Torii Munemune’s advice against the plan
Before Hideyoshi planned to invade Korea, Torii Munemune (a wealthy merchant from Hakata, also known as Tokukado Munekatsu. He died in 1615 at the age of 77) received a secret order from Hideyoshi to inspect the Korean Peninsula inspected the country, he recognized that the plan was extremely disadvantageous and repeatedly tried to dissuade him, but Hideyoshi would not listen and instead forbade him to associate with him.
Invasion of Korea
On March 13th 1593, Hideyoshi assembled an army of over 300,000 men, and of these, 250,000 were sent to invade Korea. On March 26th, Hideyoshi himself left Kyoto on April 25th, and he had 124,500 men guarding the area around the castle for two miles in all directions.
The vanguard of the first army was led by Kato Kiyomasa (Lord of Kumamoto Castle in Higo Province) and Konishi Yukinaga (Lord of Uto Castle in the same province), with Kiyomasa leading 8,000 men (or possibly 10,000 men) and Nabeshima Naoshige, the lord of Saga in Hizen Province, led 12,000 men as second-in-command, and Hata Chikara, the lord of Kishitake in Kamimatsuura in Hizen Province, led 2,000 men and was attached to Naoshige.
Konishi Yukinaga led a separate force of 7,000 men, and the other commanders from Hizen who joined him included Matsuura Toshitsugu, lord of Hirado Castle, with 3,000 men, Arima Harunobu, lord of Shimabara Castle, with 2,000 men, Omura Omura Kiyokazu, the lord of the castle at Fukue in Goto, and Goto Sumigen (Awaji no Kami Hajime, Yamato no Kami Moritoki), who led 700 men, and they split into two groups and advanced.
The Nabeshima army’s commanders
If we were to list the commanders who served under Nabeshima Naoshige at this time, they would include Yamashiro Magoshichiro Sadatsugu, Tajiri Tango no Kami Kanetane, Naritomi Hyogonosuke Shigeyasu, Taku Nagamon no Kami Yasujun, Nabeshima Heigoromo Shigetoshi, Nabeshima Saburobei Shigemasa, Nabeshima Shinsakomon Tanemaki , Dojo-in Dozen, Sukekomon Moriyoshi, Ryuzoji Shichiro Sakomon Ieharu, Hikoemon Ietoshi, Matahachiro Hisamori, Tarojiro Shigenari, Shinsuke Iemitsu, Tarogoro Shigenori, Tarokuro Nobunari, Shirobei Nobutoki, Matsuura Taro Nobuaki, Fujitsukasa Konno, Furuhori Nakatsukasa Tadasuke Sumikane Oda Shirojiro Nobumitsu, Kamishiro Kiheiji Ieyoshi, Anegawa Nakatsukasa Nobuyasu, Ogawa Ichisakomon Ietoshi, Hannya Ietoshi, Senbu Sukeukon Kentoshi, Chiba Umamasa Toshitada, Inuzuka Sanrokuukon Shigetora, Shigetora, Shigekazu, Hachinohe Sukubei Muneharu, Yokodake Shimotsukenori Yoritsugu, Nakayama Bizen no Kami Nobumasa, Izumo Hyobu no Shosuke Nobutada, Oki Hyobu no Shosuke Sumimitsu, Shikae Hoki no Kami Nobuaki, Miura Shiro no Kami Kenshun, Kinoshita Shiro Masunao, Shigenori, Nobukazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Toshikazu, Shigenori, Uchida Sukesaburo Iekatsu, Doi Magorokuro Shigenobu, Notomi Matasaburo Ienari, Nishimuta Shinsuke Ienari, Hirayoshi Kembu Shigenobu, Mizumachi Hiraemon Shigenari, Kuramachi Hansaburo Iehide, Ureshino Kyuzo Michinao, and Doi Magosaku Michiki, etc.
Setting Sail and Returning Home
Thus, Naoshige’s army set sail from Imari Port in Hizen Province, and on April 12th, 1593 (the first year of Bunroku), both the vanguard and the main force set sail from Nagoya Port. From there, they fought their way to Hamgyeong, Gaeseong and Anbyeon, and Naemoto entered the royal castle with Kiyomasa, but on June 29th they parted ways and headed for Gilsu, where they fought a major battle in Yeongheung-gun in October. On January 5th of the same year, the commander of the separate army, Kobayakawa Takakage (Lord of the Chikuzen Nijino Castle), defeated the Ming general Li Ruzong at the Battle of Baekjeokwan, but on the 7th of the same month, he suffered a major defeat at the Battle of Gyochang.
