Awaji ware / Minpei ware 淡路焼

A Japanese Majolica, often in bright simple glazes (which often show some crackle), most often in green or yellow, but in an almost unlimited variety and combination of colors.  Vases often have chipped bases.  Sometimes in Art Nouveau or Art Deco forms.  Often with carved designs of flowers.  Usually in the form of vases or tea ware, rarely as sculpture, except for some vases with raised relief decorations of dragons (these vases are most commonly in blue).  Sometimes wrapped in rattan or silver wire (note that not all wrapped pottery is Awaji, much of it is Kyoto ware).
Similar to some Kyoto ware (some are very similarly glazed, only with different marks, and Kyoto ware was also sometimes wrapped), Satsuma ware (has a similar earthware composition, and has a similar glaze crackle), Wakayama Izumo ware (also often has a similar glaze crackle, and is also often in a dark green glaze).

Page on Awaji Pottery by T.K. Libby, an expert on the subject:
​www.tklibby.com/Awaji_Pottery.html

​Awaji Pottery Facebook group:
www.facebook.com/groups/1977367185844393/

From Wikipedia (en.wikipedia.org/wiki/Awaji_ware):
​Awaji ware (淡路焼, Awaji-yaki), also known as Minpei or Mimpei ware, is a type of Japanese pottery traditionally made on Awaji Island in the eastern part of the Seto Inland Sea, western Japan. Some pieces are porcelain, others described as glazed "porcelaneous ware" or "pottery".
Awaji ware was founded in the early 1830s by Minpei Kashu (1796–1871) (last name also spelled Mimpei) from Iga village. Coming from a wealthy trading family, he was a scholar of classical literature and skillful in the art of chanoyu. He became concerned about the development of industrial resources in his province and devoted himself to the manufacture of ceramics, which he had studied under Ogata Shuhei (1788-1839), a famous Kyoto potter. Returning to his village after his studies, he established kilns in the fifth year of Tenpō (1835/1836) and devoted his whole fortune to his enterprises. Some sources give an earlier founding year of 1831. Lord Hachisuka of Awaji Province subsequently subsidized Minpei's manufactory and appointed him head of the workshops. Thus his efforts were successful, and his manufactory reached a prosperity such that its production equaled in value the rice harvest of the eleven surrounding villages. After Minpei's death in the second year of Bunkyū (1862) his successors continued manufacturing ceramics, which became a source of wealth for the province.
The Metropolitan Museum of Art has nine pieces of Minpei ware in its permanent collection.
Awaji ware pieces are of a white or cream-colored clay and a blue or yellow glaze, sometimes also green, sharing similarities with sancai colours. There are pieces skillfully imitating Annan ware's articles and blue and white or blue-decorated porcelains.

Marks

Other examples:

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Kashu Sanpei 賀集三平

Museum Examples
​Yokoyama Museum of Art

Awaji-yaki (Awaji-style grilled food)
Purple free-flowing wood scraps silver-colored vase
Purple glazed vase with chrysanthemum design and silver ornaments
Vase with crysanthemum design, glaze painting with silver decolation
Kashu Sanpei
Early to mid-Meiji period
Sanpei Kashu inherited the kiln of his uncle, Minpei, who was known for Minpei ware, and became active in the pottery industry. His vases, with their unique purple glaze, are adorned with silver decorations resembling bamboo baskets, showcasing his skillful technique.
KASHU Sanpei The second half of the 19c.
あわじやき淡路燒
むらさき じゆうさいきくずぎんしょくかびん
紫 地釉彩菊図銀飾花瓶
菊模様の花瓶、釉薬絵付け、銀装飾
賀集三平
明治時代前期~中期
賀集三平は、珉平焼で知られる伯父・珉平の窯を継いで活躍した。独特な色調の紫釉の花瓶に、竹籠を模した銀の装飾を被せてあり、技巧的である。
嘉州三平 19世紀後半

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​Tashiro 田代

​Museum Examples
​Yokoyama Museum of Art

Yokohama Maezuke Yokohama Ezuke
Large vase with raised flower and butterfly design.
Large vase with flower and butterfly design, with MORIAGE
Tashiro store
Late Meiji period, "Great Japan Tashiro-zukuri" raised inscription
Tashiro Shoten was founded by the Tashiro brothers during the late Edo period.
Porcelain from Seto was transported to Nagoya for painting and then exported from Yokohama. Towards the end of the Meiji era, the company's headquarters were moved to Nagoya. While raised enamel painting was a specialty of Nagoya, it is said that it was also practiced in Yokohama, so the exact place of origin is unclear.
TASHIRO
The first half of the 20с.
​よこはまえつけ横浜絵付
もりあげかちょうずおおかぴん盛上花蝶図大花瓶
花と蝶のデザインが施された大きな花瓶、盛り上げ模様入り
田代商店
明治時代後期「大日本 田代造」盛上銘
田代商店は田代兄弟により、幕末に設立された。
瀬戸の磁器を名古屋へ運んで絵付けし、横浜から輸出。明治時代の末頃に、本社機能を名古屋へ移転させる。盛上技法は名古屋絵付が得意としたが、横浜でも行われたといわれ産地は判然としない。
田代
20世紀前半

