Watashigaraki
In 2000, Wada Morihiro was invited to participate in the Artist Residency program at the Shigaraki Ceramic Cultural Park. During his stay, he set out to create thin-walled vessels intended for firing in a traditional climbing tunnel kiln (anagama). One of the main challenges of this endeavor was to produce large-scale forms with delicate walls that could withstand the intense conditions of wood firing. Wada constructed the jagged forms using a combination of hand-building and mold-casting techniques. The clay he selected was a blend of Shinohara and finely filtered yellow clay—an ideal mixture that allowed for both ease of shaping and the development of dynamic kiln effects. The resulting vessels, with their warm hues of reddish brown and ochre and their richly textured surfaces, exemplify the distinctive qualities of Shigaraki ware. The playful title Watashigaraki merges the words watashiryū (“my own style”) and Shigaraki, conveying the meaning “my own Shigaraki.” It also echoes the Japanese phrase for “I am lucky.” The vessel’s many irregular facets showcase the expressive range of Shigaraki firing techniques, as some areas are heavily marked by kiln effects while others remain unaltered.
One of the most celebrated clay artists of his generation, Wada Morihiro explored an exceptionally wide range of surface decoration techniques, including slip application, inlay, wax-resist, carving, underglaze painting, blue-and-white (sometsuke), and sprayed or blown-on glaze. After training for several years in Kyoto under the influential ceramicist Tomimoto Kenkichi (1886–1963), Wada relocated to Ibaraki Prefecture and settled in the ceramic town of Kasama. This move marked a turning point in his career, allowing him to move beyond the classical aesthetics of Kyoto and cultivate a distinctive visual language. His motifs and techniques increasingly resonated with the expressive, modernist spirit found in the work of Kamoda Shōji (1933–1983).
One of the most celebrated clay artists of his generation, Wada Morihiro explored an exceptionally wide range of surface decoration techniques, including slip application, inlay, wax-resist, carving, underglaze painting, blue-and-white (sometsuke), and sprayed or blown-on glaze. After training for several years in Kyoto under the influential ceramicist Tomimoto Kenkichi (1886–1963), Wada relocated to Ibaraki Prefecture and settled in the ceramic town of Kasama. This move marked a turning point in his career, allowing him to move beyond the classical aesthetics of Kyoto and cultivate a distinctive visual language. His motifs and techniques increasingly resonated with the expressive, modernist spirit found in the work of Kamoda Shōji (1933–1983).
Artwork Details
- ワタシガラ器
- Title: Watashigaraki
- Artist: Wada Morihiro (Japanese, 1944–2008)
- Period: Heisei period (1989–2019)
- Date: 2000
- Culture: Japan
- Medium: Stoneware (Shigaraki type)
- Dimensions: H. 21 in. (53.3 cm); W. 20 in. (50.8 cm); D. 17 5/8 in. (44.8 cm)
- Classification: Ceramics
- Credit Line: Purchase, Alice North Gift, in memory of Halsey M. North, 2025
- Object Number: 2025.477
- Rights and Reproduction: © Wada Morihiro
- Curatorial Department: Asian Art
More Artwork
A slider containing 5 items.
Press the down key to skip to the last item.
Press the down key to skip to the last item.
Wada Morihiro (Japanese, 1944–2008)
1997
Kondō Yutaka (Japanese, 1932–1983)
1964
Hamada Shōji (Japanese, 1894–1978)
ca. 1960s
Yagi Kazuo (Japanese, 1918–1979)
1955
Akiyama Yō 秋山陽 (Japanese, born 1953)
2020
Research Resources
The Met provides unparalleled resources for research and welcomes an international community of students and scholars. The Met's Open Access API is where creators and researchers can connect to the The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
To request images under copyright and other restrictions, please use this Image Request form.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please contact us using the form below. The Museum looks forward to receiving your comments.