Catalog (431)

Like many pottery traditions in Japan, Karatsu takes its name from the city where it originated. As early as the 15th century, Korean potters heavily influenced the development of this form—helping to endow it with the earthy, simple, and natural qualities it is so appreciated for. The piece shown here displays an austere black glaze providing the perfect backdrop for the extensive and expertly applied gold repairs— making this antique tea bowl quite attractive, a pleasure to use...

Kondō Yuzō is one of the more recognized names in the world of modern Japanese pottery of the 20th century. Though known mainly for his sometsuke creations (blue and white porcelains), he did not settle on this style until well into his potting career that lasted nearly seven decades. The pieces shown here then would be from an earlier period and are evidence of his competency with varied styles and glazes—not just the ones he is most well-known for. The intricate brushwork on ea...

Ninani Dohachi (1783 - 1855) was second in the long line of Kyoto potters that continue to this day to be held in high regard. After the death of his father in 1805, Ninani succeeded his father by taking charge of the family kiln and officially taking the name “Dohachi.” Specializing in porcelain sencha wares done in the style of Annan, Kenzan, Ninsei, and well-known Chinese forms; Ninani showed remarkable versatility as is evidenced by this red Raku tea bowl which shows his supreme competen...

Considered an auspicious symbols of wealth, status, and good fortune, foo dogs—commonly referred to as shishi or komainu in Japan—are often seen in pairs guarding shrines, straddling the doorways of shops, and protecting public buildings. The yellow Seto-ware shishi featured here is an antique from the Momoyama period that displays a soft patina developed over many decades of use.

Seto-ware is a pottery tradition established in the 12th century with the aim of reproducing fine ...

A wonderful translucent blue celadon vase decorated with a low-relief vine and grape motif. This piece was made by one of the few great female Japanese potters of the 20th century—Suwa Sozan II, daughter of Meiji Imperial Court Artist Sozan I.

Suwa Sozan I (1852—1922) was born in an area of what is known today as Ishikawa prefecture. After a short stint in the military he took up pottery design and painting under Touda Tokuji in 1873. From this point forward, he divided his time...

This generously proportioned chawan (13.5cm in diameter) shows nice age, especially around the kodai, and likely dates from early Edo (several hundred years old). The base is unglazed showing the molded clay, contrasting nicely with the jet black glaze which displays a slight purplish hue when held to the light. The soft sheen of the Raku glaze overlying rippled and shaved clay gives this bowl a distinct presence.

A tradition dating from the mid-16th century, Raku teabowls are made...

This elegant work of Karatsu pottery has an unglazed foot, showing the rich ferrous clay, and displays a beautiful ashen glaze with hues of blue, grey, green, and a dark glossy ring encircling the top.

Like many pottery traditions in Japan, Karatsu takes its name from the city where it originated. As early as the 15th century, Korean potters heavily influenced the development of this form—helping to endow it with the earthy, simple, and natural qualities it is so appreciated for. ...

With short neck and ovoid body, this beautiful Japanese copper ‘do-chu' vase is marked 'Hisayoshi' on the side. The brilliant rich color of this type of ware is achieved by adding smoked straw during firing and often deepens over time. This stained metal canvas makes the perfect backdrop for the decorative cherry blossoms and single dazzling chrysanthemum depicted in fine detail on the front of the vase.

Produced in Hiroshima by Ito Hisayoshi, this type of do-chu (metal craft—li...

Light brown clay underlying rich earthy tones, this Irabo chawan has an attractive shape and slender textured pedestal. Rough yet elegant, it feels comfortable in the hand.

Introduced to Japan in the 16th and 17th centuries from the Korean Joseon dynasty (1392-1897), Irabo bowls are admired largely for their use in tea ceremony. Made of coarse, unrefined clay with a high content of iron oxide, such bowls display remarkable contrast and depth. The clay which forms the bowls will someti...

Attractive design, refined form, sensational glazing—this yuteki chawan by Morikazu Kimura would make a fine addition to any collection of Japanese contemporary ceramics.

Born in Kyoto in 1921, Morikazu Kimura took up the family tradition of potting from a very young age and spent much of his time researching and perfecting the Tenmoku style. In 1947 at the age of 26 he set up his own kiln in the exclusive potting district of Gojo-zaka and achieved much success. Later, in 1976, h...

