Kamakura-Hojo Period = Kato Kagemasa
In April of the 2nd year of Emperor Go-Horikawa’s reign, a Fukakusa potter named Kato Shiroza-komon Kagemasa followed the monk Kado Gen Zenji (Seiyo Daishi, aged 54 years, who was born on August 28, Kencho 5) of Echizen Province to Tendo Mountain and learned glazing techniques at a nearby pottery kiln (some say the Zhoushan kiln at the Jiujiang Beach in the south or at Zhoushan in the Zhoushan Islands, or the Zang kiln in Ningbo), In March of the second year of his sixth year in Anjeong, he returned to his home country.
After 14 years of searching for good clay, he went to Tokamura in Sakai, Shigaraku in Omi, Kuwana in Ise, and Handa and Suemori in Owari, and was very pleased to see his grandmother’s storehouse mother clay in Seto Village, Owari in the third year of Emperor Shijo’s reign. He opened kilns in Magajo, Kosone, and Tsubaki, and produced solid glazed ceramics. His pottery included salt jars, Buddhist flower stands, grater pots, small bowls, bottle-shaped sake bottles, and small and large dishes and jars. It is said that he made a tea caddy with a shoulder in his later years.
Kensan Tenmoku glaze
In addition to the traditional lead, brown, or green glazes, he produced for the first time a Susan Tianmu glaze (a black colored glaze in the cups in the cups, Susan being the year of the Emperor of the Later Han Dynasty, the dynasty of our Emperor Nakai). The “Tianmu” is the name of a black tea bowl that was brought back from Tianmu Mountain in Song Dynasty China by a Japanese monk who had studied in Tianmu Mountain, and became very popular among tea masters because of its highly prized glaze color. The works of this Kagejo period are known as Koseto, and have been loved by future generations.
General term for Setomono
Until this time, pottery was generally reserved for the aristocracy and wealthy people, but as Seto pottery became more prosperous in later times, it was widely used by the general public. Kyeiyo was enshrined as a ceramic hojinsha in the precincts of Fukagawa Shrine here. Seto’s development has now led to the establishment of a municipal government.
Fujishiro
Kato Shiroza Komon, whose name is abbreviated as Fujishiro, was formerly known as Shunkei. He was originally from Michikage Village in Morowa, Yamato Province, and his mother is said to have been a woman from Fukakusa with a humane wind. He was once in the service of the great priest Kuga Michichika, but when he went to Fukakusa to make pottery, he was able to follow the monk Dogen, who was Michichika’s son, and thus was able to enter the Fukakusa area. He passed away at the age of 82 on March 19, 17 Kouan, and was awarded the rank of Shougo (fifth highest) with special instructions on November 18, 1864.
Prohibition of Alcoholic Beverages
By the reign of Emperor Go-Fukakusa, the policy of the Hojo clan, which lacked financial resources, went beyond hard work and frugality to the extent that Aoto Fujitsuna even went so far as to pick up Zeni coins in Namekawa. It is easy to see how many of them there were in the whole country, and this was a major blow to the production of pottery pots.
Yellow Seto
During the Bun’ei period of Emperor Kameyama’s reign, Kato Fujikuro Motomichi, the second generation of the Keisho family, produced Kizeto, a very Japanese style of elegant celadon porcelain, at the Nekoda, Itaya, and Nandong kilns. This is what is known today as “Shin-chu-ko” (genuine and secondhand). (In the Kan’ei era, a medical officer of the Shogunate, Soya Hakuan, kept a Kizeto tea table, which was praised and produced again at that time and was called Hakuan in the same category.)
Shigaraki ware
Shigaraki ware was created in Nagano Village, Omi Province (Koka County) in the 2nd year of Emperor Go-Uda’s reign. Many farmers’ seed pots or dipping jars were made of very hard quality, with a light blue mottled glaze over a yellowish-red glaze.
Kinkasan Pottery
During the Einin period of Emperor Go-Fushimi, Kato Togoro Kagekuni, the third generation of Keisho, produced Kinkayama ware at the Ibarasakoma, Korin, and Hantou kilns, which were later called “secondhand ware. Kinkazan ware was also created by transporting clay from Kinkazan (Mt. Mino, Atsumi-gun) to Seto. Kinkazan ware was produced by transporting clay from Kinkazan (Mt. Ebayama, Atsumi-gun) in Mino to Seto, where it was glazed with a brownish-brown glaze with flecks of black.
