EIMEI, Tokoname, Oval, lapis lazuli glazed 9.5cm
Product Details:
Region: Tokoname 常滑市
Kiln: YOZAN (耀山窯)
Potter: EIMEI 英明 real name ( Hideaki Shimizu )
A refined mame-sized bonsai pot by esteemed Tokoname artist Eimei (英明), known for his award-winning glazes and lineage from the renowned Yōzan Kiln (耀山窯). The pot features an elegant oval form with a deep lapis lazuli glaze (瑠璃釉) on the upper section and a translucent band around the lower portion, subtly revealing the natural reddish Tokoname clay. This two-tone glazing creates a sophisticated contrast while showcasing the clay body beneath.
The base is impressed with the official Yōzan kiln mark (耀山窯) and Eimei’s personal seal (英明) inside an oval hanko (判子).
External dimensions: 9.5 x 8.1 x 3.0cm
Condition: New! limited quantity...
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Artist Background: Hideaki Shimizu (Eimei)
Hideaki Shimizu, widely known by his potter name Eimei (英明), is the son and successor of the celebrated Yōzan (耀山) kiln, founded by his father, Masakazu Shimizu (清水正和)
Yōzan was a pioneering figure—dubbed "The King of glaze"—who in the 1960s courageously introduced richly glazed bonsai pots into the then largely unglazed Tokoname bonsai market
Eimei is recognized as a rising star in the bonsai pottery world. He trained at the Tokoname Ceramics Technology Center, gravitating toward innovative glaze work over the last several decades
His creations have earned him prestigious awards, notably in the small bowl category at the renowned Gafu‑ten exhibition
Style & Innovation
Renowned for vibrant, modern drip glazes (often referred to as "drippy glazes") and lively forms, Eimei pushes the aesthetic boundaries of Tokoname-yaki while honoring tradition
Historical Context
Tokoname City is one of Japan’s “Six Ancient Kilns,” with a pottery tradition stretching over a millennium
YUKIMONO
Bonsai pottery began flourishing there in the late 19th century and came into its own during the Taishō and early Shōwa eras, especially through innovations in shape, clay, and glazing
YUKIMONO
Masakazu Shimizu (Yōzan) played a transformative role in post‑war Tokoname pottery. By introducing richly glazed bonsai vessels—and pursuing experimental glazes like oxblood red (Shinsha) and his personal version of Namako—he helped redefine the local bonsai aesthetic and inspired many potters to explore glazing techniques
