edo period

Takita Chinkei 瀧田椿渓

1853-1932maletokoname poteryAfter learning ceramic techniques at an early age from Tokoname potter Inaba Kodo II and studying in Enshu, he started a collaborative kiln in Nishibata Village, Hekikaigun where he developed Seitan ware.He had superior techniques for both the potter’s wheel and hand work, and he created tea wares, sake sets, vases, hibachis, etc. In particular, he left behind a number of excellent Nanban technique tea sets. In his later years, he made his name in firing matcha bowls with salt glaze. He is famous as a master Tokoname craftsman from the Meiji Era through the Showa Era. (more…)

Takegawa Chikusai 竹川竹斎

1809-1882malebanko potteryBorn in Matsusaka as the son of Masanobu VI, a wealthy merchant who worked for the Shogunate exchange business, he left Edo for Osaka from the age of 12 to study currency conversion for the family business for 6 years.In addition to the family business, he was also interested in Japanese studies, agricultural engineering, astronomical geography, and tea cultivation and irrigation system renovations. He made efforts to advance local cultures, also receiving teachings on tea ceremony and tea wares from the tea ceremony school Urasenke’s Gengensai, founding Izawacho Banko ware. (more…)

Tashiro Seijiuemon 田代清治右衛門

?-1658malesoma potteryA potter named Toshiro Seijiuemon, he moved to Kyoto in 1648 under the order of Soma, the Nakamura feudal lord of Iwaki Province (Fukushima Prefecture). Following 7 years of training under Nonomura Ninsei of Omuro, he returned to his hometown and received a letter from his teacher. After this, he began calling himself Seijiuemon. In 1867, at the end of the Tokugawa Shogunate, Seijiuemon XI received the pen name Hokkyo from the feudal lord. The current head of the family is Tashiro Hideto XV. (more…)

Takifuji Manjiro 瀧藤萬次郎

1847-1922maleAround 1868, he invited around a dozen Ishikawa Prefecture Kutani ware painters to Nagoya to create Nagoya kinrande (gold-plated porcelains).He produced tableware and vases for overseas export. (more…)

Takatori Buhei 高取武平

1830-1907maletakatori potteryThe 9th generation of the Fukuoka Clan kiln and the Kamei family of the Takatori ware Sarayama Kiln, which was founded by the Korean potter Hachizan.In this era, he moved away from the clan’s kiln and began making pottery, mainly tea wares and other miscellaneous wares. (more…)

Takegoshi Zenpei 武腰善平

1843-1907malekutani porcelainKutani ware potter. From the age of 13, he trained at the Kutani ware kiln of the prestigious Iidaya Hachiroemon. Afterwards, following his sister’s marriage to Kutani Shoza, he studied under Shoza for 12 years. Following Shoza’s passing, he became a master of finely-painted colored gold leaf, creating wares and vases with motifs of people, flowers, and birds. Through instances such as his exhibiting a large plate with delicate, extra-fine line drawings at the 3rd Paris Exposition, he earned a reputation that surpassed that of his teacher. (more…)

Tanzan Rikuro 丹山陸郎

1852-1897maleBorn as the second son to Awataguchi, Kyoto potter Tanzan Ome, he began working in the family business from childhood and took over the family headship from his older brother when he was around 14 years old.When the new Meiji government announced that it would be officially participating in the Vienna World’s Fair, he took apprenticeship with Wagner in order to learn how to produce work for other countries, and he also participated in the World’s Fair as a trainee. At that time, he brought back plaster technique, liquid gold pigments, and glaze methods, using them to research products for (more…)

Raku Kichizaemon 12th Konyu 十二代 楽吉左衛門 弘入

1857-1932maleraku potteryBorn as the first son of Keinyu, Raku the 11th. Inherits the family estate at age 15, passes the estate to his eldest son Seinyu at age 63 and retires. He dies at age 76. Konyu is said to have had a mild temperament and exerted all his effort for the survival of the Raku family. He enjoyed poem, and led a secluded life at the summer house in Ishiyama in Shiga Prefecture, indulged in art as he created potteries. He has left many poems such as “as I play around with soil, my 76th autumn arrives”, “time has (more…)

Raku Kichizaemon 11th Keinyu 十一代 楽吉左衛門 慶入

1817-1902maleraku potteryBorn as the third son of Naohachi Ogawa, a sake brewer from Tamba Province, in what is present-day Kokubu, Chitose-cho in Kameoka City, Kyoto Prefecture. He first went by the name Sokichi, and he was later renamed Yoshitsura. At the age of 11, he was adopted by Tannyu X, later taking Tannyu’s daughter Myokoku as his wife. At the age of 29, he succeeded Tannyu as patriarch of the family, taking the name Kichizaemon. At the age of 55 he went into retirement, and passed away at 86. His period as an active ceramicist was second only to Ryonyu (more…)

Raku Kichizaemon 10th Tannyu 十代 楽吉左衛門 旦入

1795-1854maleraku pottery9th generation, Ryonyu’s second son. His father, Ryonyu retired at the age of 56, but since his older brother died young, Tannyu succeeded as the family head at the age of 17. He retired at the age of 51 and changed his name to Tannyu, taking the “Tan” character from Soutan from the Omotesen family 10th generation Kyukosai. Tannyu and the Kishu Tokugawa family came to have a deeper connection than ever before. In the second year of the Bunsei era when Tannyu was 25 years old, the 10th generation of the Kishu Tokugawa family, Lord Harutomi opened an (more…)

Raku Kichizaemon 9th Ryonyu 九代 楽吉左衛門 了入

1756-1834maleraku potteryRyonyu was the second son of Chonyu, the seventh generation head. Because his elder brother, Tokunyu the eighth generation, was in poor health, Ryonyu inherited the head of the household at age 15. From that point on he led a long life crafting ceramics, until his passing at the age of 79. He lost his father at age 15, his elder brother at 19, and when he was 33, all of the family’s works since the time of Chojiro were lost in the Great Tenmei Fire (also known as ‘Donguri Yake’ the Acorn Blaze) that burned most of Kyoto (more…)

Raku Kichizaemon 8th Tokunyu 八代 楽吉左衛門 得入

1745-1774maleraku potteryHe was born as the eldest son of Chonyu, the 7th head. He was named Sokichi at birth and he was later renamed Eisei. He inherited the headship at 18, but when his father Chonyu passed away when he was 26, he also passed on the headship to his younger brother Sojiro (later Ryonyu), who was 15, because he had a weak constitution. He changed his name to Sabe and retired. He never married and passed away at the young age of 30. The name “Tokunyu” was given to him on the occasion of the 25th memorial service to (more…)

