〔 ontents Placesof Interesr 4 6 "16 18 20 22 24

BriefHistory Tokoname's Top 10Ceramic CulturalHot Spots CeramicStatues CeramicMurals Kindsof Kilns Museums CeramicInstruments

25

Workshop of Ceramic Art in Tokoname IWCAT International

Seeing,Buying & Eating Spots 27 28 30 34

Shoppingcenter"CERA MALL" Galleries Cafes& Restaurants Hotels

Ceramic Artists 36

Tokoname' s CeramicArtists

\l

.\ tilps ri) Tokoname:A Eird's-Eye View rr-r Accessin Tokoname

I MAP MAP ll

,:-

T h eC e n t r aJla p a nI n t e r n a t i o nAailr p o r "t C e n t f a i f "

M A Pl l l

,1i) f: rN 'r!;

TokonameCity AroundTokonameStation Ohnodistrict Onizakidistrict Kosugaya / Sakaidistrict ThePotteryPath,WalkingCourseA The PotteryPath,WalkingCourseB

MAP lV MAP V MAP Vl MAP Vll MAP Vlll MAP tX MAP X

"t 'il :rI TT

lnrormatron 77 95

Ceramic Terms Acknowledgments

-[-okon:rnrc:

A

Culrural

Guic]c

The word Tokoname came from a clay body called "ketsugan", which the locals commonly referred ro as "na-me" clay. "Toko" is derived from thejapanese word "tsuneni" which means "common". Basically,after thousands ofyears of mountain clay particles accumulating in the iron rich soil around the Chita peninsula area, people in the mid Heian era (794-7L85) discovered that this commonly available clay body was very good for constructing earthen walls ("tsuchikabe"), as well as ceramics ("yakimono"). Tokoname is recognized as one of the six ancient kilns of Japan, with a ceramic history which spans over a thousand years. Sweat, clay and fire have combined ro make Tokoname the most productive pottery center inJapan, and one of the most important ceramic towns in all of the world. Ceramic production is, and has always been, independent or cooperatively owned, and has never received subsidies from government or orher organizations.

4 Pbcesofinterd

s $allaulJose)eld

'jlaslno^ ro, easpue aujo)'plJo^ enblun e alueuadxa ol elns eJeno^ pue'qlPd fuauod aql punorPAllel)adsa'sPeo.lI)Pq Eulpuraleql rapue^ lsnf sr op ol 6urqrrsaq aql 'leq] JaUv 'era opl aqt ero;aq uro:; uaaa'uede; ;elnr ur a;rl lP asdu.rr;6puelsrapun o1 qlrqM (ueloifurqs) ^see ue sJaJJo urnasny!11o3aueuolol eq] Ar1

islool luat)ue q)ns qlli u/v\ole .eno>unol ur6aqauo 1q6tura:aq11 'aqog6aqgueds reqr 1;;rvr uo;lerra:dde )lurela) Jo ere ,\ eu e ur raqsn ol sluei etlleuolol au,|l srql'jleslr leada: lpvrfuorslqleql adoq s; a:eqt'eueuolol Jo ^eq eql u! pelelol uoolle leuolleuJalu! 'MoN 'plJo/\^ lertua) s,uedef qll/r^ ue llureJa) leuorleuralu!aql ul se^lesuraqlpaqsrlqelsaa^eq oq^ slsrueJo lru pueq P se l|em se '(9/ a 6 e d a a s l e p e u J e 1u e z o l l ' r y 1 'a.rnseo:l6u1nr; ;euorleuelel eql ol auoq aq ot pnoid sr eureuolol s ) l r . u e l a )u r s : r u e u ( p a q t p u e

'ssauq6no.r aql'alset eql mo 6uuq o1 6urqrleas srauod aueuolol Jo salduiexe eulos ale s)il,liPlef pazel6un pue 'a>1e6ou 'a:1ei(e61 'sanbruq>al6uualseu pue uotpnp -ord 6ulnsrnduaeq sPi1euteuolol 'sa!lnlue) eql ia^o'epje6-1uene pue fueroduaguol'leulsnpul lPuorlpe,l :s)rrue.|e)Jo spla$ lle ul 3^rleeDueaq seqInser eql 'slsrue {ueur ;o Allltlsuas aql parldsul seq srea{1o spuesnoqtroJAel) u! palelqln) ueeqseqleql i(6nua eql

PraresraH luasard-6861

:{PpolauPuoloI

-9261) Pra ernoq5lpea q6notqt euie)aq o^lof uaq/vl(4981-oo9r) p a s e a i l u l p u P u a p P u e ' ( 1 d d n 5 po;led op1 aqt q6norqgpanuttuo: 'yodxa ro; srtuairnospue uorlnqulsrC^lrpoururo)leuotleuP 'slalrol 'salrl 'ereM alqel 'sralueld se slrLuera)s,aueuolol qsllqelsa 'ea|zPrq)rLuera):uorDnpord ol peruns'sralual )rureia) laqlo ol ;ngtntl pasoddo sP 'uorle)ol trqder6oa6 s,aueuolol ol pappp slllJlelaf s,auJPuolof {rlsnput 6utddtqs leulsnpurpue lr]sauropJo ^laue^ 'lalieul uleul eql eql ^q uPdPfra^o lle pauodsuerl l e u o r l r p p eu e ara/v\seluoq ales pue sadtdue>1op aloullaqUnJse/v\lPql uo!llnPolo qbnoqllv'leor Iq patg seue6n>1e>1 )rurera)ur lPad e pessaullM(9zsl eJrlaueuolol ]o ueo -€€Etl era !qtPulolnw aql aql araM asn ul su|l uleul aql elqerlaiP paureulaiseq s)ll.!ela) 'seue66 'uorlpDerdde ur sle^r^allua)al gZ6J-Zl6al era oqslel aq] ^g Paller Uerl 'aul!ls!qlle lnqap sl! apeul s u ; r 1r a 6 6 r qJ o u o r l t n i l s u o ) a q l ^ q p a p r e ' e r n l l n )p u e ( r o t s l q o t parrnbarsrrtuere:ra6re;pue saulel (nsn^l rapnqs)lod eat (el: Pal aqf slueql la^ 's)rLuera) Jo plloM aql 'soqnsl ro, pueuap eq] (€€€1 '(suelop)sadrdftuela) pazel6un pa6ueq>r{1qe:onailrs096t aq} u! arg ot pasn ara/v\(PLUe6uoqou) -9gl 1l ere e,rnlPureyeql ul uaql s l e u a t e u )r r l s e l oJ o u o l l l n p o l l u l asn ^epfua^aroj suroj laqto sulrl requrPq)6utqutP '1J151 aq1 ',(1s>ilepe olur loos 6urrnollq - g 9 g t ) e r e l f t e y ye q l q 6 n o r q l pue sale;d '(sueMeq))slit^oqeel s{auuurq:raql qllM 'aurll sltll le slessa^)lulela] asausde['(saLUpl) dn pue opl Jo pua eql spieMol s u l r l a ^ r l l e p a r p u n ql n o , p u n o l e 'eul!l aql lP aulM a6rel '(soqnsr)sief a6Plols'seseA eql araMaraq;,a6e uap;o61te1q,, a>il;(rattod leuorltunJpa>npord a ) ! r J o r a l u a ) a ^ l l ) n P o J dl s o u se ol paralar uaaq seqleqM pa)uo - r r a d x aa u e u o > 1 o 1 ' 6 u 1 1 e t a d n : a r puo)asaql ol aLuoqsPMelnsuruad s e u e 6 e u e e u l e u o l o f ' ( S 8 11 -t64leta uelaH pruraql 6upnO pe, aql ol anp 's6nt elrq) aql ^ruouo)aasauedefaql LlllM'stea^ leqr a u l M e ) u p u e s p s u a l n^ u o u l a l a l r e m l s o d a q t 6 u u n pr a l e l l l M M 6861-n6L eol papueurap lalleui aql aul!l ,o )as uo aql qll/v\lleq lPau e ol s l q l 6 u u n C u e d e g1 o 1 o 1 r d ea>q l aurP)uor])npoid reAa/\^oq'(686 I

:aurlaurllarlq v

鰹

鰹

eralnlc

tatues

陶彫 A Tokoname City Cultural Treasure Size:20× 18× 18 cm(78× 7× 7 inches) Place:Ceramic Research Center陶 芸研 究所 (map X:51) Tel:0569‐ 353970

The Herrrlit and The Toad Gama Senin/が ま仙人 T h i sf i g u r ew a s m a d e b y H a k u oK a m i m u r a (1754-1832) and offersan authenticexampleof earlyexpressionism in ceramicart.In addition t o m a s t e r i n gt h e a r t o f s c u l p t i n gc l a y ,M r . Kamimurawas a haiku(apanesepoem) writer, plushe practiceda pure understanding of the reaceremony.

