ANCIENT MODERN

ANCIENT
TO
MODERN
Japanese
Contemporary Ceramics
and their Sources
San Antonio Museum of Art
ANCIENT
TO
MODERN
Japanese
Contemporary Ceramics
and their Sources
Guest Curated by
Dr. Emily J. Sano
San Antonio Museum of Art
January 17 – April 5, 2015
Special thanks are extended to the following
lenders to this exhibition:
Alan and Leslie Beller
Vanessa and Henry Cornell
Dai Ichi Arts, Ltd., NYC
T. Richard Fishbein and Estelle P. Bender
Kurt and Alice Gitter
Carol and Jeffrey Horvitz
Kimbell Art Museum, Fort Worth, Texas
Nanette Laitman
Rosemarie and Leighton Longhi
Joan B. Mirviss
Susan L. and C. J. Peters
Sarah Billinghurst Solomon and Howard Solomon
Erik Thomsen Gallery
Koichi Yanagi Oriental Fine Arts
Private Collection, New York
Director’s Foreword
Ancient to Modern: Japanese Contemporary Ceramics and their
Sources explores the great traditions of ancient Japanese ceramics
and the work of leading contemporary Japanese ceramicists. This
unique relationship in clay transcends temporal boundaries, with
contemporary works closely tied to traditional materials and forms,
while other pieces in the exhibition demonstrate an innovative break
from tradition.
I am grateful to Emily Sano for serving as Guest Curator for this
important exhibition. Dr. Sano’s knowledge of both historical and
contemporary Japanese ceramics has resulted in a new approach to
understanding these works. I am also grateful to the many lenders
who have generously shared works of art from their personal
collections. Thanks also to Hiroshi and Harumi Yanagi for their
assistance. The financial support of Lenora Brown and her family,
and the Japan Foundation, made the exhibition possible.
Katherine C. Luber
The Kelso Director
San Antonio Museum of Art
Ancient to Modern:
Japanese Contemporary Ceramics and their Sources
by Dr. Emily J. Sano
Whether by incorporation or rejection, present day Japanese
ceramics reflect a rich history that stretches deep into antiquity. A
San Antonio Museum of Art exhibition of over 50 works juxtaposes
selected ancient and traditional works with modern pieces to
illustrate how contemporary works derive—or depart—from those
of the past. The current vitality of their ceramics attests to the
Japanese appreciation of fine craftsmanship, and of the potters’
ability throughout history to adopt and invent new forms and
production techniques. Fittingly, the San Antonio Museum of
Art organized this innovate exhibition of contemporary Japanese
ceramics given the Museum’s extensive collection of East Asian
ceramics.
This exhibition presents exemplary works that link ancient and
contemporary Japanese ceramics, starting with the earliest unglazed
pieces, fired in open pits and the first wood-fueled kilns. Themes
explored in later works include the adoption of Chinese technologies
and tea ceremony aesthetics that shaped medieval Japanese ceramics,
the influences of Korean celadon and porcelain technologies, and
Kyoto’s role as Japan’s primary ceramic center. The final section
considers contemporary potters’ use of the past as a point of
departure.
The period from 13,000 BC to the 3rd century BC in Japan is
generally known as “jōmon,” meaning “cord-marked,” for the rope
pattern found on pottery from that time. These first potters, and
their successors until the 7th century AD, fired in open pits. Their
unglazed vessels were hard enough for cooking and storage, and are
prized today for their simple, elegant shapes, textured surfaces, and
fire-marked finishes. Modern unglazed works by Mihara Ken
(1958-) and Akiyama Yō (1953-) recall those pit-fired pieces. Through multiple firings, Mihara’s simple, elegant vessels acquire
a powdery surface in rich shades of tan, to grey, to purple (no. 3). Akiyama makes primal, organic forms in smoked clay that breaks
and curls from repeated firings, as in his flattened disk—smooth on
top, with broken edges (no. 4).
The arrival of enclosed, wood-fired kilns from continental Asia
allowed Japanese potters to fire at temperatures above 1000°C,
leading to the production of the first unglazed stonewares. Additionally, these kilns created natural glazes when wood ash
fell and fused into pots during firing. The Kimbell Art Museum’s
round-bottom bottle resembles contemporaneous Korean Sue ware,
with a wheel-thrown grey stoneware body and glassy green rivulets
produced from ash deposits (no. 5). In later centuries, stoneware
became the norm as Japanese potters learned to appreciate and
exploit the serendipitous changes that occurred inside the kiln
during long, high-temperature firings.
