World-class ceramic artist

Craft” or “art”? The question of which market to market a work is an unavoidable one for a ceramic artist to become independent. Roughly speaking, the former tends to be evaluated on the basis of practicality and utility, whereas the latter often demands originality and novelty in the form of the work and the artist’s own worldview. It is quite a difficult task for a ceramic artist to balance both of these. Takuro Kuwata, who has a studio in Tajimi City, Gifu Prefecture, is an artist in a unique position in the art world.
While using traditional techniques often seen in his classical works such as “Kairagi” and “Ishibaku,” Kuwata’s works, which actively incorporate shapes and vivid colors outside the boundaries of ceramics, have been highly acclaimed at art fairs around the world. In addition to collaborations with Loewe and Tod’s, he has also attracted attention from the fashion industry, including an installation at the Trading Museum Comme des Garçons.
One of the things that led him to his current style was seeing an exhibition of Shino ware by Toyozo Arakawa, a living national treasure ceramic artist. One of the things that led to his current style was when he saw an exhibit of Shino ware by Toyozo Arakawa, a living national treasure. I decided to interpret this in my own way and do modern Shino,” recalls Kuwata, who at the time was making simple white porcelain pieces that one would never imagine from his current style.

Into the world of art, not crafts

He was also moved by the unexpected pop of color that resulted from mixing pigments by eye, which should normally be weighed. He immersed himself in reproducible color expression, intentionally trying to create the excitement he felt when he opened the kiln. As a result of following the voice of his heart and continuing to create works of art, he was approached by Tomio Koyama Gallery, a well-known gallerist who is known as an international promoter of Japanese contemporary art, and he began to work in the art world.
Later, however, Mr. Kuwata faced the difficulty of being “free. The gallery demanded new and interesting expressions. Works that were considered unconventional in the world of crafts were equally unappreciated in a place where there were no restrictions. The knowledge of reality led him to move further away from the concept of practicality, and to become more radical in form and color.
In other words, Kuwata’s works have evolved by carefully unraveling his communication with others and incorporating new values. Once he gains a perspective that he did not have before, he incorporates the new world he sees from that perspective into his own. Although he himself does not change, he incorporates various stimuli as variables in the process of creation, and as a result, he creates something new. This has been recognized not only in the world of crafts, but also in contemporary art, and has even become known to the cutting edge of the fashion industry, such as Loewe and Comme des Garcons, and continues to expand the scope of his activities.

I want to be part of such a cycle,” he says. I want to be part of such a cycle,” he says, and he will continue to create works full of surprises in the future.

NIHONMONO – 「にほん」の「ほんも…

時が経っても色あせない陶磁器 陶芸家 服部竜也/岐阜県土岐市 – NIHONMONO 美濃焼きとは 日本三大焼き物は美濃焼・瀬戸焼・有田焼の三種類だと言われている。その一つである美濃焼は岐阜県の多

NIHONMONO – 「にほん」の「ほんも…

自由奔放な作風で人々を魅了する陶芸家 青木良太さん/岐阜県土岐市 – NIHONMONO 「陶芸オタク」と言わしめるほどの研究実績に裏打ちされた確かな技術力で、既成概念にとらわれない作品を発表し続け、陶芸の日本代表になろうとしている美濃焼の作家・青木…

The post Takuro Kuwata, a ceramic artist who creates vessels that move the heart first appeared on NIHONMONO.

A world-class art museum in Atami

The large 4-meter-high door that greets visitors at the main entrance is already a work of art. The work was done by Kazumi Murose, a lacquer artist well known to Nakada and a living national treasure in the makie lacquer technique. The work was created using the Negoro technique, in which red lacquer is applied on top of a black lacquer undercoat, and the unique colors and luster of the lacquer work can be seen on a giant scale, reminding us of the beauty and potential of this representative Japanese material.

The MOA Museum of Art, located on a hill in Atami City, is a popular spot for its panoramic view of the Pacific Ocean. The museum opened in 1982, following the wishes of Mokichi Okada, founder of the Hakone Art Museum and the man who laid the foundation for the MOA Art Museum, who wished to build another world-class art museum in Atami and introduce Japan’s outstanding traditional culture to people around the world. The museum was renovated in 2017 by the New Materials Research Institute, led by contemporary artist Hiroshi Sugimoto and architect Michiyuki Sakakida. Despite its name, Shinsozai Kenkyusho is an architectural firm that works on modern reinterpretations and revivals of materials and techniques used in ancient, medieval, and early modern times. The new MOA Museum of Art also uses traditional Japanese materials and techniques such as Yaku cedar, gyosha cedar, black plaster, and tatami mats.

