EARTH, AIR, FIRE & WATER

JAPANESE METAL E XHIBITION

EARTH, AIR ,FIRE & WATER:
The Four Elements of Japanese Arts

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Gold and Silver Waves
By Monika Bincsik
Diane and Arthur Abbey Assistant Curator for Japanese
Decorative Arts The Metropolitan Museum of Art

Until the Portuguese reached Japan in 1543, Zipangu (Japan) held a place in the
popular European imagination as the Land of Gold, following its description by
Marco Polo in the thirteenth century, “They have gold in the greatest abundance, its
sources being inexhaustible, but as the king does not allow of its being exported, few
merchants visit the country, nor is it frequented by much shipping from other parts.”
Accordingly, Japan as a country of gold and silver was indicated on the map createdby Matteo Ricci in the early seventeenth century. The application of gold and silver
in Japanese art became so prevalent that it even defined the image of the island
country.
The use of gold embellishment in Japan dates back to the Yayoi period (ca. 300
B.C.–300 A.D.). A look at the accessories, jewelry, and harnesses of the Kofun period(ca. 250–538 A.D.) reveals that all the basic techniques of metal workmanship, suchas carving and engraving, forging, and casting were already developed. During thesixth and seventh centuries, the introduction of Buddhism from the continent brought
along significant changes in metal craftsmanship.
Later, with the development of the Kamakura (1185–1333) and Muromachi
period (1392–1573) warrior culture, sword fittings and armor became decorated
with precious metals. Beginning in the sixteenth century, there was an intensedevelopment in the processing and applying of gold and silver. The start of theevolution of metal craftsmanship coincided with the period of warfare preceding thecountry’s unification in the late sixteenth century.
The establishment of the Tokugawa shogunate marked the start of the Edo period(1615–1868), which is characterized by peace, prosperity, and flourishing of the arts.
The Japanese sword and its accoutrements are often considered as works of art anddecorative sword fittings are usually made by forging, casting, and chasing. Scabbards
gradually became decorated with elaborate lacquer techniques and mother-of-pearl
inlays, while sword guards, and hilt fittings were also adorned. From the Momoyama
period (1573–1615), the use of various precious metals, such as gold, silver, andcopper, were introduced, and through the peaceful Edo period, highly ornamental
sword fittings, armor, saddles and stirrups were created.
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After the Meiji Restoration of 1868, the samurai class was abolished, and wearing
swords in public was prohibited. Metalworkers lost their patrons and had to find
new ways of supporting themselves. Some of them started producing objects for
the Western market, adopting the flamboyant Victorian taste. The results were highquality and meticulously decorated large-scale exhibition pieces, incense burners,
cigarette cases, and flower vases. These objects were highly prized at the World
Expositions and later also gained fame within Japan.
In 1889, the Tokyo School of Arts (now Tokyo University of the Arts) was founded
and it immediately offered courses in metalwork. Three disciplines were establishedbased on the main techniques of the field, such as hammering (tankin), chasing(chōkin), and casting (chūkin). These categories still define the three major “schools”
of metal art. Currently, ten Living National Treasure (Ningen Kokuhō) artists represent
metalworking, including the above mentioned three categories as well as sword
making. Works by two Living National Treasures are on view in the present exhibition.
Nakagawa Mamoru (b. 1947), based in Kanazawa, established a contemporary style
within the framework of traditional metalworking. He specializes in the “flat inlay”(hirazōgan) technique, in which different metals and alloys are inlaid into each otherto create multi-colored patterns. Nakagawa
graduated from Kanazawa College of Arts in 1971, majoring in industrial design. He
became attracted to the Kaga inlay technique and apprenticed to Takahashi Kaishū(1905–2004), and later became a regular contributor to the Japan Traditional Art
Crafts Exhibitions.
The hirazōgan technique involves the carving out of areas to be inlaid as a shallow
recess with square sides and flat bottom. Then, the bottom is slightly widened tocreate a grip for the inlaid piece. The inlays are cut out and precisely adjusted to fit
into the prepared recess then hammered into place. After all the inlays are set, thesurface of the piece is filed, burnished, and polished to create a smooth continuum.

