Some prominent & remarkable makers

Satsuma Exportware was made by thousands of skilled and unskilled potters and decorators working for  hundreds of smaller and bigger kilns, studios and workshops all over Japan. Most of them are anonymous and will remain anonymous for ever. Of those who have signed their worked at least we have a name, but often that is the only thing we know about the maker. Only of very few artists there are biographical data available and even about the life and work of some of the very best artists is not so much known. In  this section  we’ve tried to collect the data of some prominent or otherwise remarkable makers of Satsumaware. Although the true joy of Satsuma is in the  beauty of the item itself, it is for a collector always interesting to know a litlle bit more about the maker. Biographical data can also be useful to relate an item to the period in which it was created.Knowing that Taizan Yohei  died in 1922 means that there is nothing made by him after 1922. Knowing that Taizan closed his kiln in 1894, means that all items with an impressed Taizan potterymark was made not later as 1894. It also means that items with only a painted signature without impressed pottersmark or marked by another pottery, probably was made between 1894 and 1922. Combining data can therefore be useful in evaluating the age of an item. Since there were thousands of artists working in the Satsuma-industry, compiling this list is like telling a never-ending story.  If you think you can contribute to telling this story, please let us know:



You will find here some information about:  




寿官 - 壽官

Chin Jukan XII (1835 - 1906)

Chin Jukan Workshop (established c. 1598 and still existing as Chin Jukan, 15th generation

 Chin Jukan XII (Shim Soo Kwan in Korean language), born in 1835 was a direct descendent of Shim Dang Kil, one of the Korean potters  who were captured by the Daimyo of Satsuma, Yoshihiro SHIMAZU in the war against Korea in 1597 and settled in Shimabara in Kushikino area. In 1605 Shim Dang Kil established the Naeshirogawa Ware Kiln where he found the Chine a (white) clay went on to develop Satsuma nishikide ware. For approximately 400 years, Chin Jukans family have passed on the mastery through generations. After the collapse of the shogunate system  the official kilns became privatized and Satsuma nishikide that was once restricted only for official production and use could be made and owned by anyone. During this era of privatization Chin Jukan XII ho took lead in the production of Satsuma nishikide, by establishing a pottery factory at Mt. Gyokō in 1875, taking in potters who had lost protection from the feudal clan. He used the artistic name of Gyokuzan from that time till 1897. The artistry of Chin Jukan XII was immediately recognized after the first successful exhibition in Vienna in 1873 and opened up trade paths for Satsuma Ware to Austria, Russia, America, and other countries and made Satsuma Ware the pronoun of the Japanese ceramics.

Censer with openwork carving, Workshop of Chin Jukan, Early 20th century. Earthenware, glaze; openwork carving. Height: 19.2cm

Chin Jukan XII uniquely created around 1879 the technique to apply fine openwork over the entire porcelain, sometimes combining this with painting as well. The sophisticated technique and the refined beauty of his works won him high acclaims at expositions and other events. Today, this technique is still carry out by his descendants and remains one of the representative techniques of Satsuma ware. 

HATTORI Hattori Kyoho


 Working during late Edo – early Meiji period till 1881.

Hattori Kyoho 杏圃 was a Chinzan School ceramic decorator and painter, who succeeded in applying new glazes and pigments from Western sources in a highly painterly style since 1869. He was the first who applied cobalt blue on his work, as replacement for the traditional Gosu blue, what was made only in very small amount. It is said that Shimizu Isabur, a merchant from Edo, participated in the Paris Exposition of 1867 and brought back for experimental purposes samples of cobalt oxides pigment known as Bero-ai. 

Hattori described his new decorative style as “naturalistic painting using predominantly true colors with light ink wash, exactly like drawing on silk or paper”. Hattori and Shimizu were subsequently invited to teach at the major ceramic centres of Arita, Kyoto and Nagoya about the new ceramic techniques and the potential application of it for export porcelain. The introduction of Western pigments and glazes was of major importance to the world of Japanese ceramic design, for they were ideally suited to the demands of mass production. Hattori Satsuma pieces consistently are of  good quality, and have an incredible attention to both composition and detail using a lot of gold paint. Characteristic the scenes show a lot of very high quality and detailed men, women and children.

