Japanese pottery and porcelain
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Pottery and porcelain (陶磁器, tōjiki, also yakimono (焼きもの), or tōgei (陶芸)) is one of the oldest
Japanese ceramic history records the names of numerous distinguished ceramists, and some were artist-potters, e.g.
Japanese pottery is distinguished by two polarized aesthetic traditions. On the one hand, there is a tradition of very simple and roughly finished pottery, mostly in
History
Jōmon period
In the Neolithic period (c. 11th millennium BC), the earliest soft earthenware was made.
During the early Jōmon period in the 6th millennium BC typical coil-made ware appeared, decorated with hand-impressed rope patterns. Jōmon pottery developed a flamboyant style at its height and was simplified in the later Jōmon period. The pottery was formed by coiling clay ropes and fired in an open fire.
Yayoi period
In about the 4th–3rd centuries BC Yayoi period, Yayoi pottery appeared which was another style of earthenware characterised by a simple pattern or no pattern. Jōmon, Yayoi, and later Haji ware shared the firing process but had different styles of design.
Kofun period
In the 3rd to 4th centuries AD, the anagama kiln, a roofed-tunnel kiln on a hillside, and the potter's wheel appeared, brought to Kyushu island from the Korean peninsula.[7]
The anagama kiln could produce stoneware, Sue pottery, fired at high temperatures of over 1,200–1,300 °C (2,190–2,370 °F), sometimes embellished with accidents produced when introducing plant material to the kiln during the reduced-oxygen phase of firing. Its manufacture began in the 5th century and continued in outlying areas until the 14th century. Although several regional variations have been identified, Sue was remarkably homogeneous throughout Japan. The function of Sue pottery, however, changed over time: during the Kofun period (AD 300–710) it was primarily funerary ware; during the Nara period (710–94) and the Heian period (794–1185), it became an elite tableware; and finally it was used as a utilitarian ware and for the ritual vessels for Buddhist altars.
Contemporary
Heian period
Although a three-color lead glaze technique was introduced to Japan from the Tang dynasty of China in the 8th century, official kilns produced only simple green lead glaze for temples in the Heian period, around 800–1200.
Kamakura period
Until the 17th century, unglazed stoneware was popular for the heavy-duty daily requirements of a largely agrarian society; funerary jars, storage jars, and a variety of kitchen pots typify the bulk of the production. Some of the kilns improved their technology and are called the "Six Old Kilns": Shigaraki (Shigaraki ware), Tamba, Bizen, Tokoname, Echizen, and Seto.[8][9]
Among these, the Seto kiln in Owari Province (present day Aichi Prefecture) had a glaze technique. According to legend, Katō Shirozaemon Kagemasa (also known as Tōshirō) studied ceramic techniques in China and brought high-fired glazed ceramic to Seto in 1223. The Seto kiln primarily imitated Chinese ceramics as a substitute for the Chinese product. It developed various glazes: ash brown, iron black, feldspar white, and copper green. The wares were so widely used that Seto-mono ("product of Seto") became the generic term for ceramics in Japan. Seto kiln also produced unglazed stoneware. In the late 16th century, many Seto potters fleeing the civil wars moved to Mino Province in the Gifu Prefecture, where they produced glazed pottery: Yellow Seto (Ki-Seto), Shino, Black Seto (Seto-Guro), and Oribe ware.
Muromachi period
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According to chronicles in 1406, the
Azuchi-Momoyama period
From the middle of the 11th century to the 16th century, Japan imported much Chinese celadon greenware, white porcelain, and blue-and-white ware. Japan also imported Chinese pottery as well as Korean and Vietnamese ceramics. Such Chinese ceramics (tenmoku) were regarded as sophisticated items, which the upper classes used in the tea ceremony. The Japanese also ordered custom-designed ceramics from Chinese kilns.
Highly priced imports also came from the
Sengoku period
With the rise of Buddhism in the late 16th century, leading tea masters introduced a change of style and favored humble Korean tea bowls and domestic ware over sophisticated Chinese porcelain. The influential tea master Sen no Rikyū (1522–1591) turned to native Japanese styles of simple rustic pottery, often imperfect, which he admired for their "rugged spontaneity", a "decisive shift" of enormous importance for the development of Japanese pottery.[12] The Raku family (named after the pottery rather than the other way round) supplied brown-glazed earthenware tea bowls. Mino, Bizen, Shigaraki (Shigaraki ware), Iga (similar to Shigaraki), and other domestic kilns also supplied tea utensils. The artist-potter Hon'ami Kōetsu made several tea bowls now considered masterpieces.