A Tokoname City Cultural Treasure Size:21× 12× 18 cm(82× 47× 7 inches) Place:Daizenin Temple大 善 院 (map X:6‐ G) By appointment only Tel:0569‐ 35-3430 (Engiish OK!)

Foxes OfFering The preclous Gem Souko Hogyoku Zo/双

狐捧玉像

Thisisthe oldestceramicfigurein Tokoname.lt wasmadeby the BuddhistpriestSeishuOshyo (1734-'1807). His ceramickiln in the back yard of histemplebecamean importantinfluence o n f o l l o w i n gg e n e r a t i o n so f p o t t e r sa n d ceramicartists. 16 hcesoflnterest

Tne Brooest fui

ceramicStatuei;J"""r;; I \Yl

Hojyu oz"/';;64'llf

イ

The Biggest Cat in The World Maneki Neko/招き猫 T h e M a n e k i n e k oi s a t r a d i t i o n a lf i g u r e i n J a p a n e s ec u l t u r e .l t i s u s u a l l yf o u n d i n t h e e n t r a n c e st o s h o p s ,a n d s t a n d st o i n v i t e prosperityand good luck.Thisgiant cat was made by a group of 10 ceramicartistfor the 1989DesignExhibitionat the NagoyaCastle. this piece Madein 12parts,fired,andassembled, is locatedin the TokonameBoatRacingArena.lt is so big that you can evenseeit throughthe windowsof the trainon yourway to the airport.

in 1921. Madeby Mr.KashoHirano(1873-1938) Thisstatuetook three monthsto model,and another7 monthsto dry and fire.lt was made in two parts:the headand the body.The body o i e c ei s h o l l o wa n d h a sa n i n t r i c a t ei n t e r n a l structuresimilarto the shapeof a lotus root. Thispowerfulfigureremindsus of the skilland

cJe:ffi theestheti r.l,il

ffffi:i:l i;

Ventilation holes

Crosssection

Size:waist:10m (33 feet),height 5 m (16 5 ft) (map V:7‐B)

劇acesofntu 17

i i r i t v a r i . ' i yo f c e r a m i cm l i - a i s

W

摯

TokonameCityHall b y J u n p e iS u g i e

Tokoname High School b v C e r a m i cS t u d e n t s

ElementarySchool b y S u g i eJ u n p e iA r t i s tG r o u P

Tokoname is one of the six ancient kilns of Japan.The others include Bizen, Echizen, Seto, Shigaraki, and Tamba. A distinguishing feature of Tokoname's landscapeare the abundanceofkilns. Historical reports claim that an'ryvhere between 2,500 to over 3,000 kilns were once in active use here. This amazing fact

alone clearly demonstrates that Tokoname was at a time the most productive ceramic center in all ofJapan. Kilns have adapted over the years to serve the different trends in ceramic production, as well as use different types ofavailable fuel. The following is a briefdescription ofthe types of kilns used in Tokoname.

窯の種類

Kinds of Kilns

大窯 Ogama o「"Great kiin"was an evolutionary step betvveen the anagama and the later 登 り窯 noborigama. 3y introducing name Clirnbing channber ns k‖came into dividing pil!ars to separate the nre fu‖ swing in the Taishyo era box and the stacking area′ the (1912-1926)Although varying in o9amas created greater heat size′these kilns distinctly had distribution.Plus′ the additiOn of a i m m e n s e c a p a c i t y A n a v enr a g e k ‖ side doortwice the size ofthe ire consisted of about lo chambers 箱 lll窯 box entrance a‖ owed easier Each channberls size could nt tw。 loading′ especia‖ y for the A down draft kiln′ often using a orthree family cars These k‖ ns popularly used refractory boxes !arge shuttle to rOle in and out ofwere nred by communal effort (egoro)that prOtected the wares the kiln forloading convenience Dokan pipes and uekibachi pots from direct name and ash These This kiin ranges in size,yet rarelywere the main product Pine k‖ns came into use during the exceeds ten cubic meters The needles were a common fuel Muromachi era(1333-1576) primary sOurce of fuelis gas or Gathered frOm a‖ around the Tokoname used Ogamas′ or electricity Hakogatagamas peninsula′the high OilcOntent of tepogamas′ tO produce low ired traditiona‖ y produced lowervase pine leaves served to raise ceramics(approx.800° C/1472° F) kakis and noberity(ceramic do‖ s) temperatures,plus produce a comrnonly referred to as akamono These k‖ns are some ofthe last giassy cOat fOr the unglazed orred ware Exannp!es ofthis are type oflarge k‖ns surviving in pleces TOkOnameis・ K‖n Plaza" found in chimney parts for the Tokoname.Kiln evolution has (See maplX 9-[)′ ￨。 cated on the ceramic community Other red g o n e f r o m l a r g e , c O m m u n i t y 6 r e d pOttery path′ offers a perfect kilns to sma‖ et individual private example of the ciinnbing kiln Kilns ware productsincluded compost bins fbr human refuse kilns are usua‖y named in relation to their physical ordinance.Can yOu irnagine that the pOttery path used to have two Other gigantic chmbing chamber k‖ ns7 Asahigama pointed easternly towards the"rising sun“′and Nandangama aimed to the south The amount of productiOn must have beenimmense

Noborigama

Hakogatagama

20

Pbcesoflnterd

Kakugama 角窯 The Kakugama was another kiln born out ofthe Taishyo era This sin91e chamber,down draft coal ired k‖ n was incredibly practical and re:iable The Kaku9ama ofFered capacity coupled with n was guaranteed results.This k‖ p面marily used for iring clay bodies that have a high iron(ontent′ typical of Tokoname:dokans, shochubins,and karne large vases

Anagarna 穴窯 Although Japanese ceranlics can be carbon dated back over10,000 years,TokOname ceram:c shed itself production estab‖ between the mid Heian era

丁unnel Kiln

Kakugama

ｅ ＝ ｎ Ｏ＝ Ｒ Ｋ

house

(794-1185)and the Muromachiera (1333-1576).During this time, Tokoname was home to rnore anagama k‖ ns per square mile トン ネル 窯 than any other part of Japan throughout history Anagama Although tunnel kiins irst started transiates sirnp!y as'thole ,and kiln・ to be used in Japan in the is basica‖ beginning of the Showa era y a tube shaped chamber dug out ofthe side ofa mountain. (1926-1989)′ they did not ind Today′the anagama has become their way into the Tokoname ceramic scene until around 1940s. internationa‖ y renowned fOrthe n is primar‖ marve‖ ng efFects the direct The tunnel k‖ y found in large factories which use plaster contact of iring wood can create upon ceramics formsto mass produce machine made ceramics such as tiles and ets For a long tirne oil was the tO‖ main fuel Then came electricity in a nd gasin the 1960s the 19505′ Entrance

ロー ラハ ウス窯 Recently′ new technO10gies, primarily used by!arge industries′ are able to 6re ceramics from O to 1250 degrees Celcius(2282 degrees Farenheit)in less than an hour ThiS means thatif we are discussing a work by the tirne a conversation concerning a

Cooling

High ire Tunnel Klln

particular glaze or clay color is concluded′the kiln can be ired′ unloaded and the test results can be seeni nothing rnore to Say

21 Phcesoflnter(Ы

'1・′ `i・ ￨;や 物 島 ゴI11山 ■「 ￨な 館 の ご:褒1勺

INAX MUSEUMS I N A X T I L E MS∪ E ∪M 世界のタイル博物館

INAX KILN PLAZA 窯のある広場 。 資料館

INAX⊂LAY IA/ORKS 土。 どろんこ館

INAX丁ILING LABO

INAX TILING WORKSHOP

ものづくり工房

陶楽工房

Openhours: 10:00a.m.to 6:00p.m. Finaladmission5:30p.m.

