Tamba Ware: A Timeless Tradition of Japanese Pottery

_{Tamba Village / photo courtesy: The Tambatachikui Ceramic Ware Cooperative}

_{View of The Museum of Ceramic Art, Hyogo with a Tamba Jar / photo courtesy: The Museum of Ceramic Art, Hyogo}

Japan is renowned for its traditional pottery regions, with six notable areas known as the Six Ancient Kilns of Japan that have stood the test of time. Among them, Tamba—also called Tachikui or Tamba-Tachikui—stands out and has continued to evolve over a millennium. Recognized as an intangible cultural property of Japan, Tamba ware has always been deeply intertwined with daily life, adapting to reflect changing lifestyles. In recent years, contemporary pieces like flower vases and flat plates have become more popular, seamlessly fitting into modern living.

Crafted in the Tachikui area for around 800 years, Tamba ware initially focused on practical items such as jars, urns for water and grain storage, and cooking mortars. Today, about 60 kilns continue this legacy, producing a wide array of items that supply the needs of everyday life. While often linked with simple red clay jars and urns, Tamba ware actually encompasses all ceramics made in Tamba and has no fixed style.

The tranquil rural landscape around Tachikui provides a picturesque backdrop for Tamba ware's creation. Despite its peaceful village charm, it's only about an hour's drive from major Kansai cities like Osaka, Kyoto, and Kobe, and about two hours by train. The area near Sasayama Castle, a key spot for Tamba Sasayama tourism, is about a 20-minute drive away, making it a popular destination for travelers using taxis or rental cars.

_{Tamba Village / photo courtesy: The Tambatachikui Ceramic Ware Cooperative}

The diversity and adaptability of Tamba ware are partly due to the unique distribution methods of Tamba Sasayama craftsmen. Unlike many other pottery regions where middlemen handled distribution, The craftsmen often delivered their creations directly to shops in cities like Osaka and Kyoto. This direct interaction kept them in tune with urban trends, allowing them to create pieces that resonate with people and meet their contemporary need.

_{Vessels / photo courtesy: The Tambatachikui Ceramic Ware Cooperative}

_{Tamba Artist on the Wheel / photo courtesy: The Tambatachikui Ceramic Ware Cooperative}

The tradition of passing down Tamba ware through generations is deeply rooted in this ancient craft. Masters often hand over the names of their houses (studios) and the knowledge of techniques, kilns, and clay recipes to their children, usually the eldest sons. If a master has multiple children, the second child is expected to establish a new house and adopt a new name.

While there are occasionally newcomers from outside the Tamba pottery area, such instances are rare. This rarity is likely due to the long-standing customs of this old village, which can be challenging for outsiders to adapt to.

Historical Evolution of Tamba Ware

_{Shoujou - Tamba Jar, 13th century / photo courtesy: The Museum of Ceramic Art, Hyogo}

_{Sake Bottle with Floating Cherry Petals in the Stream - Tamba, 19th century / photo courtesy: The Museum of Ceramic Art, Hyogo}

The historical timeline of Tamba-ware is rich and fascinating. Tamba ware’s roots stretch back to the end of the Heian era (794-1185), based on local production of Sueki pottery (unglazed ceramics). It also absorbed techniques from Tokoname ware and Atsumi ware, produced in the Tokai region. During the Middle Ages, Tamba ware primarily consisted of pots and mortars. The bright brown surface of Tamba ware transforms in high kiln temperatures, becoming a beautiful yellow-green natural glaze.

_{Tamba Ash Glazed Water Jar with Hand Pail-Shape, 17th century / photo courtesy: The Museum of Ceramic Art, Hyogo}

In the Edo period (1603-1868), sake bottles and pots slip-painted with “akadobe,” a material rich in iron, became popular for their striking red color. The period saw the introduction of the noborigama and keri rokuro, revolutionizing production and diversifying products, leading to innovations in glazes and techniques. Tamba tea pots and mortars were highly sought after and exported to Kyoto, Osaka, and Edo.

The Kamaza pottery association initially controlled the market, later taken over by the Sasayama clan, spreading Tamba ware across Japan. By the Meiji to early Showa eras, transportation expanded distribution, leading to the production of major items like sake and soy sauce bottles, and flower pots. Later, chestnut-colored “Kurikawa-glaze” and white slip-painted, multicolored overglaze items emerged, adding to the area's diverse ceramic techniques. Tamba ware, along with the other five ancient kiln sites, was recognized as a Japan Heritage site in 2017.

_{Tamba Sake Bottle Covered with Akadobe (red-brown slip), 17th century / photo courtesy: The Museum of Ceramic Art, Hyogo}

_{Square dish with White Slip, Shigeyosi Ichino, 1985 / photo courtesy: The Museum of Ceramic Art, Hyogo}

_{Large dish with brown slip, Shigeyosi Ichino, 1991 / photo courtesy: The Museum of Ceramic Art, Hyogo}

The Oldest Tamba Ware Climbing Kiln

_{Tamba Climbing Kiln Outlet (Beehive) / photo courtesy: The Tambatachikui Ceramic Ware Cooperative}

One of Tamba ware's most distinctive features is its long climbing kilns, built along hillsides. The oldest Tamba ware kiln, established in 1895, is still operational today. It has been registered as an Important Tangible Folk Cultural Property of Hyogo Prefecture, and its construction technique has been designated as an “Intangible cultural asset of which records should be created” by the Japanese government. By 2014, the kiln had aged significantly, necessitating two years of restoration.

_{Tamba Climbing Kiln Interior / photo courtesy: The Tambatachikui Ceramic Ware Cooperative}

This effort, led by the Tamba Tachikui Ceramic Ware Co-Operative with support from citizens and volunteers, brought the kiln back to life. It was fired again in the autumn of 2015. Since 2016, the kiln has been used annually to fire pieces created by children, university students, volunteers, and other local artists. Starting in 2018, the kiln firing became part of the Spring Festival events, continuing the tradition and cultural heritage of Tamba ware.

_{Student Using the Climbing Kiln / photo courtesy: Konda Elementary School}

_{Kiln Firing / photo courtesy: The Tambatachikui Ceramic Ware Cooperative}

The Museum of Ceramic Art, Hyogo

_{The Museum of Ceramic Art, Hyogo / photo courtesy: The Museum of Ceramic Art, Hyogo}

Located in the "Tamba Pottery Old Village," the Museum of Ceramic Art, Hyogo is a cornerstone of the region’s cultural heritage. Opened in 2005, the museum promotes ceramic and porcelain culture, fosters international exchange, and supports educational initiatives. It cultivates future artists, collaborates with schools, and offers ceramics workshops and classes on ceramic culture, including Japanese tea ceremonies using Tamba ware.

By hosting events and working closely with the local community, the museum helps revitalize the “Tamba Pottery Old Village” area. A visit to the museum is essential for anyone wanting to understand Tamba ware deeply. The museum houses over 3,000 pieces, showcasing the diverse colors, shapes, and uses of Tamba ware across different periods. While Tamba ware is often associated with simple red clay jars and urns, the permanent exhibition reveals the rich variety of styles and techniques that have evolved over centuries. This exhibition highlights Tamba ware's close ties to everyday life, reflecting changes in lifestyle through the ages and featuring modern pieces that seamlessly integrate into contemporary life.

_{Observation Deck at The Museum of Ceramic Art, Hyogo / photo courtesy: The Museum of Ceramic Art, Hyogo}

_{Exhibition Wing at The Museum of Ceramic Art, Hyogo / photo courtesy: The Museum of Ceramic Art, Hyogo}

CONTRIBUTOR

HIDEKI DOI

Hideki Doi is the Assistant Director at The Museum of Ceramic Art, Hyogo. He is also the Vice Chair Person at the Sister City Committee between Walla Walla, WA. U.S.A. and Tamba Sasayama, Japan.

The Museum of Ceramic Art, Hyogo

48 Hours in Istanbul, Turkey

To see all the destinations listed in this guide and other ceramic sites in Turkey, check out CERAMIC WORLD DESTINATIONS (CWD), MoCA/NY's interactive map listing over 4,000 ceramic destinations!

Get ready to embark on an adventure in one of the most beautiful and captivating cities, not only in Europe but in the world—a place that is as mysterious as it is mesmerizing: Istanbul, also known as Constantinople!

As Tevfik Fikret, one of the most renowned Turkish poets of the late Ottoman Empire period, poetically wrote, "Istanbul is a widowed maiden with a thousand husbands.” Despite numerous civilizations such as the Roman, Byzantine, and Ottoman passing through its history, none have been able to capture or possess it. Istanbul has always remained herself, and she always will...

Located in the northwest of Anatolia, Istanbul is a unique city with its deep blue Bosphorus connecting Asia to Europe, seven hills, bridges, historical towers, cosmopolitan buildings, and breathtaking contrasts. It boasts a rich ceramic culture that spans every layer of its history.

During the Ottoman Empire, Istanbul emerged as a major hub for ceramic production, with notable examples from this period produced in Topkapı Palace. The art of tile-making, particularly known for its intricate patterns in various colors, reached its peak during the Ottoman era.

Ceramic production in Istanbul dates back not only to the Ottoman period but also to earlier times, including the Byzantine Empire. Glazed ceramics were especially prominent during the Byzantine period, and some of these artifacts have survived to the present day. Today, Istanbul continues to be a meeting point for both traditional and modern ceramic artists, with ceramic workshops and galleries showcasing the works of local and international artists alike.

WHERE TO STAY

As a metropolitan city, Istanbul offers a wide range of accommodation choices, from the most luxurious hotels to budget-friendly options. These can be found in the historic peninsula, the Beyoğlu-Taksim area, and along the Şişli-Nişantaşı district line. It is also possible to find Airbnbs in the city, with many options in Kadıköy, which is currently the most popular area on the Anatolian side. Check this link: Istanbul Hotels

TRANSPORT

Transport: Istanbul has two airports providing both domestic and international flights. Istanbul Airport is located in Europe, while Sabiha Gökçen Airport is in Asia. Both airports have easy access to city centers via Havabüs shuttle services, making it convenient to visit Istanbul. Check these links: Havabüs and Istanbul Shuttle

City Transfer: Istanbul offers many transportation options, including subways, trams, buses, trains, and ferries. We do not recommend renting a car or taking a taxi, as Istanbul is known for its crowds and heavy traffic. To avoid spending long periods on the roads, consider using public transportation and check the timetables.

This general information applies to public transport in Istanbul, not specific areas. For example, traveling from Taksim to Sultanahmet, among other routes, is best done using public transportation. Except for small excursion routes, walking from one district to another is impractical.

Day 1

Taksim Square - Galleries - Pera Museum - and More!

10 AM: Taksim Square

Located on the European side of Istanbul, Taksim Square and its surrounding area have a rich history that reflects the city's cultural and social evolution over the centuries. Historically, Taksim was a point where the main water lines from the north of Istanbul converged during Ottoman times. The name "Taksim" means distribution or division in Turkish, referring to the distribution of water from this point to various parts of the city.

