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ITO SEKISUI V:
RED SOIL
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Ito Sekisui V (b. 1941), Living National Treasure
Ito Sekisui V, a 14th generation ceramic potter, was recognized for his work in mumyo-i, in 2003 when he was designated a Living National Treasure. Mumyo-i is a reddish brown, ferric oxide clay extracted from gold mines native to Sado Island in Niigata prefecture, where the artist was born. After completing ceramic studies at Kyoto Technical University, Ito returned to Sado Island to experiment with mumyo-i and create his signature aesthetic, red on black. Ito is known for neriage ware characterized by delicate patterns and created by layering and patching clay of different reddish brown tones. To bring out the vibrancy of the red, Ito does not apply glazes; rather, his firing technique, yo-hen, uses different flame streams inside a wood-fired kiln. The areas directly hit by the flames create a black hue.
Ito says that the creator’s destiny is to, “Bring forth what has never existed, something new and attractive.” Ito has been the recipient of many prestigious awards and continues to experiment with many techniques. In 2005, he received the Medal with Purple Ribbon and in 2011, the Order of the Rising Sun, Gold Rays with Rosette, from the Emperor of Japan.
Selected Exhibitions:2017 Ito Sekisui V: Red Soil, Onishi Gallery, New York, US2015-2017 Asia Week, New York, US2016 Creating Handicrafts, Living National Treasures Exhibition,
Wako, Tokyo, Japan2015 SOFA Chicago, Illinois, US Tradition Reborn: Contemporary Japanese Ceramics, Indianapolis
Museum of Art, US2007 Crafting Beauty in Modern Japan, British Museum, London, UK
Selected Public Collections:Metropolitan Museum of Art, New York, US; Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C., US; Art Institute of Chicago, Illinois, US; Indianapolis Museum of Art, Indianapolis, Indiana, US; Victoria and Albert Museum, London, UK; Niigata Prefectural Museum of Modern Art, Nagaoka, Japan; Ibaraki Ceramic Art Museum, Japan; National Museum of Modern Art, Tokyo, Japan
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Ito Sekisui V (b. 1941), Living National Treasure
Ito Sekisui V, a 14th generation ceramic potter, was recognized for his work in mumyo-i, in 2003 when he was designated a Living National Treasure. Mumyo-i is a reddish brown, ferric oxide clay extracted from gold mines native to Sado Island in Niigata prefecture, where the artist was born. After completing ceramic studies at Kyoto Technical University, Ito returned to Sado Island to experiment with mumyo-i and create his signature aesthetic, red on black. Ito is known for neriage ware characterized by delicate patterns and created by layering and patching clay of different reddish brown tones. To bring out the vibrancy of the red, Ito does not apply glazes; rather, his firing technique, yo-hen, uses different flame streams inside a wood-fired kiln. The areas directly hit by the flames create a black hue.
Ito says that the creator’s destiny is to, “Bring forth what has never existed, something new and attractive.” Ito has been the recipient of many prestigious awards and continues to experiment with many techniques. In 2005, he received the Medal with Purple Ribbon and in 2011, the Order of the Rising Sun, Gold Rays with Rosette, from the Emperor of Japan.
Selected Exhibitions:2017 Ito Sekisui V: Red Soil, Onishi Gallery, New York, US2015-2017 Asia Week, New York, US2016 Creating Handicrafts, Living National Treasures Exhibition,
Wako, Tokyo, Japan2015 SOFA Chicago, Illinois, US Tradition Reborn: Contemporary Japanese Ceramics, Indianapolis
Museum of Art, US2007 Crafting Beauty in Modern Japan, British Museum, London, UK
Selected Public Collections:Metropolitan Museum of Art, New York, US; Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C., US; Art Institute of Chicago, Illinois, US; Indianapolis Museum of Art, Indianapolis, Indiana, US; Victoria and Albert Museum, London, UK; Niigata Prefectural Museum of Modern Art, Nagaoka, Japan; Ibaraki Ceramic Art Museum, Japan; National Museum of Modern Art, Tokyo, Japan
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Onishi Gallery is very pleased to host the first solo exhibition in the United States for Ito Sekisui V, the 76-year old master Japanese ceramist. When I met Ito for the first time in 2015, I remember how his eyes shined passionately with the challenge of a new project—this solo exhibition. Ito’s artwork is recognized by world-class art institutions including the Smithsonian Museum in Washington, DC and the Victoria & Albert Museum in London, but as Ito’s first solo exhibition in the United States, this show marks a defining moment in his international career.
