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PRESS RELEASEPRESS RELEASE 2023.06.06

Toyama Glass Art Museum

Special Exhibition

The Origins ofJapanese Modern Glass

2023.7.8 sat–10.9 mon

Overview
The Origins of Japanese Modern Glass
Dates: 2023.7.8 sat – 10.9 monVenue: Toyama Glass Art Museum, Floors 2-3, Exhibition Rooms 1-3（5-ⅠNishicho, Toyama City, 930-0062 Toyama, Japan）
Organized by Toyama Glass Art Museum
Supported by THE KITANIPPON SHIMBUN, THE TOYAMA SHIMBUN,
Japan Broadcasting Corporation Toyama Station, Kitanihon Broadcasting Co., Ltd.,TOYAMA TELEVISION BROADCASTING CO., LTD., TULIP-TV INC.
Hours: Sun-Thu 9:30-18:00 (admission until 17:30), Fri-Sat 9:30-20:00 (admission until 19:30)
Closed: First and third Wednesdays (except August 16), August 23
Admission: General Public 1,200 yen (1,000 yen), University and College Students 1,000 yen (800 yen)〇( ) for groups of 20 or more〇High school students and younger: Free
〇Tickets for The Origins of Japanese Modern Glass include admission to Permanent Exhibition
Advance Ticket (General Public: 1,000 yen): ASNET Counter TEL 076-445-5511, TOYAMA KIRARI 1F
Information and Help DeskContact
Toyama Glass Art Museum
5-1 Nishicho, Toyama City, Toyama 930-0062, Japan
Tel 076-461-3100
Fax 076-461-3310
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About the exhibition
Beginning in the Meiji period, Western methods of glass manufacturing spread throughout Japan and a wide
range of glass products came to be produced. In this context, IWATA Toshichi and KAGAMI Kozo
approached glassmaking as a means of self-expression and strived to raise glass’s status as an art form.
The number of artists pursuing unique expression using glass gradually increased. From the 1950s to the1970s, many designers employed by glass companies were involved in both product design and creating
works of art. At the same time, artists who did not belong to companies but created work in accordance withthe tsubogari method, which involved hiring studios and craftspeople, and artists who set up their own
furnaces after working for companies also appeared. In this exhibition, we explore the origins of modern andcontemporary Japanese glass art by focusing on developments over the roughly 100 years from the 1870s to
the early 1970s, introducing the highly creative works and product designs of the artists who broke new
ground in each period and related materials from the time.

Artists
IWAKI Takijiro, KOBAYASHI Kikuichiro, OKAMOTO Ichitaro, Shaved Ice Cup, Soy Sauce Cruet, etc. in
Meiji-early Showa period (1868-1945), MATSUURA Gyokuho, IWATA Toshichi, KAGAMI Kozo,
MYODO Chojiro, TAKAGI Shigeru, FURIHATA Masao, AWASHIMA Masakichi (OBATA Masakichi),
SATO Junshiro, AONO Takeichi, KAGAMI Mitsuru, Kagami Crystal Works, Iwaki Glass Crafts Department,
OGAWA Yuhei, KOSHIBA Sotoichi, YOSHIDA Takeo, SASSA Fumio, TAKEUCHI Denji, Sasaki Glass Co., Ltd.,HOYA Corporation, FUNAKOSHI Saburo, SUGASAWA Toshio, IWATA Hisatoshi, IWATA Itoko, Iwata GlassCo., Ltd., FUJITA Kyohei, MASUDA Yoshinori, KOTANI Shinzo, FUNAKI Shizuho etc.

（in the order of display, company name is at the time of production of the exhibited works）

You can see the outline of this exhibition in multiple languages by scanning the
QR code. It supports Japanese, English, Simplified Chinese, Traditional Chinese,
Korean, French, German and Italian.

