Tokyo ware *

See also:
Sumida ware - From the Asakusa area of Tokyo
Imado ware - From the Asakusa area of Tokyo
Yokohama ware - From nearby Yokohama, similar in style
Makuzu Kozan ware - From nearby Yokohama, similar in style

Tokyo Nishiki Kiln 東京錦窯舍

The book "Keramic Art of Japan," published in London in 1881, describes a similar piece as being made in Hizen (present-day Yamanashi Prefecture) with the painting done in Tokyo. This suggests that this piece was made as an export item in the early Meiji period and features intricate overglaze decoration throughout.
Marks: ニッポン東京錦窯舎ニ於テ愛宕篁齋之ヲ錦綵ス At Nishiki-gama-sha in Tokyo, Japan, Atago Takasai painted this in brocade.

Hyochien 瓢池園

Museum Examples
Yokoyama Museum of Art

Tokyo painting
Uwaekinsaimatsu Sakurafuukeizu
Overglaze painting of pine and cherry blossom landscape with gold leaf.
Toban
Ceramic board
Panel with pine, cherry blossom and landscape design, overglazed with gold
Hyoikeen
Meiji era "Gourd (in the shape of a fan)" overglaze inscription
HYOCHIEN
The second half of the 19c. to the first half of the 20c.
とうきょうえつけ東京絵付
うわえきんさいまつさくらふうけいず
上絵金彩松桜風景図
とうばん
陶板
松、桜、風景を描いたパネル、金彩仕上げ
瓢池園
明治時代「(扇形に)瓢」上絵銘
ひょうちえん
19世紀後半から20世紀前半

Tokyo Nishikigama and Hyōchien
In 1873, to produce works to be exhibited at the Vienna World's Fair, the government established a porcelain factory attached to the exhibition's secretariat in Asakusa, Tokyo. Hattori Kyoho, who was a central figure in overglaze painting instruction, named it "Tokyo Nishiki-gama," and Matsumoto Yoshinobu and others also provided instruction. They procured porcelain from Seto, Arita, Kyoto, and other places, and professionally painted it, depicting figures, flowers and birds, and the designs were painterly.
Bu Xingbo, "Colored Enamel Plate with Floral and Fruit Design," 1874 (Meiji 7), Collection of the Tokyo National Museum. Image: TNM Image Archives
The following year, when Tokyo Nishiki Kiln closed, its clerk, Noritatsu Kawahara, took the ceramic painters with him and established Hyochien, which became the center of Tokyo ceramic painting. In 1909 (Meiji 42), it was merged into Nippon Toki (now Noritake).
Kawahara Tokudate
Kinkodo (ed.), 1903, "Biographies of Judges of the Fifth National Industrial Exhibition," Part 1
東京錦窯と瓢池園は、きょうほほうえんきんがま服明治6年(1873)に、現在の全米博覧会に出品する製作会社です。東京の浅草に博覧会事務局付属の磁器製造所を所有しています。上絵付指導の所に存在していた服部杏圃が「東京錦窯」と命名し、松本芳延らも指導しています。瀬戸や有田、京都などから素地を寄せて専門的に絵付けし、人物や花鳥の絵柄は絵画的である。
部杏圃《色絵花果文皿》明治7年東京国立博物館所蔵 Image: TNM Image Archives
翌年、東京錦窯が閉鎖され、事務官の河原徳立の陶画工は瓢池園を所有し、東京絵付の所に存在します。明治42年(1909)、日本陶器(現・ノリタケ)に統合されました。のりたつひょうちえん
河原徳立
金港堂編 1903 『第五回内国勧業博
会審査官列伝』前編

Uwaekinsai sakuratake suzumezu
Tokyo Satsuma
Overglaze gold-painted cherry blossom, bamboo, and sparrow design
Kapin
vase
Vase with cherry blossom, bamboo and sparrow design, overglazed with gold
Hyōchien Sōryō
It appears to be a Kagoshima-made piece with a painted design, dated between 1873 and 1909, bearing the inscription "Hyochien-made, Soryo" (a type of porcelain).
HYOCHIEN Soryo
1873-1909
うわえきんさいさくらたけすずめず
とうきょうさつま東京薩摩
上絵金彩桜竹雀図
かぴん
花瓶
桜、竹、雀の模様が描かれた花瓶、金彩仕上げ
瓢池園掃両
明治6年~42年「瓢池園製掃両」上絵銘鹿児島製の素地に、絵付けしたものとみられる。
HYOCHIEN Soryo
1873-1909

Hyōchien was an overglaze painting factory for export, established in Tokyo in 1873 (Meiji 6) by Kawahara Tokutatsu, who had served as an official at the Vienna World's Fair Secretariat's Porcelain Manufactory, following its dissolution.