Ito Sekisui V is a 14th generation ceramic potter, recognized in 2003 by the government of Japan as a “Living National Treasure” for his work in mumyo-i. Mumyo-i is a reddish brown clay extracted from the gold mines native to Sado Island in Niigata prefecture, where Ito was born. Ito spent years experimenting with mumyo-i to create his signature aesthetic—black on red. This unique material and visual aesthetic are highlighted by Ito’s mastery of neriage, a type of earthen ware characterized by delicate patterns created through the layering and patching together of different reddish brown-toned clays. To bring out the vibrancy of the red, Ito does not apply glaze, but rather, uses different flame streams inside a wood-fired kiln—a rare firing technique called yo-hen. The areas on his pots that are touched directly by the flames create a black hue. As a result, Ito’s mumyo-i ware are decorated with colorful floral, mosaic, striped, and gradated patterns that mimic painted pottery. Ito’s lifelong ceramic experience and his creative ingenuity within traditional methods of mumyo-i production, single him out as a visionary ceramist and leading artist in Japan.
Ito Sekisui V has said that the artist’s creative calling is to “bring forth what has never existed, something new and attractive.” Through this landmark exhibition of his work, Ito brings forth his unmatched skill and unique talent to present new and stunning pieces of art. Ito has been the recipient of many prestigious awards in the past, including the Medal with Purple Ribbon in 2005, and in 2011, the Order of the Rising Sun - Gold Rays with Rosette from the Emperor of Japan. With this solo American debut, we do not doubt he will continue to be honored for his contributions to the history and growing tradition of Japanese ceramic arts in the United States.
Nana Onishi Onishi Gallery Owner/Founder
FOREWORD
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The birthplace and the origin of pottery making for Ito Sekisui V is the Island of Sado in Niigata Prefecture, which is also my home where I was born and grew up.
The largest island off the coast of Honshyu, at the intersection of warm and cold currents of the Sea of Japan, has a long and unique history personified by many politicians, writers and priests, such as Emperor Juntoku, Motokiyo Zeami, and Nichiren. Under the order of the Bakufu during the Edo period (1603-1868), gold mining began, and Sado began to flourish as a port of call for cargo vessels. Throughout generations the aristocratic culture from Kyoto and the Samurai culture from Edo were brought to the island, through which Sado became a place of cultural exchange developing its own culture.
Even today, several pottery studios and Noh theatres can be found throughout the island, and traditional culture such as Kojo-ruri (traditional narrative music) and Bunya- ningyo (traditional dolls) are still alive. The aesthetics and sensibilities rooted in the island have produced living national treasures, as well as many exceptional artists and craftsmen.
The ancestors of the Ito family arrived on Sado and began pottery 300 years ago. Since the late Edo period, beginning with Ito Sekisui the 1st until today, unglazed Mumyo-i ware have been created by utilizing the gangue from the mines.
The 5th generation Sekisui, who inherited the tradition, has spent his college years in Kyoto. Without a doubt, this city where tradition and the cutting-edge coexist, has nourished his formative years. It must have been the source of his rich inspiration that enabled him to continually advance into uncharted territory of pottery by adding his unique touch to the traditional Mumyo-i ware.
Whenever I encounter his magnificent artwork, I am reminded of the rich nature and climate of Sado. The color variations that emerge from the flames in the kiln, the yo-hen of red and black, reflect the setting sun into the dark sea of Sado, the rhythmic refined lines of stripes and patterns, the neriage marbling, are like the blossoming flowers of the mountains changing with the seasons.
Intersections between the Traditional and the Contemporary, the Local and the Global
As with the food combination of sashimi (raw fish) and shoyu (soy sauce), the Japanese have used fresh ingredients with fermented seasoning to create the most exquisite taste. Dating back to the Jomon (14,000-300BC) and Yayoi (300BC-300AD) period, the incorporating and “fermenting” of the various cultures of Japan’s “brewing culture” continues on Sado with Mr. Ito’s pottery.
The yo-hen and the neriage marbling create the refined form and the graceful delicate contours that follow the patterns of the Yayoi period, and yet emerging from the rock materials of Sado is the roughness and strength of the Jomon culture, the result of 4 decades of pottery making that goes beyond Mumyo-i ware.
