edo period

Kaguraoka Bunzan 神楽岡文山

late edo periodoraku potteryKaguraoka Bunzan was a potter from Okazaki Village, Yamashiro Province, who lived around Bunka-Bunsei (1804-1830). Although details are not known, Bunzan is a pseudonym. He specialized in Raku ware and produced many tea bowls and vases. He was a potter known for his skillful imitations of Raku Ichiryu and Raku Sonyu, in particular. Bunzan’s ceramics are known for his exquisite techniques and beautiful designs and still have many admirers today. Another Kaguraoka potter named Kaguraoka Tokunyu was active around the Man’en period (1860-1861), and some sources claim that this person was another name for Bunzan. (more…)

Kurasaki Gonbee 倉崎権兵衛

?-1694malerakuzan potteryFounder of Izumo (Shimane Prefecture) Rakuzan ware. Also known simply as Gonbee. There were two brothers, Kurasaki Gorozaemon and Kanbei, among the Hagi potters, and it is assumed that Gonbee was the son of one of them. According to the “Kurasaki Family Work Record,” when Izumo domain lord Matsudaira Tsunachika opened an official kiln at Rakuzan in the eastern suburbs of Matsue in 1677, he made an appeal to the Hagi domain to invite a potter, and Gonbee was hired with 10 pieces of silver and four men’s allowance. Gombee worked at the Rakuzan kiln for 18 years, and (more…)

Saka Koraizaemon 坂高麗左衛門

1568-1643Hagi potteryAfter Toyotomi Hideyoshi’s dispatch to Korea, Mori Terumoto, who at the time ruled the entirety of China, brought back from Korea a potter who went by the name Sakata. He later changed his name to Saka, and after Terumoto moved to Hagi, the second feudal lord of Hagi, Mori Tsunahiro, bestowed upon him the title of Saka Koraizaemon, a line which continues to the present day. The 1st generation Saka koraizaemon (1568 – 1643) teabowl 86,000 JPYThe 2nd generation Saka sukehachi (1615 – 1668) teabowl 133,000 JPYThe 3rd generation Saka Shinbee (1648 – 1729) teabowl 323,000 JPYThe 4th generation (more…)

Tanaka Somi 田中宗味

early edo periodmaleraku potteryHis name is Shozaemon.He was the son of Tanaka Sokei and the elder brother of Kichizaemon Jokei.In the Raku kiln genealogy up to around Genroku (1688-1704), he was the second generation after Chojiro, and Jokei was the third generation, but for some reason, in the subsequent genealogy, Shozaemon was omitted from the Raku generation and Tsunekei was the second generation.Therefore, after that, Somi is treated as a side kiln. (more…)

Kaneshige Riuemon 金重利右衛門

mid edo period –bizen pottery Riemon Kanashige, who died in 1767, was appointed as the first Bizen ware artisan of the Kanashige family by the feudal lord of Okayama in 1729. He was the first Bizen ware master craftsman of the Kanashige family, and produced many fine pieces for the shogunate and as gifts for the feudal lords.His eldest son, Kanashige Risaburo, who died in 1927, lamented the decline of Bizen Pottery during the Meiji period and sought new opportunities for Bizen Pottery. Anticipating the demand for clay pipes as construction materials for railroads, he invited craftsmen from Tokoname, Aichi (more…)

Takigawa Ichiraku 瀧川一楽

1815-1888male Ichiraku is a descendant of Takigawa Kazumasu, a general of the Azuchi-Momoyama period (1568-1600) who followed Oda Nobunaga and contributed to the unification of Japan. The Takigawa family was a family that held important positions in the Owari domain for generations.Ichiraku was a warrior of the Owari domain with a fief of 3063 koku (stipend 459450 kg of rice).He retired in 1869 and changed his name to Ichiraku. He became a tea master of the Omote-senke tea ceremony school. (more…)

Kato Kagetsugu 加藤景次

early edo periodmaleseto pottery A potter from Owari (Aichi Prefecture). He is said to have been active during the Keicho period (1596-1615). He is also known as Hachiemon. From excavations at the Yuemon kiln in the late Edo period, many bowls with the seal of “Kagetsugu” in small oval have been excavated. (more…)

Ogawa Tokusai 小川得斎

1785－1865maleshigaraki potteryA potter of the late Edo period. Produced Shigaraki ware in his hometown of Shigaraki, Omi (Shiga Prefecture) during the Bunka-Bunsei period (1804-30). In 1830, he moved to Ueno in Iga (Mie Prefecture) and made copies of old Iga pottery. (more…)

Kato Sakusuke 2th 二代 加藤作助

1844-1923maleseto potteryBorn in August of Tempo 15. Son of Kato Sakusuke I. Born in Owari (Aichi Prefecture). His first name was Keizaburo. He seems to have collected old pottery and devoted himself to researching its shape and techniques. At first he fired porcelain, but later he turned to his main occupation and skillfully copied old pottery such as Furu-seto (old seto ware), Kizeto, Oribe, Shino, Ofukai, and Mishima. He became a master craftsman of the Meiji era with a technique as good as that of his father Kagekiyo. His first pottery was called “Kotoen-Shun’itsu” and he called himself “Shun’itsu”, but (more…)

Tsuchiya Zenshiro 土屋善四郎

?-1786malefujina potteryMid-Edo period potter of Fushina ware in Izumo Province (Shimane Prefecture). His name was Yoshikata. The Tsuchiya family is said to have originated from Matsumoto in Shinshu (Nagano Prefecture), and his father was a potter named Dokiya Zen’emon who ran a pottery business in the town of Yokohama in Matsue. In 1756, under the orders of Matsudaira Muneyoshi, the 6th lord of the Matsue domain, he became a potter at Rakuzan (Mt. Rakuzan) in order to revive Rakuzan ware. In 1780, Matsudaira Fumai, the seventh lord of the domain, ordered Fushina ware potters to produce his favorite wares, but (more…)

Shibata Ikko 柴田一光

1837－1911　maletokoname potteryA potter of the late Edo and Meiji periods.Born in May of the 8th year of the Tempo era. He was a wheel thrower in Tokoname, Owari (Aichi Prefecture), and made vermilion clay teapots. Died in May 1911 at the age of 75. His real name was Shibata Wakichi. (more…)

Furuta Oribe 古田織部

1543-1615maleoribe pottery Among Sen no Rikyu’s followers, seven people are thought to have been particularly excellent. One of those seven was Furuta Oribe. Oribe was a military commander, and also the lord of a province. He is more famous as a tea master than as a potter, but Oribe-ware was founded under the guidance of Furuta Oribe and produced many tea utensils with eccentric and innovative shapes and patterns that Oribe liked. When Sen no Rikyu was sentenced to death by the Shogun Toyotomi Hideyoshi, it is said that before he died, as he was being escorted across the Yodogawa (more…)