“The MOA Museum of Art” exhibition

Of course, the main attraction of the exhibition is the wealth of works on display. The collection of approximately 3,500 Japanese and Chinese works collected by Mokichi Okada ranges from national treasures such as Korin Ogata’s “Red and White Plum Blossoms,” “Hanbokjo” by Tegami, and Ninsei Nonomura’s “Tea Jar with Iroe and Fuji Flower Design,” to Buddhist statues, pottery, ancient documents, ancient Chinese and Korean ceramics, and paintings. The museum also houses many works designated as Important Cultural Properties and Important Art Objects for the purpose of protecting valuable Japanese cultural assets. The “Golden Tea Room” is based on the historical fact that Toyotomi Hideyoshi brought an assembled golden tea room to the Kyoto Imperial Palace to offer tea to Emperor Shojincho, and the restored house where Ogata Korin is said to have spent his last years and painted the “Red and White Plum Folding Screen.

The attention to detail in the display of the works is also excellent. The large exhibition space is divided by black plaster walls to prevent the works from being reflected in other exhibits, and the lighting is a little dimmer than in other museums, based on the concept of “viewing artworks in the light of the Muromachi period. The display cases are made of low-reflective, high-transparency glass, which prevents light and one’s own face from being reflected in the glass, giving the illusion that the works are right in front of you. It is said that many visitors often hit their heads against the glass as they become immersed in the work. Enjoying hot springs and gourmet food in Atami is fine, but it is also a good idea to sharpen your senses by experiencing the many works of art at the MOA Art Museum.

NIHONMONO – 「にほん」の「ほんも…

色彩と文様の天才·芹沢銈介に触れられる「静岡市立芹沢銈介美術館」／静岡県静岡市 – NIHONMONO 「静岡市立芹沢銈介美術館」 静岡市の登呂公園にある「静岡市立芹沢銈介美術館」は、染色工芸家で人間国宝の芹沢銈介

The post MOA Museum of Art, an art spot to refine your senses first appeared on NIHONMONO.

What is a plasterer at Shuheigumi?

Plasterers use trowels to build walls, floors, and other parts of buildings. While the skills and craftsmen who have supported Japan’s traditional architectural culture are disappearing in the name of modernization and rationalization, one company that stands out from the crowd is Shuhei Gumi, a plasterer based in Takayama City, Gifu Prefecture.
The company has been involved in a variety of creative projects, including the reception wall of the Peninsula Tokyo, the wall inside the NEWS23 studio, the clay round table in the Zero Emission House at the G8 Hokkaido Toyako Summit, and the title character in the NHK historical drama “Sanadamaru,” demonstrating the originality of their skills and imagination. At the center of his work is plaster craftsman Shuhei Hazado, a “sommelier of soil. Also known as a “sommelier of clay,” he creates walls with colors and textures that no one has ever seen before. Some of his works look like folding screens made of Japanese paper, others have a three-dimensional appearance as if they were made of hand-pulled cloth, and still others have an indescribable sheen as if they were finished with lacquer. All of them are made of clay. They are truly works of art that break through everyone’s concept of plastering. He knows more about clay than anyone else, and his skill and discernment in sublimating any impossible task into art can be said to be in the realm of the supreme.
His style is to “dare not study. This may sound impudent, but it is not. In his pursuit of the completely original, he dares to block out information that could serve as a reference. He rarely visits museums or reads books for hints on how to create his works. He simply looks at the natural landscape and takes its resolution to the extreme. For example, how do trees stand, how do their branches split, and how do their leaves grow? The artist’s eyes are made to see the works of nature that are beyond the control of human knowledge. Just as Antonio Gaudi took inspiration from nature to create architecture that had never existed before, Mr. Sando creates his designs from the workings of nature in Hida Takayama.

I want to leave my admiration for plastering to future generations.

