Bizen ware

[4][5] During the Edo period, the Ikeda lords of the Okayama domain continued to support the kilns and gave special privileges to families who operated them, such as the Kimura, Mori, Kaneshige, Oae, Tongu, and Terami.

The artist Kaneshige Toyo (1896–1967) helped preserve it in the 1930s during the early Shōwa era by reviving the Momoyama style.

[10] Kaneshige Toyo, Fujiwara Kei and Yamamoto Toshu were in addition registered as Living National Treasures.

[6][10] Other notable artists include Konishi Toko I (1899–1954), Matsuda Kazan I (1902–1948), Nishimura Shunko (1886–1953), and Suzuki Osai (1908–1972).

[10] Contemporary artists include Hajime Kimura and Kosuke Kanishige, who specializes in the hidasuki technique, as well as Harada Shuroku, Mori Togaku, Abe Anjin,[8] Nakamura Rokuro,[11] and Kakurezaki Ryuichi.

[6][1] The clay found in Imbe is sticky and fine, with a high iron content and, traditionally, much organic matter that is unreceptive to glazing.

[15] For some potters this is an inadequate material, since it has weak characteristics such as high shrinkage and relatively low fire resistance.

[16] During the firing process the potter adds firewood directly into the firebox of the kiln every 20 minutes, day and night.

The temperature initially reaches 600 degrees Celsius, and it is increased only gradually in order to avoid cracking the ceramic.

This can result in a wide range of visual styles, depending on how the pieces are placed and how the firing is controlled.

However it is not always certain what exact patterns or colours will be created during firing:[16] The Bizen Ware Traditional Industry Hall (備前焼伝統産業会館, Bizenyaki Dentō Sangyō Kaikan), located in Imbe Station, displays works by contemporary potters and a small collection of old Bizen ware.