Tag: Kyushu

Revitalizing Taketa with Craftsmanship: Glassblower Naru

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GLASS SHOW with Naru <Inoue Naruhito>
September 3 & 4, 2022
11 am – 5 pm
At The Den on Laurel Street
205 Laurel Street, #104
San Diego CA 92101

For more than two decades, Japanese glassblower Inoue Naruhito, known as Naru, has been fascinated by glass, the raw material of his work. “When I create work, I pay special attention to how light occurs in the work I make,” he says. “I think about how my work refracts and reflects light, and the unique lens effects.”

Large KAGUYA vase by Naru. Its appearance changes subtly with light

KAGUYA pourer and glasses by Naru.
In his smaller utilitarian work, Naru seeks pleasant plumpness of the glass surface

Naru’s work is sinuous and colorful, carrying unique meditative qualities, like an enchanting sea jelly bursting with life. “I want to make work that seems to have sprung out of the earth, or suggest a ripening fruit,” he explains. “Even though they’re manmade, I want to evoke the notion of natural objects that has existed on earth from the ancient past.”

Naru first became interested in glass while traveling alone in Morocco over 20 years ago. Seeing that he had brought a camera, a local friend asked him to document the “Festival of Sacrifice.” “When they brought out a sheep, I assumed that they were going to shear it,” he said. “I was so startled when they started slaughtering it. I wanted to cover my eyes, but somehow, I could maintain my calm through my camera lens.” It was this emboldening effect of seeing the world through glass that stuck with him.

After returning to Japan, Naru visited a local glass studio to learn more about glass. He also discovered that his name “Naru” means “fire” in Arabic. “I felt a sense of destiny because the shape of the glass is changed by melting it with fire,” he says. Eventually Naru signed up for his first glassblowing class at Pilchuck Glass School in Seattle, Washington. “I boldly signed up for their summer session with almost no experience,” he says. But this fearless act allowed him to build friendships with fellow artists at Pilchuck and drove him to seriously pursue the craft.

In 2002, Naru joined the Toyama Institute of Glass Art. After graduating from the institute, he continued to hone his skills by working for various glass artists until 2011.

Nature is the source of inspiration for Naru, and he is immersed in it in Taketa, where he set up his glass studio in 2015. A small country town of less than 20,000 people in Oita prefecture in Kyushu, Taketa is an ancient castle town famous for its soda hot springs and magnificent panoramic plateau on sediment from the Mount Aso volcano.

Magma Glass, a studio founded and operated by Naru in Kuju plateau, Taketa, Oita
Photo courtesy of Naru

The surrounding Kuju Plateau, Taketa, Oita
Photo courtesy of Naru

Central Taketa Town, Oita
Photo courtesy of Naru

Like other small Japanese towns in the countryside, Taketa’s population is aging and shrinking. But what is special about this town is its unique program to promote settlement by young and motivated craft artisans through subsidies. “In 2012, I built my own studio in Yokohama, my hometown, but Taketa invited me, so I decided to move here with my family three years later,” Naru said.

Taketa attracted enough artisans over the years to be known as a town of crafts and beautiful nature among Japanese tourists. Naru’s well-established glass studio –called Magma Glass, in homage to the adjacent Mount Aso— is a great success story providing local employment and attracting craft tourism.

“After I arrived here, I wanted to create work using local materials,” Naru explains. “And because it is Taketa, I wanted to use bamboo.” “Taketa” literally means “bamboo fields.”

Through trial and error, Naru devised a method to cure bamboo to use as molds for glassblowing. Now, his main line of work is made using these bound bamboo molds that create beautiful soft curved lines. He named the series “Kaguya”, after the bamboo princess Kaguya, who was born from a segment of bamboo in the old Japanese folklore, “The Tale of The Bamboo Cutter” (竹取物語).

WATCH VIDEO FOOTAGE OF GLASS ARTIST NARU BY JETRO

Cured bamboo glass molds
Photo courtesy of Naru

KAGUYA wind bell by Naru. These bells have bamboo clappers that create soothing sounds. There will be over 30 of these bells shown in San Diego in September 2022

Naru working at his studio at Magma Glass
Photo courtesy of Naru

The other line of work that Naru passionately pursues include lamps and candle holders that he began making after the destructive earthquake in Japan in 2011. “Soon after the earthquake, there were widespread power outages and electricity conservation requests,” he recalls. He also added that since the pandemic, there has been renewed interest in lanterns in Japan. He says that it is probably because more people spent time outdoors or went camping, and they needed a reliable light source without electricity. “I thought that maybe it is also because fire is a source of comfort during this time of crisis.”

For the Labor Day weekend pop-up at the Den on Laurel Street, Naru will bring over 130 pieces of his work from Japan that will be shown in the U.S. for the first time. He will be at the Den throughout the two-day event. Join us to meet this prolific artist, who is also playing a big part in revitalizing a beautiful town in Kyushu through creativity.