Regional techniques and aesthetics developed around major kiln
sites, particularly the so-called “Six Ancient Kilns”: Shigaraki, Bizen,
Tamba, Echizen, Seto, and Tokoname. Active since the 12th century,
they continue to inspire contemporary potters. The 15th century
Echizen jar typifies wares used for grain or tea leaf storage, with
surface effects like those on the Kimbell bottle where ash fell and
solidified during firing (no. 6). Of the surviving Ancient Kilns, Shigaraki, near Kyoto, stands out for
its versatile local clay used throughout Japan today. Characteristic
of Shigaraki wares, Tsujimura Shiro’s (1947-) sturdy jar has a
rough clay body studded with feldspar (no. 7). A Shigaraki jar by
Hosokawa Morihiro (1938-; former Prime Minister, now potter and
calligrapher) has a smoother clay body fired to spectacular red and
orange colors, with copious ash glaze (no. 8). Ōtani Shirō (1936-)
produces distinctive shapes and colors in Shigaraki clay, knifecutting the surface and re-firing so often that pieces collapse and
deform in the kiln (no. 9). Rich in iron and organic material, Bizen’s local clay interacts with
atmospheric conditions within the kiln to produce various finishes. The Fujiwara Yu sake bottle has typical Bizen blackened areas on
a red clay body, and yellowish areas of natural ash glaze (no. 11). Hidasuki—wrapping Bizen clay in saltwater-soaked rice straw before
firing in an oxidizing atmosphere—creates a light beige clay body
with deep-orange scorch marks where the straw burns away, as in
Isezaki Sō’s (1968-) wide-mouth vase (no. 12). Using another Bizen
technique, natural ash glaze accents glisten against the bare clay of
surfaces shielded from direct flame exposure in Kakurezaki Ryūichi’s
(1950-) rolled sculpture (no. 14). Finally, Kaneshige Kōsuke (1943-)
departs from tradition altogether, treating Bizen clay like a draped
wool fabric (no. 13).
Examples from Tamba demonstrate the transition from traditional,
ash-glazed stonewares to contemporary forms. Multi-faceted works
from Nishihata Tadashi (1948-) have rich surface colors drawn from
generations of trial-and-error that perfected these subtle effects (no.
15). In contrast, Shimizu Keiichi (1962-), another Tamba potter,
overlaps and curves clay sheets into minimalist vessels that explore
lines and textures (no. 16).
Japanese Buddhist temples adopted Chinese tea drinking to promote
etiquette, harmony, respect and tranquility. During the 14th to
16th centuries, it spread to Japan’s military elite, who initially used
the practice as a social interlude and opportunity to display prized
Chinese objects. But Sen no Rikyū (1522-1591), advisor and teamaster to major 16th century warlords, recognized the beauty of
locally produced, daily-use ceramics. As tea practitioners came to
value these rustic pieces, they commissioned new wares specifically
for the tea ceremony, resulting in a native Japanese tea aesthetic.
As demand for domestic tea ceramics developed, kilns at Mino
responded with wares decorated unlike any seen before. Potters
from Seto’s Ancient Kiln relocated to Mino, near modern-day
Nagoya, to escape 17th century political strife in Aichi Prefecture. Initially they produced simple ceramics in yellow tinged with
green, but over time they developed glazes that took advantage of
Mino’s abundant feldspar. When fired, feldspar forms a thick, soft
white glaze, or turns red-to-grey depending on in-kiln location and
atmospheric conditions. With the feldspar glazes, Mino potters
sometimes added designs painted in iron oxide.
Responding to Sen no Rikyū’s successor, Furuta Oribe (1544-1615),
Mino potters introduced colored glazes to Japanese ceramics. Oribe’s love of flamboyant color and pattern deeply influenced
tea wares, and this style of Mino ware bears his name. The 17th
century rectangular lobed dish has a characteristic, copper-based
green Oribe glaze and plant-like pattern in iron oxide, typical of that
period’s tea wares. Many contemporary potters use Mino’s traditional materials to
produce dazzling deep green, grey, and red-glazed ceramics. The
two pieces by Katō Yasukage (1964-2012) show extraordinary
mastery of glaze and form: the red Shino vase with an irregular
mouth (no. 20), and a low spiral-shaped bowl with a deep green
glaze pool at the center (no. 21). Also using Oribe elements, Suzuki
Goro (1941-) creates whimsical, oversize ceramics, like the teapot
with green Oribe-glazed handle and red Shino body (no. 22).