Today, this area is home to many art centers, galleries, and pottery studios. Additionally, there are numerous distinguished accommodation and dining venues from the square to Istiklal Street, extending to Galata Tower and Karaköy. While the square and Istiklal Street are quite expansive, they are walkable and provide easy access to the artistic places mentioned below, which are located close to each other.

At the Taksim Square, visit the Atatürk Cultural Centre (AKM), where you can enjoy various exhibitions, concerts, operas, and stage performances. Inside the building, you will also find a magnificent tile installation made by Kale Seramik, one of Türkiye’s well-established ceramic factories. Performance hours are generally in the evening but vary depending on the event, so checking the website is recommended.

At 11 AM: Arif Paşa Apartment (Alkemia)

Visit Arif Paşa Apartment (Alkemia), located 10-15 minutes from Taksim, between Cumhuriyet and Elmadağ Avenues. This historic building, where renowned ceramic artist Füreya Koral lived and worked from 1973-1997, now hosts contemporary ceramic workshops and studios. Known as Alkimia Shop, it features studios and shops offering a variety of handcrafted ceramics and other materials.

About Füreya Koral:

Füreya Koral (1910-1997) was a leading Turkish ceramic artist known for blending traditional Turkish motifs with modernist influences. Educated in Paris in the 1930s, she incorporated European modernist techniques into her work, creating vibrant, intricate ceramics. Koral's pieces, ranging from decorative objects to functional pottery, are celebrated for their vibrant colors, intricate patterns, and skilled craftsmanship. Her innovative approach significantly shaped modern Turkish ceramics, leaving a lasting legacy that continues to inspire contemporary artists.

_{Meşher Exhibition Space / Photo courtesy: Ilgın Erarslan}

12 PM: Galleries

Continue down Istiklal Street, famous for its variety of cafes, bars, shops, bookstores, restaurants, and artistic venues. As you walk along the street, you'll encounter various galleries such as Meşher Exhibition Space,Akbank Art Gallery, Yapı Kredi Gallery, Zilberman Gallery, Arter Gallery, and Salt Istanbul. These non-profit gallery spaces are sponsored by prominent companies in the country and primarily support contemporary art while also exhibiting artist retrospectives.

1 PM: Lunch

For lunch, consider stopping by Çiçek Pasajı on Istiklal Street, an alley of restaurants where you can experience Turkish cuisine. One excellent option is Hacı Abdullah, located alongside an exquisite Art Nouveau facade. After ending your lunch with a delicious Turkish coffee, you'll be refreshed and ready to continue strolling down the rest of the street!

_{Pera Museum / Photo courtesy: Yeliz Saydan}

2:30 PM: Pera Museum

Visit Pera Museum, a private museum located in Istanbul, Türkiye. It showcases a diverse collection of Orientalist paintings, Anatolian weights and measures, and Kütahya tiles and ceramics. The museum also hosts temporary exhibitions featuring a wide range of artistic and cultural topics. Tickets are reasonably priced, and special day discounts are often available.

3:30 PM: Pera Palace Hotel

While visiting the museum, don't forget to take a look at the historic Pera Palace Hotel nearby. The hotel is known for its elegant and luxurious accommodations, blending traditional Ottoman architecture and Art Nouveau with modern amenities. It has a rich history dating back to the late 19th century and has hosted numerous prominent guests such as Agatha Christie, Ernest Hemingway, Atatürk, and Queen Elizabeth II. You can still book a stay here or visit its famous patisserie to enjoy the sweetest delicacies.

5:30 PM: Galata Tower

Finally, we have reached the Galata and Karaköy area, but let's explore Galata first on foot. In the historic Galata district, you'll encounter one of the most charming towers ever: the Galata Tower. This historic medieval stone tower was built in the 14th century by the Genoese colony as part of the defense wall surrounding their district of Galata.

Throughout its history, the Galata Tower has served various purposes, including as a watchtower, a fire lookout tower, and today, as a popular tourist attraction offering breathtaking views of Istanbul's skyline and the Bosphorus. By purchasing a ticket, you can climb to the top of the tower and enjoy a bird's-eye view of the routes to be visited the next day.

_{Galata Tower / Photo courtesy: Yeliz Saydan}

6:30 PM: Galata District Shopping

In the Galata district, continue your trip by strolling among the numerous charming boutiques showcasing a carefully curated selection of pottery and ceramics, from traditional designs to contemporary interpretations. You'll also find other items such as lamps, vases, and textiles, making it a one-stop destination for ceramic enthusiasts.

7 PM: Kale Design and Art Center

Before finishing your cultural tour, if you still have the time, consider visiting KTSM at Perşembe Pazarı in Karaköy. Kale Design and Art Center (KTSM), founded by Kale Seramik, one of the largest tile manufacturers in the country, opened its doors in 2019. It is a non-profit platform that creates space for interdisciplinary sharing, art, and artists, fostering collaborations. The center includes ceramic workshops, galleries, and event areas. Many ceramic artists are hosted here in a guest artist program, with closing exhibitions organized periodically. After visiting the current exhibitions, you can end the day with a glass of Turkish tea while watching the sunset on the terrace.

8 PM: Dinner

Now you're ready for a delightful dinner with a glass of Turkish drink such as rakı or a nice local wine. Immerse yourself in the magnificent atmosphere of Karaköy. Enjoy the seafood that the Bosphorus has to offer under the warm lights of Istanbul, either by the seaside of Karaköy or under the Galata Bridge. Some great recommendations include Akın Balık Restaurant or Tarihi Karaköy Balıkçısı.

10 PM: Fancy a Drink?

After dinner, you may return to Istiklal Street and visit one of the street's popular bars or rooftops to experience Istanbul's night entertainment. Asmalı Mescid or any exclusive venue in Nevizade would be ideal spots for this enjoyment.

_{Karakoy Fish Restaurant - Galata Bridge}

Day 2

Sultan Ahmet Square - Basilica Cistern - Hagia Sophia - Turkish and Islamic Arts Museum - Istanbul Archeology Museum - and More!

_{Sultan Ahmet Square / Photo courtesy: Yeliz Saydan}

9 AM: Sultan Ahmet Square

Spend your second day exploring the historic Sultan Ahmet Square in Istanbul. This iconic square features the renowned Sultan Ahmet Mosque, famously known as the Blue Mosque, with its six minarets and cascading domes, showcasing Ottoman architectural splendor. Nearby, you'll find other significant landmarks like the Hagia Sophia and the Egyptian Obelisk of Theodosius.

Consider obtaining an Istanbul e-pass for ticketed sites and a reasonably priced tour before visiting these attractions. Istanbul e-pass

9:30 AM: Basilica Cistern

Begin your day by exploring the Basilica Cistern, an ancient underground reservoir from Roman times. Marvel at the rows of ancient columns and the Medusa heads supporting the ceiling. Managed by the Istanbul Metropolitan Municipality, entry requires a ticket.

10 AM: Hagia Sophia

Continue exploring the area by visiting Hagia Sophia, a former Byzantine church and Ottoman mosque known for its massive dome and stunning mosaics. Discover its rich history as a symbol of both Christian Byzantine and Islamic Ottoman empires, and see the remaining iconographies of Jesus and Christianity. Now a mosque, you can practice Islam and pray here, or visit it as a museum. Managed by the Republic of Türkiye Ministry of Culture and Tourism, entry requires a ticket.

11 AM: Sultan Ahmet Mosque (Blue Mosque)

Admire the stunning architecture of the Sultan Ahmet Mosque (Blue Mosque) with its six minarets and intricate tile work. Marvel at over 20,000 ceramic tiles, handmade in Iznik, featuring floral patterns, geometric designs, and blue calligraphy, which give the mosque its nickname. The mosque welcomes visitors of all religions, and you can also pray inside. Entrance is free.

11:30 AM: Hippodrome of Constantinople

After visiting the Sultan Ahmet Mosque, head to the nearby Hippodrome of Constantinople, once the sporting and social center of the area. Explore historic monuments like the Egyptian Obelisk, Serpent Column, and the Obelisk of Theodosius. Built in the 3rd century AD and expanded in the 4th century AD, the Hippodrome was a major chariot racing venue and social hub in ancient Constantinople. Today, it stands as a historical marker of Istanbul's Byzantine past.

12 PM: Turkish and Islamic Arts Museum

Visit the Turkish and Islamic Arts Museum near the Hippodrome. Housed in the 16th-century palace of Ibrahim Pasha, this museum showcases a diverse collection of artifacts spanning over a millennium of Islamic civilization. Discover illuminated manuscripts, calligraphy, ceramics, textiles, metalwork, and carpets, offering insights into Islamic cultural, artistic, and religious heritage. The museum is renowned for its Seljuk tiles, Anatolian carpets, and Ottoman calligraphy. Entrance requires a ticket.

1:30 PM: Lunch at Hürrem Sultan Hamami

Take a break and enjoy traditional Turkish coffee with snacks at the café in the yard of Hürrem Sultan Hamamı, experiencing the authentic flavors of Turkish hospitality.

2 PM: Istanbul Archeology Museum or Topkapı Palace

_{Istanbul Archeology Museum / photo courtesy: Yeliz Saydan}

Continue your exploration with a visit to the Istanbul Archeology Museum or alternatively, Topkapı Palace. Both venues are under the administration of the Republic of Türkiye Ministry of Culture and Tourism. Entrance requires a ticket.

Istanbul Archaeology Museum, located near Topkapı Palace, house an impressive collection of artifacts from ancient civilizations, including sculptures, sarcophagi, and treasures from Mesopotamia, Egypt, Greece, Rome, and Anatolia. Established in 1891, the complex consists of three main museums: the Archaeological Museum, the Museum of the Ancient Orient, and the Museum of Islamic Art. Designed by Osman Hamdi Bey, these museums attract visitors interested in ancient civilizations and Islamic culture.

A highlight within the museum complex is the Tiled Pavilion (Çinili Köşk). Built in the 15th century for Sultan Mehmed II, this historic structure features exquisite tile decoration and houses a notable collection of ceramics, including Iznik, Kütahya, and Çanakkale tiles and pottery. The pavilion showcases the craftsmanship and artistic heritage of the Ottoman era.

_{Istanbul Archeology Museum / photo courtesy: Yeliz Saydan}

_{Çannakale Pottery - Istanbul Archeology Museum / photo courtesy: Yeliz Saydan}

Topkapi Palace

If time permits before lunch, you may also visit Topkapı Palace, the former residence of Ottoman sultans for nearly 400 years (1465-1856). Known for its intricate architecture, luxurious courtyards, and extensive collections of Ottoman art, manuscripts, and treasures, the palace offers a glimpse into the grandeur of the Ottoman imperial court. Highlights include the Topkapı Dagger and the Spoonmaker's Diamond.

Topkapı Palace also houses an extensive collection of ceramics spanning from the 9th to the 19th centuries, reflecting the artistic achievements of various Islamic civilizations. These ceramics, found in the Imperial Treasury and kitchens, are adorned with intricate patterns, calligraphy, floral motifs, and geometric designs, providing insights into the daily life, traditions, and religious practices of the time.

