Kogei Dining


Atami venue MOA Museum of Art, Atami City, Shizuoka Prefecture

Alongside its activities organizing exhibitions of Japanese art, the MOA Museum of Art has been working on succession and development in Japanese culture including tea ceremony, performing arts and Japanese cuisine.
In 2017, the MOA Museum of Art was reborn as a museum of contemporary architectural design conceived by internationally acclaimed modern artist Hiroshi Sugimoto and architect Tomoyuki Sakakida.


Period December 4th, 2020
Venues MOA Museum of Art(26-2 Momoyama-cho, Atami-shi, Shizuoka
Program [ Talks ]
- Kazumi Murose, Urushi Artist, Holder of Important Intangible Cultural Property (Maki-e) (Living National Treasure)
- Toshihiko Yoroizuka, Owner Chef, Toshi Yoroizuka
- Hidetoshi Nakata, President/CEO, Japan Craft Sake Company, Co. Ltd.

- Tokugo Uchida, Executive Director of MOA Museum of Art

[ Kōgei works viewing ]
Display and appreciation of works by 17 artists, all members of Japan Kōgei Association

Full-course dinner jointly prepared by French-style chef Toshi Yoroizuka and the head chef of traditional Japanese restaurant Hana-no-Chaya; accompanied with specially selected sake
Fee Participation fee: 30,000 yen per person (tax included)
The fee includes:
(1) Meal (full-course dinner)
(2) Drinks(sake or soft drink served during the meal)
(3) MOA Museum of Art entrance fee
Event participants are welcome to visit the MOA Museum of Art from opening time
Kōgei works viewing Kōgei works display and appreciation session
– Displayed items are available for purchase.
– Purchased items can be mailed to you.

Speaker Profiles

鎧塚 俊彦

Kazumi Murose

Urushi artist and designated a Holder of Important Intangible Cultural Property for Maki-e, Murose graduated from the Graduate School of Tokyo University of the Arts (Lacquer Art major). His works have won many awards,including the Governor of Tokyo Award at the Japan Traditional Crafts Exhibition, and are held in many collections including those of the Agency for Cultural Affairs, Tokyo University of the Arts,Victoria and Albert Museum, The Metropolitan Museum of Art, British Museum and others. In 2008 he received the designation of Living National Treasure, and the same year was awarded the Medal of Honor with Purple Ribbon. Currently he serves as Deputy Managing Director of the Japan Kōgei Association. In addition to his creative activities, he also engages in cultural property preservation activities, and actively participates in exhibitions and lectures both in Japan and overseas in order to convey the beauty and splendor of Urushi.

鎧塚 俊彦

Toshihiko Yoroizuka

Owner chef Toshihiko Yoroizuka first trained at hotels in the Kansai region, and then spent eight years training in Europe. Starting with Toshi Yoroizuka in Ebisu, Tokyo, in 2004, he opened a series of patisseries in Tokyo Midtown in Roppongi, in Suginami, and in Odawara. Committed to sourcing the best ingredients, he embarked on organic cacao production with his Toshi Yoroizuka Cacao Farm Ecuador in 2010. He also established a 1.5 acre farm and restaurant in Odawara. In 2016 he set up the flagship store Toshi Yoroizuka TOKYO in Kyobashi, Tokyo, and in December 2018, he remodelled the inaugural Ebisu premises as a chocolatier, Yoroizuka EC. Store remodelling continued in 2019 at Atelier Yoroizuka and Toshi Yoroizuka Midtown. He is currently striving for ever better confections through his proactive approach to agriculture.

鎧塚 俊彦


Hidetoshi Nakata

Nakata was born in Yamanashi Prefecture in 1977. He retired from his career as a professional soccer player at the age of 29 in 2006. In April 2009, he embarked on a journey to visit all 47 prefectures of Japan. That journey triggered a keen sense for the potentialities of Japanese culture, which led to him engaging in many projects promoting Japanese culture, including, in 2015, the establishment of the Japan Craft Sake Company Co. Ltd. Nakata publishes a Web Magazine, NIHONMONO, through which he introduces people, objects and activities he encountered in his travels through various parts of the country, and also publishes books in various languages . Taking the role of navigator in the radio program VOICES FROM NIHONMONO, broadcast at 22:00 on Saturdays, he introduces distinguished product makers from around the nation; and his online NIHONMONO SHOP offers for sale a range of fine merchandise. In April 2020, he was appointed a visiting professor at Rikkyo University to conduct a course on traditional industries and marketing. Nakata is engaged in a wide range of activities that convey the appeal of traditional Japanese culture, foods and their practitioners.