During
Edo period
In the 1640s, rebellions in China and wars between the Ming dynasty and the Manchus damaged many kilns, and in 1656–1684 the new
Porcelain was also exported to China, much of which was resold by Chinese merchants to the other European "East Indies Companies" which were not allowed to trade in Japan itself. It has been suggested that the choice of such items was mainly dictated by Chinese taste, which preferred Kakiemon to "Imari" wares, accounting for a conspicuous disparity in early European collections that can be reconstructed between Dutch ones and those of other countries, such as England, France and Germany.[16] Because Imari was the shipping port, some porcelain, for both export and domestic use, was called Ko-Imari (old Imari). The European custom has generally been to call blue and white wares "Arita" and blue, red and gold ones "Imari", though in fact both were often made in the same kilns arong Arita. In 1759 the dark red enamel pigment known as bengara became industrially available, leading to a reddish revival of the orange 1720 Ko-Imari style.
In 1675, the local Nabeshima family who ruled Arita established a personal kiln to make top-quality enamelware porcelain for the upper classes in Japan, which is called Nabeshima ware. This uses mainly decoration in traditional Japanese styles, often drawing from textiles, rather than the Chinese-derived styles of most Arita ware.[17] Hirado ware was another kind of porcelain initially reserved for presentation as political gifts among the elite, concentrating on very fine painting in blue on an unusually fine white body, for which scroll painters were hired. These two types represented the finest porcelain produced after the export trade stalled by the 1740s. Unlike Nabeshima ware, Hirado went on to be a significant exporter in the 19th century.
During the 17th century, in Kyoto, then Japan's imperial capital, kilns produced only clear lead-glazed pottery that resembled the pottery of southern China. Among them, potter Nonomura Ninsei invented an opaque overglaze enamel and with temple patronage was able to refine many Japanese-style designs. His disciple Ogata Kenzan invented an idiosyncratic arts-and-crafts style and took Kyōyaki (Kyoto ceramics) to new heights. Their works were the models for later Kyōyaki. Although porcelain bodies were introduced to Kyōyaki by Okuda Eisen, overglazed pottery still flourished. Aoki Mokubei, Ninami Dōhachi (both disciples of Okuda Eisen) and Eiraku Hozen expanded the repertory of Kyōyaki.
In the late 18th to early 19th century, white porcelain clay was discovered in other areas of Japan and was traded domestically, and potters were allowed to move more freely. Local lords and merchants established many new kilns (e.g., Kameyama kiln and Tobe kiln) for economic profit, and old kilns such as Seto restarted as porcelain kilns. These many kilns are called "New Kilns" and they popularized porcelain in the style of the Arita kilns among the common folk.
Meiji period
During the international openness of the Meiji period, Japanese arts and crafts had a new audience and set of influences. Traditional patrons such as the
Japan's porcelain industry was well-established at the start of the Meiji period, but the mass-produced wares were not known for their elegance.[25] During this era, technical and artistic innovations turned porcelain into one of the most internationally successful Japanese decorative art forms.[25] A lot of this is due to Makuzu Kōzan, known for Satsuma ware, who from the 1880s onwards introduced new technical sophistication to the decoration of porcelain, while committed to preserving traditional artistic values.[26] During the 1890s he developed a style of decoration that combined multiple underglaze colours on each item.[27] The technical sophistication of his underglazes increased during this decade as he continued to experiment.[28] In the decade from 1900 to 1910 there was a substantial change in the shape and decoration of his works, reflecting Western influences.[26] His work strongly influenced Western perceptions of Japanese design.[29]
Taishō period
Japanese pottery strongly influenced British
Shōwa period
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During the early
One of the most critical moments was during the Pacific War when all resources went towards the war efforts, and production and development became severely hampered and the markets suffered.
Heisei period to present
A number of institutions came under the aegis of the Cultural Properties Protection Division.
The kilns at
The modern potters operate in
In the old capital of
British artist Lucie Rie (1902–1995) was influenced by Japanese pottery and Bernard Leach, and was also appreciated in Japan with a number of exhibitions. British artist Edmund de Waal (b. 1964) studied Leach and spent a number of years in Japan studying mingei style.[31] Brother Thomas Bezanson from Canada was influenced by it.[32]
In contrast, by the end of the 1980s, many master potters no longer worked at major or ancient kilns but were making classic wares in various parts of Japan. In Tokyo, a notable example is
Clay
Clay is chosen largely based on local materials available. There is an abundance of most basic types of clay in Japan. Due to naturally occurring
Further refinements came about under the Chinese influence in the 8th and 9th centuries AD, when creators of Nara three-color wares and Heian ash glazed wares sought out white, refractory clays and enhanced their fineness through levigation. In Kyoto, where demand makes it both practical and profitable, the clay is crushed, blunged (made into slip), and filtered commercially.