In his collection of works “Challenging earth and fire” (Published by Niigata Nippo Jigyousha) Mr. Ito refers to his continuation of pottery-making tradition as “a runner running a segment in a never ending ekiden (long-distance relay).” He further states that he is running “Sado, the course that generations have been running on.”
By continually digging through the local ground where one stands, one breaks through to the global horizon and the polishing and developing of tradition reveals the current times. The works of Ito Sekisui V intersect the traditional and the contemporary, the local and the global. In that sense, I am convinced that this exhibition will be the launch pad for Japanese crafts and ceramic art to the world.
Ryohei MiyataProfessor Emeritus, Tokyo University of the Arts
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The birthplace and the origin of pottery making for Ito Sekisui V is the Island of Sado in Niigata Prefecture, which is also my home where I was born and grew up.
The largest island off the coast of Honshyu, at the intersection of warm and cold currents of the Sea of Japan, has a long and unique history personified by many politicians, writers and priests, such as Emperor Juntoku, Motokiyo Zeami, and Nichiren. Under the order of the Bakufu during the Edo period (1603-1868), gold mining began, and Sado began to flourish as a port of call for cargo vessels. Throughout generations the aristocratic culture from Kyoto and the Samurai culture from Edo were brought to the island, through which Sado became a place of cultural exchange developing its own culture.
Even today, several pottery studios and Noh theatres can be found throughout the island, and traditional culture such as Kojo-ruri (traditional narrative music) and Bunya- ningyo (traditional dolls) are still alive. The aesthetics and sensibilities rooted in the island have produced living national treasures, as well as many exceptional artists and craftsmen.
The ancestors of the Ito family arrived on Sado and began pottery 300 years ago. Since the late Edo period, beginning with Ito Sekisui the 1st until today, unglazed Mumyo-i ware have been created by utilizing the gangue from the mines.
The 5th generation Sekisui, who inherited the tradition, has spent his college years in Kyoto. Without a doubt, this city where tradition and the cutting-edge coexist, has nourished his formative years. It must have been the source of his rich inspiration that enabled him to continually advance into uncharted territory of pottery by adding his unique touch to the traditional Mumyo-i ware.
Whenever I encounter his magnificent artwork, I am reminded of the rich nature and climate of Sado. The color variations that emerge from the flames in the kiln, the yo-hen of red and black, reflect the setting sun into the dark sea of Sado, the rhythmic refined lines of stripes and patterns, the neriage marbling, are like the blossoming flowers of the mountains changing with the seasons.
Intersections between the Traditional and the Contemporary, the Local and the Global
As with the food combination of sashimi (raw fish) and shoyu (soy sauce), the Japanese have used fresh ingredients with fermented seasoning to create the most exquisite taste. Dating back to the Jomon (14,000-300BC) and Yayoi (300BC-300AD) period, the incorporating and “fermenting” of the various cultures of Japan’s “brewing culture” continues on Sado with Mr. Ito’s pottery.
The yo-hen and the neriage marbling create the refined form and the graceful delicate contours that follow the patterns of the Yayoi period, and yet emerging from the rock materials of Sado is the roughness and strength of the Jomon culture, the result of 4 decades of pottery making that goes beyond Mumyo-i ware.
In his collection of works “Challenging earth and fire” (Published by Niigata Nippo Jigyousha) Mr. Ito refers to his continuation of pottery-making tradition as “a runner running a segment in a never ending ekiden (long-distance relay).” He further states that he is running “Sado, the course that generations have been running on.”
By continually digging through the local ground where one stands, one breaks through to the global horizon and the polishing and developing of tradition reveals the current times. The works of Ito Sekisui V intersect the traditional and the contemporary, the local and the global. In that sense, I am convinced that this exhibition will be the launch pad for Japanese crafts and ceramic art to the world.
Ryohei MiyataProfessor Emeritus, Tokyo University of the Arts
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Sado Island, in Niigata Prefecture, is well-known for its gold and silver mines. During the Edo period (1603–1867), Kinzan, a mountain with
rich mineral veins, produced massive quantities of gold, providing a significant revenue for the Tokugawa shogunate. Around the
1840s, Ito Jinpei, a local potter, started to use the ochre Sado Island clay, a by-product of the Kinzan gold mines, to make Raku ware. The red clay, called Mumyo-i, started to be used shortly after that, and Ito Tomitaro- (1838–1872) and then the Meiji period (1867–1912) potter, Miura Jo-zan (1836–1903) established the foundations of the Mumyo-i pottery. He studied Yixing clay tea pots, and developed his own technique using the Sado Island clay. There were only few artists specializing in Mumyo-i pottery. Traditionally, the potters of the island use two types of clay, the red and the yellow. After the firing, the
red clay becomes dark red, while the yellow turns bright orange. The red Mumyo-i clay has unusually high iron oxide content,
which is related to the gold veins as both are produced by volcanic activities.
