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Japanese pottery strongly influenced British studio potter Bernard Leach (1887–1979), who is regarded as the "Father of British studio pottery". [31] He lived in Japan from 1909 to 1920 during the Taishō period and became the leading western interpreter of Japanese pottery and in turn influenced a number of artists abroad. [32]
Inuyama ware can come in many different types. Red and green coloured ware is a popular mark with flower and nature motifs. [2] [3] [4] Notable artists are Yamamoto Gempō (1866-1961), [5] [6] and Ozeki Sakujūrō (尾関作十郎) and studio. [7] [8] [9]
At the beginning of the 20th century, i.e. the early Shōwa period, both the name suikinkutsu and the device were all but forgotten, and a report of Professor Katsuzo Hirayama at the Tokyo University of Agriculture from 1959 could find only two suikinkutsu in Japan, both of them inoperable and filled with earth.
oni (demon) Hagi bowl, by Shibuya Deishi, 20th century. The white Hagi was developed by the Miwa family, one of the most highly regarded potting families in all of Japan. Their kiln was established in Kanbun 3 (1663) in the Matsumoto area of Hagi in order to produce tea utensils for Lord Mori Terum
The list of Japanese ceramics sites (日本の陶磁器産地一覧, Nihon no tōjiki sanchi ichiran) consists of historical and existing pottery kilns in Japan and the Japanese pottery and porcelain ware they primarily produced. The list contains kilns of the post-Heian period.
Arita ware incense burner (kōro) with domestic scenes, late Edo period/early Meiji era, 19th century. Nabeshima ware was an Arita product, with overglaze decoration of a very high quality, produced for the Nabeshima Lords of the Saga Domain from the late 17th century into the 19th, with the first half of the 18th century considered the finest ...
A kiln for firing porcelain was built in Koishiwara, and porcelain wares were made for export there with local materials until the eighteenth century. [1] [3] The Koishiwara style as it is known today had developed by the mid-eighteenth century. [1] Abandoning porcelain production, potters began to use dark-firing stoneware for their pottery. [1]
Shōji Hamada (濱田 庄司, Hamada Shōji, December 9, 1894 – January 5, 1978) was a Japanese potter. He had a significant influence on studio pottery of the twentieth century, and a major figure of the mingei (folk-art) movement, establishing the town of Mashiko as a pottery centre. [1] In 1955 he was designated a "Living National Treasure".