Contact
Toyama Glass Art Museum
5-1 Nishicho, Toyama City, Toyama 930-0062, Japan
Tel 076-461-3100
Fax 076-461-3310
Email bijutsukan-01@city.toyama.lg.jp Web toyama-glass-art-museum.jp2

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Exhibition Contents
Chapter 1. Prologue: Japanese glass during modernization
Glass manufacturing in Japan embarked on the road to modernization in the Meiji period. Established in
1873 with the aim of encouraging the domestic production of sheet glass, which until then was reliant on
imports, Kogyosha was Japan’s first full-scale Western-style glass factory. In 1876 the government bought
the factory, which became the government-controlled Shinagawa Glassworks, but after becoming burdenedwith large debts it was privatized again before dissolving in 1892. Though unsuccessful as a business, anumber of craftspeople called denshusei (apprentices) who had acquired skills at the glassworks later went
on to found glass companies in various locations around Japan, in which sense the company played acentral role in the development of the Japanese glass industry. Due to their efforts, Western-style methodsof glass production spread throughout Japan, and from around the Taisho period, as productivity and quality
improved, products and works with elements that could be called early signs of modern glass art also cameto be produced. In this section we present works by artists involved in the dawning of the Japanese modern
glass industry together with a selection of highly original and ingenious glass products from the same
period.

1. IWAKI Takijiro, Cut Glass Bowl with Gold Red Overlay, 1914,
OKAMOTO GLASS Co.,Ltd., Photo: Tanaka Yuuki

3. (from left)Footed Shaved Ice Cup with Polka Dots and

Red rim, Footed Shaved Ice Cup with Red Spots Design,
Footed Shaved Ice Cup with Ridges design and
Opalescent Scalloped Rim, Footed Shaved Ice Cup with
Killifish Design, Taisho-early Showa period(1912-1945),
private collection, Photo: Tanaka Yuuki

2. OKAMOTO Ichitaro, Smoke Glass Sake Bottle and Cup,
1932,OKAMOTO GLASS Co.,Ltd., Photo: Tanaka Yuuki

4. (from left) Sauce Cruet with the Mark of Ikari Sauce,

Sauce Cruet with the Mark of Mitsuya Sauce, Soy Sauce
Cruet in the Shape of a Bird, Soy Sauce Cruet in the Shapeof Barrel, Soy Sauce Cruet in the Shape of Barrel, collectionof SONE Kayo, Photo: Tanaka Yuuki

Contact
Toyama Glass Art Museum
5-1 Nishicho, Toyama City, Toyama 930-0062, Japan
Tel 076-461-3100
Fax 076-461-3310
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Chapter 2. Pioneers of modern glass art: IWATA Toshichi and KAGAMI Kozo
IWATA Toshichi and KAGAMI Kozo were two trailblazing artists in the field of Japanese modern glass art
who established their own studios at around the same time in the early Showa period and aspired to
glassmaking as a form of self-expression. In all respects their works are a study in contrasts. Whereas Iwata
worked with blown glass produced by breathing air into molten glass with a blow tube, Kagami
demonstrated his own creativity by using the techniques of engraving and cutting to embellish the surfaceof glass. As well, whereas Iwata aimed to create works that used colored glass in various ways, Kagami
pursued expression using colorless and transparent crystal glass. In an age in which glass works were notaccepted as art, both men used trial and error in an effort to get the public to recognize their artistic
qualities, and in so doing broke new ground in different directions in the field of glass expression.

5. IWATA Toshichi, Vase, 1960, Shinjuku HistoricalMuseum

7. KAGAMI Kozo, Vase with Hosoge Design, yearof creation unknown, private collection, Photo:
Tanaka Yuuki

6. IWATA Toshichi, Vase, 1960, Shinjuku Historical Museum

8. KAGAMI Kozo, Vase, 1954, KAGAMI CRYSTAL Co.,Ltd.,
photo: TANAKA Yuuki

Contact
Toyama Glass Art Museum
5-1 Nishicho, Toyama City, Toyama 930-0062, Japan
Tel 076-461-3100
Fax 076-461-3310
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Chapter 3. The rise of glass artists and glassmaking under the wartime regime
In 1934, Kagami Kozo founded Kagami Crystal Works, which also manufactured the materials used to makecrystal glass. Kagami Crystal Works produced many fine artists, including SATO Junshiro, FURIHATA Masao
and AWASHIMA Masakichi (then known as OBATA Masakichi), who joined the design department
established at the time of the company’s foundation, AONO Takeichi, who worked as an engraver, andKAGAMI Mitsuru, who was Kagami Kozo’s son. At the same time, one cannot overlook the contribution
made by Iwaki Glass Co., Ltd., which from 1932 conducted research into the glass technique known as pâtede verre. In 1936, KOSHIBA Sotoichi, SHIMIZU Yuzo and OGAWA Yuhei, who were all involved in thisresearch, perfected the technique and began producing glass artworks featuring a wide range of motifs intranslucent, soft colors. In this way, the number of glass artists in Japan gradually increased in the late
1930s, but in the 1940s conditions under the country’s wartime regime would have a major impact on theoperation of glass companies and the activities of glass artists.