3:30: Late Lunch and the Grand Bazaar

Treat yourself to a delicious lunch near the Grand Bazaar, one of Istanbul's most famous landmarks. Enjoy traditional Turkish dishes like kebabs, mezes, or Turkish pide at a local restaurant or eatery nearby.

After lunch, spend the rest of the day at the Grand Bazaar, a labyrinthe market with over 4,000 shops selling everything from jewelry, textiles, spices, ceramics, and more! Immerse yourself in the vibrant atmosphere, haggle with vendors, and take in the sights, sounds, and aromas. Shop for souvenirs or unique items like carpets, ceramics, and Turkish delights. Interact with local artisans, learn about their craftsmanship, and discover the cultural significance behind their products. Enjoy the bargaining experience!

After finishing your tour at the Grand Bazaar, head towards the Spice Bazaar and then begin the return journey towards the Fener and Balat neighborhoods.

8 PM: Dinner

Conclude your day in Balat with a typical Turkish meal while enjoying the cultural and historical richness of the Golden Horn (Haliç). A popular restaurant choice is Forno Balat, known for its cozy atmosphere and delicious Turkish dishes with a modern twist. Another excellent option is Agora Meyhanesi, a traditional Turkish tavern offering a genuine taste of Turkish cuisine and culture. Both places provide an excellent opportunity to enjoy authentic flavors while immersing yourself in the vibrant atmosphere of Balat.

Day 3

Istanbul Modern Museum - Ferry to Karaköy -  Müze Gazhane - Moda - and More!

_{Istanbul Modern interior / photo courtesy: Yeliz Saydan}

9 AM: Istanbul Modern

Before heading to Kadıköy, we recommend visiting a special museum on the European side.

İstanbul Modernis a significant contemporary art museum, established in 2004. It features a diverse collection of modern and contemporary artworks, including paintings, sculptures, photography, and multimedia installations. Located in the Tophane district, the museum offers stunning views of Istanbul's iconic skyline and the Bosphorus.

11 AM: Ferry to Karaköy and Lunch on the Asian Side of Istanbul

Now we are ready to board the ferry to Kadıköy. Purchase tickets at the Karaköy dock, located just beyond Tophane. Enjoy some Turkish tea on the ferry, relax, and take in the sights during the 20-minute journey. [Check the ferry schedule]

Kadıköy is a vibrant district on the Asian side of Istanbul, known for its rich history, diverse culture, and bustling atmosphere. It serves as a major residential and commercial hub with traditional markets, modern shops, cafes, and restaurants. The Yeldeğirmeni area has emerged as a new cultural center with theaters, art galleries, and a lively nightlife scene, rivaling Beyoğlu. Accessible by ferries crossing the Bosporus, Kadıköy offers a unique blend of old-world charm and contemporary urban life.

Enjoy a large fish sandwich from one of the fish markets in Kadıköy. It may not be luxurious, but it's a fantastically luscious street food experience for a quick lunch. After this snack, we are ready to visit a museum or studio gallery.

2 PM: Müze Gazhane

To reach Müze Gazhane,take a short taxi ride or public bus from the Yeldeğirmeni district. This historic complex, which served various purposes over its 130-year history, is one of Türkiye’s most significant industrial heritages. After comprehensive restoration, it now hosts contemporary art exhibitions, events, and workshops, including ceramic arts. In the evenings, music concerts and performances add to Kadıköy's vibrant cultural scene. Managed by the Istanbul Metropolitan Municipality, entrance is free, but tickets are required for special events.

Ibrahim Yildizbas / photo courtesy of the artist

3 PM: Abrahamm Creative Studio

Visiting a ceramics workshop in Kadıköy offers an exciting experience. One of the leading venues is İbrahim Yıldızbaş's Abrahamm Creative Studio. This Istanbul-born ceramic artist transforms amorphous clay into unique forms using color, texture, and plasticity. His remarkable works will transport you from the bustling city into the wild nature of mud.

5 PM: Moda

Take a relaxing evening walk through Moda, a charming neighborhood along the Sea of Marmara. To get there, take a short ride on the Kadıköy-Moda Nostalgic Tramway. [Check the timetables]

Start your walk at Moda Park, where you can enjoy green spaces and sea views. Visit Moda Pier to watch the sunset and enjoy serene moments by the water. Wrap up your stroll with a leisurely return through Moda's peaceful streets. Don't forget to try the famous Moda ice cream, especially from Dondurmacı Ali Usta, known for its unique flavors.

Enjoy a Boat Ride on the Bosphorus

A privileged recommendation for Istanbul: Consider booking a boat trip at sunset on the Bosphorus to admire iconic landmarks illuminated against the fading light. This experience offers an unforgettable way to bid farewell to Istanbul, leaving you with lasting memories of its stunning vistas and cultural heritage.

Typically lasting 1.5 to 2 hours, the boat trip allows you to capture the fairy tale of Istanbul during the transition from day to night. Depart from Üsküdar on the Asian side or Eminönü on the European side, both centrally located and offering stunning views of Istanbul's historical peninsula and modern skyline. The trip includes landmarks such as Dolmabahçe Palace, Çırağan Palace, Ortaköy Mosque, and the Bosphorus Bridge. [Check the tours]

_{Istanbul / photo courtesy: Yeliz Saydan}

In conclusion, Istanbul is a treasure trove for ceramic art lovers, blending ancient tradition with modern innovation. Whether you're a collector, an artist, or simply an admirer of beautiful things, a 48-hour journey through these ceramic destinations will leave you with a profound appreciation for the rich heritage and vibrant creativity of Turkish ceramics!

CONTRIBUTORS

YELIZ SAYDAN

Yeliz Saydan is the Community Outreach and Business Associate at MoCA/NY and a ceramic artist and researcher born in Turkey. She graduated from the Ceramics Department of the Fine Arts Faculty in Çanakkale Onsekiz Mart University. She has a MA degree in the same discipline. Along with practicing clay art, she is interested in culture-art, media-communication, social and educational projects. She gained experience and involved in several EU projects in Turkey, Germany, Spain and Italy. In particular, she has been conducting research on destinations of ceramic cities.

YELIZ SAYDAN'S BLOG

BERIL ANILANMERT

Beril Anilanmert is a contemporary ceramic artist known for her innovative techniques and expressive forms in both large-scale sculptures and two-dimensional ceramic paintings. She has held 23 solo exhibitions and participated in numerous national and international exhibitions, symposiums, and workshops. Her sculptures have been displayed worldwide, including in France, Italy, Canada, Germany, Australia, the USA, and Japan, and are part of permanent collections in museums in Switzerland, the USA, Japan, and other countries. Anilanmert is also a respected jury member for various international ceramic competitions.

Beril Anilanmert's WEBSITE

Special thanks to Işık Gençoğlu at Istanbul Concept

Want to see our next ceramic guide to a city? London, England and Miami, Florida (US) are coming next! You too can feature ceramic destinations in your city. To share a guide,  event, exhibition news, or research, visit our CONNECT PAGE for more information!

Don't forget to subscribe to our newsletter for updates on all things ceramics!

Hannelore Seiffert: From Ceramics Collector to Founder of the Keramik Kunst Museum Stiftung

KKM Keramik Kunst Museum 
Stiftung Hannelore Seiffert
Marienstraße 2, 66538
Neunkirchen, Germany

_{Interior of the Museum - photo courtesy: KKM Stiftung Hannelore Seiffert and JM Schlorke}

_{Exterior View of the Museum - photo courtesy: KKM Stiftung Hannelore Seiffert}

Located in the quaint town of Neunkirchen, Germany, a building with expansive modern glass windows and vermillion steel beams deviates from the traditional architectural landscape of its surroundings. The 300-square-meter museum is home to 400 ceramic sculptures by 150 artists representing 40 countries—all amassed by artist and ardent collector Hannelore Seiffert.

The recently opened Keramik Kunst Museum (KKM) Stiftung Hannelore Seiffert launched just last August, and although the museum has yet to reach a year since its inception, the collection of diverse works by notable ceramicists—Sergei Isupov, Akio Takamori, Beate Kuhn, and Marc Leuthold, to name a few—has been an enduring endeavor in development for over three decades.

_{Beate Kuhn - Objekt aus gedrehten Einzelteilen, Steinzeug, Glasuren / photo courtesy: KKM Stiftung Hannelore Seiffert}

_{Sergei Isupov, Lecture in Art, Keramik, bemalt, 19 x 12 x 15 cm, erw. 2014 (ob.) / photo courtesy: KKM Stiftung Hannelore Seiffert}

It was never Seiffert’s intention to build a museum that eponymously boasts her name. In fact, there might not have been a museum at all if the director of the Städtische Galerie Neunkirchen hadn’t asked Seiffert to exhibit a selection of her collection in their gallery space back in 2018. Unbeknownst to all, the show would become the first flap of the butterfly effect that would transpire into the establishment of a museum.

The 2018 exhibition Brennpunkt Keramik garnered remarkable recognition and esteem, precipitating a sequel presentation two years later bearing the same title—Brennpunkt Keramik II. The continued enthusiasm for the second show prompted the gallery director to propose the idea of having Seiffert’s collection on permanent display for the public.

_{Photo courtesy: KKM Stiftung Hannelore Seiffert and JM Schlorke}

Hannelore Seiffert’s home is a cabinet of curiosities, crowded with a cornucopia of works—over 1,200 ceramic pieces by more than 400 ceramicists. Visitors are entranced, enamored, and enlightened while exploring and experiencing her extensive archive of contemporary ceramic history. Her collecting habits heightened from preoccupation to obsession, and as her collection grew, so did her house. After numerous reconstructions, expansions, and extensions, she reckoned with having to halt her collecting compulsions due to spatial impracticalities.

Initially reticent about sponsoring a museum, she accepted the proposal after experiencing an existential contemplation catalyzed by her upcoming 80th birthday. Realizing that with no children or family to inherit her collection, she needed to find a caretaker and a permanent home. On the occasion of her octogenarian celebration, she established the Hannelore Seiffert Foundation for International Unique Ceramics, and the development of the museum commenced.

_{Akio Takamori, Woman in Kimono, 44 x 26 x 28 cm, erw. 2013 (re.) / photo courtesy: KKM Stiftung Hannelore Seiffert}

Upon entering the Keramik Kunst Museum, visitors are confronted by a stark, white-lit room with bursts of hues dispersed throughout the space. Unlike traditional museums that follow the curatorial principle of arranging works by provenance or period, the pieces in Seiffert’s museum are organized by their formal qualities—colors, concepts, shapes, and themes.

One wall by the entrance of the main gallery displays figures on plinths—a kneeling Japanese woman sculpted by Akio Takamori sits beside an ominous bust by Christof Reichenbach and an obscured, ghostly portrait by Jindra Vikova. On the opposite side, geometric clay abstractions include Karin Flurer-Brünger’s pod-shaped vessel, perched adjacent to a luminous turquoise blobject by Peter Beard. The eye then wanders to a titillating fungal piece by Ursula Commandeur and an architectural assembly of mixed-media slices by Kyra Spieker.

