Rikitake No.119 Shoko Esumi.68

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That is not history – but it is a plausible ghost biography for a keyword that refuses to be explained.

1968 was a year of global social upheaval, but in Japan, it was also the height of the Sōdeisha (Craft Art Association) movement. Artists were rejecting the rigid Mingei (folk craft) ideals in favor of sculptural, avant-garde ceramics. The Rikitake kiln, while more traditional than the radical Sōdeisha group, was heavily influenced by this energy.