Kato Yoroku 加藤與六

Museum Examples
Yokoyama Museum of Art

Tokyo-style landscape illustrations
Black glaze vase with gold decoration of cherry blossoms and sparrows under the moon.
Black glazed vase with cherryblossom and sparrow under the moon light design, overglazed with gold
Kato Yorokuhyoikeen
Early to mid-Meiji period, "Mine Suien Yoroku-made" blue and white porcelain piece with the inscription "Fan-shaped gourd, made in Tokyo, Japan, Hyōchien-made". A full moon is depicted in silhouette on a Seto ware base.
KATO Yoroku HYOCHIEN
The second half of the 19c.
とうきょウエつけ策景絵符
こくゆううわえきんさいげっかさくらすずめずかぴん黒釉上絵金彩月下桜雀図花瓶
黒釉花瓶、桜と雀が月光の下に描かれたデザイン、上絵金彩
加藤與六瓢池園
明治時代前期～中期「峯翠園與六製」染付銘「扇形に瓢日本東京瓢池園製」瀬戸焼の素地に、満月をシルエットで表現する。
加藤与六蓢知園
19世紀後半

Kato Yutaro 加藤友太郎

Marks from the following: "特別展, 博覧会と明治のやきもの, 平成16年10月5日(火)～12月5日(日),（財）岐阜県陶磁資料館" (Special Exhibition, World's Fairs and Meiji-era Ceramics, October 5th (Tue), 2004 - December 5th (Sun), 2004, Gifu Prefectural Ceramic Museum)

Born in Seto, he studied at the Industrial Promotion Bureau's Ceramic Manufacturing Experimental Training Institute, receiving instruction from Kaijiro Notomi and Gottfried Wagner, among others. In 1877, he joined the Edogawa Pottery Factory and served as factory manager. In 1882, he inherited Wagner's kiln, renaming it Yugyokuen and adopting the name Toju. There, he continued his research into underglaze decoration and succeeded in developing Toju-beni (a type of red glaze). He boasts a distinguished list of awards, including the Grand Prize of Honor at the 1900 Paris World's Fair.
Marks: 友玉園陶壽製 Made by Yugyokuen Toju

Kobayashi Nanpo 小林南圃

Museum Examples
Yokoyama Museum of Art

Tokyo-style landscape painting
Overglaze gold-painted painting of noblemen viewing flowers
Kapin
vase
Vase with noble man, viewing cherryblossom design, overglazed with gold
Tokyo Nishikigama, Nanpo Kobayashi
Meiji 5-6 (1872-1873), "Tokyo Nishiki Kiln, Kobayashi Nanpo" overglaze inscription.
TOKYO Kingama KOBAYASHI Nanpo
1872-1873
東きょウエつけ策景絵付
うわえきんさいきじんはなみず上絵金彩貴人花見図
かぴん
花瓶
貴人が桜を眺めている図案、金彩上絵
東京錦窯小林南圃
明治5〜6年「東京錦窯小林南圃」上絵銘
東京金猴小林南圃
1872-1873

Koyosha 向陽舎

Museum Examples
Yokoyama Museum of Art

Tokyo-style landscape painting
Uwaerurijikinsai
Overglaze lacquer ground with gold leaf
Oimatsuzukapin
Old Pine Tree Design Vase - Pair
Azul glazed a pair of vases with old pine tree design, overglazed with gold
Togawa Sosuke Koyosha
Meiji era, "Made by Togawa, painted by Koyosha," overglaze inscription.
NAMIKAWA Sosuke KOYOSHA
The second half of the 19c. to the first half of the 20c.
とうきょウエつけ策景絵付
うわえるりじきんさい
上絵瑠璃地金彩
おいまつずかぴん
老松図花瓶 - 対
青釉に老松図を施し、金彩を施した一対の花瓶
濤川惣助向陽舎
明治時代「涛川製向陽舎画」上絵銘
浪川宗介幸陽社
19世紀後半から20世紀前半

