Resources

Lecture Series

The Reception of Korean Ceramics in Japan (1537-1647)

Prof. Morgan Pitelka, University of North Carolina at Chapel Hill.

The Korean Beginnings and Early History of Takatori Ware, 1597-1654

Prof. Andrew Maske, University of Kentucky.

The Bunroku Keichō Campaigns and the Beginning of Satsuma-ware

Prof. Watanabe Yoshirō, Kagoshima University

The Role of Yi Sam-P'yŏng's Group in the Development of Hizen Porcelain of the Early Edo Period

Prof Ōhashi Kōji, Kyushu Ceramic Museum

Worksheets/Reading List

Room 1, The Origins of Chosŏn Korean Potters.

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Room 2, The Story of the Hagi Tea Bowl.

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Room 3, East Asian Porcelain.

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Room 4, New Fashions in Tea.

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Room 5, Karatsu Revivals of Korean Styles.

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Introductory Reading List

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Endnotes

It is difficult to establish with any certainty the number of Koreans who left the peninsular – either as captives or willingly. According to several reports from war returnees, it is assumed that many of the Korean captives, numbering at least 100,000, remained in Japan. See Munja Kim, “Imjin waeran p’oro”, in Imjin waeran Chosŏn in p’oro ŭi kiŏk, (Jinju: Jinju National Museum, 2010), 122–131 at 126. Other studies put the total captured as low as 20,000. See Naitō Shunpo, Bunroku keichō no eki ni okeru hironin no kenkyū (Tokyo: Tokyo University Press, 1976).

Munja Kim, “Imjin waeran p’oro”, in Imjin waeran Chosŏn in p’oro ŭi kiŏk, (Jinju: Jinju National Museum, 2010), 124. See also Naitō Shunpo, Bunroku keichō no eki ni okeru hironin no kenkyū (Tokyo: Tokyo University Press, 1976), and Lúcio de Sousa, The Portuguese slave trade in early modern Japan: merchants, Jesuits and Japanese, Chinese, and Korean slaves (Leiden: Brill, 2019).

Ja-hyun Kim Haboush, Kenneth R. Robinson, A Korean War Captive in Japan, 1597-1600: The Writings of Kang Hang (New York: Columbia University Press, 2013).

Kitajima Manji, Toyotomi Hideyoshi Chōsen shinraku kankei shiryō shūsei (Tokyo: Heibonsha, 2017), vol.2, 451-452.

Takeshi Nagatake, “Kyushu II/Okinawa,” in Nihon yakimono shūsei 12 (Tokyo: Heibonsha, 1982), 86, translated by Andrew Maske in Potters and Patrons in Edo Period Japan: Takatori Ware and the Kuroda Domain (Ashgate Publishing Company, 2011), 55.

Kitajima Manji, Toyotomi Hideyoshi Chōsen shinraku kankei shiryō shūsei (Tokyo: Heibonsha, 2017), vol.2, 456.

Only a few scattered facts are available about Hata Chikashi. Modern scholars have suggested that Hata played an important role in beginning and fostering ceramic production in Hizen province. See Matasaburō Katsura, “Hata Mikawa Nomori Chikashi to Kishidake,” Yakimono shumi (1943): 10–36.

Mabi Katayama, “Chosŏn togi wa ilbon karassŭ yaki”, in Chosŏn toja, hijen ŭi saek ŭl ipta (Jinju: Jinju National Museum, 2019), 45.

Kitahatamura Kyōiku Iinkai, Kitahatamura bunkazai chōsa hōkokusho 4: Kishidake Koyōsekign 1 (Karatsu: Saga Prefecture, 2000), 27.

Kyŏngcha Pak, “Sagijang – Jimun ŭiro namda”, Munhwajae sarang 168 (November 2018): 6–9, at 9.

Reprinted in Aoki Kōji, et al, eds. Nihon minshū seikatsu shiryōsei, vol.10 (Tokyo: San’ichi Shobō, 1970), 673–747, at 673.

