Three Giants of The North by Joan B Mirviss LTD

THREE GIANTS OF THE NORTH MATSUI KÔSEI KAMODA SHÔJI WADA MORIHIRO

J O A N B M I R V I S S LT D

Three Giants of the North Kamoda Shôji Matsui Kôsei Wada Morihiro

Joan B Mirviss LTD, New York 39 East 78th Street New York, NY 10075 March 12 - April 20, 2018

Always nominally functional, his stoneware vessels are ever imaginative in form, line, balance, glazing and decorative adornment. Surface and form are created as a single thought, each one

Many years in the planning, Three Giants of the North: Kamoda Shôji, Matsui Kôsei and Wada

complementing the other. Nothing is overlooked from the delicacy

Morihiro, focuses on three of the most significant clay artists, each of whom contributed to altering

with his sculptural approach to both form and surface decoration.

the style and aesthetic of Japanese ceramic history. This exhibition will be the first to present,

of the mouth to the resolution of the base, both in perfect harmony

outside of Japan, a significant body of work that spans the rich careers of each of these titans. All three artists worked throughout their mature periods in northern Honshû (Japan’s main island)

"Walking into the North Wind' was a favorite phrase of

in an area called Kita Kantô; Matsui and Wada in Kasama, Ibaraki and Kamoda first in Mashiko in

such energy and has left the contemporary Japanese

Tochigi and then in Tôno in Iwate. Wada and Kamoda, both from Kansai and students at what is

ceramic scene reverberating with the impact of his

now the Kyoto City University of Arts, chose to escape the tradition-bound artistic structures of

innovative works."

that region to the relative freedom afforded them in rural Tôhoku. Kasama was established in the mid-Edo period by Shigaraki potters from Kansai and became

known for its decorative functional tableware. By the late Meiji era, there was a great sense of

Nakanodo Kazunobu in Kamoda Shoji: A Prominent Figure in Contemporary Ceramics, 1987

freedom afforded to Kasama-yaki and the area became better recognized though the ceramics of Ibaraki pioneer Itaya Hazan (1872-1963). Today there are several hundred potters actively working Born in Kishiwada Osaka,

in this community.

Kamoda studied under the hugely

influential Tomimoto Kenkichi at Kyoto City University of Arts and Mashiko, in the history of Japanese ceramics, is a relatively

graduated from there in 1952. By 1959, with substantial economic

recent arrival as pottery village; first developed in the late

support due in equal parts to his humble and generous spirit as to

Edo period, it rose to prominence nearly a century later

his monumental talent, he was able to establish his own kiln far

due to the international prominence of Hamada Shôji and

away in Mashiko, north of Tokyo. Ten years later he left his family

his legion of disciples and admirers of his mingei aesthetic.

to work further north in near isolation in Tôno, Iwate.

What these areas have had in common is the availability of good and ample materials, artistic freedom combined with

To this day, long after his premature death from leukemia at age

a community of diverse ceramists, readily available public

forty-nine, ceramists continue to imitate and reinterpret Kamoda’s

kilns, and beautiful countryside in reasonable proximity to

endlessly inventive forms and surface designs. His works can be

Tokyo. For each of these men, it offered the ideal location

found in the collections of prominent museums throughout Japan

from which to challenge the ceramic establishment with

and a few in western museums. Until recently few have found

his own independent visions.

their way westward as they have been so sought-after and hence priced accordingly.

Long considered by many Japanese connoisseurs to be the greatest Japanese ceramic artist of the 20th century,

Matsui Kôsei (1927-2003) was the leading figure in the twentieth

Kamoda Shôji (1933-1983) was able to accomplish in half

century in the revival of neriage marbleized colored-clay, mosaic

a life-time what other artists struggle to partially attain

ware and his influence continues even today. As a priest at the

in double the time. In an unrivalled period of productivity

Gessô-ji Temple in Kasama, Ibaraki Prefecture, Matsui studied

from

aesthetic

numerous examples of ancient Chinese ceramics, allowing him to

appreciation of modern ceramics in Japan, awakening the

reinvent his own neriage techniques that consistently focused on

entire conservative Japanese traditional ceramic world to

the manipulation of colored clays in the formulation of a vessel.

1967-78,

Kamoda

transformed

the

a new vision of the concept of “function.”

Far surpassing these Chinese Tang and Cizhou historic predecessors, Matsui created original abstract, linear, floral and geometric surface patterns, often with a rough-hewn texture, using a variety of techniques that he perfected over the decades. The worldwide recognition of his success and creativity in this difficult but tradition-steeped process, culminated in his designation as a Living National Treasure in 1993.

