An exhibition organized and circulated by The Japan Foundation through the International Exhibitions section of the Department of Canadian Heritage.

Ueda Naokata (b. 1927)
Vase, ash-coated, Shigaraki-yaki
Collection: Japan Foundation

The development of ceramics in Japan was stimulated by the import of Korean potters (as prisoners) to Japan between 1592 and 1597. This was also the time when the Tea Ceremony became very popular amongst the aristocracy and the military class. The Tea Ceremony was a highly stylized and elegant ritual related to Zen Buddhism. The function and form of ceramics was given much importance in the ceremony, and some of the qualities to be found in the Tea Ceremony have in turn become synonymous with a Japanese aesthetic. A great tea master of the time Sen-no Rikyu (1521-1591) was highly influential, and renewed appreciation for the rusticity of the medieval kilns in Japan let to development and greater refinement of Japanese pottery. Raku ware was introduced at this time as well, much influenced by the taste of the tea masters. Japanese ceramics share the aesthetic qualities that are to be found in the Tea Ceremony.

Traditional pottery continued to flourish. Kyoto now emerged as a centre of ceramic activity and one of Japan's greatest potters, Ogata Kenzan (1663-1743) developed a characteristic style, with tasteful designs influenced by porcelain decoration. Japan's shoguns isolated the country, and traditional Japanese taste now absorbed all previous influences. Towards the end of the period, however, pottery had come to be dominated by excessive ornamentation and an obsession with technique.

Hamada Shoji (1894-1978)
Vase, saline glaze with ironbased design (nuke-e).
Collection: Japan Foundation

Ono Hakushi (b. 1925)
Flower pot, glazed underside and with golden yellow glaze.
Collection: Japan Foundation

Modern Japanese Ceramics

With the fall of the Tokugawa shogunate in 1868, Japan now began on a course of industrialization and was transformed into modern Japan. Industrialization, mass production and westernization caused a general depreciation in Japan of its own cultural heritage and traditions. Mass production mean that the traditional artisan-based potteries could not compete. A reaction to this industrialization did take place however, and Japan's greatest potters turned once again to traditional methods, old kilns and folk inspiration.

In 1926, the philosopher Yanagi Soetsu (1889-1961) launched the Folk Art Movement (mingei). Sympathetic to its spirit were the potters Shoji Hamada (1894-1978), Kawai Kanjiro (1890-1966) and Yomimoto Kankichi (1866-1963) who were tremendously influential. (Examples of their work are included in the current exhibition.) It is perhaps the work and example of these three artists and that of Bernard Leach (1887-1979) (who was associated with them) that has had the greatest influence on modern ceramics in Britain and North America. Hamada worked with Leach in St. Ives (Cornwall) from 1920 to 1924 and then returned to Japan.

Perhaps a new element in the ceramic art of Japan in this century has been the introduction of the idea of pottery as an individual form of expression rather than a universal one as is usually the case with functional arts. Hamada, Kanjiro and Kankichi all valued the integrity of the anonymous artisans of Japanese ceramics who produced wares that were meant to be used every day. Traditional Japanese ceramics continue to affirm the value of pottery forms based on function. The aesthetic of the Tea Ceremony has defined certain forms as well, and within the seemingly limited scope of the objects associated with the Tea Ceremony, Japanese potters have continued to find inspiration as well as great scope for individual expression.

Technically, the Japanese potter has been able to utilize the more controllable gas and electric-fired kilns (considered safer in densely populated areas than the traditional pine-fired climbing kiln (noboragama), and any clay can be brought in from any region in Japan. What distinguished the old regional kilns, such as clay body and predominant method of decoration, has become less prominent.

Since 1954 an Exhibition of Japanese Traditional Art Crafts has been held in Japan and what constitutes "traditional" Japanese pottery today has been largely defined by this important exhibition. An appreciation of individual expression is nonetheless much in evidence, while the value placed on traditional techniques and forms is also emphasized. This exhibition, in its earlier manifestations, was presented for the purpose of showing the work of those artists designated as Living National Treasures under new legislation. Later, the exhibition was open to all potters who submitted their work to the jury. It should also be mentioned that ceramic artists can also compete in "art" exhibitions. In Japan, these large exhibitions are highly commercialized in that they are often held in major department stores and sponsored by major newspapers who promote such exhibitions.

The designation of a Living National Treasure is fascinating to North Americans. The intent of such a designation, according to Hasebe Mitsuhiko, Chief Curator of the Crafts Gallery of the National Museum of Modern Art (Tokyo), was that the "skills which he or she possesses 'should be of particularly high artistic value, should occupy and important position in the history of crafts, and should show strong evidence of regional qualities.'" Less emphasis is placed on innovation of form (dominant in North American ceramics), yet individual artists continue to find scope and fulfillment within the Japanese ceramic traditon. This exhibition may help us to understand that tradition and its influence is is anything but limiting to the creative genius of Japan's potters of today.

RHB