FREE INSIDE JAPANESE CERAMICS PDF

Richard Wilson | 192 pages | 01 Oct 1999 | Shambhala Publications Inc | 9780834804425 | English | Boston, United States Inside Japanese Ceramics

Japanese Marks Inside Japanese Ceramics. Nikko Nippon Nippon Jap. The popularity of the tea ceremony from the 15th century fostered an aesthetic appreciation of ceramics, especially imported Chinese wares, which became valued as works of art. The strong demand for ceramics resulted in a surge of creativity during the Momoyama periodwith thousands of Inside Japanese Ceramics developing their own distinct regional characteristics. High-fired were central to this tradition. After the Japanese invasions of Korea in anda number of skilled Korean potters who had learned from the Chinese how to produce fine Inside Japanese Ceramics, were brought back to . Some of these settled in Arita in northern Kyushu, where they discovered porcelain clay. One of the Korean Inside Japanese Ceramics makers was Ri Sampei. He is considered as the "father" of Japanese porcelain. The area became Japan's major center of porcelain production and its products were also exported from the port of Imari. Due to trade difficulties with China by the end of the Chinese Ming dynasty, and an improved Japanese economy during the Momoyama periodInside Japanese Ceramics strong demand for Japanese ceramics resulted in a surge of creativity. Thousands of kilns developed their own regional style. This is also when we say that the modern Japanese porcelain industry started. Although Japanese porcelain production developed its own styles, the influence of Chinese and Korean porcelain traditions can often and easily be found. Blue and white Arita porcelain was copied on tin glazed in many places in Europe, of which Dutch " Delft " is the most famous. During the 18th century enamel decoration was also widely copied Inside Japanese Ceramics England. Even when Japan lived isolated from the rest of the world, during the entire Edo periodsignificant amounts of Japanese porcelain was exported to Western countries, mostly by the Dutch East India Company. With the new government, the old feudal system was changed and many highly skilled potters found themselves out of work. Inside Japanese Ceramics many years of a strict regulation in the Edo perioda new Meiji government finally opened a door to the oversea trade. Traditionally trained artists and men, who had lost their feudal patrons, were welcomed to a new venture by the government and by entrepreneurs, to create new products attractive to the foreigners in America and Europe. When Japan now opened up for foreign trade and trade agreements were signed with America, England, Holland, Russia and France. Yokohama became a center for much of the new trade. Businessmen and entrepreneurs from all over Japan Inside Japanese Ceramics around the port and to set up shops. Now, Japanese and porcelain found new markets. The producers were inventive and could readily deliver anything the Inside Japanese Ceramics market demanded. Their technique and skills were the traditional but the products were commercial, except a few true artisans, such as for example the Makuzu company. The pottery and porcelain made in and around the Yokohama port were known as Yokohama-yakiincluding "Yokohama Satsuma", to which for example the Hodota brand Inside Japanese Ceramics. These export products were made in small factories and workshops set up quickly, to meet foreign demands. Geographically the porcelain production was more spread out in Japan then in China, where most of the porcelain was made in the one city of Jingdezhen in the Jiangxi province. In a similar way, however, the center of the Japanese Inside Japanese Ceramics industry could be said to have been located on the southern island of Inside Japanese Ceramics. The largest city on Kyushu is Arita while the largest nearby port was called Imari. These are the two most important names in the history of Japanese export porcelain. When it comes to quality and artistic merit Inside Japanese Ceramics picture is infinitely more complicated. The old Japanese ceramic industry was in many ways smaller in scale compared to the Chinese. Marks was also applied for different reasons that on the Chinese porcelain. Personal signatures by the artists involved are quite common. We also find a different attitude towards what marks that are put on the Japanese porcelain and in particular the export porcelain from the 19th century and onwards. The Inside Japanese Ceramics range Inside Japanese Ceramics Imperial reign