edo period

Okada Kyuta 岡田久太

?-1832malesakuraisato pottery The founder, Okada Kyuta (birthdate unknown–1832) also worked under the pen name Sakura Kyuta, and is said to have originated from Kaga, but this is currently unclear, and there are records of him working as a master ceramicist for Aoki Mokubei in Kyoto, earning him the title of Master of the Potter’s Wheel, and he mostly made thin teapots from white mud. Additionally, together with Ogata Shuhei, he also worked at the Sakuraisato ware kiln in Settsu. He passed away on 20 August.The name of Kyuta the 2nd (birthdate unknown–1877) was Kyubei and he inherited the founder’s potter’s (more…)

Okada Beisanjin 岡田米山人

1744–1820Okada Beisanjin was well-known as a master of Nanga (which focused exclusively on landscapes, birds, and flowers), and it has also been confirmed that he was on close terms with many artists and literati of the time and was versed in a wide range of fields, and this might have been what led him to dive into pottery in the latter stage of his life, creating tea bowls, ornaments, images of people, and tea ware in the Raku ware style, and his works branded with the stamps “Beisanjin” and “Uji” have been discovered intact. (more…)

Ohi Chozaemon 5th 五代 大樋長左衛門

1781 (or 1799)-1856maleohi potteryBorn as the eldest son of Chozaemon the 4th (Doan), he studied his father’s techniques and inherited the family business as Chozaemon the 5th in 1824.Patronized by the 13th Lord of the Kaga domain Maeda Narinaga, he presented the Opuku Tea Bowl to the court as is customary, and in 1850 demonstrated his skills in front of the 11th Tokugawa shogun, Tokugawa Ienari, at his main residence in Edo, maintaining his family’s legacy.Additionally, he was particularly good at making black tea bowls which use cut-out decorations and molds, and was said to be only second to the (more…)

Ohi Chozaemon 4th 四代 大樋長左衛門

1758–1839maleohi potteryBorn as the 3rd son of Chozaemon the 3rd, he inherited the family business and was well-known as a master artisan surpassing his predecessors, researching and developing the Ohi ware standard that include Ohi’s traditional candy glaze and Raku ware that used brown sugar glaze and white glaze. He made his mark with brilliantly made tea ware as well as artistic ornaments.In the year 1824, he retired and took on the name Doan. (more…)

Ohi Chozaemon 3rd 三代 大樋長左衛門

1728–1802maleohi potteryHe was born as the 2nd son of Ohi Chozaemon the 2nd, and inherited the family business. The 3rd’s branding stamp is different from his predecessors’ and uses a unique representation of Ohi, but he also preserved the works by the 2nd which were branded with oval-shaped branding stamps. (more…)

Ohi Chozaemon 2nd 二代 大樋長左衛門

1686-1747maleohi potteryHe was born as the eldest son of the first Chozaemon when he was practicing in Kyoto, and his birth name was Choji. He inherited his father’s name, Chozaemon, and business, and as the 2nd practiced the trade only for a short time, there are very few of his works that still exist, but his skills stood out the most among all the Chozaemon. (more…)

Obori Sama 大堀左馬

Early Edo periodmalesoma potteryHe established his kiln in Fukushima’s Obori. Later, he moved to Soma and rebranded his wares to “Soma ware”.During the Hoei era, he had 106 kilns. He drew pictures of horses on the teabowls and delivered them to be sold in the Kanto region. Later, in the Bunka era, he invited Kondo Tokichiro from Kyoto to learn and make even more sophisticated wares. (more…)

Ohashi Shuji 大橋秋二

1795–1857maleyoro potteryHe was born into the Inagaki family of botanists on the Nushima Island in Kaito District, Owari, but was later adopted by the Ohashi (Seiemon) Clan and mastered medicine.Shuji was a man of refined tastes and enjoyed tea ceremonies and painting, and he sought apprenticeship with Kyoto’s Ogata Shuhei and created replicas of various ceramic wares such as Seto, Karatsu, Hagi, Korai, and Mishimade. His outstanding talents were noticed by the Lord of the Owari domain, who invited him to court but he showed humility by rejecting the offer because it was not his primary job. Later in life, (more…)

Ogata Shuhei 1st 初代 尾形周平

1788–1839malekyo potteryBorn on 28 May as the 3rd son of the founder, Takahashi Dohachi, his brother (Nin’ami) became Takahashi Dohachi the 2nd.He trained under his father, Dohachi, and his brother, and moved to Kiyomizu Akoya, Kyoto in the year 1817, achieving independence but did not establish his own kiln and continued making pottery exclusively at the kiln shared with his father and brother at Gojo. In the next year, 1818, he was invited by Okada Kyuta to join the Sakuraisato ware school in Osaka’s Settsu. The next year, he was influenced by Ogata Kenzan’s pottery manual and took on the (more…)

Okuda Mokusa 奥田木左

1829–1879maleBorn as Okuda Mokuhaku’s son, he succeeded his father and took on the pen name “Mokusa”.It is said that he was a pottery master neither more nor less than his father, being talented at replicating Ninsei and Hagi’s wares and was commonly called Mokuhaku the 2nd. (more…)

