Master of Japanese Porcelain--- (Potter: Koichi Takita)／陶芸家：瀧田項一

[Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] [Music] but in Kedah co-located in Tochigi prefecture is a small town of approximately 20,000 it's found spreading in a peaceful area in the foothills of the nestle mountains by the banks of the local river is a place of traditional handmade paper and fish you have been awarded a culture property status rates handmade paper they use the crystal-clear water for this process the studio of artist Potter Koichi Takeda's is located in northern Carroll Sierra this morning Takeda senses sees his newly fired ceramics for the first time this firing two three days well let's unload them okay let's start unloading these very carefully okay [Music] here's some just five porcelain taken directly from the killin area to the workshop the person has to be wrapped and carried carefully a direct contact with the open air we cracked the work [Music] this red glaze came up beautifully here in this area of paint gold luster and this will be the last step Akita sensei's artwork so thick and strong he draws various motifs and paintings on his white surface pottery now ice demon Giovanni news born in 1927 he has made pottery for more than 50 years over the years he has painted various motifs but lately he has condensed him to about five or so now he's painting one of his motifs a harinam oil mother you submit the digital midterm or when one thinks he's finally found his own motif and uses it repeatedly negative parts appear and are naturally discarded but the part one is never bored with also appears and can be utilized this way four or five powerful motifs are naturally born in one's lifetime these motifs become one's own symbol or trademark you keep you to heat he calls this trademark motif with us Takeda sensei was inspired to create a design on a winter day when he saw a heron playing on the banks of the river he calls dis design his trademark [Music] sometimes he uses this technique called for kissing me for his hair and design he makes a handmade stencil and places this on his rare before scattering the cobalt under glaze the underglaze is scattered and the clear outline or the herons looks as if they're flying the sky after firing the two herons are in clear sharp contrast [Music] takeda sensei became fascinated with pottery and set his heart on becoming an artist butter when he graduated from high school at the age of 18 he was inspired by great ceramic artists then decided he wanted to enter university and study with him this ceramic artist can't catch it Tommy moto was the master authority of original creative motif work his intense strong work has a sense of being alive Takeda sensei was fascinated by the strong vivid brightly colored Matisse Tommy mitosis they drew on his pottery the importance of motif was the main lesson Takeda says he learned when studying with Tommy moto sensei after working with Ken Kesey Tony moto for two years he continued his studies with the mini leader searching Hamada the blossoming of tequila so nobility was fostered at Hamada's through Hamada sense a strong foundation in making functional pottery for using everyday life this foundation was based on sound classical traditional methods I thought you began to come down that you call your world come a doesn't say he had a very simple sugar cane or bamboo leaf motif he only had three or four motifs but they weren't true depictions or a true Japanese character it's as if they were just a skeletal the bone structure of the motif he used so freely he skillfully applied it on large platters small sake cups and concave and convex surfaces this is a tremendous accomplishment to continuously use a motif throughout ones lifetime and not become bored of it is tremendous this is truly a basic skeletal multi the artist motif can become his trademark at the point Akira sensei realized the painting and motif of Norris Potter is his trademark he also realised the greatness of his teacher Shoji Hamada he knew he wanted to seek a path of ceramics that was different he started to make porcelain by himself in Isis City Hamada says save as the number-one stoneware Potter so Takeda sensei decided to set about doing his best to become the number one porcelain powder in Japan Takeda sensei who still continues making Posen after 30 years moved his killing from Isis City to his hometown kara sciama 14 years ago mr. Yamamoto an actor is visiting Takeda sensing studio mr. Yamamoto's father who is an architect and Takeda sensei are old friends mr. Yamamoto has known Takeda census since childhood I'm impressed with Takeda sensei's gentle centered being here I haven't seen him for a long time and I'm looking forward to spending time together though we've both grown older even though they've known each other a long time this is the first time mr. Yamamoto has visited Takeda sensei's at this workshop [Applause] it really has been a long time welcome thank you for coming so far to my face this is an amazing workshop it's been 14 years since I moved here has it really been 14 years yes a long time as the happy mr. Yamamoto gazed around the workshop yard he saw something unusual this is the raw material for my porcelain clay this is the clay I'm used to using so I brought it in from Aizen I take the rocks and crush them into a fine powder which I filter with water and get clay so that's how you make a clay there are not many people doing this today it is said that porcelain is made from stone but actually there are only few artists who choose to crush and process the stone this way but Takeda sensei is very particular about continuing the traditional clay making process he chooses