Kato Tamikichi 加藤民吉

1772-1824maleseto porcelain　Late Edo period potter who introduced porcelain to Seto ware and is considered the founder of Seto porcelain. In Japan, as pottery is generally called Seto-mono, Seto ware was the center of pottery production.However, it was unable to produce porcelain, and was gradually overtaken by the porcelain of Imari porcelain and in Kyushu, and was on the way to decline.　In 1804, Tamikichi went to Imari in Hizen Province, Kyushu, to learn the porcelain manufacturing method and the method of dyeing, and returned to Seto in 1807. He introduced a new method of dyeing porcelain to the Seto ware industry. (more…)

Aoki Eigoro 青木栄五郎

1845-1906malekutani porcelainKutani potter, also known as Eitei and Toko, the same pen name as his grandfather and father. After learning the style of his father, Aoya Gen’emon, he was invited by Maeda Nariyasu, the lord of Kaga-Kanazawa, and moved from Komatsu to Kanazawa to work as a potter. (more…)

Matsuya Kikusaburo 松屋菊三郎

1820-1889malekutani porcelainKikusaburo Matsuya was born in 1820 as the second son of a doctor in the village of Kazuhari Komatsu. When Kikusaburo was thirteen years old at the beginning of the Tempo period, the Wakasugi and Ono kilns were operating as porcelain production factories, and it was natural for everyone to have dreams and aspirations of becoming a potter. Kikusaburo also wanted to become a potter and began training under Aoiya Gen’emon, who had returned to Komatsu from the Yoshidaya kiln at that time. Choosing Gen’ emon as his teacher was the most important factor in Kikusaburo becoming a master (more…)

Aoya Gen’emon 粟生屋源右衛門

1797-1863malekutani porcelainSon of Aoya Genbei, a potter in Komatsu, Kaga Province (Komatsu City, Ishikawa Prefecture). Using Toko, the same pen name as his father. At the Wakasugi Kiln, Aoya Gen’emon worked hard to acquire pottery-making skills under Honda Teikichi, and became a master potter at a young age, but he continued to study the style of Kutani ware, later called “Blue Kutani,” under the instruction of Teikichi. Even after Sadakichi’s death, he continued to strive for the revival of Old Kutani, refining the ceramic techniques of Raku ware that he inherited from his father, the techniques of mixing colored glazes (more…)

Honda Teikichi 本多貞吉

1766-1819malekutani porcelainBorn in Meiwa 3. Born in Shimabara, Hizen, the advanced area of porcelain production. In 4th year of the Bunka period, he established a kiln with Aoki Mokubei at Kasugayama in Kanazawa, Kaga, and started the revival of Kutani ware.Mokubei began to produce mainly daily utensils copied in red overglaze enamels, but was forced to return to Kyoto halfway through the project due to disagreements with the clan. On the other hand, Teikichi, who remained in Kaga, discovered high-quality Hanasaka pottery stones in the Nomi area and opened the Wakasugi Kiln under the guidance of Hayashi Yahei of Wakasugi (more…)

Kaburaki store 鏑木商舗

1822-kutani porcelainKaburaki store was established in Kanazawa, during the reign of the 11th Tokugawa Shogun as the first Kutani ware merchant family, and has maintained its good name for about 200 years.At the time of its establishment, there was a growing momentum to revive Kutani ware after the abandonment of the old Kutani kilns for over 110 years.In response to the wishes of the Kaga clan, the shop not only sold products purchased from various kilns, but also gathered master artisans to paint at its own workshop, thereby playing a role in the spread of Kutani ware within the clan.During (more…)

Shirai Hanshichi 7th 七代 白井半七

1857-1933imado potteryHe inherited his family’s business, Imado-pottery, but temporarily stopped firing after the Great Kanto Earthquake in 1923.Later, he moved the kiln to Itami, Hyogo Prefecture, and continued the business.The works of Hanshichi before the seventh generation are called “Sumidagawa Hanshichi” or Edo-Imado-pottery.Currently, Shirai Yasujiro V, a branch of the Shirai family, preserves and passes down Imado-yaki pottery in Imado-Taito-ku, Tokyo. (more…)

Kodera Tobei 小寺藤兵衛

1830-1886maleOne of the Meiji Kutani masters, he first studied Japanese painting under Matsunamiya Chozaemon, a painter from the Kaga domain.In 1869, he joined a factory of Abe Oumi (1842-1910) and taught painting at the Ishikawa Prefectural Industrial Promotion Office, and in 1935, he began studying designs under Noritomi Keijiro and compiled a catalogue of reproductions of old pottery. (more…)

Kobori Enshu 小堀遠州

1578-1645malePractitioner of the art of tea ceremony and feudal lord of the Omi-Komuro domain during the early Edo period. He was born in Omi province. From a young age he received special education from his father Shinsuke Masatsugi, took over the main school of tea ceremony continued by Sen no Rikyu and Furuta Oribe, and ascended to the position of tea ceremony instructor for the originators of the Tokugawa dynasty. In year 13 of the Keichou era (1608), he took the role of overseer for the construction of Sunpu Castle, and in doing so, he was bequeathed the official court (more…)

Hon’ami Koetsu 本阿弥光悦

1558-1637malekyo potteryBorn in Kyoto, Honami Koetsu was a multi-disciplinary artist of many faces: a craftsman, calligrapher, painter, publisher, gardener, and maker of Noh masks. Known as the da Vinci of Japan, he had an excellent sense of design and left numerous masterpieces in all artistic genres. In the world of calligraphy, Honami is considered to be one of the three great calligraphers of the Kanei era alongside Nobutada Konoe and Shokado Shojo. He is the founder of the Koetsu style. The Honami family was a high-ranking family of leading businessmen. The family had been well-known as sword connoisseurs since the (more…)

Nagae Shizan 長江司山

Late Edo period-Meiji periodsmalekobe-satsuma potteryShizan, whose real name was Nagae Tosaburo.He was born in 1867 in Kanazawa City, Ishikawa Prefecture, to a father, Nagae Juntaro, and a mother, Yori.Although the exact date is not known, he left for Kobe around the middle of the Meiji period (1868-1912), where he worked as a Satsuma-yaki painter.In 1902, he applied for a change of domicile to Kobe.So at least by this time, his business in Kobe must have been on the right track.He produced the best kobe-satsuma in the Nunobiki area of Kobe city. His work was even exhibited at European Expos etc., (more…)

Naruse Seishi 成瀬誠志

1845-1923maletokyo-satsuma potteryBorn as the second son to father Shusuke, a carpenter, after training in pottery with Shinohara Riheiji at the age of 13, he opened an independent kiln in 1866 at the age of 21. However, in 1871, he closed the kiln, moved to Tokyo, and settled into a park residence around Shiba, Tokyo, where he worked with several potters to produce works by painting Uwa-e on unglazed pottery sent from Satsuma, which they then did all the processing for, making them the representative potters of ‘Tokyo Satsuma’. In 1866, he returned to Nasubigawa in search of a more serious (more…)

