Art and Ceramics

Visit the gold mines of Sado Island, which became a World Cultural Heritage site in 2024. We will tour the Sado Magistrate's Office, the Sōdayū Mine, Dōyū no Warito, and the Kitazawa Flotation Plant, tracing the approximately 400 years of history and culture born from the gold mines, from the labor of vagrants to Zeami, literature and film, Mumyōi pottery, and the town of Aikawa.

Visit the Northern Culture Museum in Niigata and trace the history of the Ito family, one of the most prominent wealthy farming families in Echigo. From the rice and land of the Echigo Plain, to the large landowning system, magnificent mansions and gardens, tea rooms, ceramics and crafts, we will explore, with local photographs, why "wealthy farmers" emerged in Niigata.

From the Ryugenji mine shaft of the Iwami Silver Mine to Yunotsu Onsen, climbing kilns, Iwami Kagura dance, and Izumo Taisha Shrine, I re-examine my 2019 trip to Shimane from my current perspective as I've started pottery and accessory making, tracing the process by which silver, clay, paper, sand, and rice transformed into culture.

At the Gion Festival, we witnessed the tea ceremony performed by the head of the Omotesenke school at Yasaka Shrine. We experienced the floats, the tea ceremony rooms, and the Ichiriki-tei tea ceremony firsthand, and explored the connections within Kyoto culture through the tea ceremony, from Rokkakudo Temple, to the plays "Hana Ikusa" and "Kanadehon Chushingura," to the geisha districts and chimaki (rice dumplings wrapped in bamboo leaves).

What is a black Raku tea bowl? Based on the origins of Raku tea bowls by Sen no Rikyu and Chojiro, the techniques of hand-molding and carving, the actual pieces seen at the Raku Museum, and the experience of actually making a black Raku tea bowl, this book explains the form and the allure of "black" in an easy-to-understand way for beginners.

This book compares Nonomura Ninsei's national treasure, the "Polychrome Pheasant Incense Burner," which I saw in Kanazawa, with works by Ninsei and Ogata Kenzan that I saw at the Nezu Museum. It analyzes the polychrome enamel, form, patterns, and negative space of Kyoto ware, and introduces how this was applied to the actual production of polychrome tea bowls, along with photographs of the production process.

I visited Ippodo Tea Shop in Teramachi during the Gion Festival in Kyoto. Using Miyako Watanabe's "The Taste of Tea" as a guide, I will consider how the "taste of tea" is created in relation to matcha, thick and thin tea, tea ceremony practice, the seasons, and the tools used.

Why is the tiger the symbol of Princeton University? Tracing its relationship with the Ivy League, college sports, mascot culture, Take Ivy, Reunion Jacket, and Penn State, this presentation introduces the background and production process of reinterpreting the Princeton Tiger as a ceramic artwork.

I visited the "NIGO® and Handeishi" exhibition held at the Ishimizu Museum in Tsu City, Mie Prefecture. Through the tea bowls of Kawakita Handeishi collected by NIGO® and 25 bowls he created himself, I reflected on collecting, pottery making, the freedom to break away from form, and the inheritance of culture.

We visited the national treasure tea room "Joan," which was relocated to Yurakuen Garden in Inuyama, Aichi Prefecture. We will introduce this two-and-a-half-mat tea room, left behind by Oda Urakusai, the younger brother of Oda Nobunaga, discussing its architecture, the tea ceremony, our experience at Yurakuen Garden, and even referencing the film "Sen no Rikyu: Honkakubo Ibun."