marks so common on Chinese porcelain, genuine or not, is mostly lacking. The Inside Japanese Ceramics are more commercially oriented, more numerous and can vary even within a set of pieces. They can indicate the name of the factory, the potter, the decorator, the pattern, the customer, the exporter, the importer or both or a part of them or maybe just say "Made in Japan", "Japan", "Nippon", "Happiness" or "Good luck" in any number of ways. Increasing the confusion are the hundreds of porcelain decorating firms active in the early to mid 20th century simultaneously putting many different marks on the same wares seemingly at random but probably for some reason. To take just one Inside Japanese Ceramics, the Noritake company which has been active for about one hundred years only, are thought to have used over different marks. Marks and Seals. From various examples of pottery. The Character Zan, San, or Inside Japanese Ceramics. Japanese pottery : with notes describing Inside Japanese Ceramics thoughts and subjects employed in its decoration and illustrations Inside Japanese Ceramics examples in the Bowes collection. Bowes, James Lord, To immediately gain a better understanding on the many names that occurs in Japanese pottery and porcelain, I believe the map available here that indicates the most common kiln areas blue names and cities names in red will be helpful. Regarding dates, the following Japanese historical period names are the ones most commonly met with: Momoyama period roughly split into early, middle or late Edo. Sometimes the Genroku era when popular culture flourishes is distinguished. Meiji Taisho Showawhere "early Showa" is often used to cover the Showa reign beforeand Heisei Inside Japanese Ceramics The marks are normally read from top to bottom, and right to left. Signatures are usually followed by a suffix, for example Seitsukuru or saku all meaning "made", or GaDzu or Fude meaning "painted" or "drawn". Then there are place names, Satsuma, Kutani, Seto Inside Japanese Ceramics. Tsukuru or Zo. Sei or Seisu. It is a very unrewarding task to go through lists of marks and signatures as the below in the hope of finding the exact one to match yours, however a modest amount of study can produce a big difference. Beware though, it can become an obsession. To further our understanding of 20th century porcelain marks our friend and member of our Discussion Board, Elyce Littsrecently sent me some notes from a small booklet entitled "Some Suggestions for Souvenir Seekers" produced by the Japanese Government Railway. The booklet seems to date to the mid-late s. In addition to descriptions and photo examples of numerous types of pottery and porcelain, including where they were made, it features a list of Souvenir Dealers. The names are Inside Japanese Ceramics in English without the Japanese equivalency since the book was aimed at English-speaking tourists. They describe the various Inside Japanese Ceramics of Japan as follows:. Mail order catalogue Vantine's, the Oriental Store. Click here to see large picture. The Gold Imari Inside Japanese Ceramics is a trademark of the Yazaemon family kiln founded in After many ups and downs including fires, bankruptcy, and name changes, it became the Arita Busson Co. The trademark was created in this era. The applicant was Arita Bussan Co. Japan No. In they became the Arita Seiyou Co. The US patent Office mark registration was abandoned October 29,however they are still using the trademark. Date ss Click here to see large picture. See also special page on: Noritake Oriental China Nippon. Mark datable to the "Nippon" periodprobably Click here to see Inside Japanese Ceramics picture Pictures curtesy of Prof. Click here to see large picture, mark Okura Art China was established in in the suburb of Kamata in by Magobei Okura and his son Kazuchika who were both amongst the 6 founders of the Noritake company in Okura pieces were made by hand and were of choice material, targeting the top segment of the market. Marks include "OAC Noritake" and a 5 lobed trademark. Okura porcelain is still made today under the name of Okura China Ltdwith its headquarter in Totsuka, Yokohama. Rokuzo Mark: The numbers 6 3 Rokuzan under a Japanese gate of honor. A formal gateway or arch such as the one pictured is called a "torii" in Japanese. Japanese porcelain, maybe 'Seto' area. Tentative date: s. Book "Some Suggestions for Souvenir Seekers" Mid s To further our understanding of 20th century porcelain marks our friend and member of our Discussion Board, Elyce Littsrecently sent me some notes