鎧塚 俊彦

Tokugo Uchida

Born in Tokyo in 1952, Uchida is a graduate of Keio University, with a doctorate in Aesthetics. He specializes in Japanese art history. He is currently Executive Director of MOA Museum of Art and Hakone Museum of Art. Prior to this appointment he served in a range of academic positions including visiting professor at Kyushu University, part-time instructor at Ochanomizu University Graduate School, Keio University, Tokyo University of the Arts, Musashino Art University and Okinawa Prefectural University of Arts. He has also been a member of the Council for Cultural Affairs of the Ministry of Education, Culture, Sports, Science and Technology, and committee member for World Cultural Heritage and Intangible Cultural Heritage. Among his publications are Urushimono Chaki no Kenkyu (Study of Lacquerware Tea Ceremony Utensils) and Suzuribako no Bi ‒ Maki-e no Seika (Beauty of Inkstone Cases: the Essence of Maki-e), both published by Tankosha Publishing, and Korin Maki-e no Kenkyu (Study of Maki-e by Korin) published by Chuokoron Bijutsu Shuppan. He edited Korin ART ‒ Korin to Gendai Bijutsu (Korin ART ‒ Korin and Modern Art) published by Kadokawa Gakugei Shuppan Publishing.

Special Artist

※The work image is a part of the reference work.

今泉今右衛門今泉今右衛門 作品

Imaemon Imaizumi

1962 Born in Arita, Saga Prefecture
1985 Graduated from Department of Industrial, Interior and Craft Design, Musashino Art University (majoring in Metalwork) A warded G overnorʼs A ward a t S aga Prefectural Art Exhibition
1998 Awarded Chairman of Japan Art Crafts Association Prize at the Japan Traditional Art Crafts Exhibition; awarded Bank of Saga Cultural Foundation Best New Artist Award; received the Incentive Award at the Saga Shimbun Cultural Awards
2004 Awarded the Governor of Tokyo Prize at the Japan Traditional Art Crafts Exhibition
2008 Received the Excellence Award in the Crafts Category of the MOA Mokichi Okada Award
2012 Received the Japan Ceramic Society Award and the Saga Shimbun Cultural Award
2014 Designated as holder of Important Intangible Cultural Property (Iroe-jiki porcelain)
大角 幸枝大角 幸枝 作品大角 幸枝 作品

Yukie Ōsumi

1945 Born in Shizuoka Prefecture
1969 Graduated from the Faculty of Fine Arts, Tokyo University of the Arts  After graduation, studied further under Ikkoku Kashima, Shiro Sekiya and Moriyuki Katsura
1987 Awarded the Grand Prize at the Japan Art Crafts Association 34th Japan Traditional Crafts Exhibition
1991 Received the Award for Excellence in the Crafts category of the 4th MOA Mokichi Okada Award
2010 Awarded the Medal with Purple Ribbon; Received the MOA Museum of Art Award in the Crafts category of the 17th MOA Mokichi Okada Award
2015 Designated as Holder of Important Intangible Cultural Property Tankin
2017 Awarded the Order of the Rising Sun, Gold Rays with Rosette
奥山 峰石奥山 峰石 作品

Houseki Okuyama

1937 Born in Shinjo, Yamagata Prefecture
1957 Entered forging apprenticeship under Soho Kasahara
1984 Awarded Commissioner for Cultural Affairs Prize at the Japan Art Crafts Association Metalwork Exhibition. He received the same prize two more times.
1989 Awarded Prince Takamatsu Memorial Prize at the Japan Traditional Art Crafts Exhibition. Awarded Mitsukoshi Prize at Japan Art Crafts Association New Works Exhibition
1995 Designated as holder of Important Intangible Cultural Property (Wrought Gold)
室瀬 和美室瀬 和美 作品

Kazumi Murose

1950 Born in Tokyo
1973 Received Ataka Award
1976 Completed graduate school of Tokyo University of the Arts. His graduate portfolio was purchased by the University.
1985 Received Japan Art Crafts Association Incentive Award at the 32nd Japan Traditional Art Crafts Exhibition
2000 Received Governor of Tokyo Award at the 47th Japan Traditional Art Crafts Exhibition
2002 Received Japan Art Crafts Association Incentive Award at the 49th Japan Traditional Art Crafts Exhibition
2007 Received the Japanese Cultural Art Development Award
2008 Designated as holder of Important Intangible Cultural Property Maki-e (Living National Treasure)


※The work image is a part of the reference work.

  • 梅本 孝征

    Takayuki Umemoto

    The result of eight years of research, the ryukasai technique I use in my works involves firing low-temperature glaze at high temperature, which causes the glazes to melt and flow across the surface to produce a natural composition of superimposed colors which highlight the effect that can only be achieved in ceramics. As a great admirer of Tang-dynasty San Cai, Tricolor Glazed Pottery, I am fond of using yellow and green glazes, and will be greatly pleased if this color effect takes your thoughts back to ancient times.

  • 氣賀澤 雅人

    Masato Kigasawa

    Edo Kiriko and Satsuma Kiriko ‒ two styles of cut glass fashioned by early craftsmen in Japan and retained and refined up to the present day. Building on the technology perfected by previous generations, I endeavor to create utensils for entertaining guests, making the best use of the captivating characteristics, the sparkle and shine, unique to glassware.