In an age when many people are trying to find something by following the timelines of social networking services, Mr. Sando uses seemingly prehistoric methods to complete a series of works that are new and universally beautiful, leaving a strong afterimage in the eyes of many people. He is also questioning the essence of originality to the public. Mr. Sando, who will soon reach the age of 60, says, “I don’t have much time left. He is now working to complete the “Western Room of Hospitality” with overwhelming precision, completing work that arrives not only from Japan but from around the world. He took over a guest house built in 1916, moved it to his mountain 20 years ago, and has been making little by little modifications to it. The long process of completion, Nakata says, is similar to the Sagrada Familia in Barcelona. Traditional skills are being devalued, and reliable veteran craftsmen are aging, and it is not clear whether the next generation will grow up. Believing that he could change the situation in Japan and gain recognition if he built something truly beautiful, he is finally on the verge of completion. He told us that he wants to make it a place where people who feel the value will spend special moments.

What we have continued to do in the past and will not change in the future is not to do thin plastering. Thickness makes a difference in skill, and the air and presence of a space can be completely different. Mr. Sando says that he wants to leave behind for future generations his admiration for plastering by creating something overwhelming with just clay and a trowel. Compared to the soil that has passed through tens of thousands of years, the history of human-made architecture may be but a tiny, invisible dot. However, the dots left behind by Mr. Sando are more intense than anything else, and radiate a luster that cannot be compared to any other color.

NIHONMONO – 「にほん」の「ほんも…

日本人本来の美意識を呼び起こす陶芸家·安藤雅信さん／岐阜県多治見市 – NIHONMONO 日本の新しい美術のあり方 岐阜県多治見市、青々とした木々が生茂る森の中に佇む、築120年を超える数寄屋風建築の

NIHONMONO – 「にほん」の「ほんも…

朱の美しさに酔う「南宮大社」／岐阜県不破郡垂井町 – NIHONMONO 関が原の合戦の舞台。 天下分け目の関が原の合戦。関が原の南東に位置する南宮山は、西軍・毛利家が陣を張った場所だ

The post Plastering craftsman creating unexplored landscapes “Shuhei Gumi” Shuhei Tsunedo first appeared on NIHONMONO.

What is “KURKKU FIELDS”?

Experience nature within an hour from the city center.

KURKKU FIELDS, a sustainable farm and park located in Kisarazu City, Chiba Prefecture, is a facility that offers possibilities far beyond its approximately 30 hectares of land. The facility was created by Takeshi Kobayashi, a musician who produces Mr. Children and is himself a member of Bank Band. Mr. Kobayashi founded the non-profit organization “ap bank” in 2003, and with the theme of sustainability, he has been involved in environmental issues and reconstruction assistance by providing loans to people engaged in natural energy and environmental conservation activities, holding the outdoor music event “ap bank fes,” and launching the “Reborn-Art Festival,” a comprehensive art festival featuring art, music, and food. In 2019, KURKKU FIELDS was born as a sustainable farm that proposes future human and social affluence based on the three concepts of “agriculture,” “food,” and “art.
Kobayashi said from the very beginning of building this facility, “There is no completion here. We want this facility to grow organically to create a new cycle of agriculture, nature, and economy that will lead to the future. It only takes about an hour to get here from Tokyo, so we also hope that it will provide an opportunity for people living in the heart of the city to think about agriculture and nature.”

A sustainable experience for the future

On the premises, there is a cozy café, a store selling bread, processed meat, and sweets, and an exhibition of works by famous contemporary artists from Japan and abroad, including Yayoi Kusama. This is an attractive facility in itself. But there is also a farm, a biotope, a chicken coop, a cow barn, and even a solar power generation system. A leisurely stroll through the rolling hills brought us to the cowshed. This is the only place in Honshu where buffaloes are kept. Mr. Hidetoshi Takeshima, a cheese maker who has been engaged in cheese making in southern Italy for many years, purchases the buffalo, raises them, and produces mozzarella cheese that is as good as the real thing. The horned buffalo are a bit larger than the beef and dairy cows we saw on our trip. The barns are kept clean and free of the smells characteristic of the livestock industry. We enjoyed mozzarella, freshly made that morning, while looking at the buffalo from the side. Each buffalo milks only 1/5th of a Holstein, making it a rare breed. The rich but refreshing flavor and chewy, fresh texture are exceptional. Hidetoshi Nakata, who lived in Italy for many years, exclaimed.
Yes, it’s delicious!　I never thought I would be able to enjoy such delicious mozzarella in Japan.
At the KURKKU FIELDS DINING, visitors can enjoy not only the mozzarella, but also fresh vegetables and eggs from the KURKKU FIELDS.
In addition, there is a Creative Park where you can enjoy picnics, market days, and live events on a regular basis, as well as an overnight program in the “Tiny House Village” where you can spend your mornings and evenings feeling at one with nature while participating in the farm’s activities. The park is also equipped with villa-type accommodations and other amenities.