“Vibrantly colored layered clays are used to such an extent…that the conventional, narrow view of neriage has been shattered."

Hasebe Mitsuhiko, former curator of National Museum of Modern Art, Tokyo

“(Matsui’s) works are imbued with an essentially human quality that interacts with the spiritual life, in a realm beyond that of everyday ceramics.” Kawakita Michiaki from The Works of Kosei Matsui 1985-1990

Wada Morihiro (1944-2008), born in Nishinomiya, Kansai, graduated from Kyoto City University of Arts, where he studied under four masters: Tomimoto Kenkichi, Kondô Yûzô, Fujimoto Nôdô, and Kiyomizu Rokubey VII. Like Kamoda before him, Wada decided to relocate from Kyoto to north of Tokyo and then into the ceramic town of Kasama. This dramatic move enabled him to break free of the more classical aesthetics of Kyoto and develop his own repertoire of motifs and techniques that were more closely aligned to the work of Kamoda. Wada wrote, “the various vessels that I create depart from me as dramas with their own characters and roles.” To accomplish this, he created numerous surface patterns, some abstract and geometric, others more curvilinear and organic, using a highly unique repertoire of techniques that include wax resist and engraving. For all his sculptural forms, Wada painstakingly worked the exteriors through the application of colored-clay slips, after which he scraped, incised, burnished, and textured the surface until he achieved his desired outcome. Each abstract, asymmetrical and repetitive pattern bears its own evocative title. For several decades, Wada was the most respected Japanese artist working with polychrome decorated surfaces and his sudden death in 2008 left an enormous hole in the world of contemporary Japanese ceramics.

Like Matsui and Kamoda, Wada’s works have been widely

exhibited and collected inside of Japan, more recently in this country, and are found in museum collections worldwide.

Joan B Mirviss February 2018

Kamoda Shôji 加守田章二

KAMODA SHÔJI

Columnar vase with impressed

Ash-glazed vase with flaring mouth

concentric semi-circular patterning

ca. 1966

1955-1960

Ash-glazed stoneware

8 1/8 x 4 3/4 x 4 5/8 in.

10 x 6 in.

KAMODA SHÔJI

Iron-glazed shallow bowl

Green ash-glazed platter

ca. 1960

1967

2 7/8 x 12 3/8 in.

Glazed stoneware 2 1/2 x 16 7/8 in.

KAMODA SHÔJI Square dish with colorful leaf patterning 1972 Slip-glazed stoneware 1 3/8 x 6 1/8 x 6 in.

KAMODA SHÔJI Stoneware tubular form 1969 Scraped-slip on stoneware 12 x 7 x 5 1/2 in.

KAMODA SHÔJI Circular vessel formed with bands of curvilinear colored-clay inlays 1972 Stoneware with glazed interior 6 7/8 x 6 1/2 in.

KAMODA SHÔJI Hexagonal bowl with white-slip inlaid designs Slip-glazed stoneware 1974 2 1/4 x 9 x 8 in.

KAMODA SHÔJI Vase with blue, white and gray undulating pattern on a white-slip ground 1975 Glazed stoneware 8 x 6 1/2 x 6 in.

KAMODA SHÔJI Small vessel with tri-color wave pattern 1978 Glazed stoneware 4 1/2 x 3 3/8 x 3 5/8 in.

KAMODA SHÔJI Square platter with feather-like decoration

KAMODA SHÔJI

in blue and white against gray-black ground

Raised, footed platter with

1975

polychrome enamel curvilinear patterning

Glazed stoneware

1977

1 x 13 1/4 x 13 in.

Glazed stoneware 2 1/8 x 10 in.

KAMODA SHĂ&#x201D;JI Vessel with blue enamel decoration against striped matte-black ground KAMODA SHĂ&#x201D;JI Tall rectangular vessel with blue and white enameled banner pattern

1977 Glazed stoneware 12 1/4 x 9 1/2 x 7 in.

1977 Glazed stoneware 17 x 5 1/2 x 5 3/4 in.

Matsui Kôsei 松井康成

KAMODA SHÔJI Diamond-patterned rounded vase 1980 Glazed stoneware 6 1/4 x 4 in.

MATSUI KÔSEI

Neriage mesh-patterned shallow teabowl ca. 1973 Marbleized stoneware 1 7/8 x 6 1/2 in.