the stones and crushes them to a size that's easy to help them this is the start of Takeda sensei's clay making process next the crushed rock is placed at the bottom of the Stamper which crushes the rocks smaller into fine sanding powder then the powder is placed into flowing water where it becomes clay if this mechanical process simulates the natural process of rock falling in the river turning into sand and eventually turning into clay next the saturated step is placed in bags which are pressed until excess water is removed within days the clay is ready to be used [Music] it's been ten years since mr. Yamamoto has seen Takeda sensei but he feels like it's been a short time because he has many of the Kira's pottery at his home which he uses every day mr. Yamamoto said he thinks Takeda sensei pottery has recently become very sensuous my impression is that your pottery has acquired a more erotic quality lately how long were you in Pakistan for about three years the Takeda senses are soft Japanese traditional pottery shapes and colours before going to teach in university of pakistan was now changed forever pakistan cultural grew from an ancient Middle Eastern crossroads new Japan's art and motifs have always been an asymmetrical culture whereas Pakistan's have always been entirely symmetrical as I became aware of this repertoire of symmetry which I didn't possess its beauty impressed this beauty continues to impress me today take for example this pot pie the design comes from mosaic tile anyway the relationship to space is different they fill every inch of space with beautiful designs but in Japan our beauty comes from the relationship between design and empty spaces I really saw that difference come on I don't know so no it's Chris October we already started to you so you so much ti-timmy mustard is made from chicago como hornacek I discuss money my world of acting is a world of copying I always say it's important to play I'm good at copying in order to do that one needs to throw away one's ego doesn't matter how many times someone copies something over and over the work is never exactly like the original it's in this process that one's own self appears in ceramics is it okay to copy something over and over of course that's part of the learning process that's why the word from the word learn it's taught that one must master shape until it becomes part of one's body and then step away from it one must truly master the shape so it becomes part of one's heart then from here one has the foundation to spring from for example this whole collection accumulated before I knew it there are pieces from China Persia and all over the world each of these pieces touched my heart they were all very precious moments and I want to preserve them it's through these accumulated moments that the soul and body are nourished soon an artist's work will come from his heart and be shaped by his hands today on a given material Musacchio toaster is through these finished works from all over the world that Takeda sensei's artistic abilities have grown [Music] [Music] kouno Google's hiking this face just recently came out of the kill when a vase like disappears I feel a warm happiness I've always thought the beauty of Japan's culture is in a tradition of selective inclusion in deliberate omission it's precisely this beauty that I see in this face that has no motif no color that has only a totally white fullness that I have always loved and will always love this faces color and motif have been eliminated and are found only in the plain surface therefore the white plainness of this piece forms an infinity motif in the world of this plain surface this world I call mu Sakuya it can be translated as in nothing there is something or as if it looks like there's nothing there's something I always attempt to create this act of plain surface if I were to succeed two or three times in my lifetime it would be great to make Network people I read one of your articles recently it asked why we always pay attention only to the outside shape of pottery when it's the inside shape that's so very important especially when it's the inside of functional pottery that we're using you said you wanted to create and fire a pottery where you've thought about the inside it was the inside of your pottery that you want to think about as you create and fire not the outside you said the inside was the important place this article left a very deep impression on me even though one tries to concentrate on the inside shape the outside shapes influence or pull is strong as a consequence the inside shape is neglected nevertheless the inside shape is most important just as I think the inside of a human being is important but I too can't help it I'm influenced by the outside but it's my do you mano no kuqali I'm the son of an architect so I understand the importance of living space the inside space and how it's used for decoration is important but not just the inside the outside is also important I think another way to use the space is to fill it like filling the gaps in the one's heart I wonder if thinking about this opposite use of space is important to me I think it's the motif that helps the space the motif color everything is absorbed into one's work if the motif is kept simple I'd like to become part of that world and understand it but that is a very difficult world inside the shape is where the motif lies that's all the gap lies in the shape itself takeda sensei once been orders that makes functional wear which is playing white and eternal on the outside but at the same time he wants on the inside to devote his heart and place his dreams yet as he thinks are the people that we use his work motifs