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Yamamoto Ichiraku <Ichiraku kama>
| Expressive
artwork emerging from unique carving and dyeing techniques
All
Ichiraku artwork gain their noble designs and dignified style by undergoing a
delicate carving process carried out exclusively by the master craftsman. Too
much pressure applied will cause holes and thereby destroy the whole piece of
art. Thanks to a row of sophisticated treatments every single piece adapts smoothly
to the hand preventing from slipping away. Furthermore the pieces leave an amazing
impression once experienced their light weighted yet firm and comfortable grip.
Together with a sophisticated carving process the clearly defined deep dyeing
process contributes to this extraordinary artwork of the Ichiraku kiln.
The
artist's aim is to gain an ever-deeper indigo blue by means of applying this dyeing
process. Trying to preserve old-fashioned patterns like "komon" and
"shonzui" (auspicious designs) in our modern days means facing a big
challenge. |  | Born
in 1958 in Kyoto prefecture.
In 1990, after completing 10 years of apprenticeship
under the previous Ichiraku generation, he took over the Ichiraku kiln with the
main goal to unite the artistry of the Kyoto tradition with the functionality
of modern day design. Due to his unique combination of acient designs with the
noble art of the dignified way of dyeing which results in a distinct expressive
art he has an outstanding reputation.
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Takano
Shoami <Shoami kama>
| Dedicated
to refined dyeing and mellow design
Other
than the comparably manageable pottery the difficulty in handling porcelain consists
in its being affected by the slightest fluctuations of temperature once fired
in the kiln. The specific characteristic of Shoami artwork lies in its unique
one-stop flow of work.
This carrying out of all work processes by one single
artists leads to an emanation of harmony and the particular joy that rises from
the unitary completion of a work.The
expression of the playful feminine "karako" design (originally Chinese
design of children) and the masculine "rakkan" expression of perfection
(representing the so-called "satori" enlightening experience of Buddhism)
complement one another. The
artist's wish is to produce a wider range of tableware besides this special tea
ware in a way as it was done in former times. |  | Born
in 1951 in Kyoto prefecture.
In 1993, after 25 years of discipleship under
the latter Shoami, he took over the Shoami kiln. Since then on he has been creating
a huge variety of porcelain ware items aiming to bring about a synthesis of traditional
with modern designs.
His dyeing techniques and modeling skills are highly valued
amongst Japanese artists.
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Dobuchi
Touan <Touan
kama>
| Gorgeous
designs displaying seasonal flowers
The
present Touankama kiln looks back on three generations of master craftwork.
The
trademark of the Touankama kiln are gently yet vibrant luminous color combinations
won by extensive in-house research of newly developed dyestuffs.
Elaborate
flower designs are at the core of the Touankama kiln and even satisfy the demand
of the modern market. For this reason the Touankama artworks have been honored
with many interior design awards. |  | |
Mori
Shunzan <Shunzan
kama>
| Aiming
to express the Kenzan style in the present generation In
the past Kenzan Ogata, the renowned master of Kyoyaki, invented a new overglaze
technique by creating a white layer on the surface of the original material. Nowadays
this is a common practice but in his generation it was a groundbreaking innovation.
Presently the Shunzankama, known for its original blend of different soil
material on which paintings of seasonal flowers and plants are portrayed, continues
with these beautiful pieces of artwork in the same tradition. |  | 2nd
generation Mori Norihiro
Born
in 1928 in Kyoto prefecture.
As a former disciple of Tokuriki Magosaburo he
has dedicated himself to the study of a new style of master pottery. Winner of
several awards at the Kyoyaki exhibition, Kiyomizuyaki exhibition and Seyoka exhibtion
on prefectural and municipal level.
In 1975 he was honored by the Japanese
emperor with the "Bunka Kunshou",
the highest medal of culture for
meritorious service. 3rd
generation Mori Shunji
Born
in 1958 Kyoto.