Two remarkable Chinese techniques found new life in Japan: neriage
ware and dark iron temmoku glazes. Neriage—joining different
colored clays—disappeared in China after the Song dynasty (11271279), but modern Japanese potters have revived it. Ogata Kamio’s
(1949-) “Rectangular Plate,” and Matsui Kosei’s (1927-) wheel
thrown “Vessel” both use this difficult technique (nos. 25, 26). More
recently, Matsui’s son, Matsui Koyō (1962-), uses blue and white
porcelain neriage in the bulbous, small-necked vessel (no. 31). Kamada Kōji (1948-) produces temmoku-glazed tea bowls nearly
indistinguishable from 12th century Chinese prototypes, such as the
Horvitz Collection example in black and brown glaze with shades of
purple, reminiscent of Song bowls down to the drip along the glaze’s
bottom edge (no. 24).
Foreign technology came from Korea as well. The warlord Toyotomi
Hideyoshi (1536-1598) unsuccessfully invaded mainland Asia
via Korea in the 1590s, but his captured Korean potters opened
new chapters in Japanese ceramics. One relocated Korean potter
discovered porcelain clay in northern Kyushu, and introduced its
production to Japan. This coincided with the late Ming dynasty
(1368-1644) decline of China’s great porcelain production at
Jingdezhen. Japan filled the void, even supplying porcelain dinner
sets to China itself, as well as to all of Europe. Since the 17th century, Japanese potters have produced traditional
porcelains in floral and landscape designs, with painted cobalt
blue underglaze and colored overglaze enamels and gold. But
contemporary potters stretch porcelain beyond these traditions. Yoshikawa Masamichi (1946-) etches blue designs into a square
bowl’s bluish-white sides (no. 32); Takegoshi Jun (1948-) recalls 17th
century Ko-Kutani wares with pure white porcelains, embellished
with thickly-painted flowers and birds in brilliant green, purple, and
turquoise enamels (no. 27); and Matsuda Yuriko’s (1943-) “Rock,
Paper, and Scissors” depicts a pair of feet using the red enamel with
gold designs of kinrade, the decoration used in Imari export wares
(no. 36).
Another influence likely from Korea, the distinctive pale green or
bluish-green celadon glaze, remains one of the most popular in
Japan. Chinese celadon reached its highest development during the
Song dynasty. Following the discovery of porcelain clay in Kyushu,
Japanese celadon production developed alongside porcelain at kilns
in Arita and Nabeshima during the 17th and 18th centuries, as
potters mastered the high temperatures and reduced atmosphere
that turn iron oxides into colors reminiscent of Chinese jade. Kawase Shinobu’s (1950-) “Three Point Bowl” demonstrates the
delicate forms and grace achievable in celadon porcelain (no. 38). The jar by Nakajima Hiroshi (1941-) and Miura Koheiji’s (1941-)
fluted bowl exhibit different “crackle” glazes that occur when the clay
body and glaze cool at slightly different rates (nos. 39, 37). And the
flawless perfection Fukami Sueharu’s (1947-) soaring blades, bowls,
and sculptures remain unsurpassed for dramatic inspiration (no. 40).
For centuries Kyoto has reigned as Japan’s most accessible ceramics
center. In the 17th century, Nonomura Ninsei (active ca. 1646-94)
and Ogata Kenzan (1663-1743, younger brother to Rimpa painter
Ogata Kōrin) introduced overglaze enamels to ceramics decoration. Maeda Masahiro’s (1948-) “Rectangular Plate with Fish Design” uses
this traditional technique (no. 35). Kuriki Tatsusuke (1943-2013)
also employed it in elegant abstract designs often compared to those
of Nonomura, such as the balanced black and silver bands encircling
the Cornell vessel (no. 44). The conservative stylistic training of
Kyoto potter Morino Taimei (1934-) shows in his early hand-built
vessels made from clay slabs with freely-applied glazes in original
patterns, such as the Horvitz Collection bottle’s wave design (no.
43). Later, after teaching in Chicago, he turned to purely sculptural
ceramics, such as the Fishbein and Bender Collection’s small black
and green desk sculpture (no. 45).
After WWII, Kyoto continued as the center of Japan’s modern
ceramics movement. In 1946, the Young Pottery Makers’ Collective
(Seinen Sakutōka Shūdan) formed to share exhibit space and give
potters a discussion forum. When it disbanded after two years,
Sōdeisha (“crawling through mud”) picked up where the Collective
left off, connecting young ceramicists to modernist art and validating
clay as a medium for modern sculpture.
