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ESPRIT TRAVEL & TOURS

Dark Ship II by Tanaka Kyokusho 田中旭祥作 TAI Modern Gallery, Santa Fe, NM @TAIMODERN #traditionalcrafts #tanakakyokusho #bamboorattan #bamboo #rattan #madakebamboo #japanesebamboo #japancraft21

Mist by Tanaka Kyokusho 田中旭祥作 TAI Modern Gallery, Santa Fe, NM @TAIMODERN #traditionalcrafts #tanakakyokusho #bamboorattan #bamboo #rattan #japanesebamboo #japancraft21

Jewel by Tanaka Kyokusho 田中旭祥作 TAI Modern Gallery, Santa Fe, NM @TAIMODERN #traditionalcrafts #tanakakyokusho #bamboorattan #bamboo #rattan #japanesebamboo #japancraft21

京都府と兵庫県の木工職人がそれぞれお弟子さんを募集しています。 卓越した職人から直接指物技術を学べるチャンスです。生活費も補助されます。 ご興味がある方はダイレクトメッセージ、もしくはメール(info@japancraft21.com)にて略歴を添えてご連絡ください。 また、興味のありそうな方がいらっしゃいましたら、広く周知いただけますと幸いです。 ご応募お待ちしております。

木工芸ワークショップ参加者大募集！未経験者歓迎！ 伝統的工法大工とカンナ家具作り 登録リンク：　https://shorturl.at/jkP18 ジャパンクラフト21では将来を見据えた塾生プログラムと弟子プログラムに興味のある方を募集しています！ ☆まずはワークショップ（参加費無料！）を体験してみませんか？☆ （A）2023年7月22日（土）と23日（日）に待望の心町家塾大工（京都市）と （B）木製家具（鉋削り体験）のワークショップ（兵庫県三木市）を開催！ 両方のワークショップに参加も可能です！ (A）～心町家塾大工ワークショップ　3時間～ 伝統建築技法の「木組み」で使われる、差し金、鋸（かんな）、 鑿（のみ）を使用しての墨付けや刻 みの実践が体験でき ます。墨をつけた木材の加工、切る、彫るといった作業も します。伝統建築技法は、日本全国共通の技であり、仕事です。興味のある方の応募をお待ちしています。 ■日時：22 日または 23 日の午前か午後をお選びください） 7月22日（土）9:00-12:00 7月22日（土）13:00-16:00 7月23日（日）9:00-12:00 7月23日（日）13:00-16:00 ■場所：京都市東山区石橋町 295-5（祇園内藤工務店） ■お問合わせ：info@gion-naitou.kyoto （B）～木製家具工ワークショップ　約5時間～ 家具職人は将来性のある仕事 です。鉋を使うことをメインに した、鉋の削り体験を通して 木の手触りや香りも楽しめる ワークショップです。 ■日時：どちらか1日をお選びください。 7月22日（土）または23日（日）10:30--16:00 ■場所：兵庫県三木市吉川町鍛治屋 304-1（徳永家具工房） ■お問合わせ：tokunaga.style@gmail.com (A) ◎大工ワークショップ講師プロフィール：内藤 朋博 （ないとう ともひろ） 祗園内藤工務店五代目。株式会社祗園内藤工務店代表 取締役。心町家塾会長として伝統的な町家の木組みや 仕口を知り、良質な天然の素材で現代の暮らしに合わせた新しい町家＝心町家（しんまちや）を日々 つくり続けている。 (B)◎家具ワークショップ講師プロフィール ：徳永 順男 （とくなが としお） 1990 年兵庫県三木市吉川町に工房を設立。大宰府天満宮 千百年祭に御神宝「桑の木木画棋局」を制作、東京国立近代 美術館現代の木工家具店に招待出品。徳永家具工房のすべて 鉋仕上げによる家具は、滑らかな肌触りと鉋でラインを 通すことによる、姿の美しさに定評がある。 主　催：JapanCraft21、NPO法人 祗匠会、徳永家具工房 お申し込みリンク：　https://shorturl.at/jkP18

Vase by Imaizumi Imaemon XIII (1926-2001) 十三代 今泉今右衛門作 The Imaemon kiln has been creating Iro-Nabeshima porcelain wares since the Tokugawa period (1600-1868). The Iro-Nabeshima technique of porcelain decoration requires multiple stages of firing as both underglaze and overglaze enamel create the fine decorations on the wares. Underglaze, made from cobalt-rich pigment, is painted directly on the unglazed porcelain body after it has undergone a bisque firing. The piece is then coated in a clear glaze and fired, which transforms the underglaze into a rich blue hue. Overglaze enamels in a variety of hues are then painted on top of the glaze and the piece is fired again. During this firing, the enamels fuse with the glaze to create a vibrant and durable finished piece. Romang Collection, Raleigh, NC @romangcollection #japaneseporcelain #polychrome #underglaze #overglaze #imaemon #imaizumiimaemon #aritaporcelain #porcelain #arita #japaneseceramics #japancraft21 #romangcollection

Vase by Imaizumi Imaemon XII (1897-1975) 十二代 今泉今右衛門作 The Imaemon kiln has been creating Iro-Nabeshima porcelain wares since the Tokugawa period (1600-1868). The Iro-Nabeshima technique of porcelain decoration requires multiple stages of firing as both underglaze and overglaze enamel create the fine decorations on the wares. Underglaze, made from cobalt-rich pigment, is painted directly on the unglazed porcelain body after it has undergone a bisque firing. The piece is then coated in a clear glaze and fired, which transforms the underglaze into a rich blue hue. Overglaze enamels in a variety of hues are then painted on top of the glaze and the piece is fired again. During this firing, the enamels fuse with the glaze to create a vibrant and durable finished piece. Romang Collection, Raleigh, NC @romangcollection #japaneseporcelain #polychrome #underglaze #overglaze #imaemon #imaizumiimaemon #aritaporcelain #porcelain #arita #japaneseceramics #japancraft21 #romangcollection

