FOREWORD

Foreword & Acknowledgements

Yasuhara Kimei 安原 喜明 (1906 - 1980)

I have had the unique opportunity to immerse myself into the profound and detailed oeuvre of Yasuhara Kimei, a luminary who rises above the rest even within the illustrious and privileged Nitten group during its formative years. My acknowledgment extends towards Mr. Daniel McOwan, whose intriguing citation of Yasuhara Kimei's artistry during Mr. Raphy Star’s “PURE FORM” exhibition at the Art Gallery South Australia kindled my initial intrigue. It was there that Yasuhara’s pieces, amidst the collection of Sodeisha artists, made a profound impression on me with their unique form, intricately detailed line engraving designs, and the stunning contrast between black clay and washed white clay slip.

Yasuhara Kimei, born and brought up in Tokyo (1906-1980), apprenticed under the tutelage of Miyagawa Kozan II 二代 宫川 香山 (1859-1940) and the renowned Itaya Hazan 板谷 波山 (1972-1963). His stylistic influences originate from the revered traditions of the Korean Lee Dynasty (1392-1897) and early Chinese Warring States (475-221 BCE)) pottery, inducing a powerful sense of historical continuity and modern expression within his creations. Yasuhara deliberately chose the term (Sekki) 砳器 to symbolize the quintessence of his work, subtly expressing his deep respect for the heritage of his art form. 

Regarded as one of Japan's most progressive ceramic artists of the 20th century, Yasuhara Kimei's work now adorns the Tokyo National Museum of Art and the Tokyo Art Museum. Kimei's influence extended beyond ceramics, primarily through his close partnership with the Sogetsu school. This avant-garde floral art society found an extraordinary ally in Kimei, as numerous Sogetsu floral artists utilized his vases as canvases for their creative expressions. I was fortunate to observe numerous beautiful convergences of artistic disciplines during my visit to Sogetsukai in Tokyo, underlining Kimei’s influence that extends beyond traditional boundaries.

Beyond being an eminent artist, Kimei was also a cherished mentor and supporter, particularly to Yagi Kazuo 八木一夫 (1918-1979)’s wife: Yagi Toshiko 高木敏子 (née Takagi, 1924-1987), aiding her in becoming one of the few women to participate in the Nitten exhibitions. Considering his supportive stance towards Yagi’s wife, it is a plausible conjecture that Yagi Kazuo must have been cognizant of, if not familiar with, Yasuhara Kimei’s collaboration with the Sogetsu society. This curiosity opens the prospect of an untold chapter in the evolution of Japanese pioneer ceramics in the 1950s, warranting a deeper investigation and study of this period's early development.

This enlightening journey has been made possible by the unwavering support of various scholars and friends. I extend my deepest gratitude to Dr. Sheng Hao in Austin TX, Dr. Louise Cort, and Ms. Masako Isobe from the Sogetsu society. I offer my sincerest thanks to my colleagues: Ms. Haruka Miyazaki for her invaluable assistance with communication, Ms. Yoriko Kuzumi for her remarkable photography, and Ms. Kristie Lui for compiling an extensive and evocative catalog. Special acknowledgment goes to Asia art curator Mr. Rusty Kelty from AGSA for contributing an enlightening essay and Ms. Kazuo Todate, a Japanese ceramics specialist, who generously lent her expertise in the eleventh hour.

The world of ceramics is a captivating symphony of interconnected lives and passions, and I am honored to contribute to it. Here's to unearthing more discoveries, narrating more stories, and building more connections.

Beatrice Chang, September 2023