Okuda Mokuhaku 奥田木白

1800–1871maleakahada potteryIn the beginning, he ran a shop (called Kashiwaya) selling household goods, but the family business was later closed down and he went independent with the name “Mokuhaku” and started making Akahada ware.His wares imitated Kyo ware in the beginning, replicating elaborate wares such as Ninsei and Satotomo’s wares, but he gradually started incorporating Nara paintings, Takatori and Hagi-style ware techniques, and even Raku ware and clay molds, showing talent in a variety of pottery schools. From artistic creations to decorating utilitarian vessels, he was and is still considered the master of Akahada ware, and his clay Noh ornaments (more…)

Daiki Toyosuke 4th 四代 大喜豊助

1813–1858malehoraku potteryBorn in the family of a potter who served the Owari-Nagoya clan as an official potter for generations. The family name of this kiln was Kato for generations, but after the third generation, the family name was changed to Daiki on his mother’s side. He is believed to be the fifth generation, although this is not known for certain due to the existence of multiple sources.He learned pottery from Kato Toyohachi, also he learned Japanese tea ceremony and literature of Kawamura Kyokuzen, and Haiku poetry of Yoshiwara Kozan.Other than Toyohachi’s pottery techniques, he also developed his own wares based (more…)

Kato Shubei 2nd 二代 加藤周兵衛

1848 – 1903maleseto porcelainKato Shubei was born the first son of first-generation Kato Shubei (business name: Haku-undo, ‘white cloud hall’), a potter who began making dyed Seto ware from around the end of the Edo period. In 1877, he inherited the household and took on the title Shubei II.While his father made blue and white ceramics, Shubei II received high praises from the Morimura Group (presently NORITAKE), and began producing ceramics for export overseas. Working exclusively with Morimura, he left behind wonderful pieces of Western-style tableware, which were characterized by their detailed art linework on thin materials. For the artwork, (more…)

Kato Monemon 6th 六代 加藤紋右衛門

1853 – 1911maleseto porcelainKato Monemon VI is part of a family of Seto ware potters who have passed down the title of Monemon for generations. The first-generation Monemon was active from around 1764 to 1780. The first three generations worked with firing pottery, but Monemon IV switched from firing pottery to firing porcelain in 1827 to meet the demands of the time.Monemon VI inherited his titled in 1870. He prepared for the new reforms issued by the Meiji government by refining raw materials and registering trademarks, and received high praises at exhibitions. Entering the decline of Meiji ceramic arts, in (more…)

Kato Zenji 3rd 三代 加藤善治

1848 – 1918maleseto potteryZenji is a name passed down through the generations of a family of potters in Owari.The first-generation potter was named Zenemon, who took on the artist name of Sobaitei and primarily created tea ware that paid homage to older works during the Bunka-Bunsei period from 1804 to 1830. He was also known for producing around 2,000 Kobo Daishi statues, which he distributed to the common people of the area, earning him the nickname “Kobo Zenji.”After Zenji I went into seclusion during the Tempo era (1830 to 1844), he passed his titles of Zenji and Sobaitei down to (more…)

Kato Gosuke 加藤五輔

1837 – 1915malemino porcelainKato Gosuke was born the first son of Kato Kaemon, who served at Kyoto’s Murakumo-gosho temple making blue and white ceramics.From the end of the Tokugawa shogunate to the early-Meiji era, he worked as a high-level artisan at Nishimura Enji III’s studio in Tajimi. Afterward, he went independent and worked under the name Seto Engosuke, using the skills he had learned to create products aimed overseas.He is well known as a quintessential Mino ware potter of the Meiji era, and was selected for a prize at the 1878 Exposition Universelle in Paris. (more…)

Kato Shunji 加藤春二

1864 – 1945maleseto potteryKato Shunji was born the child of potter Kato Genju of Owari-Seto toward the end of the feudal era. In 1890, he went independent when he was bestowed an elliptical emblem bearing the characters for “Shunji” from Tokugawa Yoshiakira, the 18th generation head of the Tokugawa clan. Later, in 1909, the 19th generation Tokugawa clan head, Tokugawa Yoshichika, bestowed upon him a golden aoi (‘hollyhock’) emblem. Thereafter, he made works such as bowls for the Tokugawa clan using a kiln named Aoi-gama.His works favor a classical style, and shine for their use of traditional techniques such as (more…)

Kato Kagenori 加藤景典

? -1849maleseto potteryThe 15th Seto Akazu ceramics potter in line beginning from founder Masataka, active in the latter half of the Edo period.He went by the name Shunzan, and specialized in Ki-Seto (‘yellow Seto-ware’), Setoguro (‘black Seto-ware’), and Oribe pieces, but few of his works remain, and many aspects of his life are unknown. Details are unknown, but he is reportedly Kato Shuntai’s father. (more…)

Kato Kiheiji 2nd 二代 加藤喜平治

Mid-Edo periodmaleseto potteryReal name: Kiheiji. Kato Kiheiji was a Seto potter active in Owari Province (modern-day western Aichi) between 1764 and 1772. He left behind masterful works under the name Shunzan that feature thick applications of Oribe and Shino glazes. (more…)

Kawamoto Hansuke 6th 六代 川本半助

1844 – 1905maleseto potteryBorn the child of Kawamoto Hansuke IV, he inherited the title of Hansuke VI after his older sister’s husband, Kawamoto Hansuke V, established a branch family.He created products for export, working to further efforts in research and improvement to aid the quality of his porcelain making. In 1881, he established the Seto Art Research Facility together with Inoue Ennen, pouring forth energy toward improving the products of Seto as a whole. That same year, he also launched the Seto Jikosha company with his brother-in-law, Masukichi, helping to promote sales of porcelain products. He was awarded the prize (more…)