The traditions of the “flat inlay” technique can be traced back to Fushimi (a southern
district of Kyoto), where several specialized metal craftsmen worked for Toyotomi
Hideyoshi (1537–1598) to produce refined stirrups and tsuba (sword guard). After
Hideyoshi’s death many of these craftsmen were invited by the powerful lord of Kaga
Province, Maeda Toshiie (1538–1599) to continue producing inlaid metalworks in his
service. Several workshops established in Kanazawa, the capital of Kaga, carried on
the Fushimi-style inlay of gold, silver, copper, and shakudō (billon of gold and copper)in iron. Later, the iron base was replaced by softer metals, such as copper and its
alloys, which facilitated the application of even more delicate patterns. The Kaga inlay(Kaga zōgan) was used to create sophisticated decoration on helmets, tsuba, andstirrups and became well known for its beauty and durability.
Ōsumi Yukie (b. 1945) studied history of art at Tokyo University of Arts, from which
she graduated in 1969, before starting to train as a metal artist. Her teachers were
Sekiya Shirō (1907–1994) and Kashima Ikkoku (1898–1996), both Living National
Treasures. As Sekiya specialized in hammering, and Kashima in chasing, Ōsumi
mastered both disciplines. Since 1976, Ōsumi regularly exhibited her works at theJapan Traditional Art Crafts Exhibitions. Her signature technique is the “textile
imprint inlay” (nunomezōgan), which involves hammering wire or metal leaf into afine grid incised into the surface of the metal ground. Ōsumi’s forms and decorative
schemes make consistent reference to the natural world, exploring contemporary
aesthetic through the use of traditional metalworking processes. She was designateda Living National Treasure in 2015 in hammering and became the first woman toreceive this recognition in metal art.
For more information, contact Nana Onishi at 212-695-8035
or nana@onishigallery.com.

To create complex designs, Nakagawa uses a multi-layered technique, in which theabove-mentioned process is repeated with different colored inlays being inserted into
increasingly shallow recesses cut into the previously inlaid areas.
The body of Nakagawa’s works are often made of a cast copper alloy containing
twenty percent silver and small amounts of tin and zinc, called shibuichi (four parts
to one). The inlaid metal can be gold, silver, or variations of shibuichi.

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NAKAGAWA Mamoru (b. 1947)
Living National Treasure (2004)
Recognized for his outstanding mastery of zōgan (metal-inlay), Nakagawa
Mamoru was designated a Living National Treasure in 2004 at the age of
56 –the second youngest in history. Nakagawa has been a seminal figure
in revitalizing metal-inlay as an important genre of decorative arts in Japan
since its decline during the Meiji Restoration period. He has enlivened the
traditionally monotone realm of metal-casting with an unprecedented paletteof colors. Since the zōgan technique is said to have originated from Turkey,
the artist has traveled there on numerous occasions, following the Silk Road,
the cultural crossroads of eastern and western Asia.
In 2008, he visited the United States on a cultural exchange fellowship underJapan’s Agency for Cultural Affairs. While on the fellowship in Washington,
D.C., he taught a master class on the Kaga zōgan technique at the Corcoran
College of Art and Design. The same year, Nakagawa’s work was acquiredby the Metropolitan Museum of Art as the museum’s first contemporary
Japanese metalwork.

Selected Exhibitions
2020

Asia Week, New York, US

2019

The 66th Japan Traditional Kōgei Exhibition, Japan2018

Living National Treasure Exhibition, MOA Museum of Modern Art,
Shizuoka, Japan

Nakagawa Mamoru (b. 1947)
Living National Treasure
Vase Hayashi (Trees), 2019
Shibuichi with copper, silver, gold and shakudo inlay
h. 8 3/4 x w. 14 x d. 3 in. (22.2 x 35.6 x 7.6 cm)

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2016

Creating Handicrafts, Living National Treasures Exhibition,
Wako, Tokyo, Japan

2013

Contemporary Kōgei Styles in Japan, Morikami Museum
and Japanese Gardens, Delray Beach, Florida, US