Moving further into the space, the works are divided by modular shelves and again, unlike traditional museums, the works are displayed sans glass barriers, creating an intimate experience akin to what Seiffert experiences at home. One section flaunts white monochromatic works exhibiting artists such as Sangkyoung Lee, Frank Schillo, Paula Bastiaansen, and Kyungmin Lee. Adjacent, a wall adorned with monochromatic black sculptures transitions into another area where exquisite sculptures combine black and white—by artists including Michael Cleff, Carla de Vrijer, and Suku Park, among others. Although unified in color and medium, each work stands uniquely distinct in tone, texture, form, and experience—highlighting both the universality of clay and the individuality of the artist.

_{Michael Cleff - Über innen und außen, Steinzeug, Glasur, 22 x 30 x 23 cm, erw. 2003; Dots gelocht, Steinzeug, Glasur, 23 x 23 x 16 cm, erw. 2005 / photo courtesy: KKM Stiftung Hannelore Seiffert}

_{Carla de Vrijer - Doppelschlinge, Raku, 35 x 36 x 10 cm, erw. 2018 / photo courtesy: KKM Stiftung Hannelore Seiffert}

_{Imre Schrammel, Minotaurus (knieend), Steinzeug, gesandet, 32 x 13 x 12 cm, erw. 2008; Minotaurus (sitzend), Steinzeug, gesandet, 32 x 14 x 20 cm, erw. 2008 / photo courtesy: KKM Stiftung Hannelore Seiffert}

Icy washes of blue sculptures splash one area of the gallery, while a curious installment of ships by Frank Steyaert anchors another. Dozens of figures are concentrated in the center: Ucki Kossdorff’s vibrant and sensuous nude woman contrasts with the mythical minotaurs of Imre Schrammel. Heidi Preuss Grew’s animalistic creatures embodying true love share a shelf with Eberhard Szejcecki’s endearing portrayal of the same subject. Alan Peascod’s totemic terra sigillata is stacked beneath Helmut Massenkeil’s stoic bust and Christy Keeney’s melancholy, ochre portrait.

Seiffert admits to having a particular penchant for figurative works, evidenced not only by the profusion of these pieces in the main gallery but also by the conjoined room dedicated to the works of figurative ceramicist Maria Geszler-Garzuly, one of Seiffert’s most collected artists and a dear friend.

_{Maria Geszler-Garzuly, Steinernes Herz, Porzellan, Siebdruck, 82 x 34 x 22 cm, erw. 2002 (li.) / photo courtesy: KKM Stiftung Hannelore Seiffert}

_{Mária Geszler-Garzuly, Drei Geigen, Partitur György Kurtág (l.), Brief (M.), Kräne über floralem Muster (r.), Porzellan, Siebdruck, Glasur, jeweils ca. 60 x 24 x 10 cm / photo courtesy: KKM Stiftung Hannelore Seiffert}

A significant number of the works in the museum are by artists who have built profound friendships with Seiffert, making her initial hesitation about parting with her pieces an understandable concern. They aren't merely pretty objects or perceived investments but memories of past visits with artists, discoveries of new talents and innovations, and excitement for the expanding field of clay. Now, however, the museum serves as an extension of her home. She frequents the space, conducts monthly walkthrough tours, and regales visitors with her encyclopedic knowledge and personal anecdotes. The enjoyment she once experienced walking past the ceramics in her home every day is now shared with the public through an extraordinary curation.

Seiffert's keen eye has resulted in a vast collection of works by artists who have left their mark on 20th and 21st-century ceramics—many of whom may not have reached great prominence without the early financial and emotional support of collectors like Hannelore Seiffert.

Visit KKM Keramik Kunst Museum Stiftung Hannelore Seiffert at Marienstraße 2, 66538
Neunkirchen, Germany. Learn more about the museum and the collection on their website.

36 Hours in Taipei, Taiwan

To see all the destinations listed in this guide and other ceramic sites worldwide, check out CERAMIC WORLD DESTINATIONS (CWD), MoCA/NY's interactive map listing over 4,000 ceramic destinations!

^{Taipei Landscape - Photo Courtesy: Christina Liu}

Taipei is the vibrant capital city of Taiwan, an enchanting island situated off the east coast of mainland China. With a tropical climate, the summers are hot and humid, while the winters remain mild. The island is home to a population of 23 million, and Mandarin Chinese is the official language. The local populace is known for its amiability, friendliness, politeness, and hospitality, with a significant portion of the younger generation proficient in English.

Pottery holds a special place in Taiwanese culture, seamlessly integrated into their tea culture. Taiwan's unique growing conditions contribute to the production of world-famous high mountain green teas, known for their bold and flavorful profile.

Taiwan ceramics’ claim to fame could be that of Tatung ceramics which is one of the only remaining local ceramic production factories and known for their durable porcelain. If you ever visit a Chinese restaurant anywhere in the world, if you flip the plate upside down to peer underneath, chances are, it bears the Tatung logo.

^{Eslite Hotel - Photo Courtesy: Christina Liu}

WHERE TO STAY

I highly recommend the Eslite Hotel, a masterpiece designed by the renowned Japanese architect Toyo Ito. Located in the heart of Taipei City, its central location allows for convenient travel in and around the area. The hotel complex includes the Eslite Spectrum Songyan Store, offering diverse shopping options and a variety of dining choices. Additionally, within the complex, you'll find the prestigious Eslite Gallery and Performing Center, showcasing fine art.

TRANSPORTATION

Navigating Taipei is a breeze with the efficient Metro Taipei subway system. I also suggest opting for taxis or Uber rides to explore the city with ease. The cost is budget-friendly, making it an economical choice compared to transportation expenses in many other countries.

DAY 1

Taipei 101, National Palace Museum, and Authentic Taiwanese Cuisine

10:00 AM

Breakfast

Begin your day with a delightful breakfast at the food court in the Eslite Spectrum Songyan Store, a 24-hour bookstore conveniently located right next door to the Eslite Hotel. Indulge in a wide array of authentic Taiwanese culinary delights.

For the dedicated foodies, you can also start your day with a traditional Taiwanese breakfast at Fu Hang Soy Milk. While there might be a line, it's a testament to its popularity, and rest assured, the queue moves swiftly.

11:00 AM

TAIPEI 101

Among the myriad attractions in Taiwan, Taipei 101 stands as an architectural marvel. Formerly the tallest building globally, it features a rapid elevator that transports visitors to a breathtaking

observatory. Enjoy the view and surroundings, and walk around the most extensive commercial district in Taipei. For those seeking a morning adventure, you can embark on a hike to Elephant Mountain, which is not far from Taipei 101. The trail primarily consists of a steep staircase, but the relatively short duration is well-rewarded with a breathtaking view of Taipei 101 and the city skyline.

^{Din Tai Fung - Photo Courtesy: Christina Liu}

1:00 PM

Lunch at Din Tai Fung

On the ground floor of the Taipei 101 building, there is a Michelin-awarded restaurant called Din Tai Fung. Enjoy the world-famous soup dumpling for lunch. The signature pork soup dumpling, also known as the xiao long bao, is a must-order. The restaurant is very strict on their quality control and each dumpling is supposed to have 18 pleats and a perfect form or it will not be served. All the other variations of the dumplings are also quite tasty, including some vegetarian options. The pork chop fried rice is also a stunner with a whole slab of Taiwanese-style pork chop laid over fluffy fried rice. I recommend going to the hostess stand immediately upon arrival and getting a ticket for a table. If there is a wait, you can download the Din Tai Fung app to keep track of the numbering system while you browse around the Taipei 101 shopping mall.

2:00 PM

National Palace Museum

Following lunch, opt for a taxi or Uber ride to the National Palace Museum,approximately 35 minutes away with a taxi fare of around 15 USD. The museum is renowned for housing invaluable ancient Chinese ceramics and precious paintings transported from Mainland China during the Civil War of 1949.

The museum houses nearly 700,000 artifacts and artworks, showcasing over 8,000 years of Chinese history. Their collection of paintings, calligraphy, ceramics, and rare books remains a poignant reminder of resilience and preservation. With its main building designed by Huang Baoyu, the museum stands as a beacon of cultural heritage and international collaboration.

In addition to its remarkable artifacts, the museum provides visitors with access to Zhishan Garden, a classical Chinese Song and Ming-style garden, as well as the preserved residence of renowned painter Chang Dai-chien.

^{National Palace Museum - Photo Courtesy: Christina Liu}

^{National Palace Museum Collection - Photo Courtesy: Christina Liu}

^{Golden Formosa - Photo Courtesy: Christina Liu}

7:00 PM

Dinner at Golden Formosa

After spending a few hours walking around and looking at art, treat yourself to a wonderful and authentic Taiwanese dinner at Golden Formosa Taiwanese Cuisine, known for serving the most genuine and traditional Taiwanese dishes.

I would recommend the fried pork ribs and go with a group! Everything is served family style so the more people you can get together, the more dishes you can try. Reservations are also recommended.

10:00 PM

Night Out

For a clubbing vibe, FRANK Taipei features a rooftop area that boasts close-up views of Taipei 101 and is a nice area to escape to when you need some air from the indoor areas

CeLaVi is more of a lounge vibe on the top floor of a skyscraper in the Xinyi District but because of its proximity to Taipei 101, it provides a unique view of the 101 in which you are almost level with the usually towering building.

Day 2

Museum, Theater, Galleries, and Dinner at the Night Market

^{Yingge Ceramics Museum - Photo Courtesy: Christina Liu}

9:00 AM

Yingge Ceramics Museum

After breakfast, head to the Yingge Museum. In the outdoor spaces surrounding the museum, you can find numerous large-scale ceramic installations commissioned by the museum. On the second floor, the permanent exhibition explains the history of ceramics in Taiwan, from prehistoric ceramics to the future of high-tech ceramic applications. The gallery on the uppermost floor hosts many juried exhibitions, most notably, the Taiwan Ceramics Biennale, which features selected works from many international ceramic artists.

1:00 PM

Yingge Old Street Village

Following your morning art exploration, enjoy lunch at Yingge Old Street Village. Immerse yourself in the vibrant atmosphere, savoring exciting street food options, and explore local pottery shops for unique finds.

3:00 PM

See a Performance at Taipei Performing Arts Center or the National Theater

^{Taipei Performing Arts - Photo Courtesy: Christina Liu}

Plan ahead of time and check the center’s schedule to enjoy a wonderful performance at the Taipei Performing Arts, which was designed by the Famous architect Rem Koolhaas. They organize a wide range of programs including various stage productions, workshops, talks, courses, tours, and activities for all ages.

TIP: Note that Sundays and Mondays are often closure days, so plan your visit accordingly.