MATSUI KÔSEI

Neriage brush-rubbed vessel ca. 1976 Marbleized stoneware 6 x 5 1/2 in.

MATSUI KÔSEI Early neriage vessel with rare, sand-blasted surface 1973 Marbleized stoneware 16 1/2 x 11 1/4 x 10 3/4 in.

MATSUI KÔSEI

Neriage teabowl with clay slip-painted, layered and fissured surface ca. 1980 Slip-painted stoneware 3 1/8 x 5 1/8 x 5 in.

MATSUI KÔSEI

Neriage brush-rubbed striped round vessel 1978 Marbleized stoneware 9 5/8 x 7 5/8 in.

MATSUI KÔSEI

Neriage brush-rubbed large rounded vessel ca. 1978 Marbleized stoneware 12 x 17 in.

MATSUI KÔSEI Square vessel with slip-painted blue and white patterning ca. 1982 Slip-painted stoneware 8 1/2 x 4 1/8 in.

MATSUI KÔSEI

Senshun “Early Spring;” rectangular vessel with landscape scene 1983 Slip-glazed stoneware 16 x 13 x 6 1/4 in.

MATSUI KÔSEI Small blue and white striped brush-rubbed

neriage vessel ca. 1980 Marbleized stoneware 4 x 4 7/8 in.

MATSUI KÔSEI Small dark reddish-pink and blue striped, brush-rubbed neriage vessel ca. 1980 Marbleized stoneware 4 x 4 7/8 in.

MATSUI KÔSEI

Saisen “River of Colors;” striped brush-rubbed neriage vessel 1981 Marbleized stoneware 12 1/2 x 14 3/4 in.

MATSUI KÔSEI

Samarukando “Samarkand;” ovoid neriage vase 1985 Marbleized stoneware 9 1/8 x 7 3/4 in.

MATSUI KÔSEI

Gikai “Turbulent Ocean;” neriage globular vessel ca. 1985 Randomly marbleized stoneware 11 7/8 x 12 1/8 in.

MATSUI KÔSEI “Himalaya” Globular neriage vessel 1985 Marbleized stoneware 14 x 16 1/2 in.

MATSUI KÔSEI

Ryûsui kôun “Streaming River and Floating Clouds” ca. 1986 Slip-glazed stoneware 3 1/8 x 20 3/4 in.

MATSUI KÔSEI Small columnar neriage vessel 1987 Marbleized stoneware 4 5/8 x 2 3/4 in.

MATSUI KÔSEI

Neriage narrow vase with concentric ring patterning ca. 1986 Marbleized stoneware 8 1/8 x 4 1/8 x 4 in.

MATSUI KÔSEI

Neriage kamonko "Floral-patterned Marbleized Vessel" 1991 Marbleized stoneware 9 x 10 1/2 in.

Wada Morihiro 和太守卑良

MATSUI KÔSEI

Kusa akari “Illuminated Grasses;” rectangular vase with slip-transferred design of fireflies ca. 1983 Slip-glazed stoneware 13 5/8 x 9 x 6 1/2 in.

WADA MORIHIRO

Mori no utsuwa "Vessel of the Woods" ca. 1978 Slip-glazed stoneware 16 3/4 x 6 3/4 in.

WADA MORIHIRO

Saido sanmonki "Colored-slip Cedar-patterned" vessel 1979 Slip-glazed stoneware 14 3/8 x 13 1/8 x 6 1/4 in.

WADA MORIHIRO

Yûsaichômonki Vessel with "Overglaze-bird design" ca.1978 Glazed stoneware 9 x 7 3/8 x 6 1/4 in.

WADA MORIHIRO

Sanmonki "Cedar-patterned Pyramidal" vessel 1981 Slip-glazed stoneware 9 x 6 3/4 x 7 1/2 in.

WADA MORIHIRO

Saido sanmonko "Colored-slip cedar-patterned" vessel 1981 Slip-painted stoneware 7 x 6 x 4 3/4 in.

WADA MORIHIRO

Saido sanmonko "Colored-slip cedar-patterned" vessel

Saji fûsômonki "Wind-and-grass

1980

Patterned sand-treated" vessel

Slip-painted stoneware

ca. 1982

6 1/4 x 6 3/8 x 5 3/4 in.

Slip-glazed stoneware 8 1/2 x 14 1/4 x 6 in.