Selected Public Collections
Metropolitan Museum of Art, New York, US; The British Museum, London,
UK; Victoria and Albert Museum, London, UK; 21st Century Museum ofContemporary Art, Kanazawa, Japan; Ishikawa Prefectural Museum of Art,
Kanazawa, Japan; Jingu Museum, Ise, Japan; Agency for Cultural Affairs,
Government of Japan
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EARTH, AIR, FIRE & WATEROSUMI Yukie (b. 1945)
Living National Treasure (2015)
Ōsumi Yukie was designated a Living National Treasure in 2015 and is thefirst female artist to receive this honor in her field. She specializes in tankin,or hammered vessels, and applies the traditional technique of nunomezōgan
to the decorative and functional pieces that she creates. This process
involves hammering metal leaf or wire into a fine, mesh-like grid incised into
the surface of the metal. Through her designs of wind, waves, clouds andstreams, Ōsumi creates a formless and flowing affinity with nature.
In 1969, she graduated from the Faculty of Fine Arts, Tokyo University of theArts, and afterwards studied under Kashima Ikkoku (1898-1996), Sekiya Shiro(1907-1994) and Katsura Moriyuki (1914-1996). For one year, she trained as
an artist in the United Kingdom under a sponsorship by Japan’s Agency for
Cultural Affairs. Ōsumi was most recently awarded a residency at The Freer
Gallery of Art and Arthur M. Sackler Gallery, the Smithsonian Museum of
Asian Art in 2015.

Selected Exhibitions
2020

Asia Week New York, US

2020

Palm Beach Modern + Contemporary, Florida, US

2019

Art Miami, Florida, US
The 66th Japan Traditional Kōgei Exhibition, Japan

Osumi Yukie (b. 1945)
Living National Treasure
Silver Vase Bakufu (Waterfall), 2011
Hammered silver with nunome zōgan (textile imprint inlay) decoration in lead and gold
h. 10 x dia. 9 7/8 in. (25.5 x 25 cm)

2018

Living National Treasure Exhibition, MOA Museum of Modern Art,
Shizuoka, Japan

2015“Wind and Waves,” Freer Gallery of Art and Arthur M. Sackler Gallery,
Washington DC, US
SOFA Chicago, IL, US

2013

Contemporary Kogei Styles in Japan, Morikami Museum
and Japanese Gardens, Delray Beach, FL, US

Selected Public Collections
Metropolitan Museum of Art, New York, US; WVictoria and Albert Museum,London, UK; Royal Museum, Edinburgh, Scotland; National Museum ofModern Art, Tokyo, Japan; Agency for Cultural Affairs, Government of Japan

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EARTH, AIR, FIRE & WATERTAMAGAWA Norio (b. 1942)
Living National Treasure (2010)
Designated a Living National Treasure for his unique metal-hammering
technique, Tamagawa is a renowned artist in his field in Japan. He was bornin 1942 in Niigata Prefecture and is a descendent of Kakubei Tamagawa, whofounded the Gyokusendo company in 1816. Gyokusendo continues to createfunctional and decorative copperware using the tsuiki, or hand-hammered
method.
From 1963 to 1965, Tamagawa studied hammering techniques as anapprentice under Sekiya Shiro, also a Living National Treasure. After his
apprenticeship in Tokyo, Tamagawa returned home and re-joined the
Gyokusendo company. He continued to master his craft and was selected to
exhibit his work at prestigious exhibitions across Japan and Europe, receiving
numerous prizes and awards. In 1996, he decided to devote all of his time tohis art and resigned from the Gyokusendo company.

