Izumo City, Shimane Prefecture
Biography
1947 Founded with the cooperation of 5 young men and 2 supporters
1949 Participated in the Mingei movement. Determined as Shusai kiln from the name of the place
1950 Under the guidance of Kanjiro Kawai, started making tableware for everyday use. Studied under Kugai Yamamoto and discovered the philosophy of the group in Buddhism
1952 Studied under Shoya Yoshida and joined the Tottori Mingei Kyodan
1959 Received the highest award of Japanese Folk Crafts for wave pattern brush eye bowl large and small set
1983 Received the Japan Folk Crafts Association Award for the black glaze oval bowl. Received the Chinese Culture Award from the Chugoku Shimbun
1989 Received the Japan Ceramic Art Exhibition Excellence Award for Fuchi Tetsu Sago Suyu Kumibachi
1993 A special exhibition “Contemporary Ceramics, Ceramic Kiln in San’in, Shusaigama” is held at the National Museum of Modern Art, Tokyo.
1997 Received the Grand Prize at the Tanabe Museum Grand Prize for Tea Ceremony Modeling Exhibition for his ash-glazed pectinate square bowl.
1998 Completion of "Kurashi no Tou Mujiseikan"
1999 Received the Japan Ceramic Art Exhibition Excellence Award and the Mainichi Shimbun Award for the sea urchin glaze kiritate-gumi flat bowl.
2004 Reprinted the black clay pot designed by Sori Yanagi. Started production of Shusaigama series directed by Sori Yanagi
2009 Received the 20th Japan Ceramic Art Exhibition Special Award and TOTO Award for "Gaitetsu Sand Glaze Fukagumi Gosu Glaze Bowl"
2012 65th anniversary of foundation
Shusaigama pottery is often plain and simple. Commitment is "ease of use as a tool". All of the vessels fit comfortably in the hand, and even though they are made of ceramics, you can feel their softness and warmth. A design that can be combined with both Japanese and Western styles without claiming it as tableware. It is relatively durable and can be used in the same way as regular pottery.
In 1947, Hiromitsu Tatano, Hisato Inoue, Chiyokichi Kageyama, Yoshio Tatano, and Kuei Nakajima gathered in Denishi, Hikawa-cho, Izumo City. They were 19 to 20 years old at the time and were childhood friends in the local area, all of whom were the second and third sons of farmers. In the immediate post-war era when both goods and food were in short supply, I wondered if there was anything I could do with my own hands as a way of life.
While exploring various things, they heard that the sticky clay of this land is suitable for pottery, and set their sights on pottery. However, starting from scratch with no knowledge or experience in pottery, I built a kiln from scratch.
At first, I was making pottery that had artistic value, such as Ko-Imari and Kyo-yaki. I have no ambition,” and was handed a book by Muneyoshi Yanagi, who started the folk art movement.
Having lost their way, they were greatly influenced by the book and asked Kanjiro Kawai, a potter from Yasugi City who was also developing a folk art movement, for guidance. After receiving guidance from Kanjiro Kawai, who visited the kiln, the values of the five people changed greatly.
In addition, the connection with Kanjiro Kawai led to exchanges with Soetsu Yanagi, Shoji Hamada, Shoya Yoshida, a folk art activist from Tottori, and British ceramic artist Bernard Leach. He learned the spirit of the Mingei Movement from the leaders of the Mingei movement, and they also went out to train and received technical guidance, and steadily improved their skills.
The pottery of Shusai kiln does not have a kiln owner, and each process is a collaborative effort.
No matter how well the name of Shusaigama sells, if it becomes expensive, it will not be used by many people. There are no artists here to express their individuality, and it is a collaborative workshop of like-minded craftsmen who believe that the things they make are kitchen utensils.
The beliefs of the five young men who shared their hardships, difficulties, and joys as a community have been carefully passed down to the present day.
In 2004, the production of the Shusaigama series under the direction of Sori Yanagi began, and I feel that Shusaigama, which has many modern vessels, has become even more attractive.
The vessels of Shusai kiln have a strong impression of clay rather than clay, and I think they are simple and industrial vessels.
The appearance and the vivid blue of Gosu called Denishi Blue give the impression that it is made in Europe and the United States.
It may be a unique culture and feature of Shusai kiln to have beautiful flat plates reminiscent of the industrial design of molds instead of the potter's wheel, which is rarely seen in Japanese tableware.
There are few products handled at Northern Morning Store,
Please try mainly basic cups.
*Reference source (Izumo Tourism Guide)
https://www.izumo-kankou.gr.jp/special/1697