Gyeongjeong’s Failure
During the Shoan era of the same dynasty, Kyomasa Bae was entrusted with pottery production and taught the method to a tile maker in Fukakusa to make a type of pottery, but because he did not know how to adjust the heat, he did not produce many vessels.
Marubashira ware
Marubashira Pottery (Abera-gun, present-day Asan-gun) was created in Iga Province during the Kenmu era (1392-1573), the reign of Emperor Godaigo. The glaze color was blue-yellow or pure white, but sometimes red glaze was applied, or natural blown glaze was used to create a graceful effect.
(There was a master craftsman named Shinjiro during the Tensho era. In the Kan’ei era, Kobori Toemonomori Masakazu gave designs to a local potter to make tea utensils, but the utensils were thin and of high quality, and they were called Enshu Iga.)
Gable handles
In the same year of the Kenmu Era, Kato Tosaburo Masatoshi, a master potter of the fourth generation of Keisho, created a tea jar with a haphazard hand. The under glaze on these vessels does not reach all the way to the top, exposing the geological features, and the shape of the vessels resembles a house gable, giving them their name. The glaze is brownish-brown with yellow over it, and some pieces are stamped with broken walnuts. There is another specialty called shibushi-te, both of which are also called “secondhand ware” in later generations.
Yoshino period = From this period, the Northern and Southern Dynasties began, and wars broke out in succession, and the people of the northern part of Kyushu threatened the Korean lands with arms.
Muromachi Ashikaga Period = Revival of Ibe Pottery
In the reign of Emperor Go-Komatsu, the north and south dynasties were united, and the country was finally at peace. The name “Imobeyaki” was changed to “Ibe” (also called “Imabe”) in later years. The products included agricultural implements such as seed pots and seed dip pots, flower vases, sake pots, and from the Tensho period, tea ceremony utensils. The Kobizen ware of this area includes such masterpieces as Hidasuki, Matsuba-jyo, and Enoki.
(In later years, a type of brownish-brown glaze with a darker yellow glaze, called goma, was also produced.)
The arrival of Qiguan celadon porcelain
On August 3, Eiyo 10 of the same dynasty, the monk Qiyang of Ming Dynasty China brought poems, four books, and several pieces of pottery as tribute, and this was the first time he handed over celadon porcelain made by his seven officials. He also gave the first of his seven pieces of celadon porcelain to the commander Ashikaga Yoshimochi (who was 43 years old when he graduated on the 18th day of the first month of the first year of the Shōchō era), who served the Ming Emperor at the Kitayama Pavilion. The seven officials’ hands were named after the seventh highest-ranking official in the country, and were called “kowatari,” while those from the Tensho and Bunroku periods were called “chudari,” and those from the Enpo period were called “gowatari,” or “shinwatari.
Aya Noya Shuko
In the reign of Emperor Go-Hanazono, Aiya (Nakao), a retainer of the shogun Ashikaga Yoshimasa (who was 56 years old when he graduated on the seventh day of the first month of the second year of the Entei Era), was highly knowledgeable about ancient vessels and recommended rare and unusual items to the emperor. Noya Nakao, a monk in the southern capital, was a master of ttencha (點茶) and was the first to improve on the tea ceremony of the Tang and Song dynasties and to establish the tea ceremony itself.
From this time on, tea masters such as Murata Shuko (a.k.a. Mokichi, another name for Dokuro Matako-an Nansei, a pupil of Ikkyu, who graduated on May 15, 1861 at the age of 81) emerged, and the fashion of the tea ceremony became an appreciation of the tea utensils. The combination of Yoshimasa’s taste for the elegant and refined with his taste for the simplicity of the tea ceremony led to a major change in the art and craft world at the time.
Mino ware
In the 7th year of Emperor Go-Tsuchimikado’s reign, a man from Kuraki-gun, Muso Province, named Kato Kagenobu, came to Okawa Village, Ena-gun, Mino Province and began producing pottery. He is called the founder of Mino ware.