Hattori was a successful  artist. In 1872 he became technical and artistc director of Kingama and  in 1874 head of Kiritsu Kosho Kaisha [First Industrial Manufacturing Company] founded by the Meiji government to exploit the success of the Japanese exhibit at the 1873 exhibtion. In 1876 he became a leading member of Seihin Gazukakari, a government-led taskforce to provide national guidance on the design of crafts, and closely related to the editing of the Onchi Zuroku ((Catalogue of Design Patterns). At the end of the seventies Hattori continued his research to new techniques and designs, but exclusively for the production of his own pottery. He lost this private company in 1881 and disappeared. After this, nothing is known about him anymore.  It is therefore assumable that all of his work is from  the early Meiji period, and not made after 1881.

Note that Hattori Seizo was also a mark of a Nishiki-Gama studio, producing Satsuma style Yokohama export ware from 1920 – 1940.  Most of these products were mass produced for the export. The mark differs from the Hattori Kyoho Marks.  

Earlier examples show the maker’s difficulties in techniques with blotchy brush works, smudges and uneven color runs. See the blue on this miniature treapot, ca. 1875.

Although it was the German chemist Gottfried Wagener who developed artificial cobalt pigments and glazing, suitable for painting on porcelain and earthenware products, it was tested and successfully used by Hattori Kyoho to decorate his porcelain ware. Especially earlier examples show the maker’s difficulties in techniques with blotchy brush works, smudges and uneven color runs. See the blue on the miniature teapot beside.

HODODA  Takihichi Hododa (b. 1868 - d. unknown)


Takichi Hododa was born in 1868 in Kanagawa Prefecture. He was trading tea in Yokohama, before he started to trade in ceramics, probably by ordering blanks from one of the potteries and let them decorate by others. It is assumable that in the early 1890’s he set up a fairly sizable decorating studio although the exact date is not sure as there are no known written records other than trade brochures and retail catalogs from the period. In 1897 he started to exporter of Satsuma ware from Yokohama al over the world. Since Hododa Shoten was a manufacturer and tradinghouse  it's likely that Satsuma pieces with Hododa's name were not made by him but to order by one of the many studios, set up quickly to meet foreign demands. The quality of the assortment varies from mediocre to high and sometimes exceptional. Vases and other ware decorated with rakan and dragons on a dark brown ground are most frequent seen and typical for Hododa.  Most of the makers are anonymous since their work were signed with “Hododa” only,  but on quality products it can also occur with the name of the decorator. Some very good artists who have worked for or with Hododa were Yoshinobu, Meizan, Masanobu, Taizan  and Shozan. There is no record information about the death of Hododa or the close down of the company, but it is assumable that all Hododa signed Satsuma products were made between 1890 and no later as 1920.


There is a disagreement about the pronunciation of Hododa or Hodota. Although the kanji's are pronounced separately as Ho-To-Da, this is not the case when it forms a name. Hododa is the correct pronunciation, as is seen on this advertisement. 

KANZAN Denshichi Kanzan (1821-1890)

幹山 伝七  (before 1875 a.k.a. Kato Kanzan  幹山 加藤 )

Denshichi Kanzan was born in 1821 in the ceramic-producing area of Seto and was trained in the Koto ware kiln in Hikone. He moved to Kyoto after the closedown of the kiln in 1862 and  opened his own workshop under the name Denshichi Terao. The name was changed in 1863 to Shontei, then to Kanzan Kato, in 1872, to Kanzan Denshichi and in 1885 in Kanzan Toki Kaisha (Kanzan Ceramics Company).  At Gottfried Wagener’s suggestion in 1970 he became the first potter in Japan to employ Western pigments and glazes. Kanzan’s works include porcelain tableware, both Western and Japanese in style, often decorated with brightly coloured polychrome and gold.  According to Augustus Franks -Japanese Pottery 1880 - Kanzan Denshichi ‘invented a manner of representing in porcelain, iron inlaid with gold’. In 1873  the Imperial Household Ministry purchased Kanzan’s works, including some tableware for use in the Enriokan and other items in the style of the underglaze blue decorated Edo-period imperial porcelains known as kinri goyōtōki. Participating widely in national and international exhibitions, and receiving a large number of awards, Kanzan became one of the best known and most successful manufacturers of ceramics in Kyoto. At its peak, Kanzan’s workshop had up to 100 craftsmen, but mismanagement led to the dissolution of the workshop and he sold the Kanzan Toki Kaisha in 1889. He died a year later in 1890. The technique of colorful iro-é brushwork and intricate overglaze patterns that had preserved the "Kanzan porcelain" appellation for over a century however still exists. Kanzan Shigeta, born in Kyoto 1973 is the eighth generation of Kanzan ceramic artists and had his formal apprenticeship under his father, Kanzan Denshichi VII.