Vase by Imaizumi Imaemon XII (1897-1975) 十二代 今泉今右衛門作 The Imaemon kiln has been creating Iro-Nabeshima porcelain wares since the Tokugawa period (1600-1868). The Iro-Nabeshima technique of porcelain decoration requires multiple stages of firing as both underglaze and overglaze enamel create the fine decorations on the wares. Underglaze, made from cobalt-rich pigment, is painted directly on the unglazed porcelain body after it has undergone a bisque firing. The piece is then coated in a clear glaze and fired, which transforms the underglaze into a rich blue hue. Overglaze enamels in a variety of hues are then painted on top of the glaze and the piece is fired again. During this firing, the enamels fuse with the glaze to create a vibrant and durable finished piece. Romang Collection, Raleigh, NC @romangcollection #japaneseporcelain #polychrome #underglaze #overglaze #imaemon #imaizumiimaemon #aritaporcelain #porcelain #arita #japaneseceramics #japancraft21 #romangcollection

仕事の充実・心身ともに健康 自然との共生•美しい木で手作り 匠精神 未経験者の体験ワークショップ 可能性を味わう 伝統的工法大工とカンナ家具作り 登録リンク：　https://shorturl.at/jkP18 ジャパンクラフト21では将来を見据えた塾生プログラムと弟子プログラムに興味のある方を募集しています！ ☆まずはワークショップ（参加費無料！）を体験してみませんか？☆ （A）2023年7月22日（土）と23日（日）に待望の心町家塾大工（京都市）と （B）木製家具（鉋削り体験）のワークショップ（兵庫県三木市）を開催！ 両方のワークショップに参加も可能です！ (A）～心町家塾大工ワークショップ　3時間～ 伝統建築技法の「木組み」で使われる、差し金、鋸（かんな）、 鑿（のみ）を使用しての墨付けや刻 みの実践が体験でき ます。墨をつけた木材の加工、切る、彫るといった作業も します。伝統建築技法は、日本全国共通の技であり、仕事です。興味のある方の応募をお待ちしています。 ■日時：22 日または 23 日の午前か午後をお選びください） 7月22日（土）9:00-12:00 7月22日（土）13:00-16:00 7月23日（日）9:00-12:00 7月23日（日）13:00-16:00 ■場所：京都市東山区石橋町 295-5（祇園内藤工務店） ■お問合わせ：info@gion-naitou.kyoto （B）～木製家具工ワークショップ　約5時間～ 家具職人は将来性のある仕事 です。鉋を使うことをメインに した、鉋の削り体験を通して 木の手触りや香りも楽しめる ワークショップです。 ■日時：どちらか1日をお選びください。 7月22日（土）または23日（日）10:30--16:00 ■場所：兵庫県三木市吉川町鍛治屋 304-1（徳永家具工房） ■お問合わせ：tokunaga.style@gmail.com (A) ◎大工ワークショップ講師プロフィール：内藤 朋博 （ないとう ともひろ） 祗園内藤工務店五代目。株式会社祗園内藤工務店代表 取締役。心町家塾会長として伝統的な町家の木組みや 仕口を知り、良質な天然の素材で現代の暮らしに合わせた新しい町家＝心町家（しんまちや）を日々 つくり続けている。 (B)◎家具ワークショップ講師プロフィール ：徳永 順男 （とくなが としお） 1990 年兵庫県三木市吉川町に工房を設立。大宰府天満宮 千百年祭に御神宝「桑の木木画棋局」を制作、東京国立近代 美術館現代の木工家具店に招待出品。徳永家具工房のすべて 鉋仕上げによる家具は、滑らかな肌触りと鉋でラインを 通すことによる、姿の美しさに定評がある。 主　催：JapanCraft21、NPO法人 祗匠会、徳永家具工房 お申し込みリンク：　https://shorturl.at/jkP18

Lidded Jar by Kawase Shinobu 川瀬忍作 Kawase Shinobu is a master of celadon, a glazing and firing technique that can produce wares in a variety of rich jewel tones depending on the way in which the iron oxide in the glaze reacts during the firing. This style emerged in China during the Northern Song dynasty (960-1127) in the kilns of Longquan. Kawase’s body of work displays the full range of celadon’s potential, from creamy blue to crackled jade to striking red. Joan B Mirviss Gallery, NYC @joanbmirvissltd #japaneseceladon #celadon #kawaseshinobu #shinobukawase #porcelain #jade #japaneseceramics #japancraft21 #joanbmirviss #stoneware

Bowl by Kawase Shinobu 川瀬忍作 Kawase Shinobu is a master of celadon, a glazing and firing technique that can produce wares in a variety of rich jewel tones depending on the way in which the iron oxide in the glaze reacts during the firing. This style emerged in China during the Northern Song dynasty (960-1127) in the kilns of Longquan. Kawase’s body of work displays the full range of celadon’s potential, from creamy blue to crackled jade to striking red. Joan B Mirviss Gallery, NYC @joanbmirvissltd #japaneseceladon #celadon #kawaseshinobu #shinobukawase #porcelain #jade #japaneseceramics #japancraft21 #joanbmirviss #stoneware

Vase by Kawase Shinobu 川瀬忍作 Kawase Shinobu is a master of celadon, a glazing and firing technique that can produce wares in a variety of rich jewel tones depending on the way in which the iron oxide in the glaze reacts during the firing. This style emerged in China during the Northern Song dynasty (960-1127) in the kilns of Longquan. Kawase’s body of work displays the full range of celadon’s potential, from creamy blue to crackled jade to striking red. Joan B Mirviss Gallery, NYC @joanbmirvissltd #japaneseceladon #celadon #kawaseshinobu #shinobukawase #porcelain #jade #japaneseceramics #japancraft21 #joanbmirviss #stoneware

Basket by Shōno Tokuzō 生野徳三作 Shōno Tokuzō prepares all of the bamboo he weaves into his baskets himself. He cuts the bamboo in the cold winter months, when the bamboo is naturally driest, and leaves them to dry further for 100 days. He then heats the bamboo to draw out its natural oils, which turns the bamboo ivory and gives it its characteristic gloss. TAI Modern Gallery, Santa Fe, NM @TAIMODERN #japanesebasketry #traditionalcrafts #shonotokuzo #tokuzoshono #basketweaving #bamboobasket #bamboo #basketry #japanesebamboo #japancraft21

