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SILENT ROAR
ONLINE EXHIBITION
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PRESS RELEASE:
Misako Mitsui has curated a group of Japanese paintings, ceramics, and objects (from Mid 14th century to contemporary) to uncover the heart of Japanese art, which is too often obscured by myth or scholarly theory. Each work in this exhibition has both a history and a backstory that engages the energy of its core.
In Japanese culture there is no clear line between fine art, the highest level of craft, and design. All of these categories are regarded on an equal plane, each allowed the same latent potential to produce masterworks of great beauty.
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A word to distinguish “fine art” did not exist in the Japanese language before the late 19th century, when Japan opened to trade with the Western world. This introduced the Western understanding that art should be relegated to its own, rarefied category, which stood above the comparatively “lower” arts of craft and design.
It has long been understood in Japan that the purpose of excellent works, whether recognized as design, craft, or “art”, is to live with us and to make our life exquisite. From the wealthy and powerful Shogun to hard working farmers, from the greatest scrolls to the elegance of a mended indigo apron, the Japanese have constantly sought harmony between different elements of beauty through developing the aesthetics of their own living spaces.
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This is how we have sharpened our eye to hunt for beauty even if it is hidden.
Sometimes, beauty can be buried within an object that doesn’t immediately reveal itself as art. It may wait for many years in obscurity until its potential is recognized by the eye of a thoughtful connoisseur. This is the beauty of Wabi aesthetics: that which is found instead of created.
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At other moments, Japanese works lie silent. Perhaps they will not reveal their core upon first glance. Only when they are approached with a calm and open mind will they speak with the viewer.
In the Western world, we have been trained to respond immediately to art with a stream of words. Japanese art asks us to do the opposite. Instead, we listen to this work, waiting with patience until we can hear its silent roar.
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artisan's name unknown, Foundation Stone for Gojo Oo-Hashi, 14th Century (Muromachi Period), Contact for Price
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artisan's name unknown, Hexagonal Stone Carving, Mid 14th Century$ 3,500.00
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Artist’s name unknown, Plate from Kiln 4, mid 20th century$ 1,200.00
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Sho Kishino (1972-Present), Training Monk, 2019$ 1,300.00
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artisan's name unknown, Fish basket or Creel, Late 17th century Sold
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Sho Kishino (1972-Present), Training Monk, 2019$ 1,200.00
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Chusei Inagaki (1897-1922), Self Portrait$ 6,500.00
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Shiro Shimizu (1979-Present), Rectangle Plate, 2017$ 1,100.00
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Chusei Inagaki (1897-1922), Tree$ 4,500.00
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Okyo Maruyama (1733-1795), Bird on lotus leaf (hasu leaf), ca.1750-60
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Gankyo Kishi, Landscape, Late 19th - Early 20th century Sold
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(Monk) Chuho-so-u (1758-1838), Jigoku, Late 18th - Early 19th century$ 10,000.00
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artisan's name unknown, Jingdezhen 景徳鎮 (Keitokuchin)plates (set of 16), early 18th century$ 2,000.00
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artisan's name unknown, oil jar, Mid 1770s - Late 1800s$ 630.00
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artisan's name unknown, hi-ire, Early Meiji period, Late 1800s$ 630.00
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PAST EXHIBITIONS:
知る人ぞ知る (Shiruhitozoshiru), IYKYK