Admission charge: Ad-ults 600 yen, Unive6ity & HighSdoolstudenrs: 400 yen, Jr.HighSchool & Elementary sudents: 200 yen.

Closed: The third Wednesdayof eachmonth. (lf the third Wednesdayis a holiday, Museumswill closeon Thursdayinstead.) Closedon New Yearholidays.

Address:

1-130 Okuei-cho,Tokoname, 479-85g6 Tel.0569-34-8282Fax.0569-34-8283 INAXTILING WORK5HOp reception:Tel. 0569-34-7519

Infomation: http//www.i nax.cojp/il m/en g lish/ http//www.inax.coj p/museum/engl ish/ http//www.inax.cojplkil n/english/

In l986,lNAXopenedINAXKtLNPLAZAin Tokoname,the conception of ideasto the productmanufacturingstage.Clay verycity in whichthe companyfirstestablished its business takesstnpewhenwaterisaddedandbecomesceramksuoon operation.Sincethen INAXhasbeenexpandingits cultural firing.INAX MUsEUMS, on launching fivediscovery-orientated facilitiesin the city asse€nin the subsequent openingsof INAX r r l t l sh―t h 腱 宙s f t o r s t O TILEMUSEUM and |NAXTIL|NGWORKSHOP. In the autumn explore and expenence,aims′ of 2006,two further facilities,namelyINAXCLAyWORKS in addition to cOnventiona: andINAXTILING LA8O,areto commencetheiractivities. The exhibitions,tO hold a series conqcanyis takingthisopponunityto narnethe entirecomohx of interactive activities such INAXMUS€UMS. tl€re, Discoveryand Inheritancearetwo key as hands― On workshOps and conceptsusedto conveythe MONOTSUKURI spiritfrom the events rext bylNAp

n

Pbcaof hterest

Thebkoname Folk Museum 常滑市 民族 資料 館 4-203 Segityou Tokoname 479-0821 Te1 0569-34-5290 Fax 0569-34-6979 This rnuseum contains the most comprehensive biographicallook at Tokoname's ceramic history lt has an impressive permanent videos′ and examples from the lives co‖ection of various artifacts′ of past potters Here you can ind everything aboutTokoname!

The Tokoname⊂ enter erarnic Research⊂ 常滑市 立陶芸研 究所 7-22 0kujyou Tokoname 479-0822 Te1 0569-35-3970 Fax 0569-35-3970

ma百ly ThЬinsltute serves p‖as a training center for both lo(al and nattonal studen ts Theceramヽ insltute also A number of l s graduates have gone on to be(ome famous lo(ated e(lon of pottery made Jnce the 1200s kも very near the houses a valuable(o‖ Tokoname Fdk Museum

ngu ud Ka`ettDonya Odeaに Takla sh口 Family House 廻 船 問屋 瀧 田 家 4-75 SakaemachiTokoname 479-0836 Te1 0569-36-2031 Fax 0569-36-2031

￨

Nobo百 gamaSquare Exhibition Space&St 展示 工 房 館 」 常滑 市 登 窯 広 場 「 6-145 SakaemachiTokoname 479-0836 Te1 0569-35-0292 Fax 0569-35-0292

籠 11熙 ま 頒螺 鷲榊 苗i囃瞥 Museum Histographic Reikei 鈴渓資料館 4 Kameldo Kosugaya Tokoname 479-0807 Te1 0569-37-1311

ri驚 幾 ‖ I悧 欄 翻 鮒 鮮 i網 ぷ 鮒 ‖椰 t h e R e l k J F o uenxdhailbolns′ a n a r r a y o f p e r s o n a l a n d p r o f e s Jyo n d d o c u m d a l n e s , 1 0 b u J n e s s raell a t e d m a t e 百

23 Πaces of inter馘

rlq l⊂

nsfr.urner-,fs

陶の響き

T o k o n a m e 'm s u s i c ailn s t r u m e n t s a n d o t h e rs o u n dr e l a t e dc e r a m i cw o r k s ( c r , l l l r a , h a v a t n r t i t i r t : r ) ,, r , yJitti. ih,lt fet'cliltt' \rx \|fr\L : W e t , r n s r r r o illl t L tr l , r yi r L . l l tl r o r r i l l . e { , n f 1 l r ,o r i ( ) ' . i il t 1 1 1 i!,r L ; l r r e r l i o n l s \ ! r . c e n . t 1 _ r p r l rtrt , r ' , i r l 1 ry ! b r e r r . , l l r l 1 l - ! . , r' , , i t, l ) e d u t y P o l i e r ) ,c o f t t r r i J | ] i i 'i,l f h e ( l r e t : ; t a l r ' f r co f t , r : L l l y ''.. t J .l t v h e l h e r i n c i . r r s ci ) i r r l r , . 1 , t f n s , a o n t d i n ! , , l l l r i l ! , lt rl ( l l t t ,l ,o l . J r ,r . . ' , | . j r. r . , . r : i. w € r , r r r , l yl t e . t r a n v L l t r n c ll r O n t cef(ilIlc 5ouncJ5i)na, r,,.r:irrl

i ) ( i , r i r , i r 1 ( ) t ) t . l k c. l a e l f ( i l t i i ( i :l r rji rl: ri'(lUil(ra t L J f r a tl l r t ( r , i D , t ! 5 r r l n, r n d . t l t i g h i e v t , lr r l l:, irr a,r ;irr tty The f9l gi,,;1!

kP \,'(,r!i.t/rth a !tIall hola, 'T'he, o r i jrr, lolt nside of lhrs V , l \ r ' ( O r l l . r / n !, t p O o O l r v , . t l ( ' r \ ! l r e r t \ . , i . i t e rd r o l t s f , t l l i I t o t h s , r ) l t . t l r , l t l t e , , o u r t di : ; r , r p l i h t - d

i r ' I 1 r ' t , , t r 1 , ,ot !l i l t [ o f ( ] ! it r l t l r i , i l , L l i t i r , , i . | i l r r d ( r ) t i S l t!( :i ,.,t Lin ,

Sugi Sushi

Tqkqrq Zushi

WASHO

T h e ys a yt h a t h e r e" F o xd e i t i e s love to eat deep fried tofu " C o m ea n d t a s t ef o r y o u r s e l f Tel 0569-34-5208

T o k o n a r n eb r o r l e de e l , s p e c i asl a u c e& r i c es e r v e d i n a c e r a m i cb o w l t o t a k eh o m e Tel 0569-35-2350

A t a s t ym i x t u r eo f i n t e r n a t i o n a l f l a v o r ss e ti n a m o d e r nJ d p a n e s e d e s i g n e dh o t e l r e s t d u r a n t Tel 0569-38-8330

[ll/l:.