Kato Shigeju 2nd 二代 加藤繁十

1829 – 1896maleseto potteryKato Shigeju II was the adopted son of first-generation Seto potter, Kato Shigeju, who would go on to inherit the pottery business.He studied white porcelain from the Qing dynasty (China), and imitated it to manufacture white porcelain pieces. Kato Shigeju II is also said to have pioneered “fuseyaki,” a method in which works are faced down during firing to prevent warping and to maintain shape.He received high praise at exhibitions, and his kiln continued until the fourth generation. (more…)

Kato Toju 加藤陶寿

1851 – 1916maleReal name: Tomotaro. Born the second son of Seto potter Kato Yohachi, Kato Toju began porcelain making after moving to Tokyo and beginning studies under Inoue Ryosai. Afterward, he received instruction from Gottfried Wagener and others at the Yamashita-mon Industrial Bureau Porcelain Making Test Center, and invented a unique red glaze named “Tojuko.” In 1882, he inherited Wagener’s western-style kiln and began operations under the new kiln name, Yugyokuen Ceramics. During this same time, he also worked as the factory manager at the ceramics manufacturing company, Edogawa Seitosho.Thereafter, he continued making dyed underglaze ceramics for export overseas which (more…)

Kawamoto Masukichi 川本枡吉

1831-1907maleseto porcelainKawamoto Masukichi was born the third sun of Kato Yasuzaemon. He began his studies at Kato Yuji’s kiln, where he trained as a ceramic maker.He later became the adopted son-in-law of Kawamoto Hansuke IV, and inherited the title of Kawamoto Hansuke V. In 1862, however, he yielded control of the family to his brother-in-law, Rokusaburo (the eldest son of Hansuke IV), branching off from the family. Afterward, he began ceramic work under the name Kawamoto Masukichi, working with trade ceramics primarily consisting of blue and white porcelain, and also creating works for exhibition, which ultimately earned him high praise (more…)

Kato Tahe 加藤太兵衛

Early Edo Periodmaleseto potteryGrandson of Kato Karasaburo (Kagesada). A man of Owari-Akatsu. Starting in 1658, he established kilns for the Nagoya domain. His three kilns, including Karasaburo and Nibei, were known as Mikiya Sanke. (more…)

Kato Sakusuke 加藤作助

1808-1893maleseto potteryReal name Sakube. Born into Owari Akatsu’s family of potters, he took over the family business as Kato Kagekiyo and was known for producing both Japanese and Western ceramics for daily use such as sake sets and tea sets. Renamed Sakusuke in his later years. Primarily focused on Furutabe and Kizeto studied by each generation of his family, specializing in tea-ware. (more…)

Kato Sosetsu 加藤素雪

1834-?Worked in Seto Mino-ware. Son of Kato Seisuke. As a descendant of Shunkei, he ran a ceramics sales business under the name of Yamasueya. Fond of the tea ceremony and calligraphy, particularly including distorted shapes. (more…)

Kato Shuntan 加藤春丹

?-1807maleseto potterySon of Kato Shunsei (19th generation) who worked in ceramics in the Seto kiln making Seto-ware. Specialized in tea-ware, particularly Seto-kuro, Oribe, and hand-twisted varieties. (more…)

Kato Shungyo 加藤春暁

?-1808maleseto potteryA potter in Seto, he worked as a kiln master making ceramics for the Owari clan.The 6th generation Shungyo (1862-1935) made a name for himself as a master of Seto kuro-ware and Shino-ware, but the business closed down in the 7th generation. (more…)

Kato Shunka 加藤春花

-1884seto potteryDescendant of Kato Kihei, an associate of the Seto-ware potter Kato Motomura in the Onin period (1467-68), Kato Shunka is said to have been active in the late Edo and early Meiji periods, he was known at the time as a good worker. He was adept at painting with his fingernails, and left quite a few of these paintings when he died in 1884. His third son Tokusaburo Masanobu succeeded him as the second Shunka, but and in 1935. His first signature uses an oval mark and the second uses a frameless mark. (more…)

Kadoya Masakichi 加登屋政吉

Tenpo period (1831-1845)-?maleohi potteryWorked under the name Goryu-Ken. Worked mostly in Ohi-ware. Studied under Ohi Kanbei (5th generation). Ceramic work primarily focused on Raku-style teabowls. (more…)

Kameya Kyokutei 亀屋旭亭

1825-?malekyo potteryWorked with Kiyomizu-ware at the Asahitei kiln. Son of Sakuragi Seikichi. Studied under Miyata Kameju. Had Ito Tozan as a pupil. (more…)

Kawamoto Jihyoe 2nd 二代 川本治兵衛

1801-1865malePrimarily focused on Seto blue and white dyed ceramics. Son of the first generation Jihyoe. Made great contributions along with Kawamoto Hansuke to modern Seto porcelain dyeing. His eldest son was Inoue Ryosai (2nd generation) who was active as a pioneer in Meiji ceramics in Sumida, Tokyo. (more…)

Kawamoto Hansuke 4th 四代 川本半助

?-1857maleseto potteryWorked under the name Masue-en. He was the 4th generation Hansuke of a group of potters working in the area for many generations, and he is known for having shifted the focus from pottery kiln to porcelain production during the Bunka period (1804-1818). With his constant exploration of porcelain firing techniques, he is considered one of the true master craftsmen of history. During the Tenpo period (1830-1843) he developed a method of producing porcelain with an elegant luster via crushing Giyaman diamonds and this became very popular as a method of production along with his use of Shonzui styles. (more…)