Influences from Western artists such as Pablo Picasso, Joan Miró,
Paul Klee, and Isamu Noguchi clearly inspired the work of two
Sōdeisha’s founders, Yagi Kazuo (1918-1979) and Suzuki Osamu
(1926-2001). Fluent in Kyoto’s functional ceramics, Yagi and Suzuki
used the freedom of post-war Japan to consider ceramics for pure
decoration and sculpture. Many regard Yagi as Japan’s greatest 20th
century potter, not only for his leadership in Sōdeisha, but also for
the variety in his work. He decorated vessels with Miró-inspired line
drawings and created non-functional clay objets free from traditional
wheel-made forms, such as the hand-built vessel with pinched base,
free-form brushwork, and line-drawn designs (no. 42). By the
1960s, Suzuki also started making abstract, minimalist forms. Jōmon
figurines and clay tomb figures inspire some of his works, while
others draw from nature, like his abstracted “Flamboyant Bird,” a
beautiful shape in irregularly-textured clay with softly angled edges
(no. 41).
Numerous contemporary Japanese potters have broken away from
wheel-work. Takiguchi Kazuo (1953-) makes swelling, organicshaped vessels from thin sheets of clay he lays on canvas and lifts up
by the corners, and then shapes by pushing and pulling (no. 55). By
contrast, Kishi Eiko (1948-) creates angular abstract works by joining
thin clay slabs she textures with colored grog and incises with fine
lines that give order to the surface, reflecting her non-traditional
roots in painting, dying, and art history (no. 52).
To create images often likened to receding hills or deep, interior
spaces, Miyashita Zenji (1939-) mixes clay with metal-based
pigments like chrome and cobalt, and fuses thin layers of the colored
clay into sculptural forms with overlapping decorative surfaces (no.
51). Inspired by wind and tides at his Izu Peninsula home, Sakiyama
Takayuki (1958-) combs and folds clay on itself in shapes expressing
the sound and the movement of water (no. 54).
Unusual application of surface decoration figures prominently in
work by three outstanding female potters. Kitamura Junko
(1956-), daughter of a painter, incises patterns in dark slip using
bamboo tools, then covers the incisions in white slip to create
intricate surface designs that recall jōmon pottery and Korean
buncheong ware (no. 53). Katsumata Chieko (1950-) adds metal
oxide-colored porcelain layers to a Shigaraki clay base, applying
the colors through fabric to avoid specific lines or brushwork. She
further enhances surfaces by adding grog, or featuring layers of a
single color (no. 48). Departing from traditional glazes, Mishima
Kimiyo (1932-) uses silk screening and transfer paper to realistically
recreate discarded objects in thin clay, replicating newspapers,
magazines, cardboard boxes, and trash—like the empty beer cans
piece, a comment on the amount of material modern societies
discard every year (no. 56).
Work by Kondō Takahiro (1958-) stands with the most avant garde
in Japan. Born to a family of potters known for cobalt blue on
porcelain works, Kondō incorporates glass and metal with porcelain,
and has patented his platinum, gold, and silver drop glaze, like that
used in the cast image of his head enveloped by a misty coating of
fine droplets (no. 49).
Contemporary Japanese ceramics reflect the freedom that postWWII artists felt to explore beyond strict traditions. Yet in
exercising that freedom, their work remains forever framed by past
centuries of experience, techniques, and aesthetic refinement. Even
in defying tradition, these new potters pay homage to what came
before them, and only through understanding that tradition can we
truly appreciate their work.
Bibliography
Louise Cort, et al., Isamu Noguchi and Modern Japanese Ceramics (Smithsonian
Institution, Washington, D.C., 2003).
Joe Earle, et al., Contemporary Clay: Japanese Ceramics for the New Century (MFA
Publications, Boston, 2005).
Samuel J. Lurie and Beatrice Chang, Fired with Passion: Contemporary Japanese
Ceramics (Eagle Art Publishing, New York, 2006).
Robert Mintz, Betsy Feinberg, and Joan B Mirviss, Designed for Flowers:
Contemporary Japanese Ceramics (Baltimore, Maryland: The Walters Art Museum,
2014).
Joan B. Mirviss, et al., Birds of Dawn: Pioneers of Japan’s Sōdeisha Ceramic Movement
(Joan B. Mirviss Ltd., New York, 2011).
Joan B. Mirviss, Ltd. website, accessed November 17, 2014. http://www.mirviss.
com/artworks/mihara-ken/
Miyeko Murase, Turning Point: Oribe and the Arts of Sixteenth-Century Japan,
(Metropolitan Museum of Art, New York, 2003).
