Catalog: Artists (1022)

One of the most beautiful pieces I have ever seen by this pioneering Shino artist, a spectacular Mizusahi by Okabe Mineo enclosed in the original signed wooden box titled E-shino Mizusashi. It is 17 cm (6-3/4 inches) diameter, 16 cm (6-1/2 inches) tall and in excellent condition.
Okabe Mineo (1919-1990) was born the first son of important artist Kato Tokuro, however the relationship with his father was volatile. When he was 9 Tokuro moved the young family to Seto, where Mineo would graduate the Aichi Prefectural Ceramics School in 1937. After a year at the family kiln, he moved to Tokyo, then joined the army in 1940. He fought against the Americans and would spend several years as a prisoner of war in the Philippines, repatriated to Japan in 1947. He returned to Aichi prefecture, leaving enough distance between himself and his estranged family, and with his wife began producing pottery in Toyoda. In 1953 he met Koyama Fujio; that same year he was awarded the Hokuto prize at the Nitten, and his work was collected by the Ministry of Foreign Affairs. This was the true beginning of his career. In 1955 he received the JCS award, one of the highest honors for a Japanese potter. By the mid ‘60s. he moved to celadon ware. He changed his name from Kato to Okabe in 1978, to honor his wife who supported his efforts for so many years.

An iconic work in pale white by Living National Treasure Tsukamoto Kaiji enclosed in the original signed wooden box titled Hakuji Wakaba-mon Dai-zara (Footed white porcelain dish decorated with young leaves. The execution is breathtaking, so perfectly formed it demonstrates clearly the talent for which he was named a Living National Treasure. It is 23.5 cm (9-1/2 inches) square, 5.5 cm (2 inches) tall and is in excellent condition.
Tsukamoto Kaiji (1912-1990) was fascinated with Song period hakuji and seihakuji porcelains and spent his life reviving that tradition. He received a Gold Medal at the 21st Century Exposition in California in 1964. In 1965 he was awarded at the 12th Nihon Dento Kogeiten National Traditional Crafts Exhibition, and was awarded again in 1967, the same year his work was exhibited at the worlds Expo in Montreal. He exhibited with the Nihon Togei Ten national Ceramics Exhibition from its inception in 1971. The following year he was once again awarded at the 19th Nihon Dento Kogeiten National Traditional Crafts Exhibition. He received the prestigious Japan Ceramic Society (JCS) award in 1979, and Japan-China Culture Award in 1980. In 1983 he was designated an Intangible Cultural Property (Living National Treasure) for seiji and seihakuji porcelain. Held in The National Museum of Modern Art in Tokyo, The National Museum of Modern Art in Kyoto, The Museum of Oriental Ceramics in Osaka, Aichi Prefectural Ceramic Museum and Menard Art Museum among others. For more see “Japanese Studio Crafts” (1995) by R. Faulknner.

A beautiful faceted white glazed Sencha set for steeped tea by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Haku-yu Bancha-ki (White glazed Set for Bancha Tea). The cups are roughly 7.5 cm (3 inches) diameter, the same height and all are in excellent condition.
Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business, he apprenticed in plastic arts under future Living National Treasure Ishiguro Munemaro. His work retains some principal elements of his teachers style while incorporating an understated elegance and avant-garde spirit of challenge uncommon for his time. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art, Clark Center and the Freer Gallery among many others.

A splendid antique cut glass cup selected and decorated by contemporary female lacquer artist Arai Etsuko enclosed in the original signed wooden box titled Glass Maki-e Hai, Yoake (Glass Sake Cup named Breaking Dawn). She said that when she first saw the glass in a street market, she instantly envisioned how the engraved patterns could be accentuated by colors and powdered precious metals. Here an interesting comparison of techniques is possible. The bowl is decorated outside, first with layers of color, then powdered gold applied over top. The rim is covered in dark blue lacquer sprinkled with gold, with red and blue diamonds alternating with clear glass connected to the stem by strands of gold. The base on the other hand, has been decorated in the opposite order, with powdered gold first, then a red sunrise in the center overtop of which is applied the colored lacquer. Allowing the pattern to be visible through the glass, but not from the decorated underside. It is 10.5 cm (4 inches) tall and in excellent condition, directly from the artist this year.
Arai Etsuko (born in Kanagawa in 1980) apprenticed under Hiroshi Okada after Graduating the Kyoto School of Traditional Arts in 2003. For seven years she learned the arts of maki-e and kanshitsu, nunobari and inlay, working both on new pieces, as well as in the restoration of antique items, giving her a deep understanding of the various processes of lacquer over the centuries. In 2010 she moved out on her own. Her work is characterized by the exquisite mixture of traditional lacquer ware manufacturing methods and the delicate and gentle style unique to a woman. Her work has been exhibited at various venues throughout Japan, including the Asahi Craft exhibition and Kyoten. She was designated a Traditional Craftsperson (Dento Kogeishi) of Kyoto in 2014, Nationally in 2015. In a recent conversation she said she was drawn to the world of Lacquer by its glitter and sheen. Unlike drawing or pottery, the creation of lacquer art has no immediate sense of gratification, the imagery is brought out through layers over weeks or months, often invisible until the final stages. A most demanding medium, patience and diligence are paramount, but the result is unlike any other artform, and with proper care, can be passed through the generations, an heirloom to span the centuries.