WADA MORIHIRO

Senmon mizusashi "Waterjar with One-thousand-thread patterning" ca. 1990 Slip-glazed stoneware 8 1/2 x 7 1/2 x 6 3/8 in.

WADA MORIHIRO

Saji fûsômonki "Wind-and-grass-patterned Sand-treated" vessel 1983 Slip-glazed stoneware 14 7/8 x 11 7/8 x 6 3/8 in.

WADA MORIHIRO

Sôun kamonki "Misty Cloud-and-flower-patterned" vessel 1985 Slip-glazed stoneware 16 1/4 x 13 x 7 3/4 in.

WADA MORIHIRO

Kanmonki "Repeated-rectangle-patterned" vessel

Keisenmonki "Varied Thousand-thread-patterned" vessel

ca. 1990

1993

Slip-glazed stoneware

22 3/4 x 13 1/2 x 9 in.

22 3/4 x 14 1/4 x 6 1/2 in.

WADA MORIHIRO

Kanmonki "Repeated-rectangle-patterned" vessel

ca. 1991

ca. 1997

Slip-glazed stoneware

18 3/8 x 10 x 7 3/4 in.

14 1/2 x 6 3/4 x 5 1/4 in.

WADA MORIHIRO

Taiyômonsakabin shuhai "Acanthus leaf-patterned Sake flask and Cup" ca. 1996 Slip-glazed stoneware Flask 5 3/8 x 3 5/8 in., cup 2 1/8 x 2 3/4 in.

WADA MORIHIRO

Ryûsanmonki "Flowing cedar-patterned" vessel ca. 1992 Slip-glazed stoneware WADA MORIHIRO

14 1/4 x 7 x 6 3/8 in.

Yômonki "Effigy-patterned" vessel ca. 1992 Slip-glazed stoneware 7 x 9 1/2 x 8 in.

WADA MORIHIRO

Kifûmon shuhai "Fluttering Banners-patterned Sake Cup" ca. 2006 Slip-glazed stoneware 3 1/4 x 3 x 2 1/4 in.

WADA MORIHIRO

Kifûmon mizusashi "Fluttering Banners-patterned Waterjar" ca. 1995 Slip-glazed stoneware 6 1/2 x 6 1/2 x 6 1/4 in.

WADA MORIHIRO

Kakugenki kôro "Red-and-black-glazed Incense Burner" ca. 1997 Slip-glazed stoneware 7 1/4 x 5 x 4 1/2 in.

WADA MORIHIRO

Hassanmonki "Linear Cedar-patterned" vessel 1997 Slip-glazed stoneware 25 3/8 x 12 x 10 in.

WADA MORIHIRO

Watashigaraki "I am lucky" vessel ca. 2000 Unglazed Shigaraki stoneware 16 1/4 x 10 1/2 in.

BIOGRAPHIES

WADA MORIHIRO

Kakugen jÃ´monki "Red-black linear-patterned" vessel ca. 2000 Slip-glazed stoneware 16 3/4 x 7 1/2 x 9 in.

KAMODA SHÔJI (1933 - 1983)

MATSUI KÔSEI (1927-2003)

Kamoda Shôji awakened the entire conservative Japanese traditional ceramic world to a new vision of the concept of “function.” Never

Matsui Kôsei was the force in the revival interest in the ancient art of neriage (marbleized) colored-clay ware and this impact

satisfied with his work, Kamoda created infinitely varied shapes and forms with ever-changing innovative patterns that were not based on

continues even after his passing. His research and intense studies in this difficult process culminated in worldwide recognition for

any previous style or tradition. Form, surface and pattern were created in unison as a single unit. Long considered by many experts to be the

his tradition-steeped vessels, so much so that in 1993 he was designated a Living National Treasure. Matsui created highly original

greatest Japanese ceramic artist of the 20th century, his sold-out exhibitions led to a near-cult-like status. Thirty years after his pre-mature

abstract and geometric patterns, often with a rough-hewn texture, using a variety of complicated techniques that he invented.

death at age forty-nine, his works remain highly influential and among the most sought after among Japanese collectors and museums. 1927

Born in Nagano Prefecture

1933

Born in Kishiwada, Osaka

1952

Graduated from Department of Literature, Meiji University

1952

Entered Kyoto City University of Arts in ceramics under Tomimoto Kenkichi

1957

Became the 24th head priest of Gessô-ji Temple, Kasama, Ibaragi Prefecture

1959

Began working in the ceramic center of Mashiko and became independent

1960

Built a kiln at Gessô-ji Temple and studied ancient Asian pottery

1961

Entered the Nihon dentô kôgei ten, resigning in 1967

1967

Studied under Tamura Kôichi (1918-1987), later Living National Treasure

1965

Won the Japan Ceramic Society Award

1969

First entry to Japan Traditional Arts and Crafts Exhibition (thereafter annually).

