Tradition Reborn: Contemporary Japanese Ceramics explores the interface between historical tradition and modern innovation in ceramics made by living masters of Japan. Whether made by self-taught potters or those working within well-established family traditions, the 24 artworks in the exhibition represent the creative impact of the past on the present. To emphasize these historical roots all of the objects selected for the show are functional rather than abstract and sculptural, yet each are worthy of great aesthetic appreciation.

Ceramics are of the utmost importance to in Japanese culture and several of the artists presented in Tradition Reborn are part of long family lineages in the craft, spanning up to 11th generation potters. This exhibition also features works by seven potters designated by the Japanese Government as “Living National Treasures” in recognition of their mastery of skills deemed to be of significant historic or cultural value.

“Although it is wonderful to exhibit the work of potters designated as Living National Treasures, all the ceramics in this exhibition will continue to stand on their own merits as masterworks even if their makers’ names were to be lost,” said John Teramoto, the IMA’s curator of Asian art. “Just as historical works regarded as masterpieces today were ‘contemporary’ at the time of their creation, I firmly believe these works will also stand the test of time.”

Exhibition highlights include: 

Wind (2001) by Miyashita Zenji demonstrates the successful synthesis of function and style. The blue, purple and pink palette is reminiscent of misty mountain ranges, while its abstract, sculptural wings with holes allow this to function as a vase.    
Maeta Akihiro, a Living National Treasure artist, creates functional porcelain works that are also sculptural manifestations of self-expression, such as his white porcelain faceted vase (c. 2014.)
Water jar for tea ceremony (mizusashi) (about 1965–75) by Arakawa Toyoz?, named a Living National Treasure artist in 1965, succeeded in recreating the methods and aesthetics of treasured tea ceremony wares of the Momoyama period (1573–1600) and was the driving force behind the Momoyama Revival in the early 20th century. 
Artist Tokuda Yasokichi IV, whose father’s work is also represented in this exhibition, creates Kutani ware modeling her father’s innovative use of blue, green and yellow polychrome glazes on porcelain bodies, as seen in Saiy? Censer (c. 2002.)

Included in this the exhibition is a hands-on table where guests can interact with ceramic tools, tiles and forms inspired by objects in the show.