In China, a natural red clay was used as a medication to heal wounds and stop bleeding. When Li Shizhen (1518–1593), a Chinese medical doctor and pharmacologist worked on his Compendium of Materia Medica, he realized that this clay had no name and called it as Mumyo-i (無名異 ), literally “the unusual with no name.” During the Edo period, when Japan imported Mumyo-i clay from China, they realized that the Sado Island red clay has similar properties, so it was also named Mumyo-i.
Ceramic wares created in the Sekisui family kiln are made from Mumyo-i clay. The Sekisui kiln is in Aikawa, on Sado Island, and its history can be traced back to the Tenpo- period (1830–1844), when Ito Tomisaburo- founded the family pottery and started producing Mumyo-i works. It was Ito Sekisui V’s great-great-grandfather who first used the name Sekisui, which consists of the characters “red” and “water” evoking the Mumyo-i clay, and started creating ceramic household wares as well as artistic vessels.
Ito Sekisui V (b. 1941) was designated a Living National Treasure in 2003 by the Japanese government in recognition of his development and refinement of two techniques centered on using Mumyo-i clay. He is the first Mumyo-i potter to receive this title, so he earned it in a similar way as many of the potters who were designated in the first wave of the Living National Treasure system nominations.
Sekisui was born in Aikawa on Sado Island, and became the head of the family kiln in 1976 after graduating from the Kyoto Institute of Technology in 1966. His Mumyo-i work was first exhibited at the Traditional Japanese Craft Association’s annual exhibition in 1972. His works are modern and traditional at the same time–while preserving the craftsmanship associated with Mumyo-i ware he creates fresh, modern compositions with contemporary aesthetic. He uses mainly two techniques, both are without the application of glazes (yakishime), and the artworks represent two different aspects of ceramic art, one is the tactile texture and dramatic color contrast, and the other is the delicate, fine patterning.
Sekisui is a master of yo-hen (“kiln change”), a technique that involves controlling the flame streams inside of the wood-fired anagama kiln. With the careful assessment of the kiln’s atmosphere, certain areas of the vessel will oxidize to an orange-red color, while others, exposed to the flames, reduce to dark grey. These works have a dramatic effect with the two contrasting colors and the seemingly unplanned burn marks. Yo-hen works recall Yayoi period (300 B.C.–300 A.D.) earthenwares, which were fired in the open and their distinctive colors and textures were formed by the forces of nature.
Sekisui’s other signature technique is neriage (kneaded “marbled” ware). The delicate, refined flower patterns are created by stacking and kneading different colors of the Mumyo-i clay into blocks and then slicing through the cross section to reveal the design, finally patching together the pieces. The results, including mosaic and striped patterns, or Sekisui’s characteristic gradated flowers reflect careful planning and the love for the wet-clay stage of pottery making as well as handbuilding. His Mumyo-i neriage works can easily be mistaken for painted pottery. Sekisui first created bowls, then flat dishes, round dishes, pentagonal ones, later jars, and finally square jars. He also experimented with the color combinations of the clays, and started to use black as the background color. The yo-hen technique always involves a certain “unexpected” effect created by the kiln and the fire, while in the neriage the design process is completely controlled by the artist.
Now, Sekisui is developing a new style, using stone from Sado Island to continue his journey exploring the artistic possibilities of the rich materials provided by his homeland.
Monika BincsikAssistant Curator, Japanese Decorative Arts
The Metropolitan Museum of Art
Roses of Red Clay
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98
Sado Island, in Niigata Prefecture, is well-known for its gold and silver mines. During the Edo period (1603–1867), Kinzan, a mountain with
rich mineral veins, produced massive quantities of gold, providing a significant revenue for the Tokugawa shogunate. Around the
1840s, Ito Jinpei, a local potter, started to use the ochre Sado Island clay, a by-product of the Kinzan gold mines, to make Raku ware. The red clay, called Mumyo-i, started to be used shortly after that, and Ito Tomitaro- (1838–1872) and then the Meiji period (1867–1912) potter, Miura Jo-zan (1836–1903) established the foundations of the Mumyo-i pottery. He studied Yixing clay tea pots, and developed his own technique using the Sado Island clay. There were only few artists specializing in Mumyo-i pottery. Traditionally, the potters of the island use two types of clay, the red and the yellow. After the firing, the
red clay becomes dark red, while the yellow turns bright orange. The red Mumyo-i clay has unusually high iron oxide content,
which is related to the gold veins as both are produced by volcanic activities.