(o le&Lい o ￨〕￨

( 1ぃ1 1 卜0 p

'￨￨し ・え ・る 喫 茶 ・食

たん こ茶リ ポ

Ciel

Dongo choyo

cOrfee&ght meal Te1 0569-34-2177

Roasted ri(e durnp ngs wnh sweetsoy sau(e Te1 0569-34-3794

Di nk&[￨￨

S ccg■ 01000,

1也 の ￨ :1父 i r・ Ч 食J「

4 ほたる 」

Tonllkuro

Holoruk0

Open on yforlun(h Te1 0569-34-3736

Te1 0569-34-2157

Coffee&Curry r ce

Po‖ (ofFee&lunth ery shop′

& lunch Ponery shop, colfee

光 きゅうす

lf , ttVt

Kqmqsokq

Kyusu Hikari‐

Wobisuke

Coffee&‖ghtlunch Te1 0569-35-2680

Pottery shop′ coffee&lunch Te1 0569-34-3104

Potteryshop,coffee& lunch fel 0569-34-7169

C O f f e e & L i g￨h : m e 口

Polery shop′ (ofree&lunch

Cole&Shop

茶房 たんぽぽ

常滑屋

風

Tanpopo

Tokoname‐ yo

Fu‐u

Popularfor their″ Dande‖on″coffee Te1 0569-35-4222

coffee&lunch pottery shop′ 35‐ 0470 Te1 0569‐

Pottery&coffee shop 8818 Te1 0569-34‐

o 3 o b o s o n or u H lH lO ln op “

Shop&Lunch

C o f e t & 6B 1O e‖ 了r y

とこ1 板

O i n t (ヨ ジ イント) 」

Tokohan

Joinl

Noodles&Rice ba‖s Te1 0569-35-5353

A cool placel Classic rock′ coffee/tea,cocktails′ good food 5539 Te1 0569-35‐

1本 舗茶席 婆さの鳩ツ

歩歩歩( さんぽ)

5anpo G r e e n tbeeaa′ n paste in pancakes&other local treats Te1 0569‐ 35-8320

lCt波 楼

Seos de(olloge ヘンション ・プランシェ

Onparo

PenJon nche Bl口

Te1 0569-42-2131

Te1 0569‐ 34-9266

3-3 Ohno-machi Tokoname 479-0866 5 min on foot from Ohno-Sta. I 2 Japanese-stylerooms hftp://www chita-yadocom/onparohtm

2-55shinhama-cho Tokoname 479-0838 2 Japanese-style rooms 4 Westen-style rooms 9 ParkingLots 5 min by taxifromTokoname-sta

Sighlseeing&Business

J o p o n e ls ye l∫e l , 0 1 e l

常 滑 観 光 ホテル

・ 坂リ ト lll泉 湯本館

oponese inn 」

・ rr・

http://www tac-net nejp/-blanche

TOKONAME KANKO HOT[L

%kdHdSⅢ 9 Yumolo・ kan

Te1 0569-35-7475

Te1 0569‐ 37-0006

1-80 Segi-choTokoname 479-082I 5l Westen-stvlerooms 50 Parking L6ts 5 min bytaxi fromTokoname Sta http:,/www tokonamecom/plantophtml

1 Sakai-nishigawaTokoname 479-0809 15Westen-styl€ rooms1J rapanese-style rcoms30Parking Lots Courtesy Bus from Kaminoma-sta.& other stations. http://wwwtac-netnejpl-yumoto/

Neor Tokonome S10nOn

l n o fn 「 l o f T O k O noonm e SFl o ‖

ホテル ルートイン常滑鼎t i l

ホテルA U l ll: ‖

HOTEL ROUTE IN

HttEL AU TOKONAME

Te1 0569-36‐ 3511

Te1 0569-34-6464

2-73Koiehonmachi Tokoname 479-0838 1,14Westen-style rooms 90 ParkingLots http://www route-inn coiplframe/hotel/tokoname htm

174-l Shinkai cho Tokoname city Aichi 479-8610 3‐ 1 70 VVesten‐ style rooms 24 Japanese‐ s tyle rooms 1 05 Parking Lots

ln fron1 01 Rinku SIO1 0n ジェイホテル リンクウ

J.HOTEL RINKU Te1 0569-38‐ 8320 3-2-l Rinku― cho Tokoname clty Aichi 479-0882 180 VVesten‐ style rooms 60 Parking Lots http:〃 wwwj hote卜‖nku com

1-l CentrairTokonarne city Aichi 479-0881 220 Westen―style rooms l Japanese― style room http:〃 www centrairhotel cojp/

〔 en」 opon lnl Airpori コンフォートホテル中` 日 ‖ 際■泄

( e n o」p o n n pl o rA li 「 、 際■港イ nI 束 l l l tン イ l 引1 可

Comforl HOTEL

TOYOKO!NN

Te1 0569‐ 38-7211 4‐ 2-3 Centrair Tokoname city Aichi0881 479‐ 350 VVesten― style rooms httpノ /wwwchoた e hotels,p

乱 聾 i辮 ::蔦 退 藷翫i小 蔦薦

01

Keiko Asai リト lit r 7長 923()111lo(ho Tok01lal11(ヽ 川J923 Ai(lli愛'ョ ￨り t↑ り予 ￨￨イ ￨￨ljノ く T(ヽ 10569-42-3686

I began my ceramic caneer as a pottery school assistant In the late 1990s I was working in a "welfarehouse",yet I wasn't convinced that I would work there for the rest of my life. It was at that time that I talked about this with my friend, and she told me about the possibilityof my helpingat a ceramic schoolcalled Kyoeigama.I quickly quit my job, and began working there and through coursesand lecturesI leamedhow to work with ceramics.In the beginningI would break pyrometers and I would break my work. I couldn't count how many m i s t a k e sI m a d e . T h e r e were times when I felt terribly frustrated. Now, when I reflect upon the past, I realize that these experiences have been very important and have supportedme in making my work. I first displayed my work at a 3 person exhibition in 2000′

yet it

wasn't until 2004 that my work finally started to take the form I really wanted. I love ceramics,and want to continue makingceramicsthe rest of my life. I hope that through the path of ceramics,I will be able to meet many different people. 36 GRAMICARTISTS

Tokonameis a warm hearted place, and a very good environmentto make ceramics. Over time, the ocean and the earth have cultivateda city with a big heart.Tokoname has embracedwith open arms peoplewho create. I am inspiredby this wonderfulcity and want to continuemaking my work nere.

02ヒT切]坊 man 2 1 5 KJ i( tλ Iそ ( O永n a l 1 l c A i知 (￨liり lt ii 愛 ￨l ‖ j北 条2 1 5 「 ( 1ヽ0 5 ( , 9 - 3 1 7 7 2 1

A deep underctanding allows mental freedom I was born in 1951 in l n d i a n a p o ! i s ′I n d i a n a ′ U.SA.I studled ceracs at The Rochester lnstitute oF Technologyl (B.FA.′1973)′ and then movedto tt tOSet

rp nry sfuIo. I have atwaysrnadetings h al rnedia I iln hte€sted h toob, skib, rnateri.ils and methods of working. At present, I lecture,teadl, ad exhibitinternationdly. Since 1969, I have worked with colored clay,mainlyporcelains.Originallyinspired by ancientminiatureglass mosaicsand millefioriglass beads,I started to create working methods by lookingat the glass and tried to figure out how I could arrive at similar structures in porcelain.I am constantly making tests and find that a deep understandingof my craft and materialsis excitingand necessaryto allow myself mentalfreedom. I l a m i n a t ee i t h e r d i f f e r e n t c o l o r s o f porcelainor different porcelainbodies

together.Every changein color,texture, or translucencyis structural.I sometimes make my coloredwork from a soft paste porcelainwhich is a plastic body I developed and is now sold in Europe.One of the things I am experimentingwith at the moment, (but have done on a smallerscalesince 1981) is putting chemicalsin the laminated clays which make them expand in the kiln. I make moulds which guide the objects as they grow in the kiln's heat. A few years ago, I developeda new, very translucent,very white porcelainthat is incrediblystrong and stable, and has a surfacelike babies'skin, plus it takes colors very clearly.It also can fire in one hour in a tunnel kiln. Also while experimentingwith ideas that could be used in architecture, I made a series(by default) of the largest, thinnest, textured, translucent,nerikomi porcelainpiecesto date intemationally. I receiveda JapanFoundationFellowship in 1998-9 to start a researchwhich I am currentlyworking on. I am collectingdata for a book about colored clay, particularly in contemporaryJapaneseceramicsand its influencesfrom and to the "West".

un!CARnSTS CEⅣ

37

03Wali l-Iawes r)-t)*.;J,e17

2 . i . 1 .1i \ L i q r t r r lKi o r r u r nr ol t o \ l i r ' ' J r tl l. ' r j . , .IL1'rj i: i l . l ? . i I l ( , 1{ ) . l l Il 1 ) i i J O |1J l r t t l t ' . u n , . r r i r l i l t ; r , . rtr' ,r sr r

An Ancient Ambiance One of my fondest memoriesof Tokoname was my studio that was locatedin an old "bonsaibatchi"factory in the heaft of historic Tokoname,a stone's throw from the old Noborigama.My neighboron my right was a fourth generationpotter named Yuicfri Hirano.He is a person of great experience and talent, and is always ready to share. To my left was the philosophicaland highly

38 CERAM〔 AttSTS

critical Ikai Shingo-sanwho was a continual guidance for me. My studio doors were always open, which allowedme an intense and . personalpart of an ancient a m b i a n c e :t h e heart of Tokoname. My work in pottery focuseson three broad fronts: My functionalwork of mainly tableware and objects are studies of form and structure within a repetitive framework. Then there are my kiln buildingand workshops. I oerform these for an international audience.Finallythere are my "Fire Trees", which are monumental sculptures.I find that my work is more internationallyacceptable. Unfortunately,Japanesepottery does not have mudr room for "happenings" to occur: I was born in India, yet have lived for many years in the UK, Spain, and now for fifteen years in Japan. Japan continuesto be for me on the forefront of the ceramic world. However,I have noticed great changestake placewhidr has caused q u i t e a b i t o f c o n f u s i o n .I v i e w changeas a catalyst for creativity. Pottery is for me an attempt at freeing myself from the pettiness that dogs life in this consumer societyat the twilightof capitalism.