Perhaps because of its proximity (or lack thereof) to central Japan, the beautiful lacquer wares of Akita may be lesser known than other regions. Here is an exquisite sake cup and katakuchi serer of turned wood covered in multiple layers of soft, black lacquer by Sato Fumiyuki of the Kawatsura lacquer tradition. A belt of gilded binding wrapping the body is the only decoration. This lack of distraction, in fact, accentuates the form and allows us to focus on the pure elegance of the lacquer itself. This sake set, initially matte in affect, will attain a soft sheen with use over the years.
Kawatsura has an 800 year history of consistent lacquer production, although burial mounds and excavations of Jomon artifacts have yielded lacquer ware thousands of years old in the area. Kawatsura lacquerware is characterized by its durable practicality due to its smoke-drying, thick wood, and robust foundation. Sato Fumiyuki is a third generation lacquer artist very proud of his trade and the intense processes which give birth to the beautiful objects he creates. He has been designated a Dento Kogeishi Traditional Craftsman by the Japan Kogei Association.

A Beautiful bowl in crackled white set into a lattice like structure of raw porcelain pierced with a plethora of various sized holes by Kato Yoshiyasu enclosed in the original signed wooden box titled Haku-yu no wan (White Glazed Bowl). A singular drip of fissured glass forms a bead from the bulging line between the thick glaze and raw clay where the two parts of the bowl have been joined. It is 12.5 cm (5 inches) diameter, 10 cm (4 inches) tall and in excellent condition, from the artist this year.
Kato Yoshiyasu was born in Aichi prefecture in 1985, and graduated the Kurashiki Kogei Crafts School design department in 2008. He then went on to study at the Tajimi Ceramics Research Facility, finishing there in 2014. He moved to Nshio city in 2018, where he set up a studio and works today while raising a cute little baby with his wife.

A white porcelain bowl with silver lining by the young female artist Itaya Narumi enclosed in the original signed wooden box titled Chawan (flower). Stylized floral motifs are raised off the raw white porcelain surface, richly textured, while the inside is sheer as gilded silk. About the delicate foot ring is glazed and sculpted with petals. The bowl is 12 cm (4-3/4 inches) diameter and in excellent condition, from the artist this year.
Itaya Narumi was born in Gifu in 1991. She graduated the Kanazawa University of Art in 2013 then graduated the Tajimi city Ceramics Research Facility in 2015. She has participated in several exhibitions since, with an emphasis on natural forms and tactile senses.

The inside of the cup is lined with smooth dark glaze which gleams gold along the rim, while the glistening white outside has been carved away, every divot and ridge a tactile pleasure. It comes enclosed in a wooden box titled Kanka (Quiet, as in: the silent elegance of a flower in bloom). This is a phrase coined by the Edo period Confucian scholar Dazai Shundai in his treatise on The Purple Grass Garden (Shishienko). It is 9 cm (3-1/2 inches) diameter and in excellent condition, from the artist this year. Itaya Narumi was born in Gifu in 1991, and graduated the Toki City Ceramics Research Facility in 2015. She has participated in several exhibitions since, with an emphasis on natural forms and tactile senses.

A fabulous Seihakuji Koro by Fukami Sueharu enclosed in the original signed wooden box titled: Fly (Tobu). Two wings burst from the shoulders; the lid pierced with matching holes to allow the smoke to escape. It has the artists signature incised into the base. The work is 17.5 cm (7 inches) tall and in perfect condition.
Fukami Sueharu is synonymous with seihakuji celadon. He has been displayed numerous times at the prestigious Nitten, Nihon Togei Ten (National Japanese Ceramic Exhibition) and Nihon Gendai Kogei Ten (National Japanese Modern Crafts Exhibition) among others. He is held in the Yale University Museum among others. For more information on this artist a quick web-search, or a look at the article highlighting his life in the March 2005 edition of Orientations Magazine will be enlightening. The list of museums holding his work is, in fact, much to long for this page, but includes the National Museums of Modern Art, Tokyo /Kyoto / and Osaka, the Metropolitan Museum of Art, NY, Brooklyn Museum, Museum of Fine Arts, Boston, Philadelphia St. Louis, Portland, Chicago, Minneapolis, Smithsonian, British Museum, Victoria & Albert Museum, Musée national de céramique, Sèvres, Musée des arts décoratifs, Paris, Hetjens Museum, Düsseldorf and the National Gallery of Australia among many others