I felt that KURKKU FIELDS is presenting a new future that communicates the richness of a connected lifestyle with agriculture at its core.

NIHONMONO – 「にほん」の「ほんも…

もっと日本の食に自信を「エコファームアサノ」／千葉県八街市 – NIHONMONO この土地でしかできない野菜の味がある 焼けた肌が毎日畑に出ていることを物語り、いかもに“ファーマー”という風貌

The post KURKKU FIELDS, a sustainable farm that envisions the future first appeared on NIHONMONO.

Shion Tabata has her Shion Kiln in Karuizawa, Nagano Prefecture, one of Japan’s most famous vacation homes. In addition to his original creations, he is also energetically engaged in copying Ogata Kenzan, a well-known potter of the Edo period, and Kitaoji Rosanjin, a well-known gourmet and potter, and is a popular ceramic artist among people of all ages. We visited his studio to learn how he creates the warmth and gentleness that spills from his pottery and the charm that makes his pottery picturesque on its own.

Becoming an antique dealer out of a desire to “do what I love for a living

Originally from Kitakyushu City, Fukuoka Prefecture, Ms. Tabata met her current husband and moved to Kobe, Hyogo Prefecture. After the peak of her child-rearing years had passed, when she was in her late 30s, she began looking for a job to supplement her living expenses. She decided that she wanted to do what she loved anyway, so she looked for a job as an antique dealer, something she had been interested in for a long time. Although the peak of his career had passed, he was still raising his children and wanted to work on weekdays when they were at school. The only one that remained was Tanimatsuya Toda Shoten, an Osaka-based tea ceremony utensil dealer that has been in business since the Edo period. The company is said to be the largest antique dealer in Japan, but I had no idea about that at the time. I was offered an interview, and from there, things went smoothly, and I started working there the day after my interview.

Antiques learned from a great benefactor, Teiichi Yuki, a master of Japanese cuisine.

He worked there for about five years, more than half of which he was sent to help Teiichi Yuki, the founder of the Japanese restaurant Kitcho, organize his storehouse for the establishment of an art museum.

In the course of his duties, Mr. Tabata had the opportunity to hear Mr. Yuki talk about the time when he collected antiques, to actually touch them, and to learn about their splendor. This experience was one of the important turning points that led Mr. Tabata, who was almost a novice, to become interested in pottery making.

From a trivial experience to the world of ceramics

In this way, Mr. Tabata deepened his knowledge of the real world of ceramics, but when the ” Yuki Museum of Art, ” which he helped establish, opened in 1987, it was as if his busy life up to that point was a lie, and he found he had a lot of free time on his hands.

Around that time, he moved to an area on the border of Nishinomiya City, Hyogo Prefecture and Kita Ward, Kobe City. Several factors came together, including the completion of a major project he had been involved in and the longer commute to work, and Mr. Tabata decided to quit his job.

After his resignation, he wondered, “Couldn’t I make something that I had seen before,” as if to fill the empty time he had left after his retirement. For example, “It would be wonderful if I could hold a tea ceremony as a hobby using vessels I made,” he began to think.

It was something as trivial as that that inspired him to start making ceramics.

Failures in Ceramic Making

This is how Mr. Tabata’s pottery-making activities began. However, although he had some knowledge from his antique art experience, he had never taken a pottery class and did not understand even the basics of pottery. For the time being, he tried to make pottery only by self-study, but all he did was fail.

Meeting potter Sadamitsu Sugimoto and going his own way

One day, Daikame Roshi, the abbot of Daitokuji Temple in Kyoto and a well-known tea master, introduced me to the potter Sadamitsu Sugimoto.