A beautifully formed bowl in the typical Gohon style, produced in Korea for the Japanese market during the 17th century. The light-grey ash glaze makes a tasteful backdrop for the pinkish speckles decorating the surface. These patterns are formed through a reaction of the iron in the clay and the ash glaze and are very typical of this type of pottery. One edge of the bowl is furnished with a dimple, making it comfortable in the hand while the gold repairs give it an added beauty and depth.

A wonderful translucent blue celadon dish decorated with a low-relief floral motif. This piece was made by one of the few great female Japanese potters of the 20th century—Suwa Sozan II, daughter of Meiji Imperial Court Artist Sozan I.

Suwa Sozan I (1852—1922) was born in an area of what is known today as Ishikawa prefecture. After a short stint in the military he took up pottery design and painting under Touda Tokuji in 1873. From this point forward, he divided his time mainly...

The Choraku line of potters began when a student of Kichizaemon XI (Keinyu) and Kichizaemon XII (Konyu) opened an independent kiln in Kyoto in 1904. The line was officially given the name Choraku in 1906 by Choyuken, the head of a very influential tea ceremony association. Red Raku chawan are a favorite of tea enthusiasts and seem to have a face for every mood. In the right light they may appear like an amber sunset on the horizon. In another light, like lanterns moving through a misty field. Ak...

This experimental work by young artist Hiramatsu Ryoma demonstrates his creative imagination and challenges the traditional boundaries of what defines a tea bowl. Described on the box as a “Kiretsu-mon” (ki = turtle, retsu = cracked, mon = design/ crest), according to Hiramatsu, his inspiration for this piece, and a number of others came from an ancient form of sea life known as an Ammonite—a large spiraled mollusk who’s shells are often found fossilized today. The inside of the bowl is ...

This remarkable tea bowl is from the kilns of Yoshida Shuen (1940-1987)—an apprentice of Miwa Kyusetsu (1910-2012) who was awarded the status of Living National Treasure in 1983. It features a warm crackled glazing with a few small portions of the foot of the tea bowl exposed, displaying the somewhat reddish coarse clay that this piece is fashioned from.

Hagi-yaki has a tradition stretching back over 400 years and is a high-fired stoneware type of pottery. Hagi-ware is prized for...

This remarkable tea bowl is from the kilns of Yoshida Shuen (1940-1987)—an apprentice of Miwa Kyusetsu (1910-2012) who was awarded the status of Living National Treasure in 1983. It features a milky translucent glaze somewhat resembling coral, with a few small portions of the foot of the tea bowl exposed, displaying the reddish coarse clay that this piece is fashioned from.

Hagi-yaki has a tradition stretching back over 400 years and is a high-fired stoneware type of pottery. Hag...

A wonderful translucent blue celadon vase done in the classic style of Song Dynasty Chinese pottery. This piece was made by one of the few great female Japanese potters of the previous century, Suwa Sozan II, daughter of Meiji Imperial Court Artist Sozan I.

Suwa Sozan I (1852-1922) was born in an area of what is known today as Ishikawa prefecture. After a short stint in the military he took up pottery design and painting under Touda Tokuji in 1873. From this point forwa...

Intricately carved clay adorned with a complex and multi-layer Oribe glaze, this piece is one of the best I have encountered by this talented and multifaceted artist. Though Oribe dates back to the 15th century, Tsukamoto has managed to keep it fresh and engaging for his many fans.

A native of the city of Toki in Gifu Prefecture, from 1977 he studied under Harukiyo Nonaka and was trained in the techniques of Shino ware. A year later he graduated from Aichi Prefectural Se...

Written on the box in Japanese script are the words “Awai Sakura Yu” translating to English as “Pale Cherry Blossom Glaze”—amply describing the appearance of this unique and frankly stunning work of Kutani pottery by artist Nakata Kazuo. Reminiscent of pieces by well-known artist Ōno Hakuko, there are striated lines of silver leaf running vertical below the surface of the glaze, interrupted in places, allowing the eye to wander across the entire surface. Soft and inviting,...

With a slender balanced foot firmly grounded, the skillful lacquer repairs on this bowl highlight the age and importance of this work which likely dates from the Edo period. Stemming from the philosophy of wabi-sabi or, beauty in the imperfect, cracks and repairs in a work of pottery are often seen as highlighting the history of the object and are thus celebrated as such. Practitioners of tea in particular are fond of reminding us that works repaired in this way become more resilient and more be...