The clay is first broken up into small pieces, with a small amount of water poured over it, and is then beaten it with a kine, a wooden mallet, until the plasticity and uniformity of texture desired is obtained. The clay is then put through an aramomi or "rough wedging" process, a kneading movement, after which the clay is stored for two or three days, or sometimes up to a week. Before the clay is ready to be thrown, it must pass through the nejimomi ("screw-wedge") process, which produces a bullet-shaped mass from which all air bubbles have been removed, and in which the granular structure is arranged so that it radiates outwards from the center of the mass.
Production methods
The earliest pieces were made by pressing the clay into shape. This method continued to be employed after the invention of the wheel, such as when producing Rengetsu ware. Coiled methods developed in the Jōmon period. Production by kneading and cutting slabs developed later, for example, for haniwa clay figures.
Potter's wheel
The first use of the potter's wheel in Japan can be seen in Sue pottery. While Sue productions combined wheel and coiling techniques, the lead-glazed earthenware made under Chinese influence from the 8th to the 10th centuries include forms made entirely on the potter's wheel.
The original potter's wheel of the Orient was a circular pad of woven matting that the potter turned by hand and wheel, and was known in Japan as the rokuro. But with the arrival of the te-rokuro or handwheel, the mechanics of throwing made possible a more subtle art. The wheel head was a large, thick, circular piece of wood with shallow holes on the upper surface around the periphery of the disc. The potter kept the wheel in motion by inserting a wooden handle into one of the holes and revolving the wheel head on its shaft until the desired speed was reached.
The handwheel is always turned clockwise, and the weight of the large wheel head induces it, after starting, to revolve rapidly for a long period of time. Pieces made on the handwheel have a high degree of accuracy and symmetry because there is no movement of the potter's body while throwing, as is the case with the kick wheel. In the early days of porcelain making in Japan, the Kyoto, Seto, and Nagoya areas used only the handwheel; elsewhere, in the Kutani area and in Arita, the kick wheel was employed. The Japanese-style kick wheel or ke-rokuro was probably invented in China during the early Ming dynasty. Its design is similar in many respects to that of the handwheel, or it may have a wooden tip set in the top, and an iron pipe, like later wheels. The kick wheel is always turned in a counterclockwise direction, and the inevitable motion of the potter's body as they kick the wheel while throwing gives many Japanese pots a casual lack of symmetry which appeals to contemporary Western tastes.
Following the Meiji Restoration in 1868, a student of Dr. Wagener went to Germany to learn how to build a downdraft kiln, and observed many wheels operated by belts on pulleys from a single shaft. On his return he set up a similar system in the Seto area, using one man to turn the flywheel that drove the shaft and the pulley system. From this beginning the two-man wheel developed.
Today, most potters in Kyoto use electric wheels, though there are many studios that still have a handwheel and a kick wheel. However, it is now difficult to find craftsmen who can make or repair them.[citation needed]
Coil and throw
At Koishibara, Onda, and Tamba, large bowls and jars are first roughly coil-built on the wheel, then shaped by throwing, in what is known as the "coil and throw technique". The preliminary steps are the same as for coil building, after which the rough form is lubricated with slip and shaped between the potter's hands as the wheel revolves. The process dates back 360 years to a Korean technique brought to Japan following Hideyoshi's invasion of Korea.
Tools
Generally fashioned out of fast-growing bamboo or wood, these tools for shaping pottery have a natural feel that is highly appealing. While most are Japanese versions of familiar tools in the West, some are unique Japanese inventions.
- Gyūbera or "cows' tongues" are long sled-shaped bamboo ribs used to compress the bottoms and shape the sides of straight-sided bowls. They are a traditional tool from Arita, Kyushu.
- Marugote are round, shallow clam shell-shaped bamboo ribs used to shape the sides of curved bowls. They can also be used to compress the bottoms of thrown forms.
- Dango, similar to wooden ribs, are leaf-shaped bamboo ribs used to shape and smooth the surfaces of a pot.
- Takebera are bamboo trimming and modeling "knives" available in several different shapes for carving, cleaning up wet pots, cutting, and for producing sgraffito effects.
