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ascribed to his work, such as samurai swords and
Japanese scabbards. The artist describes a defining moment in his artistic production as an experience of sharp winter winds on an ocean shore: "It was the memory of an encounter I had with a sharp breeze while on the cliff during winter… All the senses in my body felt the pleasure of the strange wind as it stabbed my cheek. This tactile experience is at the heart of my creations." He describes his ceramic forms as abstract in meaning and non-representational, disconnected from Japanese identity in favor of associations with wider human experiences such as viewing landscapes, reading abstract ideas, and interacting with other sculptural artists.
46:). Fukami's abstracted, sculptural ceramic works depart from the traditional Japanese artisan traditions of his upbringing and instead explore natural phenomena and universal senses like "infinite space" through sharp silhouettes, sweeping curves, architecturally-inspired arches, and delicately-colored glaze. His minimalist approach to porcelains has contributed to defining and expanding the meaning, importance, and popularity of contemporary Japanese ceramics beyond craft art circles, most notably to fine art collectors and museums globally.
66:. Higashiyama is a traditional center of the city's renowned ceramic industry and highly populated with potters' workshops and ceramicists. He was born the sixth child after two boys and three girls, and was surrounded by a vibrant local ceramics community as a child. His father, Yoshiichi Fukami, came from a village of potters near the ancient ceramic city of
212:(The Artist, Buried in Information), a cylindrical vessel with a small seated figure in the center. The form of the work was meant to represent the artist buried under the weight of information in the form of jumbled printed matter bearing down on all sides. Another one of Fukami's noted early works from 1974 is a large, hand-built
135:, Italy. This achievement was followed by a successful solo exhibition tour in Europe in 1986 as the winner of the previous year's competition. In 2005, Fukami was invited to show again in Faenza, this time as a solo show featuring 25 prize-winning works to commemorate the twentieth anniversary of his international career.
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produce only 6 to 8 sculptures per year. Despite the use of molding, Fukami states that shaping the works is still a highly labor-intensive process, requiring meticulous smoothing, whittling, and glazing, often repeated several times. This technique allows for distinctive forms that resist warping, or what he calls
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glaze symbolizes "the place where the sky and sea meet, the 'something' that is heading out into the ocean's horizon." Fukami's own practice adapts the colored glaze's sense of sharpness with a thinning of the glaze at the piece's edges to reveal a gradient whiteness of the porcelain. Fukami's pieces
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glaze went beyond whether the form was good or bad. It was just beautiful. At that point , it was really a period when I had become more sincere in my work and was truly anguished. But here I had discovered a different world that I could sense without reservation was truly beautiful and realized that
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technique in 1980. His initial success was not immediately followed by further recognition, however, leading him to reinvent his work and style several times before finding his acclaimed signature style. In 1975, Fukami married his wife Chieko
Takahashi, a fellow ceramic artist, who scholars suggest
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Fukami cites visual and sensual memories and motifs from childhood as influences in his work, including the TĹŤfukuji Temple roof outlines and views of mountaintops. He refers often to his work's connections to universal sensations and ideas, denying the common culturally-specific associations often
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or "traces of handling" during firing. Distinctively, instead of the common desire of most potters to leave traces like finger marks visible in the clay, Fukami strives to leave no indication of human creation. Fukami's works also often feature collaborations with artists and technicians who create
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Fukami has cited
Italian ceramicist Carlo Zauli (1926–2002) as a major artistic inspiration. Zauli's 1973 traveling solo exhibition in Japan had influenced many Japanese abstract ceramicists. In 1980, Fukami won the Newcomer Prize of Kyoto Prefecture Arts and Crafts Exhibition. As a prize, he was
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alloy blade and sandpaper to sharpen the form and hone the clay's finer details. Fukami aims to create about eight pieces per individual mold, sometimes over the span of several years, with some pieces taking from three months to a year to complete. With this process, Fukami is typically able to
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and covered in plaster, often created in pieces and fitted together to assemble the final sculptural form. After bisque-firing in an electric kiln, the work is sprayed with the celadon glaze, and then reduction-fired in a gas kiln for approximately 30 hours. Once the mold is removed, the work is