Raku Kichizaemon 7th Chonyu 七代 楽吉左衛門 長入

1714-1770maleraku potteryBorn as the eldest son of the 6th generation Sanyu, he took over as the head of the family and didn’t retire until age 49, later passing away at age 57. Since taking on this new role, he worked tirelessly making pottery and ceramics for 40 years. His original name was Sokichi, and he was later renamed Eisei. After Chojiro started on the Raku tea bowls, they were followed up by potters Jokei and Donyu to give them a more modern decorative effect, changing them quite drastically. During the era of Ichiiri and Sonyu, there was a return to (more…)

Raku Kichizaemon 6th Sanyu 六代 楽吉左衛門 左入

1685-1739maleraku potteryBorn as the second son of Odaya Kahei, he became the son-in-law of Sonyu. His original name was Sokichi, and he was later renamed Yoshiakira. His family home was in a town called Nijo Higashiiri, in Ajikoji, Kyoto Prefecture. It is still unknown when exactly he joined the Raku family as well as his specific relations with them. In 1708, as Sonyu retired, Yoshiakira married Sonyu’s daughter Myoshu, and took over the highly esteemed position as 6th generation Kichizaemon (tea bowl artisan). In 1728, Yoshiakira retired at age 44, passing on the Omotensenke 6th generation tea ceremony school to (more…)

Raku Kichizaemon 5th Sonyu 五代 楽吉左衛門 宗入

1664-1716maleraku potterySonyu was the son of Sanemon, who ran a draper’s shop Kariganeya, and was adopted by Ichinyu at the age of 2. He eventually married Ichinyu’s daughter (Ozu). His original name was Heishiro, and he was later renamed Sokichi. Ogata Korin and Ogata Kenzan were his cousins, and his great-grandmother was Honami Koetsu’s sister. Ichigen was his brother-in-law who was 2 years older, and Sonyu took over as the head of the family at age 28, retired at age 45, and passed away at age 53. Between 1688 and 1695, he wrote “Sonyu Monjo,” which contained 2 sets of (more…)

Raku Kichizaemon 4th Ichinyu 四代 楽吉左衛門 一入

1640-1696maleraku potteryIchinyu’s wife was the daughter of the maki-e painter, Kumagaya Muneaki (Soukan), and they lived close to her family home for a time during the Kanbun era. For a while, he and his wife were unable to bear any children, but when he was 23 years old, they had a boy (Ichigen) and in addition, they adopted a boy (Sounyu) from Kariganeya Sanemon. After that, they had a daughter, Otsu (Myotsu), who later became Sounyu’s wife. There was a period of time when Ichigen was taken in by the Raku family, and there are also records of Ichigen and (more…)

Raku Kichizaemon 3rd Donyu 三代 楽吉左衛門 道入

1599-1656maleraku potteryDonyu, who was Jokei’s first son (Doraku being the 2nd) and a 2nd generation Raku-family descendant, went by the pseudonym or artist name Kichibe or Kichizaemon during his life, however, many people call him by his nickname ‘Nonko’.Nobody clearly knows when Donyu began pottery making, however, he had enough time to learn pottery from his father, Jokei, and it’s thought that he also learned it from Honami Koetsu (a famous potter). Donyu tried to develop a new raku ware style based on Rikyu-style tea bowls while incorporating his style and early Edo period trends.It was considered that Koetsu developed (more…)

Raku Kichizaemon 2nd Jokei ニ代 楽吉左衛門 常慶

1561-1635maleraku potterySons of Tanaka Sokei, Somi and Shozaemon were Jokei’s brothers. Jokei was running the raku pottery studio with Chojiro, Sokei and Somi. There, he taught Honami Koetsu, the method of making raku ware.It is considered that the success of Jokei’s works appeared after the death of Chojiro, establishing the solid foundations of raku ware, which are carried through to the present day and the fame of the raku family name. The rapport between the families of Rikyu, Chojiro and Sokei continued even after the seppuku (ritual suicide) of Rikyu. After the death of Rikyu, Shoan, a son of Rikyu, (more…)

Otagaki Rengetsu 太田垣蓮月

1791-1875femaleawata potteryShe was a Buddhist nun who is widely regarded as one of the greatest Japanese poets of the 19th century. She was adopted at a young age by the Otagaki family. It is said that she didn’t live a happy life because she lost her adoptive father and five brothers from illness. She married, but her husband died soon after. She remarried but lost this husband too from illness after only four years, as well as her young son and three young daughters. She joined the temple Chion-in and became a nun, taking Rengetsu (“Lotus Moon”) as her Buddhist (more…)

Okuda Eisen 奥田頴川

1753-1811malekyo potteryMaruya Moemon was born to a family that had run a pawn shop in Kyoto for generations. He ran the family business until he was 35, when he left it to his son in order to pursue his passion for pottery. He built a kiln on the grounds of Kennin-ji temple, and began making unique ceramics. From 1781-1789 he succeeded in creating the first pieces of Kyo ware.He along with his understudy, Aoki Mokubei, and second generation of understudies, Takahashi Dohachi and Ogata Shuhei, are considered the fathers of Kyo ware ceramics. His most famous products were Gosuakae, but (more…)

Takeuchi Chubei 竹内忠兵衛

Late Edo period-?maleCloisonné ware ceramist. He worked with Suzuki Seiichiro and Tsukamoto Jinuemon at the Dai Nippon Shippo Company(now the Ando Cloisonné Company), established in Nagoya in 1871, as the central figures producing cloisonné ware at the time. At the Centennial Exposition in 1876, and the first and second National Industrial Exhibitions in 1877 and 1881, he was recognized for his extraordinary skills and continued to submit his works under the Dai Nippon Shippo Company, Yokohama Tashiro Shoten Ltd. names as well as under his own, and was widely praised both in Japan and abroad.He created a piece of what (more…)

Takahashi Dohachi 4th 四代 高橋道八

1845-1897malekyo potteryThe son of Dohachi III. Inherited the name in 1872.He not only preserved the techniques and traditions of the Takahashi family but built upon them as well, improving glazes as well as inventing new ones.Also served in various official posts such as a judge at various exhibitions, industrial officer of Kyoto, and professor at Kyoto Arts and Crafts University, making great contributions to the art world. (more…)

Takahashi Dohachi 3rd 三代 高橋道八

1811-1879malekyo potteryInherited his father’s style, and was especially skilled at brush marks and making Mishima ware.In his last years he was encouraged by Hizen Arita to start teaching pottery. His students include Miura Chikusen I. (more…)

Saka Shinbe 8th 八代 坂新兵衛

1796-1877malehagi potteryHe was Saka Koraizaemon’s eighth generation but called himself Shinbe.With Toyotomi Hideyoshi’s dispatch to Korea, Mori Terumoto, who ruled the entire Chugoku region at that time, had brought back a potter from Korea and named him Sakata at first, but later changed his name to Saka. After Terumoto was forced to move to Hagi by the Shogunate, the potter received the name Koraizaemon from the 2nd Hagi feudal lord, Mori Tsunahiro, and the 8th generation of Saka Koraizaemon continued to use it to the present.The 8th Koraizaemon was able to protect his family business well by working with the (more…)

