#Kitaōji Rosanjin

[catherine-white]

                                       Dish with three circular spots                                        

                        Kitaōji Rosanjin 北大路魯山人 Japanese                                

                                               ca. 1950s                                    

                             The iron-red spots on this unglazed plate are reminiscent of firing marks (botan-mochi) often found on Bizen ware. In 1952, Rosanjin, a ceramist, calligrapher, painter, and restaurateur, visited Kaneshige Tōyō’s studio with the Japanese American sculptor Isamu Noguchi to learn the repertory of Bizen kiln effects. Later, Kaneshige built a Bizen-style kiln for Rosanjin, in Kamakura.

[thatsbutterbaby]

Kitaōji Rosanjin (Japanese, 1883—1959) -  Sake Vessel; Ceramic; 4 ¾ x 2 5/8 in.; Collection of Isamu Noguchi. (Study Collection; Collectibles, C-S-87)

[mia-japanese-korean]

(Iga plate, one of a pair), Kitaōji Rosanjin, 20th century, Minneapolis Institute of Art: Japanese and Korean Art

roughly square slab with slightly round, irregular edges and squared-off corners; corners slightly lifted; five shallow ribs; green glaze, thickly pooled near center Size: 1 1/4 x 8 x 7 1/2 in. (3.18 x 20.32 x 19.05 cm) Medium: Glazed stoneware

https://collections.artsmia.org/art/104651/

[kimhauceramics]

Hi everyone! I miss you! Got back from Japan. Had the opportunity to help with a woodfiring in Yokosuka, explored Yakushima island, went to Mashiko town where Shoji Hamada lived, and reunited with all my wonderful friends after 10 years. Lived there from 2005-2009. Also saw a show displaying Kitaōji Rosanjin’s work. Thank you for all the great memories! Sending all pots out next week! Thanks for being patient! ❤️ #kimhau #woodfiring #mashiko #shojihamadastudio #shojihamadakiln #mashiko #pottery #ceramics #yakushima #yokosuka #japan https://www.instagram.com/p/B3FnYPxgUM1/?igshid=187uhxdaof2v0

[takashipom]

No,2 Takashi Murakami’s Superflat Consideration on Contemporary Ceramics Continuation,,, What is the current state of the Japanese ceramics world, then? Looking back at the recent past, we saw a flurry of cultural developments between pre-World War II and postwar periods, with works by contemporary ceramicists such as Rosanjin Kitaōji (1883 – 1959), Tōkurō Katō (1897 – 1985), Toyozō Arakawa (1894 – 1985), and Kazuo Yagi (1918 – 1979), as well as mingei and antiques all at play. With the rise of the bubble economy in the second half of the 1980s and its burst in the 1990s, however, they all but vanished. These various developments since before the war had created a certain worldview pertaining to ceramics and consisted a tremendous movement, but none of them managed to traverse the ocean; it is not an overstatement to say they were entirely bound to and within Japanese domestic values. After the burst of the bubble economy, both the ceramicists and the galleries regretted the abnormal escalation of the market and turned to suppressing the price to the absolute lowest. In the ten or so years that followed, affordable price ranges and practical shapes gradually gained popularity in ceramics. For twenty years, roughly from 1990 to 2010, this cultural trend wildly blossomed and since 2010, works are also being exported to neighboring countries such as China and Taiwan. As with anime and manga, the world of postwar Japanese ceramics has matured domestically in all its aspects, from quality and quantity to the form of distribution. In fact, it almost seems overripe. I think the world of Japanese ceramics is in a period of transition as we speak, in which a leap into overseas markets—as with anime and manga before it—is just starting to be explored. (Towada Art Center)

[mia-japanese-korean]

(Iga plate, one of a pair), Kitaōji Rosanjin, 20th century, Minneapolis Institute of Art: Japanese and Korean Art

roughly square slab with squared-off corners; corners slightly lifted; seven shallow ribs; tan and green with reddish unglazed area at center Size: 1 5/16 x 7 3/8 x 7 5/16 in. (3.33 x 18.73 x 18.57 cm) Medium: Glazed stoneware

https://collections.artsmia.org/art/104652/

[mia-japanese-korean]

(Fan-shaped Plate), Kitaōji Rosanjin, 20th century, Minneapolis Institute of Art: Japanese and Korean Art

dish with vertical sides, in the shape of a fan; brown, green and tan glazes; grasses and two birds at interior; lines on exterior; three small loop feet; has storage box Kitao_ji Rosanjin is considered by many to be the premier Japanese potter of the twentieth century. He had already earned a reputation as a talented calligrapher when he became interested in tableware through his association with the renowned Tokyo restaurant Hoshigaoka. He experimented widely with traditional styles, and was adept at reproducing the spirit of historic ceramics. Here, Rosanjin based his design on a type of ceramic originally championed by the tea master Furuta Oribe (1544-1615), which featured innovative shapes irregularly decorated by dipping a portion of the form into a glaze mixture. After firing, these brilliant, grass green areas contrasted nicely with casual paintings in iron brown. Size: 2 11/16 x 9 13/16 x 8 15/16 in. (6.83 x 24.92 x 22.7 cm) Medium: Stoneware with underglaze iron oxide designs and copper oxide glaze

https://collections.artsmia.org/art/81249/

[museeguimet-blog]

Photos de quelques salles et de quelques œuvres de l’exposition Génie de la cuisine japonaise, L’art de Rosanjin




Découvrez l’art de Rosanjin au musée Guimet du 3 juillet au 9 septembre 2013 !



A travers l’œuvre de Kitaoji Rosanjin, le musée Guimet donne un aperçu du vaste paysage gastronomique et du monde si riche de la céramique du « pays au soleil levant ». Cette exposition marque la première rétrospective en France de l’artiste à travers des prêts importants consentis par les musées nationaux d’art moderne de Kyoto et de Tokyo et du musée de Setagaya.



Crédit photo © DemysTEAfication