfulrhetoric informedbyhisindividualisticsightwhichconsolidatessurface,affect,andrepresentationalmetaphor, onecannotignorethematerialityofhisworks Signsoftheobject’smaking-suchasfiringmarksthat signaltotheWabi-SabiphilosophiesthatunderlieMingeiware-attesttothewood-firedtraditionsof Mashikokilns

SUZUKI OSAMU 鈴木治 (1926-2001)

OneoftheoriginalfoundersoftheSodeishamovementalongsideYamadaHikaru, SuzukiOsamu’sworksdisplayanabstractionofanimalisticimageryusing minimalisticsensibilities.AsaSodeishaartist,SuzukiOsamueschewedfolk-craft movements,whichdominatedtheJapanesepotteryindustry.Instead,hetreated ceramicsasasculpturalmedium,placingemphasisonitsinterpretativeartistic value.SuzukiOsamutookonmanystudentsinhislifetime,andhislegacylivesonin manytalentedpottersoftodaywhoallpushthefieldoffunctionalandsculptural ceramicsintothefuture

ThisceladonincenseburnershowcasesSuzuki'sstudyoffunctionalwaresinspired bytraditionalChineseceladon Uponcloserinspection,ithasgeometricand sculpturalsensibilities Theflowerpetalsaresharpandformadynamicpattern, whiletheincensecontainertopshowcasesareliefform

KIM HONO 金憲鎬 (b. 1958)

KimHono’s(b 1958)takeonthejarisnothinglessthanrevolutionary Hiscolorisbold andartsy,andhisskillishighlyunusual,resultinginavesselthatbothsurprisesand delights Hisjarsarebuiltfromlargeandflatstripsofclay Thesearemoldedandcreased intohisdesiredform,usuallyanodtotraditionalshapesbutwithplayfuldeviationsfrom theexpected Histendercolorisunglazed,leavingasoftmattesurfacethatretainsthe textureoftheclay.Hono’sorganicformsandcolorssuggesttheearlybudsofspring flowers,tenderandlovely.

Hisceramicsfocusontheartofdailylife.Howdoesoneelevateone'slifevisually?Heis interestedinelevatingdailyutensilsbyplayfulmeans,recallingthecolors,texturesand feelingofchildhood.Inthispieceforexample,heplayfullyrecallstemari(⼿まり),whichis ahandballfromfolkartandJapanesecraft.

Object metadata: KIM Hono ⾦憲鎬 (b. 1958)

Jar Yellow and Blue, 2017

With Signed Wood Box

Stoneware with Polychrome pigment H10” x D8.2” x W9.2” H25.5 x D21 x W23.6cm

SUZUKI GORO 鈴木五郎 (b. 1941)

ThisteapotbymasterceramicistSuzukiGoroisglazedinthetraditionalaka-oribestyle,orredoribeglaze type OribewareholdsauniqueplaceinJapaneseceramics,originatedin17thcentury,largelyproducedin Minoarea.OribewareisanindispensablepartofanyJapaneseModernartcollection.Initsinception,Oribe warewasknownforitsdaringdeparturefrommonochromeconventionsinpotteryduringtheKeichōand Gennaeras(1596–1624) Thisahead-of-its-timeexperimentalspiritlivesoninmodernceramics RedOribe isoneofthefourmaintypesofOribeglazes.

SuzukiGoroisoneofthemostunrestrainedoftoday’sOribeartists Heseemstograndlydistorteverything hetouches,andhiswildimaginationandchildlikedispositioncanbefoundinhisplayfulpainted decorations:

“Oribekeepsdeveloping.Itneverstayedinoneplace.SoIcreatewhatevercomestomymind,oneafter another Ineverstop IfeellikeI’mplayingwithclay Theplayfulnessmakesone’slifeinteresting”