Saka Koraizaemon 9th 九代 坂高麗左衛門

1839-1921malehagi potteryThe grandson of the 8th generation Saka Koraizaemon. With Toyotomi Hideyoshi’s dispatch to Korea, Mori Terumoto, who ruled the entire Chugoku region at that time, had brought back a potter from Korea and named him Sakata at first, but later changed his name to Saka. After Terumoto was forced to move to Hagi by the Shogunate, the potter received the name Koraizaemon from the 2nd Hagi feudal lord, Mori Tsunahiro, and the 9th generation of Saka Koraizaemon continued to use it to the present. At present, the 12th generation Saka Koraizaemon is active. From the Meiji to Taisho periods, (more…)

Ohi Soshun (Ohi Chozaemon 8th) 大樋宗春 (八代 大樋長左衛門)

1851-1927maleOverlapping with the new Meiji period, in the time when not only Ohi ware but tea pottery culture was in decline throughout the country, both the eldest and second eldest sons of the seventh generation Michitada (Chozaemon) did not pursue the family business and left the house, which caused Michitada’s cousin, Nara Rikichi, to enter the Ohi family and succeed the family name and estate.After succeeding the name, he produced works thoroughly adhering to traditional pottery techniques while also adding his own originality. He overcame the tumultuous Meiji period and carried on to the prosperity of Ohi ware.Also, he received (more…)

Ohi Chozaemon 1st 初代 大樋長左衛門

1631-1712maleohi potterySaid to have originally descended from the Haji family, who lived in Haji, Kawachi Province, he left for Kyoto at around 1656 and learned the method of producing Raku ware from Ichinyu of the Raku family. It is said that he took up residence near Nijo Kawaramachi, and for that reason it is conjectured that he had some sort of connection to the Oshikoji ware that the nearby Raku branch kiln fired at the time.In 1666, he served the Maeda family of the Kaga Domain, on the recommendation of Senso Soshitsu, who worked as a tea master for the (more…)

Kiyomizu Rokubey 1st 初代 清水六兵衛

1738-1799malekyo potteryAs a child, he went to Kyoto to learn pottery making from a Kyoto potter, Ebihara Kiyobei, and opened his own kiln near Kenninji Temple on Gojozaka.He became a frequent guest at the Myohoin Palace, where he produced Oniwa-ware, and also befriended leading literati and painters of the time, such as Ueda Akinari, Tanomura Chikuden, Maruyama Okyo, and Matsumura Goshun, with whom he collaborated on some of his works. He often produced tea ceremony utensils, such as black raku bowls from the Myohoin Palace garden, as well as sencha ware, which was popular at the time. (more…)

Shimizu Onko 清水温古

Late Edo Period – ?He received the Flower Crest Award in 1877 at the First Annual National Exhibition, establishing his name. In addition, the following year he exhibited ceramic kyusu teapots at the Paris Expo, winning him a bronze medal. He exhibited at the Second Annual National Exhibition. (more…)

Shogetsutei heiichi 松月亭平一

Bakumatsu Period – Meiji PeriodA potter who fired Aizu Hongo ware porcelains. (more…)

Ryubun Douanpei 2nd 二代 龍文堂安平

1779-1841maleAs also known as Shikata Ryubun. Born to first-generation caster Ryubun (or adopted), he inherited the family business in 1805 and was given the name Ryubun II.His strong point was his style of Chinese goods, and he left behind excellent works such as copper stationary, incense burners, bingake wares, etc. His work was favored by painters and calligraphers, and through that connection he became close friends with Raisan Yo and Aoki Mokubei. In his later years, he produced not only cast works, putting energy into creating fired pottery as well, of which he preferred making teacups and kyusu teapots. (more…)

Shibata Okyaku 柴田鴨脚

Late Edo Period –malerokyaku potteryOriginally a potter from Imari, Saga Prefecture, he was known as Shibata Zenpei (also known as Kihei). In 1876, he was invited on to the pottery company Eishinsha in Imari, Hyogo Prefecture. The following year, he was invited to teach pottery at Eiseisha in the same prefecture, and his apprentice was Nakagawa Rokyaku, who went on to create Rokyaku ware.He leaves behind a masterpiece in an unglazed handmade kyusu teapot. (more…)

Shibukusa Ryuzo 渋草柳三

Late Edo Period – Presentmaleshibukusa potteryIn 1841, Toyoda Fujinosuke of Takayama Gundai in Hida, Takayama (Gifu Prefecture) invited potters from neighborhoods such as Seto to vitalize Shibukusa ware. Toda Ryuzo, one of the potters invited at the time, produced the tea sets, tableware, sake sets, etc. that he inherited through his family lineage. His style is to craft using both a spinning wheel and the stamping method, applying both red and iron images.Currently, Ryuzo VII remains active. (more…)

Shirai Hanshichi 白井半七

Early Edo Period – Presentimado potteryHanshichi I was from Imado, Asakusa, Musashi Province, and created unglazed roof tiles and course vessels in this same location. Hanshichi also worked as a potter there. However, it is known that he began working on “tofuro”, clay furnaces, around the Jokyo Period (1684-1688), as well as firing hibachis. He was the first to be called the Imado clay furnace master, and since then the name Hanshichi was inherited for generations. (He passed in 1732.) Hanshichi II inherited the clay furnace making business, but he began applying glaze to the roof tiles and making wares (more…)

Kobayashi Genroku 小林源六

Late Edo periodmalekoto porcelainHe was born in Kyoto, and active as a painter of Koto-ware in the Hikone domain. (more…)

Koie Koji 鯉江高司

1846-1912maletokoname potteryHe was a Tokoname-ware potter. The eldest son of Sakakibara Kojiro, he learned how to make bottles at the Inahachiro Kiln, and later learned the technique for manufacturing the earthen pipe, a method originated by his adoptive father Koie Hoju. .In the Meiji era, he learned sculpture from sculptor Kano Tessai, so that Tokoname-ware could be accepted internationally and artistically. He also did research on Satsuma, painted nishiki-e, and exhibited at the Philadelphia Expo and Paris Expo. Furthermore, in 1878, he brought over Kiyoto’s Kinshiko to Tokoname to carry out the manufacturing method of Chinese-style Kyusu (purple sand pots). (more…)

Seidoken Kosai 青道軒幸斎

Late Edo period-malekoto porcelain Originally a monk in Hida-takayama, after returning to secular life and studying painting in Kyoto, he was recognized by the lord of the Hikone domain, Ii Naosuke, and became a Koto-ware painter together with Meiho and worked for him for roughly 2 years.Elaborately designed Aka-e Kinsai-style works, which are the typical style of Koto-ware in the feudal kiln era are well preserved, but Kosai’s work is characterized by its application of a relatively large amount of Chinese poetry together with its pictures. It is reported that he returned to Kyoto once again in 1850 after pursuing (more…)