Namikawa Sosuke 涛川惣助

Museum Examples
Yokoyama Museum of Art

Uwaekinsaikijisekkeizuokabin
Tokyo-style painted vase with overglaze gold decoration and pheasant in a snowy landscape.
pair
A pair of vases with pheasant and snowy landscape design, overglazed with gold
Painted by Matsumoto Yoshinobu, Togawa Sosuke
Circa 1878-1890: "Made in Togawa, Tokyo, Japan, painted by Yoshinobu" (overglaze inscription)
In the snow-covered mountain village sky, pairs of pheasants and sparrows fly in flocks. Togawa Sosuke, known for his wireless cloisonné, also painted overglaze enamel on ceramics in Nihonbashi, Tokyo.
NAMIKAWA Sosuke MATSUMOTO Hoen Around 1878-1890
うわえきんさいきじせっけいずおおかびん
東京絵付上絵金彩雉雪景図大花瓶
対
キジと雪景色を描いた一対の花瓶。金彩が施されている。
涛川惣助松本芳延画
明治11年~23年頃「日本東京濤川製芳延画」上絵銘
雪に包まれた山里の空を、雉のつがいや雀などが群れ飛んでいる。無線七宝で知られる涛川惣助は、東京の日本橋で陶磁器の上絵付も行っていた。
NAMIKAWA Sosuke MATSUMOTO Hoen Around 1878-1890

Yoshinobu Matsumoto
Hoen Matsumoto Yoshinobu was a painter who studied ukiyo-e under the first Utagawa Hiroshige and Kuniyoshi, but it is said that in 1858 he was hired by Mizuno Chubei, a raku ware artist, and began painting on ceramics. After becoming independent in 1867, he worked as a leading painter for Tokyo Nishiki-gama and led Tokyo porcelain painting. Tokyo Nishiki-gama was a porcelain manufacturing plant attached to the exhibition office, which the government established in Asakusa, Tokyo in 1872 to produce works to be exhibited at the Vienna World's Fair. They procured porcelain from Seto, Arita, Kyoto, and other places and professionally painted it, depicting figures, flowers and birds, and the designs were painterly.
When the Tokyo Nishiki Kiln closed the following year, Kiryu worked as a painter under Sosuke Togawa and at Kiryu Kogyo Company, and in his later years, he moved to Yokohama, where the painting industry flourished, and continued his work there.
松本芳延
ほうえん松本芳延は、初代歌川広重や国芳の門下で浮世絵を学んだ画家であったが、安政5年(1858)に楽焼の水野忠兵衛に雇われ、陶器の絵付を始めたとされる。慶応3年(1867)に独立した後、東京錦窯の代表的な絵付師として活動しながら、東京絵付をリードした。東京錦窯とは、ウィーン万国博覧会に出品する作品を制作するため、明治5年 (1872)に政府が東京の浅草へ設立した博覧会事務局附属磁器製造所のことである。瀬戸や有田、京都などから素地を取り寄せて専門的に絵付けし、人物や花鳥などを描いて図柄は絵画的であった。
きりゅう翌年に東京錦窯が閉鎖されると、涛川惣助の下や起立工商会社で絵付を行い、晩年は絵付業が発展した横浜へ移って活動した。

Matsumoto Hoen 松本芳延

Museum Examples
Yokoyama Museum of Art

Soga Tokumaru 曽我徳丸

Museum Examples
Yokoyama Museum of Art

Tokyo Kingama 東京錦窯

Museum Examples
Yokoyama Museum of Art

Tokyo-style painting with halo motifs
Uwaekinsai Orochitora
Overglaze gold-painted giant snake and tiger
Taishizukapin
Vase with a design depicting monster extermination - pair
A pair of vases with killing monster snake and tiger design, overglazed with gold
Tokyo Nishiki Kiln, Tokumaru Soga
Meiji 5-6 (1872-1873) "Tokyo Nishiki Kiln, copied by Soga Ansho" overglaze inscription
TOKYO Kingama SOGA Tokumaru
1872-1873
東きょウエつけ暈景絵付
うわえきんさいおろちとら
上絵金彩大蛇虎
たいしずかぴん
退治図花瓶対
退治図蛇虎の絵柄が施された、金彩上絵花瓶一対
東京錦窯曽我徳丸
明治5〜6年「東京錦窯曽我杏所寫」上絵銘
東京曽我徳丸金剛あま
1872-1873