After undergoing six years of training at the Miyashita Zenju
/ Zenji pottery he took over the 3rd generation Shunzankama.
Mainly producing
ceramics, but also producing large ornamental plates, tablets and pots in the
gorgeous traditional Kyoyaki style.
Besides his desire to preserve the Kenzan
tradition he endeavors strongly to create original artwork.
Nomineed for the
Japan exhibition, all Japan pottery exhibition and the Asahi pottery exhibition.
On top of it he received awards at the Japan New Craft Exhibition, at the Kyoto
art exhibition and at the all Kansai artwork exhibition. |  3rd
generation
Mori Shunji |
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Kato
Kashun <Kashun
kama>
| Specialized
in sophisticated surface treatment of ceramics
Expertise
in finishing treatment of various kinds of vessels highly renowned for its skills
at the potter wheel and furthermore for its twisting skills.
The kiln is specialized
for inventing innovative styles and surface treating techniques.
Presently
it envisions to create modern innovative vessels under the supervision of Rokudai
Kosei.
|  | Kato
Yoshiharu (5th generation)
Born
1924 in Kyoto.
Learned the art of modeling under the first Kashun kiln generation
(Shunzo) and throwing under Murakami Matsutaro and Hoki Yoshisaburo.
In 1947
he took over the 5th generation Kashun kiln. Kyoto
Seiyokai exhibition , Kyoto prefecture award and Kyoto city award.
In 1986
honored with the award of the Kyoto prefecture traditional craftsmanship for his
throwing skills as master of ceramic art.
Kato
Kosei (6th generation)
Born 1957 in Kyoto prefecture.
He is member of
the Nitten art organization, the Japan New Craftsman Union and the Kyoto Prefectural
Selected Arts and Crafts Exhibition. |  Kato
Kosei
(6th generation) |
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Kondo
Seisen <Seisen
kama>
| Famous
for its vessels originating from Mishimade and Shiromori techniques
The
Seisen kiln is located in Uji's quite and idyllic Sumiyama Togei village.
Already
at the very early age of fifteen, the master craftsman of this kiln was drawn
to ceramic arts with visions of the work he wanted to create.
The
Shiromori technique, trademark of the Seisen kiln, requires tremendous dexterity.
By virtue of this Shiromori technique a three dimensional impression is provoked
resulting in profound works of art.
Henceforth his continuous intention is
to create works that feature this typically profound enchantment of the Seisenkama.
|  | Kondo
Seisen was born 1937 in Kyoto prefecture.
With
the desire to follow the way of ceramic arts he studied 20 years as disciple of
Kawashima Kouzoukama.
1975 he independently founded the Seisenkama and became
an associate of the Sodosha coterie. He's
especially renowned for his Mishimade and Gohonte and Sukashibori styles,
in
which he masters to retain an impression of warmth within the sharp contrasts
that his artwork embodies.
1997 recognized as a Master of Traditional Art and
Craftsmanship for Supreme Ceramic Works. | |
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Ono
Zuisho <Zuisho
kama>
| Popular
profound artwork based on Gosu blue made by skilled worker
This
profound wares of the Zuishoukama initially started with the request:
"Could
you possibly make vessels like those from the pre-Meji period".
After
extensive studies, unique artwork made of Han-Jiki (half-porcelain) and using
genuine Gosu, which has become the very trademark of the present day Zuishougama,
were successfully produced.
The attractiveness of the Zuishougama vessels lies
first in their Gosu color, their profundity of the material and the skillfulness
of throwing applied.
Within the process of throwing the skill fulled worker
leaves his finger marks on the artwork thus the finished products emanate the
warmth of handmade artwork.
Also paying attention to the usability of their
products they solidify their brims.
However once holding the artwork in your
hand a much lighter weight than expected by sight is experienced. The
presently leader of the Zuishoukama, Ono Zuishou, unremittingly strives to further
create art that shall withstand the passing of time. |  | Born
in 1965 in Kyoto prefecture.