Nakamura Shuto 中村秋塘

1864-1928kutani porcelainBeing the first generation, he took over the family business of ceramic painting in 1877, and studied overglaze enamels independently. He was regarded as a master of Kutani-ware in the Taisho era and made great efforts in the development of Kutani-ware by his appointment as head of the Enuma Kutani Ceramics Trade Association etc.In addition, his eldest son (Shigeru) succeeded as the second generation Shuto, and second son (Midori) succeeded as the third generation, and later, became independent as Nakamura Midori. The head of the Nakamura family is now the 5th generation Mr. Nakamura Shuto, who is currently active (more…)

Nagahara Eisuke 永原永助

1830-1891malefujina potteryBorn as the third generation of the Nagahara family, potters of Fujina- ware, who had been producing ceramics at the preference of Matsue feudal lord, Matsudaira Fumai, from around 1816 in Izumo province (Shimane prefecture). He continued the family business and produced gifts to be given to the former domain administrative headquarters etc., during the difficult management period when the Shogunate was coming to an end for the new era of Meiji.Many of his works were made by pouring brown glazes, that is, yellow and amber glazes over them. He focused mainly on making tea bowls such as tea (more…)

Togo Jyukatsu 東郷寿勝

1855-1936malenaeshirogawa potterysatsuma potteryA descendant of a Korean potter who was brought to Japan following Toyotomi Hideyoshi’s war endeavors. He inherited Kagoshima Naeshirogawa ware.He actively sold Satsuma ware to Kobe and Yokohama in the Meiji era. In 1887, he purchased his samurai stock and changed his surname from “Park” to “Togo.” He exhibited his works at the 3rd National Industrial Exhibition in 1897, and at the St. Louis Expo in 1937. He was also very close to the 12th generation Chin Jukan, and he was also one of the people who greatly supported Chin Jukan ware after his death. (more…)

Tomioka Haruko 富岡春子

1847-1940femaleShe was born as the third daughter of Sasaki Yoshimitsu, a feudal lord of Ozu.She was taken in as the third wife of Tomioka Tessai—who later became known as a leading figure in modern Japanese painting—when she was 26 years old in 1872. She is also known for protecting her family during hardship. The bowls she made are often distinguished by inscriptions of her own songs on them. (more…)

Tokoyama Gyokuho 床山玉侊

Late Edo period – Meiji periodmelekoto porcelainHe lived in Hara-mura, Sakata-gun as one of the painters of Koto ware.He was one of the founders of Kabunakama with other painters such as Kenyu, Sekisui, and Jinensai in 1856 with permission from the Hikone Domain. He painted and sold his works from home, using the domain kiln as base. (more…)

Totei 桃亭

Late Edo periodawata potteryraku potteryThe pottery was fired by a potter called Totei of Kyoto Daigo, but the actual firing period is said to be around the Keio era (1865-68), towards the end of the Edo period.One theory suggests that his style is very similar to that of Awata ware, but there are also Raku ware that were found, and he also used “Raku” on double frame stamps. His actual relationship with Raku ware is however largely unknown. (more…)

Toshikian Kisabu 年木庵喜三

1845-1886maleFukaumi Heizaemon was a potter who worked at a kiln for generations in Arita, Saga clan. The Fukaumi family, meanwhile, was based on the prestigious kiln since the Korean potter Fukaumi Soden and his wife, Hyakubasen, who were naturalized in the early Edo period. In March 1868, at the end of the Tokugawa shogunate, he pleaded with the feudal lord to open up trade with Eizaemon Fukagawa.There was only one trade tag at that time, but this was increased to 10, effectively beginning the foreign trade of Arita ware. In 1975, his eldest son, Suminosuke Fukaumi, and Takeji Fukami, Eizaemon (more…)

Kinkodo 欽古堂

1765-1837maleHis real name is Toki Kamesuke. Originally he was a clay figurine maker who sold his works on the Fushimi Kaido-road, but later he studied under Okuda Eisen and turned to pottery.He excelled in celadon, dyeing, and copying cochin ware. It is said that he was also invited to the celadon kiln in Settsu Sanda to teach celadon techniques.He is also known as the potter who invented the arabesque openwork incense burner. (more…)

Tsukatani Chikken 塚谷竹軒

1826-1893malekutani porcelainFrom the latter half of the Edo period to the Meiji era, he was a Kutani ware potter. Kutani ware was booming under the invitation of Eiraku Wazen. However, the Daishoji clan, which had been the protector of Kutani ware, disappeared with the abolition of feudal Japan, making it difficult for the pottery industry to maintain its operations. Tsukatani Asa (Chikken), a former samurai of the Daishoji clan, protected the main Kutani kiln after Wazen’s departure.He focused on painting in blue as opposed to red, which was the distinctive style of Miyamotoya kiln at that time. (more…)

Tsujii Harima 辻井播磨

Mid-Edo periodFrom Yamashiro Province (Kyoto Prefecture). According to ES, and Morse’s “Nihon-tokji-mokuroku (Japanese Pottery Catalog)” the stamp was originally only “Harima,” and “Tsujii Harima” was a potter who inherited his skills afterwards. Meanwhile, according to the “Ko-to-isetsu (Consideration of Pottery)”, “Harima” is a pseudonym of “Tsujii Harima,” who is said to be a potter who lived around the 18th century as a clay stove master. (more…)

Wakabayashi Kisaku 若林喜作

Late Edo periodmalekoto porcelainWakabayashi Kisaku worked on Koto ware, and from the Meiji era was active as a renowned potter who worked at Kanzan Denshichi (Kato Kanzan)’s kiln. He took on the trade name “Juzan” and opened his own kiln after Denshichi’s kiln was closed down. (more…)

Watano Kichiji 綿野吉二

1860-1934malekutani porcelainWatano Kichiji was from Terai in Kaga Province (present-day Ishikawa Prefecture). His family had worked producing Kutani ware for generations, but began making works for export starting with his father, Genemon. Watano established a direct export route to Paris and, in 1876, opened a branch location in Kobe. In 1880, he moved the branch location to Yokohama and established overseas exports of ceramics bearing aka-e (‘red paintings’) and gold-leafed Kutani ware. He also added a kiln dedicated to applying printed figures to the main kiln in Terai, Kanazawa. This kiln was named “Tenraido,” and had 40 ceramic artwork painters (more…)

Gottfried Wagener

1831-1891maleGottfried Wagener was from Hanover, Germany. After majoring in science and graduating from a German university, he traveled to Nagasaki in 1868. There, in 1870, he was invited by Lord Nabeshima of Saga to work at the Arita Porcelain Production Factory, where he contributed by teaching scientific methods to create glazes and also by experimenting with coal-fueled kilns. He later moved to Tokyo, where he held successive positions at several different schools teaching physics and chemistry. On the side, he was also involved with administrative duties for exhibitions at the first 1873 Vienna World’s Fair. Beginning with Tokyo, he traveled (more…)

Wake Kitei 和気亀亭

1826-1902maleWake Kitei was born the first son of Kameyatai Yoshiro, part of a family who had worked as potters for generations. He studied pottery from a young age and, in 1862, at the age of 36, he inherited headship of the family. He took on the surname Wake in 1868 and was officially named Wake Heikichi, but he is generally referred to by his trade name, Wake Kitei.In 1873, he assumed a position serving at the Kyoto Prefectural Auditorium for exhibitions, and, in addition to presenting works at domestic exhibitions, he also received bronze medals at the 1876 World’s Fair (more…)