from a small booklet entitled "Some Suggestions for Souvenir Seekers" produced by the Japanese Government Railway. They describe the various pottery of Japan as follows: Satsuma - mainly produced in and Inside Japanese Ceramics the city of Kagoshima in Kyushu. Wares of this Inside Japanese Ceramics are finished in lustre with fine crackles. They have Inside Japanese Ceramics picture of a number of artisans sitting at the traditional low Japanese tables hand vases. Arita porcelains - produced in the Saga prefecture of Kyushu. Kutani porcelains - produced in the prefecture of Ishikawa in the Hokuiku district of Honshuthe Japanese main Inside Japanese Ceramics. On the whole Kutani porcelains are characterized by their elaborate picture decorations Inside Japanese Ceramics thick gold, red, blue and some other colors. As for waresRakuyaki of Kyoto, closely connected with tea ceremonies since olden days. Awata ware porcelains and Kiyomizu wares are among the souvenirs of Kyoto. . Owari produces so many varieties of porcelain and stoneware that the Japanese familiarly speak of porcelain and pottery in general as "setomono" after the village of the same name in this province. Banko wares Mie Prefecture which are mostly unglazed. Japanese Porcelain Marks

From childhood, he was a disciple of the well known artist and Confucianist Kou Fuyou, who had a strong influence on Inside Japanese Ceramics upbringing. It is said that his mentors in ceramic art were Okuda Eisen, who taught him how to work porcelain, and Houzan Bunzou the 11th, who taught him how to work pottery, although it is also said that most of his knowledge was gained through self study. He set up shop in the Awata region of Kyoto. With his natural genius, he Inside Japanese Ceramics one Inside Japanese Ceramics the most famous potters in Kyoto-Osaka after just a few years. InTokugawa Harutomi of the Wakayama area heard of his fame and invited him to participate in the construction of the Zuishi kiln. It is said Inside Japanese Ceramics this is when he was bestowed with the Seal of Teiunrou, but there are differing opinions and no concrete evidence. Inhe was ordered to serve at Awata Palace. He briefly returned to Kyoto before going back to Kanazawa inwhere he established the Kasuga-yama kiln. After abandoning it to return to Kyoto, he stayed in Kyoto permanently and continued his pottery there. In addition to the Chinese Inside Japanese Ceramics Choson styles, Inside Japanese Ceramics researched many different styles of ceramic art such as European, Cochin ware, , akae enamel decoration on porcelainDehua pottery, and Mishima ware. He created a lot of tea utensils, focusing mainly on kettles, and those creations became the foundation for modern , referred to today as "Mokubei style". In addition to pottery, he excelled in painting and Han Studies, had a sophisticated demeanor, and made close friends with many intellectuals such as Tanomura Rakuden and Rai San'yo. AroundShino ware suddenly appeared in records of tea ceremonies, being used as the bowl The Shino ware was being used as the tea bowl in tea ceremonies. During the Keicho period, problems with production efficiency and other issues caused a decline and eventually a complete halt in production. Arakawa Toyozo, after Inside Japanese Ceramics much difficulty, revived the tradition of Shino ware, which became a success. He was eventually named a Living National Treasure and is regarded as one of the finest potters in history. Born on March 21st, Educated by Miyanaga Tozan, went to Kamakura and aided in the making of pottery at Kitaoji Ronsanjin. Inhe discovered the process of using a kiln from the Momoyama period at Ogaya in the Kani district of Gifu prefecture. Died August 11th, at 91 years of age. After losing his mother as a baby, Leach spent his early childhood in Kyoto raised by his father, a Japanese resident. He later returned to England, but came back to Japan in aged Connecting with writers and artists from the Shirakaba Group, he was especially friendly with Yanagi Soetsu, and became captivated by ceramics. He began studying ceramics under Ogata Kenzan the 6th, producing Raku ware and so on. He endeavored in pottery techniques at Hamada Shoji's Mashiko kiln base, became acquainted with Kawai Kanjiro and participated with him in Yanagi's movement. Afterwards he went to and from Japan and England, working on pieces and developing unique works that fused Eastern and Western cultures. He passed away in aged Was able to restore his household in Ichijobashi with assistance from the Sanzen family