N T R O D U C T I O N
Japanese porcelain, born in the late 16th century after the discovery of porcelain clay near Arita, led to the establishment of numerous kilns, producing diverse styles In the mid-17th century, Arita gained prominence with colorful overglaze "enameled" decoration, and its porcelain reached Europe via the Imari port, where it became known as Imari ware Arita porcelain tradition boasts a long history of connection through cultural exchange on a global scale. Among this rich history, a new kiln, Risogama (or Riso Kiln), emerges Led by artist Shinji Terauchi, Riso porcelain explores timeless ceramic beauty integrated with modernity and contemporary art
This January, Dai Ichi Arts is pleased to present a new collection of works by Shinji Terauchi, celebrating the bold spirit of Riso Kiln from Arita, which continues to honor tradition through innovation The story of Riso is a compelling blend of heritage and a forward-thinking approach, asking “What’s next?” for the Japanese porcelain traditions.
In this New York debut collection at Dai Ichi Arts, Terauchi reimagines the moon a beloved and universal symbol in both Western and Japanese art through a contemporary lens. Dedicated to natural materials, his work celebrates the evolving essence of Arita ware, merging tradition with contemporary design
Like the moon ’ s shifting phases, his creations embody the transformative spirit of a storied ceramic craft. Using clay, silver, gold, and cobalt blue, he bridges heritage and innovation, offering a fresh perspective on the relevance of natural materials in Arita craftsmanship today
In this catalog, we have paired each work with an inspiring interpretation of the moon from art history. From France to Japan, countless generations of artists have been inspired by the moon, and we are pleased to present Terauchi’s vision of the moon We are also grateful our dear friend Professor Arakawa Masaaki for his thoughtful contribution in his essay, offering a unique insight into Terauchi’s practice, and the history of Riso Kiln
The collection, taking on the iconic motif of the moon, captivates viewers with Terauchi’s diverse textures and vibrant hues, each evoking a unique aspect of the moon's character. Terauchi also pushes the boundaries of form and function: These sculptural vessels are not only visually striking but also practical, ideal for serving Osechi, or traditional Japanese New Year dishes
T H E S A C R E D H O M E O F
J A P A N E S E P O R C E L A I N
This exhibition at Dai Ichi Arts features the works of Terauchi Shinji, a visionary ceramic artist from Arita, Kyushu, Japan the historic birthplace of Japanese porcelain who envisions the future of Arita porcelain through his innovative craftsmanship
The exhibition’s central theme is Ojyu-bako, the traditional stacked boxes used to serve Osechi Ryori, a cuisine that is a culturally quintessential part of Japanese New Year celebrations. These ceremonial dishes hold profound cultural significance, reflecting Japan's agrarian heritage and the deep ties between food and seasonal rituals. Historically, Osechi Ryori was prepared in these lacquered or ceramic containers as a symbol of good fortune, health, a prosperous harvest, and the continuity of family lineage The dishes were carefully crafted to be highly preservable, ensuring they could sustain festivities over the New Year period
Terauchi’s new works reinterpret this age-old tradition through the lens of contemporary techniques and innovation. Employing cutting-edge imaging technology, he has devised an ingenious approach to reimagine traditional vessels as modern objet d’art In other words, his creations transcend conventional forms, presenting Ojyu-bako in spherical, three-dimensional, and two-dimensional compositions that also reflect sculptural, artful intent The result is a vivid and dynamic exploration of stacked boxes, offering a diverse array of styles that invite viewers to engage with the interplay between tradition and innovation in unexpected ways
Terauchi Shinji (b. 1962, Arita) is the featured artist of this exhibition, celebrated for his ability to harmonize form and function in his work His creations have received much international acclaim, attracting commissions from renowned chefs across Japan, but also from all over the world Michelin-starred restaurants in New York, Bangkok, and beyond
have sought after his plates to carry their artful cuisines Terauchi’s vessels embody his vision of achieving the "ultimate marriage of vessels and food," seamlessly blending aesthetic beauty with practical elegance to enhance culinary presentation
His work can be firmly placed within Arita’s art historical canon. Situated in Kyushu’s Saga Prefecture, holds a storied legacy as Japan’s foremost porcelain production center, a tradition spanning over 400 years. During its golden age in the 17th and 18th centuries, Arita outshone Jingdezhen, China’s celebrated porcelain capital, to become the world’s leading exporter of fine ceramics The vibrantly colored “Kakiemon” and “Ko-Imari” styles, characterized by their lively designs and exquisite craftsmanship, captivated members of the European aristocracy These porcelain masterpieces filled palaces across England, Germany, France, and the Netherlands Porcelain as a material became a symbol embodying opulence resulting from global cultural exchange and hybridities in taste of the time.