Watanabe Yujitsuan 渡部又日庵

1792-1871maleraku potteryWatanabe Yujitsuan was from Okutono in Owari Province (present-day Okutonocho in Okazaki, Aichi Prefecture).He was born the second son of Osumi Province mayor Noritomo, who was part of the Matsudaira family. He became the adoptive heir to his uncle, Watanabe Hanzo-tsunamitsu, and took on the surname Watanabe. Afterward, he governed the Terabe region in Mikawa Province (the eastern part of present-day Aichi Prefecture) as the 10th-generation castle lord.He had an affinity for tea ceremony and, after ending his time living in seclusion, he set up a hut in Ozone, Nagoya, where he adopted the artist name “Yujitsuan” and began (more…)

Raku Doraku 楽道楽

Early Edo periodmaleminato potteryRaku Doraku’s real name was Tanaka Chuemon. He was the younger brother of Donyu III in the Raku family. He lived a dissipated life when he was young, and went to Izumi Province (present-day Osaka) to open up a kiln in 1656. He is believed to have created the fundamentals of Minato ware.He did not have any children, so he called upon the illegitimate child of Ichinyu IV, Yahei (Ichigen), from Kyoto to carry on the kiln. (more…)

Rakushite Kasuke 楽只亭嘉介

Late Edo periodmaleRakushite Kasuke was a potter in Kyoto whose date of birth and date of death are unknown. After apprenticing under Okuda Eisen, he studied under Hozan Bunzo and learned how to make Cochin ware. His skill in making such homages was without equal, and they were so great they could be mistaken for the the original pieces. He mainly made incense containers, tea pots, and green teaware, but very few of his works remain. He is believed to have had a pottery in the Saga area in Kyoto. (more…)

Yokoi Sosuke 横井惣助

Late Edo period – Meiji periodmaleYokoi Sosuke was based out of Sonoicho in Nagoya, and his work primarily involved adding artwork to pottery. He created artwork for Meiji-era export pieces during the Tenpo era from 1830 to 1844, for which he requested unglazed pottery from Seto’s Kato Shigeju. He received the coveted Homon (‘phoenix’) Award at the first and second National Industrial Exhibitions. (more…)

Yoshimura Kan’a 芳村観阿

1765-1848maleYoshimura Kan’a was a master of tea ceremony and man of refined taste in Edo during the latter-Edo period.He is thought to have been a wealthy merchant who collected many antique paintings and calligraphic works. He originally lived in Kyoto, but later moved to Edo (present-day Tokyo).He is known for having made a donation from his collection to Todai-ji temple which included the donations accountbook for the reconstruction of the temple and notes about leading people to Buddhism written by Shunjobo Chogen, a prominent Japanese Buddhist monk. He also assisted Matsudaira Fumai in his collections as an advisor about tea (more…)

Yotsugi Jakusho 世継寂窓

late Edo periodYotsugi Jakusho was a prospereous merchant in Kyoto who went by the name Gifuya Hachirobe.He began learning painting from Gessen, and later modeled his style after Chinese paintings from the Yuan and Ming dynasties.He was also known as a poet and a master of tea ceremony who composed renga poems and made his own teaware. (more…)

Yokohagi Ikko 2nd 二代 横萩一光

1850-1924maleYokohagi Ikko II was born the child of Ikko I. He studied ceramics making from a young age under his father and helped assist his father’s work. In 1868, he began making Utatsu ware with his father in Kanazawa, Ishikawa Prefecture. In 1871, he inherited the Uguisudani Hisada kiln and began making his own pottery (some argue that he began making pottery at the Uguisudani kiln around 1879). Later, he would give Uguisudani kiln to Nozaki Sakichi. After teaching ceramics making from 1882 to 1883 upon receiving an invitation to do so from the makers of Ango ware in Etchu (more…)

Yokohagi Ikko 1st 初代 横萩一光

1807-1882maleYokohagi Ikko was from Etchu Province (present-day Toyama Prefecture). From around 1830 to 1844, he received an invitation from the daimyo of the Toyama Domain, Maeda Toshiyasu, to work as a Karatsu ware maker. During this time, he received the artist name “Ikko”. Afterward, around 1862, he would receive a similar request from Maeda Nariyasu, the daimyo of the neighboring Kaga Domain, and he would begin making Karatsu ware as an official ceramics maker for the clan. In 1858, he also helped assist porcelain manufacturing of Hanyu ware and Chikutei ware.Yokohagi Ikko made porcelain in Kyoto for a time when (more…)

Yokoi Kinkoku 横井金谷

1761-1832malekinkoku potteryYokoi Kinkoku was born in Otsu in Omi Province (present-day Shiga prefecture). He studied painting in Kyoto under Otsu Buson. Afterward, he headed to Nagoya, where he became the chief priest at Daiho-in Temple, creating teaware and other ceramics on the side. He is the founder of Kinkoku ware. (more…)

Yamaguchi Kotaro 山口幸太郎

Bakumatsu or Meiji period – ?maleMainly fired unglazed Dehua porcelain under the artist name Sanko in a old kin. Provided painters with the works that he created, which were mainly toilets and nested boxes. (more…)

Yamamoto Minmatsu 山下民松

end of edo period or Meiji period – ?malekutani porcelainNo details are known other than that he had a factory in Bentencho, Yokohama in the Meiji era and painted Yokohama ware. Stocked unglazed pottery from Kawamoto Masukichi from Seto and others and mainly excelled at painting the customs of the Edo period and warriors. Supported the popularity of Yokohama ware through elegant painting that incorporated elements of gold painted Kutani ware and was popular overseas. (more…)

Yamamoto Shoun 山本祥雲

1867-?From Kanagawa Prefecture. Received an Honorable Mention at the 4th National Industrial Exhibition in 1895 and won an award at the Yokohama Ceramic Painting Society Spring Fair in 1899. Won the 2nd Place Award at the Tokyo Ceramic Society’s 9th Workshop Exhibition in 1903 and the 3rd Place Award at the 10th Workshop Exhibition in 1904.There is a high likelihood that he was the ceramic painter of Hyochien (Fukagawa, Tokyo), given that he lived near this studio, but this has not been confirmed. (more…)

Yasuda Kisaburo 安田喜三郎

Around the Late Edo Period-Meiji Eramalekyo-satsuma potteryPotter from Awataguchi, Kyoto. According to the Chronological Table of Awataguchi, the 1st generation exhibited at the Amsterdam Exposition in 1883 together with Taizan Yohei, Kinkozan Sobei, and others and won an award.The 2nd generation Kisaburo passed away in 1915, and the 3rd generation passed away in 1978 at the age of 80, ending the Yasuda lineage of pottery.Work style is based on Kyo-Satsuma ware, and left elaborate works that use a relatively large amount of gold glazing. (more…)

