Dai Ichi Arts, Ltd is a fine art gallery that is exclusively devoted to showcasing Modern ceramic works of art from Japan.
Since our beginning in 1989, we have been focused on highlighting important Japanese ceramics to the contemporary art scene in New York City. The gallery has introduced pieces to the permanent collections of several major museums including The Metropolitan Museum of Art, The Art Institute of Chicago, Minneapolis Institute of Art, Indianapolis Art Museum, The Jordan Schnitzer Museum of Art, The Princeton University Art Museum, and many more
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Goto Hideki, Higashida Shigemasa, & Contemporary Expressions of Shino and Oribe
On view:
October 26 - 13 November, 2023
18 East 64th Street, Ste. 1F New York, NY, 10065, USA
www.daiichiarts.com
MARY GRIGGS BURKE CURATOR OF JAPANESE AND KOREAN ART AND DIRECTOR OF THE CLARK CENTER FOR JAPANESE ART, MINNEAPOLIS INSTITUTE OF ART
The principle of supply and demand has been understood by humans for centuries This economic model was the impetus for the birth of several new ceramic traditions in sixteenth-century Japan. The demand came from a rise in interest and a shift in taste in the formal practice of preparing and drinking powdered green tea (chanoyu), commonly known as the Japanese tea ceremony Chinese antiques were preferred until the tea masters Sen no Rikyū (1521–1591) and his student Furuta Shigenari (aka Furuta Oribe; 1544–1615) codified and revolutionized tea by turning away from prized, imported utensils in favor of domestically manufactured objects that embodied a rustic aesthetic
Military conflicts caused potters to relocate to Mino Province (today’s Gifu Prefecture) in the heart of Japan’s main island of Honshū, west of the then capital and cultural hub Kyoto A growing market for tea ceramics in Kyoto prompted changes in kiln construction Kilns were initially enlarged (ōgama), and around 1600, a new type of kiln was developed that ascended the side of a slope (noborigama). This innovation improved heat efficiency, allowing for increased production with a more economic use of natural resources. In this context, two new wares emerged: Shino and Oribe Shino ware is known for its thick, creamy-white glaze, textured with small holes, frequently applied over abstract floral designs painted in iron-brown
A sub-style of Shino ware is Nezumi, or “ mouse-gray ” Shino, such as a plate decorated with grapevines, trellis, and a geometric design from the collection of Mary Griggs Burke at the Minneapolis Institute of Art (fig. 1). Oribe ware is typically characterized by a combination of copper-green glaze and stylized drawings on clay bodies with asymmetrical or distorted shapes Some Oribe ware is black, while others are pink or red (fig. 2).
Minneapolis Institute of Art, Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation (2015 79 311)
Minneapolis Institute of Art, Gift of funds from Tamara and Michael Root and the Gary L Gliem Endowment for Japanese Art (2020 48)
(Fig. 1) Mino ware, Nezumi-Shino type; plate with grapevines, trellis, and geometric design; 16th century; Stoneware with underglaze iron oxide, 2 3/4 × 11 3/16 × 10 9/16 in. (Fig. 4) Arakawa Toyozō. Mino ware, Shino type; straight-walled tea bowl with bridge pattern; ca 1965–74; Stoneware with underglaze iron oxide design, 3 1/2 × 5 5/8 × 5 1/2 in.
(Fig. 3) Kitaōji Rosanjin. Mino ware, Oribe type; fan-shaped plate; 20th century; Stoneware with underglaze iron oxide designs and copper oxide glaze, 2 11/16 x 9 13/16 x 8 15/16 in.
Minneapolis Institute of Art, Gift of funds from the Friends of the Institute and The Robert C Winton Fund (2003 170 2)
(Fig. 2) Mino ware, Yashichida-Oribe; set of serving dishes with design of willow gourds, melons, and geometric patterns; 17th century; Stoneware with copper-green glaze, red slip, and underglaze iron oxide, 8 3/4 × 4 3/16 × 4 1/4 in
Minneapolis Institute of Art, Gift of funds from the Friends of the Institute (2007 43 5)
It took another hundred years for Shino ware to be rediscovered. Mino-native Arakawa Toyozō (1894–1985), who had previously worked as an assistant to Rosanjin, returned to his home in 1930 and began researching the origins of Shino ware. After successful excavations revealed previously unknown facts about its history, Toyozō revived this classic style and was designated a Living National Treasure by the Japanese government in 1955 for his achievements. Toyozō’ s own Shino tea bowls (chawan) are widely regarded as his most powerful works (fig 4)
Rosanjin and Toyozō were part of a movement that sought to reinvigorate historical ceramics in Japan, which would influence the work of generations of ceramicists to come. The most exciting among them are not satisfied with reproducing period styles of the sixteenth and seventeenth centuries, but rather infuse their own ideas and personal modes of visual expression to the highly technical medium In this dynamic realm, two exceptional talents shine: Gotō Hideki, an emerging star in the realm of Shino, and Higashida Shigemasa, a modern master of the Oribe tradition.