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615). Kuro Oribe (as pictured here) with their jet-black glazes and feldspar ornamentation tend toward the minimalistic, abstract; and, some would say, Zen-like aesthetic.

Typical of Mino pieces of the time, this Oribe chawan is made of coarse, unrefined clay and covered in a dark iron-glaze which turns a lustrous black color when removed from the kiln (still glowing red) and allowed to cool sl...

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615). Typically, black or green glazes are applied to the bodies of these works and light-colored windows are created using feldspar. These high-contrast areas then acts as a canvas upon which abstract, minimalistic, and often naturalistic themes are painted.

Typical of Mino pieces of the time, this Oribe chawan is made of coarse, unrefined clay. The brilliant green color is the result of copper...

A pottery tradition that harkens from the Mino region of Japan, Shino-yaki dates from the Azuchi Momoyama period. It came into fashion when first commissioned by renowned Muromachi cha-jin (tea masters) Shino Soushin. This is thought to be the first type of pottery in Japan to feature drawn paintings on the ceramic surface.

This attractive e-Shino bowl (“e” meaning picture) bears an abstract motif on a background of white feldspar. The exquisite shape, glaze, and painting of the...

This peach-shaped kogo (incense box) is made of fine kinuta celadon from one of the great masters of the Meiji era—Suwa Sozan. A classic design, the peach is said to represent long-life for mortals and immortality for the gods in asian folklore. According to legend, the moon goddess—a powerful alchemist—can make an elixir from peaches that grow in the garden of the western paradise with miraculous revitalizing properties.

Suwa Sozan the first (1852—1922) was born in an area...

This impressive han-tsutsu Shino chawan was made by the late 13th generation Mino potter Kato Seizo (1930-1979, Kagekiyo). Kato’s works are well-regarded throughout Japan and he has won a number of honors and awards over the course of his career as an artist. Not surprisingly, he is equally appreciated abroad and by foreign experts of Japanese pottery. Robert Yellin wrote of Kato: "Kato was one of the finest Mino potters after the first generation of Showa greats, such as Kato Tokuro and Araka...

In China, the first mention of the Japanese Archepelago was in the historic text Book of Later Han, written in the year 57 AD. From that time forward, a great flow of Chinese cultural objects and ideas made their way to Japan—greatly influencing future developments there. This flow continued unabated until reaching a fevered pitch during the Chinese cultural revolution when—under Maoist reform—untold cultural relics and artifacts were destroyed by officials and enthusiastic supporters of t...

In China, the first mention of the Japanese Archepelago was in the historic text Book of Later Han, written in the year 57 AD. From that time forward, a great flow of Chinese cultural objects and ideas made their way to Japan—greatly influencing future developments there. This flow continued unabated until reaching a fevered pitch during the Chinese cultural revolution when—under Maoist reform—untold cultural relics and artifacts were destroyed by officials and enthusiastic supporters of t...

A wide hira-jawan decorated with inlaid white slip in the pattern of flowers and rope. The Mishima style of pottery is modeled after much earlier Korean forms—most notably Punch'ŏng. The gold repairs are extensive and skillfully applied, nicely complimenting the pale ash glaze and adding an extra dimension to this lovely work.

This piece is 5.6 inches in diameter (14.3 cm) and stands 2.3 inches tall (5.9 cm). It comes with a period box with the lettering 三島...

A late winter scene picturing a majestic white hawk alighting on a plum branch in full bloom. Hawks—which were used for hunting during the Momoyama and Edo periods (takagari)—are considered symbols of nobility, strength, and are thought to embody the samurai spirit. This piece is signed Kano Tanshin, though it is unclear exactly which Tanshin as there were several Kano painters who went by this name during this period.

Color on silk, this scroll is 71.5 inches tall (18...

The natural ash glaze gradates from a light-glossy grey on one side to a blueish grey on the other. The foot of the bowl is unglazed at the base and shows traces of ferrous-rich clay in the form of an orangish hue. The mouth of the piece is somewhat oblong giving it an attractive shape and the rough texture and ash deposits in places give this bowl a weighty presence.

The front of the box reads 萩焼 (Hagi-yaki), 灰冠 (hai-kaburi), 高台 (kou-dai),...