In China, a natural red clay was used as a medication to heal wounds and stop bleeding. When Li Shizhen (1518–1593), a Chinese medical doctor and pharmacologist worked on his Compendium of Materia Medica, he realized that this clay had no name and called it as Mumyo-i (無名異 ), literally “the unusual with no name.” During the Edo period, when Japan imported Mumyo-i clay from China, they realized that the Sado Island red clay has similar properties, so it was also named Mumyo-i.
Ceramic wares created in the Sekisui family kiln are made from Mumyo-i clay. The Sekisui kiln is in Aikawa, on Sado Island, and its history can be traced back to the Tenpo- period (1830–1844), when Ito Tomisaburo- founded the family pottery and started producing Mumyo-i works. It was Ito Sekisui V’s great-great-grandfather who first used the name Sekisui, which consists of the characters “red” and “water” evoking the Mumyo-i clay, and started creating ceramic household wares as well as artistic vessels.
Ito Sekisui V (b. 1941) was designated a Living National Treasure in 2003 by the Japanese government in recognition of his development and refinement of two techniques centered on using Mumyo-i clay. He is the first Mumyo-i potter to receive this title, so he earned it in a similar way as many of the potters who were designated in the first wave of the Living National Treasure system nominations.
Sekisui was born in Aikawa on Sado Island, and became the head of the family kiln in 1976 after graduating from the Kyoto Institute of Technology in 1966. His Mumyo-i work was first exhibited at the Traditional Japanese Craft Association’s annual exhibition in 1972. His works are modern and traditional at the same time–while preserving the craftsmanship associated with Mumyo-i ware he creates fresh, modern compositions with contemporary aesthetic. He uses mainly two techniques, both are without the application of glazes (yakishime), and the artworks represent two different aspects of ceramic art, one is the tactile texture and dramatic color contrast, and the other is the delicate, fine patterning.
Sekisui is a master of yo-hen (“kiln change”), a technique that involves controlling the flame streams inside of the wood-fired anagama kiln. With the careful assessment of the kiln’s atmosphere, certain areas of the vessel will oxidize to an orange-red color, while others, exposed to the flames, reduce to dark grey. These works have a dramatic effect with the two contrasting colors and the seemingly unplanned burn marks. Yo-hen works recall Yayoi period (300 B.C.–300 A.D.) earthenwares, which were fired in the open and their distinctive colors and textures were formed by the forces of nature.
Sekisui’s other signature technique is neriage (kneaded “marbled” ware). The delicate, refined flower patterns are created by stacking and kneading different colors of the Mumyo-i clay into blocks and then slicing through the cross section to reveal the design, finally patching together the pieces. The results, including mosaic and striped patterns, or Sekisui’s characteristic gradated flowers reflect careful planning and the love for the wet-clay stage of pottery making as well as handbuilding. His Mumyo-i neriage works can easily be mistaken for painted pottery. Sekisui first created bowls, then flat dishes, round dishes, pentagonal ones, later jars, and finally square jars. He also experimented with the color combinations of the clays, and started to use black as the background color. The yo-hen technique always involves a certain “unexpected” effect created by the kiln and the fire, while in the neriage the design process is completely controlled by the artist.
Now, Sekisui is developing a new style, using stone from Sado Island to continue his journey exploring the artistic possibilities of the rich materials provided by his homeland.
Monika BincsikAssistant Curator, Japanese Decorative Arts
The Metropolitan Museum of Art
Roses of Red Clay
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1110
Known for the detailed powerful work via overwhelming textures, Ito Sekisui V (born 1941) is a Preserver of Important Intangible Cultural Properties of Mumyo-i ware, which is a pottery method from Sado in Niigata Prefecture dating back to the late Edo period (1850s). The name Mumyo-i ware is derived from the high content of what is called “Mumyo-i earth”, the gangue found in the gold veins near the gold mines of Sado. Based on the vivid red brown tint that emerges from the iron in the earth, Ito established a new style of ceramic decoration technique, unprecedented in Mumyo-i ware.