Basket by Shōno Tokuzō 生野徳三作 Shōno Tokuzō prepares all of the bamboo he weaves into his baskets himself. He cuts the bamboo in the cold winter months, when the bamboo is naturally driest, and leaves them to dry further for 100 days. He then heats the bamboo to draw out its natural oils, which turns the bamboo ivory and gives it its characteristic gloss. TAI Modern Gallery, Santa Fe, NM @TAIMODERN #japanesebasketry #traditionalcrafts #shonotokuzo #tokuzoshono #basketweaving #bamboobasket #bamboo #basketry #japanesebamboo #japancraft21

Basket by Shōno Tokuzō 生野徳三作 Shōno Tokuzō prepares all of the bamboo he weaves into his baskets himself. He cuts the bamboo in the cold winter months, when the bamboo is naturally driest, and leaves them to dry further for 100 days. He then heats the bamboo to draw out its natural oils, which turns the bamboo ivory and gives it its characteristic gloss. TAI Modern Gallery, Santa Fe, NM @TAIMODERN #japanesebasketry #traditionalcrafts #shonotokuzo #tokuzoshono #basketweaving #bamboobasket #bamboo #basketry #japanesebamboo #japancraft21

Vase by Katō Ken 加藤健作 Originating in Mino Province in the 16th century, Shino wares are characterized by thick white glaze made of feldspar that is textured with patterns of holes and accented with red scorch marks. These wares are typically fired at a low temperature for a long time and cooled slowly. Shino wares have surged in popularity recently, and many talented Japanese ceramists produce fine examples of this style. Romang Collection, Raleigh, NC @romangcollection #japaneseceramics #traditionalcrafts #katoken #kenkato #earthenware #shinowares #mino #seto #momoyama #japancraft21

Vase by Mizuno Takuzō (1928-2015) 水野澤三作 Originating in Mino Province in the 16th century, Shino wares are characterized by thick white glaze made of feldspar that is textured with patterns of holes and accented with red scorch marks. These wares are typically fired at a low temperature for a long time and cooled slowly. Shino wares have surged in popularity recently, and many talented Japanese ceramists produce fine examples of this style. Romang Collection, Raleigh, NC @romangcollection #japaneseceramics #traditionalcrafts #mizunotakuzo #takuzomizuno #earthenware #shinowares #mino #seto #momoyama #japancraft21

Shino Jar by Itō Kōyō @koyo110 伊藤公洋作 Originating in Mino Province in the 16th century, Shino wares are characterized by thick white glaze made of feldspar that is textured with patterns of holes and accented with red scorch marks. These wares are typically fired at a low temperature for a long time and cooled slowly. Shino wares have surged in popularity recently, and many talented Japanese ceramists produce fine examples of this style. Romang Collection, Raleigh, NC @romangcollection #japaneseceramics #traditionalcrafts #itokoyo #koyoito #earthenware #shinowares #mino #seto #momoyama #japaneseart #craft #crafts #japancraft21

Tea Bowl by Niisato Akio @niisato_akio 新里明士作 In addition to his work in porcelain, Niisato Akio experiments with other kinds of clay as well. This bowl features a glossy black glaze over a gritty clay full of grog, which pokes through the glaze to create both pattern and texture in the finished ware. Ippodo Gallery, NYC @ippodogallery #japaneseceramics #traditionalcrafts #niisatoakio #akioniisato #earthenware #japaneseteabowl #teabowl #japaneseclay#japaneseart #craft #crafts #japancraft21

Tea Bowl by Niisato Akio @niisato_akio 新里明士作 Niisato Akio has made a name for himself for his work in porcelain. He creates razor-thin bodies that he then punches with tiny holes to create patterns. Translucent glaze fills these holes, forming windows that let light through the still functional body of the piece. Ippodo Gallery, NYC @ippodogallery #japaneseporcelain #traditionalcrafts #niisatoakio #akioniisato #luminescentvessel #transluscentporcelain #porcelain #japaneseart #craft #crafts #japancraft21

Vase by Kondō Yūzō 近藤悠三作 A master of blue and white sometsuke porcelain, Kondō Yūzō was designated a Living National Treasure in 1977. The sometsuke technique involves painting a cobalt-based pigment onto unglazed, bisque-fired porcelain before covering the piece in a transparent glaze and firing it again. In addition to sometsuke, Kondō also used a variety of overglaze techniques in red and gold to create his vivid designs. Joan B Mirviss Gallery, NYC #japaneseporcelain #traditionalcrafts #kondoyuzo #yuzokondo #livingnationaltreasure #sometsuke #blueandwhite #porcelain #overglaze #underglaze #japaneseart #craft #crafts #japancraft21

Vase by Kondō Yūzō 近藤悠三作 A master of blue and white sometsuke porcelain, Kondō Yūzō was designated a Living National Treasure in 1977. The sometsuke technique involves painting a cobalt-based pigment onto unglazed, bisque-fired porcelain before covering the piece in a transparent glaze and firing it again. In addition to sometsuke, Kondō also used a variety of overglaze techniques in red and gold to create his vivid designs. Joan B Mirviss Gallery, NYC #japaneseporcelain #traditionalcrafts #kondoyuzo #yuzokondo #livingnationaltreasure #sometsuke #blueandwhite #porcelain #overglaze #underglaze #japaneseart #craft #crafts #japancraft21

Vase by Kondō Yūzō 近藤悠三作 A master of blue and white sometsuke porcelain, Kondō Yūzō was designated a Living National Treasure in 1977. The sometsuke technique involves painting a cobalt-based pigment onto unglazed, bisque-fired porcelain before covering the piece in a transparent glaze and firing it again. In addition to sometsuke, Kondō also used a variety of overglaze techniques in red and gold to create his vivid designs. Joan B Mirviss Gallery, NYC #japaneseporcelain #traditionalcrafts #kondoyuzo #yuzokondo #livingnationaltreasure #sometsuke #blueandwhite #porcelain #overglaze #underglaze #japaneseart #craft #crafts #japancraft21