Kenyu 賢友

Mid Edo periodemalekoto porcelainHe lived in the castle town of Shirakabe-cho around Hikone Castle as one of the ceramic painters of Koto-ware, and as an artist under a clan’s patronage, he often produced aka-e (red painting on ceramics) and blue and white porcelain bowls. In addition, he formed a Kabunakama (a merchant’s guild under the Shogunate) with Tokoyama, Jinensai, and Sekisui, and after painting ceramics at his home, sold them to travelers coming and going through Nakasendo (an Edo-period highway). (more…)

Kutani Shoza 九谷庄三

1816-1883malekutani porcelainBorn the son of a farmer in Terai, Nomi-gun, Kaga domain, he was involved in the ceramics industry as a painter from the age of 11 onward, going independent after opening his own workshop in Terai at the age of 26. Through shifting the painting materials he used from Japanese-made pigments to Western-made pigments, which were just beginning to be imported into Japan at the time, he achieved at neutral-color glaze that had been difficult to achieve up until that point but which soon became the basis of modern Kutani-ware. In the Meiji period, Shoza’s work was exported overseas (more…)

Ito Sekisui 伊藤赤水

1838-1872malemunyoi potteryReal name was Tomitaro. In 1857, assumed the artist name of Sekisui and used the soil from Aikawa, Sado (Mumyoi ware) to improve the Raku ware started by Ito Jinpei from the head family. Founded Sekisui ware by making tea sets and sake cups using shidei techniques. Passed away at the age of 35.From the Meiji era on, the 2nd generation Kenzo and the 3rd generation Kotaro succeeded Sekisui ware. Inlay work and other techniques were added during this process to make improvements. The 5th generation Ito Sekisui is the holder of an important intangible cultural asset. (more…)

Seifu Yohei 3rd 三代 清風与平

1850-1914malekyo potteryimperial household artistBorn to the Okada family in Harima Province. Sought to be a painter as a youth and studied Japanese painting and nanga under Tanomura Chokunyu in Osaka. However, gave up on painting due to illness and transitioned to ceramics by becoming an apprentice of the 2nd generation Seifu Yohei in Kyoto. Used the artist name of Seizan to make ceramics at the time.Later married the younger sister of the 2nd generation and became a son-in-law of the Seifu family (Shinkai family). Became the 3rd generation Yohei upon the passing of the 2nd generation in 1878. Studied the (more…)

Suda Seika 1st 初代 須田青華

1862-1927malekutani porcelainGraduated from the Faculty of Ceramic Painting at the Ishikawa Prefectural Industry Institute.Then, after training in Kyoto, worked at Kutani Toki Kaisha. After becoming independent, mainly researched and fired Ko-Kutani ware, Nabeshima ware, and Imari ware in his own kiln. Attracted a lot of attention for making excellent porcelain with shonzui and red paintings.Also held friendly relations with Kitaoji Rosanjin, and the sign of the current generation of the kiln was created by Rosanjin. (more…)

Sugiyama Kenshin 杉山見心

Mid-Edo Period and BeyondmaleWas a servant of the Owari Domain who is said to have started making ceramics as a hobby during his time outside of work.Favored tea gatherings, gave his tea room the name of Fuguan, and held friendly relations with Kawakami Fuhaku, a tea ceremony master at the time, when working in Edo.Works focus on sets for preparing powdered tea. Mainly excelled at Seto glaze, and his techniques were highly praised as being on par with potters at the time. (more…)

Sugie Jyumon 杉江寿門

1828-1898maletokoname potteryAn artisan of the Chinese Qing style and one of the 3 artists to be trained by Kin Shiko. Said to be the best at succeeding the master’s techniques and particularly known as a master of red stoneware teapots.Also worked on hand-formed crabs, lions, and other sculptures. (more…)

Suwa Sozan 1st 初代 諏訪蘇山

1852-1922maleimperial household artistMoved to Tokyo in 1875 to study ceramic painting under Saiunro Kyokuzan. Established a ceramic factory in Oi, Shinagawa the following year. Then returned home in 1883, served as an assistant at Ishikawa Prefectural Industrial Experimentation Institute, worked at Asukai Kiyoshi’s Kutani Toki Kaisha, and worked in the Faculty of Sculpture at Ishikawa Prefectural Industrial School.Was invited to the Kyoto Kinkozan Ceramic Factory in 1900 and became independent in Gojozaka, Kyoto in 1907. Almost perfectly restored celadon works by Long Quan Yao kiln in China and received praise for his Sozan celadon.Started putting effort into restoring Korai kiln (more…)

Suminokura Gennei 角倉玄寧

1799-1873maleippodo potteryThe 11th generation Suminokura Ryoi. Started Ippodo ware. A shogunate official, he was in charge of the Yodo River system of cargo and passenger transport ships. He was interested in ceramics and built a kiln at his villa in Saga, where he apprenticed himself to Nin’ami Dohachi (Takahashi Dohachi II) and others to produce tea ceremony utensils and sake cups. The work was marked with the number ‘Ippodo’. (more…)

Kizaki Bokuju 木崎卜什

1810-1854malekoto porcelainHe studied Kano-style art in Kyoto at age 16 and studied porcelain painting in Arita and Karatsu afterwards. In 1831, he returned to Yamashiro village and built a kiln in his own garden, creating pottery using a technique of fine red painting with gold glaze. This is said to have had a major influence on the emergence of the Miyamoto Kiln Hachiro technique. In 1850, he was called to Hikone Domain and worked to improve and develop Koto ware, particularly its red painting and gold glaze. Kizaki Banki, who contributed to modern Kutani ware, is his child. 古九谷美術館 Kokutani (more…)

Kizaki Banki 木崎万亀

1834-1895malekutani porcelainHe was born the eldest son of Kizaki Bokuju, and studied under Eiraku Wazen under the orders of the Daishoji feudal lord. Afterwards, he served at the Kyoto Omuro Kiln and received the Hokyo name of Banki.After returning to his domain, he moved his kiln to Kasugayama, Yamashiro, and contributed to modern Kutani ware, focusing on red painting on ceramics and gold glaze. (more…)

Kiyomizu Shichibey 清水七兵衛

1818-1891malekyo potteryHe was the eldest son of Kiyomizu Rokubey II and learned pottery from his father Rokubey.Although as the eldest son of the second Rokubey, it was planned for him to become the third Rokubey, it is said that he was not allowed to inherit the Rokubey name as he was a heavy drinker, and his younger brother became the third Rokubey instead while he became Shichibei in a new family branch. However, his ceramic skills were extremely good, and he demonstrated talent that was in no way inferior to the second Rokubey. (more…)