04 From the 4th grade..... I was born into a t r a d i t i o n a l4 t h generationceramic family. By the time I was in the fourth grade I was a l r e a d yw o r k i n g a part time job movingclay for a ceramicfactory. I feel that I entered the path of ceramicsquite naturally."I stole techniques" by lookingat potters and the way they w o u l d w o r k w i t h s l a b s ,c o i l s ,o r o n t h e wheel. Workingwith naturalglazesled me to use a wood firing kiln. However,wood firing is very challenging. Usuallywood fired kilns reach more or less 725O"C(2282F).I fire at lower temeratures, yet for longer periods _ . ., ",::. ^ of time. The austere l o o k t o m y p i e c e si s b e c a u s eo f t h e i r o n content in the clay body. I dig and mill all of my clay from the Chltapeninsulaarea. F o r g e n e r a t i o n sm y family was in charge of the firings held at the BIG noborigama. (Located on the pottery path courseA). My biggest sorrow is that becauseof a 1972

the Noborigama that rny environmental lavv′ great grandfather had fired since the Meiji era(1868-1912)was c10Sed down.The last made pieces that won an Firing of this nk‖ ′ award at Tokonanne｀s′Chozasho″ ceramic competition′ and now are apart of the Tokoname City permanent co‖ ection There are three things that make me particularly happy about making ceramic work.One is that when se‖ing a ceramic piece l get to meet and share with many difFerent people.Secondly′ I enjoy searching for clay and digging it myselF The nothing‖(1黒 )to process of clay goes from‖ something'1 being handled and shaped into・ (有)Fina‖"as the years 9o by7 01d pleces oF pottery that rny clients have begin to acquire a peculiar charm That is they contain each personls unique touch over u m e . T h L a b‖‖ ngs me much joy

(ERAMIC ARlSTS

39

ＥＪ ∩Ｕ

ShingO Ik」 猪勲J 員メ 「 6 137 Sakcl(ヽ n〕 achi TokOnan〕 (ヽ 矢‖り . Ai(lli愛 ]t↑ ￨ :￨￨￨￨lj′ 】〔IJ()137 T(ヽ 1056()-355897

Listening to the sound of the burning wood tells me when I need to feed it more. B o r n i n 1 9 4 3 , i n T o k o n a m e .I a m a d e s c e n d a n to f p o t t e r s . I t i s t h r o u g h exposure and pure observation that I have come to know the production of "bonsaibachis"(bonsaitree planters).This is how I came to somehow start making ceramicpots for "bonsai"trees. On the eve of my first firing, my father fell ill and was hospitalized. I went to consultwith him about how to fire, and he told me somethingthat I have never forgotten: " Listen to the sound of the burningwood, and you will know when to feed it more." I considermyself a late bloomer in the field of ceramics.With age I have become more self assertive. I was very fortunate t h a t M r . T a n i k a w aS e n s e i ( o n e o f t h e greatest Japanesephilosophers,who was also from Tokoname)honored me by recognizing me as a ceramic

artist. Thanks to him, and other leading ceramicartists of the time′ I had my first solo exhibition in Tokyo.

I have participated in the NationalCeramic Exhibition′ the Chunichi

lnternational Ceramic Exhibition′ the Traditiona!

CeramicCraft Exhibition,plus I was an invited artist to the International Ceramic ExhibitionFaenza(Italy). My 40 ⊂ 即ⅢにARITS

best memory however has been participating in the awards ceremony at the VallaurisCeramic Exhibition. I was always guided by Mr. TanikawaSensei

理:汎 l:=i:説 i rhi form of the Jomon and Yayoi ceramics." This is why I strive to make naturallyfired blackTokonameware as the foundationfor a ceramic revival. I would say to the young generation,care for clay and study the way in which you can become one with the clay. I am the eldest of three. I teach how to make, but I don't teach what to make.

05 From a welfare house to ceramics. I usedto work with my father managinga welfare home, but we couldnot get along with eachother (laugh!) F r o m t h e b e g i n n i n gI, n e v e r w a s r e a l l y interested in pottery. However a good friend introducedand taught me my first lessons.After that, I devoted myself in a completelyself taught process.AlthoughI would make more mistakesthan success, I continuedto make ceramicsby imitating what I saw and liked. D u r i n gt h i s p e r i o d I w a s workingas the principalin a w e l f a r eh o m e , w h i l e a t t h e sametime I was making c e r a m i c s . F i n a l l y I, w o n a g r a n dp r i x a t a c e r a m i c competitionand this initiated m y i n d e p e n d e n c ea s a professionalpotter.Now that I look back upon those days I think that maybeI made anothermistake.

W h e n I u n l o a da k i l n ,a n d a p i e c e moves me to say " Ooh!"or "Alright!!", that is the kind of work t h a t I s u b m i tt o competitions. W a i t i n gf o r t h e results from a competition c a n a l s o b e a g o o d t h i n g .Y e t , r e c e n t l y c o m D e t i t i o n sa r e t o o c o n c e r n e dw i t h techniques,so my piecesdon't make it.

I prefer the natural glaze. I have been consistently working with the natural glazesof wood fired kilns. My work consistof primarily t r a d i t i o n a lp i e c e s .C e r a m i c sculptures, as well as contemporaryceramrcsare not my specialty.The element of surpriseand unexpected results from a strongly reducedkiln is excitingto me.

(ERAMIC ARTISTS 41

07 The scary old men. I was born into a family that has been doing ceramicsfor generations.Thus,it feels that I have entered the way of ceramicsquite naturally.When I was young,Tokonamewas a town full of wonderfulpeople. I l e a r n e da l o t f r o m t h e s e people,especiallyfrom Mr. Goro Tomimotowho taught me a certainway of thinking. I can laughabout it now, but in those days, Mr.SaiichiroMorishitaand Mr. Yoshiharu Sawada,were two scary old men who used to scoldme. In 1978,I participatedin a Tokonamegroup entree to the VallaudsIntemationalCeramic competition.We receiveda silver medal. Yet the accomplishment was so great, I felt as if I had won a gold medal.In addition,it was the first time for me to travel abroad. I had to save money for that!! I will never forget that experience. I alsoreceivedthe first orizeat Tokoname's "Chozasho"ceramiccompetition.During

42 〔 ERAM(ARlSTS

which the main judge, Mr. Tanikawa, gave great complimentsabout my work. Mr.Tanikawa'swords gave me courage. H o w e v e r ,w h e n I p a r t i c i p a t e d i n t h e T o k o n a m ec e r a m i c e x h i b i t i o na t t h e MitsukoshiGallery Mr Tanikawacommented on my work quite critically.I can laugh about it now. I am not particularabout styles in ceramics. Basically,I want to make work that look and feel alive.From now on, I will continue to explorevarioustypes of clay.I'm thinking that I would really like to make work with a crackledslio surface.