9. SATO Junshiro, Glass vase blown into
forged iron work, 1940, National Crafts
Museum, photo: Fujikawa Kiyoshi

10. Kagami Crystal Works, (two pieces, left)Cup and Saucer (Blue),(right) Cup and Saucer, year of creation unknown, private collection,
photo: TANAKA Yuuki

11. Iwaki Glass Crafts Department,(clockwise from left)

Pâte de verre "Bowl", Pâte de verre "Turkey", Pâte deverre "Dove", Pâte de verre "Gurnard", c.1938, AGC
TECHNO GLASS Co.,Ltd., photo: RAPT Co., Ltd.

12. Iwaki Glass Co., Ltd., Design: KOSHIBA Sotoichi,
Rose Platter, 1960s, design: c.1930s, AGC TECHNO GLASS
Co.,Ltd., photo: RAPT Co., Ltd.

Contact
Toyama Glass Art Museum
5-1 Nishicho, Toyama City, Toyama 930-0062, Japan
Tel 076-461-3100
Fax 076-461-3310
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Chapter 4. The advancement of design and glass designers in the postwar era
After World War II, amid the economic recovery and influx of Western culture of the 1950s, artists exploringnew possibilities in contemporary craft and design formed various groups and energetically presented newworks. Progress was also made toward the formation of a trade association for designers in Japan. In
particular, Sato Junshiro of Kagami Crystal Works and SASSA Fumio of Hoya Corporation, both designers
employed by glass companies, and Awashima Masakichi, one of a number of designers who had left Kagami
or Hoya and struck out on their own, were actively involved in and made important contributions to thiscause. In the 1960s, a large number of designers employed by glass companies started to become actively
involved in both product design and the creation of artistic works. As expression using glass evolved due tothe activities of a variety of artists, the Japan Glass Artcrafts Association was formed in 1972 as afull-fledged glass artists’ organization that welcomed members irrespective of their position or company
affiliation, with IWATA Hisatoshi of Iwata Glass Co., Ltd. appointed as its inaugural chairman.

13. SASSA Fumio, Ornament "APOSTROPHE", 1955,

14. SATO Junshiro, Kagami Crystal Works, Whisky Bottle, “Super

collection of SASSA Eiko, photo: TANAKA Yuuki

Nikka” (Handblown), Tokyo Olympic 1964 Model, (from left, Blue,
Yellow, Black, Green Red), c.1964, Koriyama City Museum of Art

15. (both) AWASHIMA Masakichi,

16. IWATA Hisatoshi, Compote, 1983, Machida City Museum

Vase “MA-Balloon”, c.1966, Sogetsu Foundation,
photo: TANAKA Yuuki

Contact
Toyama Glass Art Museum
5-1 Nishicho, Toyama City, Toyama 930-0062, Japan
Tel 076-461-3100
Fax 076-461-3310
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Chapter 5. Towards individual creative activities
Until the early 1970s, most artists involved in glassmaking belonged to glass companies and created works
by arranging for craftspeople to perform the tasks that involved handling the materials. At the same time,
among the artists who became involved in glassmaking after the war, there were some who from an earlystage adopted methods different from this mainstream. By employing the tsubogari system, which involved
hiring studios and craftspeople for fixed periods of time, MASUDA Yoshinori and FUJITA Kyohei developed
a new style of glass sculpture that focused on the essence of the materials while creating works without
belonging to glass companies. Meanwhile, there appeared among artists involved in the Mingei movement atendency towards a hands-on approach to dealing with glass, as seen in the work of KOTANI Shinzo, whobegan making blown glass items on his own in Kurashiki, and FUNAKI Shizuho, who in the search for aspace where he could express himself freely while still employed by Kagami Crystal Works established ashared furnace with his work colleague ITO Makoto. In the late 1970s, due to the introduction of overseas
tendencies and the establishment of glass educational facilities, the circumstances surrounding artists
dealing with glass in Japan began to change dramatically, and the activities of the artists introduced in thissection attest to how Japanese modern and contemporary glass art had already reaching a turning point.