In the third year of Bunroku (1595), the Ming envoy came to Japan and a peace treaty was concluded. In the fifth year of Bunroku, in November, the year changed to the first year of Keicho (1596), and in the New Year, our army all returned to their bases, and Naoshige also returned to Imari. (It is said that the pine tree that was brought back from Korea as a memorial to Naoshige’s military campaign and planted at the Togashima Shrine in Kisu, which was later moved to the Aioi Bridge area in Imari and then to Doi-machi, is the pine tree that can be seen at the base of the current Konpira Shrine).
Second Expedition
In September 1596, after the peace talks broke down, the Japanese launched a second invasion of Korea. On October 20th of the same year, Naoshige, as the military governor of the first army, set out from Imari Port to fight the second battle, but at the request of his eldest son, Itakatsushige, he decided to fight in the first battle instead On July 15th of the same year, he took part in the naval battle of Geoje Island, and in December of the same year, in the land battle, the great general Yang Ho attacked the large army by night, and Kiyomasa lifted the heavy siege of Ulsan, etc. At a time when there were many hard-fought battles. In the third year On August 18th of the same year, Hideyoshi died at Fushimi Castle, and on the 25th of the same month, Ieyasu Tokugawa and Toshiie Maeda held a meeting and decided to recall the dispatched troops. Naoshige and the other generals returned to the Hakata Port in Chikuzen in early December.
Post-war Post-battle
reflection the two commanders of our vanguard were at odds and did not act in unison, and when Go-Chang retreated to Pyongyang and the remaining forces abandoned Gyeongseong and retreated south, a truce was called.
Next our second expeditionary force was besieged in the three provinces of Jeolla, Gyeongsang and Chungcheong, and was unable to advance as far as the capital. In particular the navy suffered a crushing defeat, and according to the opinions of military experts at the time, this was because the navy’s base of operations did not extend west of Sunse Bay.
Failure of the campaign failure
In short, Hideyoshi’s expedition to Korea was a complete failure, as it only inflicted damage on Ming China and caused great devastation in Korea, and apart from showing the unmatched bravery of the troops, it did not achieve anything of substance. the one thing that can be called a souvenir of this military expedition was the fact that they imported many potters from that region, which helped to advance the pottery techniques of our country, and they even managed to start producing white porcelain, which was thought to be impossible at the time, so it was a matter that should be noted in the history of our arts and crafts and industry.
When the military expedition When the various generals returned from the campaign, Hideyoshi ordered them to bring the potters from the area with them, and at the time, the tea ceremony was so popular that even at the main headquarters of Nagoya Castle, tea ceremonies were held , or even if they were having tea utensils fired nearby, it is not difficult to understand that there were not a few among the generals who were in the process of sending troops who required potters from Korea.
The founding of the Joseon Dynasty ‘s founding
Originally, the pottery techniques of Joseon were brought from China geographically, and there is a history of their arrival in the founding of the nation, and it is said that four thousand years ago, during the reign of Emperor Yao, the ruler of the land came to this place and founded the nation in Pyongyang, and soon after three thousand six hundred years ago, the royal family of the Shang Dynasty fled to this area, and King Wu of the Zhou Dynasty granted them land and established their capital in the area around Pyongyang (the royal territory centered on Pyongyang).
After that it was divided into three kingdoms, but in the third year of the reign of Emperor Wu of the Han Dynasty, it was conquered and divided into four counties, which was in the 50th year of the reign of Emperor Kaiko. However the kingdom of Tamna, which was established on the southern peninsula, was constantly oppressed by the kingdom of Silla, which was established in the land of the Shilla in the 37th year of the reign of Emperor Sujin, and so, in the 65th year of the same reign, it paid tribute and asked for assistance from our country.
