Tokoname ware & Tokanabe ware *

en.wikipedia.org/wiki/Tokoname_ware

http://www.tokoname.or.jp/teapot/stamp/

See also:
Tokanabe ware
Yixing pottery
Banko ware

Tokoname ware

Unattributed Pieces

Koichi Ohara 大原光一
1974-

Koichi Ohara
1974
Born in Tokyo

Grew up in Tokyo, his pottery blends naturally into our daily lives. The quality of his work and the variety of burnt expressions are also appealing. The more you use it, the more texture it acquires. These are powerful yet carefully crafted pieces that make the most of the quality of Tokoname clay. Easy to use

大原光一
1974
東京都出身
が育ち、日々の暮らしに自然と溶け込んでくれます。手の良さと、多彩な焼けの表情も魅力です。使うほどに風合い常滑の土の良さを生かした力強くも丁寧な作品たち。使い勝

Takayuki Yagi 八木孝幸
Issei Touen 一菁陶園

Takayuki Yagi 八木孝幸, Tokoname Issei / Issei Touen 一菁陶園, Tokoname ware, Tokoname, Aichi Prefecture, Japan.
tokoname-issei.com/

Sekisen Shimizu 石仙 Yuzo Shimizu 清水勇蔵

Yuzo Shimizu 清水勇蔵 inherited the name "Sekisen" 石仙, and the first, second, and third generations all used the same name.
The first Shimizu Sekisen was a kiln owner of Onko-yaki pottery (now probably most famous for their ceramic mask netsuke, formerly made in Akasaka, Gifu Prefecture), mainly producing sencha and matcha tea sets. The second Sekisen (real name Shimizu Yuzo) moved to Tokoname, Aichi Prefecture, and began producing sencha tea sets and other items using Tokoname ware. It is said that the second Sekisen preferred to work with vermilion clay rather than Onko-yaki pottery. The second Shimizu Sekisen (real name Shimizu Kindo), born in 1914 (Taisho 3), is the fourth son of the second Sekisen.

Shoryugama 昇龍窯

Yoshie Kris 栗栖良依

Museum Examples
Museum of Narratives (MoN)

Yoshie Kris
Akira Koie, an artist from Tokoname, digs up raw clay, kneads it by hand, and fires it over a wood fire. His pottery demonstrates the connection between humanity and the earth, and connects the tactile feel of life, which remains unwavering even in the face of progress, to the future.
Irichi, Kome Kome Kukashi
Yoshie Kurisu
An artist who creates participatory art pieces that connect people and communities from different cultures, attempting social change through processes of dialogue and collaboration. General producer for the opening and closing ceremonies of the 5th Asian Para Games. Commentator on TBS's "Hirubi" program.
クリス・ヨシエ
常滑の作家・鯉江明は、原土を掘り、手でこね、薪で焼く。その器は、人が土と在ることを示し、進歩の先にあっても揺るがない生命の手触りを、未来へとつないでいく。
いりち、米米くかし
栗栖良依
異文化の人やコミュニティをつなげ、対話や協働のプロセスで社会変革を試みる市民参加型のアート作品を手がけるアーティスト。第5回アジアパラ競技大会・開閉会式総合プロデューサー。TBS「ひるおび」コメンテーター。

Tokoname Dragon ware

Ina Choza 伊奈長三

Marks from the following: "超技の世界,「瀬戸焼・美濃焼・名古屋絵付など」, 横山美術館, 横山美術館" (The World of Super-Techniques, Seto ware, Mino ware, Nagoya paintings, etc., Yokoyama Museum of Art, Yokoyama Art Museum)

The Ina family was a prestigious family of Tokoname ware producers, and the fourth generation, Chozo, took over the family business at the age of 18 and began mass-producing "Shudei Tatsumaki" (red clay dragon swirl). The fourth generation Chozo was a director when the Tokoname Trading Company was established in 1896.

Chozo Ina, the fourth-generation head of the prestigious Ina family of Tokoname, mass-produced "Shudei Tatsumaki" (red clay dragon swirl) for export. This technique, which involved oxidizing and firing iron-containing clay to produce a red color and then attaching dragons made from plaster molds, became popular in the 1880s. It is believed that these were often accompanied by vases.

Museum Examples
Yokoyama Museum of Art

Issai (Urakawa Takejiro) 一斎(浦川竹次郎)

Marks from the following: "超技の世界,「瀬戸焼・美濃焼・名古屋絵付など」, 横山美術館, 横山美術館" (The World of Super-Techniques, Seto ware, Mino ware, Nagoya paintings, etc., Yokoyama Museum of Art, Yokoyama Art Museum)

Issai's works are diverse, ranging from red clay tea pitchers to flower vases and braziers, each containing excellent pieces. He was invited to kilns in various regions and left behind works in the style of Banko ware. He was one of the founders of the Ryuko-gumi (Dragon Craftsmen's Association).