  • 鯉江 廣

    Hiroshi Koie

    My inspiration comes from a variety of images including that of the universe, which I express through a variety of patterns created by applying glaze using an original method called "akebono-sai"(dawn glazing) which uses smoked firing, one of the reduction methods of firing. The clay is the unique Tokoname red-colored clay called"shudei" The shapes of my works derive from the shapes of things in nature which convey to me a sense of vigor, which I then incorporate to achieve an overall balance.

  • 小枝 真人

    Makoto Saeda

    I spend my days making ceramics among the plentiful beauty of nature in Izu, where I enjoy encountering fascinating creatures. I do my best to share the joy of life and excitement of those encounters through my work. The world of sometsuke ceramics is a simple world of blue and white colors only, but I hope that I can share with you those happiness I have experienced.

  • 佐伯 守美

    Moriyoshi Saeki

    Considering that tableware is something on which a variety of foods that differ according to the season is served, I make it my rule to consider size, ease of stacking, and ease of use so that the presence of those items on the table will contribute to making the meal a cheerful one. My general approach is take as my imagined landscape for my work the sensations I experience from contact with nature.

  • 佐藤 典克

    Norikatsu Sato

    The shapes people form have their roots in what they have experienced and seen. The modelling concept that “Dots form a line, lines form a surface, and surfaces form solids, in the same manner as threads are spun” connects with my own root concept, setting in motion the creation of new things.

  • 鈴木 徹

    Tetsu Suzuki

    I am using Oribe glaze, but call it “green-glaze” because I wanted to produce pottery of a green color that had not until now existed and went beyond categorization as Oribe. As I work, I feel it does have the power and presence for the works I wish to make.

  • 田口 義明

    Yoshiaki Taguchi

    Sake cups, together with the sake itself, are essential to brighten up occasions where food and conversation are to be enjoyed. This is a "bajo-hai", horseback riderʼs cup. The body is made of keyaki wood (zelkova) and is turned on a porterʼs wheel. After the undercoat is applied, any surface irregularity is polished out in the process, and then after a final vermilion coating is applied, the bajo-hai with curved edge is complete. I made this work in the hope that it will be its ownerʼs favourite.

  • 保立 剛

    Tsuyoshi Hotate

    Where there is light, there is shadow and where there is shadow, there is light. There is no shadow without light, and, by the same token, there is no light without shadow. Although the world is now engulfed in darkness, hoping that a bright future is ahead of us I have expressed here the contrast between “light and shadow” through structural contrasts. After turning the overall shape, colored clay is applied over the surface. Lines are then carved into the surface and further clay is inlaid, a technique called "saotp zogam". Further contrast effects emerge from the differences in surface texture, color contrasts and the two different curves in the shape.

  • 前田 正博

    Masahiro Maeda

    Fifty years has passed since I entered the world of pottery making, yet I continue making utensils with my own view of decorative art. It is my sincere hope that people can feel in my works the three words cheerful, happy, beautiful.

  • 松井 康陽

    Koyo Matsui

    My works are made using the "neriage" (clay kneading) technique. First, I prepare clay colored in many different hues, which are then sliced into thin pieces, and stacked up or bent to obtain different patterns. These pieces of clay are then joined together until the desired form is attained. My goal is to produce works that make the best use of the unique character of the neriage technique.

  • 望月 集

    Shu Mochizuki

    Once I saw some plum blossoms. Each was blooming so cheerfully that I no longer saw the trunk or the branches of the tree, only the lovely smiling faces of flowers blooming in profusion. I have tried to capture that joyous mood here, in the hope it will fill your cup...

  • 森岡 希世子

    Kiyoko Morioka

    The Breath of Light series utilizes highly transparent porcelain clay. I work with these pieces hoping that, just as the light passes back and forth between the inside and outside of the utensil, the hearts of people sharing the same time and space will communicate with each other. It is my hope that the light dwelling in the pieces of the Breath of Light series brings a ray of hope to you.

  • 若尾 誠

    Makoto Wakao

    Description of my work refers to an opaque light blue color. My choice of characters for writing seiji is made on the basis that there are two kinds of clay used for pottery making, jiki-do (porcelain clay) and fo-do (earthenware clay). Since I use earthenware clay, the relevant character is 瓷, as opposed to the 磁 character for porcelain clay. That technical point aside, the appeal of seiji is in the glaze. The soft luster, the moistness and the depth of color all come from the thickness of the glaze layer. Just as the color is different in the shallow and deep parts of a body of water, the color tone of seiji emerges from the thickness of the glaze. In addition, the crazing that appears in the glaze occurs after firing and is caused by differences in contraction rates of the clay and the glaze. Together with the bubbles present in the glaze, there is a complex brilliance, depth and richness that enhances the fascination of seiji.



Applications for the event this year are closed.