Some examples of the beautiful work of Kanzan Denshichi. Pieces by Kanzan may be found in the collections of the Sannomaru Shōzōkan (Museum of the Imperial Collections) and Imperial Banqueting Department of Japan’s Imperial Household Agency, Tokyo National Museum and Kyoto Prefectural Library and Archives.

Dain Nippon, Satsuma, keida kinsei with kakihan in red.

KEIDA   Keida Masataro (1852-1924)


Keida Masataro was born in Kagoshima Prefecture in 1852. He succeeded his uncle at the Keida kiln in 1894 and tried to improve the quality of Satsuma ceramic wares that tended to decline at that time. He succeeded and became famous for its open work decorations. According to Charles Holmes (in Marcus Borne Huish: Japan and its art – 1912) Masataro Keida of Kagoshima, Satsuma had (in this time) the reputation of being the most skilled potter of his province. “His finely and delicately pierced and chiselled work is a marvel of technical skill, so much so, indeed, that one wonders at times if so much patience and dexterity is not almost misplaced when applied to material of such frangibility as soft past faience.

His works were so fine that they were exhibited in the 1904 Saint Louis Exposition and  at the Japanese and British Exhibition of 1910 alongside those of famous artists such as Kinkozan, Tozan and Shozan. Subsequently they were also presented at the Panama Pacific International Exhibition in 1915. He died in 1924, aged 73.  

Despite his fame in his time, his work is not well known these days. But there is no doubt that his work is of the best quality and has all the characteristics that can be expected from real Satsuma: a beautiful ivory cream color and very fine crackle and decoration that only contribute to the beauty of the body itself as seen on this beautiful vase.



Kinkōzan Sōbei VI (1824–1884)

Kinkōzan Sōbei VII (1867–1927)

Real name Koboyashi Sobei        

Kinkozan is a ‘given’ name of family Kyoto Awataguchi potters with the name Koboyashi. The family was very active in pottery manufactury in Kyoto from 1645 up until 1927. In the 18th century the third Koboyashi was granted by the Shogun to bear the name Kinkozan.  Note that Kinkōzan Sōbei  VI (1824–1884), was the sixth generation of a family with the name Kobyashim but that it was only after two generations that the Kinkozan name was granted to this family. That makes that Kinkozan VI also is known as Kinkozan IV, and his son,  the last Kinkozan as Kinkozan V.

Kinkozan Sobei VI and his son Kinkozan Sobei VII were responsible for the most productive years during Meiji and Taisho period from 1872 until 1927 when the factory was closed. The most important production of the Kinkozan factory started in 1875, when Kinkozan VI started to export his ware, especially to America. After his fathers death in 1884 his son Kinkozan VII, who was only 16 years old at that time, took over the family business.  It was under management of Kinkōzan VII that the Kinkozan factory became one of the largest producers and exporters of Satsuma ware and some of it was of the highest quality possible. However, it also produced large quantities of low or average quality wares as well. Kinkozan was not only a good businessman, but also an ambitious and openminded craftsman who tried to improve his ware by experimenting with all kind af new styles and techniques and eager to learn by inviting westerners as the German chemist Gottfried Wagener tot cooperate with him. In 1896 he established with Shofu Kajo (1870-1928), the Kyoto City Ceramic Research Center  to research and innovate new production techniques and set up a trainingschool where many students later became famous for their ceramic works.

For his quality work Kinkozan factory was working with the best artist in this time. Among them were Gassan, Fuzan, Ituzan, Kozan, Seizan, Sozan and many others. Suwa Sozan, a potter who worked as artistic director for Kinkozan from 1900-1907 was maybe the best of them, he created true masterpeaces for Kinkozan, but did the same for Yasuda and for his own studio what he started in 1907. In the same time there was another Sozan, a painter about whom is nothing known but who was an exceptional artist, able to create wonderful depictions, no less as true works of art on sometimes very tiny objects. (see: Sozan  Prominent Makers -2 )

Note that Kinkozan VII was born in 1868, and took over the business in 1884. So all his work must be dated from 1884 or later and all the Kinkozan signed pieces before must be from Kinkozan VI or ancestors. 