A Yuteki Tenmoku chawan in sumtous colors, dark blues within, midnight drizzling to sunrise pinks and sunset oranges on the side by Kimura Moriyasu enclosed in the original signed wooden box. It is 4-1/2 inches (11.5 cm) diameter and in excellent condition.
Kimura Moriyasu (b. 1935) studied pottery initially at the Kyoto Ceramics Research Facility (which turned out such masters as Hamada Shoji and Kawai Kanjiro) and then under his brother Kimura Morikazu. He is well known for his use of crawling and oil spot glazes. He exhibits with the Gendai Nihon Togeiten and Nihon Dento Kogeiten among others. He has been awarded the Kyoto Prefectural Order of Cultural Merit (2004). Work by him is held in the Britush Museum, Boston Museum, Dallas Museum and Ise Shrine among others.

A unique waterfall-like architectural lacquered sculpture by Okada Yuji presented at the 33rd National Modern Crafts Exhibition (Nihon Gendai Kogeiten) in 1994. It is created in a contemporary version of the centuries old technique known as Datsu-Kanshitsu. Datsu Kanshitsu is a type of dry lacquer technique wherein cloth or some other pliable material is laid over a wooden structure to create a form. Ofter many layers, creating a solid form, the framework is removed leaving the piece hollow. After creating the wave-like form, the structure is covered in a stone textured mixture of foundation material, Sekkai and bonding agent over which has been applied layers of highly polished black lacquer inlaid with Mother of Pearl and Hirame gold disks polished down in the Togidashi fashion. An incredible work of art. It is 87 x 35 cm x 14 cm thick (34 x 14 x 5-1/2 inches) and is in excellent condition. It comes with a signed wooden placard directly from the artist as well as a copy of the original catalog page from the exhbition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A sculpture of unglazed white porcelain and wood by Yagi Akira enclosed in the original signed wooden box titled Jiki CLOD 92-13 (Porcelain Mass CLOD 92-13) exhibited at Gallery Koyanagi in Tokyo’s fashionable Ginza district in 1992. The original exhibition invitation card, featuring this piece, is included. The stand is 18 inches (46 cm) long an all is in excellent condition.
This name is a must have in any collection of modern Japanese Pottery. Akira was born in Kyoto in 1955, son of avant garde Yagi Kazuo (1918-1979) one of the founding members of Sodeisha. Akira was voted one of the 20 most important living artists by Honoho, Japans premier printed ceramic forum. Works by the artist are held in the British Museum, Victoria Albert Museum, Cleveland Art Museum, Sackler Gallery of the Smithsonian and Tokyo Muesum of Modern Art among many others. He was also the recipient of the Japan Ceramic Society (JCS) award in 1998, one in a long and prestigious list of awards.

An intriguing architectural sculpture by lacquer artist Okada Yuji exhibited at the 25th Gendai Kogeiten National Contemporary Crafts Exhibition in 1984. The wooden structure is edged with strips of pewter, the sculpted wings covered in red and black lacquer surrounding a field straight off the deep ocean floor or some alien landscape. The center is made of shitaji, a combination of powders and lacquer, carved and covered in Suzu-fun metalic dust. It is 60 cm square and in perfect condition and comes with the original exhibition catalog.
Due to size the cost of shipping will be accrued separately.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A large modernist Sculpture covered in lacquer, polished metal and mother of pearl by Okada Yuji exhibited at the 1990 Gendai Kogeiten. Suzu-ita, Mother of Pearl and colored lacquers on Wood and Acrylic panel it is 80 x 42 x 18 cm (31-1/2 x 16-1/2 x 7 inches) and is in excellent condition. It comes with a wooden placard titled and signed by the artist.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

