FOR IMMEDIATE RELEASE
THE WINTER SHOW 2022…in spring!
NEW DATES: APRIL 1-10, 2022
NEW VENUE: 660 MADISON AVE (BARNEY'S NEW YORK DEPARTMENT STORE)KAZARI: BEYOND DECORATIONJOAN B MIRVISS LTD AT THE WINTER SHOWSAWADA HAYATO (B. 1978)
Multi planar vessel, 2021
Glazed stoneware
14 3/8 x 10 1/4 x 10 3/8 in.

To adorn or decorate tastefully can transform the ordinary into the extraordinary. TheJapanese term kazari refers to such ornamentation that ranges from funky, to cool, tosurprising, to utterly splendid. But going further, it describes the sensation when, gazing
upon such intentional decoration, one is pulled out of the mundane into thetranscendent. Our spring exhibition presents this concept of traditional Japaneseaesthetics realized in a multitude of patterns, surface treatments, designs and colors inprints, paintings, and ceramics to showcase the Japanese emphasis on the deeper
meaning and appreciation of what is often regarded as "mere" decoration.
KAZARI: Beyond Decoration will be presented at The Winter Show 2022, now taking

UTAGAWA KUNISADA (1786-1864)

Chapter 15, The Wormwood Patch from Fifty-fourSentimental Parodies of The Tale of Genji
1857, 2nd monthōban tate-e diptych

place in spring, and at an exciting new venue at 660 Madison Avenue (60/61 Sts).

Kazari has long been in the Japanese lexicon and as a result, has accumulated
many layers of rich meaning. Over a thousand years ago, it referred to decorationthat epitomized elegance and sophistication among the elites. In the more modern
Edo period, kazari suggested sensual delights that extended its influence to textiles,
ukiyo-e, and even everyday objects. For our exhibition, kazari applies to acharmingly diverse set of artworks that encompass its many connotations.

NAKANO KIMEI (1834-92)

Hillside with blossoming plum trees and red maple
tree by a stream, ca. 1870-80
Two-fold screen; Ink, color, gold leaf on paper

In one sense, kazari can be characterized by the elements of delight and surprise.
Delight can come from dazzling surface patterns, as seen on the distinctive worksof iroe master Maeda Masahiro (b. 1948), or from unexpected asymmetry, foundeverywhere from Takiguchi Kazuo's (b. 1953) torn-mouth vessels to the enhanced
perspective of Utagawa Hiroshige's iconic woodblock prints. And with kazari, there
is always a playfulness, exemplified by Kitaōji Rosanjin (1883-1959) covering hisvase in daubs of green glaze impishly applied with his fingers.
KITAŌJI ROSANJIN (1883-1959)

Kohiki-glazed vase with green glaze patterning
Glazed stoneware, early 1950s
9 1/2 x 5 1/2 in.

Kazari is further activated by the use and placement of such highly ornate objects – theircontext elevates them to a level beyond decoration. In the past, ceremonial and festivalobjects were intended to delight the deities; nowadays, the everyday rituals of drinking
tea, for example, offers deeper meaning to the intergalactic tenmoku-glazed teabowls ofSeto Takemi (b. 1958) or the jewel-like teabowls of celadon master Kawase Shinobu (b.
1950). Both movement of and within the object or artwork conveys kazari, such as arustling kimono sleeve depicted in the woodblock prints of Utagawa Kunisada and Keisai
Eisen, or the fluttering sun umbrella held by a young beauty seen from behind, in aSETO TAKEMI (B. 1958)Yōhen tenmoku teabowl, 2021
Glazed stoneware
2 3/4 x 4 3/4 in.

painting by Ikeda Shoen (1886-1917), who is just about to turn over her shoulder.
Most fittingly, this exhibition will be presented in the ultimate forum for enchanting,delicious display – in what was formerly Barney's New York department store. Throughcaptivating colors, patterns, and forms, kazari can also signify pure presentation. Matsuda
Yuriko's (b. 1943) boldly patterned, spiked seashell begs to be shown off. The large
porcelain lidded box with kutani enamel glazes by Takegoshi Jun (b. 1948), with patterning
wrapping around and inside, can command attention on any shelf. And the dramaticallycomposed, lavishly gilded two-fold screen by Nakano Kimei (1834-92) not only reimaginesclassical themes of rinpa painting in a modern way but also undeniably changes thelandscape of any room it is in.

UTAGAWA TOYOKUNI (1769-1825)
Fashionable female version of theshikisanban dance, 1786ōban tate-e

Unlike the West, where 'decorative arts' are still categorized as subordinate to 'fine arts',
the Japanese concept of aesthetics made no such hierarchical distinction for centuries.
Kazari encompasses daily objects to festival objects, from ceremonial interiors to handheldbowls, and such decoration delighted the deities and the people alike. From April 1 to 10,
Joan B Mirviss LTD will present KAZARI: Beyond Decoration at The Winter Show 2022's
latest venue, 660 Madison Avenue. Our booth will be located on the main floor with astreet-facing window. Please stay in touch with us as more details about the event areforthcoming: 212-799-4021 or director@mirviss.com.

About Joan B. Mirviss LTDWith more than forty-five years of experience, Joan B. Mirviss is a pillar in the field of Japaneseart. As a dealer, scholar, curator, and advisor, she has been the driving force championing thetop Japanese clay artists, who she represents exclusively, and whose works she has placed inmajor museums around the globe. Widely published as a highly respected expert, Mirviss hasbuilt many institutional and private collections of Japanese art. JOAN B MIRVISS LTD exhibits
modern and contemporary Japanese ceramics, ukiyo-e, and Japanese paintings from its
exclusive Madison Avenue location in New York City.

MAEDA MASAHIRO (B. 1948)
Polychrome enamel box, 2021
Glazed porcelain
4 5/8 x 5 in.

KAWASE SHINOBU (B. 1950)
Fire-red celadon teabowl, 2019
Glazed porcelaneous stoneware