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glaze. And that I wouldn’t flip-flop and go back to stoneware. If I ran into a wall, then I’d run into it. If I couldn’t break down that wall, then that was my own problem, and maybe I should give up, knowing that it was only due to deficiencies in my own talent. So I decided with conviction and
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in
Japanese) porcelain. Determined to master the tradition, the artist made a personal pact. As he states: "When I started high-pressure slip casting, I promised myself that I would immerse myself thoroughly in tracking down my true self in this porcelain and
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combine historical techniques with minimalist, spontaneous forms, pushing the medium of porcelain into abstracted and contemporary territory. His work makes a clear break from other
Japanese ceramic movements of the mid-twentieth century such as the
107:. Following graduation, at age twenty Fukami worked with the family firm before being encouraged by a friend to enter into an art competition. Fukami subsequently submitted of one of his porcelain works to the prestigious Nitten Exhibition (
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figures: ceramic figurines often placed in storefronts and merchants shops for good fortune. Later, Fukami's father and elder brothers
Takehisa and Naokatsu reinvented the family business to focus on fine, hand-painted porcelain vessels for
111:), one of Japan's largest art competitions. It's acceptance and inclusion in the prestigious venue allowed him to earn early notoriety as an artist and commit fully to a career as a professional ceramicist. Fukami began concentrating on
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in New York is one of the best examples of his work from the 1990s. It is installed as a permanent installation at the Museum that Asian Art
Curator and Chair Amy Poster notes is one of the most popular works of art in the
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in 2002. In 2002, American collector and founder of the Lee
Institute, Willard G. Clark, visited Fukami's Kyoto studio and acquired forty early works for the Institute as promised gifts. One of these pieces was
371:, or a "yearning for," to describe their influence. Fukami's work, as with many of his artistic inspirations, primarily seeks to declare independence from the preconceptions of ceramic and pottery as craft.
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is a process typically used industrially for mass production, Fukami's adaptation of the technique for a studio pottery setting is the only example of its kind. He is known to additionally create some
228:(The Dream of the Picture Book) took a poetic, whimsical form: a pottery book opened to reveal a blue-and-white porcelain balloon on which Fukami invited his young niece to draw pictures of popular
147:(Distant Ocean), a prize-winning ceramic sculpture from the 1976 Japan Contemporary Arts and Crafts Exhibition. The Lee Institute's 2002 exhibition featured three prize-winning works from the 1985
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Early in his career, Fukami's work took on a range of expression and experimentation. The period of Fukami's twenties was marked by social unrest in Japan between fierce student protests, the
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332:, instead harkening back to dynastic Chinese aesthetics unrelated to his Japanese background. The titles of Fukami's works often express poetic associations with natural phenomena, such as
163:(Pure Thought). After several later additional acquisitions, the Clark now holds 52 pieces and constitutes the largest and most representative collection of Fukami's works to date.
559:; The Everson Museum of Art; MIC Faenza International Museum of Ceramics; French Culture Foundation; Hetjens Museum; International Permanent Collection of Modern Art, Yugoslavia;
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technique, which involves the pressurized injection of liquid clay into specially-made plaster molds, condensed to remove air pockets and impurities. The molds are produced with
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food ceremonies. Their handling of the family firm allowed Fukami to focus on developing a personal style out of experiments with numerous ceramic object types.
909:"Celadon Now: Techniques and Beauty Handed Down from Southern Song to Today" – National Museum of Modern Art, Tokyo / The Museum of Ceramic Art, Hyogo, Japan
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awarded a one-month research trip to Italy during which time he befriended Zauli. Fukami has also mentioned that as a young artist, he was inspired by the
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This came on the heels of Fukami's major retrospective of early works at the Ruth and
Sherman Lee Institute for Japanese Art at the Clark Centre,
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224:(Morals of a Young Day) whose top represents a national flag while its body signifies the masses oppressed by national ideology. His 1972 work
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glazing became of fascination of Fukami's and his aesthetic signature. The artist states: "In the simplest terms, to my mind, the beauty of
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characters. Through the artist's early technical experimentation he sought to create works that had universality and permanence of vision.