It is likely that the Kinkozan factory was closed in 1930, a few years after the death of Kinkozan VII in 1927.  Gisela Jahn, mentions with regard to Kinkozan VII  also a Kinkozan VIII, and the closure of the factory in 1930 ("the factory finally closed soon after the death of KInkozan VIII in 1930" p. 99, Gisela Jahn: Meiji Ceramics), and also Irene Stitt mentions  that "The family continued until the eight generation" (p. 58, Japanese ceramics of the last 100 years). According to the Kinkozan family, what is likely the beste source,  the last Kinkozan was Kinkozan VIII who for a short time succeeded the management of the Kinkozan factory, until it was closed in 1932. He was not very successful, and it is very rare to see a  piece with the mark what was registered by Kinkozan VIII in september 1929 at the Department of Commercial Trading Registration as Number 36166. It's therefore likely that all Kinkozan ware what is on the market can be dated from before 1927.  

Besides his Kyo satsuma ware, Kinkozan also produced a more (modern) western line, with influences from late Victorian and Art Niveau style. Some of them are signed with his regular Kinkozan mark, but he produced and reserved this kind of ware mostly under the brandname,  "Royal Nishiki Nippon"  a special line apart from his regular ware. According to Kazuhiko Kimura and Kohtaro Aoi (Collectors Guide For Old Noritake and Japanese Antique Porcelain with Western Style, p. 231) the Royal Nishiki Nippon Mark was registered by Kinkozan VII in 1909 as no. 36163. He also registered  (as no. 36162) the mark what was used for his Kyo Satsuma products.  


This wonderful vase was made in 1908 by Kozan for the Kinkozan company. According to an accompanying letter it took almost 5 months to create it. The 55 cm high vase is intricately painted with an extensive mountain view of the Shogun’s procession leaving the Yomeimon gate of the Toshogu shrine at Nikko, the reverse is painted with ducks on the banks of a stream among wild flowers, beneath trailing purple and white wisteria. 

KOZAN Miyagawa  Kozan  (1842-1916)


 Makuzu Makuzu workshop


Miyagawa  Kozan, who’s  real name was Miyagawa Toranosuke, was born in 1842 from a long line of potters based in Kyoto. His father, known as  Makuzu Chozo, set up Makuzugahara, a pottery studio in the Gion district of Kyoto.  After his fathers dead in 1860 Miyagawa took over the family business in 1860, at the age of 18, using the name Makuzu Kōzan.  The name Makuzu was given by Yasui no Miya; the artistic name Kōzan by Kacho no Miya, both connected to the Royal Family.Initially he made tea utensils,as his father had. By the late 1860s he started to work at the Igi family kiln located in Mushiage, in what is now part of Setouchi. The Makuzu business in Kyoto was continued by Zen-ō Jihei Kōsai (1846–1922), who took the name Miyagawa Kōsai, and maintained the traditional line of tea utensils. Kōzan’s period in Bizen had coincided with the Meiji Restoration what had brought about a collapse of the old regulation and financing of kilns. Kōzan was at the forefront of the successor policy of industrial development, which included crafts, called shokusan kōgyō.  In 1870 he set up the Makuzu workshop in Yokohama, producing Satsuma-style ceramics for a growing Western market. His workshop was large and progressive, quickly developing and producing a wide variety of styles as fashions changed. This was also a period in which modern pieces were deliberately made and sold as unsigned old Satsuma. It is considered a fact that the Makuzu workshop participated in the fraudulent trade up to 1876 at least. After the publication of  Frank Brinkley in The Chrysanthemum magazine of   1883 allegating Kozan as a notorious counterfeiter Kozan always carefully signed all his work.  Pieces are marked as Kozan, or Makuzu, or both, brands that can be drawn or impressed.

Some of his early export works used exaggerated, high-relief decoration (known as taka-ukibori or sculptural relief) and these became very popular with the Western market in the 1870s. It seemes that Kozan stopped this kind of work in the early eighties, and handed over the studio to his son Hanzan, while  he focussed more and more on the development and application of monochrome glazes, and later on the most beautiful cristalline glazes and new colours  what he became famous for. Kōzan continued to show innovative design and experiment with wonderful glazes until his death.  He exhibited at the Centennial Exposition of 1876, in Philadelphia including high relief vessels presaging later work. Kōzan also showed much development of lines quite independent of the Satsuma ware at First National Industrial Exposition of 1877 in Tokyo and was still successful at the 1893 World Columbian Exposition in Chigago, where other Japanese ceramics was not received well. In 1896 he was made an  Imperial Household Artist (Teishitsu Gigei-in). 

