Kosugi Ware: The Phantom Pottery of Imizu City, Toyama Prefecture and the Beauty of Celadon
What is Kosugi Ware?
Kosugi ware (kosugiyaki) is pottery fired in the Kosugi district of Imizu City, Toyama Prefecture. It is known as Kyoto-style pottery in the manner of Soma ware, produced for approximately 80 years from around 1816 (Bunka 13) to around 1897 (Meiji 30).
Toyama Prefecture is located in the Hokuriku region and has pottery centers such as Echchu Seto ware and Echchu Maruyama ware. However, Kosugi ware is distinguished by particularly elegant and refined characteristics among them. Rather than ordinary daily-use wares, it was positioned as a luxury item for use in wealthy households.
The greatest feature of Kosugi ware lies in its distinctive glaze. The coloring from copper celadon glaze and amber glaze is beautiful, and the green glaze particularly called “Kosugi celadon” displays a pale green hue, presenting a subdued tone distinct from Oribe glaze. This delicate color tone sets Kosugi ware apart from works from other pottery centers.
History and Background of Kosugi Ware
Founding Period: Kiln Construction by Takahata Yoemon
The history of Kosugi ware began around 1816 (Bunka 13) in Kosugi Shinmachi, Imizu County (present-day Kosugi district, Imizu City, Toyama Prefecture). The person who opened the kiln was the first-generation Takahata Yoemon (高畑与右衛門).
Takahata Yoemon traveled to pottery centers throughout the country and, after learning pottery techniques especially at Soma ware in Fukushima Prefecture, returned to his hometown to construct a kiln and engage in ceramic production. He established an independent style by adding the influence of Kyoto ware to the techniques cultivated at Soma ware.
The first-generation Yoemon was known as a master craftsman and produced numerous refined and elegant works. His techniques and aesthetic sensibility reflected the high cultural level of the region.
Succession and Development: From the Second to the Fourth Generation
After the first-generation Yoemon, Kosugi ware was passed down through succeeding generations. The second-generation Yoemon and third-generation Yoemon followed, with the fourth generation taking the name Karatuyama Sanjuro.
The potters of each generation, while preserving the techniques of the first generation, created works suited to their respective eras. During the approximately 90-year production period, Kosugi ware consistently maintained high quality.
Around Meiji 41 (1908), when the fourth-generation Karatuyama Sanjuro passed away, the production of Kosugi ware ceased due to the lack of an heir. This caused Kosugi ware to become buried in history as a “phantom ceramic.”
Discontinuation and Attempts at Revival
Although Kosugi ware ceased production in the late Meiji period, there were subsequent attempts at revival by local enthusiasts. However, these efforts were not sustained, and the tradition of Kosugi ware appeared to be lost.
A turning point came in 1970 (Showa 45). Ikegami Eiichi announced the revival of Kosugi ware and established the “Kosugi Ware Eiichi Kiln.” Ikegami researched old documents and surviving works, successfully reviving the techniques of Kosugi ware in the modern era.
Currently, the Kosugi Ware Eiichi Kiln continues to operate in Imizu City, preserving the traditional techniques of Kosugi celadon while creating works suited to modern living. The workshop handles not only Kosugi ware but also ceramics from throughout Japan, contributing to the promotion of ceramic culture.
Characteristics and Techniques of Kosugi Ware
Distinctive Glaze: Kosugi Celadon
What characterizes Kosugi ware is the distinctive glaze called “Kosugi celadon.” This variety of green glaze is based on copper celadon glaze and is characterized by beautiful pale green coloring.
Whereas Oribe glaze, the typical representative of common green glaze, exhibits a deep green, Kosugi celadon displays a pale, subdued green. This color displays beautiful luster of deep green on the surface, and the tone changes subtly depending on the viewing angle.
In addition to copper celadon glaze, amber glaze was also used. Amber glaze is a tea-brown glaze that provides depth and variation to works through contrast with Kosugi celadon.
Kyoto-style Soma Ware Manner Style
Kosugi ware possesses a distinctive style of Kyoto-style Soma ware manner. Kyoto ware is refined ceramics developed in Kyoto, characterized by elegant and delicate decoration. Soma ware, on the other hand, is a product of Fukushima Prefecture with distinctive techniques and design.
The first-generation Takahata Yoemon learned techniques at Soma ware and added the influence of Kyoto ware, from which Kosugi ware’s unique aesthetic sensibility was born. Through this fusion, works of high artistry were produced despite being from a local kiln.
Vessel Types and Uses
Kosugi ware is characterized by having few crude daily-use vessels (jars, pots, bowls, etc.) and many carefully made formal wares. This indicates that Kosugi ware was originally positioned as a luxury item.
Principal vessel types include tea bowls, plates, bowls, sake bottles, and incense burners. Rather than for daily use, these were vessels used in special occasions or when entertaining guests. They were luxury items that could only be owned by wealthy households.
