Yokoyama Museum of Art Tokyo/Yokohama Ware

Yokoyama Museum of Art
Tokyo/Yokohama ware
The Meiji Restoration – it brought new changes to Japan

Introducing the charm of modern ceramics in Tokyo and Yokohama, which once boasted prosperity.
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After the port of Yokohama was opened in 1859, new ceramic production areas were born in Tokyo and Yokohama. There are even people who bring soil from production areas to Tokyo and Yokohama, where there is no soil suitable for ceramics, and begin production. In 1870, Kozan Miyagawa moved from Kyoto to Yokohama to produce ceramics for export, and opened a kiln in Nishi-Ota the following year. Based on the luxurious Kyoto Satsuma with detailed patterns and gold coloring, he perfected the high-relief carving (takaukibori) in which the sculpture is pasted on the surface of the vessel, and gained popularity in Europe and the United States. In the same year (1875), Ryosai Inoue of Seto also built a climbing kiln in Asakusa Bashiba along the Sumida River. Similarly, using the technique of high-relief engraving, Sumida ware with a unique style is created, and the products are shipped from the port of Yokohama exclusively for export. In addition, in the style of Satsuma ware, which quickly gained popularity overseas, pottery called ‘Tokyo Satsuma’ and ‘Yokohama Satsuma’ was made. There are records of Seishi Naruse and Mimiyasha in Tokyo, and Hododa Shoten and Hattori in Yokohama. Seishi Naruse, who built a kiln at Zojoji Temple in Shiba, is also known as the originator of Satsuma ware miniature paintings, and Hododa Shoten transported the base material from Kagoshima to Yokohama for overglazing.
In 1872, the government established a porcelain factory attached to the exposition secretariat in Shibasaki-cho, Asakusa, Tokyo, in order to produce exhibits for the Vienna World Exposition to be held in Austria the following year. The base material was procured from Seto, Arita, Kyoto, and other places, and was professionally overglazed. This was the Tokyo Nishiki kiln, and when it closed the following year, Toritatsu Kawahara took over the kiln with a ceramic artist, and established Hyokeen in Fukagawa, becoming the center of Tokyo painting. Hikojiro Imura, who focused on the painting industry that was flourishing in Tokyo, established a ceramics store with a dedicated overglaze painting factory on Honmachi Street in Yokohama around 1875, and exported from Yokohama Port. rice field. Taking advantage of the port’s advantage as a trading port, many companies such as Tashiro Shoten entered the market, and the overglaze painting industry developed in Yokohama as well. On the other hand, however, the overglaze painting industry also flourished in Nagoya, which is close to the production areas of Seto and Mino. Hyokeen and Tashiro Shoten moved their bases to Nagoya, and Seiji Naruse returned to his hometown of Nasugawa (currently Nakatsugawa City, Gifu Prefecture) from the city where production costs were high. Yokohama ware disappeared like a phantom.
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