among others. In addition to his trade of manufacturing Doburo Inside Japanese Ceramics kettles, he also had experience working with Seto, Annam, and Kouchi ware. In 14th year of the Bunka erahe adopted the name of Ryozen, Inside Japanese Ceramics the character "Ryo" being taken from Ryoryosai Sosa of the Omote Senke school. Because the generational records, as well as the Sozen Seal that served as the symbol for each generation were lost in the Great Tenmei Fire, details and records pertaining to Ryozen's predecessors are less clear. In the generations following Ryozen, the seals used were original, and became increasingly varied. At first, he was a "kasshiki", an attendant charged with announcing mealtimes to the monks, working under Daiko Sogen at Daitoku-ji Temple. However, with Inside Japanese Ceramics Sogen's help, he became an adopted child of Ryozen when he was around 12 or 13 years of age. After that, he researched the making of pottery, and in 14th year of the Bunka Erahe succeeded to the name of Zengoro. He was bestowed the signatures of "Eiraku" and "Kahin Shiryu" by Lord Inside Japanese Ceramics, and since then he began to use "Eiraku" for his signatures, etc. In 14th year of the Tenpo Erahe left his business to his son Sentaro who will later become Wazen and took on the name Zennichiro. However, he left behind many remarkable works created even after this point in time. In third year of the Koka Erahe was granted the name and signature of "Tokinken" by Prince Takatsukasa. In his later years, he took Inside Japanese Ceramics the name of Hozen and proceeded to Edo. After that, he did not return to Kyoto and founded Konanyaki pottery at Inside Japanese Ceramics. At one point, he was summoned by Lord Nagai of Takatsuki and was active in various regions in Takatsuki, making pottery such as blue and white sometsuke pottery. In terms of style, he mainly produced items used for tea and daily necessities, using styles such as the gold style, blue Inside Japanese Ceramics white sometsuke pottery, the Annan style, Cochi pottery and the Shonzui style. Eldest son of Hozen. He was very fond of Ninsei, and inhe and his younger brother-in-law, Munesaburo Kaizen Inside Japanese Ceramics the new Eiraku Omuro Kiln on the remains of the Ninsei Kiln. Afterwards in the 14th year of the Tenpo Erahe inherited the 12th generation name of Eiraku due to his father Hozen's retirement. After Inside Japanese Ceramics, in the second year of the Keio Era Inside Japanese Ceramics, he was invited by Maeda Toshinaka of Inside Japanese Ceramics domain of Daishoji in Kaga, and he opened the Kutani Eiraku Kiln with Munesaburo and his son Tsunejiro who would later become Tokuzen in order to improve Kutani pottery. He engaged in this for six Inside Japanese Ceramics. He also experienced suffering and such due to the debts left behind by Hozen, but Inside Japanese Ceramics greatly endeavored even after this time. After returning to Kyoto, he changed his surname in fourth year of the Meiji Era to Eiraku up until that point, his surname had been Nishimura and Eiraku was an alias and two years later, he was invited to Okazaki in Aichi Prefecture Inside Japanese Ceramics opened a kiln there. He created a wide range of pottery, mainly of the gold brocade kinrande style, the Nanking style, Inside Japanese Ceramics red pottery and others and Western tableware etc. In his later years, he moved near Kodai-ji temple in eastern Kyoto and opened the Kikutani Kiln. It was from this point onward that he started to become hard of hearing, and he began to call himself "Jiroken" which is a name that includes the words, "deaf ears. He also created his own techniques, such as using gold leaf in the gold Inside Japanese Ceramics kinrande style, compared to Hozen, who instead used gold paint. He died on May 7th, at 74 years of age. Fujimoto won an award from the society as well as the silver prize from the International Academy of Ceramics in Geneva in In addition to this, he created unique techniques such as that of Yubyokasai wherein images are added to works before firing via colored glazes, and it was for these techniques that he was designated as a holder of the title Nationally Important Intangible Cultural Property Living National Treasure in Inside Japanese Ceramics In the interim however, after assuming a position as an instructor at the Kyoto City University of Arts inhe continued to dedicate Inside Japanese Ceramics to his own education and Inside Japanese Ceramics of a new Inside Japanese Ceramics of artists at the school in Kyoto as well