Kamei Hanji 亀井半二

?-1851maleA painter from Seto. He first worked for Mori Takamasa, primarily focusing on bijin-ga (paintings of beautiful women), but later moved to Kyoto where he was under the patronage of Yamamoto Baiitsu. Worked in Chinese-style dyed painting and gold-painted porcelain in the kilns of Kawamoto Osamu and Kawamoto Hansuke. Such works made by Kawamoto Osamu’s kiln (Kansendo) or Kawamoto Hansuke (Shintoen) are generally marked with the characters “Hanji” or stamped or hand-painted with wonderful Chinese-style paintings on gosu porcelain. Those with the inscriptions “Hanji” and “Seito” are collectively known as Hanjiyaki. (more…)

Kanzan Denshichi 幹山伝七

1821-1890malekyo porcelaintoko porcelainStarting from the second year of Bunkyu (1862) he worked making Koto-ware for Ii Naosuke of the Hikone domain until the kiln was abandoned. He then moved to Kyoto where he established the fist kiln dedicated to producing porcelain and worked under the name Terao Denshichi. In the first year of the Meiji era (1868) he worked to supply the Kyoto Prefectural Office, following which he studied 13 styles of Western painting (such as Western cobalt) under Wagner and produced Japan’s first Western-style paintings. In the following three years, production was renamed Matsuuntei and he worked under the (more…)

Kawakami Fuhaku 川上不白

1719-1807male He was born in 1719 as the second son of Kawakami Rokudayu, a vassal of the Mizuno family of the Kii-Shingu domain.He became an apprentice of Nyoshinsai, the seventh generation of Omote-senke tea ceremony school in Kyoto, and participated in the establishment of the seven tea ceremony procedures (Practice methods established to cultivate the spirit and techniques of the tea ceremony).In 1750 (Kan’en 3), he moved to Edo (present-day Tokyo) in response to Nyoshinsai’s wish to spread the Senke tea ceremony in Edo[2]. Later, as the Senke tea ceremony by Fuhaku spread in Edo, with Tanuma Okitsugu as well (more…)

Kato Toyosuke 3rd 三代 加藤豊介

1778-1864malehoraku potteryA ceramist working for the Owari clan. Worked primarily with Nagoya horaku-ware. Son of Toyohachi. Made ceramics at Kakuri in the south of Maezu Banshoji. Appointed as master potter for the Owari clan in Tenpo 13 (1843) for whom he produced Raku-ware bowls from earthenware furnaces. Later received the silver seal of horaku from the domain lord Tokugawa Naritaka and was sent the two characters of “horaku” by Urasenke Gensai. From Toyosuke the 5th his surname changed from Kato to Daiki and then to horaku the 8th. (more…)

Enomoto Shisui 榎本紫水

1793-1865tamagawa potteryAlso known as Tamagawa Shisui. Originally a poet and general hobbyist, they studied at various kilns in places such as Kyoto, Seto and Imari starting some time around the 12th year of Bunsei (1829) and worked on research into techniques. During the Kaei era (1848-58), founded a kiln on the Tama River at Musashino Kuni Tamagawa. They are said to have been excellent at copying such as Ninsei copying and Ryoiri copying and his technique was so deft that he was called a “master of counterfeit.” They also learned about the making of tea-ware from Urasenke’s 11th generation Gengensai. (more…)

Eiraku Zengoro 14th Tokuzen 十四代 永楽善五郎 得全

1853-1909malekyo potteryEiraku Tokuzen. Eldest son of 12th generation (Wazen). Specialized in copying Ninsei’s painting as well as red painting. His painting was masculine and frank, unprecedented in the Eiraku family for generations, but not to a slipshod degree due to its use of more advanced technology. In the first year of Meiji (1868), Nishimura’s surname was abolished and replaced with Eiraku. Exhibited Eiraku-ware at the Vienna Expo in 1873 and also at the Philadelphia Expo in 1876, and won the Flower Crest Award. Also received awards for his water pitchers and incense containers at the 1878 Paris Expo and 1881 (more…)

Eiraku Zengoro 13th Kyokuzen 十三代 永楽善五郎 曲全

1819-1883malekyo potteryRial name was Nishiyama Tosuke. From an early age, he was raised by Hozen and worked from the age of 8 years old. Working well with Wazen and Hozen as well as being active in the Omuro kiln and with Kutani-ware. Due to his efforts for the Eiraku family, he and Sozaburo (Kaizen) became the 13th generation to keep the tradition of Wazen alive. He was given the title Eiraku Kyokuzen. (more…)

Nishimura Sozen (Eiraku Zengoro 1st) 西村宗禅 (初代 永楽善五郎)

?-1558malekyo potteryGave himself the surname Nishimura because he lived in Nishinokyo Nishimura in Yamato province. At first, he was involved in delivering common equipment to Kasuga Shrine, which became his business, but this was recognized by Takeno Jo, tea-master at the time, for whom he made a clay stove, which is the foundation of the current clay stove known as the “Nara clay stove.” In his later years, he inherited the name Zengoro from the master of clay stoves Zengoro. (more…)