17. MASUDA Yoshinori, God’s Walk, 1992,
Toyama Glass Art Museum, photo: SAIKI Taku

18. FUJITA Kyohei, Rainbow Colors, 1964,
National Crafts Museum, Photo: S＆T PHOTO

19. KOTANI Shinzo, (from left) Cups, Square Bottlewith Handle, Goblet, Goblet, year of creation unknown,collection of the artist, photo: TANAKA Yuuki

20. FUNAKI Shizuho, Bowl with Mosaic Design, Blue and Yellow,
year of creation unknown, Matsuojisho Co., Ltd. ©2015
Hachiyama Publishing

Contact
Toyama Glass Art Museum
5-1 Nishicho, Toyama City, Toyama 930-0062, Japan
Tel 076-461-3100
Fax 076-461-3310
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Related Programs
Opening Ceremony
Date: Friday, July 7, 2023 at 16:00Reception desk opens at 15:30 (Preview ends at 18:00.)
Venue: Toyama Glass Art Museum 2F Lobby
Language: Japanese*Invited guests only

Special Lecture: Shinagawa Glassworks and Modern Glass Art in Japan
Lecturer: INOUE Akiko (Glass Art Historian)
Date: Saturday, August 5, 2023 at 14:00-15:00
Venue: Toyama Glass Art Museum 2F Lobby
Language: Japanese*No reservation required*Free of charge

Curator’s Talk
Date: July 22, August 19, September 16, October 7, 2023 each at 14:00Venue: Toyama Glass Art Museum, Floors 2-3, Exhibition Rooms 1-3
Language: Japanese*No reservation required*Free of chargeWorkshop: Modeling Pâte de Verre Experience
Lecturer: KATSUKAWA Natsuki (Artist)
Date: Sunday, September 3, 2023 at ①10:00-11:30②14:00-15:30

Venue: Toyama Glass Art Museum 2F Conference Room
Subject: 3rd grade of elementary school or older
Capacity: 8 people / each time
Participation fee: 2500 yen
Language: Japanese*Advance reservation required. For information on how to apply, visit the website.

*Ticket for this exhibition is required for admission to the exhibition rooms.
*Details events will be announced on the museum’s website and official SNS sites, etc.
*These events are subject to cancellation or change by certain reasons.
Please check the museum website for the latest information.
Contact
Toyama Glass Art Museum
5-1 Nishicho, Toyama City, Toyama 930-0062, Japan
Tel 076-461-3100
Fax 076-461-3310
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About Toyama Glass Art Museum

21

22With the grand vision of creating a ‘Glass Art City, Toyama’ Toyama Glass Art Museum opened in August
2015.
Toyama Glass Art Museum was built in TOYAMA KIRARI, a composite facility, which is also occupied by the
Toyama City Public Library Main Building. As the Art Museum is located in the city centre of Toyama City, it
not only serves as a hub of art and culture, but it also plays a role of generating new attraction for the city
centre.

Kengo Kuma, a world- renowned architect, designed this building. The Exterior of the building resembles
the ever-changing Mt.Tateyama, and was built with a combinationof different materials, such as granite,glass, and aluminum. The interior, on the other hand, makes full use of louvers that use materials from
Toyama Prefecture to create an atmosphere of warmth and openness.

The museum holds Permanent Exhibitions, such as the Collection Exhibition showcasing the contemporary
glass artwork collected by Toyama City. In the murals of the display rooms and the library, there is the‘Glass Art Passage’ that displays artwork from artists associated with Toyama.
On the 6th floor, there is the ‘Glass Art Garden’ that displays installations by the studio of the great masterof con- temporary glass artwork, Dale Chihuly. In this museum, a variety of art styles are introduced with afocus on contemporary glass artwork after the 1950s.

Contact
Toyama Glass Art Museum
5-1 Nishicho, Toyama City, Toyama 930-0062, Japan
Tel 076-461-3100
Fax 076-461-3310
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Access[From Toyama Station] 〇20-minute walk. 〇Take the tram (Shinaidensha) for Minamitoyamaeki-mae. Get
off at Nishicho. 1-minute walk. 〇Take the Loop Line tram ( Shinaidensha Kanjō-sen). Get off at Grand
Plaza-mae. 2-minute walk. (Tram takes approx. 10 minutes from Toyama Station. to Nishicho/Grand
Plaza-mae.)[From Toyama Airport] 〇Take the Airport Bus to Toyama Station (Airport Express Bus/Local Bus (Routeno.36)) and get off at Sogawa. 4-minute walk.

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Toyama Glass Art Museum
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Tel 076-461-3100
Fax 076-461-3310
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