Seiko House Ginza Hall is holding a pottery exhibition called ``Wood-Fired Sharpness of White and Black''. At the venue, where the individuality of the four potters flourished, the work of Suzu ware artist Takashi Shinohara stood out.

The richness and possibilities of color in ceramics

Even when we say ``white'' or ``black,'' these ``white'' and ``black'' have various expressions and depths.In fact, there are countless tones that cannot be expressed in words, and countless textures created by those tones. The exhibition ``Sharpness of Wood-Fired White and Black'' began on the 8th at Seiko House Ginza Hall. When you come into contact with the works of four potters, whose clays, methods, and kiln styles are completely different, except for the fact that they fire their works with firewood, you are reminded of the richness of the ``colors'' that pottery has. At the same time, I realized once again that pottery is about pursuing "color" in addition to form.

Suzu City, Ishikawa Prefecture, the hometown of Suzu ware, was severely damaged by the Noto Peninsula earthquake.

Among them, the works of Takashi Shinohara of Suzu ware exude a unique presence that can be described as a sense of tension. Suzu City, Ishikawa Prefecture, the hometown of Suzu ware, suffered major damage in the recent Noto Peninsula earthquake, as did Wajima City. A tsunami exceeding 4 meters in height surged, killing more than 100 people. Shinohara's home was also damaged. Suzu was also hit by major earthquakes in June 2022 and May 6. This earthquake was larger than the previous two. Most of the 2023 or so people involved in Suzu ware were once again affected.

Suzu ware, the mythical pottery revived after 500 years

Suzu ware, which inherited the technique of Sue ware fired from the Kofun period to the Heian period, is a ``black'' pottery fired at a high temperature of over 1200 degrees. It was produced in large numbers from the late Heian period to the late Muromachi period, and was widely distributed mainly on the Sea of ​​Japan coast, and was said to be one of the representative pottery of the Middle Ages, but it suddenly disappeared in the late 15th century. It was only about 500 years ago that Suzu ware, which had been almost forgotten for more than 60 years, began to receive attention again. The name ``Suzu ware'' was also given at that time.

Unique lines that highlight the gray-black color

"The black that emerges from the depths of the pottery itself." That's how Ms. Shinohara describes the "black" color of her own ceramics. If I were to give her a name, I would say it's ``gray-black.'' Certainly not "black". Depending on the viewing angle and lighting conditions, the ``gray-black color'' subtly changes its appearance. What makes this gray-black color stand out is the shape and lines of the pottery. Resolute sharpness and generous roundness. The exquisite harmony of the two creates a solid presence.

``Medieval kilns such as Bizen and Tokoname, which existed at the same time as Suzu, gradually shifted to a method that allowed for mass production, and as a result, ``red'' pottery became available. However, Suzu ware remains black. At one time, it was even said that ``Sue ware was a failure,'' but considering the history of its widespread distribution mainly on the Sea of ​​Japan coast, it was a method that was inefficient and could not be mass-produced, so they deliberately stuck to ``black'' ceramics. I think so". When Mr. Shinohara talks about the history of Suzu ware, his words exude a certain sense of pride.

This is the third major earthquake to hit Suzu, which has been hit by two earthquakes.

``Ceramics that are inefficient and cannot be mass-produced'' are produced in highly sealed kilns stacked with bricks. That kiln collapsed in the recent earthquake. In fact, Shinohara's kiln collapsed during the earthquake last May. With the help of many volunteers since May, the kiln had been rebuilt at the end of last year, and just as they were about to fire it for the first time this January, the earthquake struck.

Shinohara, whose home was also damaged, is currently living as an evacuee in an apartment in Nonoichi City, more than 100 kilometers away from Suzu, and spends his days commuting to Suzu to prepare for rebuilding. Electricity has started, but it will be a long time before the water supply is restored. It is unclear when she will be able to move into temporary housing. However, her expression is bright. Of course, there is no doubt that the brightness that can only emerge from enduring the continuing tragic situation and gritting your teeth and opening your eyes, but as Mr. Shinohara stands at the venue and talks about his work, he does not give the slightest hint of misery, and his back stands tall. It's dashing.

Reconstruction efforts begin in preparation for kiln firing next fall

``When my kiln collapsed in the earthquake last year, I thought about going out of business, but this time, on the contrary, I don't think I'll quit because of that.I'm grateful for the help from so many people. Because the kiln has been rebuilt, we mustn't put out the fire here. That's what I keep telling myself."

Reconstruction will begin by removing the brick mortar from the collapsed kiln one by one. Fortunately, the workshop building did not collapse, so the steady work inside the workshop will continue from now on. Burning is scheduled for next fall.

A number of works that appeal to people at the exhibition venue. This speaks to the power of "black" ceramics, revived after 500 years, and the indomitable spirit of the artist, who overcame repeated hardships. (Exhibition until February 2th)