Ishiguro Munemaro (1893–1968), a holder of Important Intangible Cultural Property of Tetsuyutoki (iron-glazed Ceramics), occupies a unique position among modern ceramic artists. Committed to Chinese ceramics, he created a world of his own, making varied and vivid copies of Asian ware. This paper discusses his life and creative activities based on his letters, essays, sketch-books, and his Kyogama (Kyoto-style kiln), which remains at the Ishiguro Toyo site.
The present study demonstrates three factors of Munemaro ware’s “varieties.” First, Munemaro’s reproduction techniques originated in Jagatani, the site of Kyoyaki ‘s customary practices called Kashi-gama and Kari-gama. Second, he studied and recreated old Asian ware through experimentation with self-build Kyogama in Karatsu, Jyagatani, and Yase. Third, he lived up to his principles of “no enlightenment from anybody but old ware in itself” and “no self-imitation.”
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