Living and working in two vastly different environments located approximately 200 miles (320 km) apart, Gotō and Higashida each explore the natural world in their own unique and distinctive styles. Gotō was born in a coastal town in Miyagi Prefecture in northeastern Japan and relocated to the former Mino area in central Japan over two decades ago. Currently, he resides in Tajimi City, where he graduated in 1997 from the Department of Ceramics Science at the local technical high school Following his graduation, Gotō began participating regularly in public exhibitions, and in 2012, his Shino tea bowl received the Encouragement Award at the nineteenth Mino Shōroku Tea Bowl Exhibition, a competitive event held until 2015 that garnered over two hundred submissions for each edition. In 2021, he earned an Honorable Mention at the prestigious twelfth International Ceramics Competition Mino.
Gotō regularly participates in solo and group exhibitions, primarily in Japan Despite the fact that he now resides in an area surrounded by mountains, Gotō' s artistic forms draw inspiration from his upbringing in a seaside town, a place of sentimental value that he often longs for He has named the wave-like or shell-shaped sculptural form he developed as "Shino Watatsumi," which translates to "Shino Sea God," a title deeply rooted in Japanese legends.
In Shinto mythology, Watatsumi represents the spirit (kami) of the sea and is an alternate name for the dragon deity Ryūjin. Gotō' s Watatsumi creations resemble seashells and capture the dynamic essence of the sea while maintaining a connection to the tradition of Shino ware These elongated, stretched forms, characterized by their earthy textures and powerful ridges, exude a profound sense of tension One might also envision his works as volcanic formations, with streaks of individually colored igneous rock emerging as the lava cooled following an eruption.
Goto Hideki, Shino Watatsumi, 2023
Gotō makes the soil speak fluently, pushing Shino ware into a previously unseen direction and stepping up to the challenge to create new and modern artworks
Higashida was born in Hiroshima Prefecture, located in the westernmost region of Japan’s main island Honshū. In 1978 he graduated from the Faculty of Economics of Shimonoseki City University and embarked on a career as a typical Japanese salaryman. Six years later, an encounter with a Buddhist fortune teller in Kyoto emboldened him to abandon his office job and pursue ceramics as a career path. Like Gotō (but a decade earlier), Higashida enrolled in the Tajimi Technical High School After graduating in 1986, he built a studio in Koganei City in the Tokyo metropolitan area, where he has lived ever since In 1989, he had his first solo exhibition in Japan and since 2000, his artworks have regularly been shown in solo and group exhibitions abroad, predominantly in the United States and the United Kingdom.
Captivated by Shino and Oribe traditions, Higashida fundamentally transforms these centuries-old art forms His Oribe ware, characterized by vibrant flashes of orange, deep pooling of glaze, and contrasts between straight-cut and rugged
The mustard yellow and lush green surfaces appear like landscapes with steep cliffs and craggy mountains. Higashida’s enchanting Oribe ceramics can be imagined as sculptural representations of the magical blue-green landscape paintings that emerged in Tang dynasty (618–907) China Painters used malachite for the green and azurite for the blue; ingredients with magical associations through their use in the alchemical search for the elixir of immortality
Higashida cannot completely control the thick pooling of the vibrant glaze, making every work a surprise when it comes out of the kiln To me, who grew up in Europe, these pools of brilliant blue glaze evoke pristine Alpine lakes.