Johanna Becker, Karatsu Ware: A Tradition of Diversity (Tokyo: Kodansha International, 1986), 25.

John S. Lee, “Protect the Pines, Punish the People: Forests and the State in Pre-Industrial Korea, 918-1897” (PhD Dissertation, Harvard University, 2017), 127. See also Kenneth M. Swope, A Dragon’s Head and a Serpent’s Tail: Ming China and the First Great East Asian War, 1592–1598 (Norman: University of Oklahoma Press, 2009), 288.

Chǒnghǔ Kim, “Sangju Namjangsa Kamnowangdo,” in Encyclopedia of Korean Culture, http://encykorea.aks.ac.kr/Contents/Item/E0012120.

Reprinted in Fukaminato Kyōko “Satsumayaki o meguru Naeshirogawa kankei monjō ni tsuite” Reimeikan chōsa kenkyū hōkoku (13:2012): 101–133, at 111.

Contained in vol.4 of Tōki shūsetsu, manuscript, 1872-1883. National Diet Library Shelf mark: 830–50. Reprinted in Fukaminato Kyōko, “Satsumayaki o meguru Naeshirogawa kankei monjō ni tsuite” Reimeikan chōsa kenkyū hōkoku 13 (2000): 101–133.

Jung Min Park, “Chosŏn chŏn’gi han’gŭl myŏngmuni innŭn chagi ŭi t’ŭkching kwa ŭimi” Misulsa wa munhwayusan (November 2012): 143–164 at 151.

Doo Hyeon Paek, “Tojagi e ssŭin Han’gŭl myŏngmun haedok” Misul charyo 78 (2009): 205–218 at 209–210. National Museum of Korea, “Han’gŭl ŭl ssŭn Ch’atsabal”, in Kijŭng manhwajae T’ŭkpyŏl konggae torok (Seoul: National Museum of Korea, 2019), 14.

Gwang Chŏng argues that the Japanese term, 胡高麗, Ho-Koryŏ (Ko-Kōrai in Japanese) refers to Korean captives who were brought to Japan after the Imjin War. Gwang Chŏng, “Hagi yaki ŭi Han’gŭl myŏngmun headok”, Han’gugŏ yŏngu 6 (2020): 195–220 at 201. Sŏnghwan No argues that the Hagi poem is a bilingual work composed in Korean and Japanese. See Sŏnghwan No, “Han’gŭl dawan gwa hagi ŭi Chosŏn p’oro”, Ilbon ŏnŏ munhwa 17 (2010): 487–507 at 495.

A version of this song from T’ongyŏng city in South Kyŏngsang Province reads:

Dog, Dog, Black Dog. Dog, Dog, Black Dog.
Dog is barking even at leaves rustling. Light up lanterns.
My lover will be here soon. Dog, Dog, Black Dog. Dog, Dog, Black Dog. Stop barking.
Stop barking. Bowwow Bowwow. Stop barking.

Jaewook Yim, “Hagi yaki e kiroktoen ‘Gae’ sojae e taehayŏ”, Sijohak nonch’ong 47 (2017): 137–157 at 143-144.

Jaewook Yim, “Hagi yaki e kiroktoen ‘Gae’ sojae e taehayŏ”, Sijohak nonch’ong 47 (2017): 137–157 at 146.

Jaewook Yim, “Hagi yaki e kiroktoen ‘Gae’ sojae e taehayŏ”, Sijohak nonch’ong 47 (2017): 137–157 at 150.

Scholars have suggested that the use of the Korean name, Yi Sam-P’yŏng or Ri Sanpei began after a large monument to the potter was erected in Tozān shrine in 1917. See Sŏnghwan No, “Ilbon Arit’a ŭi Chosŏn togong Yi Ch’amp’yŏng e kwanhan yŏn’gu”, Irŏilmunhak 62 (May 2014): 293–313 at 295.

Andrew Maske, Potters and Patrons in Edo Period Japan: Takatori Ware and the Kuroda Domain (Ashgate Publishing Company, 2011), 22–23.