Terauchi Shinji’s studio, Riso Kiln, was founded by his great-grandfather, Terauchi Shinichi (1863–1945), a respected figure in the Japanese ceramics world Established in 1930, the kiln has been a cornerstone of ceramic craftsmanship for generations Shinichi was a pioneering ceramic sculptor who studied under Italian sculptor Vincenzo Ragusa at the Technical Fine Arts School, Japan’s first art education institution, in 1876 He went on to serve as the principal of the Arita Technical School, influencing generations of potters.
Now in its fourth generation, Riso Kiln continues to uphold the legacy of its founder, with Terauchi Shinji leading the studio to new heights of excellence The studio is staffed by highly skilled artisans who have mastered every aspect of ceramic production, including molding, painting, and firing These craftsmen have been trained by the master potters of Riso Kiln, ensuring the preservation of traditional techniques alongside innovation
To adapt to modern needs while staying true to Arita's heritage, the kiln has expanded its scope to meet both market demands and their artistic aspirations Though in this debut exhibition at Dai Ichi Arts, New York, the works are unique and one of a kind, the kiln has also notably launched new ventures: in celebration of Arita porcelain’s 400th
anniversary for example, the studio launched ARITA PLUS, a tableware production company designed to push the boundaries of Arita-yaki Through the integration of cutting-edge technology such as 3D printers and modeling machines for mold design and cutting, ARITA PLUS produces designs that would be impossible to achieve through manual methods alone. This fusion of tradition and innovation reflects the kiln’s ongoing commitment to modernizing Arita ware while honoring its storied past
In reflecting on the mission of his kiln, Terauchi has carefully considered both his personal heritage and the future of Arita-yaki As the leader of a well-established kiln that serves market demands, he also embraces his role as an artist deeply invested in the intersection of art and technology. In his words:
“Arita is a land that has evolved over 400 years through the introduction of people and technology from abroad Our goal is to continue advancing Arita’s ceramic arts by integrating new wisdom, just as we have throughout history This is the guiding principle behind the name of our kiln ”
The vessels crafted using the modeling machine possess a striking modernity and refinement, so much so that one might momentarily question whether they are truly Arita porcelain
