Within the domain of artistic mastery, Japan embodies the pinnacle of sophistication and tradition. Among its many treasures, Japanese pottery and silk paintings exude a timeless elegance that transcends generations, captivating hearts with their intricate beauty and profound history.
As Glam/Amour delves into the rich tapestry of Japanese craftsmanship, we uncover the secrets and stories woven into these exquisite creations.
The Legacy of Japanese Pottery: A Journey Through Time
Dating back centuries, Japanese pottery carries with it a legacy steeped in tradition and innovation. From the rustic charm of ancient earthenware to the refined elegance of porcelain, each piece reflects the cultural evolution and artistic mastery of its creators.
The roots of Japanese pottery can be traced back to the Jomon Period (10,000–300 BCE), characterized by coil-built vessels adorned with intricate rope-like patterns. These early artifacts not only served practical purposes but also symbolized a deep connection to nature and spirituality, embodying the essence of Japanese aesthetics.
As the centuries unfolded, Japanese pottery underwent remarkable transformations, influenced by various cultural exchanges and artistic movements. The arrival of Buddhism in the 6th century brought new techniques and styles, leading to the emergence of iconic forms such as the tea ceremony bowls crafted by revered artisans like Chojiro and Raku.
However, it was during the Momoyama Period (1573–1615) and the subsequent Edo Period (1603–1868) that Japanese pottery reached new heights of creativity and refinement. Masters like Honami Koetsu and Ogata Kenzan revolutionized the art form, blending traditional techniques with innovative designs to create exquisite masterpieces sought after by collectors and connoisseurs alike.
Today, Japanese pottery continues to flourish, with contemporary artists pushing the boundaries of tradition while honoring the craftsmanship of their ancestors. From the delicate celadon glazes of Kyoto to the bold, avant-garde creations of modern ceramicists, the legacy of Japanese pottery remains a testament to the enduring beauty of artistic expression.
Glam/Amour recently connected with Mr. Seiji Ashikaga (CEO – Absolute Design Co., Ltd.), at the Japan Kyoto Exhibition at the Dubai World Trade Centre.
Mr. Seiji Ashikaga was kind enough to grant us an introductory interview into the World of Ceramic Pottery.
GA: Mr. Seiji Ashikaga San, Can you give us a brief introduction into the history of the Dragon Pottery?
Mr. Seiji: “Dragon claw plum blossom skin” is an original style created by potter Masao Iwasaki in 2008, and is unique in Japan. Masao Iwasaki started his career as a potter in 1971, and this year marks his 53rd year. After training in Kyoto, he built the Hinode kiln in Shiga Prefecture in 1995, where it remains today.
Shiga Prefecture is home to Japan’s largest lake, Lake Biwa. We found a 250-year-old traditional house about 350meters from the lake shore, and built the Hinode kiln here. From here you can see all the way to the other side of Lake Biwa and even watch the morning sun, which is why it was named Hinodegama.
GA: That’s amazing! Is there any significance culturally to this style of pottery?
Mr. Seiji: Lake Biwa, which is owned by Shiga Prefecture and where the Hinode Kiln is located, is full of legends related to dragons. Therefore, when this piece was completed, I felt that the curly parts had a strong feel, like the claw marks of a dragon, so I named it Dragon Claw.
Also, the skin of a stingray wrapped around the handle of a sword, which is one of the culmination of Japanese craftsmanship, is called “plum blossom skin.” I decided to name it “Dragon claw plum blossom skin”.
Not only people in Japan but also people all over the world have special feelings towards dragons. In addition, the impressive and unique plum blossom skin (chijire) that appears on the plate is a unique technique only available at our kiln. In honor of the absolute existence of dragons, we would like to spread the unique pottery style in Japan called “Dragon claw plum blossom skin” not only in Japan but also to people all over the world.
GA: The texture on these pottery is so unique and eye-catching. And the fact that it is deliberately made to resemble a swords handle which is wrapped with stingray skin is so unique. How long does it take to create each product and what are the materials used in the process?
Mr. Seiji: Regardless of the size of the work, the production period is 2 to 3 months per piece. The materials used are several types of soil from Kyoto and Shigaraki in Shiga Prefecture, mixed together in an original mixture to create the curly appearance of the Dragon Claw plum blossom skin.
Also, regarding the glaze, we create an original glaze using a unique mixture of feldspar, silica, and lime, so that the curled part appear bright red and black.
GA: Very interesting. Considering there is so much detail in the creation of this type of pottery, is there so traditional significance to the style of pottery or is it for aesthetic purposes only?
