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He was also an artist, calligrapher, sculptor, writer and philosopher. As a man who respected the dignity of simplicity and collected the works of poor craftspeople from all over Asia, he admired "ordered poverty" and had a profound love for the unpretentious men of the soil and made their simplicity
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in 1914 and worked briefly at the Kyoto
Research Institute for Ceramics. Hamada Shoji, whom he first met in Tokyo, followed Kawai to Kyoto, where the two are said to have conducted over 10,000 experiments on glazes. Disillusioned with what he felt was an unnecessarily excessive focus on studying
183:, Kyoto, is now a museum run by his relatives. Besides a display of his ceramics, some of his sculpture and woodcarvings are included in the collection. His house incorporates both Japanese and Western living styles, so one can see both
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Kawai was trained in the use of chemical glazes and gained wide recognition for their use while still in his early twenties. But he was ultimately dissatisfied with this early work and, thanks in large part to a chance encounter with
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Becoming interested in pottery as a child by watching a nearby farmer who made pottery in his spare time, Kawai-san knew by the age of 16 that he wanted to become a potter. Kanjirō graduated from the
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a part of himself. His pots come in many asymmetrical shapes and show expressionistic techniques such as tsutsugaki (slip-trailed decoration), ronuki (wax-resist) or hakeme (white slip).
125:, turned instead to natural glazes, to nature, or "to the science that precedes all science - and a return to nature was my salvation". He is widely regarded as a master of
221:"Any work of art belongs to everyone, because it is whatever each person sees in it." "It is the same with people. We are all one. I am you. The you that only I can see."
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are to the rear of the museum. The firing lasted 48 hours and consumed over 2,000 bundles of firewood. The interior temperature reached 1,350 Celsius.
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in Kyoto (a climbing kiln "noborigama") "the
Shokeiyo, with eight chambers, began the "Kawai Factory" and began to give exhibitions.
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218:"When you become so absorbed in your work that beauty flows naturally then your work truly becomes a work of art."
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215:"Everything that is, is not. Everything is, yet at the same time, nothing is. I myself am the emptiest of all."
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He was also a poet and, like his pottery, his writing is strong and unconventional. In 1953, a book entitled
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in the nineteen fifties and mentored a number of
Japanese ceramic artists throughout his life.
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Kanjirō refused all official honours, including the designation of
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133:(shinsha or yuriko - one of his trademark colors), rich brown
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212:"The pledge of fire: To return to all things purified."
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193:and also some Western furnishings. His studio and
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168:Kanjirō's restored house interior, January 2008
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239:"eocene | ceramics | Kawai Kanjiro"
58:was a Japanese potter and a key figure in
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319:Tokyo Institute of Technology alumni
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52:, 24 August 1890, in
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281:Eocene Arts website
261:We Do Not Work Alone
207:We Do Not Work Alone
243:www.eocene-arts.com
56:– 18 November 1966)
287:2019-01-31 at the
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82:Kenkichi Tomimoto
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314:Japanese potters
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137:(tetsu-yu),
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309:1966 deaths
304:1890 births
298:Categories
225:References
64:(Japanese
23:circa 1950
100:Biography
285:Archived
181:Gojōzaka
145:(gosu).
66:folk art
27:In this
33:surname
334:Mingei
201:Quotes
191:tatami
160:Legacy
143:cobalt
139:chrome
131:copper
127:glazes
92:, and
68:) and
61:mingei
49:河井 寬次郎
31:, the
186:tansu
37:Kawai
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