Impeccable Workmanship: The Refined Nabeshima Pottery of Imaizumi Imaemon

By:

Ai Kanazawa

June 27, 2014Arita Ceramics Travels

Ceramics offer a fascinating window into Japan’s turbulent past and Nabeshima pottery is a captivating example of how history and pottery comes together. The fortunes of this elegant and noble style of ceramics mirror the ups and downs of Japanese history over the past four centuries.

Nabeshima ceramics originated from Arita in Saga Prefecture on Kyushu around the time when porcelain ware was first produced in Japan by Korean potters. The potters were brought to the country after the invasion of Korea by warlord Toyotomi Hideyoshi around 400 years ago. It is also believed that Chinese ceramics traders from Imari, not too far from Arita, introduced the overglaze enamel technique to this region during this period.

Hana-Ikada — Iro-Nabeshima plate from the 18th century. Its bold design possesses a unique sense of clarity and pride unlike any other Japanese ceramics. This one from the Tokyo National Museum depicts the “flower raft”, a Japanese term that describes the fallen petals of cherry blossoms floating on the river surface like rafts. (Photo by Studio Kotokoto)

The Nabeshima kiln was established in the middle of the 17^th Century as the feudal kiln of the local Nabeshima clan, who brought together the best craftsmen in the region to produce high quality porcelain tableware.

Decorated in blue-on-white underglaze, or multi-colored overglaze enamel (known as Iro-Nabeshima) or celadon, Nabeshima ceramics were only produced as gifts for the ruling shogun family and feudal lords during the Edo period (1603-1867). As a consequence of this tightly held circulation within the privileged elite, Nabeshima pottery was largely unknown to the general population until Shogunate rule ended with the Meiji Restoration in 1868.

Karahana — The brilliance of the enamel colors can be seen in this close-up of Iro-Nabeshima from the 17th-18th centuries. This plate from the Tokyo National Museum depicts Chinese flowers. In traditional Iro-Nabeshima, only three enamel colors of red, green and yellow are used besides cobalt underglaze. (A few rare pieces used black and gold) In this bold design, the center part is left white in the shape of a cherry blossom. (Photo by Studio Kotokoto)

My preference for ceramics styles that possess the essence of uncalculated spontaneity rather than precision and perfection meant that I initially found the meticulous beauty of Nabeshima rigid and difficult to appreciate. But my perspective changed during a visit to the Tokyo National Museum when I saw an Iro-Nabeshima plate with Flower and Raft design.

Although the plate was made in the 18^th century, the enamel colors of red, green and yellow were so bright and vivid against the beautiful cobalt underglaze. It almost seemed like the air surrounding the plate was a little clearer than the rest of the museum –and I swear I was not inhaling any questionable substances at the time! The plate’s bold design possessed a unique sense of clarity and pride unlike any other ceramics work that I have seen.

So I was excited when the opportunity arose in the spring of 2013 to visit the Imaizumi Imaemon Kiln in Arita, which is carrying on the tradition of the making of Nabeshima ceramics.

Red roof tiles — Imaizumi Imaemon kiln in Arita is the oldest building in the area dating back to 1830. The roof tiles along the second floor are stained red from the enamel used by artisans that worked on the second floor. (Photo by Studio Kotokoto)

The Imaizumi Imaemon family has a long and illustrious history that dates back to the Edo period when it was first commissioned as the Nabeshima’s official overglaze enamel artisan (or Akae-shi). For over 200 years, the family enjoyed the financial support of successive feudal lords. However, when the feudal fief system was replaced with the prefectural administrative system in the Meiji era, the Nabeshima kiln collapsed with the ending of shogunate largesse.

Molds — Slump molds used by the Imaizumi Imaemon Kiln. (Photo by Studio Kotokoto)

The 10^th generation master painter Imaemon, who was the family patriarch during this crisis, decided to do whatever was necessary to preserve the technique for the production of Iro-Nabeshima. From scratch, the family had to painstakingly learn forming and firing techniques, which took many years and only began to bear fruit in the early 20^th Century under the 12^th generation Imaemon. For this enormous accomplishment, the Imaemon kiln was recognized as an important intangible cultural asset by the Japanese government in 1971.

The porcelain bowls are formed by trimming them into shape. Each piece is weighed to the exacting thickness. — A craftsman forming a porcelain bowl by trimming it into shape. Each piece is weighed to an exacting thickness. (Photo by Studio Kotokoto)

During my visit to the kiln, which is located in the Akae-machi (overglaze town) district of Arita, I saw a craftsman trimming a porcelain bowl and carefully measuring it to its required exact weight on a scale. The kiln was loaded with numerous saggars that encased the pieces to protect them from ashes of pine wood used for firing.

Each piece is fired inside a saggar in traditional wood-firing kiln using pine wood. — Each piece is fired inside a saggar in a traditional kiln fired using pine wood. (Photo by Studio Kotokoto)

One noticeable sight was the piles of rejected bisque wares, many of which were discarded for the slightest hints of flaws. It was clear that precision and design perfection is of utmost importance, which is a rare quality in Japanese pottery kilns that tend to focus on extemporaneity and simplicity.