Yabu Meizan 藪明山

1853-1934maleosaka-satsuma potteryBorn as the 2nd son of Yabu Chosui, the painter from Osaka. Temporarily succeeded his grandfather Yabu Sukezaemon and lived in Fukura, Awaji, but studied Satsuma ceramic painting in Tokyo for half a year in 1880. After returning to Osaka, established a ceramic painting studio in Nakanoshima, Kita, Osaka. Started making Satsuma ware-style ceramics and selling them to the United States. These became very popular, and he started receiving orders directly from the United States. Moved to Dojima in 1889 and expanded the business further. Later succeeded in establishing overseas export routes through the Yamanaka Shokai Trading Company from (more…)

Mori Yusetsu 森有節

1808-1882malebanko potteryAfter being invited to restore Banko ware by Yamada Hikoemon, a relative of Nunami Rozan of Banko ware, started a kiln in Obuke, Asahi and started making ceramics that came to be known as Yusetsu Banko ware.Used wooden models to make ceramics, which was an innovative technique at the time, and also introduced new methods, such as pink and black glazes. Received the equivalent of the annual rice stipend of 5 people from Matsudaira, the feudal lord and Governor of Ecchu Province. Was exempted from the right to bear a surname and wear a sword in 1864 and served (more…)

Mori Suiho 森翠峰

1865-1932banko potteryServed as a politician (Diet member) for his main occupation, but engaged in restoring Ko-Banko ware in 1915 around the age of 50. Started Tokaen in Masuo near Kuwana. Gathered the artisan Fujii Toraku, the painter Hayashi Yoshio, the potter’s wheel artisan Uchida Shozan, and other artisans to manufacture quality products at low prices. Left tea bowl masterpieces made by their own. Received the signature of the master of the Matsuo school from Nagoya.The 2nd generation succeeded Shigeo after them passing, but the kiln closed in 1934. (more…)

Mori Koshu 森香洲

1855-1921malemushiake potteryPotter of Mushiake ware, which had been created from before as the commissioned pottery of the Igi family, the chief retainer of the Okayama Domain. Thrived from around the Bakumatsu to the Taisho era.Together with his father Mori Kakutaro, who received a kiln from Makuzu Chozo, who had come to provide ceramic instruction, received instruction from the 1st generation Makuzu Kozan, Chozo’s son who was also invited to provide ceramic instruction of the Mushiake ware style in 1868. Received a kanji from Kozan to start making ceramics under the artist name of Koshu. Although the kiln of the Igi (more…)

Meiho 鳴鳳

Late Edo Period – ?koto porcelainOne of the representative painters of the Koto ware Hikone Domain kiln. Originally was a samurai serving a temple in Kyoto, but moved to Hikone with his wife and children around 1850 and is said to have started painting Koto ware after receiving special treatment from the feudal lord Ii Naosuke. Excelled most in elaborate red paintings with gold glaze. Frequently used patterns of the Chinese phoenix, dolls dressed in ancient Chinese clothing, and sages. Is said to have moved to Ise several years later. (more…)

Miyata Kameju 宮田亀寿

Late Edo period-Meiji periodmalezuishi potteryBorn in the late Edo period in Kyoto. Son of Miyata kumakichiro (an apprentice of Wake Kitei), a potter at Gojozaka who contributed considerably to the founding of Kyoto’s blue-white ceramics industry. He learned the techniques involved with blue-white ceramics from his father and remained active working with this form under the name Furoken from the end of the Edo period into the Meiji period. In the first year of Meiji (1868), he was invited by Wakayama Zuishi-yaki to produce blue-white porcelain, where he contributed to the development of other potters. Many of the designs on (more…)

Mizuno Koho 水埜香甫

Late Edo period-Meiji periodA potter from the workshop of Kanzan Denshichi renowned for Koho’s outstanding drawing and painting, particularly of flowers, birds and people. Denshichi was awarded silver medals at both the Japanese First National Industrial Exhibition in 1877 and Paris Exposition Universelle in 1879, both of which for works said to have been painted by Koho. After going independent, Koho frequently painted porcelain that had been fired in other workshops. (more…)

Miwa Kyusetsu 8th 八代 三輪休雪

1839-1921malehagi potteryReal name Dorosuke, worked under the name Setsuzan. He was the son of Gentaemon Toshioki, 7th generation head of the Hagi-ware producing Miwa family. Succeeded his father as 8th generation Kyusetsu in 1865. Transferred the family to the 9th generation Setsudo in 1896 when he retired. Aside from his work as a potter, he was a loyal member of the Kiheitai militia under the Choshu samurai Takasugi Shinsaku during the Bakumatsu period, fighting in support of the Emperor against the Tokugawa shogunate. (more…)

Miyagawa Chohei (Makuzu Chozo 2nd) 宮川長平 (ニ代 真葛長造)

?-1860malemushiake potterymakuzu potteryBorn the eldest son of Miyagawa Chozo, founder of Makuzu-ware, his younger brother became the first Makuzu Kozan. Records show him working in the Mushiake kiln with his father until his father died and he inherited the family name as 2nd generation Chozo, but he died just three months after that, meaning that he left very few posthumous works behind. His work area, seal, and boxes were all the same as the work of his father. His eldest son, Hannosuke, followed the 2nd generation Miyagawa Kozan. (more…)

Miwa Kyusetsu 9th 九代 三輪休雪

1868-1953malehagi potteryThe Potter’s title is Miwa Setusdo. Born in Hagi, Yamaguchi prefecture, as the 9th generation of the Miwa family who have been engaged in Hagi-ware production for the former Hagi clan for many generations. He is also known for being the father of the 10th generation Kyusetsu (Kyuwa) and 11th generation (Jusetsu), who both became living national treasures. Produced traditional Hagi-ware faithfully including tastefully constructed tea-ware, which was known under the name Kyusetsu well into the early Showa period until he retired in 1945, after which it was produced under the new name Setsudo. (more…)

Mizukoshi Yosobei 2nd 二代 水越与三兵衛

Late Edo period-1845malekoto porcelainAs with his predecessor, the exact birth date for the 2nd generation Yosobei are unknown, but he was the son of the 1st generation Yosobei and inherited the family business. While his work was not held in such esteem as that of his father, he inherited a general artistic touch, with a reputation for images of pine trees as well as colored porcelain featuring flower petals blurred with blue-white or green glaze. Due to his skills with blue-white porcelain, he was invited to the Hikone Koto-ware kiln and Himeji-han domain kiln and was engageed in ceramics production (more…)

Mizukoshi Yosobei 1st 初代 水越与三兵衛

Late Edo periodmaleA potter in Kyoto during the Bunka period (1804-1818), he was born the son of Sugiura Nizo, a wealthy merchant from Sanjo, Kyoto, but took on the surname Mizukoshi from his mother’s side. Developed a passion for ceramics at a young age and, after training with ceramics in Okazaki, opened a kiln in Gojo. In the beginning, he worked on producing copies of various kilns such as Nanban, Karatsu, Hagi and Kizeto, but from 1802 onward, he worked in opposition to Imari-ware alongside Nin’ami Dohachi and Wake Kitei to produce Kiyomizu-ware, leaving behind exquisite works in blue-white and (more…)