Nick West, “Public Art Series #8: Kimiyo Mishima’s Trashcan,” Tokyo Art Beat
website, accessed November 24, 2014. http://www.tokyoartbeat.com/tablog/entries.
en/2014/07/public-art-series-8-kimiyo-mishimas-trashcan.html
Richard Wilson, Inside Japanese Ceramics: A Primer of Materials, Techniques and
Traditions (Random House, New York, 1995).
1
Female Figure
Jōmon period (ca. 10,500-300 BC), ca. 1000-200 BC
Low-fired earthenware, h. 7 15/16 in. (20.2 cm);
w. 5 1/8 in. (13.0 cm); d. 2 3/8 in. (6.0 cm)
Kimbell Art Museum, Fort Worth, Texas, AP 1971.15
2
Ovoid Jar
Yayoi period (200 BC-250 AD), ca. 100 AD
Low-fired earthenware, h. 18 7/16 in. (46.8 cm);
diam. 12 5/16 in. (31.3 cm)
Kimbell Art Museum, Fort Worth, Texas, AP 1984.15
3
Mihara Ken (b. 1958)
Stoneware Vase, 2010
Stoneware, h. 13 in. (33.0 cm); w. 21 1/2 in. (54.6 cm)
Private Collection
4
Akiyama Yō (b. 1953)
Tension 1, 1990
Stoneware, h. 18 1/2 in. (47.0 cm); w. 19 5/8 in. (49.8 cm);
d. 4 3/8 in. (11.1 cm)
Vanessa and Henry Cornell Collection
5
Flask
Asuka period (552-645), 7th century
High-fired stoneware with natural glaze, Sue ware
h. 12 3/8 in. (31.4 cm); w. 10 3/8 in. (26.4 cm);
d. 7 1/4 in. (18.4 cm)
Kimbell Art Museum, Fort Worth, Texas, AP 1983.01
6
Storage Jar
Muromachi period (1392-1573), 15th century
Stoneware with natural glaze, Echizen ware
h. 20 1/8 in. (51.1 cm)
Koichi Yanagi Oriental Fine Arts
7
Tsujimura Shirō (b. 1947)
Storage Jar, Iga Type, 2006
Stoneware with glaze
h. 18 1/8 in. (46.0 cm); diam. 15 3/8 in. (39.1 cm)
Koichi Yanagi Oriental Fine Arts
8
Hosokawa Morihiro (b. 1938)
Storage Jar, 2007
Stoneware with natural ash glaze, Shigaraki clay
h. 20 1/2 in. (52.3 cm); diam. 17 1/4 in. (43.5 cm)
Rosemarie and Leighton Longhi
9
Ōtani Shirō (b. 1936)
Tall Flaring Ash-Glazed Flower Vessel with Incised Designs and
Brown to Green Coloration, 2010
Stoneware with natural ash glaze, h. 17 3/4 in. (45.1 cm);
w. 12 5/8 in. (32.1 cm); d. 11 7/8 in. (30.2 cm)
Joan B. Mirviss
10
Fujioka Shuhei (b. 1947)
Iga-Style Water Jar, 2011
Stoneware with natural ash glaze, h. 8 1/2 in. (21.6 cm);
w. 10 3/4 in. (27.3 cm); d. 8 1/4 in. (22.2 cm)
Private Collection
11
Fujiwara Yū (1932-2001)
Bizen Sake Bottle, 1975
Unglazed stoneware, wooden storage box
h. 5 in. (12.7 cm); diam. 3 3/4 in. (7.0 cm)
Private Collection
12
Isezaki Sō (b. 1968)
Hidasuki Vase, 2008
Unglazed Bizen stoneware
h. 12 in. (30.5 cm); w. 11 in. (27.9 cm); d. 8 1/2 in. (21.6 cm)
Private Collection
13
Kaneshige Kōsuke (b. 1943)
Saint’s Garment #5, 2004
Wood-fired Bizen stoneware, h. 16 in. (40.6 cm);
w. 19 in. (48.3 cm); d. 13 in. (33.0 cm)
Dai Ichi Arts, Ltd., NYC
14
Kakurezaki Ryūichi (b. 1950)
Large, Oblong Sculpture, 2006
Stoneware, h. 10 1/4 in. (26.0 cm); w. 44 1/4 in. (112.4 cm);
d. 9 1/2 in. (24.1 cm)
Vanessa and Henry Cornell Collection
15
Nishihata Tadashi (b. 1948)
Three-Sided Tamba Vessel with Diagonal Carved Bands and
Ash Glaze, 2011
Wood-fired stoneware with natural ash glaze
h. 16 1/8 in. (41.0 cm); diam. 15 3/4 in. (40.0 cm)
Collection of Alan and Leslie Beller