Mr. Sugimoto asked me if I would like to use the same kiln that he uses. If it is the same kiln, it will be easier to teach you if you don’t understand something,” and he suggested that I use the same type of kiln as the one he uses. Later, Mr. Sugimoto’s talent as a potter was widely recognized, and he became unimaginably busy, making it impossible to contact him at all.

When he purchased a kiln, he had high hopes that the kiln supplier would at least teach him how to fire it, but he was told, “I can’t teach you how to fire and fill a kiln because each potter has his own way of firing and filling a kiln. I read a book on pottery making, but it was of no help to me. I tried to use the highest quality glaze, but without knowing how to control the temperature of the kiln, all the glaze I had applied on the surface ran off. However, the kerosene kiln, which he purchased for about 1.5 million yen, was not a cheap purchase, and his desire to make vessels for use in the tea ceremony was stronger than anything else.

He continued to make pottery on his own, firing and firing, while receiving opinions from Mr. Yugi and Master Okame. This was another important turning point for Shion Tabata as a ceramic artist.

To be able to make a convincing copy of Ogata Kenzan.

This turning point was the work of Ogata Kenzan, whom he had the good fortune to hold in his hands several times during the launch of the Yugi Museum of Art. In the style of Kensan’s works, which have many graphic elements, white makeup is applied and paintings and characters are drawn on the white makeup using a devil’s board.

From then on, he continued to draw tea bowls on the potter’s wheel, apply white makeup, draw pictures, and continue firing without limit. However, the work that came out of the kiln was far from what he had expected. However, he did not give up and continued to make and fire pieces, changing glazes and repeating trial and error over and over again. As a result, he gradually became able to produce a copy of Kenzan that he was satisfied with.

Shion Tabata as a ceramic artist

Every year since he started making pottery, Tabata had been presenting Mr. Yuki and Master Daikame with his best work of the year on their birthdays.

However, at that time, I was giving away the best work of the year, so I did not think I could always produce the same quality of work, and although I was grateful, I did not ask for an exhibition at a department store. In the meantime, Master Okame asked me, “Why don’t you hold an exhibition here?” and he introduced me to a gallery in Nagoya with which he was familiar. There, his works of Kensan and Rimpa style were highly appreciated, the number of exhibitions increased, and the name of “Shion Tabata” as a ceramic artist gradually became well known.

Valuing human relationships, he built an anagama kiln in Karuizawa.

Some time later, in order to broaden the scope of his creations, Mr. Tabata decided that he wanted to build an anagama kiln for firing Iga Shigaraki.

However, most of the places where anagama kilns can be built are deep in the mountains or far from human settlements.

For Mr. Tabata, who became involved in pottery making through relationships with people, relationships with people are an important factor. In 2004, he decided to open a kiln in Karuizawa, Kitasaku-gun, Nagano Prefecture, one of the most popular vacation homes in Japan, where many people gather from all over the country.

Then, he came across a mountainous area of about 1,500 tsubo. After purchasing the land, he cut trees, made roads, and lived like a pioneer, gradually creating an environment for pottery making.

It takes seven days, or 168 hours, to fire a single batch of Iga-Shigaraki in the completed anagama. During this time, it is necessary to keep the kiln constantly burning wood, which is something that cannot be done by a single person. With the help of his partner, the two of them take turns sleeping for 12 hours at a time to keep the kiln burning. The income is not commensurate with the labor. Frankly speaking, if he had continued to make pottery in Kobe instead of moving all the way to the mountains, he would not have had to build a new kiln, and he would have had no financial or physical problems if he had just copied the Qianzan style that was taking off at the time.

However, if I had not come here, cleared the mountains, created the soil, built the anagama, and lived with this magnificent nature, I would not have been able to take a new step forward. He also says that the most important thing is that the hardships he experienced here were more than compensated for by the wonderful and gratifying encounters he had with people.

Blessed with and weaving relationships with people

Mr. Tabata’s life as a potter has been blessed by the relationships he has had with people ever since he started working at Tanimatsuya Toda Shoten. The favors he has received from Mr. Yugi, Master Okame, Mr. Sugimoto, and other famous and wise people have been more than enough for him to spread his wings as a potter.

At the same time, however, it was also a source of great pressure for Mr. Tabata. If I produced a bad product, I would have disgraced the people who supported me,” he said. That is why I worked so hard to the bitter end,” says Tabata.

