This is the first book in a European language to make a comprehensive study of the life and works of the astonishingly versatile and accomplished Meiji potter, Makuzu Kozan (1842 - 1916), who was acclaimed as one of the greatest ceramic artists of the Meiji period.The Meiji period, after the opening of Japan to the West in the mid-nineteenth century, was a time of momentous change for Japanese society and Kozan's Makuzu workshop makes an ideal case study to examine the effects of these changes on the Japanese ceramic industry. This book tells the story ofKozan's Makuzu wares from their origins in a traditional workshop in Kyoto to their maturity in a prolific factory in the newly-opened port of Yokohama, where Kozan's ability to cater to the demands of a new Western export market and to incorporate new Western glaze techniques led to enormoussuccess, both in Japan and abroad at the international exhibitions that flourished from the 1850s.Lavish illustrations highlight Kozan's remarkable and technical and artistic achievements, while ceramic marks and box inscriptions are analysed as a practical guide to dating Makuzu ware. Clare Pollard discusses the role of later generations of the Miyagawa family in the running of the workshop andrelates developments in Makuzu ware to the work of other major potters of the era, both in Japan and in Europe and America.Incorporating contemporary sources (including previously unstudied archival material from the Makuzu workshop itself), recent research and the study of a large corpus of Makuzu wares in museums and private collections all over the world, the book examines the artistic, political, and commercialfactors that influenced Kozan and his contemporaries as they strove to come to terms with shifting life-styles and changing attitudes to the arts, and moved towards the creation of a modern ceramic industry.

This is a study of a group of potters living in a small community in the south of Japan, and about the problems they face in the production, marketing and aesthetic appraisal of a kind of stoneware pottery generally referred to as mingei, or folk art. It shows how different people in an art world bring to bear different sets of values as they negotiate the meaning of mingei and try to decide whether a pot is 'art', 'folk art', or mere 'craft'. At the same time, this book is an unusual monograph in that it reaches beyond the mere study of an isolated community to trace the origins and history of 'folk art' in general. By showing how a set of aesthetic ideals originating in Britain was taken to Japan, and thence back to Europe and the United States - as a result of the activities of people like William Morris, Yanagi So etsu, Bernard Leach and Hamada Sho ji - this book rewrites the history of contemporary western ceramics.

Imari and Kakiemon wares are produced in the Arita area of Kyushu, a focus ofomestic porcelain production since the 17th century. In addition to theophisticated potting techniques and cobalt/celadon underglaze decorationearned from Korea, Japanese potters learned Chinese overglaze enamelechniques and the brilliant porcelains of Kyushu appeared almost overnight.hese porcelains were shipped through the port of Imari, and hence becamenown by that name. Wares from the Kakiemon kilns are well known for theirright yet subtle red enamel, the delicate balance between decorated andhite areas, and the painstaking care directed to every step from refininghe clay to the enamel firing.;This book provides a visual overview of theistory, techniques and distinguishing features of both Imari and Kakiemonares.

Ceramics and Modernity in Japan offers a set of critical perspectives on the creation, patronage, circulation, and preservation of ceramics during Japan’s most dramatic period of modernization, the 1860s to 1960s. As in other parts of the world, ceramics in modern Japan developed along the three ontological trajectories of art, craft, and design. Yet, it is widely believed that no other modern nation was engaged with ceramics as much as Japan—a "potter’s paradise"—in terms of creation, exhibition, and discourse. This book explores how Japanese ceramics came to achieve such a status and why they were such significant forms of cultural production. Its medium-specific focus encourages examination of issues regarding materials and practices unique to ceramics, including their distinct role throughout Japanese cultural history. Going beyond descriptive historical treatments of ceramics as the products of individuals or particular styles, the closely intertwined chapters also probe the relationship between ceramics and modernity, including the ways in which ceramics in Japan were related to their counterparts in Asia and Europe. Featuring contributions by leading international specialists, this book will be useful to students and scholars of art history, design, and Japanese studies.

Featuring dozens of color photographs and extensive commentary, this Japanese ceramics guide is an comprehensive resource for collectors and art enthusiasts. For the collector of Japanese ceramics, the chief value of the book will lie in the author's very practical advice on what, where, and how to collect; what to pay; how to choose a dealer; how to distinguish between the genuine and the imitation; and similar matters of importance. For the non-collector who nevertheless admires Japanese ceramics, the main interest will undoubtedly lie in the concise and highly readable background information that Mr. Munsterberg presents and in his amiable manner of leading the reader to an appreciation of Japan's ceramic art. For both the collector and the non-collector, the abundance of illustrations, many of them in color, will provide an aesthetic treat.

From 2005 through 2007, the author studied nine families from the original 1968 documentary film "Potters of Japan" by Richard and Marj Peeler. The Kondo, Shimaoka, Ichino, Kaneshige, Mori, Katō, Fujiwara, Waraku and Takahashi family names are synonymous with Japanese pottery. Each produces ceramic work that is respected and admired by thousands of Japanese and individuals throughout the world. This book is a review of each family since the original film and essentially a study of contemporary Japanese Ceramics from 1968 to the present. There are as many similarities as differences among this group of potters. Tradition is pivotal here; family name, prestige, artistic and technical secrets are passed from generation to generation with each family developing their own expression and unique qualities. Today, studio pottery in Japan has grown and there are many more people working and expanding the traditions of the original six old kilns (rokkouyo) and this book is an introduction to studio pottery in Japan today.

This volume explores Japan's industrialization from the perspective of "indigenous development", focusing on what may be identified as "traditional" or "indigenous" factors. Japanese industrialization has often been described as the process of transferring or importing technology and organization from Western countries. Recent research has, however, shown that economic development had already begun in pre-modern period (Tokugawa-era) in Japan. This economic development not only prepared Japan for the transfer from the West, but also formed the basis of the particular industrialization process which paralleled transplanted industrialization in modern Japan. The aim of the volume is to demonstrate this aspect of industrialization through the detailed studies of so-called "indigenous" industries. This collection of papers looks at the industries originating in the Tokugawa-era, such as weaving, silk-reeling and pottery, as well as the newly developed small workshops engaged in manufacturing machinery, soap, brash, buttons, etc. Small businesses in the tertiary sector, transportation and commerce, are also observed. Available for the first time in English, these papers shed new light on the role of "indigenous development" and our understanding of the dualistic character of Japan's economic development.

In the past few years, there has been a growing appreciation by Western scholars of the vast scale, great achievements, and methodological originality of Japanese archaeologists. However, an understanding of the results of their work has been hampered in the West by a lack of up-to-date and authoritative texts in English. This book provides Western readers for the first time with a uniquely East Asian perspective of Japanese archaeology. Prehistoric Japan is organized into 16 chapters covering the environment, the history of the Japanese investigations of their past, the peculiarities of Japanese scholars' interests and methodologies, the organization and material culture of previous Japanese societies, economic trade and the question of immigration, the political unification of Japan, and the relationships between the core islands of Honshu, Shikoku, and Kyushu to Hokkaido in the north and the Ryukyu Islands to the south.

This book is an introduction the Japanese history, culture, and society from 1185 - the beginning of the Kamakura period - through the end of the Edo period in 1868.