Miyagawa Kosai 2nd 二代 宮川香斎

1846-1922malemakuzu potteryAdopted by the 1st Miyagawa Kosai when he was a child. Studied ceramics under his adopted father and Miyagawa Chozo. While working at the Makuzu kiln (from the 1st Kozai), he was appointed to Nishi Honganji Temple where he was in charge of the production of “Ichimonji Goki Teacups” at the time of the Buddhist monk Shinran’s 650th anniversary in 1911. Retired in 1913. (more…)

Miura Kenya 三浦乾也

1821-1889malekyo potteryAlso known as Ogata Kenzan the 6th. After the death of his father, Seishichi, he was taken in by his uncle, Ida Kichiroku, and focused on Raku ware.At first, he made a living making clay dolls, but later he was discovered by Nishimura Myakuan (5th generation Kenzan, 1784-1853) and started making maki-e lacquerware in the Ogawa Haritsu (Lacquer artist, 1663-1747) style around 1845. He also excelled at pottery, and after receiving a copy of Kenzan’s biography from Nishimura, he began to make pottery in the style of Ogata Kenzan and took the name Kenzan VI. In addition to pottery, (more…)

Miyanaga Tozan 宮永東山

1867-1941maleBorn in Kyoto prefecture. Studied Chinese celadon and blue-white ceramics. His main artistic focus was on tea-ware such as vases, cups, incense burners and kensui (waste-water containers for the tea ceremony). He also excelled at producing sculptured lion figurines. (more…)

Miura Jozan 三浦常山

1836-1903malemumyoi potteryThe first Miura Jozan was born in Sado, Niigata prefecture, in 1836. He opened a kiln in his hometown in 1876 to investigate whether improvements could be made to Mumyoi-ware, which had been produced as an industry in the area. Traditional manufacturing methods had always resulted in primary colors being lost during kiln firing, but Miura Jozan succeeded in preserving a bright vermillion color unique to Mumyoi ware (known as Jozan-ware) for which he was awarded the Minister of Agriculture and Commerce’s Distinguished Service Award. The Miura family’s traditions were passed down through the 2nd generation Jozan to the (more…)

Miura Chikusen 1st 初代 三浦竹泉

1854-1915malekyo potteryBorn in Kyoto where he studied under Takahashi Dohachi the 3rd. Opened an independent kiln in Gojozaka in 1883. Successfully researched and developed a transparent glaze that allowed the use of Western colors on porcelain. Continued to pursue successful innovations with experiments into new artistics frontiers such as incorporating pearls and coral into blue-white porcelain and engravings into yellow glaze. Primarily produced tea-ware such as vases, tea cups, and sake sets, but is probably most renowned for his sencha tea sets. (more…)

Miyagawa Chozo (Makuzu Chozo 1st) 宮川長造 (初代 真葛長造)

1797-1860malemakuzu potterymushiake potteryBorn into the Miyagawa family, who had worked as glaze merchants for generations. After studying under Aoki Mokubei, he began making his own ceramics, producing excellent examples of ninsei-utsushi (replica of Ninsei) and Raku-ware as well as notable work in porcelain such as iron red overglaze, Cochin-ware, and blue-white porcelain. Because so many of his finest works were produced during his time working in Makatsugahara in Higashiyama, Kyoto, he received the name “Makuzu” from Kanshoji Temple’s Yasui Monzeki (Monzeki means temple headed by members of the royal family or nobility) and his work became known as “Makuzu-ware.” as (more…)

Matsumura Kyusuke 松村九助

1845-1912maleMatsumura Kyusuke was interested in pottery since he was young, and purchased a large amount of Western cobalt when Nagasaki started importing Western paints, selling the pigment in the Seto area for painting on Gosu ware from 1876. Kyusuke also started selling pottery, encouraging pottery craftsmen in Seto and Tajimi to use Western cobalt, and opened a shop in Yokohama to start exporting pottery abroad. He also founded “Kaiyo Company” in Nagoya, opening shops abroad, but dissolved the company in 1885 due to disagreements in business approaches. He then opened the independent Matsumura Shoten, and joined Tashiro Shoten in Yokohama (more…)

Matsumoto Yoshinobu 松本芳延

1838-1890maleA Tokyo Nishiki kiln painter, Matsumoto Yoshinobu was a shogunate vassal but hated samurai, and learned ukiyo-e as the apprentice of Utagawa Hiroshige and Kuniyoshi. In 1858, Yoshinobu was hired by Raku ware artist Mizushima Chubei and transitioned to become a painter. He became independent in 1867, and was in charge of painting for Miyagawa Kozan the First, Kiritsu Kosho Kaisha Company and Stream Company. He especially enjoyed painting tanuki, and opened a tanuki soup shop in Asakusa, Tokyo. (more…)

Marunaka Magohei 円中孫平

1830-1910malekutani porcelainA merchant from the end of the Edo period to Meiji. Marunaka Magohei’s former name was Ishisaki, but he was adopted by Nakanoya Magobei, a merchant in Kanazawa, then began working as a trader in Osaka and Yokohama. He visited the Philadelphia Centennial Exhibition in 1876, and began successfully exporting Kutani ware and silk. Magohei especially pushed Kutani ware as “Japan Kutani,” and the delicate golden pigment aka-e paintings became extremely popular abroad. In 1881, Magohei opened a store in France. (more…)

Matsubayashi Shosai 松林昇斎

1865-1932maleasahi pottery12th generation Asahi ware pottery artist. Born the first son of Heijiro, the 11th generation Asahi ware potter, Shosai inherited the family business in 1894 and inherited the 12th generation title.The business struggled from the end of the Edo period throughout the Meiji period, but Shosai worked hard with his father to rebuild Asahi ware, creating a wide range of pieces centered around gohon-style tea bowls and green tea ware, building the foundation for modern Asahi ware. (more…)

Matsumoto Sahei 松本佐瓶

1851-1918malekutani porcelainMatsumoto Sahei was a Kutani ware potter who was the first son of Matsuya Kikusaburo of Rendaiji kiln. He inherited the family business in 1868.He mainly worked in aka-e, which was extremely rare at the time, and ao-te, as well as detailed colored paintings once western paints began circulating, making Sahei one of the leading figures of “Japan Kutani.” In 1876, he received the artist name Shoundo from the nanga painter Tokuda Kansho, and started using this title the following year. By 1887, he had established factories in six towns and villages but by 1891, all of them had (more…)

Matsumoto Shigenobu 松本重信

1864-1950maletokoname pottery Matsumoto Shigenobu was a Tokoname potter and the third son of the 33nd generation Matsumoto Shigetoshi. The Matsumoto family gained its fortune in the cargo boat industry. Shigetoshi, the father, was the first in the family line to begin the pottery making business in Maruyama, Tokoname, and Shigenobu the son inherited the pottery business from his father. He was talented in pottery sculpture from a young age, and in the early days of Tokoname pottery, he created many pieces which were exported to the United States. He created not only pots and vessels but sculptural ornaments of figures (more…)