Shino style
Shino Munenobu, a vassal of Yoshimasa during the Meiji era (1868-1912), loved the glaze made in Seto by the Sung dynasty and called this type of glazed pottery “Shino ware”. This kind of glazed pottery has been called Shino ware since then. This is an old Shino ware which is highly valued in later generations. This is an old Shino, which has been highly prized by later generations.
Shoshin Shunkei
In the Meiji era (1868-1912), Yamana Soten’s vassal, Yamana Tanmasa Masanobu, was interested in pottery making and learned the technique from Kato Shunkei (who must have been the 67th generation of Shunkei).
Muromachi Warring Period = Abeya
During the reign of Emperor Go-Kashiwabara, a Korean potter named Ameya came to Kyoto and became the son-in-law of Sasaki Nana, located on the north side of the Nishinotoin East Entrance and moved back to Kyoto. He did not use a potter’s wheel, but made elegant earthenware with a finger-head, but did not produce many pieces because he was not skillful.
Shao-o Shigaku
It was also around this time that Shao-o Shigaku was founded by Shao-o Takeo, a tea master from Sakai, Senshu, who was 53 years old and graduated on October 29, the leap month of the first year of the Koji era (1868).
Shidoro ware
During the reign of Emperor Nara, Shidoro Pottery was founded in Yokooka Village, Omi Province (Haibara County), but it was mainly used for leaf tea pots and vases.
Opening of the Port of Hirado
In the same year, in response to the demand of the Japanese grapevine, Takanobu Matsuura opened the port of Hirado in the Hizen style. This marked the beginning of a new era in Japanese commerce, and at the same time, the importation of their curious ceramics provided a new impetus to the world of Japanese ceramics.
Oshikote Tea Caddy
During the same period, in Akatsu Village, Yamada County, Owari Prefecture (now part of Seto City), a potter named Akatsu Saburo Sakomon, who was favored by Imagawa Yoshimoto, produced a tea caddy with ote (a type of glaze with several streaks of burnished surface and a glaze on the “inside of the bottom” so that the clay is visible, hence the term “ote”). This is the famous “Shigawa” tea caddy that was called “Shigawa” in later years.
Hatta Pottery
In the Tenbun era (710-794), Ushida-yaki was established in Hatta village, Izumi-kuni, and later became known as Hatta-yaki. (During the Tensho period, a man named Genzai, whose family name was derived from the name of the area, began to make Hatta ware, which was called Hatta-yaki. It is said to be light, snow-white, and exquisite, and Hideyoshi gave it the name of the best under heaven.)
In the first year of Emperor Shoincho’s reign (1558 A.D.), an Englishman named Ralph Fritch, who was in Mashike at the time, said that when grapevine people came to Japan from China or Mako, they sent white silk, gold, musk or pottery, and never made fun of anything but silver.
They sent white silk, gold, musk or pottery, and did not make fun of anything other than silver.
The pottery made by the Puppets was made at the ports of call in China, Annam, Lu Sung, and Kohji Beach, and it is not difficult to imagine that they were made in these places. The port is also called A-Ma Port, A-Ma Port, Ya-Ma Port, Tianchuan, and also known as Xiangshan Bay. The port is located in the delta of the Pearl River in Guangdong Province, China, and has long been a land of grapevines. Although there is no pottery here, it is likely that products from the aforementioned South China region were traded. It can be seen that the Japanese who came in contact with this curious pottery were filled with hope to imitate it in any way they could. At the time, we in Japan referred to this type of pottery as Nanjing ware, Korean ware as Koryo ware, and Chinese ware as Nanjing ware.
Nobunaga’s Tour of Seto
In December of the 6th year of Era of Era of Loke, Oda Nobunaga of Owari, on his way to hawk, made a patrol of the pottery industry in Seto in his territory, and forbade the taking of any new taxation or pledge or pledge in the township (when a debtor fails to pay his debts, his property is seized and his property is confiscated as soon as he finds it, no matter where it is located). In addition, the township forbade the passage of all goods not related to the township’s market days, as well as the free passage of merchants and horses.
He also prohibited the passage of any luggage on Togo’s market days. He also placed a similar order on Kato Man’ikomon Motonori (son of Tohei Motonaga), a descendant of the 12th Keisho generation.
