Interview: Ryotaro Kato (Ceramic Artist)
VOICE VOL.7
INTRODUCTION
My mission is to reimagine the heritage left by our ancestors, creating it anew in a form that resonates with modern times.
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
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Ryotaro Kato Ceramic Artist
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.
PROFILE
The kiln inherited from the first-generation Kobei, with a mountain right behind it
The successive heads of the Kobeigama Kiln have each produced remarkable works, continuing the kiln’s legacy. As the eighth generation head of the kiln, how do you approach this tradition? Additionally, could you share how this history influences the ceramics you create today?
The first generation head of the kiln, Kobei Kato, established a nobori-gama or climbing kiln on the slopes of this mountain and began firing simple sometsuke stoneware under the name Taihaku ware. Gradually, he shifted to sometsuke decoration on porcelain, and before long, his kiln became the official kiln for the lord of Edo Castle. For four generations, the kiln operated as a studio for sometsuke porcelain, but the fifth generation, Kobei Kato, began researching Chinese ceramics, and the sixth generation, Takuo Kato, focused on Persian pottery. The essence of these influences was then incorporated into the kiln’s work. Originally known for Mino ware, today we also produce Shino and Oribe styles. As a result, the current Kobeigama Kiln creates a diverse range of ceramics, blending both traditional and contemporary influences from around the world. Over the generations, each head has infused their unique character and worldview into the work, which is a defining characteristic of our family tradition. We have always embraced various techniques, and as a result, the kiln’s methods have broadened and diversified.
Kobeigama Kiln: A famous kiln in Tajimi City, Gifu Prefecture, the heart of Mino ware production
In multiple viewing areas, visitors can view works by the successive heads of the Kobeigama Kiln. The piece in the foreground is a vase created by the sixth generation head, Takuo Kato, who studied the lustrous techniques of Persian pottery
This 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.
Tea bowls before glazing. The material is Mino clay
The kiln firing takes 4 to 5 days
Could you tell us about the charm of Momoyama ware?
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.
Momoyama ware blossomed in an instant, and as the Edo period (1603-1868) began, it quickly faded away. However, I believe my mission is to bring back what our ancestors began and recreate it in a form that suits the modern era. That being said, I have no intention of simply imitating or reproducing the past. I am committed to firing ceramics in a wood-fired kiln, just as they did in the past, but I am also exploring new expressions with materials that did not exist at the time and unpredictable yohen effects that manifest during firing. If that spirit of Momoyama ware had continued to the present day, I believe this is the direction it would have taken, incorporating various influences and presenting something new. This is the philosophy of Furuta Oribe from the Momoyama period, who believed in the spirit of ‘progressive energy,’ aiming to delight and surprise the viewer. It is a service-oriented spirit. I use the word ‘generous’ to describe this approach. The desire to show something new is the same as the inclination to offer hospitality. I believe Oribe’s ceramics are ‘generous’ in the way they engage with people.
Oribe Tea Bowl created by Ryotaro Kato, featuring a beautiful turquoise-blue yohen effect
Confronting flames at 1,200 degrees Celsius
What do you find fascinating about ceramics?
The interesting thing is that everything doesn’t always turn out the way you expect. Ceramics are a combination of the natural power of fire, the shape I create by hand, the patterns, and the glazes. In other words, ceramics are an art form that blends the forces of nature with human effort. Half of the process is what I create, but the other half is entrusted to nature. That is what makes ceramics fascinating. If everything turned out exactly the way I intended, it wouldn’t be interesting.
It’s the surprises that come when something exceeds my expectations, the “betrayal” that comes from what emerges from the kiln — that’s the good kind of betrayal, of course, but there are plenty of failures too, which can be the bad kind. That’s what makes it interesting. Every time I fire the kiln, there’s a discovery. There are certainly things that turn out as expected, but sometimes, there’s something like, ‘Oh, so this is how it came out.’ I think I’ve come to enjoy this interaction with nature, or rather, with the fire god.
With careful timing, the tea bowl is pulled out
The tea bowl immediately after being pulled out. A crackling sound can be heard from the glaze as it develops
The tea bowl turns black as it is rapidly cooled
This year, as you reach the milestone of turning 50, you received the 2023 Japan Ceramic Society Award. Has your mindset changed since the award announcement? And do you think this has influenced your work?
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.
Focus
Attaching the kodai (foot) to the bowl
Tools for crafting ceramics
In receiving the Japan Ceramic Society Award, your flexible attitude toward continuing new challenges was highly praised. What are some of the challenges you’d like to take on in the near future, and how do you envision yourself as a ceramist in 10 or 20 years?
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.
In addition to ceramics, you are well-versed in other Japanese cultural arts such as calligraphy and the tea ceremony. How do you plan to engage with these in the future?
When it comes to discussing my artistic identity, my calligraphy has not yet reached the level where it can stand alongside ceramics as an equal partner. It is truly something that can only be built up over time. I believe the only way forward is to continue accumulating knowledge and striving for higher levels.
As for tea, I will continue to refine my practice, but I don’t aspire to become a tea master. Instead, I aim to practice tea in my own way, such as hosting tea ceremonies during my exhibitions, which I plan to do as opportunities arise. This is because tea serves as a meeting point, connecting me with various people and things. Meeting new people and discovering new things creates new opportunities for fusion. In that sense, tea is an incredibly valuable practice. There are bowls that can only be encountered in a tea ceremony, and people you can only connect with through tea, so I would like to continue this practice.
Thoughts manifested in a single bowl
You previously held a solo exhibition in the UK, and you have another exhibition coming up in Singapore this winter. Through your work and activities, what would you like to convey to people overseas?
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.