This desire was directly linked to the improvement of his skills and knowledge, and as a result, he has not only brought disgrace to the faces of his benefactors, but has also produced excellent works that make them proud of their achievements. Nowadays, his successors admire Mr. Tabata, and his back is followed by those who follow him.

Shion Tabata’s world of pottery is filled with the “gentleness” of human relationships and the “toughness” of pursuing what she loves.

Read more

淡く幻想的な磁器 「陶芸家 筒井廣明」／長野県安曇野市 – NIHONMONO 1000年前に作られた白磁器の存在感。 筒井廣明さんは、長野は安曇野に窯を構える陶芸家。独立する以前は、197

Read more

温かみのある黄瀬戸のうつわ「陶芸家 小松幸代」／長野県茅野市 – NIHONMONO りんどうの窯の“黄瀬戸” 小松幸代さんの作る器は、「黄瀬戸」と呼ばれるもの。これは桃山時代、主に美濃で焼かれた

The post Shion Tabata, a ceramic artist who has been loved by people for her “work what you love” / Karuizawa, Nagano Prefecture first appeared on NIHONMONO.

Art Village Created in an Environment Rich in Nature

Nakagawa Village in Kamiina-gun, Nagano Prefecture, overlooking the Japanese Alps. It is a village rich in nature with a pristine landscape that has been called the most beautiful village in Japan. However, it is not widely known that Nakagawa Village also has another aspect as an art village. Various artists, including painters, woodworkers, art framers, and glassworkers, live and have their studios here. In addition to the government’s active promotion of the affinity with art, such as by introducing artists’ activities, the rich natural environment may have stimulated creativity, resulting in the establishment of a culture in which the community and art coexist. The activities of a diverse range of artists also motivate people who are considering moving to the area from a cultural perspective, such as art and production, and this has directly led to an increase in the number of young people moving to the area.

Roots in glass as hippie artwork

Mr. and Mrs. Taira, who have “STUDIO PREPA,” a studio that makes tableware, vases, and other household items using air-blown glass, are another couple who fell in love with the atmosphere of Nakagawa Village and moved to the area. The scenery, which changes its expression at sunrise, sunset, and different times of the day, is extremely beautiful. They decided to move to the area because they felt at home in such an original landscape. However, contrary to the scenery, when you step into the workshop, it looks like an American garage with piles of American-made daily necessities.

That is as it should be. The roots of the Taira couple’s work lie in the hippie culture of the 1970s. The glass works of Mr. and Mrs. Taira, which follow the technique of air-blowing that was popularized as hippie artwork, have a warmth and stylish outline that is distinctly different from the old Japanese-made glass. In addition to being handled mainly by major select stores such as Ron Herman and Margaret Howell, they have received many inquiries from popular restaurants in Japan and abroad. They also participate in craft fairs in the U.S. so as not to neglect their studies to update their ideal style. Based in Yosemite National Park, they stay there for several weeks, sometimes more than a month, to experience the local atmosphere firsthand, which leads to inspiration for their work.

Home Decor in the U.S.A.

Did you know that the U.S. is a leader in glass crafts? From windows and cups to smartphones, glassware is so much a part of people’s lives that it would be difficult to live without touching it. In Japan, there are traditional glass crafts such as faceted glass and beadlocks, and if you look around the world, you will find that glassware is widely used in all regions, from traditional crafts such as Venetian glass and Turkish lamps to famous glassworks such as Galle, Baccarat, and Swarovski. Although the United States does not seem to be a leader in glassware, it is the leader in the field of home décor, he says.

Aiming for warmth expressed through glass

Home décor refers to tableware, vases for arranging flowers, and other products that add color to daily life. The Taira’s workshop also makes tableware and glassware, as well as vases, lampshades, and other glassware designed for use in daily life. The glassware made by Mr. and Mrs. Taira is particular about its thickness. They once received a wooden glass from a friend, and when they drank water from it, they were astonished at how delicious it tasted. She then tried drinking water from a glass cup she had around her in the same way. However, the water was somewhat spiky. I wondered why, since the water came from the same faucet, but the cause seemed to be the shape of the drinking cup. The thin, dignified glass was beautiful to look at, but it did not make the usual drink taste even better, like a wooden cup. After realizing this, I began to think that I wanted to make glassware that expressed the warmth of wood.

Completed when it is filled, that is our policy.