The National Theater and National Concert Hall are twin performing arts venues at Liberty Square in Zhongzheng District, Taipei, Taiwan. Completed in 1987, the landmarks stand on the south and north sides of the square with Chiang Kai-shek Memorial Hall to the east.

The National Concert Hall features mostly classical music concerts, often with well-known international artists. If interested, you can check the online calendar to see if there are any concerts scheduled during your trip. Across the way from the National Concert Hall is the National Theater which has more opera and dance performances.

^{The National Theater and Concert Hall - Photo Courtesy: Christina Liu}

If there are no scheduled performances during your visit, consider exploring and gallery-hopping around the vibrant art scene in Neihu. Within a 2km radius, you'll find numerous contemporary art galleries. Tao Art is one of the notable options worth exploring.

4:00 PM

Gallery Hopping

^{Tao Art Space - Photo Courtesy: Christina Liu}

Tao Art Space

Tao Art Space, designed by Japanese architect Jun Aoki, combines Chinese classical garden elements with winding corridors. It also boasts its Song Dynasty ceramics collection, which frequently showcases and occasionally hosts ceramic exhibitions.

Double Square Gallery

Established in 2015, Taipei's Double Square Gallery focuses on art promotion, curation, publishing, research, and art collection. The name reflects the gallery's physical layout and conceptual values, emphasizing its commitment to redefining the role of galleries in the contemporary international art scene.

^{Double Square Gallery - Photo Courtesy: Christina Liu}

TINA KENG GALLERY

Since its establishment in 2009, the Tina Keng Gallery has been dedicated to exploring the rich tapestry of Asian art, delving into its profound historical roots and vibrant modern aesthetics. Specializing in the nurturing of Taiwanese modern and contemporary art, the gallery continuously endeavors to showcase the diverse cultural expressions of the region. For current exhibitions, please visit their website.

WHITESTONE GALLERY

Whitestone Gallery boasts multiple locations across Asia. Established in 2017, its Taipei gallery stands as a dynamic architectural marvel. Overseen by the internationally acclaimed architect Kengo Kuma, renowned for his discerning aesthetics, the space is meticulously crafted to provide a fitting backdrop for contemporary art. Among the notable ceramic artists represented by the gallery is Miyako Terakura.

LIANG GALLERY

Established in 1993 by Yu Yen-Liang and Claudia Chen, Liang Gallery is dedicated to showcasing the talent of Taiwanese modern artists. Located in Neihu Technology Park, the gallery specializes in modern abstract and contemporary art, hosting monthly exhibitions. Among its notable artists are ceramicists like Hsu Yunghsu. For information on their current exhibition, please visit their website.

7:00 PM

Night Market for Dinner

After immersing yourself in a performance or the vibrant Neihu art scene, head to the nearby Shilin Night Market. There, indulge in shopping and savor a diverse array of delicious Taiwanese street food. They are famous for their large fried chicken cutlets. There are competing stalls for the fried chicken but all of the options are tasty!

Another option: For food enthusiasts, consider joining a Taipeieats guided tour through a night market. They'll lead you to the finest stalls for a taste of traditional street food delights.

^{Shilin Night Market - Photo Courtesy: Christina Liu}

For a delightful evening of drinks and entertainment, Wonder.land is a fantastic destination nestled in the scenic Yangmingshan mountains, conveniently close to Shilin. Offering a selection of light bites and drinks, guests can enjoy the ambiance alongside an infinity pool and breathtaking sunset vistas. Operating hours are from 5 pm to 12 am.

Day 3

9:00 AM

Zhongzheng Memorial Park and Nanmen Market

Start your morning with a relaxing and nature-filled visit to the Zhongzheng Memorial Park, a vast park where you can enjoy the natural beauty of Taipei. After enjoying the peaceful nature, head towards Nanmen Market, which is located at the same MRT station as the Zhongzheng Memorial Park and was recently renovated. Many locals like to visit here before the Lunar New Year to stock up on supplies and New Year decorations. There are many stalls selling traditional Taiwanese dry goods and it could be a good place to see a variety of local fruits and produce and would be enticing to any gourmand. The most unique aspect of this market is that it is air-conditioned, unlike most traditional markets in Taiwan! There is also an indoor food court where you can have breakfast and sample Taiwanese dishes.

^{CLC Studio - Photo Courtesy: Christina Liu}

11:00 AM

Studio Visit to CLC - Christina Lui Ceramic Studio

CLC Christina Liu Ceramics - studio visit by appointment. Christina Liu’s ceramic works can be found in many Michelin-starred restaurants all over the globe, most notably at The French Laundry in Yountville, California. She set up her studio in Taipei in 2017 after graduating from the Royal College of Art in London.

Although her work is deeply rooted in functionality, it’s not limited by it. She uses the forms of functional vessels as a starting point for her designs, but the results are never merely utilitarian plates or bowls. They are meant to be intricate objects that evoke a sense of luxury through the details and precision that become apparent while in use.

12:00 PM

Lunch at YongKang Street

YongKang Street is one subway stop from the Zhongzheng Memorial Park. Discover the finest beef noodle soup at Yong Kang Beef Noodle and try Taroking for shaved ice and mango ice smoothies. The original Din Tai Fung location is also located in this area which could also be an option instead of the 101 location. For delectable scallion pancakes, bubble tea. There are also a few traditional tea houses offering high-quality Taiwanese Oolong tea, teapots, and pottery.

^{Yongkang Street - Photo Courtesy: Christina Liu}

2:30 PM

Taipei Fine Art Museum

The mission of the Taipei Fine Arts Museum is to preserve, research, and promote Taiwanese modern and contemporary art globally while fostering public understanding and participation. It organizes exhibitions, including the Taipei Biennial and the Taiwan Pavilion at the Venice Biennale, to expand cultural horizons and enhance international visibility. The museum collects and maintains works of Taiwanese modern art, preserving historical assets and shaping public memory. Through research, education, and awards, it supports artists and promotes cultural discernment in society. Creative marketing strategies offer immersive experiences, elevating visitors' artistic refinement and taste within a sophisticated cultural and recreational space.

4:30 PM

Afternoon tea at Hermit's Hut

Following your museum visit, indulge in afternoon tea at Hermit's Hut. The serene and zen ambiance, along with knowledgeable staff, offers an opportunity to explore traditional Chinese tea brewing. You can either have it expertly brewed or follow the provided instruction cards to conduct your own tea ceremony. Occasionally, the venue also hosts exhibitions, primarily showcasing ceramics, especially teaware.

^{Hertmit's Hut- Photo Courtesy: Christina Liu}

6:30 PM

Dinner

^{Restaurant A - Photo Courtesy: Christina Liu}

For dinner, two options are suggested:

Dine at Chu Yu for the finest Taiwanese Teppanyaki experience. The set menu, priced at around 70 USD per person, is a worthwhile investment, especially for seafood enthusiasts. Reservations are essential.

You can also opt for Restaurant A, where the dining space doubles as an art gallery featuring rotating displays by local artists. The restaurant exclusively utilizes locally crafted ceramic wares from Christina Liu Ceramics' studio in Taipei. Due to high demand, it's advisable to make reservations at least one month in advance.

To see our previous 36 Hours Guides, CLICK HERE.

To explore our extensive listings of galleries, museums, design stores, and other destinations in Japan, go to the CERAMIC WORLD DESTINATION MAP!

Contributors

Christina Liu

Before her master’s in ceramics and glass at the Royal College of Art in London, Christina Liu aspired to attend culinary school in Paris, fueled by a passion for food. However, after a transformative stint in a fine-dining restaurant in LA, she found her true calling in clay, merging her love for ceramics with gastronomy. Now, Christina creates bespoke tableware, drawing from the interplay between plated cuisine, vessel, and diner, inspired by both Western and Japanese culinary traditions.

Christina Liu's Website

Shida Kuo

SHIDA KUO, born in Taiwan, has resided in New York City since 1989. Holding a B.F.A. from National Taiwan Normal University and an M.A. from New York University, he also teaches at NYU's Department of Arts and Art Professions. His exhibitions span globally, from Nancy Margolis Gallery in New York to Eslite Gallery in Taiwan, Sokyo Gallery in Kyoto, and Fine Metal Concept in New York. Kuo's works are featured in prominent private and public collections worldwide, including the Ed Broida Collection in the USA, Centro Cultural Paraxo in Italy, and the National Taiwan Museum of Art.

Shida Kuo's WEBSITE

Want to see our next ceramic guide to a city? Istanbul, Turkey and Oxford, England are coming next!

You too can feature ceramic destinations for your city. To share a guide, event, exhibition news, or research, visit our CONNECT PAGE for more information!

Subscribe to our newsletter for updates on all things ceramics!

Exploring Light(ness) in Ceramics: Studio Visit with Antonella Cimatti

Step into the world of Antonella Cimatti, a renowned ceramicist hailing from the historic town of Faenza, Italy. In this exclusive studio visit, we delve into the heart of her creative process, where traditional craftsmanship meets innovative experimentation.

Antonella's artistic journey is a testament to her relentless pursuit of lightness, both in form and aesthetic. Inspired by creative, aesthetic, and design research, she crafts elegant and refined sculptures that transcend the boundaries of conventional ceramics.

Join us as Antonella takes us through her unconventional process, where every creation is born from a dialogue between past tradition and present innovation. Experience the magic of lightness with Antonella Cimatti in this mesmerizing studio visit and subscribe to our YouTube for an inside look into the world of contemporary ceramic artistry.


Visit Antonella Cimatti's website for more information: CLICK HERE

Akio Takamori's Cross-Cultural Gaze

Keramikmuseum Westerwald
German Collection of Historical and Contemporary Ceramics

Lindenstraße 13
D - 56203 Höhr-Grenzhausen, Germany

Weighted with sorrow, a diminutive ceramic figure of the German Chancellor Willy Brandt kneels on a plinth, hands stacked and head tilted down. His eyes are swollen, and furrowed frown lines are etched with creases, echoing in the graphic folds on his coat. Referencing a significant moment in 1970 when Brandt knelt before a memorial honoring the Warsaw Ghetto Uprising against the Nazis, the exhibition marks the first time it has been shown in Germany.

Backdropping the woeful Brandt are three Sumi-ink paintings depicting Japanese company bosses amidst a public apology. Although the works from the Apologies/Remorse series are the first to greet visitors, ironically, they were the last pieces that ceramicist Akio Takamori produced before surrendering to cancer in 2017.

His final works are a departure from his customary whimsical tone. For decades, Takamori—with his incisive, child-like curious eye and sociologic lens—studied, documented, and captured human behavior, transmuting their essence and eccentricities into puffy stoneware forms.

His charming figures are standing, lying, and squatting on a low and long perpendicular plinth, which divides the negative space of the gallery with bursts of hues, lively lines, and sensuous undulating forms. A woman, draped in a watery cadmium gown with blushed rouge cheeks, reclines on the floor with her heavy head resting on her hand. Another woman, adorned in a robe with blue stripes accentuating her curves, peacefully sleeps with her naked infant tenderly nestled on her breast. Meanwhile, a drifting man, with expressive eyes, clad only in a white tank top and briefs, carries a child on his back. Despite portraying routine scenes, the peculiar blend of awkwardness and sensuality introduce a fresh and uplifting perspective to these everyday acts.