This style is known by the unique tint emerging from the Mumyo-i earth: the kiln (anagama) firing that transform the colors, known as yo-hen, and the patterning created via the gradations from the iron in the Mumyo-i earth, known as the neriage marbling. Since 2009, an additional feature has been added: The incorporation of Sado rocks bring forth a unique texture, which has been presented as a new series titled “Sado Island” further expanding the world of Mumyo-i ware.
This “Sado Island” series utilizes Sado rocks crushed by a stamper into particles less than 1cm in diameter. These rock particles are mixed into small amounts of clay that create a delicate balance enabling to construct a form. The molding is done either by hand or by board, however, while in the kiln, parts of the rock may explode or melt, creating an unknown outcome. However, this unstableness adds a fascinating touch resulting from the kilning, bringing forth a powerful presence.
In addition to the pronounced rock like texture, the “Sado Island” series includes pieces where the surface make-up is of Mumyo-i earth and where the colors have been transformed by the kilning. The rough feel of the surface and the classic tint of Ito’s work show in abundance the cultivation of his ideas as a potter, and his methods vary by form. Rock particles are added as much as possible, round pieces are mainly sculpted by hand, and angular pieces are made with boards. The pieces include water jars and incense burners, as well as vases with forms adjusted to the texture. While the material is not easy to shape, a continued attempt to create diverse forms using these combined materials has resulted in the creation of these forms to be of continued interest.
The Pottery of Ito Sekisui V: A Focus on the “Sado Island” Series
While following the path of Ito, the framework of Mumyo-i ware has been repeatedly shattered and a new world view is born. From the first time yo-hen has been incorporated, followed by the incorporation of the neriage marbling, moreover when “Sado Island” was presented, it sparked various opinions at the time, however, the overwhelming presence of all of his works are recognized today as Ito’s originality. Particularly the “Sado Island” series, which incorporates crushed rocks, which was unthinkable in conventional pottery making, demonstrate how the relentless pursuit of his own ideas created a new world view.
Such new challenges taken on by a Preserver of Important Intangible Cultural Properties, a so-called Living National Treasure will surely encourage future generations.
Masahiro KarasawaChief Curator of Ko-gei, Tokyo National Museum of Modern Art
Mumyo-i Jar Sado Island, 2012; stoneware with yo-hen (changed by kiln firing); h. 14 x w. 15Æ x d. 15Ω in. (35.5 x 40 x 39 cm)
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1110
Known for the detailed powerful work via overwhelming textures, Ito Sekisui V (born 1941) is a Preserver of Important Intangible Cultural Properties of Mumyo-i ware, which is a pottery method from Sado in Niigata Prefecture dating back to the late Edo period (1850s). The name Mumyo-i ware is derived from the high content of what is called “Mumyo-i earth”, the gangue found in the gold veins near the gold mines of Sado. Based on the vivid red brown tint that emerges from the iron in the earth, Ito established a new style of ceramic decoration technique, unprecedented in Mumyo-i ware.
This style is known by the unique tint emerging from the Mumyo-i earth: the kiln (anagama) firing that transform the colors, known as yo-hen, and the patterning created via the gradations from the iron in the Mumyo-i earth, known as the neriage marbling. Since 2009, an additional feature has been added: The incorporation of Sado rocks bring forth a unique texture, which has been presented as a new series titled “Sado Island” further expanding the world of Mumyo-i ware.
This “Sado Island” series utilizes Sado rocks crushed by a stamper into particles less than 1cm in diameter. These rock particles are mixed into small amounts of clay that create a delicate balance enabling to construct a form. The molding is done either by hand or by board, however, while in the kiln, parts of the rock may explode or melt, creating an unknown outcome. However, this unstableness adds a fascinating touch resulting from the kilning, bringing forth a powerful presence.
In addition to the pronounced rock like texture, the “Sado Island” series includes pieces where the surface make-up is of Mumyo-i earth and where the colors have been transformed by the kilning. The rough feel of the surface and the classic tint of Ito’s work show in abundance the cultivation of his ideas as a potter, and his methods vary by form. Rock particles are added as much as possible, round pieces are mainly sculpted by hand, and angular pieces are made with boards. The pieces include water jars and incense burners, as well as vases with forms adjusted to the texture. While the material is not easy to shape, a continued attempt to create diverse forms using these combined materials has resulted in the creation of these forms to be of continued interest.