Fukaminato Kyōko, “Satsumayaki o meguru Naeshirogawa kankei monjō ni tsuite” Reimeikan chōsa kenkyū hōkoku 13 (2000): 101–133, at 119. The prohibition of marriage outside the village may be understood as designed to prevent the loss of specialized knowledge of ceramic production, and was a regulation seen in other Satsuma villages with a specialized occupation such as mining or fishing. See Haraguchi Torao and Robert Sakai, The Status System and Social Organization of Satsuma: A translation of the Shūmon tefuda aratame jōmoku (Tokyo: University of Tokyo Press, 1975), 22–27.

Tokunaga Kazunobu, “Satsuma han no Chōsen tsūji ni tsuite” Reimeikan chōsa kenkyū hōkoku 8 (1994): 18-33.

Vaporis, Constantine. Tour of Duty: Samurai, Military Service in Edo, and the Culture of Early Modern Japan (Honolulu: University of Hawai’i Press, 2009).

Rebekah Clements. “Daimyo Processions and Satsuma’s Korean Village: A Note on the Reliability of Local History Materials” Japan Review 35 (2020): 219–230.

Mabi Katayama, “Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro” (PhD diss., Seoul National University, 2003), 58–72.

For an overview of the kiln development in Japan, see Mabi Katayama, “Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro” (PhD diss., Seoul National University, 2003), 58-59.

Chongmin Lee, “Ilbon Kyusyu Arit’ayo wa Chosŏn Chaŏp ŭi pigyo” in Ilbon Saga hyŏllip Kyusyu Tojamunhwagwan sojang han’guk munhwajae (Kungnip munhwajae yŏn’guso, 2012), 136.

Mabi Katayama, “Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro,” 82–85 and 185–186.

Takumi Asakawa, Chosŏn toja myŏnggo, trans. Myŏngho Chŏng (Seoul: Kyŏngin Munhwasa, 1993), p. 145.

Mabi Katayama, “Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro,” (PhD diss., Seoul National University, 2003), 92.

Byeongsun Bang, “17 segi ihu Ilbon chagi chejakkisul: Arit’a rŭl chungshimŭro” in Chosŏn toja, hijen ŭi saek ŭl ipta (Jinju: Jinju National Museum, 2019), 176.

Tadashi Naito, Kotōji no kagaku (Tokyo: Yūzankaku, 1969), 105–108.

Chosŏn elites also admired and imported Chinese polychrome enameled porcelain at the same time. See Soyoung Lee, “Art and Patronage in the Early Joseon,” in Art of the Korean Renaissance, 1400–1600 (New York: Metropolitan Museum of Art, 2009), 41–43.

Kōji Ōhashi, “Recent Discoveries from Archeological Excavations at Edo Castle: Re-Examining Porcelain Made in Edo-Period Japan,” Transactions of the Oriental Ceramic Society 78 (2013-14): 29.

Mabi Katayama, Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro,” (PhD diss., Seoul National University, 2003), 176

Kōji Ōhashi, “Recent Discoveries from Archeological Excavations at Edo Castle: Re-Examining Porcelain Made in Edo-Period Japan,” Transactions of the Oriental Ceramic Society 78 (2013-14): 29.

Kōji Ōhashi, “An Overview of Export Hizen Porcelain,” trans. Nicole Rousmaniere, in Sekai ni yushutsu sareta Hizen tōji (Kyushu kinsei tōji gakkai, 2010), 19.

Noritaka Asakawa, Fuzan yō to Taishū yō (Tokyo: Saikokai, 1930). On the origin of the term “Teabowl Wars” see Louise Cort, “Korean Influences in Japanese Ceramics: The Impact of the Teabowl Wars of 1592-1598,” Ceramics and Civilization vol.II (Columbus, Ohio: American Ceramics Society, 1986), 331–362.

Soyoung Lee, “Interregional Reception and Invention in Korean and Japanese Ceramics, 1400-1800” (PhD diss., Columbia University, 2014), 57.