Crimson petals seem to swirl about a vortex of yellow fading to white on the overall black glass surface of this plate by Nakashima Yasushi enclosed in the original signed wooden box and exhibited at the 19th Nihon Dento Kogeiten exhibition (catalog included). It is 14 x 16 inches (35.5 x 41.5 cm) and is in excellent condition. It is titled Anba Unmo Nami-Uchi Sara, Roran no Hana. (I believe he is using the first two characters as “ateji” meaning Amber Mica Waved Dish, Orchid Flowers).
Nakashima Yasushi (1938-2017) was born in Hyogo prefecture and graduated the Kyoto Municipal University of Art in 1962. While still at university he was accepted into the Mainichi Kogyo Design exhibition. He began his career as a designer for Hino Automotive, in charge of their top model the Contessa. However dissatisfied with the opportunities there he moved to Nisshin Denki where he headed up the lighting design department. He left Nisshin in 1974, and began his own career as an independent artist, focused on the plastic arts of glass and ceramic while maintaining his contacts in the design world. With his past in lighting, he was innovative in creating works which combined glass, pottery, metal and electric lights. This did not deter him from consulting in other areas of design, and he was awarded at the National Catalog and Poster Exhibition in 1978. Although he would remain unaffiliated, a difficult place to be in group conscious Japan, he would be accepted into many of the National exhibitions including the National Traditional Crafts Exhibition and awarded at a number of important events, including the National Craft Exhibition, National Modern Ceramic Sculpture Exhibition (and the Shigaraki Ceramics Exhibition in 1999. One monumental work stands in the park in Toki City, Gifu prefecture. He is held in the collections of the Minneapolis Institute of Arts and Ringling Museum among others.

A large Oshimon Kaki Vase by Ota Itaru enclosed in the original signed wooden box exhibited at the 9th Nihon Togei Ten National Exhibition. The entire surface is impressed with inverse pyramids, and patterned with dark and light triangles. An incredibly exacting design perfectly executed. The vase measures 16 inches (40 cm) tall, 11 inches (28 cm) diameter and is in fine condition. It comes with the original placard from the exhibition, as well as a copy of the exhibition catalog, and a clipping from the Mainichi Shinbun Newspaper in which the piece is visible in a photograph.
Born into the tumultuous post war era in 1948, Ota Itaru was subjected to the breakdown and rebuilding of Japanese society and culture throughout his early life. He graduated the Tokyo Institute of Technology in 1972, and opened his own kiln in 1975. He has since displayed at the Nihon Togeiten (National Ceramics Exhibition), Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Dento Kogei Shinsaku Ten (Traditional Crafts New Exhibition) and has been awarded Governors prize at the Saitama Prefectural Exhibition. Due to size the cost of shipping will be assessed separately from the list price.

A massive Bizen Sculpture befitting any Museum collection by Kawabata Fumio exhibited at the 11th Nihon Togeiten National Pottery Exhibition in 1991 (Catalog included) enclosed in the original signed wooden box. It is 23 x 13-1/2 x 19 inches (58 x 34 x 48 cm) and is in fine condition weighing 18 kilograms (40 pounds) not including the box. The exhibition label remains attached to the base. It was purchased from the artist.
Due to size the cost of shipping will be accrued separately.
Kawabata Fumio was born in Yokohama city in 1948, far from the traditional kilns of Bizen hundreds of kilometers to the west in Okayama. After studying graphic design he was captivated by the natural landscapes presented by Bizen wares, and in 1974 moved to study pottery at the Ibu-no Kamamoto. His talent was spotted quickly and he was taken in by Kaneshige Riuemon where he was schooled in the gamut of traditional forms and styles. By 1984 he was considered a master potter, and moved to establish his own kiln. Concentrating largely on the personal world of private exhibitions, in 1989 he was given top prize at the Tanabe Museum Cha no Yu Zokei Ten (Sculptural Forms in Tea exhibition), and again was awarded there in 1994 as well as receiving the Okayama Prefectural Governors prize and has been prized at the National Ceramics Biennnale.

An archetypal Iga vase by Iga Die-Hard Atarashi Kanji enclosed in the original signed wooden box titled Iga Mimitsuki Hanaire. The overall organic lines are quintessential Iga and do not disappoint. The glazing is perfect, showing off both the beauty of bidoro and the rich terracotta clay. It is 24 cm (9-1/2 inches) tall 11 cm (4-1/4 inches) diameter and in perfect condition.
Atarashi Kanji was born in Osaka in 1944, and graduated the Osaka College of Craft design. After 3 years in Kobe, and 4 in Kishiwada (Wakayama) he came to settle in Iga, where he was one of the driving forces behind the resurrection and preservation of the Iga tradition. Although displayed at the National Craft Fair, he prefers the intimacy of the private exhibition, of which he holds several every year. And if ones visit to japan is not timed right for an exhibition, he can otherwise be found at his kiln working along with his son Manabu.