Presenting thirty-nine ceramic sculptures spanning various periods of the artist’s career, the exhibition titled Rücksicht, which is dually defined as “consideration” and “retrospective,” encapsulate Takamori’s inquisitive imagination and examination of human behavior, psychology, and nature.

“When you consider something, you try to understand it.” Dr. Nele van Wieringen, director of the museum and curator of the show explains, “You try to go to the background and go deeper than just surface. You have to bring in a lot of different variables to get a fuller understanding.”

It wasn’t until Takamori, born in Nobeoka, Miyazaki in 1950, moved to the United States that he began to delve deeply into expressions of the human form. During a two-year apprenticeship at Koishiwara Pottery in Japan, where Takamori threw two hundred cups a day, acclaimed American ceramist Ken Ferguson visited the studio, and the two instantly formed a bond. Subsequently, Takamori migrated to Kansas City in 1974, where he studied ceramics under Ferguson's guidance at the Kansas City Art Institute.

Upon arriving in the West, he experienced culture shock, finding himself as a minority in a foreign land. This environmental shift catalyzed a self-conscious examination of the tensions between cultural and racial identities. He began considering how Asians were perceived and how he, in turn, appeared to Westerners. This introspection prompted his pursuit of creating clay figures sculpted from his memories of people in Japan and their collective observable idiosyncrasies as exemplified by the woman in a deep squat with her soles flat on the floor facing forward (a pose often associated with Asian mannerisms and stereotypes).

Takamori also explored the dichotomy between the East and West, drawing inspiration from both traditional Japanese and European masters. Against stoneware mountain landscapes with billowing clouds, a Japanese woman carrying a child on her back faces a white, blonde woman in a royal blue dress. Though both women stand in the same position with hands held in front, they emit distinctly different energies. The curation explores the complexity of identity and reveals how racial and cultural distinctions subtly shape the viewer's perception and interpretation of their narratives.

Takamori's personal life intersected with this dichotomy, as he was married to a Swedish woman—a dynamic reflected in his Interracial Couples series. In these sculptures, nude couples of diverse ethnicities intimately embrace and hold each other, composing a singular mass with shared brushstrokes and drips.

Rather than the repetitive task of throwing hundreds of small cups, as he did during his apprenticeship, Takamori dedicated his days to obsessively sculpting hand-built figures. This shift in focus ultimately led to the development of his distinctive and singular style.

Akio Takamori's aesthetic features undulating, soft, and dense figures characterized by hyperbolized hands and feet, as well as supple thighs and arms, which dramatize the characters with Rubenesque abstractions. The exaggerated physiognomy is further emphasized by calligraphic strokes of lines, creases, contours, and stripes that meander throughout the frame, bringing volume to the form. His works possess a distinctly Japanese sensibility reminiscent of ukiyo-e prints, yet they also draw inspiration from Greek Kouros and Renaissance sculptures. The soupçon splashes of rose-stained cheeks, knuckles, and knees infuse warmth and vitality into his figures, evoking a sense of pulsating life within their voluptuous bodies.

Youthful energy emanates from Takamori’s sculptures, accentuated by his inclusion and admiration for children. Running along the back wall of the gallery, a series of painted children sheltered in cocoon-shaped porcelain plates serve as an homage to the innocence and promise they embody.

“Children, especially infants, catch my attention. My heart grows tender with the sight of innocence and novice. I wonder what this brilliant, totally observant mind is looking at, thinking, experiencing, and taking in from our current world.” - Akio Takamori (CNAA)

This remarkable gathering of Takamori’s personal yet universal expressions serves as a psychological realm for contemplating humanity in an increasingly polarized world–a poignant reminder of the transient nature of time. Although Takamori is no longer with us, his subtle evocations of powerful emotions will continue to resonate, prompting viewers to reflect on the enduring beauty in human interactions, relationships, and expressions.

Visit Keramikmuseum Westerwald at Lindenstraße 13 D - 56203 Höhr-Grenzhausen, or explore and learn more about the exhibition "Rücksicht" and Akio Takamori's works online at Keramikmuseum Westerwald.

UPCOMING EXHIBITION AT KERAMIKMUSEUM WESTERWALD

40 years Gruppe ´83. Identities

April 7- June 23, 2024

40 years ago, the West German members of the Académie Internationale de la Céramique (AIC) joined forces to strengthen ceramics as an independent art form in Germany and to promote young talent. However, a unified artistic position was never their goal. Nevertheless, shared values are visible that create a common framework. United, they are committed to clay as a material in very different ways. The love and life for ceramics are the cement that unites a number of individualists into a group.

The history of Gruppe 83 reflects the development of artistic ceramics over the last 50 years. The eighties were full of impulses for West German ceramics. Last but not least, the Westerwald Ceramics Museum was built in 1982. Members of the group have always been welcome guests and have participated in many exhibitions in our museum. After reunification, East German positions represented a great enrichment and logical extension of the friendly network.

It is therefore not only pleasing, but also logical to present this important association again in its anniversary year. The exhibition shows selected pieces that react to each other in their diversity and thus express the diversity of ceramics in a special way.

36 Hours in Osaka, Japan

To see all the destinations listed in this guide and other ceramic sites worldwide, check out Ceramic World Destinations (CWD), MoCA/NY's interactive map listing over 4,000 destinations!

While Osaka may be renowned as 'Japan's Kitchen,' the city also holds great cultural significance and boasts a rich tradition in the arts. Its proximity to Kyoto, the ancient capital, and being the birthplace of Sado (the tea ceremony) further contribute to Osaka's artistic heritage.

Ceramics are collected and donated for public viewing, highlighting the role of passionate ceramic enthusiasts in preserving and sharing cultural treasures. These collectors, described as lovers of ceramics, have played a crucial role in assembling a diverse and extensive collection of ceramics for visitors to enjoy. Their dedication has allowed for the preservation and exhibition of ceramics, and the connection between the arts and ceramics adds depth to the cultural experience for visitors exploring Osaka's artistic landscape.

WHERE TO STAY

It's highly suggested to stay near Osaka/Umeda Station.

High-end accommodations: Conrad Osaka, InterContinental Osaka, The Ritz-Carlton, Hotel Hankyu International, and the Hilton Osaka. Mid-range options: Mitsui Garden Hotel Osaka Premier, ANA Crown Plaza Osaka, and Imperial Hotel Osaka. Hostels: Nine Hours Shin-Osaka Station, J-garden Shin-Osaka Capsule, Linda Hostel 106, Guesthouse U-En, Hotel the Rock.

TRANSPORTATION

Public transportation, train and bus, is the easiest and most affordable option for traveling around the city. Consider purchasing a prepaid Icoca card (a Suica or Pasmo card from Tokyo will also work). SUBWAY MAP

RESTAURANTS

To explore restaurant options, check out this comprehensive list published by Eater.

DAY 1

MUSEUMS, TEA CAFE & GALLERIES

10:00 AM - The Museum of Oriental Ceramics

Grab a coffee or breakfast at a nearby cafe and head to the Museum of Oriental Ceramics, where visitors can explore an extensive collection that goes beyond Japan. Noteworthy highlights of the collection include items from Korea and China from various periods, such as the Han, Ming, and Qing Dynasties. Additionally, the museum boasts a significant assortment of snuff bottles. Korean celadon wares are divided into three distinct parts, showcasing the diversity and depth of the collection.

While the museum is known for its traditional wares, it keeps pace with contemporary developments in the ceramic arts. Visitors may be pleasantly surprised to find special exhibitions featuring works by important modern ceramics artists, providing a dynamic and evolving perspective into the world of clay. This combination of traditional and modern elements make the museum a fascinating destination for enthusiasts and art lovers alike.

11:30 AM - Nakanoshima Kosetsu Museum of Art

The Nakanoshima Kosetsu Museum of Art offers a unique experience, featuring a collection of privately collected tea wares from Mr. Ryohei Murayama, the founder of the Asahi Shimbun newspaper. This museum reflects Murayama's passion for art, showcasing not only Japanese tea wares but also works from other countries in East Asia.

Visitors can expect a diverse and comprehensive collection that goes beyond national boundaries. The inclusion of tea wares suggests a focus on the traditional aspects of East Asian culture, particularly to the tea ceremony, which holds significant cultural and artistic value.

Exploring this museum provides an opportunity to appreciate the convergence of art and tea culture, offering insights into the rich artistic traditions of Japan and its neighboring East Asian countries.

^{Photo courtesy: Kate Strachan and private collections catalog}

1:30 PM – Wad Café & Wad + Gallery

Wad Café offers a delightful and immersive experience for its guests. The carefully selected décor creates an ambiance that promotes relaxation and enhances the enjoyment of conversations. The prospect of having to wait for a table adds to the anticipation, encouraging visitors to explore the adjacent gallery space on the 2nd and 3rd floors. The gallery space, accessible from the building behind Wad Café, provides a holistic artistic experience, combining the pleasure of tea with visual arts.

The diverse assortment of tea choices caters to a broad range of preferences. The cafe also accommodates non-natives with an English menu. The mention of experiencing each tea differently implies a focus on the nuanced aspects of tea culture. Furthermore, the opportunity to select a tea bowl from Wad's display adds a personal touch to the tea-drinking experience. They also provide the option to choose sweets enhances the overall tea-drinking experience, making it not just a beverage but a sensory journey. This attention to detail in both ambiance and offerings makes Wad Café a promising destination for those seeking a unique and immersive tea experience.

The presence of contemporary ceramic artists exhibiting at Wad + Gallery indicates a dynamic and evolving space that embraces the latest trends and expressions in the world of ceramics. The emphasis on a well-curated display suggests a thoughtful and intentional approach to presenting the artwork, creating an environment that invites guests to engage with the pieces on a personal level.

^{Photo courtesy: Han-Yun Liang}

3:00 PM – Fujita Museum

The Fujita Museum is a treasure for art enthusiasts. Its status as a privately owned family collection, rooted in Denzaburo Fujita's passion for art, adds a personal dimension to the museum's history. The opportunity for visitors to explore the former family mansion, immersing themselves in the ever-evolving tea-ware collection, speaks to the museum's deep connection to both art and personal heritage.

The dimly lit exhibit room constructs a meticulously designed presentation that isolates each piece of art, encouraging focused attention and suggesting a curated and immersive environment. This setup allows visitors to engage with the tea-ware collection, highlighting the importance of each piece within the broader artistic experience.

Following a day immersed in art appreciation, the museum offers a thoughtful space for relaxation. The various options for guests to take a moment for themselves, be it in the tatami room, on the café's encircling steps, or at a seated table, introduce an additional layer.