- Tonbo, "dragonflies", are the functional equivalent of Western calipers with an added feature. Suspended from a takebera or balanced on the rim of a pot, these delicate bamboo tools are used for measuring both the diameter and the depth of thrown forms.
- Yumi are wire and bamboo trimming harps that double as a fluting tool. They are used to cut off uneven or torn rims as well as to facet leather-hard forms.
- Tsurunokubi, "cranes' necks", are s-curved Japanese wooden throwing sticks used to shape the interiors of narrow-necked pieces such as bottles and certain vases.
- Kanna are cutting, carving and incising tools made of iron and used to trim pieces, for carving, sgraffito and for scraping off excess glaze.
- A tsuchikaki is a large looped ribbon tool made of iron that can be used for trimming as well as carving.
- An umakaki is a trimming harp used to level flat, wide surfaces, such as the bottom of a shallow dish or plate.
- Kushi are not strictly throwing tools; these combs are used to score a minimum of two decorative parallel lines on pot surfaces. The largest combs have about 20 teeth.
- A take bon bon is also not a throwing tool, but a Japanese slip-trailer. A take bon bon is a high-capacity bamboo bottle with a spout from which slip and glaze can be poured out in a steady, controlled stream so the potter can "draw" with it.
Wares
Hundreds of different wares and styles have existed throughout its history. The most historic and well-known ones have received recognition from the government. For more information see the list of Japanese ceramics sites.
Name | Kanji | Traditional Sites | Notes | Example image |
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Agano ware | 上野焼 | Fukuchi, Tagawa District, Fukuoka | ||
Aizuhongō ware | 会津本郷焼 | |||
Akahada ware | 赤膚焼 | |||
Akazu ware | 赤津焼 | |||
Amakusa pottery | 天草陶磁器 | Amakusa, Kumamoto | ||
Arita ware | 有田焼 | Arita, Saga | The main source of Japanese export porcelain from the mid 17th-century onwards. Production began by Korean potters at the beginning of the Edo period. A multitude of kilns produced a variety of styles, including Imari ware and Nabeshima ware, and most early pieces in the Kakiemon style of decoration. | |
Asahi ware | 朝日焼 | |||
Banko ware | 萬古焼 | Mie Prefecture | Most are flower vases, and sake vessels. Believed to have originated in the 19th century.
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|
Bizen ware | 備前焼 | Bizen Province | Also called Inbe ware. A reddish-brown long-fired stoneware, which is believed to have originated in the 6th century. One of the first medieval utilitarian wares to be taken up for use in the tea ceremony, and promoted to the status of art pottery.[33] | |
Echizen ware | 越前焼 | |||
Hagi ware | 萩焼 | Hagi, Yamaguchi | Since it is burned at a relatively low temperature, it is fragile and transmits the warmth of its contents quickly. | |
Hasami ware | 波佐見焼 | |||
Iga ware | 伊賀焼 | |||
Iwami ware | 石見焼 | |||
Izushi ware | 出石焼 | |||
Karatsu ware | 唐津焼 | Karatsu, Saga | The most produced pottery in western Japan. Believed to have started in the 16th century. | |
Kasama ware | 笠間焼 | |||
Kirigome ware | 切込焼 | Miyazaki, Miyagi
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Kiyomizu ware | 清水焼 | Kiyomizu, Kyoto | A subcategory of Kyō ware | |
Koishiwara ware | 小石原焼 | Fukuoka Prefecture | Most are flower vases, and sake vessels, and as a result of the folk art movement, practical items for everyday household use. Originated by a Korean potter in the 16th century.
