The Life of Sado's Living National Treasure,
Shodo Sasaki

Introduction: The powerful bracing of the feet, the strong tension in the backward-turned neck, the line of the tail extending in a lush curve, the lively pair of wings. The phoenix motif indicates high status, while the fine lines, beautiful form, and exquisite technique are evident. From the elegance and breath of life this work radiates, one cannot help but want to know what kind of person Sasaki Shōdō was and what kind of life he led.

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Chapter 1: A Poor Boy's Dream Born in Meiji 15 (1882) in the town of Kawarada, he was the eldest son of Shinzo (father) and Mura (mother) in a poor family. His given name was Bunzō. His father made a living doing day labor such as repairing fences and tending gardens, and disliked having others help him with his work. This was likely due to his nature, unable to rest unless things were finished faithfully and precisely. His mother was also employed by other households, a skillful woman who could handle any task admirably. Bunzō was born inheriting the blood of such parents. Though inherently somewhat frail and small in stature, his mind was sharp, and his academic performance in elementary school always ranked him first or second in his class.

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Chapter 2: Schooling and Apprenticeship Around the age of 11, upon finishing ordinary elementary school and advancing to higher elementary school, he went into service at the Nakayama Wakichi Store in the same district, commuting to school from there. The Nakayama family, where he served, was a large merchant house; the main family ran a pawn shop, and a branch family ran a kimono/dry goods store. Bunzō lived in the main house, helping with the work of both businesses while attending school. At the time, Bunzō and his parents didn't even have money to buy textbooks; Bunzō prepared almost all of them himself by hand-copying from his friends' textbooks. Bunzō's pleasure was gazing at old paintings and calligraphy in the storehouse of the Nakayama Store where he lived. And deep within his young heart, he always repeated, "I want to become someone who paints beautiful pictures like these." Indeed, even from that time, his calligraphy and drawing were remarkably skilled for a boy, and villagers had him write large temple gate plaques and paint votive pictures (ema) even when he was in elementary school.

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Chapter 3: Passion for Painting and Setback After finishing higher elementary school, while working as a clerk (bantō) at the Wakichi-ya (Nakayama Store), Bunzō wrote a heartfelt letter pleading for discipleship to Nomura Bunkyo, a Shijō school satirical painter. At the time, Bunkyo was like the sun in the Japanese art world, and for a mere boy to write a letter to such a person required considerable courage, as well as exceptional enthusiasm and confidence. Shortly thereafter, the head of the kimono store discussed Bunzō's desire to become a painter with his own elder brother, the metal caster Miyata Randō the First. Miyata Randō agreed to provide a letter of introduction to Nomura Bunkyo, and Bunzō's fervent wish gained the permission of his master's household. In Meiji 33 (1900), at the age of 18, Bunzō went to Tokyo and placed himself under the care of the Japanese painter Nomura Bunkyo. His heart leaped, transitioning from the path of commerce to the path of art. About a month later, Bunzō was summoned to Bunkyo's studio. "It will be difficult for you to make a living as a painter in the future. Your nearsightedness is too severe." When Bunzō, without blinking, asked why, he was told that a previous apprentice with nearsightedness had been unable to sketch accurately, strained his eyes trying, and eventually went blind. Bunzō listened as if swallowing each word of his master's explanation, silently bowed deeply, and left the room. It felt as though the world before him went dark. Bunzō suffered from severe myopia. There was no path left but to return to Sado. What awaited Bunzō upon returning home was his former service at the kimono store. The ideal image of a painter he had cherished since boyhood was shattered into pieces. How many times he must have scolded himself for pausing his brush while keeping accounts, lost in thought. Seeking peace of mind, he passed through the gates of a Christian church that had recently been established.

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Chapter 4: The Path of Casting Deeply worried by Bunzō's state, the head of the kimono store went to consult his brother, Randō. "Bring him to me. Painting and casting are both paths of art." In May, at the age of 19, urged by the store owner, Bunzō made his decision. He immediately began commuting daily from his home to Randō's workshop. When asked why he carried an umbrella even on the sunniest days, he reportedly answered, "You never know when it might rain." This extreme cautiousness was one key element in the birth of a Living National Treasure in lost-wax casting. He took one character (象 - Shō, read as zō in names, meaning 'elephant' or 'form/image') from his master's name (Randō - 藍堂) and combined it with a homophone (象) for the 'zō' (蔵) in his given name Bunzō, taking the art name Shōdō (象堂). Blessed with abundant talent for form since boyhood, upon entering Randō's tutelage, Shōdō immersed himself in the path of casting like a fish returned to water. The lost-wax casting (rōgata chūzō) technique first involves creating an inner mold (uchigata) from mold clay (igata tsuchi), covering it with beeswax (mitsurō) to create the prototype. This beeswax, a mixture of beeswax and pine resin, becomes freely shapable when warmed to about body temperature. Shaping is done with bamboo spatulas and small heated iron tools (yakigote). Once the prototype is complete, it is covered again from the outside with mold clay, dried, and fired. The beeswax inside melts and flows out through a pouring gate (yuguchi). Molten copper is then poured into the void. After several hours, breaking the outer mold reveals a metal replica identical to the original wax prototype. If the wax mixture proportion, kiln construction, number or arrangement of firewood, angle, or timing of pouring the metal are incorrect, one must start over from the laborious process of creating the wax prototype again. Because the prototype is made of wax, the resulting metalwork possesses a fluidity and texture almost like wax itself, losing any cold, hard feeling. This is the allure of lost-wax casting. Randō's teaching method prioritized the disciple's own discovery and mastery through trial and error. As devoted days continued, unfaltering through rain or wind, Shōdō, inherently a reader, would pick up a book whenever he had a spare moment. His rich knowledge in later years was built through such self-study.