7:30 PM – RAURUAJI Gallery & Antique

The RAURAUJI Gallery offers a diverse and interesting blend of contemporary ceramic art and furniture antiques. The combination of these elements suggests an eclectic atmosphere, where traditional and modern aesthetics come together. This mix of mediums provides visitors with the opportunity to explore the intersection of different artistic expressions. Described as a place where one can casually "pop in" to view the current exhibit featuring tea-ware objects and figure sculptures, the gallery conveys a relaxed and accessible environment.

9 PM - Osaka Castle Main Tower (Osaka Castle Museum)

Consider a late night stroll around Osaka Castle, which is lit up with the Sakuya Lumina light display when the sun sets. With its roots tracing back to the Sengoku period, the castle has endured a rich history, witnessing battles, reconstruction, and pivotal events in Japanese history. It houses an ever-changing exhibition of cultural assets related to Toyotomi Hideyoshi, the Sengoku period, and Osaka Castle's history.

DAY 2

MORE MUSEUMS & ARTIST STUDIOS

On the second day, seize the opportunity to visit a local artist or continue along the path of exploring private collections housed in museums.

10 AM - ARTIST STUDIO: Yoshiko Naragino

Yoshiko’s work consistently aims to express joy, vitality, and happiness through various creatures, events, and patterns, creating a larger-than-life fantasy that evokes familiar sceneries and stories. The size of the works requires viewers to look up, squat down, or move around, allowing for an immersive three-dimensional experience that emphasizes the weight and presence of the art.

Yoshiko Naragino Website

11 AM - KATE STRACHAN

Kate Strachan is a transdisciplinary artist, who divides her time between Asia and the US. Her clay work integrates various materials such as wax, wood and fiber to form manuscripts, sculpture, installation, and video art. Kate's work is viewed as a collection of both relics and texts conveying and preserving the routine of action, sexuality and silence.

1 PM - Japanese Folk Crafts Museum Osaka

^{Photo courtesy: Kate Strachan}

The Japan Folk Crafts Museum Osaka, originally constructed as an exhibition hall, has undergone transformation and currently functions as the western base for the "Mingei Movement." Founded by Muneyoshi Yanagi, the Mingei Movement underscores the value of appreciating folk crafts and recognizing the beauty inherent in everyday, utilitarian objects.

Special exhibitions are held twice a year in the spring and fall, showcasing domestic and foreign folk art objects. The variety of folk-art objects, including ceramics, dyed and woven textiles, wood and lacquer works, and braided pieces, indicates a comprehensive approach to representing different aspects of traditional crafts.

The inclusion of commemorative lectures for each special exhibition adds an educational element to the museum's programming.

3 PM - Itsuo Art Museum

The Itsuo Art Museum, dedicated to the memory of Kobayashi Ichizo (1873-1957), honors the legacy of Itsuo, a prominent figure renowned for his contributions to culture and art. Established in 1957, the museum boasts an extensive collection of 5,500 works of arts and crafts meticulously gathered by Itsuo throughout his lifetime.

This remarkable collection reflects Itsuo's diverse interests and includes many prized gifts bestowed upon him by business associates. While photography is often restricted within museums, visitors have the opportunity to acquire well-printed catalogs, allowing them to take a piece of the collection home with them.

To explore our extensive listings of galleries, museums, design stores, and other destinations in Japan, go to the CERAMIC WORLD DESTINATION MAP!

CONTRIBUTOR

Kate Strachan is an interdisciplinary studio artist with a background in ceramics and fiber. She divides her time between Osaka and Philadelphia and has a rich artistic journey that includes an apprenticeship in Kanazawa, Japan, and studies at the Tainan National University of the Arts.

Her recent accomplishments include receiving a grant from the Dutch government for the 2024 EKWC residency, winning NCECA's 2023 Emerging Artist Award, securing 3rd place for Blanc de Chine in 2021, and having her work selected for the New Taipei Yingge Ceramics Biennale in 2022.

Kate Strachan's Website

Want to see our next ceramic guide to a city? Taipei, Taiwan and Oxford, England are coming next!

You too can feature ceramic destinations for your city. To share a guide, event, exhibition news, or research, visit our Connect Page for more information!

Subscribe to our newsletter for updates on all things ceramics!

The Ceramic History of Westerwald, Germany

The Origins - The Westerwald Clay Region

The vast and extensive clay quarries in the Westerwald region represent the largest connected deposits in Europe. Only a few other regions in the world are known to have clay sources of comparable size and quality. The Westerwald clay is distinguished by its exceptional ductility, virtually impurity-free composition, and excellent sintering properties. These clays are perfectly suited for stoneware production–a high-fired, waterproof, acid-resistant, impermeable clay.

The rich clay resources, together with abundant timber in the region, earned Westerwald the moniker "Pot Bakers’ Land" or Kannenbäckerland. The proximity of major long-distance trade routes such as the Salt Way and the Rhine, key European arteries, was pivotal in transforming Westerwald and its stoneware into an international success story.

Stoneware from Inception to the Renaissance

Kilns capable of reaching temperatures up to 1200 °C were documented in the Rhineland as early as the 13th century. The oldest documented evidence of pottery kilns in Höhr dates back to the year 1402.

Extremely poor working conditions, warfare, and penury triggered migration movements across Europe, including the Westerwald region. Around 1600 skilled pottery masters from the Rhineland, Raeren in Belgium, and Lorraine began migrating to the so-called Pot Bakers’ Land (Kannenbäckerland). They infused fresh vitality into local craftsmanship, bringing new forms, decorative motifs, and new glazing and firing techniques. As a result, the pottery trade in the region experienced a major boost in the following centuries.

During this period, the distinctive pottery of the Pot Bakers’ Land developed: a grey, salt-glazed stoneware vessel adorned with cobalt blue painted decorations. The vessel shapes often show a carinated or angular shape achieved by the emphasized articulation of the different body parts through fluting or ridges. Cobalt blue painting was complemented by additional decorative techniques such as stamping and applications.

These vessels were embellished with depictions of prince-electors, bishops, biblical narrative cycles, and very mundane scenes featuring barn dances or mercenaries. Apart from everyday household ware produced for local sale, the potters also worked on commissions that were traded and sold internationally. Westerwald stoneware had become a product on the global market!

The Baroque Period

In Germany, the Baroque period, a new Italian style that developed after the deprivations of the Thirty Years’ War (1618 – 1648), had a significant impact on pottery. Westerwald experienced an economic upturn, leading to the establishment of new potteries everywhere. In 1771, the guild in the Pot Bakers’ Land (Kannenbäckerland) reached its zenith with six hundred master craftsmen in twenty-three villages. Aside from these, there were many so-called Schnatzer–individuals who, for various reasons– could not or should not be named master. The increasing number of competing potters led to a decline in quality, subsequently causing prices to fall. Faced with this situation, regional authorities were forced to take regulatory measures.

In addition to everyday pottery, craftsmen in the region specialized in creating drinking vessels, figurines, and ornamental pieces. Appliqué as adornment became popular—lozenges, medallions, rosettes, or blossoms were intricately and elaborately crafted and placed. Furthermore, new patterns were introduced, such as hatched lines or impressions made using a wooden stick and stamped decoration.

The products originating from the Kannenbäckerland were renowned for their high quality supra-regionally. Affluent clientele, including the aristocracy, entrusted and commissioned the potters with their specific wishes and needs. This is evident in the personal crests or emblems, such as "GR" for George Rex (King George of England).

Historicism:

18th to 19th Century

From the 18th century onwards, traditional stoneware products faced stiff competition from European porcelain and modern stoneware, gradually losing favor among solvent customers. Out of necessity, the potters focused on producing greyish-blue everyday household tableware up to the middle of the 19th century.

A turning point occurred in 1864 with the recruitment of Bohemian modeler Reinhold Hanke. The long-desired technical and artistic change finally began as Hanke applied his skills to the hitherto traditional stoneware production, collaborating with

Peter Dümler, a talented designer in his company. By 1872, they developed a plaster vessel mold for repeated use, accommodating a thrown clay barrel. This new method enabled Hanke to create intricate, custom-made objects. Honored at world fairs and the recipient of numerous international awards, Hanke is seen as a legitimate heir to the long-standing Rhenish stoneware potters.

Progress now took its course. Driven by factory owners Friedrich Wilhelm Merkelbach II and Georg Peter Wick, improvements in industrialized production increased significantly. This marked a transformative era where traditional German stoneware could now be efficiently mass-produced.

Moreover, the educational reforms initiated by the Prussian government led to the establishment of three major technical colleges devoted solely to ceramics: in Landshut, Bavaria (1873); in Höhr–Grenzhausen (1879); and the former Silesian Bunzlau, now Bolesławiec in Poland (1897). The potter's craft transitioned from being solely passed down through hands-on apprenticeships to becoming a subject of scientific research and analysis, reflecting a broader spectrum of knowledge and skills beyond traditional workshop teachings.

Art Nouveau

During the increasing industrialization, an artistic counter-movement arose all over Europe at the turn of the 20th century, striving for a renewed strengthening of individualized craftsmanship.

To prevent the region's stoneware manufacturers from missing the boat, internationally renowned artists and designers were engaged. In 1901, Henry van de Velde (1863-1957) arrived in Westerwald, sparking a radical shift in stylistic approach. Simultaneously, Peter Behrens (1868-1940) contributed style drafts and templates, infusing the traditional greyish-blue appearance of Westerwald stoneware with a contemporary design.

Certain factory owners, including Simon Peter Gerz I, Merkelbach & Wick, and Reinhold Merkelbach, took an active role and established successful connections with renowned artists like Richard Riemerschmid (1868-1957). This collaboration ushered in a period of artistic renewal and innovation within the Westerwald stoneware industry.

To ensure their survival, the majority of companies continued manufacturing conventional household stoneware. Products embodying the Art Nouveau spirit appeared overly ornate for the average customer, leading to limited success for these new ceramic offerings. Only a select few companies achieved success with these new ceramic products.

Mass Production in the Post-War Period

After a reduction in output during World War II, pottery factories gradually returned to pre-war levels of activity in the 1950s, with a primary focus on the mass production of tableware. The Westerwald potteries emerged as the main designers and producers of the Fifties, experiencing a flourishing business that led to the creation of numerous new jobs. For instance, the Jasba company saw a sixfold increase in its workforce between 1948 and 1955.

Immigrant workers from Italy and Turkey also found employment in the concentrated pottery industry, centered mainly around the town of Ransbach-Baumbach. This economic miracle in the stoneware industry ushered in an era of prosperity for the Westerwald region, which endured until the 1990s.

Developments in Craft During the 20th Century

In contrast to other fields of fine art, the evolution of ceramic arts unfolded gradually and without sharp stylistic incongruities. This continuity was partly because handicrafts were not condemned as degenerate art by the Nazi regime; instead, they were supported for their perceived (Germanic) folksiness.

Potters such as August Hanke (1875-1938) and Elfriede Balzar-Kopp (1904-1983) received high acclaim in national and international competitions for their traditional craftsmanship.