Old pottery from the ancient city of Nagan
Next In the twelfth year of Emperor Sujin, the kingdom of Baekje, which was established in the southern part of the Korean Peninsula, was also under the protection of our country, along with the kingdom of Mahan, which was constantly threatened by Silla. However, it is clear that the people of these Korean regions were skilled in pottery making from the time of the old capital of Nagan, as can be seen from the various elegant pottery that is still being excavated from the same region.
Goryeo the home of Goryeo ware
In the 18th year of Emperor Daigo’s Engi era (918), Wanggeon, who had rebuilt the Goryeo Kingdom (the former Goryeo was founded in the 61st year of Emperor Sujin’s reign), defeated Silla and established his capital at Gaeseong in the 5th year of Emperor Suzaku’s Shouhei era (935). The Goryeo ware produced in various places on the Korean Peninsula, centering on this Gaeseong (also known as Songdo, in Gyeonggi Province) (also known as Songdo, in Gyeonggi-do) and elsewhere on the Korean Peninsula. In particular in the main producing areas of Gwangjin-gun, Gwangju-myeon, and Chil-ryang-myeon, Gwangju-gun, and Jangheung-gun, etc., it was produced in great numbers from the 9th year of the Genkyuu era of Emperor Kameyama until it was destroyed by Yi Seong-gye, who established the Yi Dynasty.
The genius of the pottery genius.
The country was named Joseon after this, and although the production of ceramics flourished during the Yi Dynasty, it declined in later years along with the decline of the country’s fortunes. At that time, there were no outstanding artists in general craft techniques, and there were also no famous painters who could be the source of design it is strange that there were so many talented potters among them, and it seems that Koreans are born with a natural talent for this field, and when the war broke out, they were all swept away to our country.
The Status of Korean Status of Korean potters
Many Korean potters were of the lowest social class, and were considered to be on a par with the samurai, farmers, artisans and merchants. is similar to the situation of the earthenware makers of the time of our dynasty, who were later looked down upon by society because they were in charge of all matters relating to funerals and tombs.
The reason for the arrival of Korean The reason for the arrival of Korean potters
If they had arrived in Japan at this time, the various lords would have competed to invite them in order to benefit their own hobbies and the industries of their territories, and some of them would have even given them hereditary stipends and treated them well. Also, there were cases where the Koreans who acted as guides for the Japanese army, or who collected provisions and other provisions for the enemy army, were unable to remain in their own country. In addition In addition, due to the long period of war over the past seven years, many Koreans who were struggling to make ends meet had to abandon the graves of their beloved ancestors and lead their families to Japan. . Furthermore, there is even a theory that their fellow countrymen migrated to the eight provinces of Gyeongsang, leaving no trace of potters in the area.
Lack of firewood of firewood
was due to the reckless felling of the forests. They were unable to resist the temptation of short-term thinking, and were content to make no plans for the next ten years, let alone the next hundred years. If if even a little was saved, the local county officials would set up various pretexts to forcefully exploit them, and lacking a spirit of thrift and proactive planning, they would only clear the forests for immediate needs, and would not dare to plant trees year after year, the peaks and ridges of the mountains in various regions became bald, and eventually they even dug up the tree stumps and used them as fuel for cooking during the winter, and this must also have been a major contributing factor to the complete poverty in terms of fuel for pottery making, which requires a particularly large amount.
Weight replacing
the other half of the reason, when returning from Busan and other places, our transport ships, which were frequently going back and forth during this war, would have great difficulty overcoming the waves of the open sea with an empty load in the small boats of the time, so each time they would load them up were loaded onto the ships, and from that time on, pagodas, temple bells, stone lanterns and other notable stone statues from the temples and graveyards around Busan were also loaded onto the ships, and almost all traces of them were lost. many Koreans must have taken this opportunity to disembark at various ports in the area, including Karatsu, Imari and Hirado.
Naoshige and the Korean potters
However there is a theory that Naoshige Nabeshima, who had the most convenient geographical relationship and led the largest army, also brought back many Koreans, and although it is true that the number of returning ships was frequent, it is not clear whether the number was several thousand or several hundred. Naoshige was not a tea ceremony enthusiast like Hosokawa Tadaoki, Gamo Ujisato or Tanaka Yoshimasa, and he spent much of his life devoted to the task of conquering Kyushu for Ryuzoji Takanobu, and in his later years he was engaged in the administration of the Hizen domain, and there was no rest for him in his efforts to govern the country.