Tokyo-style landscape painting
Overglaze gold-painted painting of noblemen viewing flowers
Kapin
vase
Vase with noble man, viewing cherryblossom design, overglazed with gold
Tokyo Nishikigama, Nanpo Kobayashi
Meiji 5-6 (1872-1873), "Tokyo Nishiki Kiln, Kobayashi Nanpo" overglaze inscription.
TOKYO Kingama KOBAYASHI Nanpo
1872-1873
東きょウエつけ策景絵付
うわえきんさいきじんはなみず上絵金彩貴人花見図
かぴん
花瓶
貴人が桜を眺めている図案、金彩上絵
東京錦窯小林南圃
明治5〜6年「東京錦窯小林南圃」上絵銘
東京金猴小林南圃
1872-1873

Asahi ware 旭焼 / Azuma ware

Its origins trace back to around 1883 when Gottfried Wagner aimed to create a style of pottery that directly applied the artistic style of Japanese painting as underglaze decoration. Later, it was tested at the Edogawa Pottery Works and the kiln of Tomotaro Kato and named "Azuma-yaki." From 1887 onward, the testing facility was moved, and production continued at the Tokyo Technical School, where it was renamed "Asahi-yaki." It has been exhibited at the Third National Industrial Exhibition and the Japan Art Association Art Exhibition, among others.
Marks: 旭焼 Asahi ware

Gottfried Wagner ゴットフリード・ワグネル
Asahi ware 旭焼 / Azuma ware

Museum Examples
Yokoyama Museum of Art

He was a German chemist employed by the Meiji government as a "foreign expert." He provided guidance on ceramics in Arita, Tokyo, and Kyoto, and was also in charge of exhibiting at the World's Fair. Around 1887, he perfected Asahi ware (originally called Azuma ware), an underglaze pottery with Japanese paintings applied using the underglaze method, and put into practice the production of ceramics with pictorial decoration.

Tokyo Satsuma

Museum Examples
Yokoyama Museum of Art

Atago Kosai 愛宕篁齋
Tokyo Satsuma

Museum Examples
Yokoyama Museum of Art

Tokyo wedding
Uwaekinsaiokinatakasagozukapin
Tokyo-style painted vase with gold decoration and Takasago design.
pair
A pair of vases with Okina and Takasago design, overglazed with gold
Atago Takasai
7th year of Meiji era ``Kakasai'' ``Dainippon November 1886 Kamisatsu No. 348'' Inscription
This piece is by Takamura-sai, who hails from the Tokyo Nishiki Kiln, and bears a dated inscription.
ATAGO Kosai 1874
翡翠上飾
うわえきんさいおきなたかさごずかぴん
東京絵付上絵金彩翁高砂図花瓶
一対
翡翠と高砂の意匠で、上絵金彩を施した一対の花瓶
愛宕篁齋
明治7年「篁齋」「大日本明治7年11月上浣製之 30418号」上絵銘
東京錦窯出身の篁齋の作品で、紀年銘があります。
愛宕篁齋 1874

Heinrich Ahrens & Co. & Taizan Yohei 帯山与兵衛
Tokyo Satsuma

Museum Examples
Yokoyama Museum of Art

Tokyo-style landscape painting
Overglaze gold decorated fan design vase
Vase with fan design, overglazed with gold
Yohei Obiyama IX, Ahrens Company
Early to mid-Meiji period "Obiyama" seal "Tsukiji 41 Ahrens Company" fan-shaped overglaze inscription The base was made by Yohei Obiyama, and the overglaze was applied by Ahrens Company, a German trading company established in 1869 (Meiji 2).
TAIZAN Yohei 9th Ahrens co.
The second half of the 19с.
とうきょウエつけ策景絵付
うわえきんさいおうぎずかぴん上絵金彩扇図花瓶
扇形上絵花瓶、金彩
九代帯山与兵衛アーレンス社
明治時代前期～中期「帯山」印銘「築地四十一アーレンス社」扇形上絵銘帯山与兵衛のつくった素地に、明治2年(1869) 創業のドイツ系商社・アーレンス社が上絵を付けました。
TAIZAN Yohei 9th Ahrens co.
19世紀後半