The products made based on this policy are completed when the contents are added. The glassware must be at least 20% empty when it is just a container, otherwise it will be too hot when the contents are added, whether water or flowers,” says Mr. and Mrs. Taira. Mr. and Mrs. Taira.

Since the dishes are used in daily life, they are not meaningful only as vessels. They believe that glassware that brings out the best of the materials is what they should make.

Another thing that Mr. and Mrs. Taira are committed to is to stick to a style that can only be achieved by air-blowing, and to products that can only be made by air-blowing. They sometimes use cold work such as mosaic or fusing to express colors (cold work is made of hardened glass, as opposed to hot work made of molten hot glass such as air-blown glass), but they do this only to add value to their creativity, and they do not stray far from that category. I try not to stray too far from that category. Although we have been doing nothing but air-blowing for nearly 20 years now, there is still a lot that we don’t know about manufacturing and its characteristics. But that is what makes it interesting for them, according to Mr. and Mrs. Taira. The world of glass is so deep that even the two of them, whose products are recognized for their excellence not only in Japan but also around the world, have not yet fully grasped it. The inquisitive minds of Mr. and Mrs. Taira, who want to learn all they can about this world, will continue to produce even more wonderful products.

The post STUDIO PREPA, a glass studio with fans around the world for its space-blowing that follows North American culture / Ina City, Nagano Prefecture first appeared on NIHONMONO.

The Hon’ami Family Enhanced the Value of Japanese Swords

When I see the nameplate “Hon’ami,” I flip back to my Japanese history textbooks in my mind.The name may remind many people of Hon’ami Koetsu, a calligrapher and potter active in the Edo period.Hon’ami Kōzu is the owner of a Japanese-style house in a quiet residential area in Tokyo’s Ota Ward.He is a living national treasure (holder of Important Intangible Cultural Property) who appraises and polishes Japanese swords.
During the Kamakura period (1185-1333), long swords were the norm for fighting on horseback, but by the Muromachi period (1333-1573), short swords were being used for ground fighting.At that time, instead of making a new sword, the part of a long sword with the swordsmith’s name on it was cut off to shorten it, so it became difficult to tell who made the sword, which is why the job of appraising swords became necessary.Swords were an indication of a samurai’s rank, so it was very important to know what kind of sword he had,” says Hon’aya Kosyu.

The Hon’ami family has been involved in appraising and polishing swords for generations since the first Hon’ami Myomoto served as swordsmith to Ashikaga Takauji, and has served as the producer of Japanese swords.The word “origami” comes from the sword appraisal certificates issued by the Hon’ami family.The word “origami” was coined because the value of a sword increased when it was certified as having been authenticated by the Hon’ami family.A Japanese sword is a highly artistic work that can be appreciated for its various sword forms and blade patterns, as well as its cap, stem shape, and inscription.The process of making a complete sword involves many different craftsmen, including a sword smith who hammers iron from tama-hagane (tamahagane), sharpening, engraving, and arranging the sheath and handle, known as a koshira.Hon’ami Koetsu’s main occupation was the appraisal and polishing of swords, but he also demonstrated his artistic ability in many other fields, such as calligraphy, painting, ceramics, lacquer, and gardening.

Mr. Kosyu, the current head of the school, not only produces excellent Japanese swords, but also plays an important role in the preservation of cultural assets by polishing many swords designated as national treasures and important cultural properties.

Carefully crafted one-of-a-kind sword

The sound of shuffling swords is echoing in Kwangju’s workshop.The room for the sharpening process, with wooden flooring and a north window, is filled with a serene and sacred atmosphere, where master swords owned by museums and collectors from all over the country are waiting to be sharpened.
‘Is there a sharpening method unique to the Hon’ami family?'(Nakada)
The Hon’ami family has a unique way of sharpening swords.The blade should be sharpened softly like snow on a pine tree.The technique itself has not changed.There are some so-called secret techniques, but what is important is how to bring out the best of what the sword originally has,” says Hon’aya Kosyu.
Mr. Koshu’s polishing process is said to be highly acclaimed as a way to maximize the beauty of each sword and complete it by carefully proceeding through each step while highlighting the highlights in accordance with the personality and style of the modern swordsmith.

The blade is checked by natural light and sharpened using only natural whetstones.I am sure I am not the only one who feels as if even the spirit of the samurai that resides in the shiny Japanese sword comes to life when I see it.

