Dai Ichi Arts, Ltd.
Furutani Michio 古谷道生
(1946-2000)
Shigaraki Jar 信楽広口壺, 1995
H17" x Dia14" x Lip Dia 5.2"; H43.1 x Dia35.5 x Lip Dia13.2 cm
Shigaraki Stoneware
With Signed Wood Box
The Shigaraki master Furutani Michio was the progenitor of Shigaraki classics during his life. The art of Shigaraki, which consists of over a hundred years of tradition, is famous for the surface construction of keshiki through sensitive ash glaze. This shigaraki jar, constructed in 1995, is no exception. The coat of ash and minerals thrown onto the surface of clay highlights the vibrant quality of the clay itself: glimmers of bright orange color of the clay that was brought forth by the kiln fires peeks out from under a layer of subtle cool gray ash. Not only does the shigaraki tradition rely on the potter’s luck with kiln firing, it also brings together the indispensable elements of contemporary and modern Japanese pottery: form, surface, and tradition.
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Dai Ichi Arts, Ltd.
Suzuki Sansei 鈴木三成
(b. 1936)
Celadon Jar 青瓷壺
With Signed Wood Box
Celadon
H11.3"x Dia11.0"; H28.4 x Dia27.9 cm
Suzuki Sansei (b. 1936) trained under Kawamura Seizan 河村蜻山 (b. 1890) at the Kamakura Kiln, before going on to build his own kiln Kozu in Kanagawa prefecture. Kawamura’s influence on Suzuki’s work is palpable in both their commitment to bringing traditional techniques to the modern ceramics connoisseur, as well as their appreciation for subtle and muted aesthetic sensibilities. This style brought forth “grandeur in simplicity”. In this piece, Suzuki’s celadon is exemplary. The greenish-blue glaze is bright rather than white, and brings an almost turquoise hue to the jar. The craqueleur complements the silhouette of the jar, which, in terms of scale, is one of the largest jars in his celadon portfolio. His smooth and subtle use of celadon recalls the Korean “moon jar”. Certainly, the history of celadon is one of technological exportation from Korea and mainland China to Japan. Suzuki Sansei’s traditional technique evokes this lineage.
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Dai Ichi Arts, Ltd.
Tsujimura Yui 辻村唯
(b. 1975)
Natural Glazed Jar 自然釉広口壷, 2003
H10.2 x Dia11" x Lip Dia6.8"
H26 x Dia27.9 x Lip Dia17.2 ㎝
Glazed Stoneware
With Signed Wood Box
Famous for his mastery over Iga, and Shigaraki, and feldspar-rich clay, Tsujimura Yui’s mastery over natural yakishime shines through in this jar constructed in the early 2000s. Born into a famous family of potters, Tsujimura Yui is the eldest son of one of the most prominent contemporary ceramic artists of our time, Tsujimura Shiro. As the first born son, not only was Yui the first inheritor of the family’s Yakishime legacy, but his works also embody the artist’s individualistic and creative spirit. Interested in avant-garde forms, he combines geometric patterns with the naturalistic aspects of sueki stoneware in his work. In this exhibition, his repertoire is represented by one of his superlatively ash-glazed pots where the natural fusion of the ash glaze and the clay create a surface landscape of infinite variation.
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Dai Ichi Arts, Ltd.
Hoshino Satoru 星野暁
(b. 1945)
Spring Snow Jar 春の雪, 2014
With Signed Wood Box
Stoneware
H13.5” x W12.2” x D12; H34.2 x W30.9 x D30.4 cm
Born in Niigata, Japan, ice and snow run in Hoshino-san’s veins. Snow on mountainous regions only begins to melt in late spring. In ‘Spring Snow Jar’, Hoshino-san articulates the natural movements of late spring down a snow-capped mountain. He shows the seasonal character of Niigata in Spring: the sun and moon light is reflected on brilliant snow that has rested on a mountainous surface all throughout the long winter. The vase’s body is coiled and covered with a brilliant blue and white gradating glaze. He has made playful, rocky indentations on the surfaces using his thumb and finger- this method recalls a childlike technique as well as his childhood spent on the mountaintops. The piece is dramatic and full of childhood nostalgia.
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