Like most Shigaraki-wares, this piece has a somewhat primal feeling to it, as though it belongs to a previous geological era in time. Rivulets of vitrified green, grey, and yellow ash stand against a background gradient of soft to intense ochres of the clay body. The intense firing process of this type of pottery for days in an anagama kiln results in a beautiful ashen glaze with a warm, soft, yet vibrant glow when set in the light.

The vase seen here, is a culmination of many year...

This lovely Shino tea bowl fashioned from coarse Mino clay is covered in feldspar glazing, has a classic ferrous abstract painting across the front, and shows nice age—most likely from early Edo.

Shino-ware dates to the Momoyama period when potters were attempting to recreate white porcelain-wares that were being imported from China at the time. Originally they were made in a single-chamber anagama style kilns set into the hillsides. Later, with the advent of large-batch noboriga...

Considered auspicious symbols of wealth, status, and good fortune; foo dogs—commonly referred to as shishi or koma-inu in Japan—are often seen in pairs guarding shrines, straddling the doorways of shops, and protecting public buildings. These mythical effigies have deep religious and social symbolism and can be seen in countries across Asia.

This exquisite incense burner features three guardian shishi—one adorning the lid and one on each side—and appears to be made from cop...

The colors seen in this ceramic piece are not often encountered in the world of Japanese tea-ware pottery—a field dominated mainly by styles such as Raku, Hagi, and other traditions with relatively conservative and predictable color schemes. The aquamarine blue is rather striking, reminiscent of coral encountered in the pristine waters of tropical and remote destinations. What really makes this extraordinary however, is that this piece relies mainly on kiln conditions and a natural ash glaze t...

Mountain tea bowls (yama-jawan) are commonly excavated from the hillsides of Japan and many date to the 12th century or earlier. They tend to be crude in construction but with a fascinating ruggedness that allows then to endure, often much better than contemporary ceramics, despite being buried in the earth for hundreds of years. Highly prized when found completely intact or with minor cracks, there is a sort of folklore and mystique that has built up around these objects. The pieces shown here ...

Meticulously crafted from carefully woven strips of bamboo, this traditional “chabako” would typically contain all of the basic utensils for conducting tea ceremony. As the same name is commonly used to describe wood boxes used to store and transport tea leaves, the piece below could also be described as a “chakago” to avoid confusion—though the former descriptor is much more commonly used. In practice, the box would contain a tea bowl, kensui, chashaku, chasen, chaire and several othe...

Elegantly balanced on a slenderly proportioned foot, this piece by Bizen native Kondo Masahiko displays a surprising level of skill for a potter still in the process of making a name for himself. With swirling ash glaze and a dazzling ceramic landscape, this piece is perfect for tea practitioners and collectors alike.

Born in Okayama prefecture in 1971, Kondo fashions his Bizen pieces in a traditional wood-fired kiln in the township of Ushimado. Especially competent with...

Found in a small antique shop in central Kyoto, this piece immediately caught my eye and I knew I had to buy it. With no original box and a potting mark that could not be deciphered, this one remains a beautiful mystery. The style itself is very close to that of internationally renowned 8th generation Hagi potter Kaneta Masanao (b. 1953); so much so in fact that we decided to contact this artist to see if it was one of their pieces. They courteously replied back that it was not. The ...

This remarkable hira tea bowl displays a subtle grace and refined elegance grounded in classic form, masterfully applied glazing, and a delightful rustic feel bestowed by the hand of time. Though the glazing is described as shiro-yu, or white glazing, it appears more of a creamy shade of beige. The fine crackles of the glaze, the soft flowing edges, and the excellent patina combine to really make this Kiyomizu tea bowl shine.

The birth of Kiyomizu-yaki, with its over 400 years of hi...

With a traditional wheat-straw pattern commonly seen in Seto-ware and in the Mingei pottery movement of the 20th century, these lovely tea cups are perfect for an afternoon Japanese sencha gathering.

One of the most popular and important Japanese potters of the last 150 years, Rokubei Kiyomizu V (1875 - 1959) has been regarded by some as the most talented in a long line of Kiyomizu potters and as a cornerstone of the illustrious Gojo-zaka district in Kyoto. Recognized and awarded di...