The Pottery of Ito Sekisui V: A Focus on the “Sado Island” Series
While following the path of Ito, the framework of Mumyo-i ware has been repeatedly shattered and a new world view is born. From the first time yo-hen has been incorporated, followed by the incorporation of the neriage marbling, moreover when “Sado Island” was presented, it sparked various opinions at the time, however, the overwhelming presence of all of his works are recognized today as Ito’s originality. Particularly the “Sado Island” series, which incorporates crushed rocks, which was unthinkable in conventional pottery making, demonstrate how the relentless pursuit of his own ideas created a new world view.
Such new challenges taken on by a Preserver of Important Intangible Cultural Properties, a so-called Living National Treasure will surely encourage future generations.
Masahiro KarasawaChief Curator of Ko-gei, Tokyo National Museum of Modern Art
Mumyo-i Jar Sado Island, 2012; stoneware with yo-hen (changed by kiln firing); h. 14 x w. 15Æ x d. 15Ω in. (35.5 x 40 x 39 cm)
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Mumyo-i Neriage Square Jar with Flower Patterns, 2016; stoneware; h. 15 x w. 7Ω x d. 7Ω in. (38 x 19 x 19 cm) Mumyo-i Neriage Cylindrical Jar with Flower Patterns, 2016; stoneware; h. 15Æ x w. 8¬ x d. 8¬ in. (40 x 22 x 22 cm)
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Mumyo-i Neriage Square Jar with Flower Patterns, 2016; stoneware; h. 15 x w. 7Ω x d. 7Ω in. (38 x 19 x 19 cm) Mumyo-i Neriage Cylindrical Jar with Flower Patterns, 2016; stoneware; h. 15Æ x w. 8¬ x d. 8¬ in. (40 x 22 x 22 cm)
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Mumyo-i Neriage Round Jar with Flower Patterns, 2016; stoneware; h. 7Ω x dia. 7√ in. (19 x 20 cm) Mumyo-i Neriage Square Jar with Flower Patterns, 2016; stoneware; h. 9√ x w. 5¿ x d. 5¿ in. (25 x 13 x 13 cm)
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1514
Mumyo-i Neriage Round Jar with Flower Patterns, 2016; stoneware; h. 7Ω x dia. 7√ in. (19 x 20 cm) Mumyo-i Neriage Square Jar with Flower Patterns, 2016; stoneware; h. 9√ x w. 5¿ x d. 5¿ in. (25 x 13 x 13 cm)
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1716
Mumyo-i Neriage Square Jar with Flower Patterns, 2016; stoneware; h. 7√ x w. 6º x d. 3Ω in. (20 x 16 x 9 cm) Mumyo-i Neriage Square Jar with Flower Patterns, 2016; stoneware; h. 12º x w. 7¿ x d. 7¿ in. (31 x 18 x 18 cm)
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1716
Mumyo-i Neriage Square Jar with Flower Patterns, 2016; stoneware; h. 7√ x w. 6º x d. 3Ω in. (20 x 16 x 9 cm) Mumyo-i Neriage Square Jar with Flower Patterns, 2016; stoneware; h. 12º x w. 7¿ x d. 7¿ in. (31 x 18 x 18 cm)
P. 18 P. 19
1918
Mumyo-i Neriage Plate with Flower Patterns, 2016; stoneware; h. 3¿ x dia. 16Ω in. (8 x 42 cm) Mumyo-i Neriage Large Bowl with Line Patterns, 2016; stoneware; h. 6º × dia. 17¡ in. (16 × 44 cm)
P. 18 P. 19
1918
Mumyo-i Neriage Plate with Flower Patterns, 2016; stoneware; h. 3¿ x dia. 16Ω in. (8 x 42 cm) Mumyo-i Neriage Large Bowl with Line Patterns, 2016; stoneware; h. 6º × dia. 17¡ in. (16 × 44 cm)