００ ∩Ｕ

Midori Kato l:rll fttrj/r-t llJ lJ Ko Obasarrr:r, Okutla.\lilllrrlr ヽ iclli l:'1り itシ til引 Jり J‖小/LIIII1 13 3 I r ' l O 5 ( i ti)3 7l 7 ( X )

Now that I think about it, this road still has a long way to go. I was born in Tokyo in 1930, and moved to Tokonamewhen I was in my third year of elementaryschool.When I was a child, my father, who had always wanted to be a pianist,playedthe flute for me, and my mother loved to oaint. Now that I think about it, my parent'saestheticsensibility establishedthe ground for my own ceramic worK. There is a feeling of wanting to create s o m e t h i n gi n a c e r t a i n w a y a n d t h e final result means the actual piece. For m e , i t i s n o t j u s t a b o u t d i s g u i s i n go r

covering ourselveswith a western pride. Japanis a particularplace:the way the light shines,the difference in the air. I strive to expressthe way the environmentthat surroundsme makes me feel.

I met and married Mr. YoshiakiKato (See page43), and stood beside him assistinghis work. This is how I started to do my own ceramtc work. An unspoken understanding between the two of us led to a commitmentwhich was to follow our paths in ceramics and to go our own directions. CERtMκARlSTS

43

０７ ∩Ｕ The shark glazel I was born in Seto in 1930.After WorldWar II, I was in the 5th gradeand came back to lapan by myself from Manshyu(China) to live in Seto with my relatives.I studied ceramicsfor two years at The Ceramic Institutein Mino.Then I movedto Kyoto where I furthered mv ceramicstudies.At the age of 22, I moved to Tokonameto HereI work as a ceramicdesignconsultant. met my wife Midori(See page 43) and we were immediatelymarriedand I becamea "salaryman". At the age of 28, I became independent and mademy first kiln.In 1976 I moved to Mihama(south of Tokoname),

44 CERAMIC ARlSTS

and builta kilncalledMinagama. O n e d a y w h i l e w o r k i n gI f o u n d s o m e c e r a m i cs h a r d s .T h e s e w o u l d b e t h e inspiration for my "sharkglaze".I continued my researchand discovered in the Chita peninsulaarea the ingredientsfor this glaze. Anybody can do wood fired ceramics.I have done shinoglazes,as well as oribe; however,I foundmy own expressionin the sharkglazewhichI havebeenmakingnow for over 30 years and will continueto use from now on.

10 1,111:IKitannura り 2 l J\ r s l t i r r r ' , : r r nYr i r t a l o k o r l t n r r ヽ 1(l li ,`'11り (ヤ 11:111「 ￨￨ i′ ′ 、 ￨'ti11(子 ‖:イ I t ' lO . r ( i l l)2 O 2 ( J . t

Crcative work: Tension, dffieilties, and just a litde smate. When I was a child I loved to paint. I think I inheritedthis love from my parents.My father was a sculptoras well as a very good painter.My mother came from a family of potters. This is why it wasn't strangefor me to expressmyself creatively. I apprenticedunder Mr. Ken Miyanohara and learned his way of thinking. Yet it wasn't until later that I truly understoodthe extreme difficultiesof makinggood work. I returned to Tokoname,and taught at the TokonameHighschoolfor 9 years. It was during this time that I started to make ceramicsand oaint. I have been exhibiting i n o u b l i cs h o w s f o r many years.In 1995 at the Mino International CeramicComoetition I received a silver medal for a piece that took both a t r e m e n d o u sa m o u n t of time and energy.As its title suggests,it is a piece that leavesa memory.One would think that my functional pottery and my sculpturalwork do not have any connection.

On the contrary, I believethat the expression that comes from insideof me is all related. Recently I have been inspiredto find that from the j a p a n e s eb l a c k lacquer'siron glaze comes a blue colored glaze. Like my predecessors who had searched to find the iron pigments that transform a glaze into different colors, my wish is to come closerto realizemy dream. Creativework for me is tension,difficulties, and just a little smile.

CERAM(ARlSTS

45

■１ １ １

■１ １ １

Ry9ji Koie 無‖ ￨ ￨ : 良l 5 5 5 ( ) k t l l o l ( ) k ( ) n m l c A k 1ilti, 1l7I1'1Jt1I条 t;)) jり り ) ,〔1 2 1 ( ' ( ヽ 1 (1ヽ 0 3 (1ヽ

An overwhelming feeling of raising a new generation I dropped out of schooland worked at a local ceramic factory for more than 4 years. After that, I entered the Tokoname CeramicResearchCenter.In those days peoplewhere very open mindedand we had the chanceto share ideas with each other: After the War,a new art associationwas formed. A medicaldoctor named Mr. Osakida,together with a painter and a sculptor,raised us young artists. These memberswere not only friends, they were extraordinaryjapanesepeople.We invited them to Tokonameand they inspiredus to form our own group. ProfessorTanikawa (philosopher), Mr. Sawada(Director of the ceramicresearchinstitute) and Mr. Ina (Presidentof the research institute), Joe Yamada(LivingTreasure)and I, we all learnedso much from this art movement. We would have a "ceramicmeeting"once a month centered around designer Mr.

46 CER刷

【ARlSTS

NozakuzouIne. During this time, there was an overwhelmingfeelingof wanting to teach and raisethe next generationof artists.Unfortunately,nowadaysthat feeling is lost. I have been away from Tokoname for more than 20 years and I can feel this mrSsrng. Youngpeoplenow a days shouldnot just m a k e c e r a m i c s .T h e y m u s t o p e n t h e i r minds to music, literature,other forms of art, plus travel abroad.In few words: play more! If there is no "wind" to move them (like ceramic orders that make them work), young potters can wait forever.This attitude comes from the fact that Tokoname is a fishingcommunity."The ship moves with the wind". Youngceramicartists should have more desire for learning and to becomeindependent. I want them to do their own work. For myself,I don't want to be restricted by Tokonameeither I want to raise the talent of the next generationbecause it is important to encourage new generationseverywhere.

﹁日 １ １

り∠

YOhel KOnlshi ｀ 小ノ 噌羊￨え .l('()ktl(ヽ 1(11() loko!,al11(ヽ J｀ 1(1li 4,1'‖ ￨り tl;￨￨￨ り ∫ 1,t‖」1 3 1(￨()5()()(3351 17

Under the wings of a very stubborn father. I was born in 1937 in T o k o n a m e ,t h e t h i r d generationof a pottery family. After graduating from the Tokoname high schooldepartment of ceramics, I succeededmy family's business."The happinessof makingand the joy of firing" clay has been a part of my life since I can remember. I like new challenges.My father usedto make teapots that have 5 different clay bodiesmixed together.I made them with just with three different clay bodiesbecauseto cleanthe clay from insidethe mixingmachineevery time you mix a new clay was a lot of work. This, plus my ibushi (a type of raku where piecesare taken out of the kiln whilefiring and put in a containerwith bumables)made my father furious.When I made ibushi I would burn wood and rice husks,and this would create a lot of smoke.That is why I would work in the secrecy of night so that my father wouldn't know. Once when he awoke it in the middleof the night to go to the toilet he caughtme!

I really don't sell much. Manyyoung people don't sell much either and this is too bad. Just by doing what they like, they can't e v e n e a t , e q u i p t h e m s e l v e s ,n o r c a n they study. This is why I try my best to guide my sons, and show them that I am healthy.If I don't, they will never feel the charm of ceramicwork. Ceramics have a contemporary common language in traditionalcraft, folk art, and modern ceramicsculpture. AlthoughI enjoy making ceramicsculpture,I can't make a living from it and so I have to make traditional work too.

Tokoname's sea weed pattern in Pottery Ceramicsis not just a sciencenor just a technique.Ceramicsis a human creation b o r n o u t o f t h e r e l a t i o n s h i pb e t w e e n harmonyand nature.The clay and the sea weed we have at our feet are not found anyplaceelse but here in Tokoname.I am presentlyexploringthe effect of sea weed patterns on tea pots. "Where there is a will there is a way" and " Learnthe old and find the new "; this is my philosophy.

﹁．一 ・

CERAMiC ARlSTS

47

﹁日 １ １

つＪ

Kcnqo Maekawa lilrlir rl\llill)(

\ i r l r i , - 1 . l , l , ;t , i i i ; - t L; .