SuzukiGoro'sworkcanbefoundinnumerouspublicandprivatecollections,includingtheMetropolitan MuseumofArt,NewYork;theMuseumofFineArt,Boston;theJapaneseCeramicsMuseum,andmany others Suzuki'splayfulandengagingworkproveshispositionasamasteroftheceramicarts Hehastaken onmanystudents,includingtheyoungeremergingtalentsYamaguchiMakoto&SawaKatsunori,whogrew upwithhistrainingundertheirfamilykilns

@daiichiartsltd

Object metadata:

SUZUKI Goro 鈴⽊五郎 (b. 1941)

Red Oribe Teapot ⾚織部⼩瓶

With Signed Wood Box

Stoneware H10.5" x W8.5" x D6.5

H26.6 x W21.5 x D16.5 cm

HAYASHI YASUO 林康夫 (b. 1928)

HayashiYasuobeganhisartisticcareerinthe1950s,andisnowconsideredoneofthemostimportant forerunnersofabstractionincontemporaryJapaneseceramics AsafoundingmemberoftheShikokai associationofpotters,heplayedaroleinthemodernizationofthemediumfromtheverybeginning The Shikokaigroupboldlyexplorednewformsforceramics,andtookthemediumintrulyinnovativesculptural directions NotonlywasHayashithegroup’syoungestmember,butalsoitsmostcelebrated

Attheexceedinglyyoungageof16yearsold,HayashiYasuo(b 1928)wasenlistedtotheJapanesemilitary asapartoftheJapaneseSpecialAttackUnitofmilitaryaviators,aKamekazipilot.Thoughitnevercameto bethatheflewamilitarymission,histrainingregimeswereintenseandfulloftrauma Thispieceisa mournfulpiecethatmeditatesuponhisexperiencesflyingovertheKyotosky Hesawtherooftopsof Kyoto’sthatchedandceramicbrickroofing,andinterpretedthoseformsthroughthevisualvocabulariesof geometricabstraction Inthispiece,aswellashis“MemoryoftheHouse''series,heplaysupondistance, depth,andmotioninhislayeringoflinearformsona2dimensionalsurface,interplayingwiththenotion that3dimensionscanberepresentedon2dimensionalsurfacesinthiscompactpiece.Thisinterplayin perceptionisacommonmotiffoundinhisoeuvre

Object metadata: Hayashi Yasuo 林康夫

Memory of a House #1, 2003 Stoneware

H9.1" x W17" x D6" H23.1 x W43.1 xD15.2cm

SHIMAOKA TATSUZO 島岡達三 (1919-2007)

BasedinMashiko,ShimaokaTatsuzowasdesignatedaLivingNationalTreasure in1996.Hisdesignationwasforfolkcraft,particularlyhisrope-impressedinlay wares(mingeijomonzogan) Shimaokawasahighlyskilledpotterwhomastered andcombinedanumberoftechniques.Hisfathermadebraidedsilkcordsfora living Thisfamiliallineage,combinedwithhislaterexposuretorope-impressed Jomonperiod(c.6000–300BCE)earthenwares,enabledhimtodevelophis signaturestyle Hisropeimpressedsurfaceswereunique:headdedtheKorean mishimawarestyleinlaythathewasintroducedtobyhisteacherHamadaShoji, asKoreanceramicswereinfluentialinthemingeimovementduringthe1920sto 30s.Finally,hisencounterwithGermansaltglazedwaresledhimtodevelopa bodyofworkusingthattechniqueaswell

KinjoJirohailsfromOkinawaandwasdesignatedaLivingNationalTreasurein 1985.Bornin1912inNaha,OkinawaPrefecture,Kinjobeganhiscareerin ceramicsattheyoungageof13 Hewasheavilyinfluencedby“Tsuboya-yaki” potterythatoriginatedduringtheRyukyuDynasty.Hebuilthisownclimbingkiln orNoborigamainYomitan,thehomeofOkinawanpottery

Theresultarepictoriallyinclinedlineworkonthesurfacesofhisfunctionaltea waresthatriseinaslightrelieffromathickclaysliponthesurfaceofthe ceramic,creatingacohesivenaturalismthatincorporatesthehandoftheartist