Nobunaga also greatly enjoyed the tea ceremony, and especially collected famous tea utensils from all over the world, which he presented to distinguished warriors for their merits and achievements. This promoted the spread of the tea ceremony and encouraged the production of tea utensils.
Opening of Nagasaki Port
In the first year of the Genki era, the ports of Hirado and Fukuda in Hizen were closed and moved to Fukaeura in the same country, which became the Port of Nagasaki. Since then, foreign goods were frequently imported from this port, and in later years, pottery for export was produced here.
Orihoyo Clan’s Azuchi-Momoyama Period = Ohira Pottery
In the first year of the Tensho Era, Kato Gorozaikomon Kageyoyo (renamed Okusangemon Kagehisa), the second son of Seto Bozu potter Kageharu, came to Ohira, Kugari Village (Kami County), Mino, with his younger brother Shigekomon Kagesada (renamed Iukomon) and established a kiln.
Protection of Seto potters
On the 11th day of the 11th month of the 2nd year of the Tensho Period in the same year, Tada Nobunaga investigated the lineage of Seto potters and issued a decree to protect them by restricting the number of kilns and forbidding them to open new kilns elsewhere.
Kiln mark of a famous Seto potter
The most important potters in Seto at that time were Inso-right Koumon (Kato Sou-right Koumon Keishun, named Haruei Harunaga, graduated on the 28th day of the first month of the 9th year of Eiroku), Kuchiin Ichizaakoumon (Kato Ichizaakoumon Keishige Haruatsu, later renamed Oku Sanbei Keikou, the third son of Keishun), Tenin Shige-right Koumon (Kato Shige-right Koumon Keisada, later named Iukoumon, then named Keizan, “There is a theory that he was also called Tokuan. (The fourth son of Kageharu), Chouju, a son of Jusakumon Nobunaga, a son of Takashima Tohei Motonaga, a son of Kato Juukumon Motomura, a pupil of Kageharu. He is the son of Jusakumon Nobunaga, the son of Takashima Tohei Motonaga, the son of Kato Juemon Motomura, a pupil of Kageharu. He is the founder of Seto Drawer Black), O-in Taihei (Kato Genjuro Kagesuke, also called Taihei, or Hakuan, or Toshihaku, the son of Yosanemon Kagehisa), Dingin Shinbei (unknown but must be a Kato) and others.
All of the above potters were particularly skilled in the manufacture of tea utensils, and all of them engraved kiln marks on their wares.
The first to inscribe their own work is said to have been the first to do so. The six potters are therefore referred to as the “six works of Seto,” a term that seems to have been coined by later generations.
Burning Ming-style roof tiles
In the same year, Nobunaga Nobunaga built Azuchi Castle in Omi Prefecture, and summoned a tile maker from Hizen Hirado, who had come from Fukushu in the Ming Dynasty, to Takashima County to burn Ming-style tiles for the roof of the castle tower. This was the first use of Ming-style tiles in Japan, and was the beginning of the use of smoked tiles instead of the traditional Nunome tiles. (In later years, Ichikan’s son, Nagayasu Okubo Iwami-no-Mamoru, became a magistrate on Sado Island.)
Nagasuke’s Raku ware
In the 5th year of Tensho, Nobunaga ordered Chosuke Tanaka, son of Sokei Sasaki (also known as Chojiro, who took the name of Sen no Rikyu and changed it to Tanaka, and graduated on September 7, 1868 at the age of 74) to produce two types of black and white glazed tea sets, following the style of his father’s glazed ware.
Gunjiri ware
In the same year, Kagehisa’s eldest son, Kato Shin’emikumon Kagehisa, opened a kiln in Gunjiri, Mino (Toki-gun) with his younger brother, Genjuro Kageshige.
Rikyu was given a high stipend.
In the same year, Nobunaga granted a stipend of 3,000 koku to tea ceremony master Sen no Rikyu (a pupil of Takuno Shao’o, named Soyoshi, or in layman’s terms, Koshi Shiro, or Posenzai, who was given the name of a retainer by Emperor Shojincho, and ordered to die by Hideyoshi on February 28, 1918, at the age of 71).