1966-68 Exhibited annually in Japan Arts Festival at the Union Carbide Building, New York

1971

Became a member of the Japan Crafts Association

1967

Takamura Kôtarô Prize (first and last winner in ceramics)

1972

Mitsukoshi Art Gallery, Nihonbashi, Tokyo (thereafter annually)

1968

New Generation in Contemporary Ceramics Exhibition, Museum of Modern Art, Tokyo

1973

Awarded the Prince Chichibu Trophy, Nihon tôgeiten Japan Ceramic Art Exhibition

1969

Moved his new kiln and home in Tôno, Iwate

1974

Japan Ceramic Society Award

1972

Green Gallery, Minami-Aoyama, Tokyo (thereafter annually till '80)

1975

NHK Chairman’s Prize, Japan Traditional Arts and Crafts Exhibition

1973

Traveled extensively in Europe on trip led by Mikami Tsuguo, ceramic art historian

1986

Fujiwara Memorial Prize, Fujiwara Kei Memorial Foundation

1974

Won the Newcomer Award by the Ministry of Education (first ceramist winner)

1982

Contemporary Ceramics in Japan, the Smithsonian Institutions, Washington D. C. and Victoria & Albert Museum, London

1975

Traveled to Korea with Yasuda Takeshi to look at ceramics

1988

Appointed a director of Japan Crafts Association

1979

Built a new electric kiln in Higashi Kurume, Tokyo and departed Tôno

Received the Medal with Purple Ribbon, from government for artistic achievement

1983

Died in Utsunomiya, Tochigi at age 49

1990

Japan Ceramic Society Gold Prize

1987

The Beauty of Contemporary Ceramics – Kamoda Shôji: A Prominent Figure in

Okada Mokichi Memorial Prize, MOA Museum

Contemporary Ceramics Exhibition, National Museum of Modern Art, Tokyo

1992

Ibaraki Prize, from the Ibaraki prefectural government

1990

Kamoda Shôji Exhibition, Ogawa Museum, Tokyo (also in 2003, 2007, 2009)

1993

Designated Living National Treasure for Neriage

1991

Contemporary Ceramics – Kamoda Shôji Exhibition, Sadô Shiryôkan, Kyoto

Solo exhibition at Mitsukoshi Étoile Art Gallery, Paris, France

1993-03 Kamoda Shoji, The Togei Messe Mashiko Gallery, Three solo exhibitions in 1999

1996

Retrospective exhibition at Ibaraki Prefectural Museum of Modern Art, Ibaraki

2000

Awarded the Kyokujitsu Shôjushô (Order of Rising Sun, Gold Rays with Rosette)

2005-06 KAMODA Shoji— a Retrospective, National Museum of Modern Art, Kyoto (traveled to

2003

Deceased Matsui Kôsei retrospective, Ibaraki Museum of Ceramic Art and

Museum of Ceramic Art, Hyogo

(early career); mid-career in 2001; third (later years) in 2003.

Hagi Uragami Museum, Tokyo Station Gallery, Iwate Museum of Art and Museum of Modern Ceramic Art, Gifu)

Major Public Collections

2013

Living National Treasure, Matsui Kôsei: A Retrospective,

Ibaraki Ceramic Art Museum,Kasama

Hiroshima Prefecture Museum; Iwate Museum of Art; Mashiko Tôgei Messe; National Museums of Modern Art, Kyoto and Tokyo; Ogawa Museum, Tokyo; Tochigi Prefecture Museum of Fine Art; Tsurui Museum of Art, Niigata; Art Complex Museum, Duxbury,

Major Public Collections

Massachusetts; Victoria & Albert Museum, London, UK

Art Institute of Chicago, IL; Brooklyn Museum, NY; Hiroshima Prefectural Art Museum; Ibaraki Ceramic Art Museum, Ibaraki; Metropolitan Museum of Art, New York, NY; Minneapolis Institute of Arts, MN; National Museums of Modern Art, Kyoto and Tokyo;

Selected References

Victoria & Albert Museum, London, UK

Nakanodô, K. Gendai tôgei no bi--Kamoda Shôji (Kamoda Shoji- A prominent Figure in Contemporary Ceramics), Museum of Modern Art, Tokyo, 1987.