Naruse Seishi 成瀬誠志
Mino ware & Tokyo Satsuma

Marks from the following: "やきもののわざに挑んだ, 瀬戸美濃の美, 公益財団法人, 横山美術館, 横山美術館" (Challenging the Art of Ceramics, The Beauty of Seto and Mino, Yokoyama Museum of Art (Public Interest Incorporated Foundation))

Seiji Naruse (1845-1923) was born in Nakatsugawa City, Gifu Prefecture, the production area of Nasugawa ware. He moved to Tokyo and created Satsuma ware with brilliant and intricate painting. He used the name "Tohakuen" and gained popularity overseas. It is said that Morse, the zoologist who introduced Darwin's theory of evolution to Japan, considered Naruse to be the originator of detailed painting on Satsuma-style pottery, and Naruse's name can be found as a master of ceramic painting in the Imperial Honorary People's Register published in 1881. He returned to his hometown in 1886, and his work depicting Yomei of Nikko Toshogu Shrine, created for the 1893 Chicago World's Columbian Exposition, was highly praised despite being severely damaged during transport, and he won the first prize in the craft category. From the 1890s onward, Naruse diligently studied and mastered a wide variety of techniques. Seiji, who was deeply religious, sometimes used the art name "Kairaku" and painted images of Daruma and other figures in ink.

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)

Specializing in depictions of figures from Chinese historical stories. Seiji Naruse was born in what is now Nakatsugawa City, Gifu Prefecture. In 1871, he moved to Tokyo and became a ceramic painter. In 1886, he returned to his hometown and established the Tohakuen Ceramic Art Museum. His meticulous painting was well-received at exhibitions both in Japan and abroad, and he won awards at the 1893 Chicago World's Columbian Exposition and the 1904 St. Louis World's Fair. He also exhibited at the 1900 Paris World's Fair. Since 1897, Seiji had diligently studied and mastered a wide variety of techniques.

Museum Examples
Yokoyama Museum of Art

Seishi Naruse
Seishi Naruse, originally from Nasubigawa (present-day Nakatsugawa City, Gifu Prefecture), moved to Tokyo and in 1872 (Meiji 5) built a kiln at Zojoji Temple in Shiba, where he produced Satsuma ware (Tokyo Satsuma) with its brilliant and intricate paintings. Morse, the zoologist who introduced Darwin's theory of evolution to Japan, considered him the originator of detailed paintings on Satsuma ware, and it is said that when foreigners asked for an explanation, Naruse would silently hand them a magnifying glass.
Portrait of Seishi Naruse, Private Collection (Courtesy of Tajimi City Mino Ware Museum)
In 1886 (Meiji 19), he returned to his hometown seeking a quieter environment, and there is an anecdote that his work exhibited at the World's Fair seven years later won an award despite being severely damaged during transport.
NARUSE Seishi 《Dish》1880-1885
Collection of the V&A Museum
成瀬誠志
なすびがわ茄子川(現・岐阜県せいし中津川市)の成瀬誠志は東京へ移り、明治5年(1872)には芝増上寺に窯元があり、煌びやかで精密な絵付の薩摩焼(東京薩摩)をつくった。日本にダーウィンの進化論を紹介した動物学者のモースが、薩摩焼細密画の元祖と位置づけ、誠志も外国人に説明をとらえて、黙って虫眼鏡をかけたことがある。
成瀬誠志肖像画個人蔵(多治見市美濃焼ミュージアム提供)
明治19年(1886)には環境的に、帰郷、7年後の万国博覧会の制作が、輸送中に大破してまたもてなした逸話がある。
成瀬誠志《皿》1880-1885
V&Aミュージアム蔵

Uwaekinsaikannonsouryozukabin
Overglaze enamel and gold-decorated vases depicting Kannon and monks - pair
A pair of vases with Kannon and monk design, overglazed with gold
Seiji Naruse
Early Meiji period, "Made by Naruse at the Tohakuen" overglaze inscription.
This pair of vases comes with a matching stand and features intricate painting with abundant use of luxurious gold leaf.
NARUSE Seishi
The second half of the 19c.
うわえきんさいかんのんそうりょずかびん
上絵金彩観音僧侶図花瓶-対
観音と僧侶の図柄が施された、金彩上絵付けの壺一対。
成瀬誠志
明治時代前期「陶博園成瀬製」上絵銘
共づくりの台が付属する一対の花瓶で、豪華な金彩をふんだんに用いた、緻密な絵付である。
NARUSE Seishi
19世紀後半。

Mino Ceramic Art Museum