as at Tokyo University of the Arts until ending his tenure as dean of Tokyo University of the Artswhile also winning awards such as the gold prize from the Japan Ceramics Society and a Medal of Honor from the Government of Japan with a dark blue ribbon in the same year. For his seal, he is fond of suing the Kuma or bear seal made by Kenkichi. Starting out with a passion for literatary studies, Fujiwara began submitting haiku and poems throughout his elementary and junior high school years to various publications and winning awards for some of his submissions. Leaving for Tokyo at the age of 19, he began working as an editor for Hakubunkan while also attending university and was producing poems under the pen name Fujiwara Keiji. However, due to poor health, he abandoned his aspirations of Inside Japanese Ceramics a writer of literature Inside Japanese Ceramics returned to his hometown Inside Japanese Ceramics After returning home, Fujiwara began to practice pottery at the suggestion of Manyoshu scholar Masamune Atsuo, going on to become the apprentice of Bizen potter Mimura Umekage. Getting his first kiln inFujiwara then started out on his own, and thanks to the guidance of Inside Japanese Ceramics Toyo as well as deepening his understanding of the unique Inside Japanese Ceramics style of pottery, he developed works in the solemn style of Momoyama and Inside Japanese Ceramics period ceramics. After the war he was recognized as a conservator of techniques inwas designated an Important Intangible Cultural Property by Okayama Prefecture inbecame a regular member of the Japan Kogei Association inand in became the second person to be designated a Living National Treasure for bizen ware pottery after Kanashige Toyo. In addition to this, he was awarded the Order of the Rising Sun 4th Class inreceived the Miki Memorial Award from Okayama Prefecture inand was also awarded the Order of the Sacred Treasure 3rd Class on the day of his death in Born as the eldest son of Living National Treasure for bizen ware Fujiwara Kei, after graduating from university, Fujiwara worked for a time as a magazine editor, but was convinced by his father Inside Japanese Ceramics Oyama Fujio to return home where he began his tutelage in ceramics under his father. After this, Fujiwara went on to produce work after work, presenting them in Inside Japanese Ceramics by the Nihon Kogeikai, the Inside Japanese Ceramics Nihon Togei, and the Issuikai, eventually becoming a member of the latter inand becoming a regular member of the Nihon Kogei Association the following year. Fujiwara won the grand prix prize in the Barcelona International Pottery Exhibit, which then gained him attention in the United States, Canada, Spain and various other countries in when he was asked to instruct in pottery around the world as a visiting lecturer. Fujiwara opened his own workshop in Honami, Bizen inand after starting to work independently, won the Nihon Toji Kyokaisho award, thereupon going on to win the Kanashige Toyo award in and being recognised as an Important Intangible Cultural Property Inside Japanese Ceramics Okayama Prefecture in With such a prestigious history of awards behind him, Fujiwara became the 4th person to be designated a Living National Treasure for bizen ware in after Toyo, Kei, and Yamamoto Toshu, and was also awarded the Medal of Honor with purple ribbon by the Government of Japan in Inhe served as an assistant to his father and Bernard Leach as they toured America giving lectures in Inside Japanese Ceramics. He became a member of the Kokugakai inand though he did produce work while Inside Japanese Ceramics member, he eventually resigned from the organization in and now puts on his own private exhibitions in department stores and galleries in various locations as an independent artist. In addition to this, he was awarded the grand prize at the Salon de Paris inand is now a member of the society. Hamada Shoji was a renowned craftsman and representative figure in modern Japanese pottery. Born in Tokyo inhe resolved to become a potter while still a student at Furitsuicchu the Tokyo First Prefectural Jr. High School, Hibiya high school at present. When the time came to return home to Japan, he sought a quiet life in the countryside, and situated himself in the Inside Japanese Ceramics of Mashiko in During this period, he also made an extended sojourn in Okinawa, which became the inspiration for a large number of works. Inhe relocated the building which would later become the main residence of his compound later donated to the Ceramic Art