Selected Exhibitions
2020

Asia Week, New York, US

2019

The 66th Japan Traditional Kōgei Exhibition, Japan2018

Living National Treasure Exhibition,
MOA Museum of Modern Art, Shizuoka, Japan

2016

Creating Handicrafts, Living National Treasures Exhibition,
Wako, Tokyo, Japan

2015

SOFA Chicago, Illinois, US

Selected Public Collections
Tamagawa Norio (b. 1942)
Living National Treasure

Metropolitan Museum of Art, New York, US; Tsubame Industrial Materials
Museum, Niigata, Japan; Agency for Cultural Affairs, Government of Japan

Mokume-gane Vase, 2012
Silver, copper and shakudo
h. 9 x dia. 8 1/2 in. (23 x 22 cm)

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EARTH, AIR, FIRE & WATERUOZUMI Iraku III (b. 1937)
Living National Treasure (2002)
Born in Kanazawa in 1937, Uozumi Iraku III was designated a Living National Treasure for the dora, or gong in 2002. Uozumi trained under his
grandfather, Uozumi Iraku I, who was also a Living National Treasure and awell-known pioneer of dora craftsmanship. Dora is an essential piece in tea
ceremony, as the low sound of the gong is made just before entering the tea
room in order to put the mind at rest. The object is made with a metal alloy
called sahari, a combination of bronze and tin. Through this rich generational
knowledge, wabi sabi, or the spirit of tea ceremony has been passed down tothe artist.

Selected Exhibitions
2020

Asia Week, New York, US

2019

The 66th Japan Traditional Kōgei Exhibition, Japan2018

Living National Treasure Exhibition,
MOA Museum of Modern Art, Shizuoka, Japan

Selected Public Collections
Metropolitan Museum of Art, New York, US; Philadelphia Museum of theArts, US; Yakushiji Temple, Nara; Shitennoji Temple, Osaka, Japan; Agency for
Cultural Affairs, Government of Japan

Uozumi Iraku III (b. 1937)
Living National Treasure
Sahari Flower Vase, 2019
Alloy of copper and tin
h. 9 1/2 x dia. 2 1/4 in. (24 x 6 cm)

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EARTH, AIR, FIRE & WATERTAGUCHI Toshichika (b. 1940)
Living National Treasure (2006)
Born in Tokyo in 1940, Taguchi trained as a metalsmith under his father after
majoring in metalwork at Tokyo Metropolitan Kōgei High School. Taguchi
is known for the compositional simplicity of his works, as he uses complex
lines that provide the viewer with a diverse range of perspectives. He utilizes
a material known as shibuichi, a metal-alloy comprised of silver and copperthat is unique to Japan. During the process of making the work, the metal
shrinks and expands to the artist’s desired shape by using shibori andnobashi techniques. During this process, Taguchi hammers the metal withpatience and endurance causing the “hammer prints” that are characteristicof Taguchi’s work.

Selected Exhibitions
2020

Asia Week, New York, US

2019

The 66th Japan Traditional Kōgei Exhibition, Japan2018

Living National Treasure Exhibition,
MOA Museum of Modern Art, Shizuoka, Japan

Selected Public Collections
Metropolitan Museum of Art, New York, US; MOA Museum of Modern
Art, Shizuoka, Japan; Jingu Museum, Ise, Japan; Agency for Cultural Affairs,
Government of Japan

Taguchi Toshichika (b. 1940)
Living National Treasure
Hammered Oborogin Flower Container, 2006
Alloy of silver, copper and gold
h. 3 1/2 x w. 11 1/2 x d. 13 1/2 (9 x 29 x 34.5 cm)

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EARTH, AIR, FIRE & WATEROKUYAMA Hoseki (b. 1937)
Living National Treasure (1995)
Designated a Living National Treasure for tankin metalwork in 1995,
Okuyama has worked as a silversmith since leaving his home in Shinjo,
Yamagata Prefecture. He excels in the kiribame method, hammering intricate
designs onto metal surfaces, then extracting the design and fitting it onto
the object. This process is well suited for larger patterns, while the uchikomi
technique is more suitable for delicate designs. In the 1990s, Okuyama
developed a unique style of modern and colorful designs by applying
damascening techniques to his metal pieces to incorporate expressive
motifs inspired by nature. The large piece of work that Okuyama donatedto Ise Shrine displays more than 12,000 cherry blossom petals which were
hammered on the surface using the uchikomi method.