Nishikidani 錦谷

Marks from the following: "超技の世界,「瀬戸焼・美濃焼・名古屋絵付など」, 横山美術館, 横山美術館" (The World of Super-Techniques, Seto ware, Mino ware, Nagoya paintings, etc., Yokoyama Museum of Art, Yokoyama Art Museum)

Yamamoto Kinya, a potter from Tokoname. He produced tea ceremony utensils, but few of his works exist.

Ryukogumi 龍工組

Marks from the following: "超技の世界,「瀬戸焼・美濃焼・名古屋絵付など」, 横山美術館, 横山美術館" (The World of Super-Techniques, Seto ware, Mino ware, Nagoya paintings, etc., Yokoyama Museum of Art, Yokoyama Art Museum)

Gradually, in order to make changes to the traditional "vermilion clay tornado," they began applying gold leaf in Kobe.
How did it come to be exported? In 1896 (Meiji 29), the Tokoname Trading Company was established to expand trade channels, and some of the people associated with the Ryukogumi, which was established in 1890 (Meiji 23), also participated in it.

Shigenobu Matsumoto 松本重信

Marks from the following: "超技の世界,「瀬戸焼・美濃焼・名古屋絵付など」, 横山美術館, 横山美術館" (The World of Super-Techniques, Seto ware, Mino ware, Nagoya paintings, etc., Yokoyama Museum of Art, Yokoyama Art Museum)

Matsumoto Shigenobu was born into a prominent family of Tokoname ware producers. Around 1882, in order to expand sales channels to overseas markets, he began transporting Tokoname ware teapots, vases, and other items to trading companies run by foreigners residing in Yokohama and selling them. He is credited with perfecting the "Shudei Tatsumaki" technique, and his contributions as a pioneer of Tokoname's export ceramics are significant.

Sugie Juzan 杉江寿山

Marks from the following: "超技の世界,「瀬戸焼・美濃焼・名古屋絵付など」, 横山美術館, 横山美術館" (The World of Super-Techniques, Seto ware, Mino ware, Nagoya paintings, etc., Yokoyama Museum of Art, Yokoyama Art Museum)

In his later years, the second generation Juzan mainly produced tea ceremony ceramics. Many flower vases remain, all of high quality

Tokanabe ware

en.wikipedia.org/wiki/Tokanabe

See also:
Tokaname ware
Banko ware
Yixing pottery

Museum examples

Kusakabe Folk Crafts Museum Takayama

Tokyo National Museum

LACMA

Tokoname Tourist Information Center

Yokoyama Museum of Art

Tokoname ware

Tokoname ware is a pottery production area that has been around since the Middle Ages, and is known for producing large jars, earthenware pipes, teapots, and other items.

In 1883 (Meiji 16), the government promoted the establishment of an art research institute and other measures to develop Tokoname ware as an export industry, leading to the widespread use of plaster molds in Tokoname. In the 1880s, Tokoname began producing and exporting "Shudei Tatsumaki," which consisted of vermilion clay vases with dragons molded using plaster molds. Shudei is a type of stoneware sencha (green tea) made using clay rich in iron, which is fired in an oxidative firing process to produce its red color. The manufacturing method was introduced from China along with the popularity of sencha during the Edo period. In particular, Tokoname during the Meiji era focused on improving its techniques, including learning from the Chinese, and many master craftsmen who produced Shudei ware emerged.

In Kobe, a trading port to which the items were shipped for export, further decorations such as lacquer and gold leaf were sometimes added to the clouds and dragons. Later, in Tokoname during the Taisho era, the production of lacquered ceramic ware flourished.

常滑焼

常滑焼は中世から続く産地で、大型の甕や土管、急須などの生産で知られる。かめ

しゅでい明治16年(1883)、政府は常滑焼を輸出産業として育成するために、美術研究所の設立などを進め、常滑で石膏型の使用が普及した。同20年代には、朱泥の花瓶に石膏型で形づくる龍を貼り付けた「朱泥龍巻」を生産し、盛んに輸出するようになる。朱泥は鉄分を多く含む土を用い、りゅうまきせっキ酸化焼成で赤く発色させる炻器質のやきせんちゃもので、江戸時代の煎茶の流行とともに、中国から製法が伝えられた。特に、明治時代の常滑では中国人に学ぶなど、技術の向上に力を注がれ、朱泥で制作を行った数々の名工たちが生まれている。

輸出用に出荷された先の貿易港の神戸で、雲や龍へ漆や金箔などの装飾をさらに加えることがあった。その後、大正時代の常滑では、漆を塗布した陶漆器が盛んに生産されるようになる。