Works often featured delicate decoration, employing techniques such as painting and carving. These decorations demonstrated the high technical skill of the potters.
Positioning of Toyama Prefecture as a Pottery Center
Ceramic Culture of Toyama Prefecture
Toyama Prefecture, while relatively small among Japan’s pottery centers, has cultivated its own ceramic culture. In addition to Kosugi ware, the prefecture has several important production sites.
Echchu Seto ware is pottery developed primarily in the Shin Seto area of Tateyama Town. Using high-quality local clay called “white earth” with little iron content and fine particles, it can produce thin, lightweight, high-quality pottery. Its diverse glazes are made from natural materials such as plant ash, and its characteristic style is rustic and generous.
Echchu Maruyama ware and Sankesuke ware are also known as pottery centers in Toyama Prefecture. In areas near the border with Ishikawa Prefecture, the influence of Kutani ware is also felt.
Uniqueness of Kosugi Ware
Compared to other pottery centers within Toyama Prefecture, Kosugi ware is particularly distinguished by its refined style. Whereas Echchu Seto ware has a rustic and generous folk art character, Kosugi ware possesses an elegant and delicate aesthetic sensibility influenced by Kyoto ware.
Additionally, due to its relatively short production period of approximately 80 years and positioning as a luxury item, existing works are scarce and have high rarity value.
While it was locally produced pottery, ownership was limited to wealthy households, positioning it in a different cultural context from common people’s daily-use vessels.
Potters of Kosugi Ware
First-Generation Takahata Yoemon
The founder of Kosugi ware, first-generation Takahata Yoemon, opened a kiln around 1816 (Bunka 13). It is said that he traveled to pottery centers throughout the country to learn techniques, and in particular mastered the essence of ceramic art at Soma ware in Fukushima Prefecture.
After returning to his hometown, he constructed a kiln in Kosugi Shinmachi, Imizu County and established an independent style. He created a new school of ceramics called Kosugi ware by fusing the refined aesthetic sensibility of Kyoto ware with the techniques of Soma ware.
The first-generation Yoemon was known as a master craftsman and left numerous refined and elegant works. His techniques and aesthetic sensibility were passed on to his successors.
Second and Third Generation Takahata Yoemon
Detailed records of the second-generation Yoemon and third-generation Yoemon who succeeded the first are limited, but they continued Kosugi ware production while preserving the first generation’s techniques and traditions.
The potters of each generation adapted to changes in the times while maintaining the beauty of Kosugi celadon, the characteristic feature of Kosugi ware. During the approximately 80-year production period, it is believed that high quality was consistently maintained.
Fourth Generation Karatuyama Sanjuro
The fourth generation took the name Karatuyama Sanjuro (陶山三十郎). The tradition of Kosugi ware was inherited until his generation, but around Meiji 41 (1908), when Karatuyama Sanjuro passed away, Kosugi ware production ceased due to the lack of an heir.
The era of the fourth generation coincided with the Meiji period, a time of major changes in Japan’s ceramics industry. The wave of industrialization swept in, and traditional handcraft pottery faced severe circumstances.
Revival by Ikegami Eiichi
In 1970 (Showa 45), Ikegami Eiichi announced the revival of Kosugi ware and established the “Kosugi Ware Eiichi Kiln.” Ikegami diligently researched old documents and surviving works, succeeding in restoring the techniques of Kosugi ware that had been discontinued.
In particular, reproducing the distinctive hue of Kosugi celadon proved extremely difficult, but through trial and error, he discovered the traditional glaze formula. The Eiichi Kiln continues to operate today, transmitting the tradition of Kosugi ware to the present.
Through Ikegami’s achievements, the techniques and aesthetic sensibility of Kosugi ware, once lost, have been revived in the modern era, allowing many people to encounter its beauty.
Appreciation and Collection of Kosugi Ware
Value of Existing Works
Kosugi ware has a relatively short production period of approximately 80 years, and since only a limited number were produced as luxury items, existing works are extremely scarce. In particular, old works produced from the first through fourth generations are highly valued for their antique worth and are treasured among collectors.
The Imizu Shinminato Museum holds a valuable collection of Kosugi ware and preserves and displays it as a regional cultural heritage. Through these works, one can understand the history and aesthetic sensibility of Kosugi ware.
Beauty of Kosugi Celadon
The greatest appeal of Kosugi ware lies in the distinctive hue of Kosugi celadon. The pale green glaze subtly changes its expression depending on how light strikes it, never tiring the viewer.
Rather than the deep green of Oribe glaze, the pale green color appeals to the delicate aesthetic sensibility of the Japanese people. This hue suggests moss and new leaves in nature, imparting an impression of quiet elegance.
The color contrast created by the combination with amber glaze also provides depth and variation to the works.
Kosugi Ware in the Modern Era
Currently, the Kosugi Ware Eiichi Kiln creates works suited to modern living while preserving traditional techniques. In addition to vessels such as tea bowls, plates, and bowls, diverse works including flower vases and objets d’art are produced.