Register link in the bio or here: https://forms.gle/8YkaW8aPKpEFWPGP7 9 JAPANESE ARCHITECTS 1-hour Online Presentation, no charge Thurs, May 11 -- N.Y.C. 5pm, L.A. 8pm Fri, May 12 -- Japan 9am #japaneseart #craft #crafts #japancraft21

Copper Vase by Kaneko Tōru 金子透作 Kaneko Tōru uses a variety of techniques, such as hammering, stretching, folding, and rusting, to form thin sheets of metal into finished wares. He tries to convey the malleability of the material in his work. Katie Jones Gallery, London #japanesemetalworking #traditionalcrafts #kanekotoru #torukaneko #metalworking #japaneseartisan #artisanalcraft #craftsmanship #japaneseart #craft #crafts #japancraft21

Blackened Copper and Silver Box by Kaneko Tōru 金子透作 Kaneko Tōru uses a variety of techniques, such as hammering, stretching, folding, and rusting, to form thin sheets of metal into finished wares. He tries to convey the malleability of the material in his work. Katie Jones Gallery, London #japanesemetalworking #traditionalcrafts #kanekotoru #torukaneko #metalworking #japaneseartisan #artisanalcraft #craftsmanship #japaneseart #craft #crafts #japancraft21

Copper Vase by Kaneko Tōru 金子透作 Kaneko Tōru uses a variety of techniques, such as hammering, stretching, folding, and rusting, to form thin sheets of metal into finished wares. He tries to convey the malleability of the material in his work. Katie Jones Gallery, London #japanesemetalworking #traditionalcrafts #kanekotoru #torukaneko #metalworking #japaneseartisan #artisanalcraft #craftsmanship #japaneseart #craft #crafts #japancraft21

Basket by Buseki Suiko III 武関翠篁作 Working with bamboo, Buseki Suiko III emphasizes, is in some senses incredibly simple. All he needs for his work are four small knives and his own hands. Yet from those simple tools emerge works with incredible complexity and attention to detail. TAI Modern Gallery, Santa Fe #japanesebamboo #traditionalcrafts #busekisuiko #basketry #bamboo #basketweaving #craftsmanship #japaneseart #craft #crafts #japancraft21

Basket by Buseki Suiko III 武関翠篁作 Working with bamboo, Buseki Suiko III emphasizes, is in some senses incredibly simple. All he needs for his work are four small knives and his own hands. Yet from those simple tools emerge works with incredible complexity and attention to detail. TAI Modern Gallery, Santa Fe #japanesebamboo #traditionalcrafts #busekisuiko #basketry #bamboo #basketweaving #craftsmanship #japaneseart #craft #crafts #japancraft21

JAPANESE MASTER CRAFTS One-hour Free Zoom Presentation Thursday, Apr 27 5pm L.A. 8pm NYC; Friday, Apr 28 9am Japan Register here: https://forms.gle/8YkaW8aPKpEFWPGP7

Lacquer Tray by Matsuzaki Tohru 松崎融作 Matsuzaki Tohru uses chisels to carve the bodies of his work out of wood. He then applies lacquer in intentionally thick coats, which add a rustic character to the final pieces. It is the warm, worn texture of this thickly applied lacquer that distinguishes Matsuzaki’s work. Ippodo Gallery, Tokyo #japaneselacquer #traditionalcrafts #matsuzakitohru #lacquer #negoro #carvedwood #woodworking #japaneseart #craft #crafts #japancraft21

Lacquer Sake Cup by Matsuzaki Tohru 松崎融作 Matsuzaki Tohru uses chisels to carve the bodies of his work out of wood. He then applies lacquer in intentionally thick coats, which add a rustic character to the final pieces. It is the warm, worn texture of this thickly applied lacquer that distinguishes Matsuzaki’s work. Ippodo Gallery, Tokyo #japaneselacquer #traditionalcrafts #matsuzakitohru #lacquer #negoro #carvedwood #woodworking #japaneseart #craft #crafts #japancraft21

Tiered Lacquer Box by Matsuzaki Tohru 松崎融作 Matsuzaki Tohru uses chisels to carve the bodies of his work out of wood. He then applies lacquer in intentionally thick coats, which add a rustic character to the final pieces. It is the warm, worn texture of this thickly applied lacquer that distinguishes Matsuzaki’s work. Ippodo Gallery, Tokyo #japaneselacquer #traditionalcrafts #matsuzakitohru #lacquer #negoro #carvedwood #woodworking #japaneseart #craft #crafts #japancraft21

Vase by Takegoshi Jun 武腰潤作 Originally trained as a Nihonga painter, Takegoshi Jun has made a name for himself as a ceramic artist in the traditional of Kutani polychrome enamel wares. He paints vibrant and colorful images, often depicting birds or other wildlife, using traditional Kutani overglaze enamels on a clean porcelain base. Joan B. Mirviss Gallery, NYC #japaneseceramics #traditionalcrafts #takegoshijun #kutani #kokutani #porcelain #ceramics #nihonga #painting #japaneseart #craft #crafts #japancraft21

Incense Container by Takegoshi Jun 武腰潤作 Originally trained as a Nihonga painter, Takegoshi Jun has made a name for himself as a ceramic artist in the traditional of Kutani polychrome enamel wares. He paints vibrant and colorful images, often depicting birds or other wildlife, using traditional Kutani overglaze enamels on a clean porcelain base. Joan B. Mirviss Gallery, NYC #japaneseceramics #traditionalcrafts #takegoshijun #kutani #kokutani #porcelain #ceramics #nihonga #painting #japaneseart #craft #crafts #japancraft21

Box by Takegoshi Jun 武腰潤作 Originally trained as a Nihonga painter, Takegoshi Jun has made a name for himself as a ceramic artist in the traditional of Kutani polychrome enamel wares. He paints vibrant and colorful images, often depicting birds or other wildlife, using traditional Kutani overglaze enamels on a clean porcelain base. Joan B. Mirviss Gallery, NYC #japaneseceramics #traditionalcrafts #takegoshijun #kutani #kokutani #porcelain #ceramics #nihonga #painting #japaneseart #craft #crafts #japancraft21

