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AIKO W57.0cm D45.6cm H25.5cm

Miwa Kyusetsu XII


Born in Hagi,Yamaguchi as a first son of Kyusetsu Miwa XI (Jusetsu)
Graduated from the Major of Ceramic arts at the postgraduate course of Tokyo University of Arts
His first work: “An elegant days of Hanako (High heels)"
Became a professor at Hagi Women's junior college
Entered to the International Ceramic Arts Academy
Received the prize of Japan Ceramic and Pottery Association
Established Hagi Potter Association
Became the first president
Received the Chinese Cultural Award
Succeeded to Kyusetsu Miwa XII
The event regarding "25th friendly city-ship anniversary of Shandong Province, China and Yamaguchi prefecture, Japan " The exhibition of Kyusetsu Miwa ceramic arts( at Shandong Museum, China)
The exhibition,"Kyusetsu Miwa XII the ceramic--the integration of love and death"(Mitsukoshi Étoile ,Paris ,France etc.)
Received the Grand Prix of the Japan Ceramics and Pottery Association

Ryuusaku, Kyusetsu Miwa XII was born as a first son of Chusetsu(Kyusetsu XI) who was the top of authentic Miwa Family, who was the pottery workshop of Hagi-ware,especially serving for Mouri in Choushu. He had been taught by two masters, Chusetsu and his ant Kyuwa Miwa(Kyusetsu X),both of brothers became living national treasures later (it was the unprecedented case). He had thoroughly learned skills and the policy in order to be a successor of honorable family.

While getting familiar with traditional materials and skills, Kyusetsu moving to Tokyo for a university,had become to react against the way of Japanese ware culture which was to create works close to existing masterpieces. Meeting with new arts and values provoked the feeling stronger. It could be said that the time was for constructing his internal world and artistic vision including the influence by literatures of Dazai and Tanizaki. He gradually had an enthusiasm to western paintings and he got devoted himself to Munch, Goya and Van Gogh etc. He started to dream to become a painter.

In 1964, when all Japanese people had a blast at the Olympics,Kyusetsu touched foreign ceramic art works for the first time at the International Ceramic Exhibition holding in Japan for the first time as well. There was a ceramic art as a genuine one which straightly expressed own feelings without tiding down to stubborn custom’s flame. When Kyusetsu realized that his mission must be expressing the freedom by using traditional materials and skills,he decided to return to the ceramic world again.

Kyusetsu had been using an extremely essential theme for human "eroticism and death "since he displayed "An elegant days of Hanako (High heels)" at the graduated exhibition of the Major of ceramic arts at the postgraduate course of Tokyo University of Arts. Whenever I face to his works,it tells me how hard my value is. It is not rare that we have pleasant feelings when our common sense and inner thoughts which are stocked everyday are completely destroyed.

Kyusetsu had built up the new vision and arts sense by taking Eros which could be mismatched into the ceramic world valued classics. As he declared Aa core of tradition is revolution "was his policy, it appeared all way long through his works and it was the key of his attraction.