22 Tatsuzo Shimaoka A Tribute

Pucker Gallery • Boston 22

Remembering My Father Tatsuzo Shimaoka

t has been a full two years since my father Tatsuzo Shimaoka passed away at 88 years of age. In the Buddhist tradition of reposing the soul of the deceased, we mark the third I anniversary of his death today. Following his death on December 11, 2007, we bereaved family members found ourselves more than fully involved in a total of six memorial exhibitions held in key spots across Japan including Mashiko, Tokyo and Osaka in 2008. At these exhibitions, we were honored to have the chance of coming across people who genuinely cherished his works. These occasions also gave us a rare opportunity to come to grips with certain aspects of Shimaoka “the master potter” we family members were not quite aware of. “What manner of man was Shimaoka Sensei?” has been the most frequently asked question about my father. And I would always answer: “He was always unfailingly sincere with people, as well as with himself.” Some time ago, I faced a situation in which I needed to call upon one of his old friends for advice. His words were plain, simple and soothing: “You have nothing to worry about. After all, I believe your father has taught you everything you needed to learn about such a situation. Just be your own self and act on your best judgment.” “Live as sincerely as you can.” This, I believe, constitutes the essence of the lesson Tatsuzo Shimaoka has left behind and I am forever grateful. Just before the first anniversary of his death, commemorated on December 11, 2008, a thick white square sheet of Japanese mulberry paper bearing his rare calligraphy turned up out of the blue. His handwriting with an ink-filled brush showed two bold Chinese characters which read “mu-ga,” meaning “self- effacement.” Even after being designated a “Living National Treasure” in 1996, my father could not bring himself to do calligraphy as readily as many people of his stature are asked to do from time to time – because he was fundamentally a shy person and obviously felt more than a little embarrassed about including himself in such a practice. However, I suppose he was obligated to comply with this particular calligraphy practice under some unavoidable circumstances. Nevertheless, his handwriting looked great, the two Chinese characters he wrote representing his quintessence. The strokes are gentle and warm – the touch of a man with a tranquil mind who, despite his stature, was the least pretentious under all circumstances. This calligraphy is a precious gift from my father – a grand old man of the Japanese pottery world, who deep inside was always curious and playful, like a young boy. Thank you, Dad, for this priceless memento of yours. I will treasure it forever.

— Yoshiko Fudeya, first daughter of Tatsuzo Shimaoka and a glasswork artist Mashiko, Japan, December 11, 2009

This text has been previously published in the 2009 tribute exhibition catalogue, Turning the Wheel: Recollections of Mingei Master Potter Tatsuzo Shimaoka.

All works are stoneware 3

Faceted Jar Rope and slip inlay 8 ¾ x 8 ½ x 8 ½" #149

Vase Rope and slip inlay 14 x 5 x 5" LA13

Jar with Lugs Rope and slip inlay 8 x 7 x 7" #71 4

Plate Stamped decoration 2 ¾ x 12 x 12" LA1

Vase Rope and slip inlay with wax resist brushwork 14 ¾ x 6 x 6" #41

Plate Rope and slip inlay with wax resist and overglaze enamel brushwork 2 ¼ x 12 x 12" #95 5

Water Dropper Rope and slip inlay with wax resist and tetsue brushwork 2 ½ x 4 x 3 ½" LA14

Teacup Rope and slip inlay 3 ¾ x 3 ½ x 3 ½" CC22

Vase Rope and slip inlay 12 ½ x 9 ¾ x 9 ¾" #5 6

Set of Six Sake Cups Rope and slip inlay 1 ¾ x 2 ¾ x 2 ¾" each LA19

Bottle Vase Wax resist decoration Rope and slip inlay with wax resist brushwork 9 ½ x 4 ½ x 3 ½" 11 ¼ x 8 ¼ x 8 ¼" LA5 #210 7

Vase with Lugs Rope and slip inlay 12 x 8 x 8" CC31 Faceted Vase Rope and slip inlay 10 ¼ x 5 ½ x 5 ½" #7