From 1983 on 20 years apprenticeship under the
second generation zuishougama, 2003 taking over leadership of the third generation
zuishougama.
She is very popular for her impressive Gosu works, which administer
to the zuishougama artwork.
Expertised in portraying pictures of figures with
humorous expression that evoke warmth in the beholder. | |
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Ito
Shoho <Shoho
kama>
| Striving
to invent originally new techniques.
Popular for the harmonious color combination
within the intricate "Koshi" design.
Small
inaccuracies within the elaborate "Koshi" (traditional criss cross pattern)
design lead to great discrepancies. But exactly that challenge makes this design
so interesting. The artist´s great task is to develop new glaze techniques, creating
designs and colors to ones liking, using the most advanced technologies. Amongst
the Kyoyaki craftsmen he is on the cutting edge of applying computer software
in order to compose samples of his new artworks.
Joining forces with wholesale
dealers, he wants to create products that meet the demand of the customers.
|  | Studied
under the previous generation of the Shoho gama.
1989 took over the kiln.
Mainly producing porcelain with elaborate design on a huge variety of vessels.
Yearning
to develop avant-garde techniques.
Well-known for the well balanced colors
within the elaborate "Koshi" design. About
Koshi and edge raised technique:
In order to avoid intermingling of the picture
and the Koshi design pattern the edge raised technique is applied. The colors
and glaze within the edge framed areas will not overlap with those of their surroundings. 1959
born in Kyoto pref.
1989 Kyoto traditional craftsman
1994 Paris hold a private
exhibition
1995 Australia teaching wheel potter and painting (workshop)
1999
becomes authorized as traditional craftsman
2006 received the Kyoto city award
at the Seiyoukai exhibition | |
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Sakata
Bahan <Bahan
kama>
| Genuine
Kyoto design vessels radiating the warmth of hand made artwork
Bahan
is working at the Sumiyama workshop (atelier), located in the idyllic Uji (tea
capital of Japan), where many traditional kilns are assembled.
Previously
mainly producing Mishima style vessels, but now breaking new ground to create
ever more attractive artworks radiating the warmth that arises from his commitment
to pure handcrafting.
To bring about this atmosphere he uses imprints of cloth
material, breaks away from traditional shapes and also fires the clay at a temperature
of 1240 degrees, which leads to intensified complexity and depth of color.
As
a result of using firing methods that are 100 degree higher then the usual level
for the glaze he achieves deeper expressions of the color and changes on the material
within the kiln that have not existed before. Ceramic artwork with amazing depth.
Currently
he takes on the challenge to explore the dazzling array of possible glaze and
color combinations. |  | Born
in 1950 in Miyazaki prefecture.
From 1975 on disciple of Kawashima Kouzou
for 4 years.
From 1980 on until today working as an independent artist.
He aims to create hand made artworks that preserve the unique inherent flavor
of each material combined with the typical Kyoto style still expressing the warmth
of hand made pieces of art.
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Ito
Kaho <Kaho
kama>
| Striving
to express an unseen high energetic more vivid red by use of Kakiyu glaze.
The
artist is famous for his expertise of Kakiyu (persimmon glaze).
In Uji's quite
and idyllic Sumiyama Togei village about 30 of the initial "mother"
kilns are located in this traditional workshop.
As an apprentice at the craftsman
academy he had the vision of creating artwork
that would be the main attraction
of any ceramic store.
This idea was leading to his life-long dedication to
the Kakiyu.
Currently the Kakiyu glaze is smoothly applied, but there have
been cases of failures once in a while and even the dissolving of the glaze was
experienced, which leads to its colors running onto other pieces.
Though facing
many difficulties the potters of the Kaho kiln are so skilled and confident enough
to ceaselessly produce this outstanding glaze.
Latterly they intent to produce
reasonable priced pieces of art for daily use.