16
Shimizu Keiichi (b. 1962)
Senmonki (Line Crest Vessel), 2012
Unglazed stoneware,
h. 16 1/2 in. (41.9 cm); w. 9 1/2 in. (24.1 cm); d. 5 in. (12.7 cm)
Private Collection
17
Serving Dish with Design of Scholars Outside a Retreat
Momoyama period (1573-1615), early 17th century
Glazed stoneware, e-Shino type, Mino ware,
h. 7 5/8 in. (19.5 cm); w. 11 in. (28 cm); d. 2 in. (5.0 cm)
Private Collection, New York
18
Rectangular Green and White Oribe Dish
Momoyama period (1573-1615), late 16th-early 17th century
Glazed stoneware, h. 7 3/4 in. (19.8 cm); w. 8 3/4 in. (22.4 cm);
d. 3 1/4 in. (8.2 cm)
Rosemarie and Leighton Longhi
19
Kitaōji Rosanjin (1883-1959)
Yellow Seto Dish with Green Ash Glaze, 1953-55
Glazed stoneware, h. 7 1/4 in. (18.4 cm);
w. 6 3/4 in. (17.1 cm); d. 1 in. (2.5 cm)
Carol and Jeffrey Horvitz Collection
20
Katō Yasukage (1964-2012)
Large Shino-Glazed Vertical Flower Vessel with
Faceted Vertical Bands, 2004
Stoneware with Shino glaze, h. 15 5/8 in. (39.7 cm);
w. 10 3/4 in. (27.3 cm); d. 7 1/4 in. (18.4 cm)
Vanessa and Henry Cornell Collection
21
Katō Yasukage (1964-2012)
Twisting Oribe-Glazed Bowl, 2006
Stoneware with copper green Oribe glaze, h. 8 in. (20.3 cm);
w. 22 3/8 in. (56.8 cm); d. 16 7/8 in. (42.9 cm)
Vanessa and Henry Cornell Collection
22
Suzuki Goro (b. 1941)
Tea Pot, 2000
Glazed stoneware, h. 17 7/8 in. (45.4 cm); w. 8 1/2 in. (21.6 cm)
Gitter-Yelen Collection, 2004.6
23
Kōchi Hidetoshi (b. 1960)
Shino Flower Vase, 2010
Glazed stoneware, h. 7 3/4 in. (19.7 cm); w. 11 in. (27.9 cm);
d. 7 3/4 in. (19.7 cm)
Private Collection
24
Kamada Kōji (b. 1948)
Tea Bowl with Purple Temmoku Glaze, 2008
Glazed stoneware
h. 2 7/8 in. (7.3 cm); diam. 5 1/4 in. (13.3 cm)
Carol and Jeffrey Horvitz Collection, JC2009.011
25
Ogata Kamio (b. 1949)
Plate, Rectangular with Neriage Gray, Teal, and White, 2006
Colored stoneware
h. 21 1/3 in. (54.2 cm); w. 11 1/2 in. (29.2 cm); d. 2 in. (5.1 cm)
Carol and Jeffrey Horvitz Collection, JC2007.002
26
Matsui Kōsei (1927-2003)
Vessel, Neriage Brown, Grey, White, and Pale Pink, 1984-85
Colored stoneware
h. 11 1/4 in. (28.6 cm); diam. 11 1/4 in. (28.6 cm)
Carol and Jeffrey Horvitz Collection, JC2008.012
27
Takegoshi Jun (b. 1948)
Vase with Kingfisher Design, 2009
Porcelain with colored enamels, h. 18 1/4 in. (46.4 cm);
w. 6 1/4 in. (15.9 cm); d. 6 1/8 in. (15.6 cm)
Carol and Jeffrey Horvitz Collection, JC2009.053
28
Dish in the Form of a Double Gourd
Edo period (1615-1868), Keian-Meireki eras, ca. 1650
Porcelain with colored enamels; Ko-Kutani type
h. 2 3/8 in. (6.0 cm); w. 10 1/2 in. (26.7 cm);
d. 10 3/8 in. (26.4 cm)
San Antonio Museum of Art, purchased with funds provided
by Lenora and Walter F. Brown, 2013.2.2
29
Standing Figure of a Beauty
Edo period (1615-1868), late 17th century
Porcelain with gilt and over-glaze enamels, Hizen ware,
Kakiemon type, h. 15 in. (38.1 cm)
Private Collection, New York
30
Footed Dish with Dragon Decoration
Edo period (1615-1868), Empō-Jōkyō eras, ca. 1670-90
Porcelain with colored enamels over transparent glaze, gilding
