眞葛焼の創始者 「宮川香山」Founder of Makuzu-yaki “Kozan Miyagawa”

東京国立博物館所蔵 重要文化財 「褐釉蟹貼付水鉢」宮川香山(初代)Important Cultural Property “Brown Glazed Crab Sticking Water Bowl” Kozan Miyagawa (1st generation)


This time, one of the people I often use as a reference for designs. I would like to introduce “Makuzu Kozan,” a potter from the Meiji era that represents Japan’s traditional Japanese crafts and ceramics.

日本ではあまり知られていないように思いますが、眞葛焼の創始者として海外ではよく知られており、「Makuzu Kozan」とも呼ばれているようです。Google翻訳でも「宮川香山」で英訳すると「Makuzu Kozan」になります。

I don’t think it is well known in Japan, but it is well known overseas as the founder of Makuzu-yaki, and it seems that it is also called “Makuzu Kozan”.

宮川香山(初代)(founder) Kozan Miyagawa

帝室技芸員 Imperial artist


Among the imperial artists established in the Meiji era, only five are selected in the ceramic art world. Kozan Miyagawa is one of them.

Certification year
任命者 Certified person当時年齢
Age at that time
1893(三代) 清風與平(与平) (Third generation) Yohei Seifu42
1896(初代) 宮川香山 (founder) Kozan Miyagawa54
1917(初代) 伊東陶山 (founder) Tozan Ito71
1917(初代) 諏訪蘇山 (founder) Sozan Suwa66
1934板谷波山 Hazan Itaya62


It is said that it was much more difficult to be selected as an imperial artist with a small capacity than the living national treasure of today.


Please refer to the past posts for the Imperial Artist of Makie.

宮川香山 略歴 Biography of Kozan Miyagawa

年 Year歳 Age出来事 Event
Real name: Toranosuke
Born in Makuzugahara, Kyoto (currently Maruyama Park)
The fourth son of Chozo Miyagawa
Father builds a main kiln in Makuzugahara
Received the name “Makuzuyaki” from the Meiji era royal family, Yasuinomiya
Learn pottery techniques from his father
Received the title of “Kozan” from the imperial family, Kachō-no-miya
In the same year, his father and brother died and succeeded the family.
Request from the Shogunate
→ Produced a large collection of sencha ware to be presented to the imperial court
187028横浜へ移住 Moved to Yokohama
Opened a kiln in the current city of Yokohama and called it “Makuzuyaki”
Started full-scale production of ceramics for overseas export
187634フィラデルフィア万博 銅牌受賞
Received the Bronze Medal at the Philadelphia Expo
Kiln fire damage
187735第6回京都博覧会 銀牌受賞
第1回内国勧業博覧会 龍紋賞牌受賞
Received a silver medal at the 6th Kyoto Exhibition
Received the Dragon Crest Award at the 1st National Industrial Exhibition
187836第7回京都博覧会 一等褒賞受賞
パリ万博 金牌受賞
Received the first prize at the 7th Kyoto Exhibition
Winner of the Gold Exposition Universelle in Paris
187937シドニー万博 一等賞受賞
Received the first prize at the Sydney Expo
188038メルボルン万博 一等賞受賞
Winner of the Melbourne Expo First Prize
188139第二回内国勧業博覧会 有功賞牌一等受賞
Received the 1st prize of Merit Award at the 2nd National Industrial Exhibition
With the permission of the Kanagawa Prison Headquarters,
Employ 100 prisoners who are familiar with pottery and cloisonne
Started full-scale efforts for porcelain production
188341アムステルダム万博 銀牌受賞
Amsterdam Expo silver medal award
188846日本美術展覧会 銀牌受賞→皇后の御用品になる
兄の息子 半之助に家督を譲る
Japan Fine Arts Exhibition Silver medal award → Become an empress’s item
Hand over the family business to his brother’s son Hannosuke
188947パリ万博 金牌受賞
Winner of the Gold Exposition Universelle in Paris
189351シカゴ・コロンブス万博 金牌受賞
Winner of the Chicago Columbus Expo Gold
Since then, he has received domestic and international awards every year.
(The following is only the award history of the Expo)
189654帝室技芸員に認定 Certified as an imperial artist
190058パリ万博 大賞受賞 Received the Grand Prize at the Paris Expo
190462セントルイス万博 名誉大賞受賞
Winner of the St. Louis World’s Fair Honorary Award
190563リエージュ万博 名誉大賞受賞
Received the Honorary Award at the Liege Expo
Fall into a state of blindness of unknown cause
Died at Honkomagome’s villa
Named his nephew Hannosuke, the second generation Kozan


Kozan Miyagawa succeeded the family at a young age, and until just before his death, he seemed to have lived a dizzying life of ceramic art, brilliantly just by tracing the chronology such as annual awards and guidance for younger generations.



