Interview: Ryotaro Kato (Ceramic Artist)
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We share a variety of information and perspectives on Japanese crafts, including exhibition information and interviews.
VOICE VOL.7
KOGEI & Me VOL.32
KOGEI Topics VOL.16
Featured Exhibitions & Events VOL.41
Nov 27 – Dec 9, 2024
Nihonbashi Takashimaya
Nov 28 – Dec 8, 2024
Seiko House Hall
Nov 30, 2024 – Feb 2, 2025
The Shoto Museum of Art
Nov 30, 2024 – Mar 16, 2025
Museum of Modern Ceramic Art, Gifu
At the heart of Ryotaro Kato’s work lies the pioneering spirit of the Momoyama period (1573-1603), a time when blending various elements to create something new was highly valued. The year 2024 marks a pivotal milestone for Ryotaro as he turned 50, and at the same time was also a year when he was honored with the Japan Ceramic Society Award. Kobeigama, the kiln of which he is the current head, is celebrating its 220th anniversary. As one of the most highly regarded ceramic artists of the present moment, Ryotaro continues to challenge the future with his unwavering belief in innovation.
Interview by Kyoko Tsutsumi
A ceramic artist based in Tajimi, Gifu Prefecture, Ryotaro Kato is the eighth generation of the “Kobeigama” Kiln family. He is deeply passionate about using “ana-gama” (literally, “cave”) kilns and produces mainly Mino tea ceramics in styles such as Shino, Seto-guro and Oribe. He is also well versed in the tea ceremony and calligraphy, and conveys the beauty of Japan’s unique culture through his works. While building on tradition, he continues to actively refine his own sensibilities and take on the challenge of new projects.
PROFILEThis year we held an exhibition of Taihaku ware to celebrate the 220th anniversary of the Kobeigama Kiln. The first generation of Kobei established a climbing kiln on the slopes of this mountain. In 1973, my grandfather, the sixth generation Takuo Kato, remodeled the kiln, and while it is no longer a climbing kiln, it has become an ana-gama or “cave kiln.” It was here that he began firing sometsuke underglaze decoration. The tradition established by our ancestors has been passed down through the generations in this very place, and today I continue their work by firing Mino ware, including Shino and Seto-guro styles rooted in the Momoyama period. Mino ware is incredibly diverse, but the core identity of Mino lies in the Momoyama ceramics, and I feel a deep sense of duty to maintain this tradition. Our family has kept the flame of ceramic craftsmanship alive, and from time to time, it is necessary to return to our origins, to reflect on our own foundation, and continue moving forward into the future. I believe this process of going back and forth and revisiting our roots during such milestones allows for a deeper understanding, and from that, new creations will emerge.
The Tono region of southeastern part of Gifu Prefecture, the eastern part of ancient Mino Province, holds an abundance of various types of clay and glaze materials, which is why it developed into a renowned ceramic-producing area. During the Momoyama period, some of the masterpieces that later became National Treasures and Important Cultural Properties were created here. This is something particularly remarkable within Japanese culture. I believe that Momoyama ware emerged explosively under a uniquely Japanese aesthetic during the tea ceremony culture that flourished in the Momoyama period. Up until then, there had been a strong admiration for China, and ceramics were mostly created as imitations. But during the Momoyama period, Japan developed the ability to create ceramics confidently with a distinct Japanese aesthetic, representing a kind of spiritual independence for the Japanese people.
In the six months since the award announcement, I’ve had many opportunities to reflect on myself. Who am I? What did I create when I was young, and what journey did I take to get to where I am now? To go even further, what kind of child was I, what did I love, and how was I raised? I’m currently delving into these aspects of my life. The timing of receiving the award and reaching the milestone of turning 50 has led me to spend a lot of time reflecting on myself, without any shame (laughs).
As I mentioned earlier, it’s precisely because of this milestone that I feel it’s important to reconsider my foundation, as it helps me understand where I currently stand. This reflection will serve as a guide for how I move forward toward the next milestone at 60. I believe both of these exhibitions, the 50th-anniversary exhibition and the Japanese Ceramic Association Award exhibition in October, will bring further changes to my work. I hope to present my most heartfelt pieces there.
Once I’ve completed this process of reflection on the milestone of turning 50, I’d like to start something new. Right now I’m still thinking about it, but one possibility is to continue expanding my repertoire of techniques. Firing a kiln is a bit like an experiment. You never know whether the result will be positive or negative, but that’s the nature of the kiln. The kiln creates new aspects of my style that I haven’t yet seen, and that’s truly exciting. So, I believe I will continue to repeat these experiments.
In the spirit of fusing different elements to create something new, I would also like to collaborate with others, if the opportunity arises.
In general, it is said that ceramic artists create their best work in their 70s, as they reach a stage of maturity and mastery but also begin to sense the end of their career approaching. I believe I’ll get to that point, and my goal for my 50s is to pursue as much as I can with passion and joy, without overdoing it and while staying within my limits.
My main area of work is the tea bowl, but behind every tea bowl is an immense amount of information. There is the historical context I mentioned earlier, along with my creativity, the natural forces of the kiln, and even the clay itself, which has been formed over some 200 million years. So, there’s a sense of timelessness embedded in it. When you think about it like that, it becomes quite grand.
When someone picks up a tea bowl, I believe they will feel something. Holding it in your hands provides a much greater volume of information than just seeing it with your eyes. To hold it in your palms is to bring it into yourself. So, when people take it in, how will they feel? I see exhibitions and tea ceremonies abroad as an opportunity for that. I want people to have the chance to touch the tea bowls properly and experience them. Intuitively, and honestly, how will they feel? That’s something I’m really curious about.