This striking chawan is a fine example of Oni Shino (carbon trap and natural ash glazing) that Tsukigata is so well-known for. Coining the term in the mid-50’s after countless failed experiments—which ultimately culminated in the discovery of this unique style of pottery—“Oni” translates roughly to demon or ogre. Fired at extreme temperatures for days in an anagama, the iron in the clay and in the glaze fuse, drip, and coalesce—while at the same time blending with the molten ash of t...

Most likely Chinese in origin, this antique celadon tea caddy is a mesmerizing piece of art that exudes elegance and sophistication. Crafted during a time when attention to detail and craftsmanship were paramount, this piece showcases the mastery of traditional ceramic techniques used across Asia. The celadon glaze appears luminous, somewhat reminiscent of a pale turquoise in color with intricate crackled glazing covering the entire surface. The foot of the piece is unglazed showing ...

An excellent example of Japanese rustic charm that transcends its humble origins to embody a refined artistic work, this mizusashi, or fresh water pot used in tea ceremony, displays a beautiful natural ash glaze that includes dazzling ochres, browns, grays, and yellows splashed across the intentionally rough and contoured ceramic landscape.

Iga-ware pottery dates back to 7th and 8th century and—like so many other pottery styles in Japan—takes its name from the region where it wa...

Reminiscent of a hollowed out lotus seed pod, this recent creation by young artist Hiramatsu Ryoma demonstrates his creative imagination and challenges the traditional boundaries of what defines a tea bowl. Described on the box as a “ammonite/ gindani/ chawan” (ammonite/ silver glaze/ tea bowl), Hiramatsu says his inspiration for this piece (and several others) came from an ancient form of sea life known as an ammonite—a large spiraled mollusk who’s shells are often found fossilized toda...

A dazzling Hagi-ware bowl with cherry petal and earthen tones made by one of Japan's great potters. The 14th potter of the Sakakura line of potters Sakakura Shinbei XIV (1917-1975) was designated an important human cultural treasure of Yamaguchi prefecture in 1972. For those interested, videos produced by NHK are available online detailing the work of the current Sakakura Shinbei XV, the kiln, and the surrounding estate.

This piece is 5.7 inches in diameter (14.5cm) and 3 inches tal...

This elegant and mature work of Karatsu pottery has an unglazed foot and beautiful crackled glazing that displays hues ranging from ivory to almond.

Toya Inoue (1942 - ) is a native of the world-renowned pottery center of Karatsu in Saga prefecture. From a young age he was interested in tea and tea-ware and studied tea ceremony under Tansai. Later in his 20’s he was involved in a project to restore ancient kilns. From this experience he decided to make pottery his life’s work an...

This nikuchi, or seal paste box, was created by one of the very few Imperial Court Artists of late Meiji and bears an attractive and subtle design etched on the cover. Seal paste boxes are used to hold the red ink paste used for endorsing official documents and works of art by way of an in-kan (official seal). This attractive piece by Sozan would not only be a nice addition to any comprehensive collection of his works, but could also be used as a functional item if desired.

Suwa Soz...

With a sturdy foot firmly grounded, the upper rim of this piece rises and falls, somewhat reminiscent of a mountain path. Combined with the plum blossoms floating on the white background, these elements together suggest balance and harmony.

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615). Kuro Oribe (as pictured here) with their jet-black glazes and feldspar ornamentation tend toward the minimalistic, abstract; and, some would say, Zen-l...

Done in the Annan style which is a Japanese adaptation of porcelain-wares imported from a region of ancient Imperial China (now part of Vietnam) from the late Muromachi period (1392 - 1573). At the time this type of pottery was hugely popular among tea devotees and this enthusiasm continues into the modern day. The scene portrayed on the tea bowl is the classic image of the “shichikenjin” or the Seven Sages of the Bamboo Grove.

Although reports vary, it is generally thought that...

The image of the brush-drawn circle, known most commonly as the “enso” of Japanese Buddhism, has long been a symbol of strength, elegance, and the simultaneous being and nonbeing (mu) of the universe. A closed enso is associated with the idea of perfection while an open enso represents movement, fluidity, and attainment in the corporeal world. In this composition by veteran Mino potter Takuzo Mizuno, we can see an open enso done in thick feldsparic glaze on a classic background of nezumi Shi...

This finely crafted Japanese yakkan (copper teapot) shows the kind of beautiful patina that can only be achieved with time and careful used and looks to date from the Meiji period of the late 1800s.