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Chapter 5: Independence and Marriage After six years of training, in May of Meiji 40 (1907), he received his master's permission and became independent, setting up a workshop at his home in Kawarada. Meanwhile, he also attended the Christian church in the same town, receiving baptism in July of the same year and dedicating himself to church work. On Christmas Eve, at the end of his 28th year, a Christmas celebration was held, where he met Take Hanyū, who would later become his wife. Take was born in Aizawa, Mano Village. Both her parents loved learning, and Take advanced to the Prefectural Nagaoka Women's Normal School. After graduation, she taught at Akadomari Elementary School before taking up a position at Mano Elementary School in April of that year. Since childhood, she had reportedly gone with elderly people to listen to temple sermons. Having received higher education for the time, she was inquisitive in her search for life's meaning and a deeply faithful woman. One day, after consulting the pastor, Shōdō resolved to send an envoy to the Hanyū family in Aizawa to propose marriage, but he was flatly refused. The relatives of the prominent Hanyū family strongly opposed the marriage. In the old Japan of that era, family lineage and property were absolute conditions for marriage. One can only imagine how great his shock must have been. Meanwhile, new movements in the craft world in Tokyo constantly stimulated Shōdō. The Tokyo School of Fine Arts had opened in Meiji 22 (1889), establishing departments for both chasing (chōkin) and casting (chūkin), later adding forging (tankin). When the Art Nouveau movement was introduced from Europe, it served as a major stimulus, leading to the formation of the Gorakukai in Meiji 42 (1909) to study and evaluate craft design. It was natural for the young Shōdō to be excited by these developments in the capital. His desire to go to Tokyo and join the new art movement only grew stronger, but he hesitated to make the decision, needing to leave his elderly parents behind and having no clear prospects for life after moving. The death of his mother, Mura, in April of Meiji 45 (1912) became the catalyst for him to solidify his resolve to move to Tokyo.

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Chapter 6: Challenge in Tokyo In June of the following year, Taishō 2 (1913), he moved to Tokyo. The green island of Sado gradually receded and disappeared into the mist. It was a lonely departure, but a burning ambition was hidden in his heart. Upon arriving in Tokyo, Shōdō carried a letter of introduction from his Sado master, Randō, and visited Ōshima Kaun, who was teaching lost-wax casting at the Tokyo School of Fine Arts at the time. He sought a foothold for his life in Tokyo by assisting in Kaun's workshop. His diligence was tremendous, and he did not neglect his own creative work. As early as October of that year, he submitted the "Brass Landscape Design Vase" (Ōdō Sansui Mon Kabin) to the Japan Art Association exhibition. It received a Second Prize (with no First Prize awarded) and was purchased by the Imperial Household Ministry.

