Vibrant Colors, Striking Brilliance.
― Anticipating the Overglaze Enamel Exhibition of Shinichi Takashima (Kyo-yaki) and Naoto Ikeshima (Ko-Kutani) ―

Ahead of the “Shinichi Takashima and Naoto Ikeshima Overglaze Enamel Exhibition,” which opens on Thursday, February 21, we visited their respective studios in Imakumano, Kyoto, and Yamashiro Onsen, Ishikawa. For Hanada, this marks the first time hosting a joint exhibition for these two artists. Based on the rich histories of Japan’s iconic overglaze enamel styles, Kyo-yaki and Ko-Kutani, this exhibition was conceived from their shared commitment to creating tableware tailored for modern lifestyles.

When thinking of Kyo-yaki, brilliant overglaze enamel porcelain often comes to mind. However, a visit to the Kyoto Archaeological Museum reveals that not only overglaze enamel and blue-and-white porcelain, but also ceramic shards of Oribe, Satsuma, and Karatsu wares excavated from within the city are on display. After all, Kyoto has been the capital for over a thousand years. To satisfy the desires of the rulers and wealthy elites of each era, potters and merchants surely competed to replicate and deliver renowned styles from famous production areas across the country. Among these, thin and vividly colored overglaze enamel porcelain—centered around yellow and green Cochin (Kochi) glazes—likely became the definitive style of Kyo-yaki, serving as the most effective medium to express the elegance befitting the imperial capital.

Shinichi Takashima succeeded to the name Koshun as the third-generation head of the Koshun Kiln fifteen years ago. The Takashima family originally engaged in pottery for generations in Seto, Aichi Prefecture, before relocating to Kyoto during the mid-Meiji period under his great-grandfather’s generation. His grandfather established the Koshun Kiln, and over three generations, it has secured a firm position as a kiln specializing in overglaze enamels. While his grandfather’s era focused on making tableware for traditional Japanese restaurants, the previous generation expanded into a wide range of everyday tableware for ordinary households. The fact that mugs, kyusu teapots, pots, and small plates form the core of his collection for this exhibition is a reflection of his response to these contemporary needs.

Kyoto culture often carries the impression of respecting tradition to a strict degree. However, it is said that the previous head occasionally advised Takashima, who would carry the kiln into the next generation: “The fundamental spirit and techniques must be refined and passed down, even as generations change. Yet, as people change, eras and sensibilities change as well. Never let yourself be buried in tradition; continue to challenge yourself with a fresh sense of style.” Here, we see the true essence of Kyoto’s flexible culture—not clinging to hollowed-out forms, but adapting precisely to the ever-shifting trends of the times.

Takashima never compromises on form or color. In fact, he has recently developed new shades of turquoise blue and deep navy, offering a glimpse into a new direction for overglaze enamel work.

Takashima firmly states that when it comes to making everyday tableware, the most important quality is ease of use. It is about how naturally and comfortably the piece fits when held in one’s hands. As long as this steadfast conviction guides his work, Takashima’s creations will undoubtedly bring a reliable sense of elegance to our dining tables.

On the other hand, Ko-Kutani emerged in the early Edo period and vanished suddenly after a brief period of just over fifty years. It remains a genuinely mysterious story. Naoto Ikeshima, who represents the other half of this exhibition, maintains his studio in Yamashiro Onsen, near the birthplace of Ko-Kutani. The defining characteristics of Ko-Kutani lie in its bold, innovative color tones and patterns, boasting a magnificent scale that stands out unrivaled in Japan.

When looking at the pieces crafted by Ikeshima, his deep use of color—particularly centered on Aote (green-style Kutani)—evokes the spirit of Ko-Kutani. However, rather than being simply bold, his patterns are remarkably delicate, showcasing his exceptionally skillful brushwork.

When asking him about this, the quiet artist offered a simple yet earnest explanation: “I certainly love the atmosphere of Ko-Kutani, but in my own mind, I am not trying to replicate it or closely imitate it. Rather, I want to create an original world that has never existed before.” He further shared with a sparkle in his eyes: “While blending various overglaze enamels over the years, I have aimed for my own distinct color palette based on Aote. Along with the patterns, I want to express a gentle feel and a sense of lively, delightful movement within a steady, grounded atmosphere. Looking ahead, I would eventually like to step into a different realm using Western overglaze colors as well.”

For this exhibition, he highlighted items such as small plates with cobblestone patterns and those entirely covered in green enamel as pieces to look out for. At first glance, these unique items might seem challenging to use, but he proudly notes that they produce a wonderfully interesting effect when actually put to use.

Shinichi Takashima and Naoto Ikeshima are both potters who immerse themselves in crafting overglaze enamel porcelain that beautifully brightens modern life, while remaining deeply rooted in Japan’s ancient ceramic traditions. We eagerly await the day when their stylish latest creations will be on display.

Additionally, overglaze enamel works by Hitomi Ikeshima, Naoto’s wife, will also be featured in this exhibition.

Although these original patterns depart from traditional styles, please also note the witty, elegant, and charming expressions they bring forth.