The brilliant rich auburn color of this type of metalwork is achieved by adding smoked straw during the firing process and often deepens in character over time. The resulting stained metal canvas makes the perfect backdrop for the decorative autumn grasses, flowers, maple trees, and drif...

Appearing to capture an ocean inside a tea bowl, this particular work has been given the very fitting poetic name “Nami” or wave. Masterfully crafted by veteran potter Hideo Torazawa, the inside is painted with a special glaze known as heki-yu—prized for its pure aquamarine character with accents of sapphire and azure depending on the light.

Born in Gifu prefecture in 1935, Hideo Torazawa has enjoyed a long and productive career as a potter and has mastered a number of diffic...

A Korean vase dating from the early Joseon period (“Richo” in Japanese; 1392-1897). This particular piece appears to date from the 16th/ 17th century and comes with an antique wood box. The light brown crackled glaze is smooth in the hand and has a warm inviting rustic feel. Several gold repairs can be seen along the upper rim providing a subtle yet noticeable contrast between the rustic glazed clay and the shiny metal. Such pieces have long been favored by learned cha-jin (tea people) and a...

The creator of this lovely Hagi chawan, Hirose Tanga (b. 1939) is the master-potter of Tenpozan kiln in the city of Hagi. When I acquired my first tea bowl by this artist it reminded me of bowls produced by Yoshida Shuen (apprenticed under NLT Miwa Kyusetsu). As it turns out, Yoshida worked alongside Hirose in establishing Tenpozan and in training young potters in the art of “Oni” Hagi which utilizes a rough textured clay and a milky translucent glaze. Bowls made using this technique display...

This piece features a warm golden glaze with several patches of lighter pigmentation. The inside of the bowl is especially inviting and shows a magnificent patina developed over many decades of use and what appears to be a partly faded stencil of a pinecone. The foot is well-shaped, well-grounded, and clearly displays the unglazed rich clay. The Chinese characters on the lid of the box read 古瀬戸 (ko-Seto) 大茶碗 (oo-jawan), indicating it is an large tea bowl...

An interesting and well-shaped tea bowl, this Meiji piece surely has stories to tell. The gold repairs traversing one side of the bowl are extensive and skillfully applied, nicely complimenting the dark ferrous clay and flaxen glaze. Many find such repairs quite attractive and in this case they clearly add an extra dimension to this lovely work.

Stemming from the philosophy of wabi-sabi, or, beauty in the imperfect, cracks and repairs in a work of pottery are often seen as highligh...

Made from ferrous rich Bizen clay covered in an ashen feldspar glaze, this non-conventional Shino tea bowl is a variety known as “Beni” or crimson red. Distinctively modern yet emanating a primal vitality, the form harkens back to the very origins of ceramic exploration in Japan. The influence of Momoyama potters and greats such as Koetsu can be seen in the dynamic edges of the clay body.

Though female potters have constituted a small minority throughout the history of Japans p...

Featuring rich earthy tones and intricate hand-drawn stencil designs of passion flowers resting on a string of vines, this bowl would be perfect for displaying an ikebana flower arrangement. A kintsugi (gold) repair attest to the age and care that went into maintaining this piece through generations. The label on the lid of the box reads “e-Seto Karatsumon O-wan” indicating a large Seto bowl with arabesque hand drawings (絵瀬戸 唐草文 大鉢). The piece also features a technique known ...

Hagi-yaki has a tradition stretching back over 400 years and is prized for its subdued colors and classical features, especially the glazing, which is often clear and vivid. The natural ash Hagi glaze of this piece gives it a mellow yet robust feel. In addition, the split wari-kodai at the base together with the asymmetrical hand-molded shape offers the user a unique tactile experience The sides of the bowl show pale ash, ivory, and faint hints of lavender. Overall a classic and attractive exam...

Reminiscent of the wildly popular avant-garde works of Suzuki Goro, this striking modern interpretation of the classic tokkuri (sake flask) was done by budding artist Ikeda Shogo.

Born in 1976 in the southern port city of Kagoshima on the island of Kyushu, from a young age Ikeda would have been exposed to a great variety of ceramic-wares from the numerous historical kilns native to the region including Satsuma, Arita, Imari, and Karatsu. Equally influential were ceramics from neighb...