Selected Exhibitions
2020

Asia Week New York, US
Master of Metal Art, Okuyama Hoseki and His True Calling,
MOA Museum of Art, Shizuoka, Japan2019

The 66th Japan Traditional Kōgei Exhibition, Japan2018

Living National Treasure Exhibition,
MOA Museum of Modern Art, Shizuoka, Japan

Selected Public Collections
Metropolitan Museum of Art, New York, US; National Museum of Modern
Art, Tokyo, Japan; MOA Museum of Modern Art, Shizuoka, Japan; Agency for
Cultural Affairs, Government of Japan
Okuyama Houseki (b. 1937)
Living National Treasure
Flower Vase “Dew grass”, 2003
Gold, Silver, Shakudo and Shibuichi
h. 8 1/2 x dia. 5 in. (22 x 13 cm)

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EARTH, AIR, FIRE & WATER

KATSURA Morihito (b. 1944)
Living National Treasure (2008)
Katsura Morihito hails from a long line of metalwork artists dating back to the
Edo period in the 1600s in Tokyo. Named after his family, The Katsura School
became renowned for its fashionable metal accessories including obi sash
clips and ornately decorated tobacco cases. Katsura is recognized for his
remarkable skills in inlaying and decorative painting along with his lifelongcommitment to Edo metal sculptures.

Selected Exhibitions
2020

Asia Week New York, US

2019“20 Passions for Crafting Crafts,” National Museum of Modern Art,
Tokyo Craft Gallery, JapanThe 66th Japan Traditional Kōgei Exhibition, Japan2018

Living National Treasure Exhibition, MOA Museum of Modern Art,
Shizuoka, Japan“Edo Metal Sculpture and the World of Metal Craft,” Nrima Art
Museum, Tokyo, Japan

2014“The Present of Living National Treasures,”
Tokyo National Museum, Japan

Selected Public Collections
Metropolitan Museum of Art, New York, US; MOA Museum of Modern Art,
Shizuoka, Japan; Imperial Household Agency of Japan; Agency for Cultural
Affairs, Government of Japan
Katsura Morihito (b. 1944)
Living National Treasure
Silver Incense Burner, 1984
Gold, Silver, Copper and Shakudo (alloy-copper,gold)h. 4 1/2 x dia. 3 in. (11.5 x 7.5 cm)

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EARTH, AIR, FIRE & WATERMIYATA Ryohei (b. 1945)
Miyata has participated in both domestic and international exhibitions,frequently featuring his signature motif of dolphins in his series “Springen.”
After serving as the President of the Tokyo University of the Arts for a
decade, he was appointed Chairman of the Ministry of Education’s Culture
Council and Commissioner for Cultural Affairs. He also serves as chairpersonof the Tokyo 2020 Emblems Selection Committee launched by the Tokyo
2020 Olympics and Paralympics Organizing Committee. His work is includedin the permanent collection at the Metropolitan Museum of Art in 2020.

Selected Exhibitions
2020

Asia Week New York, US

1999

Cheongju International Craft Biennale ’99, Cheongju, South Korea’99 Seoul International Metal Artist Invitational Exhibition,
Seoul, South Korea

2002

Isetan, Niigata
Ginza Wako, Tokyo

2004

The Miyata’s Traditional Beauty Exhibition, Isetan, Niigata,
Mitsukoshi, Tokyo

2007

Mitsukoshi, Tokyo

Selected Public Collections

Miyata Ryohei (b. 1945)

Metropolitan Museum of Art, New York, US; Tokyo Metropolitan Art Museum,Japan; Niigata Prefectural Museum of Modern Art, Japan; The University Art
Museum, Tokyo University of the Arts, Japan; Hoki Museum, Chiba, Japan;
Meiji University, Tokyo, Japan; Tokyo Station, Tokyo, Japan; Niigata Airport,
Niigata, Japan; The Niigata Nippo Co., Ltd., Japan

Incense Burner “Springen,” 2016
Hammered copper with gold and silver leaves, and lost-wax casting with silver
h. 4 3/4 x dia. 6 in. (12 x 14 cm)