Mr. Seiji: Dragon Claw Plum Blossom Skin was created based on two usage concepts. One is for viewing as a work of art. The other is as daily necessities that people can integrate into their daily lives and use on a daily basis.
First, I will explain it as a concept for art appreciation. Masao Iwasaki, a potter in all of Japan, is the only person in Japan who has been able to create a beautiful red plum blossom skin with an elegant white color and a beautiful view of the powerful creases.
The reason for this is that this curling part is a result of chance, so it is said to be difficult to produce a consistent curl. Iwasaki made mass production possible through repeated trial and error. When the glaze does not fully melt in the kiln and becomes curly, giving the surface a shark-like appearance, this is called plum blossom skin.
It is a product of chance, and has been considered to be one of the tastes of some types of pottery. In terms of tea utensils, it is a type of so-called “scenery“. Dragon Claw Plum Blossom Skin is made by intentionally causing the glaze to curl all over the vessel, revealing a red or black background behind the curls. You can adjust the amount of curl, but you won’t know where the “Dragon Claw” will fit until you take it out of the kiln. The patterns are created by flame and glaze.
It’s not just Iwasaki’s own power that creates it, but also nature. I believe that it is because they are created by the Dragon God, who is worshiped as a god in Japan, that they are able to captivate the eyes of everyone who sees them as art pieces.
This is from the perspective of daily necessities that people use every day. Nowadays, people’s lifestyles are diverse, and the purposes for which appliances such as microwave ovens, ovens, and dishwashers are used have also changed. Basically, regular ceramics cannot be used in microwave ovens, ovens, or dishwashers as they may break. However, thanks to Iwasaki’s unique technology, “Dragon claw plum blossom skin” can also be used in the microwave or oven. Iwasaki succeeded in solving the weaknesses of pottery by devising ways to knead the clay. We are proud to have created pottery that people can use with peace of mind even in their current lives.
GA: I love the idea that the Dragon Claw pottery is created by the Dragon God and hence the claw markings. It almost gives it such an celestial meaning while also catering to an everyday layman’s needs is beautiful. Speaking of daily needs, I know that you also have a beautiful teapot to tell us about. Can you give us some insight on the Iron Teapot?
Mr. Seiji: The Yamagata iron teapot from Kikuchi Hojudo, founded in 1604 in Yamagata Prefecture, Japan. It has a history of about 400 years, and won the Grand Prix Award at the U.S. World’s Fair (1926). He has received many awards, including the highest award at the Japan Traditional Crafts Exhibition twice and the Japan Arts Foundation Award.
The company’s policy is not to stick to tradition, but to create products that suit the times. Traditionally, iron Teapot were only available in black, but we are the pioneers in changing the design to match the modern times and adding color to iron Teapot.
GA: So what is the special feature of the Iron Teapot?
Mr. Seiji: There are three characteristics of Yamagata iron teapot –
Excellent heat retention: After putting a drink in the Yamagata iron Teapot, warm drinks are hard to cool down, and cold drinks are less likely to warm. For example, if you put a Yamagata iron Teapot in the freezer for about 15 minutes, it will remain as cold as ice. Therefore, if you put a cold drink in it, it will stay cold. Usually, adding ice to a drink will make it colder, but it has the disadvantage of diluting the drink. However, if you use Yamagata iron Teapot, you can eliminate this disadvantage.
No liquid drips from the spout: Because the spout is expertly polished, there will be no dripping when pouring drinks. Therefore, in Europe, it is used for seasoning containers. The reason is that most tablecloths are white and will get dirty if liquid drips on them.
Lastly, a wide variety of beautiful color lineups: After painting the iron kettle, if you do nothing, the color may peel off. However, Yamagata iron Teapot are baked several times at 180 degrees to fix the color. Therefore, even if you polish it with alcohol, the color will not fade.
GA: Thank you so much Mr. Seiji for introducing us to the intricate world of Japanese pottery, especially the Dragon Claw pottery and sharing the beauty behind these works.
The Artistry of Japanese Silk Paintings: Capturing Nature’s Essence
In parallel to the evolution of pottery, Japanese silk paintings have also carved a niche for themselves in the realm of artistic expression. Rooted in the ancient tradition of calligraphy and ink painting, silk paintings embody the delicate balance between simplicity and sophistication, capturing the essence of nature with effortless grace.