Kikko Shogetsu 5th 五代 吉向松月

1860-1924malekikko potteryThe eldest son of the fourth Kikko Jihei, he divided their kiln in Jusan with his younger brother Jitsuzo (the fifth Kikko Jusoken), and set up a kiln near Kozu Shrine in Osaka’s Chuo area.Later, after the 1912 south Osaka fire, he moved the kiln to Hirakata, and made pottery in Sagano, Kyoto for a period of time. He also set up a kiln inside Takagiri-in in Daitokuji Temple and received the artist name Ryuzan from Monk Genpo. (more…)

Kiyomizu Rokubey 4th 四代 清水六兵衛

1848-1920malekyo potteryBorn as the eldest son of Rokubey III and became the fourth-generation successor upon his father’s death in 1883.Learned painting from Shiokawa Bunrin from a young age and had a close relationship with Kono Bairei, Tomioka Tessai, and others.His style includes traditional items such as Shigaraki and Iga ware as well as the Nanban, Irabo, Ninsei, and Kenzan styles. He left behind many simple and gentle works.He was also skilled at carving, particularly crab molds. In 1889, he received the bronze medal at the Paris World Fair. He otherwise rarely exhibited his works at fairs and exhibitions, and was (more…)

Kiyomizu Rokubey 3rd 三代 清水六兵衛

1820-1883koto porcelainkyo potteryBorn as the second son of Rokubey II, he was initially apprenticed to a safflower wholesale store, but as his father started a new family branch by designating his eldest son as Kiyomizu Shichibei, he was sent back home and became the third Rokubey in 1838 at the age of 18.Was employed in the Ii family of Hikone, which created Koto ware. Created ceramic six-sided snow-viewing lanterns on the request of Imperial Palace Military Commissioner Okuho Osuminokami and Hasegawa Hizennokami. In the Meiji era, he was active in various fairs and received the bronze medal in the fourth (more…)

Kiyomizu Rokubey 2nd 二代 清水六兵衛

1790-1860malekyo potteryHis style carried on the style of the first Rokubey in a unique individual way that incorporates the preferences of the time. He created tea and green-tea utensils, tableware, and other works. After he passed the family business on to the third Rokubey and retired, he adopted the artist name Rokuichi and worked on personal ceramics. (more…)

Kinkozan Sobei 6th 六代 錦光山宗兵衛

1823-1884malekyo satsuma potteryBecame the sixth-generation successor of the Kinkozan family, which specialized in Kyo ware for generations, from the mid-Edo period. Successfully established an overseas export route in Kyoto during the Keio era in the Bakumatsu period, and incorporated the luxurious and gorgeous designs of Satsuma ware into Kyo ware around 1872 as the Meiji period began to create Kyo Satsuma ware, winning the silver medal at the Vienna World Fair and the Flower Award at the first National Fair in 1877. His works were later exhibited at the Sydney and Amsterdam Fairs as well. Won the bronze and gold (more…)

Kato Shubei 加藤周兵衛

1819-1900maleseto potteryBorn the second son of Kato Sadasuke, 5th generation owner of a ceramics shop in Seto, he became the adopted son of Kato Jinbei within the same village in the 13th year of Tenpo (1830) and studied ceramics under the 2nd generation Kawamoto Osamu. Primarily produced very dignified blue-white dyed porcelain. Retired in 1877 and took on the name Sadao, with his business taken over by his eldest son Tokushichi. (more…)

Kato Karasaburo 9th 九代 加藤唐三郎

1850-1885maleseto pottery9th generation of a kiln shop in Seto passed down through the generations. His lions, seioubo (Queen Mother of the West, a Chinese goddess) and others were exhibited at the First Domestic Expo (the First National Industrial Exposition) in 1877. (more…)

Kato Kuwajiro 加藤桑次郎

Late Edo periodmaleseto potteryA direct descendant of potter Kato Kagemasa, he inherited the family pottery business as 25th generation. His flowerpots were exhibited at the Philadelphia Expo of 1876 and First Domestic Expo of 1877. In the latter half of the Meiji period, he pioneered the toy manufacturing, which later became one of the most important ceramic industries in Aichi prefecture. (more…)

Kawahara Noritatsu 河原徳立

1845-1914maleBorn in Koishikawa, Edo, on December 3rd as son of Sato Jizaemon, who held an official position within the Edo shogunate. Adopted by Kawahara Yoichiro, vassal of the shogunate, in the 5th year of Ansei (1858). When the Meiji period began, he served within the Meiji government and served within the secretariat section of the Vienna World’s Fair in 1872 and as general affairs accountant for the ceramics factory set up by the Ministry of the Interior. Established a private business called “Hyoike-en” in Fukagawa, Tokyo, in 1873 along with businessman Hirose Mitsumasa where they gathered together excellent painters from (more…)

Kajiwara Tomotaro 梶原友太郎

1841-1915malearita porcelainBorn into the Kajiwara family, renowned for manufacturing large ceramics, he learned his trade under his father Kikusaburo making large plates and bowls. In 1876, he and his father made a huge four-shaku (1.21 meter) bowl that earned the name of Kajiwara its place in ceramics history. Also exhibited at the Tokyo Kyoshinkai in 1885. Liked to surprise his audiences. (more…)

Kato Yohachi 3rd 三代 加藤与八

Late Edo period – Meiji periodmaleseto potteryThird generation kiln owner who manufactured ceramics under the name of Yohachi from the late Edo period into the Meiji. His predecessors focused mainly on ceramics, but starting in the 8th year of Bunka (1811), Yohachi requested a stock of dyed porcelain, which he began to produce in Seto throughout the rest of the Edo period. He exhibited at the Philadelphia Expo in 1876 and displayed dyed bonsai pots at the first Domestic Expo in 1877, receiving an award. In the end, it seems that his ceramics activity finished in 1908. Master Seto craftsman (more…)

Kawamura Matasuke 川村又助

1843-1918malebanko potteryBusinessman who dealt in Banko-ware, starting out as a wholesaler in 1875, then in 1878 moving into manufacturing and exporting to the United States before establishing Kawamura-gumi, a joint-stock company that became prominent both in Japan and overseas. Set up the Banko Ceramics Commerce and Industry Association in 1885 as union leader. In 1900, he moved to the Kawamura Ceramics Factory and established Taisho Banko. Manufactured bobble-head dolls, Okame figurines and kyusu teapots, exporting primarily to the United States. (more…)

Kato Shozaburo 加藤正三郎

1828-1896maleBorn the second son of Kato Shoemon, first generation owner of a kiln shop that manufactured ceramics in Seto from the late Edo period up until the early Showa period. The family separated in the first year of Ansei (1854), with Shozaburo working primarily with dyed porcelain and lapis lazuli. Exhibited lapis lazuli vases and flower pots at the first Domestic Expo in 1877 and dyed dishes and mizusashi (Japanese water pitchers) at the second. His eldest son Kintaro took over as second-generation owner when he retired. (more…)

