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Ohi tea bowl
Chozaemon (Toshio) Ohi XI
[Ceramic + Porcelain ]
Item Number:C16980
Asia Week Hours:
March 15 – March 24, 11 am – 6 pm
except Sunday, March 18: by appointment;
March 26 – April 7, Mon. – Fri., 11 am – 6 pm

OPENING RECEPTION: March 15, 6 – 8 pm

In celebration of Ippodo Gallery NY’s 10th anniversary, the gallery is delighted to announce an exhibition of tea wares by more than 15 contemporary Japanese potters. Ranging from young artists to master craftsmen, the works evoke a wonderful feeling of harmony. The five senses are magnified as you hold a bowl in your palms, with each acting as their own microcosmos.

Ippodo has always focused on the tea-related artworks as a core cultural component of Japan, with tea ceremony and its accoutrements at the center of that ideology. This is the second exhibition of tea wares by these Ippodo artists, as the first was held in 2014. Exhibiting artists include Keiji Ito, Hiromi Itabashi, Kohei Nakamura, Kyusetsu Miwa XII, Chozaemon Ohi XI, Tetsu Suzuki, Shiro Tsujimura among others.

With the unique process of tea ceremony, appreciation for tea wares differs from that of other crafts. Unlike an artwork that is only appreciated visually, tea ceremony embodies beauty and joyfulness, as achieved through contemplation and tranquility. During the ceremony, the bowl is raised with both hands, and the drinker savors the texture of the piece against his or her lips. Reflection on the green color of the tea, the full weight of the vessel, and the shape of the kodai, or the foot of the bowl, all add to the experience of pleasure.

The tea wares are transformed through shape and glaze, the full object ripe with discovery in detail. Each modification, no matter how small, becomes a source of appreciation--a culmination of Japanese aesthetics.

The Japanese tea ceremony was first developed during the Azuchi Momoyama period (1573-1603), with the wabi-cha style perfected by Sen-no-Rikyu (1522-91), which spread widely among the Samurai class. The guest entrance to the tea ceremony room is extremely small and low, forcing the guests to enter on their knees, to oblige the Samurai to leave swords outside. A Samurai valued his sword as highly as his life, so to part with it in order to participate in tea ceremony no doubt created a heightened atmosphere of humility. As such, the small tea room must have offered the Samurai a unique form of freedom, equalizing all who entered.

While the earliest tea ceremonies were restricted to feudal lords and high-ranking samurai, the rituals gradually became popular with the rich merchant class during the mid-Edo period (18th century). Edo-period tea ceremony was characterized by refinement, combining the Zen Buddhism with the Way of the Samurai. From spiritual sublimation across society to the delicate and intensive craftsmanship of utensils, (particularly tea bowls), tea ceremony grew in cultural and ultimately historical importance. At different points in history, a single tea bowl has even been considered more important than territory. A simple tea bowl contains a sense of great presence and infinite power: Microcosms of a great maternal spirit.
Various traditional styles of tea bowl continue today: Raku, Ido, Hagi, Karatsu and Shino are still being created. Japanese potters often dedicate their lives to the creation of the perfect tea bowl. The tea master devotes all his energies to a single bowl of tea to make it a unique encounter, allowing the guest to appreciate the experience through all five senses.

But the sensory experience of the tea ceremony is not merely solitary. The ritual allows for important communication; it joins people together, releasing the boundlessness of imagination to flourish. In a single tea bowl, happiness can be found.

Exhibiting Artists ( alphabetical order ) :

Yasushi Fujihira
Noriyuki Furutani
Hiromi Itabashi
Keiji Ito
Yukiya Izumita
Kyusetsu Miwa XII
Kohei Nakamura
Akio Niisato
Nobuo Nishida
Chozaemon Ohi XI
Mokichi Otsuka
Tetsu Suzuki
Ruri Takeuchi
Shiro Tsujimura
Kai Tsujimura
Yui Tsujimura
Soyo & Shodo Yamagishi
About the Artist
An 11th generation descendant of the Ôhi family of potters known for a type of Raku ware. Ôhi works in a very traditional style by nature of the 350-year cultural legacy. He transcends the physical and cultural boundaries of Kôgei by promoting its discourse beyond japan through his activity with university ceramic programs around the world.

1958 Born as the eldest son of the 10th Ohi Chozaemon
1984 M.F.A. Boston University, Program in Artisanary ( Boston, Massachusetts, USA )
2013 Nomination Exhibition 2013 Korea Contemporary Ceramics Biennale IcheonCeramic Museum ( Icheon, Korea )

Honorary guest professor, Kanazawa University ( Japan )
Visiting associate professor of Tainan National College of the Arts ( Taiwan )
Visiting associate professor of Rochester Institute of Technology ( USA )
Instructor at Tokyo University of Fine Arts and Kanazawa Utatsuyama City Crafts School

2011 Received Special Award of the 1 st International Kaolin Ceramic Competition, China ( Jiangxi, Jingdezhen City, China )

"Ohi Yaki" originated in 1666 in a village in Ishikawa Prefecture and was developed for use in the tea ceremony.

Made of soft clay and fired at low temperatures, Ohi pieces are prized for their beautiful shapes and luster.

The Ohi method is to form the shape by hand, curving off excess bits with a spatula without using a wheel.

At the firing stage, the piece is glazed and put into the kiln. Then the temperature is increased sharply within

a short time, and the piece is taken out while the glaze is melting to cool down rapidly. This method requires

sudden temperature changes, so finding good clay soil is important. The first Chozaemon found the most

suitable soil in Ohi Village which is a suburb of Kanazawa. The name Ohi came from the name of the place.

Since then, this method has been handed down from generation to generation as Ohi Yaki. Most Ohi Yaki is

tea utensils among which tea bowls are most abundant. Its distinctive glaze contrasts beautifully with the powdered
green tea used in tea ceremony.