Another innovation is his occasional use of orange, which provides an unexpected and vivid contrast with the verdant glaze These orange accents might look like spontaneous occurrences, but to achieve them, Higashida developed a sophisticated technique A glaze made from a small amount of iron silicate, feldspar, and salt is dissolved in water and then sprayed very sparingly on the surface with a compressor The danger lies in the glaze turning chocolate brown in the biscuit firing and spoiling the contrasting effect. Oribe ware is usually fired in oxidation, but Higashida’s works require a precise balance of both oxidation and reduction firing to achieve the desired effects A strong reduction firing creates a rich green, but the orange turns chocolate, whereas pure oxidation firing yields an intense orange, but the green becomes dull Unpredictable firing effects cannot be prevented by Higashida, despite all his measures to control the outcome.
Further fascination is caused by Higashida’s many ways to reinterpret traditional vessel types which catapult the classical aesthetics of Oribe ware into the realm of contemporary sculpture Lids of pots can be studied in topography, bowls are fired upside down for the glaze to create streaks, and vases can take spirited but outlandish forms. In his newest magical Oribe creations one can imagine architectural forms in perfect harmony with his typical rocky mountainous terrains.
Both Gotō and Higashida have gained an enthusiastic following, especially among private collectors in Japan Although they continue to be active and create new works, their output is limited and finding their creations is difficult. Those who have and enjoy them are indeed fortunate
Higashida Shigemasa, Oribe Water Jar
Goto Hideki, detail of No 3 Shino Watatsumi
Higashida Shigemasa, detail of Oribe Tea Bowl
Watatsumi No 1 海神, 2023
With Signed Wood Box
Stoneware (h) 9.4" x (w) 16.5" x (d) 12"
Goto Hideki 後藤秀樹 (b. 1973)
Goto Hideki 後藤秀樹 (b. 1973)
Watatsumi No 2 海神, 2023
With Signed Wood Box
Stoneware (h) 8.9" x (w) 16" x (d) 13.5"
Goto Hideki 後藤秀樹 (b. 1973)
Watatsumi No 3 海神, 2023
With Signed Wood Box
Stoneware (h) 8.7" x (w) 15" x (d) 11.2"
Watatsumi No 4 海神, 2023
With Signed Wood Box
Stoneware (h)
Goto Hideki 後藤秀樹 (b. 1973)
9.4" x (w) 17" x (d) 14"
Goto Hideki 後藤秀樹 (b. 1973)
Watatsumi No 5 海神, 2023
With Signed Wood Box
Stoneware (h) 4.6" x (w) 9.5" x (d) 7.5"
Goto Hideki 後藤秀樹 (b 1973)
Shino Watatsumi 海神
Feldspar over iron stoneware (h) 8 2” x (w) 16 8” x (d) 10 6”
Watatsumi No 18 海神, 2023
With Signed Wood Box
Stoneware (h) 5.9" x (w) 15.1" x (d) 7.0"
Goto Hideki 後藤秀樹 (b. 1973)
Goto Hideki 後藤秀樹 (b. 1973)
Collection of Shino Guinomi, 2023
Goto Hideki 後藤秀樹 (b 1973)
C-1 Shino Tea bowl 志野茶盌, 2023
Stoneware, With Signed Wood Box (h) 4 7" x (w) 6 2" x (d) 5 5"
Goto Hideki 後藤秀樹 (b. 1973)
A-1 Shino Tea bowl 志野茶盌, 2023
Stoneware, With Signed Wood Box (h) 4 0”x (w) 6 8” x (d) 5 5”
Goto Hideki 後藤秀樹 (b 1973)
B-1 Shino Tea bowl 志野茶盌, 2023
Stoneware, With Signed Wood Box (h) 4 0" x (w) 7 2" x (d) 5 7"
Goto Hideki 後藤秀樹 (b. 1973)
G-1 Shino Tea bowl 志野茶盌, 2023
Stoneware, With Signed Wood Box (h) 4 6" x (w) 5 6" x D 5 2"
Nezumi Shino Flower Vase 1 鼠志野花入
With Signed Wood Box Stoneware (h) 11.5" x (w) 7.5" x (d) 7"
Kato Toyohisa 加藤土代久 (b. 1962)
Kato Toyohisa 加藤土代久 (b. 1962)
Nezumi Shino Flower Vessel 2 鼠志野花器
With Signed Wood Box Stoneware (h) 14" x (diameter) 8.5"
Suzuki Goro 鈴木五郎 (b. 1941)
Shino Water Jar 志野水指
Stoneware
With Signed Wood Box
(h) 8" x (w) 7.6" x (d) 7.5"
Wakao Toshisada 若尾利貞 (b. 1933)
Gray Shino Round Plate Half Moon 丸皿 半月, 2008
Gray Feldspar and White Feldspar Glazed Stoneware Signed at the back, With Signed Wood Box (h) 1.75” x (diameter) 10”
