From an early age “Tokoname Bonsai Pots” growing up looking at the making of a pot of his father SEIZAN representing the industry.
SEIZAN is the leading expert who has worked hard to reproduce “KOWATARI”, and as a successor himself enters the world of pot making.
It is the mission to inherit the will of the predecessor and to create a pots compatible with the aesthetics of the bonsai masters and to work without doing any unnecessary work even though it has acquired advanced skills.
The representative work is a White glazed pot that has been studying for many years since I was young.
It is highly appreciated by bonsai masters easy to match deciuous bonsai enthusiasts as a pots ages it shows wear develops character and flavor. In addition, “Nanban” does not spoil the harmony between the trunk of “Bunjin” and the space, directing the atmosphere that “pots” and “tree” withered together.
Especially the unglazed pots uses Purple Clay developed in response to the desire of enthusiasts, Grey Clay, using Shohaku Bonsai evaluation is high as a pots that complements the heavy feeling of a wide range from small items to large bonsai and make it with maximum consideration to clay color / surface.
Studied under his father, a 4th generational potter, SHUUHOU, learned various techniques such as handwork, Coil forming, Thrown, Moulded, and inherited the project.
“Pottery” is one of the technologies that humankind is familiar with for a long time and enriches our lives, and when we can accumulate our own ideas and techniques at the same time as having depth, we are constantly seeking evolution and also daily research.
Trees and pots are important components of bonsai, and assuming the beauty when combined with “tree” is a necessary skill as a maker, but now it is beautiful even if the “pots” alone is used he aims for something beautiful.
We devised glazing methods and firing methods to create bonsai pots with distinctive depth and are liked by enthusiasts pursuing contemporary bonsai and innovative bonsai.
The founder of the previous generation, YOZAN refined his skill as Tokoname molding craftsman, and then opened the YOZAN TOEN independently.
Mr. EIMEI succeeded the technology from the previous generation and is active as the second generation.
What we are trying to do with this commitment is the balance between ease of use and price, and sticking to the glaze we inherited from the previous generations.
The work boasts a variegated style such as small pots that are unglazed pots and colored with brush work.
Mr. EIMEI Elegance that the unique glaze taste and sophisticated molds produced are highly valued by many bonsai gardens and enthusiasts.
The first generation, KOYO was attracted to bonsai pots of “KINYO” and started working together with Omiya's bonsai garden to start creating a bonsai pot.
Mr. Kuniaki inherits technology and know-how accumulated since its founding.
I believe that trusting bonsai masters and having their trust from bonsai is considered to be an important element of bonsai pot making, and are facing daily work making.
”Tree” is the leading role, “pots” is a name supportive to complement the leading role “as the motto, trust from bonsai makers is thick. As a feature of the work, glazed pots is unique and devised, the bone of oribe glaze born from it is a work representative of KOYO TOEN.
From the predecessor's father Yukio, learn advanced technology to make high-quality bonsai pots by Moulded and Hand forming, inherit KAKUZAN TOEN.
In addition, I have studied the Chinese Grey Clay with high evaluation in the bonsai world, and developed a Grey Clay with shades, depths and texture that surpass it.
There are many fans not only lovers of Japan but also overseas enthusiasts.
Although I have honed my skills to satisfy the needs of bonsai masters and enthusiasts all over the world as well as in Japan, it is the my goal to create a work to meet further demands.
I am conscious of Japanese traditional beauty and convey that technology to future generations.
Following the 5th generation of KAKUZAN TOEN which studied under his Father Kakuyuki and lasted over 100 years.
In addition to learning techniques of push molding and hand drilling, we are pursuing the taste and color of pots that can not be brought out by other kilns.
In terms of pottery, we value functional ease of use and practicality for bonsai masters and enthusiasts.
Bonsai pots say they want to support bonsai masters and enthusiasts from the functional aspect of protecting trees and nurturing them into an ideal tree shape.
I mainly produce a lot of works for Shohin Bonsai.
Since childhood I grew up watching my fathers, SHOZAN, bonsai pot making, and I started to make Moulded, Slab Building, Coil forming and Thrown.
I thought that I wanted to establish a genre different from my father SHOZAN who was good at large items and focused mainly on making small bonsai pots.
Now that the good pots of “KOWATARI” are decreasing, the most important thing is to make good pots with character. To that end, he says he is concentrating on finishing, paying close attention to creating work with good taste.
The work which reproduced Chinese old pots made with such high technical power is also popular with bonsai enthusiasts for its ease of use and high completeness and is often used in exhibitions.
The masterpiece is a rectangular pot with cloud feet made from red clay with glossiness which is different from red clay characterized by sharpness of shape as well as with character.
The oval bonsai pots made from white clay which complements the trees with a gentle form becomes especially wonderful when the aged.
He really loves pottery and has a career in a different background with entrepreneurship in his 20s. The artistic nature of the pots is also important, but the role of pots is to grow “trees” first.
It is important to think about the good balance of drainage and the balance of trees and pots, which is easy to grow trees in and demonstrates that this point is most important for pottery production.
In making works, it performs extensively from unglazed pots to glazed pots, boasts a wide variety of color / type variations centered on Shohin Bonsai Pots.
Because it is making pots considering not only the molding technology but also the functional aspect, growth of trees, it has earned high praise from bonsai garden and enthusiasts.
Founded by Akiji Kaoka in 1920s. Over the years, we have produced a wide variety of products using Slipcasting or Moulded for various large and small unglazed pots and glaze pots, and have been distributed domesticity and overseas.
Particularly in mortars, light and well-drained porous, containing many fine pores, products are the characteristic as well as the appearance there are many fans in Japan and abroad.
Once we were Tokoname's biggest bonsai pot manufacturer but currently we have discontinued manufacturing.