Japanese potters

Naito Gizan 内藤義山

1944-maleHe has a history of being a prizewinner at the Tokai Traditional Crafts Exhibition, Kofukai Exhibition, and Japan New Crafts Exhibition, etc. Currently, he is active in his own Kakujo Kiln Gallery a permanent spot sale exhibition, as well as solo exhibitions at galleries mainly around his hometown of Aichi prefecture.He focuses mainly on ash glaze, natural glaze, and white slip ware etc. (more…)

Nagaoka Kumi (Nagaoka Sumiemon 9th) 長岡空味 (九代 長岡住右衛門)

1874-1960malerakuzan potteryAround 1716, in response to the crisis of the abolition of Rakuzan- ware (around the time of the 4th generation Kada Hanroku), that was pottery in the same area where Matsudaira Fumai, the lord of the Matsue domain was, he invited a person called Sumiemon, who was a Fujina-ware potter, and centered around the rakuzan-ware kiln the search to revive it began. From then he took over from Nagaoka Sumiemon and became the 9th generation of Rakuzan-ware in a family of potters that continued to produce Oniwa-ware of the Matsue domain from generation to generation. He was also known (more…)

Nakamura Donen 3rd 三代 中村道年

1938-1987maleraku potteryBorn as the eldest son of 2nd generation Nakamura Donen, after graduating from high school, he was involved with the traditional Yagoto kiln and practiced the family art technique of Koetsu-style Raku-yaki. Later, he married Ms.Keiko who had succeeded to the 4th generation name in 1966. In 1973 he succeeded to the name of 3rd generation Donen and held exhibitions in Hiroshima and Tokyo. Later, he held solo exhibitions, father-son exhibitions, generational exhibitions, etc., in various places to present his work, but he died at the young age of 49. (more…)

Nakamura Donen 4th 四代 中村道年

1938-femaleraku potteryShe was the wife of 3rd generation Nakamura Donen, but died at the young age of 49. Her eldest son was still a student and could not inherit the business, so she succeeded to the name of 4th generation herself.In 1989, she received the name of Ama-yaki Nakamura Donen from Omotesenke Jimyosai Sosa, and produced works of tea bowls through Raku-ware, carefully protecting the traditional Yagoto kiln. (more…)

Nagahara Eizou 永原英造

?-1886maleFrom Izumo Province (Shimane Prefecture).Born as the third son of 2nd generation Nagahara Yozo, he prospered with his involvement in Kagurazaki-ware. The sculpture-like works among these are regarded as being Eizo’s work.Later, he served as a supervisor of Hoeizan-ware etc., and in terms of artwork, through his own study, he excelled at copying that period’s Kyo-ware of Rokubei, Dohachi, and Eiraku, etc. (more…)

Nakamura Shuto 中村秋塘

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

Nagahara Eisuke 永原永助

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

Nakagawa Kazumasa 中川一政

1893-1991maleHis work ‘Sakagura’ displayed at the Tatsumigakai exhibition in 1914 was recognized by Kishida Ryusei and made him a prizewinner for the first time.Later, he studied under Kishida Ryusei and fully devoted himself to his work as a painter with the aim of improving his oil painting techniques. In addition, he participated in the formation of Sodosha, Shunyokai, and the Sumito Club, etc., and established a position in the Western painting world. Furthermore, in 1975 (Showa 50), he received the Order of Culture and was successful as a master in the Western painting world, in both name and reality.He also (more…)

Nakamura Donen 5th 五代 中村道年

1967-maleraku potteryBorn as the eldest son to father 3rd generation Nakamura Donen, and mother 4th generation Nakamura Donen, who disciplined him in ceramics techniques . After graduating from college, in 1990, he studied under Shigetoshi Nakazato of Karatsu-ware for 2 years. He returned two years later in 1992, got involved at the Yagoto kiln and started making pottery whilst assisting his 4th generation. He held a ‘parent-child exhibition’ together with Ama Donen at the Maruzen Gallery in Nagoya. He succeeded to the name of 5th Nakamura Donen in 2001, and held solo exhibitions commemorating his naming in various department stores (more…)

Tomita Gyokuou 富田玉凰

1931-malekyo potteryThe second generation to inherit the Tamaki kiln that was first made in the early Taisho era in Torin-cho, Higashiyama, Kyoto. Mainly produces tea utensils and tableware. (more…)

Togo Jyukatsu 東郷寿勝

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

Tomioka Haruko 富岡春子

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

Tokoyama Gyokuho 床山玉侊

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

Totei 桃亭

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

Toshikian Kisabu 年木庵喜三

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

Tokuriki Sonsaburo 徳力孫三郎

1908-1995malekyo potteryBorn as the third son of Tokuriki Yusetsu (11th generation) in the family of the Honganji painter.He started making pottery under the guidance of Tomimoto Kenkichi and Kawamura Seizan, and in 1947 he contributed to the founding of “Shinsyo kogei-kai (New Crafts Association),” presided over by Kenkichi Tomimoto. Since its founding, he had been submitting his work for exhibition as a founding member.He received the Kyoto City Cultural Achievement Award in 1982. He has produced plaque plates, vases, figurines, etc.His other brothers include printmaker Tomikichiro Tokuriki, his eldest brother, Hikonosuke Tokuriki, his second brother, and Makinosuke Tokuriki, his younger (more…)

Tokuriki Makinosuke 徳力牧之助

1910-1986malekyo potteryHe was born as the fourth son of Tokuriki Yusetsu (11th generation in the Tokuriki family), who has been a prominent painter for Honganji for generations.He first aspired to specialize in sculpture, and studied at the sculpture department of Kyoto City University of Arts, and subsequently at the modeling department of Tokyo Fine Arts School (dropped out), but later turned to ceramics and presented his works at the New Crafts Exhibition with his brother Magosaburo.His other brothers are printmaker Tokuriki, Tomikichiro, his eldest brother, and Tokuriki Hikonosuke, his second elder brother. (more…)

Tomoda Yasukiyo 友田安清

1862-1918malekutani porcelainHe learned ceramic painting from Utsumi Kichizo and Iwanami Gyokuzan, and Japanese painting from Kono Bairei and Kishi Chikudo. After studying with designers Notomi Kaijiro and Gottfried Wagner, who were both art traders and craftsmen, he became a teacher at Ishikawa Technical Senior High School in 1889 and became the director of the Ceramics Laboratory in Izushi, Hyogo Prefecture in 1899. After that, in 1906, he returned to Kanazawa and established Tomoda Gumi (later Nikko / Nippon Hard Pottery Co., Ltd.), and directed pottery production as the chief engineer, mainly manufacturing tableware for export with subtly-angled designs and shapes. (more…)

Tomioka Daiji 富岡大二

Showa periodmaleHe is also known as an appraiser with profound knowledge in ancient ceramics and swords. He is also a prolific writer, producing Kiwame-bako boxes (expert evidence) and publishing books. (more…)