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EARTH, AIR, FIRE & WATERHANNYA Tamotsu (b. 1941)
Hannya Tamotsu is a 16th generation metal master of Takaoka, Toyama
Prefecture who creates art using the fukiwake casting technique. Hannya
excels in this casting method in which three different metals are individually
poured into a mold within five seconds of each other. Due to the different
melting points of the three metals, they do not blend together whencombined but form unique patterns instead. Hannya is the only artist everknown to have created three-metal cast work. “Hannya Tamotsu is theforemost master of the fukiwake casting technique, artfully weaving together
bronze and brass to create works with mysterious patterns,” states Takazu
Ishii, Governor of Toyama Prefecture. In fact, there is a long tradition of metal
production in Takaoka, as works from the region were submitted to the Paris
World Exposition during the Meiji period. Hannya is an artist who has not
only upheld this tradition but exceeded it by creating complex yet elegant,Contemporary metal designs. In 2016, he received the Order of the Sacred
Treasure, Silver Rays from the Emperor of Japan.

Selected Exhibitions
2020

Asia Week New York, US

2019

The 66th Japan Traditional Kōgei Exhibition, Japan2018

The 65th Japan Traditional Kōgei Exhibition, Japan2017

The 64th Japan Traditional Kōgei Exhibition, Japan

Selected Public Collections
Metropolitan Museum of Art, New York, US; National Museum of Modern Art,
Tokyo, Japan; Takaoka Art Museum, Toyama, Japan; Yakushiji Temple, Nara,Japan
Hannya Tamotsu (b. 1941)
Fukiwake Flower Vase (No. 508), 2006
Metal casting with kuromido, brass and copperh. 7 x w. 13 1/2 x d. 5 1/2 in. (21 x 40 x 18 cm)

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EARTH, AIR, FIRE & WATER

IEDE Takahiro (b. 1962)
Born in Fukui Prefecture in 1962, Iede Takahiro is one of Japan’s leading
Contemporary metal artists due to his innovative metal-weaving techniques.
Iede draws inspiration from traditional Japanese bamboo basketry andweaves together colorful strips of rigid metals. He first heats and hammers
each strip then crimps it along its length to conform them, painstakingly
weaving the strips together starting from the center. In 2016, Iede received
the Medal of Purple Ribbon for Artistic Achievement from the Japanese
government.

Selected Exhibitions
2020

Palm Beach Modern + Contemporary, FL, US
Asia Week New York, US

2019

Japan Traditional Kogei Exhibition, Japan2017

TEFAF New York, US

2016

Spring Masters New York, US
Group Exhibition, EAF Monaco, Monaco

Selected Public Collections
Metropolitan Museum of Art, New York, US; Agency for Cultural Affairs,
Government of Japan; Tokyo National Museum, Japan; National Museum
Wales, UK; Manchester Art Gallery, UK

Iede Takahiro (b. 1962)
Vessel Ritsu (Rhythm), 2019
Metal weaving of shakudo, shibuichi and silverh. 6 x w. 6 1/4 x d. 6 3/8 in. (15.5 x 16 x 16.2 cm)

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EARTH, AIR, FIRE & WATER

OSHIYAMA Motoko (b. 1958)
Oshiyama Motoko is a masterful female artist who is inspired bynature and natural phenomena. Fascinated by the challenges and beauty ofmetalworking, she seamlessly incorporates her medium’s idiosyncrasies into
her work. Oshiyama creates swirling patterns by welding two or more metals
together such as silver and shakudō (a mixture of gold and copper). Her
work is distinctive due to its modern sense of design that often incorporates
geometric and abstract patterns. The results are pieces that straddle theseparation between ‘art’ and ‘craft,’ aiming to create objects that aestheticallyenrich our environment and lives.
Oshiyama studied metal carving, chasing, and hammering techniques at the
Bunka Gakuen University in Tokyo, where she graduated in 1981. Following
her graduation, she studied with Katsura Moriyuki (1914–1996) and Living
National Treasure, Okuyama Hōseki (b. 1935). Oshiyama currently teaches
metalwork and jewelry-making at her alma mater.