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Kosobe ware | 古曽部焼 | |||
Kutani ware | 九谷焼 | Ishikawa Prefecture | ||
Kyō ware | 京焼 | Kyoto | ||
Mashiko ware | 益子焼 | |||
Mikawachi ware
|
三川内焼 | |||
Mino ware | 美濃焼 | Mino Province | Includes Shino ware, Oribe ware, Setoguro ware, and Ki-Seto ware. | |
Mumyōi ware | 無名異焼 | |||
Ōborisōma ware | 大堀相馬焼 | Fukushima Prefecture | Image of a horse (uma or koma), which is very popular in this area, is the main pattern. Therefore, it is sometimes called Sōmakoma ware. | |
Onta ware | 小鹿田焼 | Onta, Ōita | Traditionalist ware produced by a small village community without electricity. Mostly simply but elegantly decorated slipware, in a style going back to the 18th century. | |
Ōtani ware | 大谷焼 | Naruto, Tokushima | A large type of pottery | |
Raku ware | 楽焼 | A technique and style practised all over Japan, and now the world. Typically, vessels are hand-thrown without using a wheel, giving a simple and rather rough shape, and fired at low temperatures before being cooled in the open air. In modern periods combustible material is generally placed in the kiln, reacting unpredictably with the glaze pigments. There is a proverb of the hierarchy of ceramic styles used for tea ceremony: 'First Raku, second Hagi, third Karatsu.' | ||
Satsuma ware | 薩摩焼 | Satsuma Province | Earthenware, originally a local industry of plain vessels started by Korean potters about 1600. From the 19th century a term for a style of highly decorated ware produced in many areas, purely for export to the West. | |
Seto ware | 瀬戸焼 | Seto, Aichi | The most produced Japanese pottery in Japan. Sometimes, the term Seto-yaki (or Seto-mono) stands for all Japanese pottery. Includes Ofukei ware. | |
Shigaraki ware | 信楽焼 | Shiga Prefecture | One of the oldest styles in Japan. Famous for tanuki pottery pieces. | |
Shitoro ware | 志戸呂焼 | |||
Shōdai ware | 小代焼 | Arao, Kumamoto | ||
Takatori ware | 高取焼 | |||
Tamba ware | 丹波立杭焼 | Hyōgo Prefecture | Also called Tatekui ware. One of the six oldest kinds in Japan. | |
Tobe ware | 砥部焼 | Ehime Prefecture | Most are thick porcelain table ware with blue cobalt paintings. | |
Tokoname ware | 常滑焼 | Tokoname, Aichi
|
Most are flower vases, rice bowls , or teacups.
|
|
Tsuboya ware | 壺屋焼 | Tsuboya, Naha | A form of Ryukyuan pottery. Most are thick porcelain table ware with blue cobalt paintings. | |
Zeze ware | 膳所焼 | Ōtsu, former Zeze domain | Most are thick porcelain table ware with blue cobalt paintings. |
Museums and collections
A number of museums in Japan are dedicated entirely only to ceramics. Amongst the most well-known ones are the Aichi Prefectural Ceramic Museum close to Nagoya, the Arita Porcelain Park, the Fukuoka Oriental Ceramics Museum, the Kyushu Ceramic Museum, the Noritake Garden, the Museum of Oriental Ceramics, Osaka, the Okayama Prefectural Bizen Ceramics Museum, and the Ōtsuka Museum of Art. Public museums such as the Kyushu National Museum, Kyoto National Museum, Nara National Museum, Tokyo National Museum and Ishikawa Prefectural Museum of Art have important ceramic collections. A number of private museums also have important items such as the MOA Museum of Art, Mitsui Memorial Museum, Seikadō Bunko Art Museum, Fujita Art Museum and Kubosō Memorial Museum of Arts, Izumi. A number of important ceramic items are also owned and kept in various temples in Japan such as the Ryūkō-in, Kohō-an and Shōkoku-ji, however the items are not exhibited publicly.
Most
See also
- Japanese craft
- Japanese art
- Chinese ceramics
- Korean pottery and porcelain
- Kintsugi
- List of National Treasures of Japan (crafts: others)
- Tokanabe
References
Citations
- ^ Cartwright, Mark. "Jomon Pottery". World History Encyclopedia. Retrieved 2024-02-18.
- ^ a b Trubner 1972, p. 18
- ^ Trubner 1972, pp. 17–18.
- ^ Smith, Harris, & Clark, 116–120, 124–126, 130–133
- ^ Smith, Harris, & Clark, 163–177
- ^ Smith, Harris, & Clark, 118–119; Ford & Impey, 46–50
- ^ The Metropolitan Museum of Art metmuseum.org "Although the roots of Sueki reach back to ancient China, its direct precursor is the grayware of the Three Kingdoms period in Korea."
- ^ "Journey. One thousand years. The Six Ancient Kilns".
- ^ "Six Ancient Kilns ~ Ceramics Born and Raised in Japan ~ (Aichi, Fukui, Shiga, Hyogo and Okayama prefectures)". Japan Heritage.
- ^ "Tea Drinking and Ceramic Tea Bowls". China Heritage Quarterly. Retrieved 2016-09-17.
- ^ Kekai, Paul (2006-09-05). "Quests of the Dragon and Bird Clan: Luzon Jars (Glossary)". Sambali.blogspot.com. Retrieved 2016-09-17.