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Fukami studied ceramics at Kyoto Arts and Crafts
Training Centre and graduated at age eighteen in 1965. His early work consisted mainly of
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788:"Modern Japanese Ceramics in American Collections" – Japan Society, New York / New Orleans Museum of Art / Honolulu Academy of Art, USA
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in 1985. Fukami became the third Japanese ceramicist ever to win this internationally acclaimed annual ceramic art competition held in
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867:"Modern Celadon: Ambient Green Flow – the Emergence and Rise of East Asian Celadon" – New Taipei City Yingge Ceramic Museum, Taiwan
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367:(1918–1979). Fukami describes his connection to these abstract ceramicists as instinctual and intimate, using the Japanese term
208:. Responding to these instabilities, some of Fukami's early works took on overt political messaging, such as his 1973 piece
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Fukami's ceramic sculptures were introduced outside of Japan for the first time when he won Grand Prix for the 43rd
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348:. Their compositions sometimes evoke rolling ocean waves, architectural objects, or papery curved forms in flight.
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890:"A Distant View: The Porcelain Sculpture of Sueharu Fukami" – Garden Pavilion, Portland Japanese Garden, USA
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844:"Tōji: Avant-Garde et Tradition de la Ceramique Japonaise" – Musée national de céramique-Sèvres, France
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86:, training in a ceramic workshop before establishing his own kiln, Fukami RyĹŤsen, which specialized in
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935:"The Greatest Story Ever Told: The Collection Curated by Ryan Gander" – National Museum of Art, Osaka
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951:"Kichizaemon X I Fukami Sueharu x Kichizaemon XV" – Raku Jikinyu, Sagawa Art Museum, Sagawa, Japan
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determination, to stick with this medium when I was 33 years old." Five years after committing to
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841:"Contemporary Clay: Japanese Ceramics for the New Century" – Japan Society Gallery, New York USA
631:; Shigaraki Ceramic Cultural Park, Japan; Tokoname City Education Bureau; Tsurui Museum of Art;
996:"Pure Form: Japanese Sculptural Ceramics" – Art Gallery of South Australia, Adelaide, Australia
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798:"Japanese Studio Craft: Tradition and Avant-garde" – Victoria & Albert Museum, London, UK
977:"All our stories are incomplete / colours of the imagination" – Tokyo Opera City Art Gallery
961:"Reopening Celebration I ART in LIFE, LIFE and BEAUTY" – Suntory Museum of Art, Tokyo, Japan
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Maezaki, Shinya. "Fukami Sueharu Now: From 2:30 p.m. to 7:00 p.m., July 10th, 2014." In
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Maezaki, Shinya. "Fukami Sueharu Now: From 2:30 p.m. to 7:00 p.m., July 10th, 2014." In
818:"Japan–Ceramics and Photography: Tradition and Today," Deichtorhallen, Hamburg, Germany
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854:"The Dauer Collection, California State University" – University Library Gallery, USA
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The Ruth and Sherman Lee Institute for Japanese Art at The Clark Center, Hanford, USA
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specifically designed wood and metal stands for the finished pieces. High-pressure
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Fukami's works have been acquired in nearly 80 public collections, including: the
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900:"Fukami Sueharu Porcelain Sculptures" – Eric Thomsen Japanese Art, New York, USA
679:; Museum of Modern Ceramic Art, Gifu; Museum of Contemporary Ceramic Art, Shiga;
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Thomsen, Hans Bjarne. "Sueharu Fukami: Visions from the Shards of Sennyūji." In
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Thomsen, Hans Bjarne. "Sueharu Fukami: Visions from the Shards of Sennyūji." In
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Thomsen, Hans Bjarne. "Sueharu Fukami: Visions from the Shards of Sennyūji." In
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Thomsen, Hans Bjarne. "Sueharu Fukami: Visions from the Shards of Sennyūji." In
615:; Kyoto Prefectural Library and Archives; Museum of Modern Ceramic Art, Japan;
864:"Purity of Form" – The Clark Center for Japanese Art and Culture, Hanford, USA
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I should press forward with it." The technique originates in the 11th-century
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Thomsen, Hans Bjarne. "Sueharu Fukami: Visions from the Shards of Sennyūji."
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Maezaki, Shinya. “Beyond the Ocean's Horizon: The Work of Fukami Sueharu.”
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Maezaki, Shinya. “Beyond the Ocean's Horizon: The Work of Fukami Sueharu.”
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1997 – The Kyoto Prefecture Culture Prize, Prize for Artistic Merit
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Since 1975, Fukami's work has focused exclusively on perfecting
667:, Japan; Rakusui-tei Museum of Art; French Culture Foundation;
964:"Opening Ceremony" – A Lighthouse called Kanata, Tokyo, Japan
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Musée des Arts Decoratifs de la Ville de Lausanne, Switzerland
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techniques, which can be seen in works such as his 2003 piece
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44th International Competition of Ceramic Art – Faenza, Italy
1113:. Exh. cat. New York: Erik Thomsen LLC Asian Art (2008), 64.