,1ll

Working in a different context I grew up looking at ceramics,and when I was in the fifth gradeI decidedto become a potter. After g r a d u a t i n gf r o m $e TokonameHigh School's ceramic kiln manufacturing department, I traveled with a group known as the Young JapaneseCooperation.This experiencewas a big challengeand joy for me to share with peoplein different countriesthat did not have much knowledgeabout ceramic techniques.I really wanted to return to the Philippines. However,due to my father's deterioratinghealth,I chose to assumethe responsibilityas his key assistantand the obligationof a third generationtraditional ceramicfamily. As I grow older I realizethe importance of promotingone's work. In 1989 I won a prizefor the pieceentitled"Tokoname's c e r a m i cc u r t a i n o f s o u n d " .I h a v e graduallybeen able to show my work in many different ceramicexhibitionsand competitions.In 2004, I was commissioned by the TokonameInternationalAirport to create big planters.Thesepieceswere m a d e b y h a n d w i t h a t e c h n i q u ec a l l e d "yoriko zukuri".I would like to transmit this tedrnique to the youngergeneration.("Yoriko zukuri" is similarto the coilingtechnique. Mr. Maekawais the last in a generation of Tokonamepotters that knows how to make these big coiledpiecesby hand. See page 77) 48 GMMKARIISTS

Don't give up, keep on sending work to exhibitions I w a n t t o e n c o u r a g et h e y o u n g e r generationsto see more exhibitionsand try to participatemore in them. I believe that by sendingpiecesto competitions, young potters will realize things about themselvesand their work. I have seen young ceramistswho give up when a piece does not tum out the way they want. And to this I say "NO!You must keep on makingyour work. Do not be concerned with protecting yourself." Youngpotters need to see more. If they don't understand somethingabout a piece they shouldn't hesitate; they need to ask, not wait for the answers.Young ceramists need not copy, but searchfor their own expressron.

■︱︱︱

Л廿

I was born in a coal mining community in western Pennsylvania, USA. It was a very isolatedcommunity,but I becamesocializedwith taD dance lessons at the age of 5. This led to the conceptof musicand perfectionat an early age. Later,I went to the Philadelphia FineArt U n i v e r s i t ya, n d t h a t c h a n g e dm y l i f e . I w o r k e d w i t h a n a p p r e n t i c eo f B e r n a r d Leach,Mr. Byron Temple.He introduced m e n o t o n l y t o c e r a m i c s ,b u t f o r t h e first time I experiencedsomeonemaking somethinguseful,and from whichone could make a respectfulliving.I completedmy undergraduate degreeand continuedas Mr Temple'sassistantfor a year. PERSONAL TOUCH Workingas an apprenticefelt empty. I learnedthe lifestyleof a studiopottei yet lackedthe personaltouch.So I appliedand was acceptedto the CranbrookAcademy of Art. Here I studiedwith RichardDe Bore and learnedhow to be an artist, to find my personalvoice withinobjects,even if they are utilitarian and commonlvused.

E s s e n t i a l l ym y work began to make connections with my music a n d d a n c i n gp a s t . Music (speed, time, and dynamic expression)inspired my work to evolve into forms found in our dailylives.I expresstime, the abstract qualityof time and time structure,through my finger gestures upon clay. Through the wheelI create utilitarianforms. These forms then serve us in moderndav human r i t u a l s ,s u c h a s e a t i n g ,d r i n k i n g ,a n d communicating. I n 1 9 9 0 I p a r t i c i p a t e di n I W C A T .I immediatelyfelt at home in Tokoname. The way peoplewarmly greet each other is like where I grew up. I was welcomed by the people,the blackbuildings, the sea. I was awesomelyinspired.I later returned on a grant, and one thing led to another, and now I havea studiohere.Tokonameis my summerlaboratory.I am free to make work and play seriously.I have a real life here. Ironically,I have to travel half way aroundthe world, but this is my real life.

(ERAMI(ARTIST5 49

■︱︱︱

ＥＪ

Katsuo Mizukami J(ll‖ 券ブ ( ツ( l l 、 ( ) :、1 ( ) k ` l l o k oAlil(ah1il kIヽ郷 1)〔 )を ￨り l t i l l l j 'l1代1 1 ) 1 ) イ l(11),(,1)i;)(11):3弓

Shaved like a Monk I was born in Tokonamein 1955.My father worked in a ceramic exporting company. Perhapsthis was the environmentthat led me to study crafts at the Kanazawa Art University.After graduating,I was fascinatedwith inlaytechniquesin ceramics. Then Mr,MasayukiImai receivedme as his apprentice.I worked with him for 8 years. H e w a s a v e r y s t r i c t p e r s o n .E v e n t o this day I believethat the reasonwhy he acceptedme was that duringa time when the fashionwas to have long hair,my head was shavedlike a buddhistmonk. I think he

felt like I had a new vision.I immediately built a wood kiln and started to make my new work.

The duty of the young generation

liked that. I moved to several olacesuntill finallyI choseTokoname. First I worked with a group, and then I becameindependent.I sent my work to many nationalceramiccompetitions,During this time I was doing a lot of inlay work. Howeverlmadeaoiece with b!ack

cray and sent it to The Asahiceramic competition.This piece received a recognitionas one of the too five. From then on I 50 CER´Ш(ARTSTS

I have been working at the Tokoname CeramicResearchCenter for 10 years. D u r i n gt h i s t i m e I h a v e s e e n h o w t h e ceramicclassassistancehas decreased. I think that there is a duty that can be transmittedto the youngergenerations. Finally,I wouldlike to let peopleknow that this town has always been welcomingto young outsiders.

∠０

■︱︱︱

MasumiMizuno 水野真澄 6 58 Sakac:llachi,Tokona1llc Ai(l111憂 矢￨1暁 (‖J6-58 (11:,111j`沐 ′ I｀ (10569-35-3476

A Way Of Thinking And A Way Of Making I was born in Tokonameas the youngest son of SeisenMizuno.After graduatingfrom the TokonameHighSchool,I becamethe apprenticeof ShigeoSawada.AlthoughI stole from my father the way of making c e r a m i c s ,I l e a r n e d f r o m M r . S a w a d a the way of thinking in ceramics. After becoming independent,I started teaching at the TokonameCeramicResearchcenter I do not rely solely on the wheel to do my work. I also use molds and hand m o d e l i n g ,p l u s I am an expert in making coil work; my specialtiesare flower vases. I have dedicatedmy life to modern craft. I feel this proves my existence as an artist. For me, to make ceramic sculptures has a connectionwith tradition too. Every year I send piecesto major nationalceramiccompetitions.When I was 19 years old I won a prize at the AsahiCeramicCompetition('75). T h i s l e f t a b i g i m p r e s s i o ni n m y memory. I am happiestwhen I make big work and am able to fire it successfully.I used to have a studio in Hirugano, Gifu prefecture becausethen I could fire wood kilns where wood was easilyavailable.I am not particular about specific materialsto do my work. UsuallyI start from an image and then choosethe clay that fits it. This is the way that I work, Usually,young ceramic artists want

to be accepted.All the more reason why I encourageyoung people, includingmy own two children, to send their work to publicexhibitions.Here is where they learn to polishtheir skills.To win a prize there is the fact of age. It takes until your twenties o r t h i r t i e st o b e g i n m a k i n gs o m e t h i n g substantial.Yet while there is youth and a flexible way of thinking,one must try to make as much as possible.