Nicole Rousmaniere, Vessels of Influence: China and Porcelain in Medieval and Early Modern Japan (London: Bloomsbury, 2013), 124–125.

Anderw Maske, Potters and Patrons in Edo Period Japan: Takatori Ware and the Kuroda Domain (Ashgate Publishing Company, 2011), 95.

Anderw Maske, Potters and Patrons in Edo Period Japan: Takatori Ware and the Kuroda Domain (Ashgate Publishing Company, 2011), 69.

Watanabe Yoshirō, ‘Kamaato kara wakaru koto: Kinsei Satsumayaki no shōsei gijutsu’ in Yakimonozukuri no kōkōgaku, ed. Kagoshima Daigaku Sōgō Kenkyū Hakubutsu Kan (Kagoshima, 2011), 18–37, at 19.

Watanabe Yoshirō, ‘Kinsei Satsuma dobin no hangai ryūtsū ni tsuite no nooto’, Kara kara 29 (2015), 13–21.

Thomas Harper, 47: The True Story of the Vendetta of the 47 Ronin from Akô (Leete’s Island Books, 2019).

Ja-hyun Kim Haboush, Kenneth R. Robinson, A Korean War Captive in Japan, 1597-1600: The Writings of Kang Hang (New York: Columbia University Press, 2013).

Fumio Kira, Chawan to Nihonjin (Tokyo: Asukashinsha, 2016), 40–41.

Miyeko Murase, “Art in the Volatile World of Furuta Oribe,” in Turning Point: Oribe and the Arts of Sixteenth-Century Japan (New York: Metropolitan Museum of Art, 2003), 12.

Richard Wilson, “Oribe Ceramics and the Oribe Imagination,” in Turning Point: Oribe and the Arts of Sixteenth-Century Japan (New York: Metropolitan Museum of Art, 2003), 115.

No documentary evidence exists to connect Oribe to the invention of Oribe ware. However, it was no coincidence that Oribe was a prominent tea master when diverse kinds of Oribe ware were made in Mino and enjoyed great popularity. Hideaki Furukawa, “The Tea Master Oribe,” Turning Point: Oribe and the Arts of Sixteenth-Century Japan (New York: Metropolitan Museum of Art, 2003), 99.

Watanabe Masako, “Ceramics Influenced by Oribe Ware,” in Turning Point: Oribe and the Arts of Sixteenth-Century Japan (New York: Metropolitan Museum of Art, 2003), 192.

The first mention of a Karatsu tea bowl in the record of tea gatherings appears in Oribe’s Furuta Oribe seiden keichō okikigaki (The Biography of Furuta Oribe: A Written Account of the Keichō Era) in 1603. Mabi Katayama, “Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro” (PhD diss., Seoul National University, 2003), 13.

Anderw Maske, Potters and Patrons in Edo Period Japan: Takatori Ware and the Kuroda Domain (Ashgate Publishing Company, 2011), 23–26.

Anderw Maske, Potters and Patrons in Edo Period Japan: Takatori Ware and the Kuroda Domain (Ashgate Publishing Company, 2011), 95-96.

Cecilia Segawa Segal. “Tokugawa Tsunayoshi and the Formation of Edo Castle Rituals of Giving”. In Mediated by Gifts, (Leiden, The Netherlands: Brill, 2017), 116–165.

Kōji Ōhashi, “New Discoveries from Recent Excavations at Edo Castle: Re-examining Porcelain Made in Edo-Period Japan,” Transactions of the Oriental Ceramic Society 78 (2013-14): 35.

See Saga Kenritsu Kyūshū Tōji Bunkakan, Shōgunke e no kenjō Nabeshima, Nihon jiki no saikōhō for more detail; quoted in Morgan Pitelka, “Warriors, Tea, and Art in Premodern Japan,” in Japanese Art at the Time of the Samurai (Detroit: Detroit Institute of Arts, 2014), 20–33, n. 40.