Nonetheless, they old up the
high quality level not accepting any compromise in coming up with 1st grade vessels.
|  | Born
in 1963 in Kyoto prefecture.
Studied from the very beginning under the founding
generation of the kiln.
1985 he took over the head position of the kiln. Besides
coming up with ceramics and half-porcelain the main focus lies on producing articles
for daily use in accordance to the high quality level of the refined Kyoyaki style.
1992
award winner at the Seyoka exhibition of the association head.
1993 award winner
at the Seyoka exhibition of the prefecture head.
1998 solo display at the Osaka
Shinzei department store.
2002 award winner at the all Kyoyaki / Kiyomizuyaki
exhibition. Currently
his artworks are displayed at many collective exhibitions. His
impressive Kakiyu artwork are in great demand and the refined pictures on his
manifold pieces of art are much valued. | |
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Tsuchitani
Zuiko <Zuiko
kama>
| Earthenware
and stoneware - vessels that bring out the attraction of both
In
the past mainly producing porcelain but recently also pristine earthenware.
What
is the attraction of porcelain and ceramics in the artist´s view of Zuiko-san?
Porcelain
does not show a single mark of the artist´s hands and therefore it is clear and
tender requiring the skills of an exquisite craftsman.
whereas ceramic shows
the imprint of the master´s hand;
only by hand the earthen material is shaped
and this is intriguing.
Also many of the pieces of Zuikokamas decorated with
pictures are exclusively burnt in "honyaki". (second firing process
at approx. 1100°C)
Devoted to create manifold gorgeous vessels that radiate
a warmth with stating what both porcelain and ceramics are - namely very delecate
materials. While
studying various kinds of glazing techniques, building kilns and applying firing
techniques he gains lots of experiences. Now he preserveres hard to keep tradition
alive yet strives to create new kyoyaki artwork. |  | Tsuchitani
Minoru
Born
in 1928 in Kyoto prefecture.
1977 officially recognized as traditional kyoyaki
craftsman.
In 1980 honored by the head of the Kinki trade and industry office
for rendering great services in promoting and producing traditional artwork.
Tsuchitani
Toru
Born in
1959 in Kyoto prefecture.
Majored in porcelain and ceramic glazing techniques
at the department for industrial chemistry of the prestigious Doshisha University.
Employee
of the Kyoto Industrial Research Institute for kiln artworks.
Working and studying
under guidance of his father Tsuchitani Minoru.
|  Tsuchitani
Toru |
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Kawashima
Kozo <Kozo
kama>
| Utilizing
Shino glaze and ash glaze creating vessels with warm and unsophisticated atmosphere
He
studied design at the Kyoto national design and research center and at the end
of World War II his sight deteriorated so that it became impossible to do refined
design work any longer. Due to this reason he decided to travel Iga, Bizen and
other famous pottery regions to polish up his pottery skills.
He returned to
Kyoto and became independent and though at that time vessels with painting on
them were a norm he tried something new namely majoring (sich widmen) to earthenware.
Also many students came to Kozo-san to be taught and as a master he trained about
100 disciples who afterwards became independent.
He continuously strives to
create vessels for daily use that are reasonably priced.
|  | Born
in 1926 in Hyogo prefecture.
He became a member of "Soureisha" (an
avant-garde crafts organization).
He was recommended for the "KYOTO BEST
3" exhibition sponsored by Mainichi newspaper (a famous Japanese daily).
He
founded the Shintoujin (new potters) association.
In 1968 in Uji-Tanzan he
founded the Tanzan pottery village co-operation.
In 1979 he was recognized
as a traditional craftsman.
He was honored for his services rendered for his
services for the traditional craftsmanship and for his service for the production
of the traditional artwork.