Therefore I hesitate to agree with the theory that he brought many Koreans with him for the sake of the tea ceremony and the arts, and that he also brought them with him from the beginning to work on the pottery industry in his own domain. The reason for bringing Ri Sam-pei over to Japan was entirely due to human kindness, and the events that followed should be described in detail in the latter part of this book. It is thought that Ri discovered the Arita Izumi mountain porcelain ore by chance and perfected white porcelain, and that he was the first to take the path of encouraging and protecting domestic production.
This book This book should be a systematic description of the various Korean-related wares that came to Saga, Karatsu, Takeo, Fujitsu, Imari, Hirado, Omura, Isahaya, etc. in Hizen from ancient times, but at this time, it will describe the general outline of this type of ware, which was made in kilns in the domains of various lords other than Hizen after the Korean campaign.
Takatori Takatori ware
Following Kuroda Nagamasa, Hachiyama, a man from the village of Uidong in Gyeongsangnam-do, Korea, and his father-in-law Shinkuro, who had come with Kato Kiyomasa, both searched for clay in their fiefdoms at Nagamasa’s behest, and opened a kiln in Takatori village, Kurate county, Chikuzen province, which they named Takatori ware. Yazan was renamed Hachizou and given a stipend of 70 rice measures.
In 1628, Kuroda Tadayuki (Nagamasa’s eldest son, Ukemon-no-suke) employed the samurai Igarashi Jizaemon of the Karatsu Terasawa clan (giving him a stipend of 30 rice measures) and worked with Hachizou to improve the craft. Kobori Masakazu Kobori also came to this area and, entrusting the work to Jizaemon and Hakuroemon, produced a variety of famous pieces, including pieces with a luster of light brown, light blue, white, and black glaze. From this point, Takatori ware came to be regarded as one of the seven Enshu-style kilns.
In the 19th year of the Keicho era In 1604, Takatori ware was moved to Isomura in the same county, and in 1630 it was moved to the foot of Shirahata Mountain in Aya Village in Honami County. Next, in 1667, it was moved to Tsuzumimura in Kamiza County, and then to Kahara moved to the village of Tsurumiyama in the southern part of Fukuoka Castle, and in the first year of the Kyoho era (1716), it moved to the Higashiyama area of Nishijin-machi in the same city and became the official kiln of the domain.
Ojiro yaki
Kato Kiyomasa brought back several Korean potters, and at the foot of Ojiroyama in Higo Province’s Tamana County, they began to make a type of sandware (stoneware) with a hanging glaze called Ojiroyaki (also known as Ryugaharayaki). In the 9th year of the Kan’ei era In the ninth year of Kan’ei (1632), Hosokawa Tadanobu (the eldest son of Tadaoki, governor of Etchu) was granted a fief in this area from Buzen, and he invited the potters Koshiji Matazaemon and Katsuragi Anzaemon to come and make pottery. In later years Noda Matashichi’s predecessor’s kiln was moved to Horiike-en in Minamikawara-cho, and it came to be called Shofuyaki.
Shimazu Yoshihiro brought back 22 (or 44) potters from Korea, including the potters Bongjin (Kim Hae), Bak Pyong-ui (Bak Ho-yong), Bak Jeong-gi, Jin Dang-gil, Yi, Kang, Jin, Jeong, Cha, Lim, Baek, Ju, Choi, Ho, Kim, Ah, and others, and he settled Bangjin in Kagoshima (now called Koraicho), and Park Pyong-ui in Hiki-gun Kushikino-go Shimonami.
Tessa Yaki
When Yoshihiro moved to Chosa Castle in Aira County, he had Houchin open a pottery, and this is the origin of Chosa Yaki. Houchu changed his name to Hoshiyama Nakaji and was given a stipend of 15 koku. The pottery he made the pottery was so finely made that it was called “Kosa” in the world, with its tortoiseshell, tiger-stripe, and white glaze, which looked like a snake and a scorpion. The best of these pieces were stamped with Yoshihiro’s seal, and were called “Gohante”.
In the 12th year of the Keicho era In 1607, when Yoshihiro moved to the Kajiki Castle in the same county, Nakaji also came to this area and opened a pottery in the village of Kajiki. , both of whom took the surname Kawahara, changed their surname to Yamamoto when they reached the third generation, Koemon, and in 1664, both the Kawahara and Yamamoto families moved their kilns to Ryumonji in the same county.