Messe Mashikoand in the years up untiltransplanted many traditional old houses onto the premises to create a workshop and residence. It was from this base that he founded the Mingei folk-art movement along with cohorts Yanagi Soetsu and Kawai Kanjiro, which was Inside Japanese Ceramics have a significant impact on the world. InHamada was recognized along with Tomimoto Kenkichi et. The Mingei folk-art movement was initiated by Yanagi Soetsu, Kawai Kanjiro, and Hamada Shoji in Taisho 15 as an approbation of functional craftwork used by the masses in the course of daily life. At the time, the craft world was dominated by decorative pieces prized for their aesthetic value. In this way, the Mingei movement served as a vehicle for the artists to pursue the question of what constituted a good life, rather than simply a life rich in material wealth. A kiln of Mashiko-ware pottery headed by Hamada Shoji. Inside Japanese Ceramics establishing the kiln inHamada and his disciples have presented many works in succession using Mashiko traditions and materials. Mashiko's recent rise to prosperity as a major production area for Inside Japanese Ceramics ceramics has been greatly influenced by the ceramic-making activities of this site. Hamada's achievements were recognized inwhen he Inside Japanese Ceramics designated as the first individual holder of Intangible Cultural Property Living National Treasure. Following his death, Hamada's son Shinsaku took Inside Japanese Ceramics the kiln and has been teaching highly reputed potters. An aspiring potter, Hara Kiyoshi became an apprentice of Ishiguro Munemaro inlater studying under Munemaro's top disciple Shimizu Uichi. He opened his own kiln in Setagaya, Tokyo inafter previously participating in the Japan Traditional Kogei Exhibition for the first time in and becoing a regular member of the Japan Kogei Association in He was also very active arranging solo exhibitions at Mitsukoshi Nihonbashi and elsewhere as well as producing a broad range of works for exhibitions at home and abroad that he was invited to. From the beginning, Kiyoshi experimented with iron glazes, underglazing plants, birds, and animals in iron on dark-brown glaze to create elegant and strikingly unique works. From the s, he began making blue-glazed pieces characterized by their lucid blue color. and ceramic artist during the late Edo Era. Born inhe was a member of the Owari Clan. His creations had a unique quality and were known as Kuroyaki. He died at the age of 69 on June 23, Inside Japanese Ceramics by Richard L. Wilson: | : Books

I Inside Japanese Ceramics curious if you know the maker of the teapot with 16 petal chrysanthemum with a T at the center mark. Many of the pre war marks are not known. Many small shops were destroyed and records lost. Hello, I am an archaeologist excavating in the State of Israel and have recovered a tea cup base with "Japan" stamped on the bottom. As you note above, exports from bore this mark. Can you provide a reference for this? I would be extremely grateful and will credit your assistance. Hello, I have a tea cup with "Japan" stamped on the bottom. As you note above this was apparently common from Would you be willing to provide any references for this? I would be extremely grateful. Thank you! Since I cannot see your cup I cannot verify its age. Japan and Made in Japan were used betweenfollowed by the war when there were no exports, then Made in Occupied Japan. After the Occupation, Japan and Made in Japan were implemented again. There are many resources Inside Japanese Ceramics have this information. I have Inside Japanese Ceramics books listed on my blog. I have a small vase with this mark. Thank you. Hello Marnie, would you please identify this mark. Thank you very much and have Inside Japanese Ceramics good day. Any idea what this mark is? It is hard to determine. It is a generic mark. Without seeing the item it is impossible to ascertain who made it and where. Hello - I have searched and searched and can not ID this mark on a porcelain lusterware tea set that has a picture of victorian era people. Any idea of who the mark is for and Inside Japanese Ceramics period? My guess is MCM, 60's. I don't see a way to upload the pic but it's gold, kind of looks like a rope that winds around like two upside down U's with another line in the middle and says only Japan. I'll be happy to send you a pic. I have an old teapot that has Inside Japanese Ceramics wooden handle. The markings on the bottom says Hand Painted Japan in a banner and there is a K with 3 petals. I can't find any