1986 he received the 6th Class, Order of the Rising
Sun, Silver Rays. | |
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Yamamoto
Hokusai <Hokusai
kama>
| This
part is still to be translated
乾山調の器に自分らしさをプラス
京都、山科に工房を構える山本北哉さんは、絵付師である父の影響を受け陶芸の奥深い魅力に引かれました。温かみのある生地に丁寧に描かれた絵付の器にはどこか趣を感じます。それは器作りの思いとして、古い物、例えば乾山を基調にした器作りをしている所に通じるようです。使い易さはもちろん、手に取った時に「どこかほっこりする」そんな温かさ、やわらかさが表現できたら…と常に考えています。これからも「新しい器作りに挑戦したい」とおっしゃる北哉さん。今後も若さあふれる斬新な器作りを期待しています。 |  | ルック・デ・ブック氏に三年間師事し、平成12年（2000年）に開窯。
陶器を主とし、雅趣の中にも繊細かつ存在感のある器が好評を博している。 昭和53年（1978年）生まれ、京都府出身 | |
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Morisato
Touraku <Touraku
kama>
| This
part is still to be translated
上品な三島に定評がある
繊細な三島紋様を得意とする陶楽窯。この三島を施す道具は土で出来ていて全て手作です。だからこそ細工の細かい「はんこ」ができるのです。さて、この三島紋様は、一つの三島を押すという単純な作業の積み重ねなのですが、この一押しをきっちりしないと最後にいい器にならないというのが難しい所です。これからも機能性だけでなく楽しむ要素のある器作りをしていきたい。飾るよりはどんどん器を使って欲しいですね。器はいつかは割れて形がなくなりますが、それを使ってよかった、楽しかったという気持ちは心の中にずっと残るもの。そんな使い手の思い出に残る器を作っていきたいと考えています。
|  | 手塚玉堂、二代目陶楽に師事する。平成8年（1996年）、三代目陶楽を襲名する。作品の陶土にこだわりながら、使い手に感動を伝え得る器の制作に打ち込んでいる。非常に繊細な三島手などに見られる抜群の技法は、高い評価を得る。 昭和34年（1959年）、京都府出身
京焼・清水焼展にて通産大臣賞受賞
個展開催多数 | |
|
Takagi
Ganka <Ganka
kama>
| This
part is still to be translated
程よい厚みの生地にさび絵や染付、着彩を施した器
代々窯元を営む岩華窯さん。五代、隆司さんもこのような環境で育ったため、自ずとこの世界に入りました。岩華さんの器の特徴の一つに「程よい器の厚み」があります。厚すぎず薄すぎず、調度使い勝手の良い厚みと手触り。日常使う器だから、使い易いものを…と心がけているうちにこの厚さになりました。今後は伝統をふまえつつも、手作りの良さの伝わる器作りをしていきたいと考えています。
|  | 先代岩華のもとで研鑽を重ねる。平成16年（2004年）、五代岩華を継承。百年を超える同窯の伝統をふまえ、仁清、乾山の陶風を堅持した食器・茶道具に定評がある。華やかさと気品さらに機能性をも重視した京焼の創出を目指す。 昭和32年（1957年）生まれ、京都府出身
平成5年（1993年）、京焼・清水焼展入賞
近畿通商産業局長賞
平成7年（1995年）、京焼・清水焼展京都新聞社賞
平成8年（1996年）、伝統工芸士認定
京都伝統陶芸家協会会員 | |
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Smaller table ware | 
Coffee cups / Mugs | 
Vessels for alcohol | 
Vessels with lids | 
Decorative items Interior | 
Ikebana Interior | 
Incense bowls Interior | Kyo
Yaki or Kiyomizu Yaki is comprehensive name pottery and porcelain produced in
Kyoto.
Since this tea ware are handmade, it sometimes differs slightly from
the pictures and it requires a few days before we can dispatch your order. We
kindly ask for your patience and understanding.
If the pottery is out of stock
of your desired item we will inform you and will refund you immediately if the
given waiting time seems too long. |
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