Monika Bincsik, “An Appreciation of Nabeshima,” Impressions 37 (2016): 41.

Kōji Ōhashi, “New Discoveries from Recent Excavations at Edo Castle: Re-examining Porcelain Made in Edo-Period Japan,” Transactions of the Oriental Ceramic Society 78 (2013-14): 35.

Kōji Ōhashi, “An Overview of Export Hizen Porcelain,” trans. Nicole Rousmaniere, in Sekai ni yushutsu sareta Hizen tōji (Kyushu kinsei tōji gakkai, 2010), 17.

Kōji Ōhashi, “An Overview of Export Hizen Porcelain,” trans. Nicole Rousmaniere, in Sekai ni yushutsu sareta Hizen tōji (Kyushu kinsei tōji gakkai, 2010), 18.

Morgan Pitelka, “Warriors in the Capital: Kobori Enshū and Kyoto Cultural Hybridity,” in Kyoto Visual Culture in the Early Edo and Meiji Periods: The Arts of Reinvention, eds. Morgan Pitelka and Alice Tseng (London: Routledge, 2018), 30.

Chadō koten zenshū 6 (Tanko Shinsha, 1958), p. 64. See also Tokyo National Museum, Chanoyu (Chanoyu: the Arts of Tea Ceremony, The Essence of Japan) (Tokyo: NHK Promotions Inc., 2017), 175.

See Louise Cort, “The Kizaemon Teabowl Reconsidered: The Making of a Masterpiece” Chanoyu Quarterly 71 (1992): 7-30.

Taka Akanuma, “Chanoyu no meiwan,” Kōrai chawan: Chanoyu no meiwan (Tokyo, Mitsui Bunko Mitsui Kinen Bijutsukan, 2019), 152.

Mabi Katayama, “Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro”(PhD diss., Seoul National University, 2003), 228.

Mabi Katayama, “Tawan ŭro maejŏjin han-il kyoryu – Punch’ŏngsagi yangshik ŭro ponŭn Koryŏ tawan, Hijen, gligo waegwanyo,” in Chosŏn toja, hijen ŭi saek ŭl ipta (Jinju: Jinju National Museum, 2019), 186.

For the survey of early Punch’ŏng’s design motifs, see Kyungja Park, “Kongnapyong Punch’ŏngsagi ŭi t’ongil toen yangsik kwa chejak paegyŏng,” Misulsanondan 27 (2008): 95-121.

Soyoung Lee, Korean Buncheong Ceramics from Leeum, Samsung Museum of Art (New York: The Metropolitan Museum of Art, 2011), 107–108.

Mabi Katayama, “Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro” (PhD diss., Seoul National University, 2003), 232– 233.

Kōji Ōhashi, “Hizen no Yakimono to Kōrai chawan,” in Kōrai chawan – Ronkō to Shiryō, ed. Kōraichawan kenkyūkai (Kyoto: Kawahara shoten, 2003), 159-169.

Mabi Katayama, “Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro,” 201.

For the study of the Korean ceramics excavated at the Osaka Castle site, see Tsuyoshi Mori, “Ōsaka shutsudo no Richō Tōji,” in Osakashi bunkazai kyōkai kenkyū kiyō 4 (Osaka: Osaka City Cultural Properties Association, 2001), 211-222. On Korean porcelain entering Japanese tea practice, see Mabi Katayama, “Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro” (PhD diss., Seoul National University, 2003), 199-200.

Mabi Katayama, “Imjin waeran chŏnhu ŭi hanil toja pigyo yŏngu – Ilbon kyusyu hijen toja wa ŭi kwan’gye rŭl chungshim ŭro,” 199.

Chosŏn toja, hijen ŭi saek ŭl ipta (Jinju: Jinju National Museum, 2019), 65.

Junkan Chin and Kenji Kaneko, eds. Rekidai Chin Junkan ten: Satsumayaki momoyama kara gendai e (Tokyo: Asahi Shimbunsha, 2011).