Kato Yoroku 加藤与六

Late Edo period – Meiji periodmaleFounded a kiln shop in Seto in the 9th year of Bunsei (1826) and manufactured ceramics for several generations into the Meiji period. Focused mainly on blue-white dyeing of ceramics, his “Long angle dyed flower board” was exhibited at the 1st Domestic Expo in 1877. This was followed with a close partnership with the cloisonné company in Nagoya focusing on the production of cloisonné-ware, but this business closed down in 1905. (more…)

Kato Heizaemon 加藤平左衛門

Late Edo period – Meiji periodmaleRan a kiln shop that primarily produced porcelain for the first half of the Meiji period. Exhibited at the Philadelphia Expo in 1876 and put plates and lidded bowls on show at the Domestic Expo in the following year. Several other items (such as Kiji-ware ceramic cows) were put on display at the Domestic Expo of 1882. Worked under the ownership of the painting company Kaiyosha from 1878 to 1888 in Nagoya and Yokohama. (more…)

Kawamoto Rikichi 川本利吉

Late Edo period – Meiji periodmaleseto potteryRan a kiln that manufactured several varieties of ceramics from the Edo period into the Meiji, mainly focusing on manufactured tableware in the early Meiji period for export to the United States. Later expanded into manufacture of a wider range of domestic products. Exhibited at the Domestic Expo of 1877 and the Paris Expo of 1878, receiving a bronze medal. Worked under the name Ishi Hanazono. (more…)

Kashu Sanpei 賀集三平

1844-1909maleminpei potteryNephew of Minpei, founder of Minpei-ware, under whom he studied from an early age. Took over management of the Minpei kiln in 1862 (2nd year of Bunkyu) after the founder retired due to illness, producing works that reflected the traditions and techniques inherited from his uncle. After the beginning of the Meiji period, he established Tantosha and worked independently to initiate overseas trade through the use of densely-glazed paintings on glossy white backgrounds. Exhibited at World Expos overseas. (more…)

Kadoya Choju 加登屋長寿

1841-1886maleohi potteryAlso known as Ohi Choju or Kato Choju. Son of Kadoya Kichiemon, apprentice of fifth generation master Ohi Kanbei. Went independent of the family business in 1855 and opened a kiln in Yamanoue-cho in the same year, where he primarily produced ameyu-glaze Ohi tea-ware under the name Choju. Following his death, his son Yoshitaro inherited the business as second generation Choju but changed the name from Kadoya Choju to Kato Choju II. Suwa Sozan was also an apprentice of Kadoya Choju.In 1930, Empress Joumei built a tea room called Shusen-tei in the Akasaka Imperial Palace, and tea ceremony utensils (more…)

Kaneko Rikichi 金子利吉

1823-Meiji periodmaleBorn the third son of a farmer, he also worked from a young age with his family in his parents’ side business of making and firing tiles. Moved to Hakodate in the Ezo region (Hokkaido) in 1847. He is known for contributing to the production of inexpensive high-quality roof tiles using clay from Kamedamachi, which became the leading roof tile manufacturer in Hokkaido and consequently contributed considerably to the reduction of damage by fire. (more…)

Kato Mokuzaemon 加藤杢左衛門

Late Edo periodmaleseto potteryEstablished the first kiln in Seto during the Kansai period (1789-1801), which the second generation (1832-1900) inherited during the Tenpo period (1830-1844) and turned to the production of porcelain at the end of the Edo period in 1867. Certain pieces that were particularly well-received included a large white-blue porcelain vase (8 meters upright) and a large barrel-shaped urn used as a substitute umbrella stand for foreigners. Know as a kiln business that produced many excellent works, some of which became masterpieces, it continued through to the 3rd generation Mokuzaemon (1857-1934) who left his mark in history alongside (more…)

Kato Kanshiro 加藤勘四郎

Late Edo period-Meiji periodmaleseto potteryManufactured white-blue dyed porcelain in Seto, Aichi prefecture under the name Hishikan, ◇ Kan and others. Recipient of the Otorimon Award at the First National Industrial Exhibition in 1877 and Bronze Award at the 1878 Paris Exposition Universelle, as well as awards at many other exhibitions. Produced a wealth of vases, pots, bonsai pots, sake sets, basins, and other items. (more…)

Ogata Kenzan 尾形乾山

1663-1743malekyo potteryBorn the third son of Ogata Soken of Kariganeya, a kimono fabrics wholesaler in Kyoto, with Ogata Korin as one of his older brothers.He studied under Nonomura Ninsei, learning to create pottery. When he was around 37 years of age, he opened a kiln in Kiyotaki, right near the Ninsei Kiln, and as it was located in northwest Kyoto (which in Japanese, is referred to as the cardinal direction of “Inui”, a word that can be pronounced as “Ken”), he inscribed the signature of “Kenzan” into his products since then.His style was influenced by Ninsei, his master, and Korin, (more…)

Nonomura Ninsei 野々村仁清

1648-1690malekyo potteryAfter leaving Tamba for the capital and studying at the Awataguchi pottery kiln, he learned techniques for tea caddies in Seto.After returning to the capital, he made ceramics in front of the gate of the Omura Ninnaji Temple.We handle supplies used at the same temple.His style used elegantly colored pottery fired with paintings.He established the modern mainstream Kyo ware style of Ninseiyaki.Additionally, he is considered to be the first potter who included not just the name of the kiln but the seal of the artist on his pottery.As for his pseudonym, “Nonomura” comes from his birthplace, while “Nin” was (more…)

Kato Shuntai 加藤春岱

1802-1877maleseto potteryKato Shuntai was a potter from Seto Akatsu village during the end of Tokugawa Shogunate period. Born in a potter family in Seto, the family was one of the three Okamaya families, the Nihei family. His talent blossomed early on and at the age of 15, he succeeded the work of his father, Kagenori (Shunzan), and became a member of Okamaya. Okamaya is the name of their pottery business. Okamaya was established as a kind of reconstruction policy of the Seto area, which was carried out by the first lord of the Owari clan, Tokugawa Yoshinao. With the influence (more…)

Kato Sekishun 加藤石春

1870-1943maleraku potteryHe was born in Seto, the son of a potter, Kato Hozaburo, and worked in the family business from an early age, assisting his father in the production of pottery. At the age of 15, he went to Kyoto to study pottery making.After returning to Seto, he taught pottery techniques at a pottery school, and also started making pottery himself.After opening a kiln for Nagono-yaki ware in 1914, he constructed the Kasumori Kiln, producing raku ware with a distinctive glaze known as “Tatsuta-nishiki”. He died in 1943.A favorite of Itagaki Taisuke (famous as a leader of Movement for Liberty (more…)

Iwata Suzukichi 岩田錫吉

Late Edo Period-maleA ceramic painter from Nagoya who took charge of painting the pottery exhibited by the Aichi Prefectural Government at the 1st National Industrial Exhibition. (more…)