Selected References

Yokobori, S. Kamoda Shoji, Mashiko tôgei Bijutsukan. Tokyo: Inshosha, 2004.

Living National Treasure, Matsui Kôsei: A Retrospective, Kasama: Ibaraki Ceramic Art Museum, 2013.

Matsubara, R. et. al. Kamoda Shôji zenshigoto (Works of Shoji Kamoda), Tokyo: Kodansha, 2005.

Matsui Kôsei tôji sakuhinshû (Ceramic Works of Matsui Kôsei), Tokyo: Kôdansha, 1974.

Matsubara, R. Nijiûseiki tôgeikai no kisai Kamoda Shôji (KAMODA Shoji— a Retrospective), National Museum of Modern Art, Kyoto

Matsui Kôsei neriage sakuhinshû: The works of Kosei Matsui 1985-1990, Tokyo: Kodansha, 1990.

and Asahi Shimbun, 2005.

WADA MORIHIRO (1944 - 2008) One of the most popular clay artists of his generation, Wada Morihiro large shows often sold-out within hours of opening. Wada employed a very broad range of surface patterning using a multiplicity of techniques, including slip decoration, inlay, wax-resist, carving, and blown-on glaze. For several decades, Wada was the most respected Japanese artist working with polychrome decorated surfaces.

Moving from Kansai and Kyoto where he was the student of Tomimoto Kenkichi (1886-1963) for several years, to

Ibaraki Prefecture and into the ceramic town of Kasama enabled him to break free of the more classical aesthetics of Kyoto and develop his own repertoire of motifs and techniques that were more closely aligned to the work of local master, Kamoda Shôji. 1944

Born in Nishinomiya, Hyogo Prefecture

1967

Graduated from Kyoto City University of Arts

1969

Built a kiln with other ceramists and held annual exhibitions in Kôchi (until 1974)

1976

Became independent, building his own kiln in Kasama, Ibaraki Prefecture

1978

Solo shows at Green Gallery, Tokyo (also in ‘79, ’80, ’82, ’83 and ‘85)

1980

Gold prize, Faenza International Ceramics Exhibition, Faenza, Italy

Prize of Excellence, North Kanto Ceramics Exhibition

1983

Joined the Japan Crafts Association and member through 1970

Contemporary Japanese Ceramics Exhibition, Japan Foundation’s traveling exhibition

to museums in Canada; Japanese Ceramics Today, Smithsonian Institution, Washington

D.C. and Victoria & Albert Museum, London, UK

1987

Main prize, Japan Ceramics Exhibition

1987

Japan Ceramic Society Prize

1990

Morihiro Wada SOBO IN SOHO, Alexander Milliken Gallery, New York, NY

1997

Commissioned to create major mural for the Ibaraki Government Building

2002

Appointed Professor of Ceramics at Tôhoku University of Art and Design

2005-07

Contemporary Clay: Japanese Ceramics for the New Century, Museum of Fine Arts, Boston, MA;

Japan Society, NewYork, NY

2006-07

TÔJI: Avant-grade et tradition du Japon, Musée National de Ceramique, Sèvres, France

2008

Passed away at age 64

Major Public Collections Brooklyn Museum, NY; Faenza International Museum of Ceramics, Italy; Metropolitan Museum of Art, NY; Minneapolis Institute of Art, MN; Musée National de céramique, Sèvres, France; Museum of Fine Arts, Boston, MA; National Museum of Modern Art, Tokyo; Philadelphia Museum of Art, PA; Victoria & Albert Museum, London, UK

Published in conjunction with the exhibition

"Three Giants of the North: Matsui Kôsei, Kamoda Shôji, Wada Morihiro" Joan B Mirviss LTD, NY

Selected References

March 12 - April 20, 2018

Kazuo, Fujii. Morihiro Wada Ceramics: sobo in soho. Tokyo: Fujii Gallery 1990.

Leaders of Contemporary Japanese Ceramics: Exploring Techniques and Forms for the New Century, Ibaraki Ceramic Art Museum, 2001, pp. 92-95

Tô no endo stôrî Wada Morihiro ten (End Story of Ceramics: Wada Morihiro Exhibition). Exhibition Catalogue. Tokyo: Nihon Keizai

Names are given in Japanese sequence with family name first Height preceeds width and depth

Shimbun, 1998. “Wada Morihiro.” Toh, vol. 19, 1992

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