Eiraku Zengoro 14th Myozen 十四代 永楽善五郎 妙全

1852-1927femalekyo potteryShe was Tokuzen’s wife. Following the death of Tokuzen, named herself Eiraku Zengoro XIV and made efforts to protect the family business, raising his son as Zengoro XV. Received the title “Myozen” in 1914 from Mitsui Takatoshi with boxes containing the work stamped with the seal of the 14th generation Tokuzen along with the letter Yu (悠) as written by Mitsui Takatoshi. Many of her works were Seisai Sosa’s taste, elegant, and feminine. (more…)

Eiraku Zengoro 13th Kaizen 十三代 永楽善五郎 回全

1834-1876malekyo potteryOriginally the second son of the painter Sano Chokan, his real name was Zenjiro. He was sent to work with Hozen from the age of 13. Following that, he worked hard with Hozen and Wazen as a substitute for Hozen in his later years. He accompanied Wazen in the improvement of Omura-kiln and the revival of Kutani ware. Due to his contribution to the Eiraku family, he and Tosuke (Kyokuzen) became the 13th generation. He was given the title Eiraku Kaizen. Later split his house and named himself Nishimura Sozaburo. (more…)

Eiraku Zengoro 9th (Nishimura Sogen) 九代 永楽善五郎 (西村宗巌)

-1779kyo potteryBetween 3rd-9th generations, the Eiraku residence moved from Gojo-kami in Kurumayacho (around the time of 5th generation Soken) to Higashinotoin Gojo-shimo (from 5th generation Soken to 6th generation Sosada) and changing addresses several times from the latter years of Sosada to the time of Sojun before entering the eastern section of the current temple and deepening relations with Sansenke. (more…)

Utsumi Kichizo 内海吉造

1831-1885malekutani porcelainWorked as a factory manager at Abe Oumi Ceramics Factory. Exhibited decorative porcelain at the Philadelphia Centennial International Exposition in 1876. Awarded third prize at the Uchikoku Expo in 1881 for his kachosansui flower vase and confectionary bowl. Invented a technique for re-baking spots using Kutani-ware gold paint. After that, he went independent and established Ishun-sha company, where many ceramics artists studied and trained. (more…)

Uno Ninmatsu 宇野仁松

1864-1937maleStudied under Seifu Yohei (3rd generation) before going independent. Pursued the learning of techniques not known within Kyo-ware at that time, such as Chinese cinnabar glaze and Turkish matte glaze, helping to lay the foundation for modernization in Kyoto in terms of overseas trade. Also famous as the father of the Uno Souji (1st generation) and Uno Sango, and as the mentor of modern sculptor Isamu Noguchi. (more…)

Urano Kenya 浦野乾哉

Late Edo period-1923maleLived in Imado, Asakusa. Studied pottery under Miura Kenya. Exhibited at the Paris World Exposition in 1900, after which he moved to Iriya where he was adopted by Ogata Keisuke, descendant of Ogata Kenzan. Later became the sixth generation Kenzan Ogata. Among his apprentices are such masters such as Bernard Leach, Tomimoto Kenkichi, Uchijima Hokuro, and others. (more…)

Uemura Hakuo 上村白鴎

1754-1832maletokoname potteryKnown for Tokoname-ware. Succeeded in firing idotsu (well cylinders) whole, a method still in use today. Also demonstrated his talent in creating tea-ware and figurines using hand-twisting techniques. Many enthusiasts even today revere Uemura as one of the most renowned master craftsmen of the Edo period. He was also well known as a singer and poet. Later in life, he was invited to the han domain’s Ofuke kiln where he engaged in making ceramics with Hirasawa Kuro. (more…)

Uguisudani Shohei 鶯谷庄平

1830-1912maleWork at the Kanazawa Town Hall as a young man, but after the abolition of the feudal han domain system, he learned how to make Raku ware and tea ceremony ceramics working under Hara Gozan. He moved to Kyoto in 1977 where he worked at Gojozaka, returning Kanazawa two or three years later. After handing his kiln over to Nozaki Sakichi in 1985, he built a small kiln in Yuki. His work is said to be an excellent imitation of the mid-Edo period artist Aoki Mokubei, who favored the Kyo-ware style. (more…)

Akai Tonen 3rd 三代 赤井陶然

1818-1889maletokoname potteryExhibited Nanban wares and vases at the 1st National Expo in 1877, and he exhibited Nanban reproductions and vases at the 2nd National Expo in 1881. He was adept at reproducing Nanban wares such as tea sets, sake sets, and vases.Akai Tonen I lived 1762-1829, II lived 1796-1858, IV lived 1843-1914. (more…)

Asai Shusai 浅井周斎

1720-1800malenanzan potteryAfter retiring from a position as a wealthy merchant by the name of Kawasakiya Genbe, he established a kiln on Yamashiro Yawatashi Hatogamine Nanzan in 1758 and opened Nanzan Ware. (more…)

Akamaru Setsuzan 赤丸雪山

Late Edo Period-?kutani porcelainA Kaga Province potter from the end of the Edo period through the Meiji period, established a workshop with Takayama Suzan in 1865, and gathered local Kutani ware potters to produce Akae and Kinran tea wares.In 1872, opened their own workshop and hired more than 40 potters and painters to produce and sell works under the name Setsuzan-do. (more…)