His and Hers Teacups Rope and slip inlay 2 ½ x 3 ½ x 3 ½", 2 ¾ x 3 ½ x 3 ½" LA15 8

Rectangular Dish Rope and slip inlay 2 ½ x 10 ¾ x 2 ½" #166

Square Bottle Faceted Jar Rope and slip inlay with wax resist and tetsue decoration Rope and slip inlay 7 ½ x 3 ½ x 3 ½" 8 ½ x 7 ¾ x 7 ¾" LA6 #73 9

Square Bottle Wax resist decoration Square Bottle 7 ½ x 3 ½ x 3 ½" 9 ¾ x 4 x 4" LA3 LA4

Rectangular Dish Rope and slip inlay 2 ¼ x 10 ¾ x 5 ¼" #218 10

Pitcher Rope and slip inlay with wax resist brushwork 8 ½ x 7 ¾ x 6 ¾" #131

Bottle Rope and slip inlay 12 ¾ x 7 x 7" ML8

Vase with Lugs Rope and slip inlay 10 ½ x 7 x 7" #206 11

Plate Hakeme brushwork 2 ½ x 12 x 12" LA10

Plate Hakeme brushwork 2 ½ x 10 ½ x 10 ½" ML22 12

Vase 12 ½ x 7 ½ x 7 ½" LA12

His and Hers Teacups Rope and slip inlay 3 ¼ x 3 x 3", 3 ¾ x 3 ½ x 3 ½" LA20 13

His and Hers Teacups Rope and slip inlay with tetsue decoration 3 ¾ x 3 ½ x 3 ½" each LA18

Jar Incised line and slip inlay 10 x 10 x 10" #48 14

Set of Five Teacups Rope and slip inlay with wax resist and tetsue decoration 3 x 4 x 4" each LA26

Bottle Rope and slip inlay with wax resist and overglaze enamel brushwork 9 ¼ x 7 ½ x 7 ½" #152 15

Vase with Lugs Vase Rope and slip inlay Rope and slip inlay 10 ¾ x 6 x 6" 10 ¼ x 6 x 6" #9 #223

Teacup Teacup Teacup Teacup Teacup Rope and slip inlay with Rope and slip inlay with Rope and slip inlay with Rope and slip inlay Rope and slip inlay with tetsue decoration wax resist and overglaze wax resist and overglaze 4 x 3 ½ x 3 ½" wax resist and overglaze 4 x 3 ¼ x 3 ¼" enamel brushwork enamel brushwork LA24 enamel brushwork LA21 3 ½ x 3 ½ x 3 ½" 3 ½ x 3 ½ x 3 ½" 3 ¾ x 3 ¾ x 3 ¾" LA22 LA23 LA25 16

Plate Plate Rope and slip inlay with trailing decoration Rope and slip inlay 1 ¾ x 10 ¾ x 10 ¾" 1 ½ x 8 ¼ x 8 ¼" CC19 CC24

Plate Plate Rope and slip inlay with combed decoration Rope and slip inlay 1 ¾ x 9 ½ x 9 ½" 1 ¾ x 9 ½ x 9 ½" CC34 CC25 17

Plate Plate Rope and slip inlay with combed decoration Rope and slip inlay with combed decoration 1 ¾ x 9 ½ x 9 ½" 1 ¾ x 9 ½ x 9 ½" CC36 CC35

Plate Plate Rope, stamped and slip inlay with trailing decoration Rope and slip inlay with trailing decoration 2 x 9 ¾ x 9 ¾" 2 x 10 x 10" CC21 CC33 18

Square Bottle Vase Hakeme and overglaze brushwork Rope and slip inlay with tetsue brushwork 8 ½ x 3 ¾ x 3 ½" 11 ¾ x 6 ¼ x 6 ¼" #89 #151 19

Plate Plate Hakeme brushwork Hakeme brushwork 1 ¼ x 7 ¼ x 7 ¼" 1 ¼ x 7 ¼ x 7 ¼" CC38 CC37

Plate Bowl Tetsue brushwork Rope and slip inlay 1 ½ x 7 x 7" 3 ¼ x 9 x 9" CC32 #228 20