The ability to present designs through 3D computer graphics has revolutionized the creative process, allowing for seamless revisions and variations. This technology has also facilitated collaboration with international clients. While Terauchi remains deeply rooted in the traditional craftsmanship of Arita porcelain, he embraces the integration of innovative elements to forge new expressions of Arita ware With a bold and forward-thinking spirit, Terauchi continues to push the boundaries, shaping a new era for Arita’s storied ceramic tradition
日 本 陶 芸 の 聖 地
有 田 磁 器 の 俊 英
：
寺 内 信 二
伝 統 ＆ テ ク ノ ロ ジ ー の 器 づ く り
この度のダイイチア ツでの展観では、⽇本磁器誕⽣の地とされる九州：有⽥出⾝のア ティスト「李荘窯」の 寺内信⼆が登場する。今回のテ マは「⽇本の伝統的な正⽉料理（おせち料理）を盛り付けるお重箱」である。 正⽉の料理とは、古来、農耕⺠族であった⽇本⼈の⻝⽣活と深く関わっており、本来は豊作・⼦孫繁栄・無病息 災を祈った、縁起のよい料理で、保存性の⾼い料理を重箱などに詰めて準備してきた。今回の彼の作品には、新 たなテクノロジーが駆使しされ、伝統的なうつわが、まるでオブジェ作品のように飾っても楽しめるような、驚 くべき⼯夫が凝らされている。球体、⽴⽅体、平⾯形など、寺内の奇想の世界である、様々な重箱のバラエティ をお楽しみいただきたい。
さて、今回の展観の主、寺内信⼆（1962〜）は今、国内ばかりでなく、世界各地の有名シェフたちからオーダー を受ける存在で、究極の器と料理のマリアージュ”を⽬指し、様々なうつわのかたちを提案、好評を博してい る。
彼の⽣まれた有⽥町は、⽇本の九州（佐賀県）に位置し、400年の伝統を有する国内最⼤の磁器の産地である。 17世紀から18世紀にかけて、有⽥は⻩⾦時代を経験した。中国の景徳鎮を凌駕し、西欧への磁器輸出世界ナンバ ー１となったのである。とくにイギリス、ドイツ、フランス、オランダなどの王侯貴族に、⾊彩豊かな「柿右衛 ⾨スタイル」「古伊万⾥スタイル」が好評を博し、彼らの宮殿を華やかに飾ったのである。 ところで、寺内の⼯房「李荘窯」は、彼の曽祖⽗である寺内信 ⽒（1863〜1945）が1930年に開窯させたもので ある。曽祖⽗の信 は⽇本陶芸界でのレジェンドで、1876年⽇本初の美術教育機関「⼯部美術学校」でイタリア ⼈彫刻家のヴィンチェンツォ・ラグ ザから指導を受けた陶彫制作者であり、後に有⽥⼯業学校校⻑も務めてい る。
その祖⽗の薫陶を受け、寺内は4代⽬として「李荘窯」⼯房を率い、きわめて⾼い技術レベルを維持している。 それを具体的に⾔えば、各⼯程の技を極めた職⼈、例えば、うつわの成形、絵付け、焼成など、各部⾨のプロフ ェッショナルが揃っているのだ。
また、有⽥焼400周年という節⽬に「ARITA PLUS」という⻝器のプロデュース会社を⽴ち上げた。「ARITA PLUS」ではデザイン設計や型の削り出しのための3Dプリンタやモデリングマシンといった最新機器を導⼊。⼿ 技では叶わない精緻なデザインも可能にしている。「有⽥は400年前より、海外から⼈や技術が⼊ってきたこと で発展してきた⼟地です。今までがそうであったように、これからもさまざまな知恵をプラスして有⽥の窯業を 発展させたい。そんな思いで社名を付けました」と寺内は語る。モデリングマシンを⽤いて完成した器は⼀瞬、 これが有⽥焼なのか？と思うほどモダンで精緻な美を放つ。デザインを3DのCGデータでクライアントに⾒せる ことができるので、修正やバリエーション展開などの提案もしやすくなり、海外との仕事もよりスムーズになっ たという。有⽥磁器の伝統をしっかりと守りながらも、良きものを柔軟に取り⼊れ、新しい有⽥焼をつくる。寺 内は新しい有⽥焼の創造に向けて、寺内は今も果敢な挑戦を続けている。 荒川正明
Image source: The Smithsonian
Mori Yuzan 森雄⼭ (unknown-1917), Hamonshuu v 3 (A Japanese Book of Wave and Ripple Designs), Kyoto, Meiji 36 (1903)
Libraries
Scientific Moon model prepared by Johann Friedrich Julius Schmidt and Thomas Dickert, Germany 1898 Image courtesy and photograph: Field Museum Library and Getty Images
James Hall Nasmyth (1808-1890), Fashioned image of the moon ’ s surface: “Model of the moon ” , heliotype, from The Moon: Considered as a Planet, a World and a Satellite, 1874, image courtesy of University of California Libraries