The post A Living National Treasure who passes on the art and technique of “sword polishing”-Mr. Hon’ami Koshu / Ota-ku, Tokyo, Japan first appeared on NIHONMONO.

Art Museum Built on a Hill on Naoshima Island

The Chichu Art Museum is located on the south side of Naoshima Island in the Seto Inland Sea, across from Benesse House. Chichu Art Museum” may sound like a strange name, but the architecture immediately makes sense. As the name suggests, the entire facility is subterranean. In order not to affect the landscape, the above-ground portions of the building are kept to a minimum, with natural light coming in through the ceiling windows. The building was designed by Tadao Ando. Only the works of Claude Monet, Walter de Maria, and James Turrell are exhibited there, so that visitors can experience them as an integral part of the architecture and space.
One of the attractions of the museum is that although it is underground, it is well-lit, so visitors can view the works in natural light. The natural light allows the works to be seen in different ways at different times of the day, making this a rare museum where the space itself functions as art.

A leisurely tour of the museum

The first thing you see when you enter the museum is the ticket center. From the ticket center to the museum, a 70-meter stretch of “Monet’s Garden,” featuring plants favored by Monet, a painter who loved Japan, leads to the museum. This is a heartwarming way to experience the beauty of nature that Monet depicted in his paintings.
After passing Monet’s Garden, visitors descend deeper into the earth past a space cut squarely toward the sky and a concrete wall tilted at an angle, where Walter de Maria’s work appears in a somber atmosphere. A black sphere with an ever-changing expression from sunrise to sunset. After a short viewing of the works, visitors will be presented with James Turrell’s “Open Sky” and “Open Field,” both of which use light as a motif. The sky and the wall seem to merge into one, and the space seems to expand endlessly with no sense of perspective, a strange sensation. The two artists’ works were created simultaneously with the architecture, which explains why the space is used to its fullest.
The last room is the Monet Room. Five works from Monet’s final years, including “Waterlilies,” are quietly displayed in a space paved with white marble. In this museum, light, water, plants, and even birdsong are used as supporting elements to enhance the art. It is truly a museum where one can experience art with all five senses.

あわせて読みたい

“Benesse House” Spending time surrounded by art Fusion of an art museum and a hotel Nao Island is a small island in the Seto Inland Sea, full of artistic factors, such as Benesse House, Chichu Art Museum, …

あわせて読みたい

“The Art House Project” Art based on empty houses The art project on Nao Island On Nao Island, a small island in the Seto Inland Sea, Benesse Holdings, Inc. and Naoshima Fukutake Art Museum Foundation have c…

The post Chichu Art Museum” on Naoshima Island in the Seto Inland Sea, where you can experience art / Naoshima Town, Kagawa Prefecture first appeared on NIHONMONO.

The photographer who represents an entire era

We visited Shoji Ueda Museum of Photography in Tottori Prefecture. The late Shoji Ueda is a Japanese photographer who gained a lot of attention not only in Japan but also from the world. He never left his birth town, Sakaiminato City in Tottori Prefecture, and worked as an amateur photographer throughout his entire life.
Among his work, the innovative ”sand dune series” is the most well known. In this series, he photographed people who were lined up like objects with the Tottori Sand Dunes in the background. This technique is called ”Ueda-cho”, and is so famous that the phrase is used even in France where photography is prominent.
Within the museum, Ueda’s work is displayed in a row, creating a tranquil space. Some of his works can be viewed on the museum website. We recommend you to take a look. You will be amazed by the quiet energy emitted from these modern photographs. If these photos move you, you should definitely visit the museum to see the actual photographs for yourself.

Museums created by world-renowned architects

The museum structure is also worth taking a look. In the vast landscape with no obstructions, you can see all of Mount Daisen in the distance. A box shaped concrete building stands there, almost like it was cut out from the landscape. The building was created by the world famous architect, Shin Takamatsu. This is a work of art which won the Minister of Education Award for Fine Arts in 1996.
Shoji Ueda Museum of Photography stimulates us with an innovative collection of images. It provides inspiration not only to art, but also how we live and think.

The post Getting in Touch with Modern and Innovative Art “Shoji Ueda Museum of Photography” first appeared on NIHONMONO.