999:"A Lighthouse called Kanata New York Pop-Up" – New York, USA
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1985 – Grand Prize, Faenza International Ceramic Exhibition
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Fukami's work has been presented in the following museums:
200:. During this time, the leading popular art forms included
974:"The Secret Show, A Lighthouse called Kanata, Tokyo, Japan
543:; Argentina Museum of Modern Art; Japan House, Argentina;
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Maezaki, Shinya. “Fukami Sueharu: Ceramic Sculptor.” In
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glaze in 1975 and developed his signature high-pressure
1262:. Exh. cat. New York: Erik Thomsen LLC Asian Art, 2008
1070:. Exh. cat. New York: Erik Thomsen LLC Asian Art, 2008
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Maezaki, Shinya. “Fukami Sueharu: Ceramic Sculptor.”
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Maezaki, Shinya. “Fukami Sueharu: Ceramic Sculptor.”
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Maezaki, Shinya. “Fukami Sueharu: Ceramic Sculptor.”
948:"Silhouettes of Tomorrow," Yufuku Gallery, London, UK
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Exh. cat. New York: Erik Thomsen LLC Asian Art, 2005
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Exh. cat. New York: Erik Thomsen LLC Asian Art, 2008
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Exh. cat. New York: Erik Thomsen LLC Asian Art, 2014
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Exh. cat. New York: Erik Thomsen LLC Asian Art, 2014
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Exh. cat. New York: Erik Thomsen LLC Asian Art, 2008
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Fukami's 1.2-meter-wide horizontal sculpture titled
772:Galerie Maghi Bettini – Amsterdam, the Netherlands
623:, Japan; The Ministry of Foreign Affairs, Japan;
561:Musée de design et d'arts appliqués contemporains
258:glaze, Fukami developed his unique high-pressure
983:ART 021, Shanghai Contemporary Art Fair, China
441:Museo internazionale delle ceramiche in Faenza
285:works, in combination with the high-pressure
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120:aided him in finding his working technique.
831:Faenza International Ceramics Museum, Italy
741:2008 – Kyoto City Person of Cultural Merit
328:folk movement promoted by such artists as
945:West Bund Art and Design, Shanghai, China
735:1992 – Grand Prize, MOA Mokichi Okada Art
699:; Museo de Arte Moderno de Buenos Aires;
744:2012 – Gold Prize, Japan Ceramic Society
1030:Tokyo: A Lighthouse Called Kanata, 2022
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775:Galerie Maya Behn – Zurich, Switzerland
599:; National Museum of History, Taiwan;
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762:Hetjens Museum – Düsseldorf, Germany
683:; The Museum of Ceramic Art, Hyogo;
661:National Museum of Modern Art, Kyoto
657:Museum of Contemporary Art, Belgrade
625:National Museum of Modern Art, Tokyo
493:Rhode Island School of Design Museum
477:National Museum of Modern Art, Tokyo
473:National Museum of Modern Art, Kyoto
457:Museum of Contemporary Art, Belgrade
16:Japanese ceramic artist and sculptor
877:Vallauris Ceramics Biennale, France
99:Education and Professional Activity
74:. To escape the competition of the
808:Garth Clark Gallery, New York, USA
529:Musée national de céramique-Sèvres
449:Museum of Art and History (Geneva)
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887:TEFAF Maastricht, The Netherlands
717:Asian Art Museum of San Francisco
445:Buenos Aires Museum of Modern Art
24:(深見陶治 , born 1947) is a Japanese
649:The Museum of Fine Arts, Houston
605:Aichi Prefectural Ceramic Museum
433:Musée des Arts Décoratifs, Paris
421:Aichi Prefectural Ceramic Museum
151:, including this newly acquired
32:known for his work in pale-blue
1234:Sueharu Fukami 深見陶治, 1947-1993.
1208:Sueharu Fukami 深見陶治, 1947-1993.
1143:Sueharu Fukami 深見陶治, 1947-1993.
