Atsushi Yamamoto 
Myosen Toubou Kiln for the Imperial Household Agency

Mastering and passing on the beauty of modeling
Kiln under Imperial Household Agency warrant
Myosentobo Atsushi Yamamoto

Atsushi Yamamoto is the representative, craftsman, and artist of Myosentobo, a kiln under the Imperial Household Agency's warrant. Myosentobo, represented by Atsushi, is a kiln known only to those in the know, and has many fans throughout Japan.

This is an excellent kiln that has been steadily producing results year after year, and has always continued to produce high quality vessels to the world. Each vessel has an overwhelming sense of presence and beauty. Furthermore, the tableware beautifully complements the food, and the vases beautifully complement the flowers and plants arranged in them. Even professionals in the field of pottery and ceramics have a keen interest in Myosentobo's pottery.
 Today, the Kutaniyaki industry is not exactly smooth sailing.
We interviewed Myosentobo to find out how they overcame the stormy seas and how they plan to paddle into the future.
Title

By preserving traditional techniques
Myosentobo was able to survive

Atsushi established Myosentobo in 1975 after becoming independent from his master.

My brother (Choza Yamamoto) was in charge of painting and I was in charge of molding. Today, as when the business was founded, I still do everything by myself, from clay making, glaze mixing, basecoating, and overglaze painting.
What sets us apart from others is that we use an old-fashioned technique called katauchi (mold-forming) to make our vessels. With the advance of mechanization, this technique itself is disappearing. It is an amazing technique, but it is a waste. Without this technique, our kiln might not have survived. Because of katauchi, we are able to produce pieces that have an impact even if they are sold nationwide, and we are able to create our own originality by adding a unique atmosphere through glazing and painting.
Title

A Rare Technique Inherited by Myosentobo
What is katauchi technique?

The katauchi technique is a technique in which a piece of pottery formed by rokuro is placed on a mold to copy the pattern and shape of the mold and create the base of the piece.

Atsushi says, “However, this katauchi technique can only be done by hand with a reliable technique.
First, there is the rokuro technique.

With the rokuro, you need to grind with an even thickness. If the thickness is uneven, the piece will crack or crack when fired,” says Atsushi.
In addition to the difficulty of drawing with a uniform thickness, Myosen Tobo maintains a uniform thickness and draws the pieces as thin as possible.
If it is too thick, it will not be beautiful even if a mold is copied. To create a beautiful finish, it has to be thin,” he said.
When the mold was placed on the rokuro-formed base, the fabric fit perfectly into the size of the mold.

Turn over the mold with the base material on it and put it on the rokuro. While rotating the rokuro, the base material is pressed against the mold. Again, the force must be constant so that the thickness is uniform. Delicate manual work.

Next, the pattern of the mold is traced with a brush. This also looks easy, but it is difficult.

Since the substrate is thin, the amount of force is even more important here. If the tracing force is not consistent, the thickness will be uneven, causing distortion and cracking.Cut around the edge according to the shape. The edges are cut to fit the mold, creating a graceful edge.

Finally, the shaving process is used to finish the elevation.

Finally, one piece of bare metal is completed.

Finally, one piece of bare metal is completed.

Atsushi says, “The katauchi technique requires a certain amount of force, and requires the improvement of handwork skills. Because of the skill required and the time and effort required, the number of kilns and pottery studios that practice this technique is decreasing nationwide. But we have been able to survive, and I am confident that we will continue to survive, by preserving and passing on this katauchi technique,” 

 

The image below is a fired vessel
Title

The Appeal of Stamping Technique
Productivity and Quality

Mr. Atsushi says the following.
If you have the molds and the technique, you can make many vessels of the same shape, thickness, and size, but not as many as you can with a machine. On the other hand, the katauchi technique can produce vessels of thinness and shape that cannot be produced by machines. Fine and complex shapes are difficult to make with a machine.
However, katauchi is a handwork. With just the right amount of force, a high quality vessel can be formed from a complexly shaped mold. This is the reason why we insist on the katauchi technique and why it is so appealing. Being able to produce a large number of high-quality vessels means that we can respond to large orders, which is also our strength as a manufacturer. Besides, as long as we have the molds, we can make the same vessels even decades or centuries later. On the contrary, we have a 200-year-old mold, and if we use that mold, we can revive vessels from 200 years ago. It's interesting.”

Atsushi's background shelves are lined with molds along with various tools.
Title

With reliable handcrafting techniques
with reliable handcraftsmanship that will last for 100 years and 200 years to come.

