Description

width: approx. 12.3cm (4 27⁄32in)

height: approx. 7.2cm (2 27⁄32in)

weight: 210g

Nagasawa Eishin III
1910-1977
male
izushi porcelain

Born into the family of Nagasawa Eishin which had a kiln for Izushi-ware , he started making pottery after receiving training from his grandfather the first generation Eishin. At the time he was 19, he was able to demonstrate his talent early, as he was honored by having the Showa Emperor inspect and purchase his work when he made a visit to Kobe.
In 1932 when he was 22, he also tried to become a painter by studying under the Nanga painter Akamatsu Unrei, but returned to his hometown the following year, succeeded to the 3rd generation name, and was determined to take over the family business.
In 1941, he was certified as an artist for preserving the techniques of Hyogo Prefecture, and after the war he continued to play an active role, including receiving awards and prizes, mainly using Nitten as his venue for presentations.

This white teabowl is an elegant piece adorned with delicate leaf patterns that beautifully stand out. Its smooth texture and pure white color evoke a sense of cleanliness and tranquility. The leaf patterns are hand-carved, showcasing the meticulous craftsmanship of the artisan. This teabowl is perfect for enjoying a peaceful tea time away from the hustle and bustle of everyday life.

Izushi ware is white porcelain. The ware is synonymous with a porcelain surface which is said to be a "white that is too white,” and the porcelain engraving that takes advantage of this. Izushi ware has been designated a traditional craft of Japan.

Izushi kiln had been a kiln for pottery wares, but in 1789, Chinzaemon Nihachiya struck on the idea of firing porcelain. He borrowed money from Izushi Domain and spent several weeks in Arita learning porcelain production before returning to Izushi with potters.
from Arita. He then attempted to start porcelain production, but met with little success due to lack of finances.

In 1799, the Izushi Domain decided to take over direct management of the kiln. Around this time, high quality pottery stone was discovered in Kakitani and Taniyama. With this, the domain relocated the kiln to Taniyama and seized the opportunity to start porcelain production at the domain kiln. The wares produced at the kiln at this time were high-quality blue and white wares in the vein of Imari ware and white porcelain pieces. Ceramics production at Izushi finally took off during the Tempo era of the Edo period (1830–44). However, the kiln was not managed well and ended up being consigned by the domain to private management.

Finally, with the appearance of the company Eishinsha, the roots were laid for the “white that is too white” porcelain that we know today. The company was established in the early years of the Meiji period in 1876. It brought together potters who had lost work with the abolition of domains and establishment of prefectures that took place during bakumatsu times and went on to improve Izushi ware. As a result, a cool, clear and sophisticated white porcelain came into being. These porcelain wares were displayed at the Exposition Universelle of 1889 in Paris and were highly acclaimed, making the name “Izushi ware” famous throughout the country. In 1904, Izushi ware went on to be awarded gold medal in the St. Louis World's Fair.

Unfortunately, Eishinsha was dissolved in 1885, but the heritage that the company left behind was significant, and potters continued to develop the white porcelain of Izushi ware.