1924-2005
male
tokoname pottery
living national treasure
Born the eldest son of the second generation Yamada Jozan, he studied under his father and grandfather, who was the first generation Jozan, while attending school, in order to inherit the family business.
In 1947, after the death of the first generation, his father succeeded the name as Jozan, and Minoru took on the name his father used to have, Sho-jozan (means little Jozan).
In 1958, he was chosen for a prize for the first time in the Fifth Japan Traditional Kogei Exhibition, and he received the Grand Prix at the Brussels International Exposition in the same year. After receiving awards such as the First Class Asahi Prize in the Seventh Daily Life Kogei Exhibition in 1959, he was inaugurated as a full member of the Japan Kogei Association in 1962.
In addition, he succeeded the name as the third generation Yamada Jozan from 1961, following the death of his father.
The 1970s became an opportunity for him to be rated highly on an international scale, such as displaying his work in the Osaka International Exposition in 1970 and in the Third Biennale International Ceramics Exhibition in 1973 (received the Honorary Top Grand Prize.)
He also started the Tokoname “Handcrafting Teapots Society” with other local pottery artists to hand over traditional Tokoname ware, assuming office as the society’s president.
Not content with tradition, he continued his research day by day, such as completing his original technique of firing a teapot with its lid still on with an old Tokoname anagama kiln, and then pouring natural glaze on top as it is. In 1994, he was acknowledged as an Aichi Prefectural Designated Preserver of Intangible Cultural Property, and he went on to be acknowledged as a Nationally Designated Important Intangible Cultural Property (Living National Treasure) in 1998.
He excelled in the technique of producing teapots (mainly the type used for sencha tea) to the point that it is said that Tokoname shudei pottery is equatable to Yamada Jozan. He produced a wide range of works, from classical pieces to innovative works aligned with modern purposes, and it is said that there are over 100 designs that served as prototypes.
In addition, apart from teapot works, he has also left remarkable pieces such as sake cups, pots and large bowls.