⊂RAM〔ARnSTS 51

■日︱︱

７ノ

YllkO MOri ,i,t'rllllJ l J I I r l ( i t ; r r r r s l r i kKio, u i r N 4 i l r ; r r l A i r i (t r i t : 1 . l l l l ,)l- i t \ l i l l i , , l {jl't. l l l ' , 1 , J1;3t '1, 1 ' , l r ' l O ,r (i 1 ), \ 2 0 2 ( ; 8

From psychology to ceramics

and we moved to Seto. My husbandstarted to make pottery; however I thought it was I was born dirty and besidesit looked like too much in Karatsu work. City, Fukuoka It was not until my secondchildwas born Prefecture that I started to make ceramics.Really,I and grew up don't like cookingmuch so I didn't have in Kagoshima, much interest in makingpottery. In the Southern beginningI just made little, cute dolb. J a p a n .I h a v e The growth of my childrenhas been one of always been the major influencesin my work. Recently interested in my dollshave evolvedinto Jizoufiguresx. SigmundFreud, The origin of my work is play.I just start psychology playingwith clay.Now, by makingthese and fortune telling.OriginallyI wanted little devils,I proved myself to be an artist to become a psychologist.This is why I who can make a entered the DoshiyaUniversityin Kyoto. living.Lately I have Yet due to Kyoto's atmosphere I changed been thinkingabout my focus to the ResearchInstitute for how to make dolls Antique Arts. When I entered there was using the look and only one gentlemanleft who was still single; quality of clay.From he is now my husband.(see page 73 Senko n o w o n , I w i l l d o Yamamoto) what I want to at After graduatingI worked at a construction m y o w n p a c e . I t company. During this time I was a very doesn't bother me dedicatedunion activist, but I quit after if I don't sellmuch. getting married.Then I started making leather bags. I inheritedmy mom's passion *Jizou is a stdle &rddhist image and a guardian deity to travelers, d{ldren, and pregnant women. for makingthings.I pursuedthis passionfor The small statues are often depicted holding a a long time even though it was laboriousto staff call€d shakujou in the right hand, and a gem in the left. Jizous are found everywhere in Japan, make somethinggood, and for such a little primarily akrE road;ides. profit. Suddenlymy husbandlost his job

52 0W哺 【ARnSTS

■︱ ︱ ︱

００

TOmOkO Okuda り JII知lf り l123ヽ ′ l k , ￨1 () ヽ I l ( h i l′ l( l) lk ]( 1() ('l 1｀ 〕1 1月■ Jl l J l l∫1 2 3 i t i l l lス 1 (1ヽ ( ) 5 ( , 13)4〔 (,782

I MAKE SCULPTUREWITH THE ENDURANCEOF A BASKETBALLPLAYER. I was bom in Kobe, and brought up in Nara. In JuniorFf,ghSdrool I playedon a bcketbal team. At that time, I thought that I would become a physicaleducationteacher.This seemed difficult for me, and that is why I droppedout of college.After that I worked as a secretary for 7 years. During that time I was makingceramicsas a hobby.Without thinkingabout it, I rehrned to sdlool to study ceramicsfor 5 years. After that I wanted to live in a ceramictown and so lookedat Seto, Mino,and Tokoname.Tokonameappearedto be caknild wdcornig and fit my persondity. I don't care about unnecessarythings. I am a calm personby nature.I don't think about sellingmy work. Due to my training and enduranceas a basketballplaye4I had the capacityto make many sculpturesand participate in various exhibitions.Howeve4 recently I have begun to considerthe idea of sellingmy work. I love makingceramics; wokirg at my own paceb ided.

LOV■ .DREAM.HOP■

.

I participated in the Women｀ s Association Ceramic Exhibition′ for which l made a large sculpture entit!ed‖ Dawn"and received comp‖ments from ME Noriyaki Kawakita 欧籠●. I a l s o n d e a p l e c e c a l e d i n h e D o o r s to a Dream"in which l expressed my dream 罰

hope for Tokmm

When l was a child′ I ‖ved in a neighborhood with shrines and temp!es.I was brought up with a feeiing for the beauty of the outside wo「:df‖tering in.I was a prisoner of that beau町 、Fronl these images l nnd inspiration

for my work. What is difficult is to make work ptre ild srnde. I want to make beautifd work for people to admire. Anyway, I want to continue making ceramicswith bve, dears, and hope h my t€ilt 螂

郎 ヽ 53

19

Mieko Sagisaka 匂〃 支 :恵 J4 (, 18ヽ aka(,nlachi lok(】 lal〕 〕 (ヽ Ai(lli愛'1り it'￨:,￨￨,こ ￨∫ l(,18 1(ヽ 105(う 〔 )(35-4101

Okinawa, Kyoto, Shizuoka, England, Tokoname Since my childhood,I have always loved paintingand collectingold objects. Although I was born in Oita, on the southern main islandof Kyushyu,it was my father's work that moved us to various olaces around Japan. Whilelivingin southem most islands of Okinawa,I fell in love with ceramics. Then in Kyoto, I was fortunate to become the assistant of Mr.Tsuraku Mori Sensei for a year and a half. Finally,my family and I were able to return to our home town in Shizuoka.This is when I became indeoendent.

must go to England!Throughrelationsin the ceramicworld, I was leadto Tokoname, and introducedto an englishpotter named RichardTruckle, who later became my husband.(See page67)

In its form holds beauty, joy, and use.

My ceramicwork changeddrasticallywhen I met the potter ShigeoSuzukiSensei.And then one day at "The EnglandSlipFair" I saw ceramicswith slip paintedpatterns. My heart started dancingand I felt that I

54 CERAM〔 ARlSTS

Beauty,joy, and use, these are what I want to accomplishin my pottery I enjoy so much wood firing. At presentwe are buildinga wood kilnand I can't wait for its completion.I wouldlike to see the young potter generationfind for themselveswhat is fundamentaland from that foundation developtheir work.

20Kayoko Sawa.da ;I ' ll :l lrIll t, r, r.r" Ji ' . ), '

I l . l r h | l t , r ( l l ( ) l 1 , l \ ( ) l l , r i l i\rl r l r i

lil il I lj.r

l , I l ) ) { ; ( ) ' ir r l i :

Beauty born out of time I was born in Tokyo.My father was a wholesaler of Indian cotton at Nihonbashi.During WorldWar II, our family returnedto my father's home town of Tokoname. W e r e m a i n e di n Tokonameafter the war, even through Recently,I have been fascinatedwith the the hard times where I was wed through cultureof iron glazes.My next challenge omiai (arrangedmarriage).Beforemaking is to make my own interpretationof this glaze. up my mind about becomingengaged,a friend of mine tried to warn me: "Don't The best gratificationcomeswhen a client get married!.Pottersare poor!" Finally,I happilypurchasesmy work. It is then that was married,and yes I was very poorl! I feel how all of my struggleshave been When I beganmy life with my husband, worth it. ShigeoSawada(See page 56), I would watch him do his work and imaginehow it might be to do ceramicsmyself.Eventually, I was able to start, and I enjoyed making pottery very much. Pottery is beautiful.However,to master a glazeand to make it "yours"takes a very long time. I make a "Seiji"glaze.Yet, due to the clay body I use (earthenas opposed to porcelain),it has been very difficultfor me to obtain a clear and beautifulcolor. WhenI use a p o r c e l a i nc l a y body,I am able to achievethat deeper and clearerbeauty. HoweveLnow my challenge i s i n f i n d i n ga good feldspar. (ERAMIC ARTISTS

55

﹁︱︱︱

つ∠

Two birds with one stone I was born in this houseinl927. My Grandfatherwas a brick maker. I either inheritedhis bloodand with it the ability to create,or I have come by it naturally from my childhoodwith a joy for drawing a n d m a k i n gt h i n g s ,W h i c h e v e trh e c a s e may be, when I e n t e r e dt h e T o k o n a m eH i g h School,my uncle was runningthe d e p a r t m e n to f glazechemistry. Herethey would make formulas to get unusual colors.I was maderesponsible for the test piecesin this department. M y l i f e p r i o r t o b e c o m i n gc o m p l e t e l y i n d e p e n d e natt t h e a g e o f 6 0 , h a s b e e n liketrying to "killtwo birdswith one stone". I w o r k e d f o r a l o n gt i m e researchrngglazesto find uniquecolors,while at the sametime I was devotedto developing my own work. M y f a v o r i t et h i n g t o d o i s t o m i x g l a z e si n d i f f e r e n t p r o p o r t i o n sa n d s e e w h a t I come up with. I have s t u d i e dK i s e t o ,O r i b e ,a n d t h e K y o t os t y l e ( K o k u t a n i and Arita). AlthoughI really like Arlta, Nabeshima,and Kokutani,it is the Heianand Kamakuraperiod(794-1333) of Tokonameceramicsthat reallymakeme shtver 56 TERAMITARTISIS

Ceramics is a work that IS

WOVEN

t h r o u g ht i m e . If

raalrirp