Sarutsume Kiln
In the spring of the 6th year of the Tensho Era, Iemon Kage-sada Kato (who died in Ohira on September 20, 1878) opened a kiln in Sarutsume, Tohmura (Ena-gun), Mino.
Hideyoshi summoned the six surnames of Ibe.
In March of the 10th year of the Tensho Era, Hideyoshi Hashiba was in Bizen on a mission to explore the central part of Japan, and one day he stayed at the house of Daigoro Sakomon, one of the six members of the Ibe pottery family. Hideyoshi then protected the six potters and issued a decree forbidding any of them to set up a camp in the area.
Bizen ware includes not only Ibe, but also Aobizen (blue-bizen, also called Aokabe, blue-gray reduction ware fired in a ceremonial cellar kiln), Irobizen (unglazed, hu-fun decoration work made by the third generation Ikeda Munemasa from the feudal lord Tsunamasa during the Glorious Era), and others, and there was a master potter named Mikazuki Rokubei in the Gangaku era (Unno Unno in Shotoku). (Unsada in Shotoku, Kimura Jinshichi in Enkyo, Hattori Heishiro in Glorious Time, Kimura Sakujuro in Meiwa, Ohira Juro in An’ei, Kimura Shohachi in Tenmei, Mori Yoshiaki in Kyowa, Moichi in Bunka, Kimura Heihachi in Kaei, etc.)
Kato Kagehisa
In the 11th year of the Tensho Era, Kato Okusanbei Kagemitsu, the son-in-law of Kagehisa, came to Gunjiri, Mino, and produced white glazed vessels. He also created Seto black tenmoku and presented it to Emperor Shojincho, who entrusted it to Chikugo no Mamoru as one of the master potters of the time.
Pottery Musket
In the 12th year of the Tensho Era, Hideyoshi ordered a potter from Seto to make bullets out of ceramic, which he used in the Battle of Owari Nagakute on April 9 of the same year.
The Flourishing of the Tea Ceremony
The tea ceremony flourished, and many famous tea masters emerged, including Sanzai Hosokawa Tadaoki (the first head of the Etchu clan, Yoichiro), Ryoan Oda Nagahon (the first head of the Ariraku clan, Gengoro), Inzai Furuta Shigekatsu (the first head of the Oribe clan, Sasuke), and Yasugen Kanamori Nagachika (the first head of the Izumo clan, Gorohachi).
Oribe style
Among them, Furuta Shigekatsu (also known as Munehoshi-ji, who was ordered to die in a Kyoto arson attack on June 11, 1868, at the age of 72) ordered a potter in Narumi (Aichi County), Owari Prefecture, to produce tea pots in his own style. The pots were decorated with blackish-brown and green glazes and many flowers and grasses, which later became known as Oribe ware.
(In addition to this Narumi Oribe, many other types were produced in Seto, including black Oribe, blue Oribe, red Oribe, cypress Oribe, and Oribe Shino. The one that Ina Bizen-no-Mori Tadatsugu ordered to be fired in later years is called Ina Oribe.)
Famous Oribe potter
In 13 Tensho, Furuta Shigekatsu visited the Chinese capital from time to time to encourage the production of tea ceremony utensils, and created the elegant Oribe style. The famous potters of the time were “Ka” In Hachiroji (named Hachiroemon after Kato Hachiroji Kagekane, second son of Soemon Kageyo, grandson of Motomura Jukumon), “Yama” In Kichiemon (Kato Kichiji Kagemon Shigeki, second son of Motomura’s fourth generation Shin’emon Kageshige), and “Yama” In Kichiemon (Kato Kichiemon Shigeki, second son of Kato’s fourth generation Shin’emon Kageshige). (Kato Kinkuro is the eldest son of Goroemon Masatsune IV Souemon, a younger brother of Fujishiro Motoharu), Jihei Kato (Jihei Kato is the son of Sobei Sobei, a branch family of Goroemon Masatsune V), and ) “S” mark Shichi, “S” mark Rokubei, “?” mark Sasuke, “I” mark Sasuke, and “I” mark Sasuke. The above ten are also referred to as Oribe’s favorite ten works, As with the six works mentioned above, this may also be the work of a later generation.