P. 20 P. 21
2120
Mumyo-i Neriage Case with Flower Patterns, 2016; stoneware; h. 5¿ x dia. 9Ω in. (13 x 24 cm) Mumyo-i Neriage Square Incense Burner with Flower Patterns, 2016; stoneware; h. 5√ x w. 7¬ x d. 7¬ in. (15 x 19.5 x 19.5 cm)
P. 20 P. 21
2120
Mumyo-i Neriage Case with Flower Patterns, 2016; stoneware; h. 5¿ x dia. 9Ω in. (13 x 24 cm) Mumyo-i Neriage Square Incense Burner with Flower Patterns, 2016; stoneware; h. 5√ x w. 7¬ x d. 7¬ in. (15 x 19.5 x 19.5 cm)
P. 22 P. 23
2322
Mumyo-i Neriage Round Incense Burner with Flower Patterns, 2016; stoneware; h. 5º x dia. 5º in. (13.5 x 13.5 cm) Sado Island Square Incense Burner, 2016; stoneware; h. 7¿ x w. 4Æ x d. 4Æ in. (18 x 12 x 12 cm)
P. 22 P. 23
2322
Mumyo-i Neriage Round Incense Burner with Flower Patterns, 2016; stoneware; h. 5º x dia. 5º in. (13.5 x 13.5 cm) Sado Island Square Incense Burner, 2016; stoneware; h. 7¿ x w. 4Æ x d. 4Æ in. (18 x 12 x 12 cm)
P. 24 P. 25
2524
Sado Island Square Incense Burner, 2016; stoneware; h. 6½ x w. 4Æ x d. 4Æ in. (16.5 x 12 x 12 cm) Sado Island Red Round Incense Burner, 2016; stoneware; h. 4¡ x dia. 4¿ in. (11 x 10.5 cm)
P. 24 P. 25
2524
Sado Island Square Incense Burner, 2016; stoneware; h. 6½ x w. 4Æ x d. 4Æ in. (16.5 x 12 x 12 cm) Sado Island Red Round Incense Burner, 2016; stoneware; h. 4¡ x dia. 4¿ in. (11 x 10.5 cm)
P. 26 P. 27
2726
Sado Island Large Jar, 2016; stoneware; h. 12¬ x dia. 15Æ in. (32 x 40 cm) Sado Island Square Jar, 2016; stoneware; h. 13º x w. 7Ω x d. 7Ω in. (33.5 x 19 x 19 cm)
P. 26 P. 27
2726
Sado Island Large Jar, 2016; stoneware; h. 12¬ x dia. 15Æ in. (32 x 40 cm) Sado Island Square Jar, 2016; stoneware; h. 13º x w. 7Ω x d. 7Ω in. (33.5 x 19 x 19 cm)
P. 28 P. 29
2928
Sado Island Square Jar, 2016; stoneware; h. 8¬ x w. 12¬ x d. 9Ω in. (22 x 32 x 24 cm) Sado Island Jar, 2016; stoneware; h. 9√ x w. 11¡ x d. 10º in. (25 x 29 x 26 cm)
P. 28 P. 29
2928
Sado Island Square Jar, 2016; stoneware; h. 8¬ x w. 12¬ x d. 9Ω in. (22 x 32 x 24 cm) Sado Island Jar, 2016; stoneware; h. 9√ x w. 11¡ x d. 10º in. (25 x 29 x 26 cm)
P. 30 P. 31
3130
Mumyo-i Yo-hen Jar, 2016; stoneware with yo-hen (changed by kiln firing); h. 12º x dia. 10º in. (31 x 26 cm) Sado Island Jar, 2016; stoneware; h. 8º x w. 7Ω x d. 7Ω in. (21 x 19 x 19 cm)
P. 30 P. 31
3130
Mumyo-i Yo-hen Jar, 2016; stoneware with yo-hen (changed by kiln firing); h. 12º x dia. 10º in. (31 x 26 cm) Sado Island Jar, 2016; stoneware; h. 8º x w. 7Ω x d. 7Ω in. (21 x 19 x 19 cm)
ITO SEKISUI V:
RED SOILMarch 9 – April 1, 2017
P. 32
32
Onishi Gallery: 521 West 26th Street, New York, NY 10001
Special Collaboration: The Nippon Club, Inc.;
Japanese Chamber of Commerce and Industry of New York, Inc.;
The Niigata Nippo Co., Ltd.; Broadcasting System of Niigata, Inc.;
Otsubo Realty
Cooperation: Hokusetsu Sake Brewery Co., Ltd.;
Nobu Restaurant Group
ContactNana Onishi / Onishi Gallery
onishigallery.com
![Masanori Onishi arXiv:1505.03552v1 [astro-ph.EP] 13 May 2015](https://img.pdfslide.us/doc/110x75/625cf09079c19a2829266cdb/masanori-onishi-arxiv150503552v1-astro-phep-13-may-2015.jpg)