Selected Exhibitions

Oshiyama Motoko (b. 1958)
Kakuhanmon Vase “Koin” (Time), 2019
Silver, brass, shakudo and copperh. 7 7/8 x w. 10 x d. 3 1/2 in. (20 x 25.5 x 9 cm)

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2020

Asia Week New York, US
Palm Beach Modern + Contemporary

2017

The 64th Japan Traditional Kōgei Exhibition, Japan2016

The 45th Japan Traditional Kōgei Metalwork Exhibition,
Sekido Museum of Art, Tokyo, Japan

2015

SOFA Chicago, Illinois, US

2010

Art Crafts in the 21st Century – Eye of the World,
MOA Museum of Art, Shizuoka, Japan2008

The Beauty of New Metalwork, Sekidō Museum of Art, Tokyo, Japan

Selected Public Collections
Metropolitan Museum of Art, New York, US

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EARTH, AIR, FIRE & WATEROTSUKI Masako (b. 1943)
Influenced by her studies at Tama University’s Department of Design, Ōtsuki
Masako incorporates many aspects of design into her metalwork pieces. She
has stated that in artwork, highly developed techniques should meet refined
designs to appeal to audiences. She applies the hatsuri shave and carve
technique, carving distinctive and fine-angled lines into base metals using
chisels. This technique gives the work a unique three-dimensional effect withdepth and shadow. Despite the varying degrees of solubility, Ōtsuki expertly
manipulates the gold, silver, copper and copper-silver alloy, lending metal—acold medium, a feeling of warmth and life.

Selected Exhibitions
2020

Asia Week, New York, US

2017

The 64th Japan Traditional Kōgei Exhibition, Japan2016

The 45th Japan Traditional Kōgei Metalwork Exhibition,
Sekido Museum of Art, Tokyo, Japan

2015

SOFA Chicago, Illinois, US

2013

From Craft to Kōgei, National Museum of Modern Art, Tokyo, Japan

2004

Contemporary Japanese Metalwork Exhibition,
Copenhagen, Denmark

Selected Public Collections
Metropolitan Museum of Art, New York, US

Otsuki Masako (b. 1943)
Silver Vase Kō (Sparkling Water), 2007
Silver metal carving with gold decoration
11 7/8 × 13 × 8 1/4 in (30.2 × 33 × 21 cm)

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TANAKA Terukazu (b. 1945)

EARTH, AIR, FIRE & WATER

Born in the Yanaka district of Tokyo, Tanaka Terukazu graduated from theMetal Crafts Department of Tokyo Metropolitan Crafts High School in 1964.
The son of a metalsmith, Tanaka additionally trained under his father.
He is known for his mastery of fusing gold, silver, and copper alloys in his
signature forms and luminous surfaces. In his work, “AKENO, Field of Dawn”
Tanaka joined sheets of blue-black shakudo (copper with 3 percent gold) toeither end of a central sheet of copper to form the lid and base of the box.
He then hammered the metal patchwork over iron anvils to raise the curved
forms. The shakudo surfaces reveal minute facets left by his hammer strokes.
In 2018, Tanaka was selected as the second artist for The Freer Sackler
Residency in Japanese Metalwork Design after Living National Treasure artist.

Selected Exhibitions
2020

Asia Week New York, US

2019

Nitten Exhibition, The National Art Center, Tokyo, Japan2018

Freer Gallery Art and Arthur M. Sackler Gallery,
Washington DC, US“The Modern Minstrels in Metalmaking” Lixil Gallery,Tokyo, Japan

Selected Public Collections
Metropolitan Museum of Art, New York, US

Tanaka Terukazu (b. 1945)
Hammered Box - AKENO, 2006
Copper shakudo and shibuichi
h. 7 3/4 x dia. 11 1/2 in. (20 x 29 cm)

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SAKO Ryuhei (b.1976)
Born in Okayama Prefecture, Sako Ryuhei received an undergraduate andmaster’s degree from Hiroshima City University in the Department of Design
and Applied Arts. The artist creates pieces using mokume-gane, a Japanesetechnique dating back to the 17th century. First, he layers and bonds
very thin, alloyed metal sheets of differing colors. Then he cuts, drills andreworks these layers. Although Sako’s work is based on extensive research,he experiments with traditional processes, allowing him to produce more
contemporary pieces. In 2004, he became a member of the Nihon Kōgeikai(Japanese Handcrafts Association) and in 2013, during his first exhibition
outside Japan, the Victoria and Albert Museum purchased one of his pieces
for their public collection.

