創業者ブログ

In a quest for Echizen ware
(Dec.5, 2006)

I have studied how urban areas of local cities can be revitalized. Recently, as a part of this study, I purchased an old building at the center of the Fukui down town. It costed a lot to renovate the building, even more to purchase it. I had already opened "Libro Omote-Sando" in Nagano, which functions as the hub to revitalize the Nagano downtown. I hoped that the newly-purchased building would play the same role in Fukui as "Libro Omote-Sando" in Nagano. I gave the second floor of the building to local craftworkers in Fukui. This space was named "Fukui Kogeisha [Craft Arts center]." The unveiling　event of Kogeisha was the exhibition of the craftworks of many famous artists, some of whom had been accepted for the prestigious Japan Art Academy Exhibition. Among their beautiful craftworks, the highlight of our exhibition were Echizen ware.

I have been attracted by Echizen ware for 30 years. The chief producing district of this pottery is in a mountain-ringed region between Takefu city and Echizen coast, which is located to the south of Fukui city. This mountainous region has been called "Niu-gun." It is one of the six sites where the production of ceramic ware began in ancient Japan. There are many ruins of old kilns in the Niu area. It is still not very hard to find old potsherds in the ground of the mountains of Neu area. It is a fun for me to visit ceramic artists living in this area. This fun gets me to forget about my business.

The existence of the many ruins of old kilns suggests that there were many people in this area already in Jhomon Preiod. I imagine that Neu was the center of the production of ceramic ware in the reign of Keitai Ten-no [emperor, 450AD-531]. Any historical evidence for my imagination has not been discovered. However, I believe that some great discovery will be made someday.

A few days ago, I had a call from a man, who is the son of one of my old school friends. He decided to start a new magazine titled "A loadstar to the traditional craftworks of Echizen." He wanted me to write an article about Echizen ware. He said, in spite of its long history and beauty, Echizen ware is much less known than Kaga, Mino, Shigaraki, Bizen, Karatsu, etc. Many aspiring ceramic artists are trying to pass on the great Echizen tradition. However, because of the lack of publicity of Echizen ware, most of these young artists are impoverished. What can we do to help them? What is the local government of Fukui doing? Aren't there any supporters for them?

I have maintained the Fukui Kogeisha for these two years. This experience drove home to me how it is difficult to hand on the torch of the tradition. However, I am still filled with a sense of mission to pass on the great beauty of Echizen ware to posterity.

In Neu area, there is a ceramic artists' colony. Although Japan has several artists colonies, it is rare that all of the members of a colony to specialize in ceramic art. If you visit the Fukui ceramic artists' colony, you will definitely be attracted by ceramic art. It is an interesting plan to start a ceramic art tour in the colony. I am also interested in preserving the old kilns. I have already started a project of the collaboration between ceramic and Japanese lacquer artists. I am now thinking about the collaboration between ceramic and Japanese paper artists, too. My imagination flies without end.

Murata Manufacturing Company is one of the leading companies of Japan, which got into the ceramic business. In addition to Murata, many companies succeeded by focusing their attentions to the potentiality of ceramic crafts. These facts are favorable for Echizen ceramic art. I would like to establish an assistance system for the artists in Niu before the end of the year.

Neu has 50 kilns and more than 100 artists. It has even a school for ceramic art. Neu has great latent potential. This harbors my dream.

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