Neyashiro Kawayaki
From this point on, in 1603, Yoshihiro and his son Tadamune (Osumi no Kami) had Bokuhei, Bokuseiki, and Chin Togichi (the ancestor of Chin Jukkan) move to the village of Naeshirogawa in Hiki County, Satsuma Province Hiki County, Ijuin Township, and Hiraie worked hard and, in the 19th year of the same era, discovered white sand and white clay, etc., and perfected Naeshiro-gawa ware. He then produced white Satsuma, which resembled white porcelain, as well as Tamago-te, Hakeme, Mishima-te, and Sunkoro-roku, etc. began to produce white Satsuma, which was pure white and similar to porcelain, as well as egg-handled, brushed, Mishima-handled, and sun-dried wares. In the first year of Koka In the first year of Koka (1845), Park Jeong-gwan succeeded in making gold-inlaid lacquerware here, and in the fourth year of Ansei (1858), he oversaw the factory established by the 11th generation of the Shim family, Shim Jukwan.
Tateno Yaki
In 1619, when Shimazu Yoshihisa (the eldest son of Yoshihiro, the Lord of Satsuma) moved his residence to Kagoshima, his second son Hoshiyama Yaemon Kanwa and his younger brother Kyusakaemon Kanbayashi followed him to the castle town of Shirokane and set up a pottery there, which became known as the Shirokane Pottery. One theory says that the second son of the aforementioned Kawahara Tohei, Jūzaemon, set up a kiln in the village of Koyamada, and that his son, Jūzaemon, was also skilled at making pottery, but in 1768 he left his village and came to the domain kiln in Tachino, where he worked from 1793 In 1793, he asked the feudal lord to be allowed to study the pottery of Hizen and Bizen, and then he studied the pottery of Kyoto, and it is said that he returned to his homeland and produced excellent pottery, such as Same ware.
Ueno yaki
In 1598, a man named Sonkei from Jukiji-go in Sacheon-gun, Korea, who had been serving Kato Kiyomasa, stayed in Karatsu for a time, but in 1600 he was summoned by Hosokawa Tadaoki and founded the Ueno ware in Ueno Village, Tagawa County, Buzen Province. He changed his name to Ueno Kizo Takanori (his name was Hoka, and his character was Joko), and was given a stipend of 15 koku of rice and 2 koku of miscellaneous stones.
When Tadanori was transferred to Kumamoto, and Takakuni’s son, Toshizane, and his fourth son, Takatoshi, served Ogasawara Tadamasa and succeeded to the Ueno ware. The production was made using clan funds, and all the products were delivered to the clan treasury, but in 1757, Hoko was granted permission to sell his wares on his own account, and in 1804, he was ordered by the clan to learn the Raku ware method from Kyoto Kyohei, and was granted the privilege of having a mounted attendant.
Takada yaki
Chikara, who moved to Higo following Tadayoshi, was the third son of Chubei (who was known by the name of Housan) and Nagayo Ueno. He opened a pottery in the village of Naraki in the Takada region of Yatsushiro County and created Takada-yaki, but in 1658 he moved to the village of Shimotoyohara. Takada ware is called Hachidai-yaki, and it is either reddish-brown with a purple tinge or has a yellow-black hanging glaze, or it is a tea utensil with a thin grayish-blue glaze. The fourth generation Fujishiro devised a method of using black and white clay, and he also changed the glaze to a purple-red color.
Kobagi ware
was once made in Tsushima, and the Korean potter Ri Kei, who was summoned by Terasawa Hirotaka of Karatsu, changed his name to Sakamoto Sukehachi Michitada when he returned to Japan, but in 1598 (Keicho 3) (1598), he was invited by Mori Terumoto to come to Matsumoto in the village of Higashibun in the Tsubaki district of Abu county in Nagato province, where he founded the Hagi ware style and produced items such as Ito and Waridai. The quality of the pottery was not very dense, and the glaze was often pale yellow. He was also given a stipend of over 50 koku of rice.