Iriyama Kainosuke 圦山開之助

Late Edo Period-Meiji EramaleStudied Kyo ware as a youth and started making ceramics in Seta, Omi and Takasu, Mino. Started making copies of Kiyomizu ware in Kuwana in 1845. Moved to Yotsuya, Yokkaichi in 1859 to create Banko ware using a potter’s wheel or a mold in his main kiln and non-main kiln. His works were exhibited at the 1st and 2nd National Industrial Exhibition, and records remain that he received a Certificate of Merit. www.bunka.pref.mie.lg.jp三重県総合博物館/資料詳細/草花文急須 杁山開之助 (more…)

Inoue Togen 井上陶源

Late Edo Period-maledaishoji imariProduced Daishoji Imari ware, which had the purpose of mass-producing Kutani ware, from the Meiji to Showa eras. Started Inoue Shoten, which was central to its production and distribution, in 1877. Asked the masters Takenouchi Ginshu and Asai Ichigo to paint the works and spiritedly engaged in commerce, with a focus on the Keihanshin region.Currently the latest generation produces works at Daishoji. He gives historic Kutani ware, such as aode, red paintings, and gold glaze, a modern style and is popular among Kaiseki restaurants also. (more…)

Ishida Heizo 石田平蔵

1844-1892makekutani porcelainStudied under his adoptive father Kitaichiya Heikichi and made Aode-Kutani ware. Created a business organization with Matsumoto Sahei and others in 1882. Exhibited a deep Aode Kutani pot at the Textile, Ceramic, and Japanese Lacquer Promotion Society and won the 5th Place and Honorable Mention Awards. Exhibited a flower vase at the National Industrial Exhibition in 1890. (more…)

Inoue Ennen 井上延年

1842-1914maleA potter from Seto in the Meiji era and the father of the 3rd generation Shofu Kajo. A master of the potter’s wheel who even conducted a potter’s wheel demonstration during the Aichi Expo in 1874. Presented a method of preparing pure Dehua porcelain together with the 6th generation Kawamoto Hansuke to the Department of Agriculture. Created copies of Chinese zaffre glazes as tea sets and left masterpieces. Was also invited as a model artisan by the present-day Faculty of Ceramics at Tokyo Institute of Technology in 1900. (more…)

Ikeda Monpei 池田門平

Late Edo Period-Meiji EramaleAlthough his dates of birth and death are unknown, the 1st generation Ikeda Monpei was a potter who started a kiln near Seta no Karahashi Bridge in Omi Province around the Bakumatsu and created Raku ware. It is said that he added paintings of Karahashi Bridge to tea sets, sake sets, and various containers and called them Seta ware (Seta Monpei ware). Once the Meiji era began, the 2nd generation Monpei gathered artisans and fired general earthenware in addition to Raku ware to expand the scale. (more…)

Iwanami Gyokuzan 岩波玉山

Late Edo Period-Meiji Erakutani porcelainA Kutani ware painter from Kanazawa in the early Meiji era.Was known as a master of painting ceramics and overglazes and is said to have worked at Minzan kiln and Abe Omi’s kiln.First created flower bases, plates, and other works, with a focus on tea sets for green tea, with Miyamoto kiln-style red paintings. Later made flower vases, jars, tableware, and other mostly porcelain works with highly colorful Western-style designs to be exported. Created masterpieces. (more…)

Raku Ichigen 楽一元

1662-1722maletamamizu potteryThe illegitimate child (born to a mistress) of the 4th generation Raku Ichinyu from the Raku family. Moved to his home of Tamamizu in Minamiyamashiro (southern Kyoto Prefecture) after the death of Ichinyu and started Tamamizu ware after studying Raku ware together with his mother.He is also known as an extremely rare expert and was particularly known among the Raku ware kilns. Created masterpieces that are copies of works by Chojiro and Koetsu. After the death of Ichigen, the 2nd generation Yahei took on the artist name of Nindosai and succeeded the kiln. (more…)

Irie Shikai 入江之介

1862-1940maleBorn as the son of the feudal retainer of the Fukuoka Domain and studied prose and poetry under the great scholar Masuyama. Later studied Nanga under Yoshitsugu Baizan and the Haizan father and son. At the time of the Bakumatsu, worked in the affairs of state together with Toyama Mitsuru and others, but studied Nanga exclusively once the Meiji era started. Excelled in elaborate landscape and portrait paintings.Also excelled in ceramics. (more…)

Ishino Ryuzan 石野竜山

1861-1936malekutani porcelainStudied porcelain paintings under Hatta Itsuzan and was highly regarded for his specialty in porcelain painting. Began studying under Matsubara Shinsuke (1846-1899), the potter from the same province, in 1898 and made a work that resembled underglaze porcelain in 1903. Repeatedly won awards at exhibitions in Japan and overseas. Was awarded as a Person of Merit for Business in Ishikawa Prefecture in 1916. Received a recommendation at the Japan Art Academy in 1931. Later appointed as a Counselor for the Kaga Kutani Ceramics Collective, Honorary Member of the Ishikawa Prefectural Craft Art Promotion Society, and Vice President of the (more…)

Imaizumi Gennai 今泉源内

Late Edo PeriodmaleIt is said that he was the feudal retainer of the Owari Domain during the Kansei era (1789-1801) and Kaei era (1849-1854), but there are no accurate details regarding his birth and death.Although he was a samurai, he engaged in making ceramics as a hobby. His works that are based on Seto ware have excellent paintings. Records remain that he created several teacups to commemorate his 70th birthday. (more…)

Inoue Ryosai 2nd 二代 井上良斎

1854-1905malesumida potteryBorn as the 1st son of the 2nd generation Kawamoto Jihei in Seto. Later married the daughter of the 1st generation Inoue Ryosai, his relative, in 1875, entered the Inoue family as an adopted child, and became the 2nd generation after studying making ceramics under his father-in-law. Won an award at the 1st National Industrial Exhibition in 1877 and played a pioneering role in modern Japanese ceramics through art nouveau works that differed from the 1st generation by implementing the western ceramic influences of Galle and Daum.Traveled to Europe as a delegate representing Japan at the 1900 Paris Exhibition (more…)

Inoue Ryosai 井上良斎

1828-1899malesumida potteryWas employed to create Inuyama ware at first, but started working as a commissioned potter after being taken into the Edo residence of the Matusdaira constable from the Takasu Domain and created Raku ware. Also provided guidance to Takemoto Hayata regarding making ceramics around this time.Later became independent in 1866 and started a kiln in Imado, Asakusa. Took on the artist name of Togyokuen Ryosai in the Meiji era and mainly created floral organs with bold glazes and Sumida ware with human and other forms as artistic ceramics for exporting by Kiritsu Kosho Kaisha and Seiko. He was a (more…)

