RYUSENDO GALLERY, fusing Asian antique art and contemporary art
– Last year Mayuyama & Co., Ltd. opened its contemporary art gallery RYUSENDO GALLERY. Can you tell us about the concept behind your new gallery?
Tanaka:
Working from aesthetic sensibility of Mayuyama & Co., Ltd. built over its century-plus handling of Asian antique arts, RYUSENDO GALLERY sets out to collaborate with contemporary artists to create new art works.
In other words, we are a “contemporary art gallery” making new works rooted in the classics. By classics, I mean the human skills and techniques built and honed by our ancestors over the millennia, the tens of thousands of years of human history. We want to work with artists to create artworks whose expression could only be achieved in the contemporary age, all while based on such history. In this process, I think the immutable principles at the heart of Asian antique art aesthetics are the most important.
– Your gallery interior design is highly distinctive. What aspects are especially crucial for the design?
Tanaka:
The earthen plaster -- made of soil and lime hydrate mixed with straw and other plant materials -- which we used on the walls was the critical element. It is not some simple type commonly used today; we used a type that incorporates seaweed in its ancient production method. While carefully protecting the existing building, we created an atrium space on the first and second floors and added a large skylight on the third floor to bring the greatest possible amount of natural light into the building interior.
While most museums in Japan create relatively darkened interiors and shine light on their displayed artworks, quite a number of Western museums in incorporate natural light into their interior lighting. We renovated our building by utilizing the existing structure’s best aspects, all with such buildings in mind.
Producing new ceramics that exude a wise Northern Song sensibility
– What type of works will you be introducing at Tokyo Art Antique 2024?
Tanaka:
We are displaying the “CELADON:FLAT” works that potter Itō Hidehito made for us. These pieces conjure the mood of imperial kiln celadons, the finest form of Northern Song dynasty’s ceramics. Both three-dimensional and planar, these works have an immersive color sensibility. We would be delighted if those who view them discern in them a new ceramic potential.
– Was there quite a trial and error process, a lot of hard work involved before you achieved these works?
Tanaka:
Conceptualization took about five years, the production period, almost a year. First, the hardest thing was envisioning how to make an artwork for visual appreciation from a slab of body clay that had been coated in glaze. Normally, celadon glaze swells thanks to surface tension. But these are flat; there is no surface tension rise. This is quite an important point. Then, we went through the repeated trials in order to find the perfect edge production method – how to successfully create their out-of-the-ordinary flat form.
We employed two methods to achieve the flatness and edge we aimed for on these works. It is our greatest hope that viewers will sense a feeling of “how lovely,” “what a pure cool mood” from these works which are simple in shape, yet involved considerable effort to create. When viewed, we want the edges of each work to evoke the atmosphere sought by Northern Song literati and scholar-bureaucrats. Multiple processes were required to create the detailed expression which conveys this mood, simply sharp wasn’t enough, nor was simply thick.
–What are the particularly noteworthy aspects of their color, their construct?
Tanaka:
Color – each of these works differs. While color seems to be the main element, in fact, shape is most important in these works. Moreso than anything else, we emphasized the process, getting the shape right, and then proceeding to color.
In martial arts or calligraphy, you can’t call forth true artistry unless you have mastered the principles of that art form. Once you have absorbed those principles at a body-deep level, then you advance to the next step. And yet, unexpectedly, there is this tendency to forget the importance of those principles. Similarly, it is the celadon glaze that most draws the eye, but we were aware that it mustn’t be the first focus.
Shape must be prioritized; we decided we must set out to make a “vessel” to contain the work’s energy. If no vessel, then it is pointless to be particular about the inner color. We made them with this thought in mind; the creation of a beautiful color will emerge on the first try when the celadon glaze in put within such an energy container.
– Were you inspired to create CELADON:FLAT after seeing Itō’s works?
We already had this project in mind about five years ago. And yet it simply simmered as an idea, it wouldn’t come to fruition without an artist. Thinking that Itō might be the right person, I consulted with Kawashima Tadashi, president of the gallery, and he approved. We first became acquainted with Itō’s artistry when his works were introduced at Art Fair Tokyo about ten years ago. There his works were displayed at a booth in front of Mayuyama’s.
Itō’s ceramics displayed at that Art Fair Tokyo were in the style of classic ancient works. We were impressed by their finest aspects. That was what inspired us to speak to him.
It was about two years ago that we said, “we would like you to make these works.” He said, “Yes I can,” and that started the actual process of making them.
– Enjoying the “changing pleasure” of having an art work at hand.
– Please tell us about how to enjoy Itō Hidehito’s CELADON:FLAT works.
The greater than normal thick accumulation of glaze on these works means that a lot of craquelure developed. The greatest amount of crackling appears when they are pulled from the kiln. Even if the speed of that contraction is gradually slowed down, gentle crackling continues to increase for about six months after that kiln removal.
That means that after hanging a work in your house, you have the pleasure of watching that gradual change in expression. At first, it is tiny changes, indeed, you may not even be aware of them. But then, as you live with the piece, you suddenly notice, “it has somehow changed.” The work has grown as time passes since its acquisition, and we hope you will enjoy its appearance changes.
– What were you particular about when you hung the CELADON:FLAT works in RYUSENDO GALLERY?
Tanaka—
Frames were matched to each work, adjusted millimeter by millimeter for a perfect match. We sought to present each work at its best, putting each work in the frame we thought most suited to it, ensuring that frame was substantial enough to support the work, but not add unessential weight.
The works all differ in color, gradations of the blue to green spectrum. We are also considering presenting these works alongside an array of three-dimensional antique works, thus adding to the enjoyment of visitors to the display.
Of course, the classics were the “contemporary art” of their time, and the repeated discussion of their excellence over time has led to their labeling as classics. I think that one important way of enjoying artworks is to view and experience classics and contemporary works with equal sensibilities in mind.
Thanks to their artist’s superb technical prowess, the maker’s psychological energy is embodied within the finest classic works. The same applies to these CELADON:FLAT works; Itō produced works that embody the energy of his accumulated technical skill.
As we concentrated on containing the energy within, and not allowing it to spill over, the art works gradually became quieter. This characteristic is something they share with Song porcelains. In that sense, I think that great pleasure will be found in lining these CELADON:FLAT works up with old works and viewing them together.
Working from a base of antique Asian art techniques and aesthetics, RYUSENDO GALLERY sets out to create new works with contemporary artists. I can’t wait to see the works born from this concept at Tokyo Art Antiques. Thank you very much for your insightful comments today.
[Translated from the Tokyo Art Antique website’s transcription of an interview held on 30 March 2024]
2-5-9 Kyobashi, Chuo-ku, Tokyo, 104-0031, Japan
TEL: 03-3561-5146
By appointment except for exhibition period
