edo period

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…)