Image source: The Public Domain Review
Image of the moon from Agnes Giberne’s The Story of the Sun, Moon, and Stars (1898), “The Moon- An Expired Planet,” page 73
E L Trouveot, Chromolithograph of the planet Jupiter observed Nov 1 1880 at 9:30 pm This pece of art reveals Jupiters Great Red Spot akin to a hurricane on Earth, which has been raging on the panet for hundreds of years Image courtesy: New York Publc Library & NBC
Kubo Shunman (1757–1820) Setting Moon on Waves, c 19th century woodblock print (surimono); ink and color on paper, 205 x 183 cm, H O Havemeyer Collection, Bequest of Mrs H O Havemeyer, 1929 Image courtesy The Metropolitan Museum of Art
Image source: The Public Domain Review
Image of the moon from Agnes Giberne’s The Story of the Sun, Moon, and Stars (1898), “Ideal View of Saturn’s Rings and Satellites from the Planet”
LIST OF WORKS
Five-tiered moon shaped bowl with gold leaf , 内 ⽩本⾦箔珠型五段重, 2024, porcelain (h) 23 × (diameter) 222 cm
Five-tiered moon shaped box with galaxy design in gold and silver, ⾦銀彩銀河⽂珠型五段重, 2024, porcelain, (h) 23 × (diameter) 222 cm
Five-tiered moon shaped box with silver glazed surface “Moon-Surface” 本銀彩珠型五段重, 2024, porcelain, , (h) 25 × (diameter) 25 cm
Four-tiered spherical box, Landscape at Moonlit night⽉夜⼭⽔珠型四段重, 2024, porcelain, (h) 23 × (diameter) 22 cm
Five-tiered moon shaped box with silver leaf ⾶ び鉋銀箔グラデ ション珠型五段重, 2024, porcelain, (h) 25 × (diameter) 25 cm
Four-tiered moon shaped box Moon-scape 松 ⽵梅珠型四段重, 2024 porcelain, Inside: Gold, copper, silver, (h) 23 × (diameter) 222 cm
Five-tiered moon shaped bowl with silver and hammered texture finish 本銀彩槌⽬珠型五段 重, 2024, porcelain (h) 23 × (diameter) 222 cm
No 2 Small covered spherical bowl "Asteroid" ⼩惑星珠型珍味, 2024 porcelain with gosu pigment (呉須), (h) 89 × (diameter) 89 cm
No 6 Small covered spherical bowl "Asteroid"
⼩惑星珠型珍味, 2024 porcelain with gosu pigment (呉須), (h) 89 × (diameter) 89 cm
No 4 Small covered spherical bowl "Asteroid"
⼩惑星珠型珍味, 2024 porcelain with gosu pigment (呉須), (h) 89 × (diameter) 89 cm
No 3 Small covered spherical bowl "Asteroid"
⼩惑星珠型珍味, 2024 porcelain with gosu pigment (呉須), (h) 89 × (diameter) 89 cm
No 1 Small covered spherical bowl "Asteroid"
⼩惑星珠型珍味, 2024 porcelain with gosu pigment (呉須), (h) 89 × (diameter) 89 cm
Moon-scape box (Black): Yin and yang 令和神饌
重, 2024, porcelain (h) 17 × (w) 265 × (d) 16 cm
Moon-scape box (White): Yin and yang, ⽩磁ブ ラスト令和神饌重, 2024, porcelain (h) 17 × (w) 265 × (d) 16 cm
Six-tiered house shaped box with moon and arabesque designs 染付⽉輪花唐草家型六段
重, 2024, porcelain (h) 25 × (w) 22 × (d) 22 cm