information about it. Can you help? Many decorating houses went out of business with the war. Most records were lost. It has a cherry blossom in the center of two concentric circles. Does this ring a bell? I can send a picture, if it helps. I think I know Inside Japanese Ceramics one you mean. Some records Inside Japanese Ceramics destroyed during the war. I do not know who produced this. There were many decorating houses that are no longer in business. I have a Inside Japanese Ceramics clay teapot set found in a recycle shop. Cups all stamped with Rising sun, main teapot looks like Mt. Fuji and many Japanese writing. Probably confiscated during surrender in WW2. I have a set of china with a sango made in japan. I have found the same makers mark, with made in occupied japan. Made in Occupied Japan wares were produced from After Made in Japan was used again. Any ideas? I will research it for you if you give me permission to use the photos for my blog. Can you send a picture of the piece and the markings to marmiet23 gmail. Hi Marmie, I have a set of the triple leaf marks if you'd like a picture of them. It sounds like they're unidentifiable, though. Thank you for the offer. If I have the mark already I don't think I would need additional pictures unless it is a variation of the mark already posted. It does not sound familiar. Many cottage industries existed before the war. Most records have been lost Inside Japanese Ceramics destroyed. I can't seem to locate this stamp anywhere. Any info you can give me about this? I am not sure I have seen that mark but it is possible that a company ordered specialty ware from Japan. I have a green jug with a squirrel on the handle Inside Japanese Ceramics is marked Marutom Ware made in Japan How old would this be, value?? That would probably be Maruhon. It is blush pink all over Inside Japanese Ceramics pink and white roses. It is hard to say but it may be Imura but it is hard to say without seeing the piece. I have a set of china with the mark on bottom in red which looks like a closed tic-tac-toe square with Made in Japan wrapped around it. Do you know what the make is? I need to find one cup to complete the set. Hi, I have a pink 'lustre' style teaset with gold edging. Does this sound familiar at all? The cups are either made of bone chine or porcelain, very light. My guess would Inside Japanese Ceramics the preivous owner that they were made in the 50s but I cannot be certain. I have a set of floral pattern China. The back stamp is a red circle with a 5-point star over what may Inside Japanese Ceramics a flower with Inside Japanese Ceramics in Japan" and a small crown over the circle. Not asking for identification help I've got Replacements trying but would be happy to share photos with you for Inside Japanese Ceramics hobby. I have a lovely pattern with this same 5 pointed red star. Did you find out anything? I would like to know. Thank you for your kind offer. The blogger set up makes it hard to share photos. Thanks for your reply, very close but not quite. I have an old ceramic trinket box from my grandmother with a made in Japan stamp. There is then an inner circle with a geometric flower petals inside that circle. The very tiny circular center of the petals is blank. As mentioned in my blog in several Inside Japanese Ceramics I am not able to take personal inquires. It became too time consuming to answer so many questions and blogger does not make it easy to share photos for inquiries. I have an openwork pink porcelain bowl with gold accents and handpainted floral in bottom. Just looking for an idea of age : Thank you for any help you can offer. I have a small white porcelain vase with the mark in red and a shape with i believe to be C Inside Japanese Ceramics in red as well and japan on bottom can you tell me what that means. Many Inside Japanese Ceramics the little companies that made items for export were destroyed during the war. Very few records remain. Hi Tim here, very informative sitei bought a set of colourful tea cups and saucers with star motifthe brand Inside Japanese Ceramics Pagoda ChinaJapan, i cant find them with google, could they be a recent product? Cheers Tim. Hi Tim here i am enjoying your siteI bought a set of colourful cups and saucers in primary colourswith makers mark Pagoda ChinaJapancouldnt find it via google anywhere, could Inside Japanese Ceramics be a new reproduction, they look new old stock? Any ideas when this one came from and from what manufacturer? It's similar in style to the Morimachi mark but has an S in the crown instead.