Ichie Hozo 市江鳳造

Around 1800malefujimi potteryServed the feudal retainer of the Owari Domain in the Bunka and Bunsei eras (1804-1830) and was also a skilled potter. Studied ceramics under Hirasawa Kuro and mainly created tea sets and various containers. He is said to have achieved popularity, as his range of works displayed exquisite elegance. It is also said that he instructed Murase Biko when he started Fujimi ware. (more…)

Ito Tozan 伊東陶山

1846-1920malekyo potteryimperial household artistBorn as the 1st son of Ito Zensuke in Sanjo Awataguchi.Studied painting under Koizumi Tozan, the Enzan style painter, around the age of 12. At this time, helped Tozan with painting teacups and creating earthen teapots, which Tozan also carried out in addition to painting to make a living, and decided to switch to ceramics. Later became an apprentice of Kameya Kyokutei, the potter in Gojozaka, and started making ceramics seriously. In addition, engaged deeply in research by visiting the kilns of the 3rd generation Takahashi Dohachi, Murata Kisui, Kanzan Denshichi, Taizan Yohei, Ichimonjiya Chubei (Hattori Gyozan), (more…)

Igarashi Shinpei 五十嵐新平

1750-1829malekosobe potteryAfter training in ceramics in Kyoto, the 1st generation Shinpei moved to Kosobe in Settsu Province (Kosobe, Takatsuki, Osaka) around 1790 and started the Kosobe ware kiln, which was a branch of Kyo ware. This family business was handed down from generation to generation, and during the time of the 2nd generation Shinpei (Tenpo era), effort started to also be put into copies of various kilns, including Takatori ware, Korai ware, Shigaraki ware, and Nanban ware. The 3rd generation Shinpei frequently made copies of Kiyomizu Rokubey, who was a skilled artisan in Kyoto, and established representative techniques of Kosobe (more…)

Iwakurasan Kichibei 岩倉山吉兵衛

Late Edo ear – Early Meiji Eramaleiwakura potteryA potter from a family that had been making ceramics for generations in Awataguchi, Kyoto who became a commissioned teacup maker for the Tokugawa clan together with Kinkozan Sobei in 1756. Although he continued in this position until around the Bakumatsu, many details, such as when the 1st generation lived and how many generations there were, are unclear. It is presumed that his ancestors were Iwakura ware potters in Rakuhoku. (more…)

Okamura Shozan 奥村松山

1842–1905malekoto porcelainAs an apprentice at the Hikone domain’s Koto ware workshop, he learned pottery from Kangin Denshichi, and became independent in 1876.He started making wares at Awataguchi, Kyoto. At first, he used colored glaze to create replicas of ancient Imari and Nonomura Ninsei’s wares, but after Western illustrations were incorporated into Kurita ware, he started making Kyo-Satsuma ware together with the likes of Senkozan.After winning multiple awards at the National Industrial Exhibition, his wares also earned favor in Europe. (more…)

Ogata Shuhei 2nd 二代 尾形周平

1819–1883malekyo potterySome say that he was the son of the original Ogata Shuhei in the late Edo period, but the truth is unclear. His dates of birth and death are also from an unconfirmed theory.In the Heian Public Records published in the Kaei era, he is recorded as “Ogata Shinki, of Matsuzukien, residing in Gion”. In the public records published in the Keio era, he was recorded as “Ogata, Gojo-zaka, Ceramicist Shuhei”, showing that he moved to Gojo. As for his work, his paintings were slightly rougher than the founder, and in the Meiji era, he started to use gold (more…)

Ohi Chozaemon 7th 七代 大樋長左衛門

1834–1894maleohi potteryBorn as the 4th son of Chozaemon the 5th, he is also the younger brother of Chozaemon the 6th.From the Tokugawa Shogunate–Meiji era, the social upheavals and abolition of the feudal domain system caused pottery kilns all over the country to lose their feudal patrons, and Chozaemon also went out of business temporarily.However, in 1884, he moved to the neighboring city, Kasuga and established a kiln there and helped revive Ohi ware. (more…)

Ohi Chozaemon 6th 六代 大樋長左衛門

1829-1856maleohi potteryBorn as the eldest son of Chozaemon the 5th, he mainly assisted his father’s pottery making and did official work for the Kaga Clan.As he departed early at 28 years old together with his father in 1856, his surviving works did not seem to show that he has developed any unique style and they are very similar to the works of Chozaemon the 5th. (more…)

Onotami Jiro 小野民次郎

1801–1853maleA tycoon of Kurashiki’s Tamashima Nagao, he first studied in Kyoto and learned pottery from Aoki Mokubei and Nin’ami Dohachi, and then invited Seifu Yohei and Rokubey the 2nd, apprentices of Dohachi the 2nd, to Tamashima and learned to make Raku ware and dyed porcelain. In particular, he excelled at imitating ancient Chinese ceramic treasures. (more…)

Oshima Kokoku 大嶋黄谷

1820–1904maleako-unka potteryOriginally a metal caster, he started learning pottery from Sakune Benjiro, the master of Edo’s Imado ware in 1848, and established “Ako Unka ware” in Ako, Hyogo.He also used the pen name Soshu. (more…)

Oshima Kajo 大島霞城

1868–?seto potteryA ceramics decorator and ceramicist of the Edo and Meiji era, he first stayed at Kawamoto Masukichi’s workshop and learned the basics of ceramics decorating from Oide Toko of the Nanga school, and worked as a ceramics decorator at Masukichi’s workshop.Other than that, he also worked as a ceramics decorator for Kato Shuhei and Kawamoto Hanbei’s workshops, and it was said that his technique was extraordinary among the Seto ware decorators, and in 1895 he created the work “Underglazed Four Seasons Tray” together with Masukichi the 2nd. He went independent in the latter period of the Meiji era and (more…)

Okada Gyozan 岡田暁山

End of Edo period-malekyo-satsuma potteryWith the passing of, Hattori Gyozan, the 6th generation, in 1877, Omiya Chobei who operated the pottery wholesaler in Kiyomizu’s Gojo and was a good friend of his, inherited the brand “Gyozan” and changed his name to Okada Gyozan and started making ceramic wares. In 1998, Okada Yoshiaki took over as Gyozan the 8th.The Gyozans have participated countless times in World Expos, such as the 1873 Vienna World’s Fair in the Meiji era before he took over, and the 1924 Paris World Expo, contributing to the development of Kyo ware, and in 1986 they established an (more…)

Ogawa Bunsai 小川文斎

1809–1885malekaseyama potteryotokoyama potteryIn the beginning, during the Bunsei era (1818–30), he went all over Japan touring various kilns to hone his pottery skills, and established his own kiln in 1839 at Tenma, Osaka. In 1847, he was invited by the head of the Ichijo clan to teach the Kaseyama ware technique, and in 1870 he was invited to teach the Otokoyama ware technique. In the latter years of his life in 1878, he established a kiln on the Kiyomizu hills, and his pottery style was subsequently inherited by the 2nd–5th generation (Ogawa Kinji).His particularly excellent wares are dyed porcelain, true (more…)