20:
156:. Like his lifelong friend Hamada, Kawai never signed his work but said, "My work itself is my best signature." His pieces are on display in the Folk Art Museum of Tokyo and each year, the Takashimaya Department Store had an exhibition of his work in their Tokyo and Osaka shops. In November 1953, Kawai-san had one of his biggest exhibitions at the Korin Kaku in Tokyo and over 500 of his pieces were shown.
165:
148:
He was also an artist, calligrapher, sculptor, writer and philosopher. As a man who respected the dignity of simplicity and collected the works of poor craftspeople from all over Asia, he admired "ordered poverty" and had a profound love for the unpretentious men of the soil and made their simplicity
108:
in 1914 and worked briefly at the Kyoto
Research Institute for Ceramics. Hamada Shoji, whom he first met in Tokyo, followed Kawai to Kyoto, where the two are said to have conducted over 10,000 experiments on glazes. Disillusioned with what he felt was an unnecessarily excessive focus on studying
183:, Kyoto, is now a museum run by his relatives. Besides a display of his ceramics, some of his sculpture and woodcarvings are included in the collection. His house incorporates both Japanese and Western living styles, so one can see both
116:
Kawai was trained in the use of chemical glazes and gained wide recognition for their use while still in his early twenties. But he was ultimately dissatisfied with this early work and, thanks in large part to a chance encounter with
104:
Becoming interested in pottery as a child by watching a nearby farmer who made pottery in his spare time, Kawai-san knew by the age of 16 that he wanted to become a potter. Kanjirō graduated from the
149:
a part of himself. His pots come in many asymmetrical shapes and show expressionistic techniques such as tsutsugaki (slip-trailed decoration), ronuki (wax-resist) or hakeme (white slip).
125:, turned instead to natural glazes, to nature, or "to the science that precedes all science - and a return to nature was my salvation". He is widely regarded as a master of
221:"Any work of art belongs to everyone, because it is whatever each person sees in it." "It is the same with people. We are all one. I am you. The you that only I can see."
318:
197:
are to the rear of the museum. The firing lasted 48 hours and consumed over 2,000 bundles of firewood. The interior temperature reached 1,350 Celsius.
323:
113:
in Kyoto (a climbing kiln "noborigama") "the
Shokeiyo, with eight chambers, began the "Kawai Factory" and began to give exhibitions.
153:
328:
284:
19:
105:
218:"When you become so absorbed in your work that beauty flows naturally then your work truly becomes a work of art."
313:
215:"Everything that is, is not. Everything is, yet at the same time, nothing is. I myself am the emptiest of all."
205:
He was also a poet and, like his pottery, his writing is strong and unconventional. In 1953, a book entitled
308:
303:
173:
93:
176:
in the nineteen fifties and mentored a number of
Japanese ceramic artists throughout his life.
85:
81:
89:
333:
288:
53:
77:
69:
277:
297:
126:
118:
73:
28:
194:
122:
238:
164:
282:
180:
138:
65:
32:
190:
142:
130:
60:
152:
Kanjirō refused all official honours, including the designation of
185:
163:
18:
134:
110:
133:(shinsha or yuriko - one of his trademark colors), rich brown
212:"The pledge of fire: To return to all things purified."
256:
254:
252:
263:, Yoshiko Uchida, Kawai Kanjiro's House Press, 1953.
193:and also some Western furnishings. His studio and
109:theory at both schools, in 1920 he built his own
168:Kanjirō's restored house interior, January 2008
47:
239:"eocene | ceramics | Kawai Kanjiro"
8:
58:was a Japanese potter and a key figure in
230:
7:
319:Tokyo Institute of Technology alumni
14:
106:Tokyo Higher Polytechnical School
179:His house (restored in 1973) in
324:Artists from Shimane Prefecture
1:
276:The Japan Folk Crafts Museum
350:
72:movements, which included
26:
129:, especially of warm red
48:
154:Living National Treasure
329:20th-century ceramists
169:
24:
167:
52:, 24 August 1890, in
22:
281:Eocene Arts website
261:We Do Not Work Alone
207:We Do Not Work Alone
243:www.eocene-arts.com
56:– 18 November 1966)
287:2019-01-31 at the
170:
25:
82:Kenkichi Tomimoto
341:
314:Japanese potters
264:
258:
247:
246:
235:
96:, among others.
94:Tatsuzō Shimaoka
90:Keisuke Serizawa
57:
51:
50:
349:
348:
344:
343:
342:
340:
339:
338:
294:
293:
289:Wayback Machine
273:
268:
267:
259:
250:
237:
236:
232:
227:
209:was published.
203:
195:noborigama kiln
162:
102:
54:Yasugi, Shimane
45:
40:
17:
16:Japanese potter
12:
11:
5:
347:
345:
337:
336:
331:
326:
321:
316:
311:
306:
296:
295:
292:
291:
279:
272:
271:External links
269:
266:
265:
248:
229:
228:
226:
223:
202:
199:
161:
158:
101:
98:
86:Shikō Munakata
70:studio pottery
15:
13:
10:
9:
6:
4:
3:
2:
346:
335:
332:
330:
327:
325:
322:
320:
317:
315:
312:
310:
307:
305:
302:
301:
299:
290:
286:
283:
280:
278:
275:
274:
270:
262:
257:
255:
253:
249:
244:
240:
234:
231:
224:
222:
219:
216:
213:
210:
208:
200:
198:
196:
192:
188:
187:
182:
177:
175:
174:Claude Laloux
172:Kawai taught
166:
159:
157:
155:
150:
146:
144:
140:
136:
132:
128:
124:
120:
119:Yanagi Soetsu
114:
112:
107:
99:
97:
95:
91:
87:
83:
79:
75:
74:Bernard Leach
71:
67:
63:
62:
55:
44:
43:Kawai Kanjirō
38:
34:
30:
29:Japanese name
21:
260:
242:
233:
220:
217:
214:
211:
206:
204:
184:
178:
171:
151:
147:
137:(tetsu-yu),
123:Hamada Shoji
115:
103:
78:Shōji Hamada
59:
42:
41:
36:
309:1966 deaths
304:1890 births
298:Categories
225:References
64:(Japanese
23:circa 1950
100:Biography
285:Archived
181:Gojōzaka
145:(gosu).
66:folk art
27:In this
33:surname
334:Mingei
201:Quotes
191:tatami
160:Legacy
143:cobalt
139:chrome
131:copper
127:glazes
92:, and
68:) and
61:mingei
49:河井 寬次郎
31:, the
186:tansu
37:Kawai
189:and
141:and
135:iron
121:and
111:kiln
84:,
35:is
300::
251:^
241:.
88:,
80:,
76:,
245:.
46:(
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