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Chapter 7: Days of Love and Creation Take's ideal was to share a lifetime of hardship with someone she could respect and create joy together. Determined to help support Shōdō's life, she moved to Tokyo in the spring of Taishō 3 (1914) and took a teaching position at Reigan Elementary School in Fukagawa. Thus, the two were married in June at the Tokyo Sendagaya Church. Five years had passed since they met at the church in their hometown; despite various obstacles, neither wavered from their initial commitment. Even married, life was difficult for an unknown casting artist to sustain, and they lived in poverty. However, his production grew increasingly active with each passing year, as if a dam had burst. He consistently received top prizes at the Nōten exhibitions in Taishō 5 (1916) and 6 (1917), the Tokyo Casting Association Exhibition (Tokyo Chūkin Kai Ten) in Taishō 7 (1918), and the Nōten again in Taishō 8 (1919). At the 8th Teiten (Imperial Art Exhibition) in Shōwa 2 (1927), the long-cherished desire of the craft world was fulfilled with the establishment of a new Art and Craft section. Shōdō submitted his "Cast Silver Peacock Incense Burner" (Chūgin Kujaku Kōro) to this exhibition and won the Special Selection prize (tokusen). The following year, Shōwa 3 (1928), he was commissioned, along with other leading artists, to create one decorative piece for a display shelf presented by civil and military officials to celebrate the marriage of the Emperor and Empress. He was thus recognized as a leading figure in the metalworking world. He won the Special Selection prize again at the Teiten in Shōwa 4 (1929), thereafter becoming exempt from judgment (mukansa), and from the 12th Teiten in Shōwa 6 (1931), he was annually commissioned as a juror. In just 18 years since moving to Tokyo, he had reached the position of Participant (San'yo) in the Imperial Art Academy, the highest status in the art world at the time. In Shōwa 9 (1934), he established the "Etsusa Craft Art Association" (Etsusa Kōgei Bijutsu Kai) as a forum for research and exhibition for craft artists from his home region. In Shōwa 13 (1938), he founded the Niigata Pottery Garden (Niigata Tōen) as a membership organization in Sekiya Ariakedai, Niigata City, naming its ware "Koshi-ji yaki," aiming to promote local culture and industry. It was in Shōwa 17 (1942) that he built his own house for the first time, in Toshima Ward, Tokyo. He trained apprentices such as Kobayashi Seikichi, Ikeda Itsuō, Akaebashi Kaneo, and Ibaraki Yoshio, who followed Randō II and Nakayama Sakuji. In this way, Shōdō continued his activities as a luminary in the metalworking world, but society descended into the long, dark period of war, and eventually, Tokyo too was subjected to air raids. In November Shōwa 19 (1944), having entered old age at 63, he evacuated to a separate building on his wife's family property in Aizawa, Mano Village, where he remained until the end of the war.

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Chapter 8: War and Tranquility In a quiet environment as if war did not exist, the peaceful rural scenery gently enveloped him. He associated closely with the villagers and decided to dispel his anguish by painting and drawing. A sense of quiet resignation began to surround him. In Shōwa 22 (1947), encouraged by many, he established the Mano Pottery Garden (Mano Tōen) in the nearby town of Shinmachi. Disciples joined, and it became increasingly lively day by day. In Tokyo, the Teiten was reorganized and resumed as the Nitten (Japan Fine Arts Exhibition). Although commissioned, he did not exhibit for several years, but submitted a "Catfish Ornament" (Namazu Okimono) to the 6th exhibition in Shōwa 25 (1950). This work was first created in pottery and then cast in metal. His creative drive remained strong. Although he did not exhibit at the Nitten in Shōwa 32 (1957), he completed the masterpiece "Statue of Chigo Kannon Riding a Carp" (Chigo Mearyōfu Zō - often depicting a youthful Kannon form). In Shōwa 33 (1958), people around him strongly urged him to exhibit at the Japan Traditional Art Crafts Exhibition (Nihon Dentō Kōgei Ten). He finally resolved to do so, working hard through the summer heat to produce the "Auspicious Bird" (Zuichō) ornament. In October, the 5th Japan Traditional Art Crafts Exhibition opened, and "Auspicious Bird" captivated all viewers, receiving the highest award (Chairman's Prize, Committee for the Protection of Cultural Properties) and being purchased by the committee. The design of "Auspicious Bird" was later used for the ridge-end ornament (munekazari) of the main hall (Seiden) during the construction of the new Imperial Palace. The following year, Shōwa 34 (1959), he submitted the "Flower Picking" (Saika) ornament to the 6th Japan Traditional Art Crafts Exhibition. Considered a masterpiece surpassing the previous year's "Auspicious Bird," it again won the highest award (Prince Takamatsu Memorial Prize).

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Chapter 9: Glory and End In April of Shōwa 35 (1960), Shōdō was designated a Holder of Important Intangible Cultural Property (commonly known as a Living National Treasure). People unanimously praised his wife's devoted support (naishō no kō). Her dedication was literal: she worked herself, managed household affairs, comforted her husband struggling with creation, and even ran around selling his works. He continued to develop ideas for his next work, repeating sketches and designs, but on January 26, Shōwa 36 (1961), he closed his 79-year life peacefully, as if sleeping, due to acute pneumonia. It was a pure end for him, who, without leaving the land of Sado even once after the war, had presented one immortal work after another to the world.

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"Harukaze ya / Waga musotose no / Chūkin shi" (Spring breeze— / My sixty years / Of casting history)

This is a haiku he composed when he was designated by the nation as a Holder of Important Intangible Cultural Property for lost-wax casting. He must have felt that he had no regrets in his life. He took up his brush and drew a quick self-portrait sketch. It showed him in profile, wearing a jittoku zukin (a type of cap or hood). He inscribed the haiku onto this picture. Looking back on his past, he must surely have been filled with deep emotion.

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[References]

Living National Treasure Series - 28 / Kodansha: Sasaki Shōdō - Sixty Years of Casting

/ Ryōichi Takao

 

Japanese Figures Born in Etsusa Vol. 3 / Niigata Nippo Sha: Sasaki Shōdō - Living National Treasure of Lost-Wax Casting

/ Kōhei Miyata