h. 2 3/4 in. (7 cm); diam. 8 1/2 in. (21.6 cm)
San Antonio Museum of Art, purchased with funds provided
by Lenora and Walter F. Brown, 2012.20
31
Matsui Koyō (b. 1962)
Small-Neck Vessel, 2014
Colored porcelain, neriage
h. 14 3/4 in. (37.5 cm); diam. 14 1/4 in. (36.2 cm)
Private Collection
32
Yoshikawa Masamichi (b. 1946)
Kayō (Gorgeous Effigy), 2009
Porcelain with cobalt blue underglaze, h. 9 1/4 in. (23.5 cm);
w. 11 3/4 in. (29.8 cm); d. 12 1/4 in. (31.1 cm)
Collection of Sarah Billinghurst Solomon and
Howard Solomon
33
Nagae Shigekazu (b. 1953)
Forms in Succession, 2010
Porcelain with clear glaze, h. 8 1/2 in. (21.6 cm);
w. 8 1/2 in. (21.6 cm); d. 9 1/2 in. (24.1 cm)
Private Collection
34
Hattori Tatsuya (b. 1978)
Shū (Gathering), 2006
Porcelain with clear glaze, h. 16 in. (40.6 cm);
w. 16 in. (40.6 cm); d. 7 in. (17.8 cm)
Private Collection
35
Maeda Masahiro (b. 1948)
Rectangular Plate with Fish Design, ca. 1985
Porcelain with colored enamels, h. 8 1/2 in. (21.6 cm);
w. 17 1/4 in. (43.8 cm)
Private Collection
36
Yuriko Matsuda (b. 1943)
Rock, Paper, and Scissors, 1995
Porcelain with colored enamels and gold
Left: h. 21 in. (53.3 cm); w. 12.5 in. (31.8 cm); d. 5 in. (12.7 cm);
Right: h. 22 in. (55.9 cm); w. 12 in. (30.5 cm); d. 5.5 in. (14.0 cm)
Dai Ichi Arts, Ltd., NYC
37
Miura Koheiji (1933-2006)
Scalloped Celadon Bowl, late 1970s
Porcelaneous stoneware with celadon glaze
h. 7 in. (17.8 cm); w. 10 in. (25.4 cm); d. 10 in. (25.4 cm)
Vanessa and Henry Cornell Collection
38
Kawase Shinobu (b. 1950)
Bowl, Three Points #4, 2010
Porcelain with celadon glaze
h. 4 3/8 in. (11.1 cm); diam. 12 in. (30.5 cm)
Carol and Jeffrey Horvitz Collection, JC2011.080
39
Nakajima Hiroshi (b. 1941)
Vessel, Crackled Celadon, Round, 1980
Stoneware with celadon glaze
h. 12 5/8 in. (32.1 cm); diam. 17 in. (43.2 cm)
Carol and Jeffrey Horvitz Collection, JC2009.005
40
Fukami Sueharu (b. 1947)
Kiyoki no Omoi V (Pure Imagination V), 2013
Pressure slip-cast porcelain with pale blue glaze, walnut base
h. 28 3/4 in. (73.0 cm); w. 18 3/4 in. (47.6 cm);
d. 9 in. (22.9 cm)
Erik Thomsen Gallery
41
Suzuki Osamu (1926-2001)
Flamboyant Bird, 1991
Stoneware with red slip and ash glazes
h. 22 5/8 in. (57.5 cm); w. 10 in. (25.4 cm);
d. 5 1/4 in. (13.3 cm)
Joan B. Mirviss
42
Yagi Kazuo (1918-1979)
Haru no neko (Spring Cat), 1971
Glazed stoneware, h. 8 in. (20.3 cm); w. 9 3/4 in. (24.8 cm);
d. 9 1/2 in. (24.1 cm)
Vanessa and Henry Cornell Collection
43
Morino Taimei (b. 1934)
Vessel with Wave Design, 2005
Glazed stoneware, h. 13 in. (33.0 cm); w. 11 in. (27.9 cm);
d. 6 1/2 in. (16.5 cm)
Carol and Jeffrey Horvitz Collection, JC2008.038
44
Kuriki Tatsusuke (1943-2013)
Kuroyū ginsaimon henko (Flattened Vessel with Patterns in
Black and Silver Glaze), 1988
Glazed stoneware, h. 9 in. (22.9 cm); w. 7 in. (17.8);
d. 8 1/4 in. (21.0 cm)
Vanessa and Henry Cornell Collection
45
Morino Taimei (b. 1934)
Square Sculpture with Rectangular Cut-Out Window and Black,
Silver and Green Glaze, 1996
Stoneware with iron glazes, h. 19 5/8 in. (49.8 cm);