In October of the second year of Kan’ei In October of the second year of Kan’ei (1625), Hidenaga (the eldest son of Terumoto, the lord of Nagato) gave the name Korai Sakomon to Sukehachi, and from then on he was known as Sakamoto Korai. He died on the 11th of the second month of the 20th year of Kan’ei at the age of 75. In the Kanbun era, a man named Yukiyuki from Miwa Village in Yamato Province came to Matsumoto in Hagi, and produced something with a dense, glaze-like finish, which came to be known as Matsumoto ware).
The above The above list is by no means exhaustive, and it goes without saying that the opening of kilns in the various domains of Kyushu had a great impact on the pottery industry in Japan. As with the history of pottery up to that point, the results of this pottery production were limited to stoneware, and white porcelain had not yet been produced. Nabeshima Kohei of the Nabeshima clan produced a white porcelain-like white Satsuma ware, but it was a pottery that was not very fine in quality.
The path of pottery making in Japan History of pottery making in Japan
The history of pottery making in Japan was very slow at first, as it was a long process from earthenware to pottery, but once porcelain and stoneware were produced, there was a great leap forward in general culture. , there must have been a reason why they did not attempt to make any improvements in the quality of the porcelain during all those years. And yet, even though they were already in contact with Chinese porcelain at the time, why did they not advance their research in this area?
Shino-style glazed ware
Of course At the time, it was not easy to produce this type of ware without natural magnetite, but when we consider the reason why, while producing his Shino-style milky-white glazed ware at the Seto or Karatsu kilns, they did not go one step further and try to improve the body quality, it is nothing other than the result of the Japanese people’s love of elegant pottery for the tea ceremony and their deep desire to progress in the field of porcelain.
The Japanese people’s ‘s taste for elegant pottery
The Japanese people’s appreciation of elegant pottery is truly thorough, and they examine the harmony of the glaze and the hue of the fat content of the glaze, such as the purple-lipped iron-footed teapot of China, so that the white glaze of Shino is applied to the clay body of the pottery, and it is only when the glaze shows the color of the clay that it is loved.
Other Many other types of pottery were decorated with brown or lead-colored makeup (in Kyushu, Amakusa stone was used, in Bizen, three-stone waxstone was used, and in Seto, frosted glass was used, and engobe is a word from English, German and French).
If if the study of pottery in our country had continued in the same vein as porcelain at the time, it is not impossible that the pottery techniques of Japan, which have been following those of China since the Tang and Song dynasties, might have tried to make porcelain before China. , it goes without saying that the pottery techniques of Europe were far behind those of Japan in terms of culture.
Pottery and porcelain.
From the appreciation of the tea ceremony, which is understood only by the Japanese, the wonder of kiln changes, the taste of clay, the work of the brush, the technique of hand-twisting, etc., the special charm that only earthenware and pottery have special charm that can only be found in earthenware and pottery, it is natural that the Japanese, who are fastidious about cleanliness, would consider the need for white porcelain, which is convenient for washing and hygienic.
The imperial court’s tableware was ordered to Tsuji Kikomon in Arita not long after the creation of Arita porcelain.
Furthermore and in terms of the precision of the details, it is porcelain that is several levels above pottery.
Even with the hard ceramics that have become popular in recent years, if the firing is incomplete, the result of the thermal expansion caused by the absorbency of the clay will cause the glaze to crack, and there is a risk of dirt and bacteria getting in. Also, in hot and cold weather due to the difference in shrinkage between the body and glaze, the glaze may peel off, and the piece may lose its suitability as a tableware item, not to mention its aesthetic appeal.
Progressive pottery making
In the case of porcelain, both the clay and glaze are fired at a high temperature, so there is no change in quality. Also, is considered scientifically, there is no doubt that the production of transparent white porcelain using clay and glaze with low iron content is a great advance from the days when only dark-colored pottery was produced using clay and glaze with high iron content. this production has not been unrelated to our country since the days of the gods (the founding of Silla is said to be the same as the imperial brother of Emperor Jinmu, Oohito), and it must also be said that it is due to the fact that it was created by a Korean who entered the country.
Okawachi The Four Main Styles of the Okawa Family
The pottery styles and styles of our country can be divided into four main styles, as classified by the Okawa family, as follows: one is the elegant Seto style, one is the pure Japanese Kyoto style, one is the Korean Karatsu style, and one is the Chinese Arita style. Of course