- ^ Smith, Harris, & Clark, 118–119, both quoted
- ^ Smith, Harris, & Clark, 163
- ^ Ford & Impey, 126–127
- Kutani. See Kutani ware. Sadao and Wada 2003 p. 238 regards them as a product of Arita kilns.
- ^ Ford & Impey, 126
- ^ Smith, Harris, & Clark, 164–165
- ^ Earle 1999, pp. 30–31.
- ^ Liddell, C. B. (2013-12-14). "[Review:] Japonisme and the Rise of the Modern Art Movement: The Arts of the Meiji Period". The Japan Times. Retrieved 2020-03-19.
- ^ Earle 1999, p. 349.
- ^ Earle 1999, pp. 116–117.
- ISBN 9781135786199. Retrieved 28 April 2020.
- ^ Earle 1999, pp. 117–119.
- ^ Earle 1999, p. 118.
- ^ a b Earle 1999, p. 330.
- ^ a b Earle 1999, p. 335.
- ^ Earle 1999, p. 111.
- ^ Earle 1999, p. 247.
- ^ Earle 1999, p. 255.
- ^ "Bernard Leach | Artists | Collection | British Council − Visual Arts". Collection.britishcouncil.org. Archived from the original on 2016-09-18. Retrieved 2016-09-17.
- ^ a b Paul Laity. "Edmund de Waal: A life in arts | Books". The Guardian. Retrieved 2016-09-17.
- ^ "Brother Thomas | Black Olive Vase".
- ^ Watson, 260, 262-263
Bibliography
- Earle, Joe (1999). Splendors of Meiji : treasures of imperial Japan : masterpieces from the Khalili Collection. St. Petersburg, Fla.: Broughton International Inc. OCLC 42476594.
- Smith, Lawrence; Harris, Victor; Clark, Timothy (1990). Japanese Art: Masterpieces in the British Museum. British Museum Publications. ISBN 0714114464.
- Trubner, Henry (1972), "Japanese Ceramics: A Brief History", Ceramic Art of Japan, Seattle, USA: Seattle Art Museum, LCCN 74-189738
- Tsuneko S. Sadao and Stephanie Wada, Discovering the Arts of Japan: A Historical Overview, Tokyo-New York-London, KODANSYA INTERNATIONAL, 2003, ISBN 4-7700-2939-X
- Ford, Barbara Brennan; Impey, Oliver R. (1989). "Japanese Art from the Gerry Collection in The Metropolitan Museum of Art". The Metropolitan Museum of Art. MetPublications. Retrieved 2016-09-17.
- Watson, William, ed. (1981). The Great Japan Exhibition: Art of the Edo Period 1600–1868. Royal Academy of Arts/Weidenfeld & Nicolson.
- Sanders, Herbert Hong. The World of Japanese Ceramics. Kodansha International LTD, 1967.
- Simpson, Penny. The Japanese Pottery Handbook. New York and San Francisco: Kodansha International LTD, 1979.
- Turner, Jane. "Japan: Ceramics". Dictionary of Art: Jansen to Ketel. 1996. 240+.
- Yap, Jennifer. "Wheel Throwing Tools: Japanese: Descriptions & Explanations – Traditional Japanese Clay Tools". Pottery @ Suite101.com. 30 Apr. 2007. 1 May 2009
Further reading
- Murase, Miyeko (2000). Bridge of dreams: the Mary Griggs Burke collection of Japanese art. New York: The Metropolitan Museum of Art. ISBN 0870999419.
- Takeshi, Nagatake (1979). Japanese ceramics from the Tanakamaru collection. New York: The Metropolitan Museum of Art.
- Simpson, Penny. The Japanese Pottery Handbook. New York and San Francisco: Kodansha International LTD, 1979.
- Turner, Jane. "Japan: Ceramics". Dictionary of Art: Jansen to Ketel. 1996. 240+.
- Sanders, Herbert Hong. The World of Japanese Ceramics. Kodansha International LTD, 1967.
- Yap, Jennifer. "Wheel Throwing Tools: Japanese: Descriptions & Explanations – Traditional Japanese Clay Tools". Pottery @ Suite101.com. 30 Apr. 2007. 1 May 2009
- "Takiguchi Kiheiji, The Oribe master". YouTube. 2009-04-19. Retrieved 2016-09-17.
- Kakiemon, Sakaida (2019). The Art of Emptiness. Tokyo: Japan Publishing Industry Foundation for Culture.