Flower Vase by Andō Hidetake 安藤日出武作 Andō Hidetake specializes in the traditional ceramic techniques of Mino, Japan, which date back to the 16th century. This flower vase is covered in Shino glaze, distinguished by its thick creamy white color with red scorch marks. In order to capture the beauty of the historical wares, Andō uses local clay and traditional wood fired kilns for his pieces. Romang Collection, Raleigh, NC #japaneseceramics #traditionalcrafts #andohidetake #mino #shino #flowervase #ceramics #woodfiredkiln #anagama #japaneseart #craft #crafts #japancraft21

Ash Basket by Kosuge Shochikudō (1921-2003) 小菅小竹堂作 Trained by his father from a young age in basket weaving, Kosuge Shochikudō was known for collaborations with the fashion designer Issey Miyake and jewelry designer Tina Chow. While they are made with traditional techniques, Kosuge’s works have a distinctly modern, geometrical feel. Ippodo Gallery, Tokyo #japanesebasketry #traditionalcrafts #kosugeshochikudo #basketweaving #basket #bamboo #isseymiyake #tinachow #japaneseart #craft #crafts #japancraft21

Japanese Spaces: part 2 ---An exploration of how Japanese gardens and site design inspire mindfulness. One hour Zoom presentation. Free of charge Los Angeles, Ca Friday, March 24 at 5pm New York, NY Friday, March 24 at 8pm Japan Saturday, March 25 at 9am Register here: https://forms.gle/8YkaW8aPKpEFWPGP7

Vase by Sako Ryūhei 佐故龍平作 Sako Ryūhei uses a technique called mokume-gane (literally meaning wood grain metal) to create his pieces. He laminates layers of thin metal alloys of various colors together and then makes cuts or drill marks into the layers to reveal patterns resembling wood grain as he shapes his works. Katie Jones Gallery, London #japanesemetalworking #traditionalcrafts #sakoryuhei #mokumegane #woodgrain #metal #vase #metalworking #laminatedmetal #japaneseart #craft #crafts #japancraft21

Tea Caddy by Sako Ryūhei 佐故龍平作 Sako Ryūhei uses a technique called mokume-gane (literally meaning wood grain metal) to create his pieces. He laminates layers of thin metal alloys of various colors together and then makes cuts or drill marks into the layers to reveal patterns resembling wood grain as he shapes his works. Katie Jones Gallery, London #japanesemetalworking #traditionalcrafts #sakoryuhei #mokumegane #woodgrain #metal #teacaddy #chaire #metalworking #laminatedmetal #japaneseart #craft #crafts #japancraft21

Vase by Sako Ryūhei 佐故龍平作 Sako Ryūhei uses a technique called mokume-gane (literally meaning wood grain metal) to create his pieces. He laminates layers of thin metal alloys of various colors together and then makes cuts or drill marks into the layers to reveal patterns resembling wood grain as he shapes his works. Katie Jones Gallery, London #japanesemetalworking #traditionalcrafts #sakoryuhei #mokumegane #woodgrain #metal #vase #metalworking #laminatedmetal #japaneseart #craft #crafts #japancraft21

Candle Stand by Ishikura Hajime and Ishikura Yasuo 石倉創・石倉康夫作 The rich black luster of the Ishikura brothers’ iron candle stand is achieved through their masterful hammering technique. By repeatedly hammering the cast iron with a ball hammer, they create the soft, porous texture of the piece. Ippodo Gallery, New York #japanesemetalsmithing #traditionalcrafts #ishikurahajime #ishikurayasuo #metalsmithing #metal #iron #candlestand #japaneseart #craft #crafts #japancraft21

Candle Stand by Ishikura Hajime and Ishikura Yasuo 石倉創・石倉康夫作 The rich black luster of the Ishikura brothers’ iron candle stand is achieved through their masterful hammering technique. By repeatedly hammering the cast iron with a ball hammer, they create the soft, porous texture of the piece. Ippodo Gallery, New York #japanesemetalsmithing #traditionalcrafts #ishikurahajime #ishikurayasuo #metalsmithing #metal #iron #candlestand #japaneseart #craft #crafts #japancraft21

Candle Stand by Ishikura Hajime and Ishikura Yasuo 石倉創・石倉康夫作 The rich black luster of the Ishikura brothers’ iron candle stand is achieved through their masterful hammering technique. By repeatedly hammering the cast iron with a ball hammer, they create the soft, porous texture of the piece. Ippodo Gallery, New York #japanesemetalsmithing #traditionalcrafts #ishikurahajime #ishikurayasuo #metalsmithing #metal #iron #candlestand #japaneseart #craft #crafts #japancraft21

Vase by Fujii Shumei 藤井朱明作 Fujii Shumei was born to a family of ceramists in the town of Arita, long famous for producing high quality Japanese porcelain. He began learning the art of painting on porcelain at the age of 15. Fujii’s work often features prints of leaves, which either decorate his vessels on their own, or else are transformed into sweeping landscapes of the Arita winter. Romang Collection, Raleigh, NC #japaneseceramics #traditionalcrafts #fujiishumei #ceramics #porcelain #aritaporcelain #blueandwhite #japaneseporcelain #japaneseart #craft #crafts #japancraft21

Vase by Fujii Shumei 藤井朱明作 Fujii Shumei was born to a family of ceramists in the town of Arita, long famous for producing high quality Japanese porcelain. He began learning the art of painting on porcelain at the age of 15. Fujii’s work often features prints of leaves, which either decorate his vessels on their own, or else are transformed into sweeping landscapes of the Arita winter. Romang Collection, Raleigh, NC #japaneseceramics #traditionalcrafts #fujiishumei #ceramics #porcelain #aritaporcelain #blueandwhite #japaneseporcelain #japaneseart #craft #crafts #japancraft21