Imaemon’s formulas for glazes and their application techniques are still closely-held secrets that are handed down to only a single son of each generation who takes over the name of “Imaizumi Imaemon”.

Rejects — Large piles of rejected porcelain plates with minor imperfections. (Photo by Studio Kotokoto)

The kiln today produces two distinct lines of Iro-Nabeshima, the first of which are created in line with the traditional style of Iro-Nabeshima by over 30 craftsmen. The second line is of a modern Iro-Nabeshima created by the current 14^th generation Imaizumi Imaemon.

If the opportunity arises, I would highly recommend a visit to the Imaemon museum or shop in Arita. They also have a satellite shop in Tokyo. Imaemon’s work is unequivocally stunning, with striking designs, pristine lines, and clever use of the white spaces of natural porcelain. Even if the pricing may seem out of reach for many, including myself, it is still a sheer delight to be able to see this fine work and to pick out a favorite piece you would have liked to take home.

* “Nabeshima” by Motosuke Imaizumi (Tokyo; Kodansha International, 1981) was used as a reference for this blog post.

Introducing Kikuchi Yuka: Porcelain Potter Who Stands Out From the Crowd

By:

Ai Kanazawa

September 3, 2013Ceramics KIKUCHI Yuka

Ceramics by Kikuchi Yuka in our shop ->

In my travels around Japan, I sometimes come across richly talented artists who are little known but whose work stand out from the crowd. One such gifted potter is Kikuchi Yuka, who makes beautiful and functional works with black inlay (zougan) and blue-and-white (sometsuke) porcelain.

zougan — Amakusa porcelain dessert plate with black inlay by Kikuchi Yuka

Yuka shines because of her exceptional ability to produce forms that marry contemporary elegance with simplicity and tradition, and in portraying nature through stylized patterns in her blue-and-white porcelain.

What adds to Yuka’s talent was the experience that she gained from learning from one of Japan’s great Kyoto sometsuke masters, Kondo Hiroshi. Kondo was an internationally famous potter and an avid teacher who took her along on his workshops overseas. Yuka spent seven years studying under Kondo and she was his last apprentice before his death in 2012. While Yuka learnt a great deal, it was also a humbling experience and she initially found it difficult to escape her master’s shadow. “For a long time I was bound by my self-inflicted pressure not to disappoint my teacher”, she said.

But with Kondo’s passing, Yuka has finally begun to find her own way, which is allowing her to produce work with style and vigor. “I now think that I should simply make the best pots that I can make”, she said.

Throwing — Potter Kikuchi Yuka throwing on the wheel at her studio in Minamiaso

Yuka’s zougan works are simple but uniquely elegant vessels. “I design my work to compliment the food, so its presence is felt but does not overwhelm“, she explains. Her sometsuke work, which she only started making recently, is a display of exceptional skill in brush techniques and stylized expressions through shades of blue. It is a fitting homage to her late teacher.

Tsubaki — Blue-and-white porcelain mamezara depicting Higo camellia by Kikuchi Yuka

Yuka makes her wares by throwing clay on the wheel, which is trimmed down to the shape she requires. She alters the clay’s hardness depending on the size of the piece that she throws. The size and shape of each pot is determined carefully for its usability. But she says it is difficult to control the shape because when the piece dries, the clay often warps to the way that it was thrown, almost like it has a memory.

Higo Tsubaki — Higo camellia is the pride and symbol of Kumamoto, a prefecture often overlooked in Japan.

One reason why Yuka is little known is that her studio and house, Ennyo-gama, is located in the distant village of Minamiaso about 25 miles east of Kumamoto in Kyushu Island. It is on the volcanic caldera of Mt. Aso and is famous for its healing hotsprings. I had the opportunity to meet Yuka at her studio this past spring when I traveled to Kumamoto with a pottery tour group organized by Bill Geisinger and Ben Horiuchi.

All of Yuka’s work is made using porcelain that comes from the Amakusa Islands, which are just off the coast from Kumamoto. Amakusa porcelain is famous for its pure white color, durability, plasticity and minimal shrinkage and slumping when fired. While Amakusa supplies as much as 80 percent of the Kaolin used for porcelain clay production in Japan, porcelain pottery made in Kumamoto is not well known.

Showroom — Kikuchi Yuka’s showroom in Minamiaso, Kumamoto. All of her work is made using local porcelain from Amakusa.

Yuka said that when she announced in 2008 that she was ending her apprenticeship in Kyoto and moving home to open a studio in Kumamoto, “almost everyone around me asked if there was any pottery there”. Yuka pointed out that while “Kumamoto is best known as the raw material provider and agricultural center of Japan, there is a lot more happening here.” She hopes that her work will help people recognize Kumamoto for its culture, history and tradition, an accolade that it very much deserves. We at Studio Kotokoto will certainly be paying attention to Yuka and Kumamoto as we enjoy the creative elegance and flair that she brings to porcelain pottery.