The Makuzu Workshop ca. 1910

The Makuzu workshop

Makuzu Kozan was succeeded  by his adopted son Miyagawa Hannosuke (Hanzan) (1859–1940), known as Makuzu Kōzan II  and later by the third generation Miyagawa Kozan. Miyagawa Kōzan handed over the running of the kiln to Hanzan in 1890, though the name remain unchanged, and most pieces were made bearing the ‘signature’, of Kōzan. Pieces signed Hanzan are very uncommon. Hanzan took in 1917 officially the name Kōzan II on the death of his adopted father in 1916. All the prizes that the factory continued to win in both International and National Expositions were awarded in the name Makuzu (Miyagawa) Kōzan.

In 1945 the Makuzu Kiln suffered catastrophic damage in an air raid on Yokohama, which forced the Kiln to give up making ceramic ware. Despite efforts of the fourth generation Miyagawa Kozan (Miyagawa Tomonosuke, 1884–1959) to rebuild the Kiln, its history was brought to an end. Mikazu ware is now described as “Pottery Lost in History”.

A few examples of the wonderful work of the Makuza workshop by Miyagawa Kozan and (bottom right) Hanzan.

MEIZAN  Yabu Meizan (1853-1934)

明山  /  藪 明山

Yabu Meizan was born in Osaka in 1853 and studied painting techniques on ceramics in Tokyo. After his returning to Osaka he established his own studio that operated from around 1880 to 1920. Yabu Meizan created a new form of intricate artwork, characterized by meticulous and precise painted landscapes and decorative motifs,  sometimes so detailed that it is difficult to see with the naked eye. He became famous for this detailed work what he achieved in the late 19th century and was the most successful of all manufacturers of Satsuma ware.  When he started his workshop he mainly produced wares decorated with Chinese or Buddhist subjects, but from 1888, when he concentrated the on the export market, particularly the United States , he began to favor native Japanese themes.  In the beginning of the 20th century, he simplified the motif of his designs to appeal to a wider audience and correspond to the fashion of the period, while maintaining his attention to detail throughout. These years are also the most productive of Yaby Meizan, and many of hist best work was created in ths time, often small figures in a great number in parade or celebrating a festival, another motif was typical Japanese landscapes of great detail.  After 1910  he changed his style radically, and instead of the paintings in panels, surrounded by densely filled borders, he started to restrict his design to a single forms as a maple-branche, leaving the rest undecorated. It seems as Yabu wanted to do justice to the form, seeing the form of the object and the decoration as a complete work, instead of using the blank as a surface to be filled with amazing paintwork.   


The Yabu Meizan studio.

Yabu always has put a lot of energy on the great international expositions, and his work received recognition  in many exhibitions in Japan and abroad especially Paris (1900), St Louis (1904), and London (1910), he visited each venue and played a major organizational role.The studio was coming to the end after the Japan-British exhibition in London in 1910. 

RYOZAN Okamoto Ryozan

[亮山] (real name Nakamura Tatsunosuke) 

Ryozan ( his real name was Nakamura Tatsunosuke) was trained by Nishimura Zengoro, the 10th generation  of a celebrated Kyoto pottersfamily who died in 1841. Nishimura was the father of famous Eiraku Zengora, better known as Eiraku Hozen (1795-1854).  Nishimura Zengora made high quality ware, some in Satsuma style and used the artname of Ryozan. Actually he was the first Ryozan and after his death Nakamura Tasunosuke adopted the artistisic name of Okamoto Ryozan, to honour his teacher and predecessor.   

Ryozan became the leading decorator working for the famous Yasuda company and is regarded as one of the best Satsuma artist in Meiji-time. But in spite of his fame, there is little known about his life. The above information is from Nancy Schiffers “Japanese export ceramics” and  Kiernans “The Best book on Satsuma”, but it is hard to get any confirmation from documents or books from that time like “Japan, its history, arts, and literature”by  Frank Brinkley, published in 1901.  Based on what is written above (he was trained by Nishimura Zengora , who died in 1841) it is assumable to say that Ryozan was born ca.1820, making him an old man of 80 around 1900. That should date all his work from the late Edo or Meiji period before 1900. Since the Yasudacompany  (Kyoto Tojiki Goshi Kaisha ) was only founded in 1896, that is very unlikely though in theory not impossible.

But what we do know for sure is that Ryozan was the leading decorator for the Yasuda company, that his work is always of the highest quality and that his best work only can be admired for its incomparable and breathtaking refinement of details that only really comes into its own when viewed under a magnifying glass.  Ryozan was a true masterdecorator of Meiji time.