Vase by Fujii Shumei 藤井朱明作 Fujii Shumei was born to a family of ceramists in the town of Arita, long famous for producing high quality Japanese porcelain. He began learning the art of painting on porcelain at the age of 15. Fujii’s work often features prints of leaves, which either decorate his vessels on their own, or else are transformed into sweeping landscapes of the Arita winter. Romang Collection, Raleigh, NC #japaneseceramics #traditionalcrafts #fujiishumei #ceramics #porcelain #aritaporcelain #blueandwhite #japaneseporcelain #japaneseart #craft #crafts #japancraft21

Vase by Kitamura Junko 北村純子作 Kitamura Junko creates the intricate geometric patterns that adorn her works by punching the still-wet clay with a bamboo tool she crafts herself. These incisions are then filled in with white slip inlay. Joan B. Mirviss Gallery, NYC #japaneseceramics #traditionalcrafts #kitamurajunko #ceramics #teaware #japaneseart #craft #crafts #japancraft21

Platter by Kitamura Junko 北村純子作 Kitamura Junko creates the intricate geometric patterns that adorn her works by punching the still-wet clay with a bamboo tool she crafts herself. These incisions are then filled in with white slip inlay. Joan B. Mirviss Gallery, NYC #japaneseceramics #traditionalcrafts #kitamurajunko #ceramics #teaware #japaneseart #craft #crafts #japancraft21

Water Jar by Kitamura Junko 北村純子作 Kitamura Junko creates the intricate geometric patterns that adorn her works by punching the still-wet clay with a bamboo tool she crafts herself. These incisions are then filled in with white slip inlay. Joan B. Mirviss Gallery, NYC #japaneseceramics #traditionalcrafts #kitamurajunko #ceramics #teaware #japaneseart #craft #crafts #japancraft21

Basket by Kawano Shōkō 河野祥篁作 When woven using open twill plaiting, bamboo can be shaped in round forms using natural tension alone. Kawano Shōkō works with this quality of woven bamboo to create rounded, organic baskets. He finishes them with natural lacquer to add additional strength and a glossy sheen. TAI Modern Gallery, Santa Fe, NM #japanesebambooweaving #traditionalcrafts #kawanoshoko #basketry #bamboo #basketweaving #japaneseart #craft #crafts #japancraft21

Basket by Kawano Shōkō 河野祥篁作 When woven using open twill plaiting, bamboo can be shaped in round forms using natural tension alone. Kawano Shōkō works with this quality of woven bamboo to create rounded, organic baskets. He finishes them with natural lacquer to add additional strength and a glossy sheen. TAI Modern Gallery, Santa Fe, NM #japanesebambooweaving #traditionalcrafts #kawanoshoko #basketry #bamboo #basketweaving #japaneseart #craft #crafts #japancraft21

Basket by Kawano Shōkō 河野祥篁作 When woven using open twill plaiting, bamboo can be shaped in round forms using natural tension alone. Kawano Shōkō works with this quality of woven bamboo to create rounded, organic baskets. He finishes them with natural lacquer to add additional strength and a glossy sheen. TAI Modern Gallery, Santa Fe, NM #japanesebambooweaving #traditionalcrafts #kawanoshoko #basketry #bamboo #basketweaving #japaneseart #craft #crafts #japancraft21

Kettle by Nakazawa Tsuneo 中澤恒夫作 Rather than casting his wares in molds, Nakazawa Tsuneo shapes his wares with heat and hammers. This method requires great strength and patience, but lends the finished product a warm, handmade texture. Ippodo Gallery, Tokyo #japanesemetalworking #traditionalcrafts #nakazawatsuneo #metalwork #teawares #japaneseart #craft #crafts #japancraft21

Brazier by Nakazawa Tsuneo 中澤恒夫作 Rather than casting his wares in molds, Nakazawa Tsuneo shapes his wares with heat and hammers. This method requires great strength and patience, but lends the finished product a warm, handmade texture. Ippodo Gallery, Tokyo #japanesemetalworking #traditionalcrafts #nakazawatsuneo #metalwork #teawares #japaneseart #craft #crafts #japancraft21

Kettle by Nakazawa Tsuneo 中澤恒夫作 Rather than casting his wares in molds, Nakazawa Tsuneo shapes his wares with heat and hammers. This method requires great strength and patience, but lends the finished product a warm, handmade texture. Ippodo Gallery, Tokyo #japanesemetalworking #traditionalcrafts #nakazawatsuneo #metalwork #teawares #japaneseart #craft #crafts #japancraft21

Tea Caddy by Yamamura Shinya 山村慎哉作 By mixing traditional lacquer and inlay techniques with innovative materials, such as eggshell and turban shell, Yamamura Shinya creates captivating wares that catch the eye with their geometric precision. Yamamura meticulously places each piece of shell and then coats it with numerous layers of lacquer to achieve the final piece. Katie Jones Gallery, London #japaneselacquer #traditionalcrafts #yamamurashinya #lacquer #urushi #inlay #teawares #japaneseart #craft #crafts #japancraft21

Tea Caddy by Yamamura Shinya 山村慎哉作 By mixing traditional lacquer and inlay techniques with innovative materials, such as eggshell and turban shell, Yamamura Shinya creates captivating wares that catch the eye with their geometric precision. Yamamura meticulously places each piece of shell and then coats it with numerous layers of lacquer to achieve the final piece. Katie Jones Gallery, London #japaneselacquer #traditionalcrafts #yamamurashinya #lacquer #urushi #inlay #teawares #japaneseart #craft #crafts #japancraft21

Tea Caddy by Yamamura Shinya 山村慎哉作 By mixing traditional lacquer and inlay techniques with innovative materials, such as eggshell and turban shell, Yamamura Shinya creates captivating wares that catch the eye with their geometric precision. Yamamura meticulously places each piece of shell and then coats it with numerous layers of lacquer to achieve the final piece. Katie Jones Gallery, London #japaneselacquer #traditionalcrafts #yamamurashinya #lacquer #urushi #inlay #teawares #japaneseart #craft #crafts #japancraft21