Masuda Donno 益田鈍翁

1848-1938maleMasuda Donno was the first son of Masuda Takanosuke, a director of the Sado magistrate’s office. In 1863, Donno traveled to Edo as the member of bakufu’s mission to Europe, and in 1872, he became the Fourth Class Ministry of Finance under Inoue Kaoru.In 1874, Donno established Senshu Company with Inoue Kaoru and was appointed the president.After Senshu Company was dissolved, he established the trading company Mitsui in 1876 and was appointed to become the manager (later the CEO), and began publication of Chugai Bukka Shimpo (currently known as The Nihon Keizai Newspaper, or Nikkei), making him one of the (more…)

Masaki Sozaburo 正木惣三郎

1800-1850maleseto potteryThe feudal retainer of Owari Domain, Masaki Sozaburo made pottery as a hobby between work duties and created vessels at Seto Kiln and Ofuke Kiln.Pieces that are signed and sealed as “Hoshizaki” are distinguished because they use clay using the soil from Hoshizaki, Aichi (Currently Hoshizaki, Nagoya).Sozaburo’s son, Hanjiro, also created pottery as the second generation potter and was skilled at making delicate incense containers and sculptural ornaments, creating works of a different style from his father’s.Hanjiro’s son Nanko also became a pottery artist but was not as skilled as his father or grandfather, and generally the term Masaki (more…)

Mashimizu Zoroku 1st 初代 真清水蔵六

1822-1877maleShimizu Tasaburo the First learned pottery techniques from his uncle, Wake Kitei, then opened his own kiln in Gojozaka. The Mashimizu Zoroku artist name began when he changed his name to Zoroku, took the letter “Ma” from Myoho-in Temple, and named himself “Mashimizu Zoroku.”Using techniques such as overglaze decoration, kinrade, and celadon ware, Zoroku the First mainly created matcha and green tea wares. For his potter’s mark, he used a mark that was gifted to him from Gengensai Soshitsu. (more…)

Mashimizu Zoroku 2nd 二代 真清水蔵六

1861-1936maleBorn the first son of Mashimizu Zoroku the First, Zoroku the son inherited the family business and toured various cities around Japan, then to China and Korea to study celadon, Korean Yi Dynasty and Goryeo ware. After returning home, he opened his kiln in 1917 in Yamashina, Kyoto, and established the Mashimizu style.In the beginning of his career, Zoroku used his father’s hyakuju mark as a potter’s mark, but started using his own Zoroku mark around the age of 25. (more…)

Honda Gen’emon 2nd 二代 本多源右衛門

1845-1906malekutani porcelainHonda Gen’emon was a Kutani pottery painter that worked from the end of the Edo period to the Meiji period. Honda Gen’emon the First, his father, had reportedly studied under Kutani Shoza, and his son inherited his father’s painting style. Most noted for his vivid red and gold aka-e kinrade paintings, Gen’emon exhibited a Watano-made large plate at the Philadelphia Centennial Exposition in 1876. Gen’emon is a popular artist not only in Japan but overseas as well. (more…)

Hon’ami Koho 本阿弥光甫

1601-1682maleraku potteryshigaraki potteryBorn in Kyoto. Studied under Hon’ami Koetsu and Raku Ichinyu.Born as the son of Hon’ami Kosa (and grandson of Hon’ami Koetsu), Koho inherited the family business of appraising katana and swords along with the artistic talents of the Koetsu style, becoming a master of ceramics, painting, calligraphy, and tea.Koho especially advanced in his pottery skills by studying under Raku Ichinyu, ordering potter’s clay from Shigaraki and creating tea bowls called Kuchu Shigaraki. Koho also gifted a book titled “Pottery Techniques” that was passed down to him from his grandfather to Kenzan Shinsei. (more…)

Fukuchi Yuya 福地幽哉

1868-1926maleraku potteryFrom Ako, Hyogo. Joined the Fukuchi family as an adopted child and started creating Raku ware in Yokkaichi, Mie in 1917.Contributed when transferring the tea room (Hanshoan) in Nagoya of the Takakura Hisada family from Kyoto to the tea room (Jirakuan) in Tokyo of Kume Nobushige, President of Tokyo Gas. Also started a gas kiln in Tokyo at the time.Known as the first person to create ceramics in a gas kiln in Japan. (more…)

Hisatomi Yohei 久富与平

1832-1871malearita porcelainBorn as the 6th son of Hisatomi Yohei Masaoki, the representative wealthy merchant of Arita. Later inherited the Hisatomi family fortune as the adopted child of Masayasu, the 1st son of Masaoki, given that he had no children.Received the store name of Zoshuntei from Nabeshima Naomasa, the 10th generation feudal lord of the Saga Domain, as he earned the trust of Naomasa and Nabeshima Naosuke, the 10th generation feudal lord of the Ogi Domain, in particular. Continuously researched new techniques, such as by researching glazes, and endeavored to establish works for export through trial and error. Also, when the (more…)

Hisada Koho 久田耕甫

1751-1820maleFrom Kyoto. Became the adopted child of the 7th generation Sosan of the Hisada family of Ryogaecho from the Tsukuda family, the wealthy merchants through cotton trading, and became the 8th generation.Also a master of tea ceremonies and ceramics. Left excellent works, such as Tokoname ware. (more…)

Hirasawa Tosai 平沢陶斎

?-1841maleofuke potteryReal name was Tadazaemon. Child of Hirasawa Kuro. Mainly created Ofuke ware teacups. plate 60,000 JPY (more…)

Hiraga Gennai 平賀源内

1726-1779malegennai potteryAfter visiting Nagasaki, Kyoto, Osaka, and other places, studied herbalism under Tamura Genyu in Edo.Thrived as an herbalist, Gesaku writer, and Joruri writer. Introduced the Elekiter (static electricity generator), oil paintings, and other forms of Western culture. Demonstrated his brilliance by presenting fireproof cloth, Gennai ware, Gesaku, and Joruri puppets. (more…)

Hattori Gyozan 服部暁山

Mid-Edo Period-Meiji Eraawata potteryIn 1711, Ichimonjiya Chubei (Hattori Gyozan) started a kiln in Awata, Rakuto in 1711. Received the Gyozan name in 1805 after being permitted to enter Shoren-in Awata Palace as a commissioned potter. The names of Ichimonjiya for the shop, Chubei for the popular name, and Gyozan for the artist name were inherited thereafter, as ceramics were produced until the 6th generation Gyozan. However, the kiln was closed in 1877. The artist name of Gyozan was given to Omiya Chobei, the ceramic merchant in Kiyomizu-Gojo and friend. In addition, around 1884 an individual named Namura Kyujiro made ceramics (more…)

Hattori Koren 服部香蓮

1850-?femaleFemale artist. Started business in Tokyo in 1877 and produced tea sets, brush cleaners, and incense burners by hand.Also excelled at sculptures of lotus flowers and females. Made a name for herself overseas also, but is said to have passed away due to illness.There is also an anecdote that she was the kept mistress of (the 1st generation) Miyagawa Kozan and went under the name of “Tama” after cutting off her hair and pretending to be a nun. (more…)