Selected Exhibitions
2020

Asia Week, New York, US
Palm Beach Modern + Contemporary

2017

The 64th Japan Traditional Kōgei Exhibition, Japan2018

PAD London, UK

2016

The 45th Japan Traditional Kōgei Metalwork Exhibition,
Sekido Museum of Art, Tokyo, Japan

2015

Collect, Saatchi Gallery, London, UK

2014

Solo Exhibition, Mitsukoshi Nihombashi, Tokyo, Japan

2013

Solo Exhibition, Karuizawa New Art Museum Gallery, Nagano, Japan

Selected Public Collection
Sako Ryuhei (b.1976)

Metropolitan Museum of Art, New York, US; Hiroshima City University,
Hiroshima, Japan; Machiko Hasegawa Art Museum, Tokyo, Japan; Victoria andAlbert Museum, London, UK

Mokume-gane Tea Container 01, 2020
Silver, copper, shakudo and shibuichi
h. 3 x dia. 2 3/4 in. (7.5 x 7.2 cm)

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HATA Shunsai III (b. 1976)
Born in 1976, Hata Shunsai III is a metalwork artist whose family has beenrooted in Kanaya-machi for generations. Known for its exceptional metal
ware crafts, Kanaya-machi is a district in Takaoka City and is the birthplace of
Takaoka metal-casting. To this day, some of the best metal artists including
Living National Treasures, hail from this area. Hata has carried on his
family’s tradition of making teakettles, observing his father at work since his
youth. He says, “I select water as my main theme, and I create designs thatgive an impression of transparency so that the viewer becomes unawareof the underlying iron; I make it a policy to create works unique to myself,
by incorporating contemporary elements while maintaining time-honored
traditions.” Among the several awards that he has received are the NHK
Chairman’s Award at the 60th Japan Traditional Art Crafts Exhibition in 2013
and the Sekido Museum Prize at the Japanese Metalwork Exhibition in 2018.

Selected Exhibitions
2020

Asia Week New York, US

2019

The 66th Japan Traditional Kōgei Exhibition, Japan2018

The 65th Japan Traditional Kōgei Exhibition, Japan2017

The 64th Japan Traditional Kōgei Exhibition, Japan2015

Modern Crafts and the Tea Ceremony,
National Museum of Modern Art, Tokyo, Japan

Selected Public Collections
Metropolitan Museum of Art, New York, US; National Museum of Modern Art,
Tokyo, Japan; Yakushiji Temple, Nara, Japan; Sano Culture Center, Tochigi,
Japan
Hata Shunsai III (b. 1976)
Fuji Tea Kettle with Line Patterns, 2016
Iron and copperh. 8 1/2 x dia. 8 1/2 in. (21.5 x 21.5 cm)

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EARTH, AIR, FIRE & WATERIINO Ichiro (b. 1949)
After completing an MFA in Metal Carving at Tokyo University of the Arts in
1975, Iino Ichiro worked as a goldsmith in Tokyo and exhibited works acrossJapan and Europe. Iino’s work is known both in traditional and contemporary
metalwork fields in Japan. He applies Japan’s centuries-old metal materials
such as shakudo and shibuichi onto his work as well as the refined pieces ofjewelry that he makes. In 2000, the government of Japan sponsored him fora fellowship in Europe and Australia. He is currently a Professor at Tokyo
University of the Arts and the acting Director of Yamanashi Jewelry Museum.

Selected Exhibitions
2011

International Metal Art Exhibition, Contemporary Art Center, Beijing

2009

International Metal Art Exhibition, Beijing Tsinghua University

2006

Japanese Art Jewellery Today,
The National Museum of Modern Art (MOMA)

2001

Contemporary Japanese Jewellery, London Crafts Council

Selected Public Collections
Metropolitan Museum of Art, New York, US

Iino Ichiro (b. 1949)
Box “Cherry Blossoms,” 2010
Silver, platinum and gold
h. 3 x w. 2 1/2 x d. 4 in. (7.5 x 6.5 x 10 cm)

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