Platter by Tsukamoto Kaiji 塚本快示作 Tsukamoto Kaiji’s (1912-1990) work follows in the tradition of Dingyao, a style of porcelain that was particularly popular in China during the Song Dynasty (960-1279). Under the tutelage of Koyama Fujio (1900-1975), a renowned scholar of Chinese ceramics, Tsukamoto dedicated himself to researching the historical techniques of this Chinese porcelain. The designs are carved by hand into the surface of the porcelain body before the piece is glazed and fired. Romang Collection, Raleigh, NC #japaneseceramics #traditionalcrafts #tsukamotokaiji #porcelain #japaneseart #craft #crafts #japancraft21

Platter by Tsukamoto Kaiji 塚本快示作 Tsukamoto Kaiji’s (1912-1990) work follows in the tradition of Dingyao, a style of porcelain that was particularly popular in China during the Song Dynasty (960-1279). Under the tutelage of Koyama Fujio (1900-1975), a renowned scholar of Chinese ceramics, Tsukamoto dedicated himself to researching the historical techniques of this Chinese porcelain. The designs are carved by hand into the surface of the porcelain body before the piece is glazed and fired. Romang Collection, Raleigh, NC #japaneseceramics #traditionalcrafts #tsukamotokaiji #porcelain #japaneseart #craft #crafts #japancraft21

Platter by Tsukamoto Kaiji 塚本快示作 Tsukamoto Kaiji’s (1912-1990) work follows in the tradition of Dingyao, a style of porcelain that was particularly popular in China during the Song Dynasty (960-1279). Under the tutelage of Koyama Fujio (1900-1975), a renowned scholar of Chinese ceramics, Tsukamoto dedicated himself to researching the historical techniques of this Chinese porcelain. The designs are carved by hand into the surface of the porcelain body before the piece is glazed and fired. Romang Collection, Raleigh, NC #japaneseceramics #traditionalcrafts #tsukamotokaiji #porcelain #japaneseart #craft #crafts #japancraft21

Chair by Tokunaga Toshio 徳永順男作 Tokunaga Toshio crafts his chairs from a variety of local Japanese woods, such as zelkova, cedar, and black persimmon. He finishes the wood exclusively with kanna, or Japanese planes, never sandpaper, which can damage the fibrous wood cells. The planes create a clean, beautiful surface that highlights the natural grain of the wood. Ippodo Gallery, NYC #japanesefurniture #traditionalcrafts #tokunagatoshio #japanesewoodworking #woodworking #japaneseart #craft #crafts #japancraft21

Chair by Tokunaga Toshio 徳永順男作 Tokunaga Toshio crafts his chairs from a variety of local Japanese woods, such as zelkova, cedar, and black persimmon. He finishes the wood exclusively with kanna, or Japanese planes, never sandpaper, which can damage the fibrous wood cells. The planes create a clean, beautiful surface that highlights the natural grain of the wood. Ippodo Gallery, NYC #japanesefurniture #traditionalcrafts #tokunagatoshio #japanesewoodworking #woodworking #japaneseart #craft #crafts #japancraft21

Chair by Tokunaga Toshio 徳永順男作 Tokunaga Toshio crafts his chairs from a variety of local Japanese woods, such as zelkova, cedar, and black persimmon. He finishes the wood exclusively with kanna, or Japanese planes, never sandpaper, which can damage the fibrous wood cells. The planes create a clean, beautiful surface that highlights the natural grain of the wood. Ippodo Gallery, NYC #japanesefurniture #traditionalcrafts #tokunagatoshio #japanesewoodworking #woodworking #japaneseart #craft #crafts #japancraft21

Bowl by Wakao Toshisada 若尾利貞作 Wakao Toshisada specializes in grey Shino ware, a tradition that dates back to the Momoyama period (16th century). He creates intricate layered glaze effects by applying multiple layers of glaze and slip over the course of multiple firings. Joan B. Mirviss Gallery, NYC #japaneseceramics #traditionalcrafts #wakaotoshisada #ceramicart #ceramicartist #japaneseart #craft #crafts #japancraft21

Tea Bowl by Wakao Toshisada 若尾利貞作 Wakao Toshisada specializes in grey Shino ware, a tradition that dates back to the Momoyama period (16th century). He creates intricate layered glaze effects by applying multiple layers of glaze and slip over the course of multiple firings. Joan B. Mirviss Gallery, NYC #japaneseceramics #traditionalcrafts #wakaotoshisada #ceramicart #ceramicartist #japaneseart #craft #crafts #japancraft21

Fresh Water Container by Wakao Toshisada 若尾利貞作 Wakao Toshisada specializes in grey Shino ware, a tradition that dates back to the Momoyama period (16th century). He creates layered glaze effects by applying multiple layers of glaze and slip over the course of multiple firings. Joan B. Mirviss Gallery, NYC #japaneseceramics #traditionalcrafts #wakaotoshisada #ceramicart

“Perpetual Diamonds,” Bamboo Vase by Kajiwara Kōhō 梶原光峰作 Kajiwara Kōhō emphasizes that the most important part of weaving bamboo is the preparation of the materials. By carefully splitting and stripping madake, a variety of bamboo noted for its long fibers, he is able to bring out the bamboo’s inherent flexibility, which allows him to weave and plait his remarkable works. TAI Modern Gallery, Santa Fe, NM

“Three Color Flower Basket,” Bamboo Vase by Kajiwara Kōhō 梶原光峰作 Kajiwara Kōhō emphasizes that the most important part of weaving bamboo is the preparation of the materials. By carefully splitting and stripping madake, a variety of bamboo noted for its long fibers, he is able to bring out the bamboo’s inherent flexibility, which allows him to weave and plait his remarkable works. TAI Modern Gallery, Santa Fe, NM

“Atmosphere,” Bamboo Vase by Kajiwara Kōhō 梶原光峰作 Kajiwara Kōhō emphasizes that the most important part of weaving bamboo is the preparation of the materials. By carefully splitting and stripping madake, a variety of bamboo noted for its long fibers, he is able to bring out the bamboo’s inherent flexibility, which allows him to weave and plait his remarkable works. TAI Modern Gallery, Santa Fe, NM