The workshop is located in Imizu City and allows viewing and purchasing. One can directly feel the beauty of Kosugi celadon by handling the works firsthand. Ceramic experience programs are also offered, allowing one to learn Kosugi ware techniques.
Toyama Prefecture Culture and Kosugi Ware
Ceramics as Regional Culture
Kosugi ware is an important cultural heritage of Imizu City, Toyama Prefecture. Its history, beginning approximately 200 years ago and discontinuing before being revived in the modern era, has become part of the region’s cultural identity.
Imizu City positions Kosugi ware as a source of regional pride and makes efforts to preserve and promote it. Museum exhibitions, educational activities, and its use as a tourism resource are among the various approaches through which the value of Kosugi ware is disseminated.
Position in Hokuriku Ceramic Culture
The Hokuriku region is home to many excellent pottery centers, including Kutani ware and Ohi ware in Ishikawa Prefecture and Suzu ware. Toyama Prefecture’s Kosugi ware and Echchu Seto ware also play a role in this Hokuriku ceramic culture.
Kosugi ware adds a unique aspect to Hokuriku’s ceramic culture through its refined style influenced by Kyoto ware. The production of high artistry works despite being from a local kiln demonstrates the high cultural level of the Hokuriku region.
Tourism and Regional Development
Currently, Kosugi ware is also receiving attention as a tourism resource for Imizu City. Visits to the Kosugi Ware Eiichi Kiln have become an attractive experience for tourists visiting Toyama Prefecture.
At the workshop, in addition to display and sale of works, ceramic experience and kiln tours are offered, allowing direct experience of Kosugi ware’s appeal. Additionally, at the Imizu Shinminato Museum, one can appreciate historical works and develop a deeper understanding of Kosugi ware’s history and culture.
Regional tourism development utilizing traditional crafts holds important significance as an attempt to achieve both cultural preservation and economic growth.
Kosugi Ware and Japan’s Pottery Centers
Diversity of Japan’s Pottery Centers
Japan is known as a country of ceramics, with distinctive production centers existing throughout the country. Arita ware, Seto ware, Mino ware, Bizen ware, Hagi ware, and Kutani ware each possess distinctive techniques and aesthetic sensibility.
From Hokkaido to Kyushu, the climate, natural features, and culture of each region are reflected in the style of ceramics, forming the richness of Japan’s ceramic culture. As one of these diverse pottery centers, Kosugi ware has created a unique beauty reflecting the natural features and culture of Toyama Prefecture.
Cultural Significance of Local Kilns
Local kilns such as Kosugi ware, though producing smaller quantities than major centers, play an important role in forming the cultural identity of their regions.
By using locally sourced materials and creating works reflecting the local aesthetic sensibility, the unique culture of that land is nurtured. In the case of Kosugi ware, while influenced by Kyoto ware and Soma ware, it formed a unique aesthetic sensibility of Toyama Prefecture, which elevated its cultural value.
Furthermore, as an example of reviving a tradition that once ceased, Kosugi ware also serves as a model case demonstrating the importance of preserving and inheriting traditional crafts.
Challenges and Possibilities of Traditional Ceramics in the Modern Era
In the modern era, traditional pottery centers face various challenges. Changes in lifestyle resulting in decreased demand, shortage of successors, and competition from inexpensive industrial products present obstacles.
Kosugi ware is no exception, but by preserving tradition while creating works that respond to modern needs, it opens new possibilities. Diverse approaches are being attempted, including the fusion of traditional techniques and contemporary design, linkage with experiential tourism, and dissemination as a regional brand.
The revival and continuation of Kosugi ware provide hints for how small local pottery centers can sustainably preserve and develop their traditions.
Conclusion
Kosugi ware is pottery fired for approximately 80 years in Kosugi district, Imizu City, Toyama Prefecture, distinguished by its refined Kyoto-style Soma ware manner style and the beauty of its distinctive “Kosugi celadon.” It was begun around 1816 (Bunka 13) by first-generation Takahata Yoemon and was inherited through four generations, but ceased production in the late Meiji period.
It was revived by Ikegami Eiichi in 1970 (Showa 45) and continues to be inherited today as the Kosugi Ware Eiichi Kiln. Positioned as a luxury item, Kosugi ware features many carefully made formal wares, and existing works have become highly rare and valuable.
As one of Toyama Prefecture’s pottery centers and playing a role in Hokuriku’s ceramic culture, Kosugi ware is an important cultural heritage of the region. Its efforts to preserve tradition while adapting to the modern era serve as a model case for how small local pottery centers can develop in a sustainable manner.
The quiet and refined beauty conveyed by the pale green Kosugi celadon embodies the delicate aesthetic sensibility of the Japanese people and will continue to captivate many. When visiting Toyama Prefecture, why not experience the beauty of Kosugi ware?