Plate Rope and slip inlay 2 x 12 x 12" #156

Teacup Sake Cup Rope and slip inlay with tetsue brushwork Rope and slip inlay 3 ¾ x 3 ¾ x 3 ¾" 2 ¼ x 3 x 3" JMJ2 CC30 21

Sake Bottle Hakeme brushwork 6 ¾ x 3 ½ x 3 ½" LA17

Sake Bottle Hakeme brushwork 6 ½ x 3 ¾ x 3 ¾" LA16

Plate Rope and slip inlay with tetsue brushwork 1 ¾ x 10 ¾ x 10 ¾" #158 22

Lidded Bowl Rope and slip inlay with wax resist decoration 8 x 9 x 9" LA2

Teapot Hakeme brushwork 10 ¼ x 10 x 7" CC29 23

Square Plate Rope and slip inlay with trailing decoration 2 ½ x 11 ¼ x 11 ¼" #233

Plate Rope and slip inlay 2 x 9 x 9" CC28

Square Plate Square Plate Hakeme brushwork Rope and slip inlay 2 x 8 ¾ x 8 ¾" 2 ¼ x 10 ¾ x 10 ¾" JMJ4 CC26 24

Set of Six Teacups Rope and slip inlay with tetsue decoration 2 ½ x 4 x 4" each LA27

Jar Rope and slip inlay 10 x 10 ¾ x 10 ¾" #147 25

Jar Rope and slip inlay 10 x 9 x 9" #132

Faceted Lidded Jar Rope and slip inlay 4 ½ x 6 x 6" CC20 26

Faceted Vase Vase Rope and slip inlay Rope and slip inlay 9 ¾ x 7 ¾ x 7 ¾" 9 ¼ x 7 ¼ x 7 ¼" #8 #146

Teacup Rope and slip inlay 3 ¾ x 3 ¼ x 3 ¼" ML5

Teacup Rope and slip inlay 3 ½ x 3 ¼ x 3 ¼" ML6 27

Teacup Rope and slip inlay 3 ¼ x 3 x 3" ML4

Teacup Rope and slip inlay 3 ¾ x 3 ¼ x 3 ¼" ML3

Vase Jar with Lugs Rope, stamped and slip inlay Stamped and slip inlay 9 ¾ x 6 ½ x 6 ½" 9 ½ x 7 x 7" LA8 ML14 28

Jar Rope and slip inlay 9 x 9 ½ x 9 ½" #207

Large Bowl Rope, stamped and slip inlay 4 x 14 ½ x 14 ½" ML15 29

Hexagonal Bowl Rope and slip inlay 2 ½ x 7 ¾ x 9" #167

Vase Rope and slip inlay 10 x 8 ¼ x 8 ¼" #75 30

Jar Rope, stamped and slip inlay 6 ¾ x 6 ½ x 6 ½" ML9

Tatsuzo Shimaoka Biography

Tatsuzo Shimaoka was born in Tokyo in 1919 and studied pottery at the Tokyo Institute of Technology. Five years after graduating in 1941 with a degree in industrial ceramics, Shimaoka began a three- year apprenticeship in Shoji Hamada’s workshop. From 1950 to 1953, Shimaoka worked at Tochigi Prefecture Ceramic Research Center where he developed many of his signature rope inlay decoration techniques. He then built his own kiln and established a workshop in Mashiko. From the 1960s to the ’80s, Shimaoka traveled around the world and was invited to exhibit in North America, Asia and Europe. He was awarded many prizes in Japan for distinguished work and contribution to traditional Japanese folk art and in 1996, Shimaoka was designated Living National Treasure of Japan. Shimaoka died in Mashiko in