Note that there was another Ryozan working in Meiji period, who w also decorated high quality Satsuma ware. This Ryozan was working for Meizan Company and signed with 良山.


The beauty of this innerside of a kogo is almost impossible to capture in a photo, because it only has a diameter of 8 cm. It is a good example of the special refinement and precision of Ryozans work, in this case probably by using a single-haired brush. The painting shows a deity with a sword and a dragon behind her. Possibly it is a representation of Benten, the Buddhist pattern goddess of literature and music, of wealth and femininity who is often accompanied by a dragon.

TAIZAN Taizan Yohei IX (1856-1922)

帯山   陽平

Takahashi Yohei, artist name Taizan, was the head of the 9th and final generation of the Takahashi family of Awata potters. The family specialized in tea utensils, blue glazed pottery, porcelains with celadon glazes and pottery with overglaze enamels. The First generation in this line of potter was Takahashi Tokuro, working in the second part of the 17th and beginning of the 18th century till 1711, producing raki ware. It was the second generation who adopted the go name ‘Taizan’, so the 9th generation of this family  is actually is the 8th Taizan Yohei. Since he is better known as Taizan Yohei IX, we will use this. According to Gisela Jahn (Meiji CeramisTakahashi Yohei was a younger brother of  Kiyomizu Rokubei IV,  who was adopted in the Taizan family of potters after the death of Taizan Yohei VII in 1875, and changing his name in Taizan in 1878.  He transformed the family pottery in Kyoto to a large factory making Satsuma wares, exporting their products together with Kinkozan VI, in particular to America where his products were much sought after.

The Taizan kiln appears to have closed around 1894. However in 1895 and 1901 reports have it that Taizan is still working “on a comparatively small scale”. The production seems to have been maintained until Taizan Yohei IX died in 1922. During the end of the Meiji period and into Taisho, Taizan decorated blanks from Kinkozan, Izumo Wakayama, etc.

Pieces occur that have both Kinkozan and Taizan markings where generally the Kinkozan mark is impressed in the piece itself and the Taizan mark is written. The firing of enamel decoration is an uncomplicated process compared to firing ceramics and could have been done anywhere. According to this information it is assumable to say that pieces with an impressed Taizan mark is always dating before 1894, while pieces without impressed mark of another kilns mark are dating from the late Meiji or early Taisho period.

A 31 cm charger by Taizan Yohei, with painted signature and impressed mark.

Taizan Yohei IX was a renowned potter who exhibited and won prizes at a number of international events, including the 1893 Chicago World Expo. He often based his work on drawings by Kono Bairei, famous for drawing and illustrating birds and flowers in the Kacho style.

Dai Nippon, Taizan zo.

It must be emphasized that in Meiji period more Taizans were active, not being Taizan Yohei. The Taizan Yohei signature is clear and easy to recognize.

The Yasuda studio.

YASUDA  Yasuda Gensei ( b. unknown—d. 1932)



陶磁噐 合資 會社

The Yasuda Kyoto Tojiki Goshikaisha (Kyoto Ceramic Joint StockCompany) was founded in 1896 by Yasuda Gensei and his brother Yasuda Yoshizaburo. It was trading and producing a large range of products from bamboo-bastes and cloisonnee vases to Awata porcelain and Satsuma faience.  In spite of all the ware of mediocre quality what also was produced by Yasuda, for collectors the Yasuda company became equivalent to hIgh quality ware. 

A wonderful reticulated baluster vase by Okamoto Ryozan, signed Dai Nippon Kyoto Ryozan beneath the Yasuda Company logo.

The fame  is due to the number of excellent painters and decorators who worked for the compony and put their signature on their ware with the Yaduda logo.  Among them was Okamoto Ryozan who is considered one of the best artists of Satsuma-ware. But many more very good artists  have worked for Yasuda and his logo can be found along with the signature of Sozan, Kizan, Hozan, Kanzan, Seikozan, Shuzan, Yuzan and Seikozan. These were all excellent artists who contributed to the reputation of the Yasuda company as a producer of very high quality Satsuma pottery. Yasuda had a keen eye for quality and commissioned the best artists who were active in those years and that made that for many collectors the Yasuda logo became a quality mark.

Yasuda had a keen eye for quality and commissioned the best artists who were active in those years and that made that for many collectors the Yasuda logo became a quality mark.








For more prominent and remarkable makers: See part 2 on the next page.