Kokugakai Member and Nojima Prize Winner Matsuzaki Ken (松崎健), White-slip Red-painted Windowed Floral Sake Cup, Japanese Kogei, Ceramic Rock Cup #269

This piece is a white-slip red-painted yunomi (teacup) that fully exhibits the exceptional sensibility and technique of Matsuzaki Ken (松崎健, 1950–), a powerful ceramic artist who has established a solid position in Japan's modern applied arts and crafts world, rising to the highest rank of member at the prestigious public exhibition, the Kokugakai. The artist meticulously created this as a yunomi, and on the lid of the dedicated wooden box (tomobako), "White-slip Red-painted Yunomi" is inscribed in ink in Ken's own hand, along with a signature and a vivid seal. We propose this piece, with its superb wheel-thrown size of approximately 8.0 cm in height that fits solidly in the hand, and its painterly and modern design that transcends the traditional beauty of utility, as the ultimate Japanese kogei (craft) sake vessel (ceramic rock cup) for slowly enjoying rare aged sake that has matured to a beautiful amber color over many years, or premium single malt whisky with large ice cubes. It is a masterpiece of Japanese contemporary avant-garde craft rarely seen in overseas markets, possessing a solid asset value that brings joy to ownership and elevates everyday moments into an exceptional artistic experience.

The artist, Matsuzaki Ken (1950–), was born in Machida City, Tokyo, in 1950, and graduated from Tamagawa University, Faculty of Letters, Department of Arts, specializing in ceramics, in 1972. The artist grew up in an artistic family with a father who was a Japanese painter, Matsuzaki Osami, and an elder brother who was a woodworker. Since Matsuzaki's father was a close friend of Noriyuki Ushijima, a Western-style painter and member of the Japan Art Academy, since junior high school, Matsuzaki was fortunate to be exposed to pure art education daily from a young age. After graduating from university, the artist underwent five years of strict live-in training under Shimaoka Tatsuzo, a master of Mashiko ware, and became independent in 1977 by building Matsuzaki's own kiln in Mashiko's Kitago Valley. Matsuzaki's essential achievement lies in pursuing a unique modern sculptural beauty based on the reliable traditional techniques inherited from the artist's mentor, which has been highly acclaimed in the Japanese art world. Less than three years after becoming independent, in 1980, the artist achieved the remarkable feat of winning the Kokugakai Nojima Prize. In 1982, Matsuzaki was recommended as an associate member of the Kokugakai, and in 1984, the artist again received the Kokugakai Associate Member Excellent Work Prize. In 1986, the artist was promoted to the highest rank of Kokugakai member at a young age. Furthermore, through three trips abroad to the United States and Canada, Matsuzaki luxuriously absorbed the essence of contemporary art overseas. In addition to holding solo exhibitions annually in Tokyo and Osaka, the artist actively organized mentor-disciple exhibitions and three-person family exhibitions in various locations, establishing a solid reputation as an individual artist both domestically and internationally.

A professional analysis of the form and decorative beauty of this piece reveals the successful culmination of Matsuzaki Ken's unique painterly sophistication and calculated spatial composition, cultivated at the forefront of the Kokugakai. On the front of the vessel, on the rustic and soft texture of white slip (a technique of thinly applying white engobe to the surface of the vessel), one of the most highly regarded techniques, a dignified windowed decorative frame is created with sharp red-painted lines. Within this frame, flowing floral patterns are depicted with powerful strokes of red painting, and vivid green dots are arranged in a calculated balance at the top, creating an urban and modern rhythm amidst the warmth of traditional folk art. Furthermore, looking inside the vessel, iron glazes such as iron-rich black glaze and amber glaze show a dynamic swirling pattern along the rotation of the potter's wheel, creating a wonderful effect that produces visual depth and beautiful shimmering light when sake is poured and ice is floated. At the bottom of the vessel, next to the foot ring, a modern round pottery seal, designed with the artist's name, is clearly engraved, proving the authenticity of the piece. The precious official leaflet (with a brief biography) from that time, featuring handwritten recommendations from Western-style painter Noriyuki Ushijima and others, is included in perfect condition, making this a supreme piece of art and craft in the best possible state without any flaws.

*Comment from Shimaoka Tatsuzo, Matsuzaki's mentor

Mr. Matsuzaki majored in ceramics at the Department of Arts at Tamagawa University in Tokyo and then studied with me for five years after graduation. He grew up in a good environment with a Japanese painter for a father and a woodworker for an elder brother, possessing a gifted talent in addition to an unparalleled passion for his work. Mr. Matsuzaki is directing his work towards tableware that is closely linked to daily life. This is a solid idea, rare among young people today, and though it may seem understated at first glance, it is the most correct attitude when creating pottery as craft, and I believe that the true beauty of pottery emerges from within it. Having accumulated over ten years of training and developed ample skill, Mr. Matsuzaki has now become independent, owning his own kiln and workshop, and is free to express his ideas. I look forward to seeing what kind of blossoms will unfold.

*Comment from Noriyuki Ushijima, Member of the Japan Art Academy

Matsuzaki Ken, who works with ceramics in Mashiko, is the son of my close friend Matsuzaki Osami, with whom I often went sketching in junior high school. I wonder if the humanistic guidance provided by his father has had a significant influence on Ken's ceramic work. Our work emerges from our daily living environment, and I believe this is important not only for painting but also for pottery. I hope that he will accomplish magnificent work in the future, leaving no regrets.

• Artist: Matsuzaki Ken (松崎健, 1950–)
• Artist's Major Career Highlights: [1950] Born in Machida City, Tokyo, [1972] After graduating from Tamagawa University, Faculty of Letters, Department of Arts, specializing in ceramics, the artist studied under Shimaoka Tatsuzo in Mashiko, [1977] Built a kiln and became independent in Mashiko Kitago Valley, [1980] Awarded the Kokugakai Nojima Prize, [1982] Recommended as an associate member of Kokugakai, [1984] Awarded the Kokugakai Associate Member Excellent Work Prize, [1986] Promoted to a full member of Kokugakai. Three overseas trips (Canada, USA), held solo exhibitions annually in Tokyo and Osaka, organized mentor-disciple exhibitions and three-person family exhibitions in various locations.
• Works in Public Collections: Permanently housed in public collections including the Metropolitan Museum of Art (USA), Museum of Fine Arts, Boston (USA), Victoria and Albert Museum (UK), Asian Art Museum of San Francisco (USA), Minneapolis Institute of Arts (USA), Cleveland Museum of Art (USA), Mashiko Museum of Ceramic Art (Tochigi Prefecture), and Tochigi Prefectural Museum of Fine Arts (Tochigi Prefecture).
• Production Period: Late 1980s - Around 1990s (estimated, presumed to be a fine piece from Matsuzaki's mid-prime period when the dignified beauty of traditional white slip and red painting reached its peak, before the style boldly shifted towards dynamic kiln changes and Oribe ware in later years).
• Product Condition: Very good (no chips, no cracks)
• Accessories: Dedicated tomobako (wooden box), official artist's biography (leaflet) included.
• Material: Pottery (white slip, red painting, iron glaze, transparent glaze)
• Dimensions: Height approx. 8.0 cm, Mouth diameter approx. 7.0 cm
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