December 2007. Mr. Zihler by Photo 22

Crossing Cultures: A Sensei’s Legacy atsuzo Shimaoka was a potter and a great teacher who passed on his spiritual wisdom and great work to assure a continuous legacy for the generations of potters who followed T in his path and moved forth in new directions. Shimaoka was also an important link to continuing the philosophies of Bernard Leach, Shoji Hamada and Soetsu Yanagi. Through his example, I learned that pottery-making is a creative and physical activity; one that draws on the intellect and the emotions, the conscious and subconscious. In the late 1960s and early ’70s, the ceramic tradition of Japan became culturally influential to American potters as a rediscovered model. Many young Americans, unknown to each other at the time, ventured to Japan to participate first hand in ceramic-making. I had always thought of Mashiko, Japan, as an inherently sacred place for ce- ramics; a place where studio cycles were ceremonial in nature and the glow of Shoji Hamada’s energy attracted many to visit and to learn. The opportunity to work with Tatsuzo Shimaoka, Hamada’s most important student, and learn about ceramics would be one of my life’s most treasured experiences. Mashiko was a place where I would discover that interdependency and cooperative effort is an essential component of working in a large pottery. Shimaoka’s studio was a place where I learned intimately about the aesthetic decisions and physical tasks of making pottery – preparing clay, making and trimming pots, glazing, loading the kiln and sharing many days and nights with the workers firing the kiln. Mashiko was also a place where I was allowed to assess my commitment to pots realistically and directly. And to experience giving up possession and Teabowl ownership of the pieces that I made. At the end of my stay I was guided by Shimaoka back Rope and slip inlay 3 x 5 ½ x 5 ½" into the exciting, and often confusing, reality of self-decision involved in making pottery. CC23 During my time at Shimaoka’s studio I came to love the process of firing pots with wood and I returned to the States to re-establish my own studio with this young impetuous mastery. My goal was to gain a pragmatic and theoretical understanding of the artistic perceptions of Japanese ceramic culture and to work through these complex ideals and place them within the context of my work and experience in Japan. Shimaoka set a standard (pattern) of the relationship of teacher to student. As the days and weeks passed I learned patience and humility as I caught a true glimpse of an extraordinary, complex process made simple and direct by the collective experience of successive generations of potters. Shimaoka provided an opportunity for me as a young potter to seek out experience and to be informed by the broad mix of ideas brought forward in time by great teachers like himself. He once told me that providing this opportunity to foreign students was part of repaying a debt of gratitude to Hamada-sensei. Shimaoka’s role in the history of ceramics is profoundly important. As an artist he is internationally recognized and respected for making direct and functional pots that embody the Mingei tradition. Shimaoka devoted his life to the philosophy of functional ceramics and its importance to daily utility, while at the same time ensuring that the word “traditional” did not evoke simple nostalgia for the concept of an idealized pot. Shimaoka, as a direct student of Hamada, dealt with the determining expectations and obligations of a particular tradition. Yet, Shimaoka was concerned with methods that would create quality, engage the heart and bring joy to both the maker and the user. He loved art made by hand which engaged the human spirit. He set a strong cross-cultural example through his commitment to high standards, great integrity and strength of the work. Each of his pots has a powerful autonomous presence and artistic meaning. This is Shimaoka’s legacy. — Randy J. Johnston November 2010

Randy Johnston has been working in ceramics in his Wisconsin studio for more than thirty-five years. He is recognized internationally as an artist who has pursued functional expression and brought a fresh aesthetic vision to contemporary form, and for his many contributions to the development of wood kiln technology in the United States. He is currently a professor at the University of Wisconsin - River Falls, where he teaches ceramics and drawing. His work is exhibited and collected internationally. 22

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Tatsuzo Shimaoka A Tribu te Dates: 26 March to 25 April 2011

Opening Reception: 26 March 2011, 3:00 to 6:00 PM

The public is invited to attend.

Credits: Design: Leslie Anne Feagley Editors: Destiny M. Barletta and Justine H. Choi Large Platter On the cover: Jar with Lugs Photography: Leslie Anne Feagley and Keith McWilliams Rope and slip inlay with wax resist brushwork Rope and slip inlay 3 ½ x 18 x 18" 11 ¼ x 10 ¼ x 10 ¼" © 2011, Pucker Gallery #58 #221 Printed in China by Cross Blue Overseas Printing Company