We also asked him about the future of Myosentobo.
We established this kiln, but in fact, it has generally been handed over to the executive director (his son, Takahiro). But the techniques of Myosentobo have not changed between my generation and my son's generation. We produce with the same techniques and have the same credibility as before. No matter how the times change, the techniques that should be preserved must be protected. I want them to use the same technology and maintain the same quality for decades to come. In addition to technology, I also believe that it is an important duty to train the human resources who will be responsible for Kutaniyaki in the future. I cannot just be OK with my generation. I want this kiln to remain a kiln where the techniques of Kutaniyaki will remain 100 years from now, even 200 years from now, and I want to continue to train the people who will be responsible for Kutaniyaki,” he says.
Title

The Future of Kutani-yaki
Young Kutani-yaki Artists and Craftspeople of the Future

Atsushi has taken on apprentices at his own kiln and also teaches and passes on his techniques at the Ishikawa Kutani-yaki Training Institute.

 

Atsushi says, “What is important to make a living from Kutani-yaki is the production capacity. The individuality and characteristics of each artist are important, but I don't think they are the most important.
You have to be able to respond when a customer or wholesaler says, “I want this plate and this cup in quantities of each. That is why I want the younger generation to hone their skills to be able to make the same products. If they can make a piece that says, “This is it,” then they should be able to make the same piece! I want them to be able to make 20, 30, or 50 of the same product. If they can make a large number of pieces, retailers and wholesalers will be more likely to buy them.
I believe that only when the creator's production capacity and the retailer's or wholesaler's sales capacity are combined, it will lead to large profits and the development of the industry. So, I repeat, I want you to polish your skills and increase your production capacity. And I want the Kutaniyaki industry to thrive,” he says.
Title

I want you to enjoy Kutani ware
I want you to enjoy Kutani ware freely.

When we asked Atsushi to give a message to Kutani Yaki lovers, he told us about an episode at an exhibition.
He said, “At a previous exhibition in Tokyo, a person who purchased one of my works (a matcha bowl) said happily, 'I enjoy ochazuke (green tea with green tea) with this matcha bowl. Just because it is a matcha bowl, it is possible to enjoy it with something other than matcha. I was honestly happy to see the smile on her face when she held the bowl in her hands, and to know that she could use the bowl I made in her daily life. How you use Kutani Yaki is up to you. Whether you use it as a vessel, as a decoration, or to appreciate and enjoy is up to you. However, as a craftsman and an artist, I think that it would be good if I could enrich people's lives,” he said.

Ceramic History

1975 Opened Myosentobo
1990: Commissioned by the Imperial Household Agency to produce porcelain with the crest of Their Majesties the Emperor and Empress/Produced seven items of tableware for the “Feast Ceremony” of the Accession Ceremony.
1991: Produced vessels with the Imperial Crest used for the coronation of Crown Prince Tokuhito / Delivered eleven items of Japanese tableware for the Imperial Household Agency's “Feast Ceremony”.
1992: Produced confectionery for the wedding ceremony of His Imperial Highness Prince Mako of the Akishino Family.
1993: Hors d'oeuvre plates for use in the “Feast Ceremony” for the wedding of Crown Prince Masako/Honorable Princess Masako of the Crown Prince's family: vessels bearing her Imperial Crest.
1995: Produced confectionery for the wedding ceremony of Her Imperial Highness Princess Kako of the Akishino Family.
2000: At the request of the Government of Japan, we produced a white porcelain gold brocade platter for the International Bureau of Weights and Measures to commemorate the 125th anniversary of the Metre Convention.
2007: Produced confectionery for the private celebrations of Her Imperial Highness Princess Yuhito of the Akishino family.
Received the Ishikawa Design Grand Prize in 2010.
2013: Commissioned by the Imperial Household Agency to produce a bonsai bowl in the shape of an old mirror.
2014: Appointed Chairman of the Kutaniyaki Traditional Craftsmen's Association
2016: Appointed Chairman of Kaga Kutani Ceramic Cooperative Association / Awarded Minister of Economy, Trade and Industry's Commendation for Meritorious Service
2017 The 20th Japan Traditional Craftsmen's Association Works Exhibition, Highest Award, Chairman of the House of Representatives Award / The 2009 National Traditional Crafts Exhibition, Highest Award, Prime Minister's Award
2018 Awarded the 2nd Mitsui Golden Artisan Prize
2019: Commissioned by the Imperial Household Agency to produce vessels with the crests of Their Majesties the Emperor and Empress of Japan 2038
2020: Produced vessels for the Shinto rituals of Their Imperial Highnesses Prince and Princess Akishino
2021: Appointed Vice President of the Japan Traditional Craftsmen's Association
 

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