1127:Ceramics: Art & Perception,
1052:Ceramics: Art & Perception,
210:JĹŤhĹŤ ni maibotsu sareta watashi
155:(Distant Seascape), as well as
78:community, his father moved to
38:porcelain (also referred to as
1260:Sueharu Fukami 深見陶治, 1947-1993
1247:Ceramics: Art & Perception
1221:Ceramics: Art & Perception
1111:Sueharu Fukami 深見陶治, 1947-1993
1068:Sueharu Fukami 深見陶治, 1947-1993
980:The Armory Show, New York, USA
903:Art Stage Singapore, Singapore
675:; Ibaraki Ceramic Art Museum;
537:The Metropolitan Museum of Art
109:The Japan Fine Arts Exhibition
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986:Untitled Art Miami Beach, USA
919:Spring Masters, New York, USA
641:National Gallery of Australia
629:National Museum of Art, Osaka
613:Kyoto Municipal Museum of Art
465:National Museum of Art, Osaka
461:National Gallery of Australia
437:Sèvres – Cité de la céramique
425:Kyoto Municipal Museum of Art
695:; Lotte Reimers-Foundation;
637:Auckland War Memorial Museum
633:Minneapolis Institute of Art
597:The Art Institute of Chicago
581:North Carolina Museum of Art
533:Victoria & Albert Museum
517:Victoria & Albert Museum
485:North Carolina Museum of Art
413:Museum of Fine Arts, Houston
689:National Museum of Scotland
601:Yale University Art Gallery
569:Museum of Fine Arts, Boston
513:Yale University Art Gallery
453:Museum of Fine Arts, Boston
170:(Infinity II), held by the
62:, the eastern mountains of
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932:TEFAF New York Spring, USA
669:Philadelphia Museum of Art
541:Indianapolis Museum of Art
469:National Museum of History
429:Metropolitan Museum of Art
417:Indianapolis Museum of Art
334:Landscape over the Horizon
296:The distinctive pale-blue
705:Arthur M. Sackler Gallery
697:Museum of Decorative Arts
693:Musée des arts décoratifs
687:; Yanagisawa Collection;
577:New Orleans Museum of Art
549:Musée d'Art et d'Histoire
481:New Orleans Museum of Art
220:(brown ash) glaze titled
82:in its boom years before
721:Birmingham Museum of Art
393:Art Institute of Chicago
673:Kyoto State Guest House
159:(Seascape of Wind) and
54:Fukami was born in the
1002:Masterpiece London, UK
589:Saint Louis Art Museum
557:Brooklyn Museum of Art
505:St Louis Museum of Art
489:Portland Museum of Art
401:Brooklyn Museum of Art
340:(Tenkū Haruka I), and
202:Abstract Expressionism
172:Brooklyn Museum of Art
691:; Museo Carlo Zauli;
593:Spencer Museum of Art
573:Newcastle Art Gallery
509:Suntory Museum of Art
501:Spencer Museum of Art
405:Everson Museum of Art
379:Museum representation
338:In the Sky Far Away I
179:'s Japanese gallery.
1109:"Artist Biography."
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711:; Burke Collection;
709:Peabody Essex Museum
621:The Japan Foundation
609:Chazen Museum of Art
685:Okada Museum of Art
585:Portland Art Museum
342:Moment of Silence (
140:Hanford, California
1165:no. 2 (2005): 103.
1100:no. 2 (2005): 101.
922:EAF Monaco, Monaco
701:Smithsonian Museum
653:Harvard Art Museum
645:Ackland Art Museum
553:The British Museum
523:Public Collections
385:Ackland Art Museum
1249:no. 63 (2006): 8.
665:MOA Museum of Art
222:Wakakihi no Rinri
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64:Kyoto, Japan
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1279:1947 births
1028:TEFAF 2022.
565:RISD Museum
497:Rijksmuseum
194:Vietnam War
60:Higashiyama
1273:Categories
1007:References
677:Musée Tomo
365:Kazuo Yagi
352:Influences
206:rock music
196:, and the
188:Early Work
168:Shinsho II
40:Sei Hakuji
619:, Japan;
293:(Ether).
246:Seihakuji
236:Technique
214:stoneware
105:stoneware
56:Sennyu-ji
50:Biography
269:Tungaloy
88:Fukusuke
30:sculptor
369:akogare
321:qingbai
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113:qingbai
93:kaiseki
44:Celadon
563:; The
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274:te-ato
256:qinbai
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129:Faenza
35:qinbai
230:anime
218:irabo
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76:Seto
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