Hayashi Shotaro 林正太郎 (b. 1947)
Nezumi Shino Kakehanaire Vase 鼠志野掛花入
Stoneware
With Signed Wood Box (h) 6.5”, (diameter 3.5”)
Hayashi Shotaro 林正太郎 (b. 1947)
Single-Cut Flower Jar with Ash Glaze 灰釉 重切 花生
Stoneware
With Signed Wood Box (h) 11" x (w) 5.5" x (d) 5.2"
Hayashi Shotaro 林正太郎 (b. 1947)
Red Shino Flower Vase 赤志野四方壺
With Signed Wood Box
Stoneware (h) 11.5" x (w) 6.6" x (d) 6"
Hayashi Shotaro 林正太郎 (b. 1947)
Shino Square Jar With Thousands of Leaves 万葉志野四方壺
Stoneware
With Signed Wood Box (h) 10.5" x (w) 10.6" x (d) 9.5"
Sculpture, 2023
Stoneware
With Signed Wood Box
(h)
Higashida Shigemasa 東田茂正 (b. 1955) 11.6" x (w) 8.6" x (d) 7.6"
Higashida Shigemasa 東田茂正 (b 1955)
Shino Platter Stoneware (h) 3" x (w) 18" x (d) 10 5"
Higashida Shigemasa 東田茂正 (b 1955)
Oribe Large Platter 織部長方皿, 2020
Oribe Stoneware (h) 3 5" x (l) 38 3" x (d) 12 5"
Oribe Water Jar
Stoneware
With Signed Wood Box
(h) 9" x (w) 6 4" x (d) 6 6"
Higashida Shigemasa 東田茂正 (b 1955)
Higashida Shigemasa 東田茂正 (b 1955)
Oribe Large Platter 織部長方皿, 2023
Stoneware
Signed "Shigemasa" at the base (h) 4 3" x (w) 12 5" x (l) 36 2"
Hayashi Shotaro 林正太郎 (b 1947)
Red Shino High Foot Small Tea Bowl 赤志野割高台
Stoneware
With Signed Wood Box
(h) 3" x (diameter) 3 5"
Higashida Shigemasa 東田茂正 (b 1955)
Oribe tea bowl, 2022
Stoneware
With Signed Wood Box
(h) 4 8" x (w) 4 7" x (d) 5 0"
Higashida Shigemasa 東田茂正 (b 1955)
Oribe Flower Vase 織部花入, 2006
Stoneware
With Signed Wood Box
(h) 16" x (w) 12 5" x (d) 6 2"
Shino Covered Box 志野陶筥, 2004
Stoneware
With Signed Wood Box (h) 7.2" x (w) 10.9" x (d) 6"
Higashida Shigemasa 東田茂正 (b. 1955)
Higashida Shigemasa 東田茂正 (b 1955)
Shino Pumpkin Shaped Large Jar 志野大壺, 2002
Stoneware (h) 18" x (diameter) 16"
Oribe Flower Vessel 織部花器, 2022
Stoneware
With Signed Wood Plate
(h) 14 5" x (w) 17 5" x (d) 12 5”
Yamaguchi Makoto 山口真人 (b 1978)T A K A U C H I
Takauchi Shugo 髙內秀剛 (b 1937)
"Takahagi" Shino Tea Bowl 高萩 志野 茶碗
Stoneware
With Signed Wood Box (h) 4” x (w) 5” x (d) 4 9”
Takauchi Shugo 髙內秀剛 (b 1937)
Oribe Jar with Handle 織部手桶
Stoneware with Oribe glaze
With Signed Wood Box
(h) 10 5" x (w) 13 5" x (d) 8 5"
A F T E R W O R D
B E A T R I C E C H A N G
It was Jeff Shapiro who was the catalyst that introduced us to the remarkable Tokyo-based artist, Shigemasa Higashida From the moment I laid eyes on his Oribe, I was captivated. His work was a breath of fresh air crisp, verdant, and plentiful
At Dai Ichi Arts, we have had the privilege of witnessing Higashida's artistic journey unfold over the course of more than two decades. While he initially embarked on a path in the corporate world, his artistic sensibilities have emerged as truly unparalleled and undeniably modern. Throughout these years, Higashida has honed his craftsmanship with the finest Mino clay His unwavering commitment to experimenting with Oribe and Shino glazes has yielded creations that intimately echo the beauty of nature
His clay surfaces, uniquely textured, strike a remarkable equilibrium between smoothness and ruggedness. Within the spectrum of Oribe glaze, he masterfully employs various shades, spanning from serene blues to lush greens, pristine whites, and enchanting azures. An unexpected encounter with salt spurred him to transform what some might perceive as a mistake into a realm of innovation, crafting surfaces that juxtapose vivid reds against verdant greens
Notably, his Shino glaze stands apart, exuding a distinct warmth that beckons one in with its warm, tactile forms and surfaces
Higashida’s studio is state of the art It is a testament to the fusion of art and architectural brilliance. Designed by a famed architect, it skillfully repurposed Higashida's old home into a new and artful wonder.
