Since the Meiji era, Banko-yaki has thrived as a local industry in Yokkaichi City, Mie Prefecture. In 1979 (Showa 54), it was designated a traditional craft, and Hideo Hada, the manager of the “Hoshigaoka Tea House” led by Rosanjin Kitaoji, highly praised Banko-yaki teapots, introducing them in Minzoku Toge (Folk Ceramics). While recognized in certain circles, Banko-yaki unfortunately remains lesser-known to the general public today.
Surrounded by renowned kiln sites such as Kyoto, Seto, Mino, and Tokoname, Yokkaichi lacked clay suitable for ceramics, making it a less-than-ideal environment. However, this challenging context drove innovation in form, design, and distribution, resulting in Banko-yaki’s distinctive originality.
In particular, the designs from the Taisho to Showa eras exude a quirky charm that resonates with modern lifestyles and sensibilities. Banko-yaki’s open-mindedness in embracing diverse ideas, its free-spirited nature, and collaborations with overseas manufacturers offer valuable insights for envisioning the future of ceramic production.
Fascinated by the ingenuity of Banko-yaki’s industry, ceramic artist Koichi Uchida began collecting its works, drawn to their unique appeal and critical perspective. Focusing on Yokkaichi as a production hub, he has planned a ceramics archive museum, set to open in November this year.
This book, the official publication of the museum, features an introduction to various Banko-yaki works, dialogues with key figures like Hideo Hada and Sakuzo Hineno, a showcase of Banko-yaki arrangements by stylist Midori Takahashi, and a conversation with mina perhonen designer Akira Minagawa. Through the perspective of a ceramic artist working in Yokkaichi, Mie Prefecture, it explores Banko-yaki from multiple angles.
Publisher seibundo shinkosha
Published 2015
Number of pages: 239
Size: 248x188mm
ISBN 9784416715970