Hara Gozan 原呉山

1827-1897maleExcelled at waka poetry, haiku poetry, tea ceremonies, painting, writing, and a wide range of other talents. Built a deep friendship with Eiraku Wazen when he came to restore Kutani ware. Further, was deeply influenced by Aoki Mokubei.Started a kiln at the foot of Mount Utatsu in Kanazawa around the Bunkyu era (1861-1864) to begin creating Raku ware. Then started a kiln near Dentoin in Uguisudani in 1880 (separate from Uguisudani ware) and gathered potters to create copies of Raku ware, Nanban ware, Cochin ware, Bizen ware, Iga ware, Gohon ware, and other kilns.Also started a nishiki kiln in Yamashiro (more…)

Haruna Shigeharu 春名繁春

1848-1907malekutani porcelainFirst studied Japanese painting under Sasaki Senryu, the painter serving Kaga Province, and then ceramic painting under Toda Kyokuzan to master the crafts.Then studied under the Kano school Japanese painters Abe Hekikai and Marunaka Magohei to further improve his painting technique. During the Meiji era, his painted Kutani ware works were selected for the Vienna World’s Fair, the Philadelphia Centennial Exposition, and other exhibitions.In Yokohama, he worked to paint Satsuma ware to be exported. He was appointed as an instructor at Tokyo Industrial School in 1889.Furthermore, he assisted Wagener in making Asahi ware as his painter. He thrived as (more…)

Noga Kazan 納賀花山

1887-1959kutani porcelainFrom Isurugi, Oyabe, Toyama. Started Kazando in Katamachi, Kanazawa, Ishikawa in 1905 and hired potters to carry out production and sales in-house. Later expanded sales overseas and exported Kutani ware. Also received Uguisudani kiln from Tomita Tadao in 1936 and expanded the scale of production. (more…)

Nunami Rozan 沼波弄山

1718-1777banko potterymaleBorn as the child of Nunami Kichiyoshi, the trader from Kuwana. Liked tea gatherings since his childhood. Built a kiln in his home and started making ceramics at an early age. Also received permission and started a kiln in Komukai around the age of 20, starting to make ceramics seriously.Carried on the family business after his father’s passing but started a kiln in the Koume villa with approval from the government after moving to Edo.Rozan’s works are mainly called Ko-Banko ware or Rozan Banko ware. He was well-known as the founder of Banko ware, and his techniques were recognized (more…)

Nishimura Saichi 西村佐一

Late Edo Period-Meiji Eramelekutani porcelainBecame a painter of Kutani ware based on an invitation from the Kutani ware porcelain shop Nishikino Shoten in Terai, Ishii around 1877-1887. Created works under the artist name of Hakujuken.Had excellent technique among painters and is said to have endeavored to nurture numerous painters. (more…)

Nishimura Soshiro 西村宗四郎

Late Momoyama Period-Early Edo Periodmalekyo potteryYounger brother of the 3rd generation Zengoro Sozen of the Nishimura family (Eiraku Zengoro). Worked to create doburo (braziers) as his older brother did.His technique was given the honor of “Tenkaichi (Best on Earth),” and his vessels were affixed with the stamp of “Tenkaichi Soshiro (Best on Earth Soshiro).”Also served in Edo during the Tokugawa period with the support of the 2nd generation shogun Hidetada. (more…)

Takahashi Dohachi 2nd 二代 高橋道八

1783-1855malekyo potteryHe was commonly known as Nin’ami Dohachi. He was born as the second child of Takahashi Dohachi the first. Since his old brother died young, he took over the patrimony when he was 29 and opened a kiln in Gojozaka. He studied pottery under Okuda Eisen, Hozan Bunzou and so on. He was known as one of the experts of Kyo-yaki. He received the pseudonym of Nin from Ninnaji and Ami from Daigoji therefore, he called himself Ninami. He spread the technique of Kyo-yaki over the whole country. (more…)

Seifu Yohei 1st 初代 清風与平

1813-1861malekyo potterymushiake potteryAlhough born the son of a Kanazawa feudal retainer, Seifu Yohei aspired to be a potter. In 1815, he began his training under Takahashi Dohachi II (Nin’ami Dohachi) of Kyoto, and started out by constructing a kiln in Fushimi Momoyama for the production of Raku ware.Later, around 1828, Seifu Yohei moved his kiln to Gojo-zaka where he produced mainly gold-painted porcelain, illustrated porcelain, celadon, white porcelain, and blue-and-white ceramics. His greatest surviving works consist mostly of green tea wares.Then, in 1847, he became a ceramics instructor, following an invitation to the private kiln (producing Mushiake ware) of Igi (more…)

Chuho Sou 宙宝宗宇

1760-1838malemurasakino potteryFrom Kyoto. He was the 418th chief priest of Daitokuji Temple, and the 13th chief priest of Daitokuji Temple Hoshunin. It is said that in the history of Daitokuji Temple priests, he was particularly adept at calligraphy and he left behind many writings. However, he also had a deep knowledge of tea ceremony, and in addition to creating his own pottery, he marked the name “Murasakino” on the Murasakino ware in front of the Daitokuji Temple gate, which was created by potter Kakutei. (more…)

Chin Jukan 12th 十二代 沈壽官

1835-1906malesatsuma potteryHe exhibited a pair of large vases at the Austrian Expo in 1873, making an impact overseas and receiving great praise.Since then, he began overseas trading mainly with the United States and Russia, making a name for Satsuma ware, alongside Kutani ware, until it became synonymous with Japanese pottery.However, while the Clan Pottery Abolition Law of 1875 created extreme difficulties, he made an effort to keep Satsuma ware alive by using his own assets and taking over the factory. He made great efforts for the survival of Satsuma ware, and is known not only as a member of the (more…)

Takeuchi Ginshu 竹内吟秋

1831-1913malekutani porcelainBorn the eldest son to the Azai family in Daishoji, Enuma-gun, Kaga Prefecture, he later became the adopted son of the Takeuchi family.He studied pottery painting and Tsukatani Makoto under Idaya Hachiroemon. Around 1878, he learned how to make clay material from Tsukatani Chikken and Okura Juraku.The following year, in 1879, he funded the establishment of a private school Ishin-sha. The year after that, he joined the Kutani Pottery Company, which had just been established at the time, as general manager. He studied gosai five-colored porcelains, beginning with akae, and he produced many excellent works. In 1881, he went (more…)

Tanzan Seikai 丹山青海

1813-1887malekyo potteryBecoming the son-in-law of Kumano, Kyoto potter Shinriki Rikizo, he learned to paint from Nakamura Chikuto and others. In 1848, he established a kiln in Nakanomachi, Awataguchi. Becoming a potter, he changed his name to Tanzan Seikai, and in 1854 he worked as a potter for Shorenin Nomiya when they opened a ceramic products hall.He exhibited at the 1st Kyoto Exhibition in 1872, won the silver medal at the 1st National Industrial Exhibition in 1877, and won the silver medal at the Paris World Expo the following year. (more…)