Ippodo Gallery Ginza

2019.9/12(Thu)~9/21(Sat)11:00~19:00 Closed on Mondays

Bamboo craft is on the rise of attention from all over the world.  

Abbey Collection: Japanese Bamboo has introduced the freeform and diverse compositions of Bamboo art starting from the Metropolitan Museum, Ōita, Tokyo National Modern Museum then Osaka-Toyo-Toji Museum.

  Beautiful bamboos grow throughout in Japan. The straight and green bamboos have always resided with Japanese life scenes. Since the ancient era, the crafts of bamboo have been used as various tools in everyday life, refining its beauty as fine craft art.

At Ippodo Gallery Ginza, we would like to introduce Hafu Matsumoto and Toshie Oki, successful in formalizing their master, Iizuka Shōkansai’s technique. Hafu Matsumoto has also collaborated with the renowned Spanish fashion brand, LOEWE, by weaving together their leather products with his bamboo practice, which received a great reception.




A Delicate Bloom: The Intricate Beauty of Shinya Yamamura’s Lacquerware

Shinya Yamamura, a modern lacquer artist, uses traditional materials and techniques in his work.

The ornate intricacy of his pieces, from Chaire – traditional tea containers to incense containers, show Yamamura’s craftsmanship, planning, and careful consideration. A single lacquer box takes up to 8 months to complete.

Yamamura starts by planning the shape and decoration of the work and once complete, he creates a maquette out of clay or styrene.


Afterwards, he creates the piece based off this maquette.

​The body is usually made of a Japanese cypress and the decorative qualities made by using Urushi lacquer – a natural varnish unique to East Asia.

Once the form is completed, Yamamura carefully starts the decorative process. The surface of the object is first prepared with multiple coats of thickened Urushi lacquer.

​This is polished to create a deliciously smooth, yet strong, surface


The Urushi lacquer is then used to adhere a variety of materials such as other colored lacquers, metals such as gold and silver, handmade paper, shells, mother of pearl, ivory, etc.. ​

Rich combinations varying from piece to piece, produces artwork that tell a story of their beautiful creation. Like jewels, these pieces undoubtedly omit a precious energy.










Shinya Yamamura likes to say, “I would like my work to have a place in people’s lives, like a flower growing from the side of the road that is picked and taken home.”

Yamamura’s artworks are most certainly like that of a delicate and innocent flower.

Shiro Tsujimura: The Familiar Warmth of Stoneware

Self taught and self made, Shiro Tsujimura’s pottery delivers a sense of freshness and serenity to the viewer. Shiro resides and works in a home built by him and his wife in 1970 in Mima, Nara.

The air is crisp, the paths are green, and as they grow their own vegetables, fish locally, and work freely, Shiro and his wife, Mieko, occasionally welcome guests to their home by cooking a warm meal.

Both in work and lifestyle, Shiro Tsujimura delivers a largeness of spirit. There is a delicate balance between Shiro’s Igaware – a challenging style of Japanese pottery which demands masterful manipulation during firing- and food being served.

As Mieko carefully prepares the dishes, she considers the bowls, vessels, and teacups that will be used. She serves Oden, a simple Japanese vegetable based soup in a stoneware bowl made by her husband as he prepares beef through charcoal grilling. Using the same charcoal that is used to fire the kiln, Shiro’s art and life blends together in an absolutely serene way.

Shiro once said “If asked what I hope to create in my own work, the only answer I could possibly give would be that particular condition of the human heart.”

​Shiro’s pottery represents both a mastery of ceramics and of life; the warmth delivered through each piece is undeniable and truly is the uniqueness of ceramics itself.

Artist Spotlight: Kohei Nakamura

Born in 1948 in Kanazawa City, Ishikawa, Kohei Nakamura is part of a family of renowned ceramic artists in Kanazawa.

Kohei Nakamura has been featured in many public collections; from The National Museum of Art in Kyoto to The Metropolitan Museum of Art in New York

Nakamura became sensational in the contemporary art world in the 1990s through his extravagant and ornate ceramic sculptures.

Upon return to Japan, Nakamura’s visual language changed from a highly decorative subject matter to one that is subtle, timeless, and classic.


Nakamura’s teabowls are exquisite Korai, Raku, and Ido styles. Nakamura’s featured tea bowl is a contemporary Ido. Ido, the first of three types of Japanese tea ceremony bowls, is the highest grade of tea bowls.

With a beautiful contrast between the clay body and glazes, Kohei Nakamura’s tea bowls display a unique, yet graceful, elegance.






8/28(水)〜9/7(土) 「塚田美登里のガラス Natural Laces」
9/12(木)〜9/21(土) 「松本破風 – 大木淑恵 二人展」
9/27(金)〜10/12(土) 「月夜の茶会 茶道具展」


「松崎融 大盆展」オープニングの様子


「松崎融 お盆の季節の大盆展」は現在開催中です。


秋元雄史(あきもと・ゆうじ) …東京藝術大学大学美術館館 長・教授、練馬区立美術館館長。1991年よりベネッセアートサイト直島のアートプロジェクトに関わり、2004年 に地中美術館館長、2007年に金沢21世紀美術館館長に 就任。







Essay by Glenn Adamson- A Bowl of Heaven

A Bowl of Heaven

Glenn Adamson Senior Scholar, Yale Center for British Art


It took Shin Fujihira more than forty years to make a teabowl. Not that he was working on it the whole time – in fact, he purposefully avoided this most iconic of Japanese ceramic forms, feeling that the refined cult of tea ceremony (Chanoyu) was a “wicked world,” artificial and restrictive.

He felt this way despite his family lineage, which placed him the ceramic elite of Kyoto, a city famous for its ornately decorated and refined wares. No less a personage than Kanjiro Kawai helped foster his talent, even bequeathing him his given name, Shin. And yet he rebelled, becoming an unorthodox and individualistic talent.

In Japan, of course, unorthodoxy is its own tradition. The ideal of the Chinese literati, who withdrew from court intrigue to concentrate on their own artistic visions, was adopted by such figures as Matsuo Bashō, the Edo period poet, who is considered by many to have been the greatest composer of haiku. For example:

A snowy morning—
by myself,
chewing on dried salmon.

When Fujihira did finally decide it was time to create teabowls, he achieved just this sort of elliptical, compressed style. Handbuilt rather than thrown on the wheel, each is as eccentric as the artist himself, no one contour the same as any other.

The one I have before me has a cinnabar glaze, a pink-suffused celadon somewhat reminiscent of Chinese Song Dynasty jun wares. It is made of earthen materials, and its lip travels round it irregularly, like a mountain path. Yet it also contains a cloud, a gorgeous gray smudge that runs through the glaze: a portion of heaven. Bearing the bowl’s light weight in the hands is pure, giddy pleasure; I can imagine it lifting of its own accord, rising to up the sky.

I can also imagine it filled with green froth. Fujihira may not have admired the rigorous conventions of chanoyu, but then, those conventions have themselves shifted in recent years. It’s easy to imagine a contemporary tea-lover falling in love with this bowl.

For me, nothing he ever made was more poignant than this bowl. It’s at once unpretentious and transcendent, like snow and salmon and everything else under the sheltering sky.