appear on his pieces unintentionally I feel the white I create when I apply myself towards creating a perfect white is not a true perfect white when a perfect white actually appears it's not necessarily because of my effort a perfect white when it appears is perfect exactly because it arises naturally good motif in design are critical as well twice successfully to create truly great right where takeda sensei is now making a section of a large vase in order to make a large vessel and keep the shape that he wants Takeda sensei first makes a top and bottom section he trims the sections very carefully so he can match the thickness of the top and bottom sections next the two sections are put together with slip and the shaping is finished cappuccino as the whistle is drawing McClay design is added this is called haddock skimmer the design is made from the same clay as the pot he then stamps the clay with the plaster stamp he has made this is called in common Nikita sensei has several different stamps he's made some are Geographic and some of our shapes found in nature these stamps become accents to the pottery but are the trademarks of the artist the peano I've seen Tony Naruto those uni socks janitorial McNamara motive [Music] here touch the sensei is using a technique called synergy day where he trains groups in a part as a design this isn't used just as a design in fact it is also used to lighten apart a lot of making it easier to use of course it among carry PC sky yes Chris did you notice [Music] cactus and Oaxaca DeMuth dirty boots Edison says pure snow white and beautifully shaped work is also thought of as functional work as they are used in everyday life we become more attached and life itself becomes more enjoyable this kind of pottery embodies tequila senses doctrine [Music] for example when he makes a picture he considers ease of functioning straight he believes the handle should grow from the picture just as a branch grows from the tree Murray depict a car adopting a high-tech they only get a to notice this is what gives Takeda sensei's work its beauty and strength dr. Kinison says Auslan where is attractive and they are suited to displaying food mrs. Takeda enjoys cooking and entertaining guests her strength is also displayed Takeda senses subjective for his pottery if daily functional use as he learned in training under his many great minge masters mrs. Takeda has arranged today's menu from traditional dishes through well all of Japan his friends lived throughout Japan in Okinawa to shoot ISIL and to tea where all of these traditional dishes are represented a meal is so much more enjoyable when served on such beautiful varied pottery these pieces are beautiful these days you don't see people using porcelain much it's really nice to use and it keeps the food isn't white porcelain usually thin are you particular about this my pieces are thicker not only because it makes them stronger but also because when placed on a shelf they stay there there's a safe feeling my pottery is very thin or light it has an unreliable feeling so in that respect my aim is always to hold in my mind's eye at all times a robust healthy piece that has a soft and warm feel to create such a piece one must keep in mind that porcelain has its own correct thickness with that thickness comes strength [Music] - so look I Java dilemmas I've been using your pottery for a long time please use a lot and quickly break them I need you to buy more this is one of those pieces that we use at home it won't embarrass you it'll make a good subject for conversation you're embarrassing me no no no out of all my treasures this is the one I used the most I think this will bring back good memories what have you got there this is my favorite piece this is really one of my treasures oh this brings back a lot of memories I used to make pretty good things I have about ten of these this is when I was really young this is before I went to Pakistan oh I thought this was made after you returned no before I went well looking at these I guess I did some good work when your work is still great it's just different the size and depth to function very well it will hold porridge or spaghetti equally well the inside functions perfectly [Music] I'm relieved I wondered what you were gonna bring out what papyrus go to Northup emo emo no mono da da Johnny screw his career Takeda sensei has put himself in a place of the user and made where the functional easily now on the table is a half century of work gathers together has been conceived from the same philosophy this philosophy of function has not changed over the years we couldn't any geniuses in the total political Kazan is now sitting on the Lidcombe our needs at this time of day Takeda sensei makes a point of taking a daily walk to the reservation point in the pickiest near his home haha there's no more shiragami touch data Muji no sekai they isn't this beautiful this is the world of plane surfaces my lifetime wish for my work I want to create one or two of these beautiful planes surfaced works before the end of my life but as I look at this natural sunset I realize that I have much more work ahead of me before I reach that point [Music] I could highly-regarded white lace relic artist Koichi Takeda continually searches for new things to incorporate his work Takeda sensei continues to advance without stopping [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music]

Channel: Takita Sarina

Views: 2,456

Rating: 5 out of 5

Keywords: #Potter, #Porcelain, #Japan, #artist, #Ceramics, #Mingei, #Folk art, #clay, #陶芸, ＃白磁, #民芸, #Koichi takita, ＃瀧田項一, #芸術, #アート

Id: WvSX3p8ADcw

Length: 29min 59sec (1799 seconds)

Published: Mon Jun 10 2019