Following the chronology this time, I learned for the first time that Kozan had hired a prisoner.

It is an act that I think that few people can take action even if they know that it is a good act.


Kozan seems to have always been looking forward while maintaining a strong desire to improve his skills and create works. It is a record that he looked at the future without being trapped in the past, believed in people and worked earnestly.

香山の陶芸制作の変移 Transition of ceramic art production in Kozan

香山の制作は下記の1から順番に変化していきます。Kozan’s production will change in order from 1 below.

  1. 京焼の色絵磁器 Kyo ware color painting porcelain
  2. 薩摩金襴手陶器 Satsuma Kinrande Pottery
  3. 金襴手と立体装飾磁器「高浮彫」Kinrande and three-dimensional decorative porcelain “high relief”
  4. 磁器制作中心(染付磁器や青磁)Production centered on porcelain (dyed porcelain and celadon)



At the exhibition held at the Suntory Museum of Art to commemorate the 100th anniversary of the death of Kozan, the production process that traces the life of Kozan was exhibited. He is famous for its high-relief pottery with a three-dimensional effect and detailed painting.

However, the porcelain productions after that were also wonderful, and it is said that domestic rivals always competed fiercely with the works of Sèvres in France and Royal Copenhagen in Denmark, and sometimes influenced them.



Kozan is the second imperial artist to be appointed in the field of ceramic art.

Seifu Yohei, who had been appointed earlier, was appointed as a “pottery / potter”, while Kozan was appointed in the “pottery industry”. It is said that his management skills were highly evaluated at the same time.

香山作品の魅力 The charm of Kozan’s work

「高浮彫作品」”High relief work”


“High relief” is Kozan’s original technique of decorating the surface of pottery with carved or crafted objects.

  • それまでの日本陶磁器の概念を覆すもの What overturns the concept of Japanese ceramics until then
  • 精緻で独創的 Elaborate and original
  • 装飾性が高い Highly decorative
  • モチーフの擬人化 Anthropomorphic motif
  • 立体的 Three-dimensional
  • 写実的 Realistic



It was highly evaluated overseas from the above various points. Repeated awards were received at the Expo.

Overseas, many people even decided promptly without looking at the price.

これら高浮彫の香山の作品を「真葛焼」として売り出したことにより、香山の名前も「Makuzu Kozan」として知られることになったそうです。


It is said that Kozan’s name became known as “Makuzu Kozan” by selling these high-relief Kozan works as “Makuzu-yaki”.

Even now, Kozan’s work is highly regarded as “transcendental technique”.

洗練された磁器作品 Sophisticated porcelain work



Kozan has been challenging porcelain production since his 40s.

At the age of 46, he handed over his family business to his nephew and devoted himself to the research and development of glaze and underglaze.


At that time, in Europe and the United States, Kozan was one of the first to incorporate porcelain into his production in the midst of growing praise.



The vase exhibited at the Chicago Columbus Expo is said to have been completed over eight years with great difficulty in production. It was a painstaking work, so it seems that Kayama got sick after the work was finished.

He was called the “King of Pottery in the World” by Westerners and received an honorary prize.


However, there is an anecdote that his nephew Hannosuke broke because there were many buyers.


The Tokyo National Museum holds valuable works that remain among the exhibited works.


It is said that Kozan continued to pursue “manufacturing pottery as art” and “preservation of beauty peculiar to Japan” throughout his life.


At the 2016 Suntory Museum of Art’s Kayama exhibition, a work record was exhibited that the work was finally made after trial and error by breaking it over and over again.


At that time, it was an exhibition that I saw when the production of lacquer work was not going well, so I was very encouraged by the enthusiasm of Kozan’s painstaking but always forward-looking production.



Many of Kozan’s works, which have been highly evaluated overseas, are said to be overseas.

It is said that only a small part of what is currently in Japan (such as the collection of the Tokyo National Museum and the National Museum of Modern Art).


It almost always appears in exhibitions of Meiji crafts, so if you have a chance to see many of Makuzu Kozan’s works, please take a look.


All the photos posted this time are works that could be photographed.

参考文献 References

  • 別冊太陽 日本のこころ217『明治の細密工芸 驚異の超絶技巧!』.平凡社,2014
  • サントリー美術館図録『没後100年 宮川香山』,2016


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