The history of Japanese silk painting can be traced back to the Nara Period (710–794), where Buddhist monks used ink and brush to create religious scrolls and portraits. Over time, this art form evolved, incorporating elements of indigenous Japanese aesthetics and Shinto beliefs, resulting in the emergence of distinct styles such as Yamato-e and Rinpa.
One of the most iconic motifs in Japanese silk painting is the depiction of cherry blossoms, symbolizing the ephemeral beauty of life and the transient nature of existence. Artists like Sotatsu and Korin elevated this theme to new heights, infusing their compositions with a sense of poetic lyricism and profound symbolism.
In the Modern Era, Japanese silk painting continues to thrive, with contemporary artists exploring new techniques and themes while staying true to the time-honored principles of balance, harmony, and reverence for nature. Whether it’s the delicate brushwork of a traditional sumi-e ink painting or the vibrant hues of a modern silk screen print, Japanese silk art continues to enchant audiences with its timeless beauty and enduring appeal.
Glam/Amour recently connected with Mr. Yasuhiro Ijichi (CEO of IJICHI SHASINGATA SEISAKUJYO Co., Ltd. | Kyoto Kenran Division), at the Japan Kyoto Exhibition at the Dubai World Trade Centre.
Mr. Yasuhiro Ijichi was kind enough to grant us an introductory interview into the World of Silk Screen paintings.
GA: Mr. Yasuhiro Ijichi San, Can you give us a brief introduction into the history of the Silk Paintings?
Mr. Yasuhiro: Silkscreen printing is a developed form of woodblock printing that originated in ancient China. It evolved in the early 20th century in the West, being utilized by artists for posters and artworks. Particularly in the 1920s and 1930s, pioneers of pop art such as Andy Warhol and Roy Lichtenstein widely adopted it in America, playing a significant role in the fields of art and advertising. Moreover, in Japan, it became popular as a means of expressing traditional designs.
GA: Is there any cultural significance to this style of painting?
Mr. Yasuhiro: These artworks showcase the intricate designs of Kyoto Yuzen, a traditional Japanese Kimono. Kyoto Yuzen is the oldest Kimono design achieved by unique dying method using silk screen in the ancient capital Kyoto.
IJICHI SHASINGATA SEISAKUJYO Co., Ltd. has been operating its silk-screen printing business for over 90 years. Now, there is a new movement to reevaluate traditional Japanese culture among people in Kyoto. In the situation, we have just started to preserve traditional Kyoto Yuzen designs and pass them down to the next generations. I believe that we cannot preserve our tradition without learning something new through discoveries.
What will people around the world find through these traditional Kyoto Yuzen artworks? What new values will people find through the art？
I truly hope you will find exciting new discoveries through the artworks and our important Kyoto Yuzen traditional culture will be flourished and passed down to the next generations.
GA: These designs are truly breathtaking and appear to be extremely intricate in nature. How long does it take to create each one and what are the materials used?
Mr. Yasuhiro: Creating silkscreen artwork, especially for intricate designs like mine with multiple colors, typically takes over a month. Additionally, my art pieces are provided in the form of canvases mounted on wooden frames.
My artworks aren’t solely crafted by one artist. Instead, they involve the collaboration of many artisans from Japan. Painters, carvers, printers — each skilled artisan contributes to the creation process, sharing a common artistic vision and working together as a team.
GA: Thank you so much for sharing your insights Mr. Yasuhiro, your work is truly exquisite and definitely an artform that needs more time in the spotlight. What is interesting to note is that your brand also offers clients the opportunity to customize a print alongside your design team, for a more personalized experience.
The Intersection of Tradition and Innovation: Embracing Japanese Craftsmanship
What sets Japanese pottery and silk paintings apart is not just their aesthetic appeal but also the deep cultural significance embedded within each creation. These art forms serve as a bridge between the past and the present, connecting generations and preserving the essence of Japanese identity in an ever-changing world.
In a world dominated by mass production and fleeting trends, Japanese pottery and silk paintings stand as a testament to the enduring power of craftsmanship and creativity. They remind us of the beauty that lies in simplicity, the harmony that can be found in nature, and the profound connection between art and the human spirit.
As we marvel at the intricate patterns of a ceramic tea bowl or the delicate brushstrokes of a silk landscape, let us not only admire their beauty but also reflect on the stories they tell and the traditions they carry forward. For in these timeless works of art, we find not only inspiration but also a profound sense of wonder and awe—a reminder of the enduring legacy of Japanese craftsmanship and the boundless depths of human creativity.
GLAM / AMOUR 
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