Kano Tanrei 狩野探令

1857-1931malekutani porcelainReai name is Araki Jotaro. Born to a Tozawa domain leader in Dewa Province.He went to Edo to study under the Kajibashi Kano family’s student Kakikawa Ensai, and he also studied the Kano school paintings under the family’s teenage Kano Tanbi. Afterwards, he was active in exhibitions like the Japan Art Association Exhibition.During the time that the 1907 Ministry of Education Bunten Exhibition was held, he participated in the Society of Orthodox Schools, becoming their executive secretary. He also took part in the formation of the Kano Association with Kano Tadanobu, Okakura Shusui, and Oka Fuho.In addition to his (more…)

Asami Gorosuke 浅見五郎助

1829-1895malekyo potteryBorn as the second son of Higuchi Munentaka, the feudal lord of the Settsu Takatsuki Domain, he was later adopted by the Asami family in Kyoto and became a potter under the guidance of Rokubei II.He opened a kiln in Gojozaka, Kyoto in 1852, wherein he produced utensils and tea wares such as porcelain and pottery teacups, confectionery bowls, and drinking vessels.He was particularly adept at duplicating Shonzui works, and naturally began calling himself “Shonzui Gorosuke.” From then on, the name Gorosuke and his style of pottery became a representation of Kyoto wares from generation to generation, even until (more…)

Hirasawa Kuro 平沢九朗

1772-1840maleseto potterySamurai and ceramic artist during the late Edo Era.Born in 1772, he was a member of the Owari Nagoya Clan. Hirasawa enjoyed the tea ceremony, and made teaware in the seto and karatsu styles in his free time. His creations had a unique quality and were known as Kuro-yaki. He died at the age of 69 on June 23, 1840. His name was Kazusada. His alias was Seikuro. Also Konjyakuan. (more…)

Taizan Yohei 帯山与兵衛

early Edo priodo-1895malekyo potteryThe kiln was first opened in 1673-1681 by Takahashi Tokuro from Omi Province under the name of Taizan Yohei in Awatayama, Kyoto, and the kiln was continued until the ninth generation of the family in middle of the Meiji period.During the second, third, and fourth generations, he produced matcha bowls, drinking vessels, and other wares and protected the family business well.During the era of the 5th Yohee, he established the technique of celadon porcelain in the Bunka period (1804-1818). And during the Tenpo period (1830-1843), the 6th generation began to produce painted porcelain and developed works by (more…)

Takemoto Hayata 竹本隼太

1848-1892maleBorn into a family of hatamoto that served the Tokugawa shogunate for generations, he was active in national affairs at the end of the Edo period, but lost his job after the restoration of the Meiji government.After the Meiji Restoration, he began to make pottery under the name of Gansuien, inspired by his father’s hobbies of ceramics and bonsai and by his acquaintance with the Seto potter, Inoue Ryosai. He played a pioneering role in modern craftsmanship by perfecting the method of firing using press moulds and was awarded the Kamon award at the first National Industrial Exhibition in 1877 (more…)

Takugen Yasuke 啄元弥介

1747-1830maleraku potteryAfter the death of the 9th Ryosai, who was a cabinetmaker for Omotesenke School.Although the style of his work is Raku style, he is said to have excelled in the technique of Akaraku ware.Takku retired from the pottery business around 1825 and called Takugen The pottery business was handed over to the second generation he but continued to produce pottery.The 2nd Takugen was also engaged in Ryosai’s Kairakuen Pottery business and received the seal of “Kyuraku” from the Tokugawa family. (more…)

Tanaka Haseki 田中巴石

1855-1919maleokayama korakuen potteryAfter training in pottery making techniques at Mushiake-gama-kiln and Ako-yaki-gama-kilns in Okayama Prefecture, he opened a kiln under the name Zanmuken in the ruins of an old Korakuen kiln in 1907, and revived Korakuen ware by producing works in the style of Raku ware. (more…)

Tashiro Monzaemon 田代紋左衛門

1817-1900maleIn 1857, he acquired Dutch trading rights from the Hisatomi family and England trading rights from the Saga Clan in 1960, and imported thin ware of Mikawachi-yaki pottery, such as lids cups and coffee cups, and painted them with indigo and red paintings, and exported them mainly to Europe, Shanghai and New York. Later on, he established Tashiro Trading Company to take over the Saka Trading Company in Nagasaki and expanded his business. (more…)

Tachikichi たち吉

1752- Tachikichi is a long-standing pottery distributer in Kyoto. The company makes pottery designs, sends them to potteries for manufacturing, then sells them.It is said Tachikichi, formerly Tachibanaya Kishibei, was first founded on Shijo and Tominokoji streets in the center of Kyoto in 1752, in the late Edo period, which means they have a history of over 250 years.Around 1955, they rapidly increased their sales with a method called “buying club” (a type of subscription), and became famous nationwide. Tachikichi orders from the following potteries: Kutani ware, Mino ware, Seto ware, Tokoname ware, Yokkaichi Banko ware, Shigaraki ware, Kyo ware, (more…)

Kakizaki Kimie 柿崎喜美枝

1937-femaleLearned from her husband Rakjo. Opened a pottery class in his hometown Mori town Kayabe district, Hokkaido. Mainly used ash glaze for tableware. (more…)

Notomi Kaijiro 納富介次郎

1844-1918maleBorn as the second son of Shintoist Shibata Hanamori (1809-1890), a samurai of the Saga clan, he learned painting from his father at an early age and was adopted by Confucian scholar Notomi Rokurozaemon when he was 16 years old.He also traveled to Shanghai with Nakamuta Kuranosuke, another Saga clan member, and Takasugi Shinsaku of the Choshu clan to work on trade research.At the beginning of the Meiji era (1868-1912), he moved to Yokohama in 1871 to study trade, and studied Western-style painting on the side.In 1977, he established Edogawa Pottery and devoted himself to experimental projects such as the (more…)