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Onokoro ware 自凝焼

Onokoro ware was produced in the Meiji era at the Awaji Pottery Company, established in Hyogo Prefecture by Fukuhei Tamura and his brothers. Fukuhei was a disciple of Minpei Kashu, known for his Minpei ware, and is said to have inherited his pottery techniques. Furthermore, it was modeled after Asahi ware from Tokyo, established by Wagner, and was actively exported until the early Showa era.
Jiko-yaki is an overglaze painting technique where designs are applied on top of the glaze, but the finished product resembles underglaze painting, and is characterized by its vibrant and beautiful colors.
The name "Jikori" is based on the theory that Awaji Island was the first island created in Japanese mythology. According to legend, when the sea was stirred with a spear and lifted up, the dripping water became the island.
Matsumura, Takeo et al., "Tales of the Age of the Gods," 1934 (National Diet Library Collection)
自凝焼
おのころ自凝焼は明治時代、田村福平とその兄弟が兵庫県に設立した、淡路製陶会社で焼かれたものである。福平は珉平かしゅうこんぺい焼で知られる賀集珉平の弟子で、その製陶技術が引き継いだとされる。また、 ワグネルによる東京の旭焼を手本とし、 昭和時代前期まで盛んに輸出を行った。
自凝焼は、釉薬の上から絵付けを行う上絵付だが、下絵付の釉下彩にも見える仕上がりであり、鮮やかで美しい絵具の発色が特徴である。
「自凝」の名称は、 日本神話で最初にできた島が、淡路島だったという説にもとづく。国生みの際、 矛で海をかき回して持ち上げると、滴った雫が島になったという伝説である。
松村武雄ほか『神代の物語』 1934 (国立国会図書館蔵)

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Awaji Seitogaisha 淡路製陶会社
​Onokoro ware 自凝焼

Museum Examples
​Yokoyama Museum of Art

Onokoroyaki Chigyoyaki
Uwaekikuzukapin
Overglaze enamel chrysanthemum design vase
Vase with crysanthemum design, overglazed
Awaji Ceramic Company
Late Meiji period
Although unsigned, this is a self-glazed piece made by the Tamura brothers, Kyuhei and Fukuhei. It looks like underglaze painting, but it is actually overglaze painting where brightly colored paints are embedded in the glaze.
AWAJI SEITOGAISHA
The first half of the 20c.
おのころやき智凝燒
うわえきくずかぴん
上絵菊図花瓶
菊模様の釉薬がかけられた花瓶
淡路製陶会社
明治時代後期
無銘だが、田村久平・福平兄弟のつくった自凝焼である。下絵付の釉下彩のように見えるが、色鮮やかな絵具を釉薬中に入り込ませた上絵付である。
AWAJI SEITOGAISHA
20世紀前半。

Onokoroyaki Chigyo
Uwaefujikoizukapinbin
Overglaze painted vase with wisteria and carp design
Vase with wisteria and carp design, overglazed
Awaji Ceramic Company
Late Meiji period
Although unsigned, this is a Jiko-yaki pottery piece made by Awaji Pottery Company, established by the Tamura brothers, Kyuhei and Fukuhei, after they separated from Minpei-yaki pottery. Its elegant shape and graceful depiction of a carp are truly captivating.
AWAJI SEITOGAISHA
The first half of the 20с.
おのころやき智凝
うわえふじこいずかぴんびん
上絵藤鯉図花瓶
藤と鯉の模様が施された上絵付けの花瓶
淡路製陶会社
明治時代後期
無銘だが、田村久平・福平兄弟が珉平焼から独立し設立した、淡路製陶会社製の自凝焼である。 優美な形状と、しなやかな鯉の姿が魅力溢れる。
AWAJI SEITOGAISHA
20世紀前半。

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Tamura Fukuhei 田村福平
​Onokoro ware 自凝焼

Museum Examples
​Yokoyama Museum of Art

Uwae Sakura Suzumezukapin
Onokoro Yakikubi Gyosho
Overglaze Cherry Blossom and Sparrow Vase
Vase with cherry blossom and sparrow design, overglazed
Fukuhira Tamura
Late Meiji period, "Fukuhira" overglaze inscription
The name Onokoro ware originates from the Japanese myth that Awaji was the first island to be formed. The overglaze paints penetrate the glaze, resulting in a glossy finish.
TAMURA Fukuhei The first half of the 20c.
うわえさくらすずめずかぴん
おのころやき首凝燒
上絵桜雀図花瓶
桜と雀の模様が描かれた上絵花
田村福平
明治時代後期「福平」上絵銘
自凝（おのころ）焼の名は、日本神話で描かれたもの。島が淡路で説に因む。上絵具が釉薬になっているため、表面が艶やかに仕込まれています。
田村福平 20世紀前半

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