In the post-war period, Westerwald potteries survived by producing crockery in the style of the Thirties. As economic conditions improved, potters began to experiment once again, seeking more individualized forms of expression. The ceramic vessel started to free itself from its traditional role as a functional object, evolving into an autonomous art object. Creative principles from the fine arts and performing arts, such as assemblage, repetition, rhythm, or deconstruction, were applied to ceramics.

^{Elfriede Balzar-Kopp carving pattern, probably 1930s - photo courtesy:
Kreisbildstelle des Westerwaldkreises, Foto Georg Gerlach}

Contemporary Art in Höhr-Grenzhausen

Those working or studying at the State Technical College for Ceramics (Fachschule), the Institute for Ceramic and Glass Arts (IKKG), or those active in the many workshops of the region share a common curiosity about what ceramic and glass materials can convey and how to express the art form.

But, the long history of Westerwald stoneware also calls for reflection: What does this place and region mean to us? How does our ceramic culture relate to neighboring regions or other cultures? Many artists employ century-old pottery techniques like wheel throwing or salt glazing to create new and contemporary objects. Every two years, students carry out a firing in the last functioning traditional salt kiln. By immersing themselves in this historical continuum, the region remains vibrant and well-prepared for its artistic future. The narrative of Westerwald pottery continues!

CONTRIBUTOR

Nele van Wieringen has been the Director of the Keramikmuseum Westerwald since 2018. She completed her master's degree at Koblenz University, Institute for Ceramic and Glass Arts in Höhr-Grenzhausen. There, she earned her doctorate in collaboration with the University of Art and Design Linz with a thesis on the art-theoretical conception of color in ceramics.

The Mapping of American History: "Points of Origin" at C24 Gallery

C24 Gallery - Chelsea, NYC 
560 W 24th Street 
New York, NY 10011

To the left, right, horizon, and periphery, fifty conical ceramic masks of various proportions are plotted throughout the gallery, echoing an ominous air. The staccato-sharp masks, coated with buzzing blues and adorned with pointillist protrusions, are animated with disconcerting expressions, interlocking and confronting viewers with their cryptic and unwavering gaze. Taking a reticent step closer, the contours of masonite prayer fans and plotter ink drawings featuring symbolic and figurative imagery emerge—anchoring the abstracted hoods with narratives personal to the artist, Tammie Rubin.

Originating from multiple axes to create a nexus of works revolving around the common theme of faith, Points of Origin, C24 Gallery’s latest exhibition, serves as a documentation of Rubin’s extensive historical research, a celebration of her master craftsmanship, and an intimate glimpse into her lineage. Although the ensemble of pieces possess contrasting formal qualities and viewpoints, David Terry, the director of the gallery and curator of the show, explains:

“When you think of the point of origin, and where you come from, that could be from many places. [Rubin’s] work and this body of work come from many different areas of her life, African American culture, American culture, women in her family, and the threads that make up the fabric of the country.

So when she was bringing [the pieces] out, I got really excited because they’re all from the same context, but she's exploring different media. And I love it when artists carry the same theme through but realize and recognize it through different forms, communicating at many levels to many different people.”

Creating a metaphysical altar and paying homage to her family and the Black American experience, the varying vantages harmonize in spiritual unison with their shared explorations of The Great Migration and Reconstruction—subjects Rubin hadn’t considered in her practice until she migrated to Texas in 2015. She elaborates:

“It was specifically about this idea of moving to Austin. You know, I moved here for a job, and that's when I started to think about my parents in a historical context. I'm taking from my family stories and then expanding that into larger research about other Black families that have had this experience and whose stories haven't been told. I’m reflecting on conversations about Black Americans having their history not being represented in our world.”

In fact, according to author Isabel Wilkerson, The Great Migration—a period from roughly 1910 to 1970 when six million African Americans mass relocated from the Jim Crow South to the North—was “the greatest and biggest underreported story in the 20th century.”

^{Always & Forever (forever, ever) No.14 - Photo by Daniel Krieger, courtesy of C24 Gallery}

As the descendant of parents who migrated and met in Chicago (mother from southern Mississippi and father from Memphis, Tennessee), Rubin unveils their neglected history and memorializes her family and Black families alike in an archival collection.

^{Always & Forever (forever, ever), Drift No.2 - Photo by Daniel Krieger, courtesy of C24 Gallery}

^{Always & Forever (forever, ever), No.24 - Photo by Daniel Krieger, courtesy of C24 Gallery}

A clan of three ceramic hoods with pigmented Delphinium and Vivid Blue skin and scars of Radiant Red stand on a floating shelf by the entrance. The central figure, with a leveled head resembling a motherboard, represents a map of Chicago. Similar patterns of cities and migratory paths are also present on other masks in her Always & Forever (forever, ever) series.

On the right of the No.17 tribe, a funnel-shaped form with sgraffito rain strokes, dots, and beaded relief creates a sensational feast for the visual cortex. Although the mask isn’t directly portraying routes, the dynamic movement metaphorically alludes to migration as the pulsating red synchronizes and dances with the blue.

The particularly pointy, slanted hood has a more regal personality. Embellished with an obscured badge, a symbol originating from the Medieval Period, the hood contemplates power, principally within the context of law enforcement. Laced with Medieval and magical influences, the masks may appear solely, or most familiarly, to reference the Ku Klux Klan, but they also attribute to Knight and Shaman helmets, dunce caps, and wizards.

Rubin builds sizable, totemic red stoneware forms as seen in her Unknown Ritual Mask series and practices slip-casting smaller everyday objects—cones, funnels, food containers, and vintage lighting—reconfiguring them into non-functional headdresses. After making a mold, she speedily scratches, carves, punctures, and pipes beading onto the surface as they quickly dry.

“I think of all the mark-making that is repetitious as black bodies moving through space and time, so I’m physically marking that onto the surface of the ceramic forms. […] I’m interested in how to suffuse the form with another point of visual communication through the surface itself.”

Rubin then paints the pigmented porcelains, with sumptuous lines, shapes, and stencils. Some cones resemble Abstract Expressionist and contemporary paintings, others African beadwork, Aboriginal mark-making, and ornamental designs.

The exhibition is filled with a profusion of symbols. The plotter ink drawings portray hagiographical portraits of her grandmother, mother, and aunts all adorned with turnip, mustard, and collard green halos—food staples prominent in Rubin's upbringing. Masonite fans, framing the ceramic cones, are symbolic references to the prayer fans that were predominantly present in black churches and funeral homes to keep the congregation cool. Marked with text, figures, floral, dotted, and migratory patterns, the iconographical fans provide a window into the past and become profound relics that take on resonance and emanate the power of faith.

Rubin’s cerebral and complex perspectives are captured in Points of Origin, a transcendental exhibition visually and conceptually mapping and highlighting one of the most significant and overlooked demographic shifting events that will forever change the structure, history, and future of the United States of America. She emphasizes, “Black history is not separate from American history. These are Americans.” The diverse array of works converges into a singular point of origin, commemorating and celebrating the contributions and stories of Rubin and Black families who’ve built the foundation of the country.

“There is no American culture without black American culture. You can't say, well, they did it. We did it. We did it together.”

- Jacob Lawrence

Visit C24 Gallery at 560 W 24th Street New York, NY 10011, or explore and learn more about the exhibition "Points of Origin" and Tammie Rubin's works online at C24 GALLERY

Visions of Shigaraki, Japan

To see ceramic destinations in Shigaraki, Japan, and other sites worldwide, check out Ceramic World Destinations (CWD), MoCA/NY's interactive map listing over 4,000 destinations!

En Iwamura, a ceramic artist currently residing in Shigaraki, shares his experience working in the cultural heritage site and the benefits and challenges of living in the region. This essay is part of our three-part feature on the cultural heritage site Shigaraki. GET TO KNOW SHIGARAKI written by Michio Sugiyama provides insights into the historical, cultural, and traditional aspects of Shigaraki, and Hitomi Shibata shares a personal essay, Shigaraki - Our Journey in Clay, reflecting on her time living, working, and making art in Shigaraki.

^{Miho Museum: photo courtesy: Michio Sugiyama}

^{Local train station - photo courtesy: Michio Sugiyama}

I was born in Kyoto, Japan, and received my BFA and MFA at the Kanazawa College of Art and Craft in Kanazawa. I decided to study in the US and received my second MFA at Clemson University. After living and working in the US for six years, I returned to Japan and moved to Shigaraki.

Shigaraki is not far from my hometown (about 30-40 min driving distance) and I found myself missing time spent with my family while I was abroad. I also want to raise a family with my wife in Japan.

While traveling and working at residencies, I felt like a nomad. Every time I moved, I had to also transport all my studio equipment, tools, and glazes and I found this to be too burdensome and prevented me from developing a consistent studio practice. I wanted to find the perfect place to settle and Shigaraki was the place as it not only has an international ceramic reputation but also because of the quietness and peace of the atmosphere necessary for my practice. I moved to Shigaraki in 2018 as a resident artist at Shigaraki Ceramic Cultural Park.

Shigaraki is a small village located in southeast Shiga prefecture, and known as one of six ancient ceramic kiln sites in Japan. The environment is pretty calm, surrounded by mountains, and the population is small. The image is like a picturesque Japanese traditional old village. My first impression was “What a beautiful and peaceful place!” It was nice to stay away from the business of the city and have a place to focus solely on my work. I quickly fell in love with the city.

^{Shigaraki Ceramic Cultural Park - photo courtesy: Michio Sugiyama}

^{Palace ruins Shigaraki - photo courtesy: Michio Sugiyama}

Of course, even with the positive aspects of Shigaraki, there are issues with this small village in the countryside of Japan. A key issue is the low population density. Getting to know the community and communicating with local people, I began to realize the reality of this place. After many years of shrinking demands for Japanese ceramic industries, there are so many factories and businesses that are closing, risking the future of this cultural heritage site. The younger generation of local people is leaving Shigaraki for a bigger city to seek their own life therefore, their heritage, passed down from generation to generation is disappearing. So, there are many empty houses and factories but people have no idea how they should approach these challenges.

^{En Iwamura in his studio in Shigaraki}

^{En Inwamura's ceramic in his studio in Shigaraki}

As an artist who works at this cultural heritage site, I would like to use existing resources and am thinking about the potential of the town. Thinking about all the empty factories, and houses, I would like to see the younger generations of people utilize the opportunities Shigaraki provides and create their own creative and innovative community here. For instance, I bought an abandoned gift shop and renovated it as my studio. I hope to see some kind of new creators’ community here in the future to preserve Shigaraki and its culture, traditions, and history.

CONTRIBUTOR:

En Iwamura

En Iwamura was born in Kyoto, Japan in 1988. Under the influence of both parents who are painters, he grew up in an artistic environment. After graduating with a BFA in craft at the Kanazawa College of Art and Craft, he began to be interested in the international Art world. he considers that ceramic has the potential to be one of the international languages, that can cross different cultures, people, and countries. En Iwamura's current research investigates how he can influence and alter the experience of viewers who occupy space with his installation artworks.

WEBSITE