Kosenjo pottery 古戦場焼

End of the Edo period – Early Meiji periodIt is one of the Owari ware of the last days of the Tokugawa shogunate, and was fired by Seto potter Kato Katsusuke Harunaga in Okehazama, Chita-gun, during the brief period between Kaei (1848-54) and the beginning of the Meiji era (it is believed that the kiln was closed in 1871).The kiln fired mainly tea utensils and sake cups as well as daily life goods. (more…)

Eiraku Zengoro 12th Wazen 十二代 永楽善五郎 和全

1823-1896malekyo potterykutani porcelainAlso known as Nishimura Wazen. Eldest son of Hozen. He was very fond of Ninsei, and in 1852, he and his younger brother-in-law, Munesaburo (Kaizen) opened the new Eiraku Omuro Kiln on the remains of the Ninsei Kiln. Afterwards in the 14th year of the Tenpo Era (1843), he inherited the 12th generation name of Eiraku due to his father Hozen’s retirement.After that, in the second year of the Keio Era (1866), he was invited by Maeda Toshinaka of the domain of Daishoji in Kaga, and he opened the Kutani Eiraku Kiln with Munesaburo and his son Tsunejiro (more…)

Eiraku Zengoro 11th Hozen 十一代 永楽善五郎 保全

1795-1855malekyo potteryAlso knon as Nishimura Hozen. At first, he was a “kasshiki”, an attendant charged with announcing mealtimes to the monks, working under Daiko Sogen at Daitoku-ji Temple. However, with Daiko Sogen’s help, he became an adopted child of Ryozen when he was around 12 or 13 years of age. After that, he researched the making of pottery, and in 1817 (14th year of the Bunka Era), he succeeded to the name of Zengoro. Then, in 1827 (10th year of the Bunsei Era), he, along with his father Ryozen as well as others such as Kyukosai Sosa and Raku Tannyu, (more…)

Eiraku Zengoro 10th Ryozen 十代 永楽善五郎 了全

1771-1841malekyo potteryAlso known as Nishimura Ryozen. Born to the Ninth Generation Sogan, he lost both parents at a young age, then lost his home in the Great Tenmei Fire. Was able to restore his household in Ichijobashi with assistance from the Sanzen family among others. In addition to his trade of manufacturing Doburo tea kettles, he also had experience working with Seto, Annam, and Kouchi ware. In 1817 (14th year of the Bunka era), he adopted the name of Ryozen, with the character “Ryo” being taken from Ryoryosai Sosa of the Omote Senke school. Because the generational records, as well (more…)

Nakagawa Rokyaku 中川鷺脚

late edo period-rokyaku potterymaleIn 1877, Nakagawa Yujiro (year of birth and death unknown) of Himeji, Hyogo Prefecture entered ‘Eiseisha’, a company succeeding in Tozan-ware from Himeji, and studied pottery under Shibata Okyaku. Later in 1881, he became independent in Koshomachi, Himeji City under the name of Nakagawa Rokyaku.Things like hand-formed teapots, tea implements and vases, were fired using clay from Itohiki Village Kaneda, and Nanga mountain water landscapes and crabs etc., were used as decorations. It is known as Rokyaku ware. (more…)

Imura Hikojiro 井村彦次郎

? -1897maleyokohama porcelainfocused on the fact that the painting of ceramics for export that was being done in Tokyo at the start of the Meiji era was flourishing. He transported materials from the Nobi region to Yokohama, and around 1875 (year 8 of the Meiji era) he gathered talented artists and materials from each region, and established a factory in Yokohama that specialized in over-glazing. Initially, after establishing the first factory in Onoe Town, Yokohama, it grew steadily and developed into a large export company with a total of four factories such as in Aioi Town and Tokiwa Town. Together (more…)

Kubo Soshun 1st 初代 久保祖舜

1841-1921maleyashima potteryIn year eight of the Meiji era, a potter originated Kankake-ware in Shodoshima, the origins of which are said to be Gennai-ware, which was originated by Hiraga Gennai. Using soft clay in the style of Raku-ware, it is characterized by its dark brown/dark green glaze.Also, the kiln was moved to Takamatsu in year 38 of the Meiji era, and the previous Kankake-ware was improved and Cochin-style (Kankakei-ware or Soshun-ware) pottery was made and sold as a specialty of the area. Later on it was also renamed Yashima-ware (Different from the Mitani family). After the death of Komakichi, his child (more…)

Kikko Shogetsu 1st 初代 吉向松月

1784-1861malekikko potteryHe was born as the son of Toda Genbei, a samurai of the Ozu domain in Iyo Province.His family name was Toda (later Yoshimukai), his given name was Jihei, and his given name was Jusoken or Shogetsu.He studied under Raku Ryonyu, Kiyomizu Rokubey, Takahashi Dohachi, and Asai Shusai.He studied pottery in Kyoto and opened his own kiln in 1804 in Juso village in Osaka (now Yodogawa Ward, Osaka City).Jihei had no heirs, so he called his family’s Kameji to adopt his nephew Yoemon.In 1819, under the order of Mizuno Tadakuni, the magistrate of temples and shrines, Jihei presented food (more…)