w. 15 3/8 in. (39.1 cm); d. 4 3/4 in. (12.1 cm)
T. Richard Fishbein and Estelle P. Bender Collection
46
Takahiro Kondō (b. 1958)
Green Mist, Triangular Vessel, 2007
Porcelain and glass with green and metallic glazes
h. 11 3/4 in. (29.8 cm); w. 4 in. (10.2 cm); d. 4 3/4 in. (12.1 cm)
Collection of Alan and Leslie Beller
47
Futamura Yoshimi (b. 1959)
Nid (Nest), 2013
Stoneware and porcelain, h. 11 7/8 in. (30.2 cm);
w. 13 in. (33.0 cm); d. 13 3/4 in. (34.9 cm)
Vanessa and Henry Cornell Collection
48
Katsumata Chieko (b. 1950)
Biomorphic “Pumpkin,” Deep Red, 2008
Stoneware with matte glaze, h. 10 1/4 in. (26.0 cm);
w. 10 1/4 in. (26.0 cm); d. 10 1/4 in. (26.0 cm)
Carol and Jeffrey Horvitz Collection, JC2009.004
49
Takahiro Kondō (b. 1958)
Untitled (Blue Mist), 2010
Porcelain with blue underglaze and “silver mist” overglaze
h. 8 1/2 in. (21.6 cm); w. 6 1/2 in. (16.5 cm); d. 8 in. (20.3 cm)
Collection of Nanette Laitman
50
Kaneta Masanao (b. 1953)
Untitled, 2012
Glazed stoneware, h. 14 in. (35.6 cm); w. 18 7/8 in. (47.9 cm);
d. 12 1/4 in. (31.1 cm)
Collection of Susan L. and C. J. Peters
51
Miyashita Zenji (1939-2012)
Ki no jōshō (Rising Air), 2004
Stoneware and colored clay bands with clear overglaze
h. 19 1/4 in. (48.9 cm); w. 12 1/4 in. (31.1 cm);
d. 6 7/8 in. (17.5 cm)
Collection of Susan L. and C. J. Peters
52
Kishi Eiko (b. 1948)
Saiseki zōgan, to no shinsho fukei
(Recollected Vistas in Clay), 2011
Shigaraki stoneware with colored clay chamotte
h. 20 1/2 in. (52.1 cm); w. 31 1/8 in. (79.1 cm);
d. 4 3/8 in. (11.1 cm)
Collection of Susan L. and C. J. Peters
53
Kitamura Junko (b. 1956)
Untitled, 2009
Stoneware with black and white slip inlays
h. 4 in. (10.2 cm); diam. 9 1/4 in. (23.5 cm)
Collection of Susan L. and C. J. Peters
54
Kishi Eiko (b. 1948)
Saiseki zōgan, to no shinsho fukei
(Recollected Vistas in Clay), 2011
Shigaraki stoneware with colored clay chamotte
h. 20 1/2 in. (52.1 cm); w. 31 1/8 in. (79.1 cm);
d. 4 3/8 in. (11.1 cm)
Collection of Susan L. and C. J. Peters
55
Takiguichi Kazuo (b. 1953)
Biomorphic Sculptural Form, 2001
Glazed stoneware, h. 20 7/8 in. (53.0 cm);
w. 14 3/4 in. (37.5 cm); d. 10 in. (25.4 cm)
Carol and Jeffrey Horvitz Collection, JC2008.019
56
Mishima Kimiyo (b. 1932)
Work EC-S1 (Akikan no haitta kago;
A Basket Holding Empty Cans), 2012
Silk screen on stoneware and metal, h. 9 in. (22.9 cm);
w. 14 1/8 in. (35.9 cm); d. 9 1/2 in. (24.1 cm)
Joan B. Mirviss
Photography Credits:
Ben Bocko: 19, 26, 27, 38, 48
Richard Goodbody: 4, 9, 20, 24, 37, 39, 44, 45, 51, 56
Lisa Kato: 18
Peggy Tenison: 3, 6-8, 10-16, 21-23, 25, 28, 30-36, 41-43, 46-47, 50, 52-55
Steven Tucker: 17, 29
Courtesy Erik Thomsen Gallery: 40
Courtesy Kimbell Art Museum, Fort Worth, Texas: 1, 2, 5
Courtesy Barry Friedman, Ltd.: 49
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educational purposes, without permission of the publisher.
© San Antonio Museum of Art, 2015
San Antonio Museum of Art
200 West Jones Avenue
San Antonio, TX 78215
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