The journey begins with a narrow, stone entry passage, shaded by lush greenery, leading to a humble entrance framed with earthen hues.
Inside, the studio surprises with its impeccable organization and cleanliness The meeting room boasts a soaring ceiling and a Frank Lloyd Wright window that sits just a foot above the ground, offering a serene view of the surrounding greens. A long table, flanked by the sturdy beams of his old house and adorned with marbles, tastefully blends modernity with tradition.
Within an expansive hall, he has installed a giant gas kiln alongside a smaller one Both are stationed next to the area where Higashida stores his various glazes underneath the floor
Higashida's brilliance extends far beyond his exquisite vases, tea bowls, covered boxes, and large platters, as well as his state-ofthe-art studio In fact, he has continually pushed his own boundaries, venturing into the realm of sculpture. In his own words, Higashida once shared, "I never wish to replicate the same creation; once I complete one piece, I move on to the next." Now, for the first time, he is graciously sharing these new creations with us While only one new form has met his exacting standards, it serves as a testament to an artist who always strives to elevate the very essence of his craft We are honored to bear witness to this unfolding chapter in his artistic journey. O
Among the select few who have truly mastered the art of Shino glaze, Goto Hideki’s craftsmanship stands out
I initially encountered Goto's Shino creations at the Gifu ceramic art and craft competition, where his larger-than-life Shino vessels took me by surprise. During my annual trip to Japan, I had the pleasure of encountering his work once more at a Takashimaya Department exhibition. My next unexpected encounter with him was on the one and only train to Gifu, where his presence- big and gentle- was unmistakable I was invited to his studio the following year.
Goto's creations resonate with the power of volcanoes, evident in both their glaze and form Many of them carry titles that pay homage to the mighty ocean deity. In keeping with their names, each piece evokes the immense force of ocean waves waters driven by the winds, surging with frothy white intensity
p p g , pp innovative glazes, and fires them with meticulous precision. As for Goto himself, he is a reserved and gentle man
Our gratitude toward Goto-san is immeasurable In preparation for this exhibition, tragedy struck when a flood, intensified by vast clay deposits, devastated his studio, resulting in the loss of many of his masterpieces
During my visit in June, remnants of the disaster piles of sandbags still bore witness to the studio's exterior. Nevertheless, Goto-san's resilience prevails, and we are deeply appreciative of his unwavering dedication. We are truly grateful for the outstanding and plentiful new arrivals from Goto-san this year
Our deep gratitude goes to Dr Andreas Marks, Mary Griggs Burke Curator of Japanese and Korean Art and Director of the Clark Center for Japanese Art at the Minneapolis Institute of Art. His extensive knowledge and strong interest in this field, as
well as his excellent writing and study of objects from the MIA’s museum holdings have given us valuable insights on this special exhibition
Our exceptional team at Dai Ichi Arts have also played an indispensable role in making this exhibition possible.
Historically, Shino and Oribe have graced everyday utensils like cups and bowls. In this exhibition, we present 2 artists who have channeled these traditional glazes to evoke nature’s grandeur capturing both seascape and landscape. I warmly invite you to immerse yourself in this celebration of nature
October 2023
© Dai Ichi Arts, Ltd., 2023
Authorship: Dr Andreas Marks, Beatrice Chang, eds. Kristie Lui
Catalog production: Kristie Lui, Haruka Miyazaki, Yoriko Kuzumi
Front & back cover images: Higashida Shigemasa, Goto Hideki