Abe Omi 阿部碧海

1841-1910malekutani porcelain A businessman from the Meiji era who exported items overseas with a focus on Kutani ware.He started the “Omi kiln” in 1869 for members of samurai families; appointed Utsumi Kichizo as the factory chief; invited Haruna Shigeharu, Iwanami Gyokuzan, Iiiyama Katei, and other exceptional potters; and began production with roughly 80 artists. At the same time, he sought trade routes for overseas exports, cooperated with Marunaka Magohei to open branches in Kobe and Nagasaki, and won awards while exhibiting at the Paris 1878 Exposition. However, the factory was closed in 1880 due to the business worsening. (more…)

Setosuke 瀬戸助

early Edo period (1603-1868 CE) The name and mark of “Setosuke” have been passed down and remembered in Edo, Iyo, Kyoto, Ise, Echizen, Kaga, and Etchu, but it is unknown whether they are all the same individual, they are different potters of the same style, or they are potters that have traveled completely different paths. In general, it is said that Iyo Setosuke involved a potter in Seto (Setosuke) being invited to fire earthenware by Matsudaira Sadayuki, the feudal lord of the Matsuyama Domain, when he retreated to Higashino in 1658. He is said to have been adept at making (more…)

Kin’unken 錦雲軒

This is a kiln in Awataguchi, Kyoto that Osaki Kyubei operated from the Bakumatsu to the Meiji era.At first, it mainly produced painted ceramics, such as patterns of painted plants and flowers, that were unique to Awata ware, but once the Meiji era began, it started to engage in overseas trading with Kinkozan and Obiyama. In addition, when the Kyoto Prefectural Government established an office to encourage industry and promoted the research and improvement of various handicrafts, Osaki Kyubei incorporated cloisonne techniques into his company to produce ceramics and cloisonne ware to be sold overseas.For cloisonne ware, he started the (more…)

Sakaguchi Sazan 坂口砂山

The end of Edo period-maleuchide potteryHe is a potter of the Uchide ware style who thrived in Ashiya City in Hyogo Prefecture from the Bakumatsu to the Meiji era.Among his existing works, there are many high-quality tea sets of the Kyo ware style. He was especially adept at copies of Ninsei’s works. (more…)

Nishiura Enji 5th 五代 西浦圓治

1856-1914maleThe 1st generation Nishiura Enji was a potter from Tajimi in Mino Province and endeavored to improve Mino ware, even becoming the executive director of the Mino Kiln around the Bunsei eta (1818 – 1830). However, the 3rd – 5th generation Enji would begin to establish their works as Nishiura ware around the Meiji era to the Taisho era.In terms of styles, the 1st and 2nd generations mainly focused on blue and white pottery during Bakumatsu, but starting around 1883 under the lead of the 3rd generation, overglaze and other techniques were used to produce works with elaborate Japanese decorations (more…)

Tominaga Genroku 富永源六

1859-1920malearita pocelainnabeshima porcelainHe was born as the eldest son of the kiln owner Tominaga Seibei and succeeded the family business in Meiji 22 (1889). He constructed a new kiln and repeated research and improvements to create his own style that combined a high-quality base that is on the same level as Arita ware with the inked outlines for the underglaze used in Nabeshima ware.Furthermore, the characteristic works that incorporate Art Nouveau elements represented Saga Prefecture during the 4th National Industrial Exhibition in Meiji 28 (1895) and won 2nd place at the Arita 52 Competitive Exhibition during the following year. His (more…)

Fukuda Kyokusui 福田旭水

1856-1928malekinkazan pottery He is a potter of Kinkazan ware.At first, Kyokusui was a tea store owner, but he began creating Raku ware, which carried on the traditions from the Edo period, along with other students of tea ceremony. In addition to Raku ware, he opened a kiln and began creating teacups, tea sets for green tea, and tea bowls, as well as goods for daily use. At the time, his works were widely distributed as craft goods near the foot of Mount Kinka in Gifu Prefecture, but few are presently in existence, making them valuable as materials for research.His signature (more…)

Morishita Mokuji 森下杢二

1823-1889maleisuzu potteryHis real name is Mokujiro. He trained thoroughly under the Tokoname ware potter Matsushita Sanko since he was a child and opened a Mayake kiln in Sakai, Tokoname in 1879.Although he exclusively fired pots and jars at first, he gradually began to create tea sets for green tea and matcha tea. In particular, he became famous as a master of glazed water droppers.Furthermore, under the guidance of Raku Kichizaemon (maybe 11th generation Keinyu) in Kyoto, he learned the techniques of Aka Raku and created Raku ware.In addition, he was invited to make Isuzu (-gawa) ware in Ise and gave (more…)

Kashu Minpei 加集民平

1796-1871maleawaji potteryWhile engaging in his original business of brewing soy sauce, he devoted himself to tea ceremonies and incense-burning ceremonies and began making hand-molded earthenware.In Tenpo 3 (1832), after traveling to Kyoto to study ceramic art techniques seriously under Ogata Shuhei, he invited Shuhei to Awaji Island and began creating Awaji ware (Minpei ware) by incorporating the polychrome pottery techniques and designs of Kyo ware.Around the late Tenpo era, he was invited by the Tokushima Domain in Awa Province to create earthenware. Since then, he created a wide variety of copies of earthenware styles, including Kyo ware, Chinese pottery, Cochin (more…)