Tea Bowl by Kakurezaki Ryūichi 隠崎隆一作 In the tradition of Bizen wares, Kakurezaki Ryūichi fires his work in woodfired kilns. The beauty of the natural clay body, which Kakurezaki blends from a variety of unusual clays, shines through in his work. Kate Jones Gallery, London

Tea Bowl by Kakurezaki Ryūichi 隠崎隆一作 In the tradition of Bizen wares, Kakurezaki Ryūichi fires his work in woodfired kilns. The beauty of the natural clay body, which Kakurezaki blends from a variety of unusual clays, shines through in his work. Kate Jones Gallery, London

Tea Bowl by Kakurezaki Ryūichi 隠崎隆一作 In the tradition of Bizen wares, Kakurezaki Ryūichi fires his work in woodfired kilns. The beauty of the natural clay body, which Kakurezaki blends from a variety of unusual clays, shines through in his work. Kate Jones Gallery, London

Negoro Lacquer Flower Vase by Murase Jihei 村瀬 治兵衛 作 Murase Jihei’s negoro lacquer ware is made by layering black and then vermillion red lacquer over a shaped wooden base. As the object is used, portions of the red lacquer rub away, revealing the rich black underneath. This transformation allows for a deepening appreciation over the years. Ippodo Gallery, NYC

Negoro Lacquer Sake Vessel by Murase Jihei 村瀬 治兵衛 作 Murase Jihei’s negoro lacquer ware is made by layering black and then vermillion red lacquer over a shaped wooden base. As the object is used, portions of the red lacquer rub away, revealing the rich black underneath. This transformation allows for a deepening appreciation over the years. Ippodo Gallery, NYC

Negoro Lacquer Tea Caddy by Murase Jihei 村瀬 治兵衛 作 Murase Jihei’s negoro lacquer ware is made by layering black and then vermillion red lacquer over a shaped wooden base. As the object is used, portions of the red lacquer rub away, revealing the rich black underneath. This transformation allows for a deepening appreciation over the years. Ippodo Gallery, NYC

尾形 香三夫 作 Ogata Kamio This vessel by Ogata Kamio is made using the neriage technique: layers of different colored clay are laminated together before being shaped, thus creating a marbled effect. Ogata further emphasizes the variegation by shaping his vessels with pleats and folds, causing the colors to undulate and ripple. Joan B. Mirviss Gallery, NYC

尾形 香三夫 作 Ogata Kamio This vessel by Ogata Kamio is made using the neriage technique: layers of different colored clay are laminated together before being shaped, thus creating a marbled effect. Ogata further emphasizes the variegation by shaping his vessels with pleats and folds, causing the colors to undulate and ripple. Joan B. Mirviss Gallery, NYC

尾形 香三夫 作 Ogata Kamio: This vessel by Ogata Kamio is made using the neriage technique: layers of different colored clay are laminated together before being shaped, thus creating a marbled effect. Ogata further emphasizes the variegation by shaping his vessels with pleats and folds, causing the colors to undulate and ripple. Joan B. Mirviss Gallery, NYC

中村卓夫作 NAKAMURA Takuo A ceramic vase NAKAMURA Takuo melds the rich jewel tone glazes of traditional kutani porcelain with bold patterns and vibrant golds inspired by Edo-period Rinpa aesthetics on deconstructed vessels that are thoroughly modern. Joan B. Mirviss Gallery, NYC

中村卓夫作　NAKAMURA Takuo melds the rich jewel tone glazes of traditional kutani porcelain with bold patterns and vibrant golds inspired by Edo-period Rinpa aesthetics on deconstructed vessels that are thoroughly modern. Joan B. Mirviss Gallery, NYC

中村卓夫作　NAKAMURA Takuo melds the rich jewel tone glazes of traditional kutani porcelain with bold patterns and vibrant golds inspired by Edo-period Rinpa aesthetics on deconstructed vessels that are thoroughly modern. Joan B. Mirviss Gallery, NYC

岸映子作 Ceramic tea bowl by KISHI Eiko Katie Jones Gallery, London www.japancraft21.com

Bizen-style tea bowl by GOSEKI Hiroshi 後関裕士作 Ippodo Gallery, Tokyo Ginza and New York City

畠山 耕治作 HATAKEYAMA Koji Large bronze box, 6 faces Patinated cast bronze, gold leaf

Glass work by ARINAGA Kota 有永浩太作 IPPODO Gallery, Tokyo Ginza and NYC www.japancraft21.com

Mokume-gane, silver, copper, shakudo, shibuichi vessel by SAKO Ryuhei 佐故龍平作 Katie Jones Gallery, London www.japancraft21.com

Iga-style stoneware work by FUJIOKA Shuhei 藤岡 周平作 Joan B. Mirviss Gallery, NYC www.japancraft21.com

Bamboo basket by ABE Motoshi 安倍 基作 TAI Modern Gallery, Santa Fe, NM www.japancraft21.com

Glass work by ARINAGA Kota 有永浩太作 IPPODO Gallery, Tokyo Ginza and NYC www.japancraft21.com

Silver, copper, shakudo, shibuichi, kuromido, gold leaf vessel by SAKO Ryuhei 佐故龍平作 Katie Jones Gallery, London www.japancraft21.com

Iga-style stoneware work by FUJIOKA Shuhei 藤岡 周平作 Joan B. Mirviss Gallery, NYC www.japancraft21.com

Bamboo basket by ABE Motoshi 安倍 基作 TAI Modern Gallery, Santa Fe, NM www.japancraft21.com

Glass work by ARINAGA Kota 有永浩太作 IPPODO Gallery, Tokyo Ginza and NYC www.japancraft21.com

Silver, copper, shakudo, shibuichi, kuromido, gold leaf vessel by SAKO Ryuhei 佐故龍平作 Katie Jones Gallery, London www.japancraft21.com

Iga-style stoneware work by FUJIOKA Shuhei 藤岡 周平作 Joan B. Mirviss Gallery, NYC www.japancraft21.com

Bamboo basket by ABE Motoshi 安倍 基作 TAI Modern Gallery, Santa Fe, NM www.japancraft21.com