Doburo,
Aiming to revive techniques
and pass them on to
the next generation
Doburo,
Aiming to revive
techniques and pass them
on to the next
generation
For nearly 500 years, since the founding of Zengoro, each generation of heads has
continued the family line by inventing new creations and styles to suit the times.
I also aim to think for myself, use my own hands, and create things in the present,
without being bound by the work of my predecessors. On the other hand, I have a
strong desire to revive the production of doburo, which was the livelihood of the
Zengoro family for nine generations but has since been discontinued, and to connect
it to the future of the Eiraku family.
I would like to explore various possibilities based on the spirit of the wabi tea
ceremony,
"a sense of awe for nature" and
"respect for others" as the
foundation of my
craftsmanship.
For nearly 500 years, since the founding of Zengoro, each generation of heads has
continued the family line by inventing new creations and styles to suit the times.
I also aim to think for myself, use my own hands, and create things in the present,
without being bound by the work of my predecessors. On the other hand, I have a
strong desire to revive the production of doburo, which was the livelihood of the
Zengoro family for nine generations but has since been discontinued, and to connect
it to the future of the Eiraku family.
I would like to explore various possibilities based on the spirit of the wabi tea
ceremony, "a sense of awe for nature" and
"respect for others" as the foundation of my craftsmanship.
MESSAGE OF ZENGORO 18th
Shirushi-Gusuri
One of the new possibilities I am pursuing
is tea ceramic pieces based on a new glaze
I have created called "Shirushi-gusuri", a pale
white glaze on which painting is then applied.
The white evokes a variety of images depending on
the motifs painted on top, sometimes representing snow,
sometimes mist or frost, allowing the user to freely
expand their imagination.
One of the new possibilities I am
pursuing is tea ceramic pieces based on
a new glaze I have created called
"Shirushi-gusuri", a pale white glaze
on which painting is then applied.
The white evokes a variety of images depending on the motifs painted on top, sometimes representing snow, sometimes mist or frost, allowing the user to freely expand their imagination.
A small,
gorgeous piece
The second one is pieces, such as incense containers
shaped children, which are and fit in the palm of your
hand and gorgeously decorated.
These are works that you can appreciate with a deeper
feeling of attachment while holding them in your palm.
A small,
gorgeous piece
The second one is pieces, such as incense containers shaped children, which are and fit in the palm of your hand and gorgeously decorated.
These are works that you can appreciate with a deeper feeling of attachment while holding them in your palm.
Doburo
The last one is the revival of the doburo. In order to unravel the lost production method,
we have been conducting repeated tests for the past 10 years, and little by little I have
begun to understand it.
Using this technique, we aim to create new tea wear other than doburo, or even non-tea
wear, works that blend into modern life and inspire people living today.
The last one is the revival of the doburo. In order to unravel the lost production method, we have been conducting repeated tests for the past 10 years, and little by little I have begun to understand it.
Using this technique, we aim to create new tea wear other than doburo, or even non-tea wear, works that blend into modern life and inspire people living today.
Shirushi-Gusuri
Rather than applying a brushstroke to the ceramic,
I developed a new glaze to serve as a background
for painting with a strong will, as if marking the
earth. In order to express the various expressions
of the painting, which sometimes give the impression
of snow, mist, or frost, I sought a pale, delicate tone
and texture, rather than a pure white.
'Shirushi' is a Japanese word meaning a 'signpost', and
I named it with the hope that it would establish itself as
my signature style.
Rather than applying
a brushstroke to the
ceramic, I developed a
new glaze to serve as a
background for painting with
a strong will, as if marking the earth. In order to express the
various expressions of the painting, which sometimes give the
impression of snow, mist, or frost, I sought a pale, delicate
tone and texture, rather than a pure white.
'Shirushi' is a Japanese word meaning a 'signpost', and I named it
with the hope that it would establish itself as my signature style.
Uguisu-Gusuri
'Uguisu' is the Japanese word for a Japanese nightingale.
The color of the nightingale ranges from light brown to
a dark, dull yellow-green, a traditional Japanese color
cherished since ancient times. I create my own glazes in
this color, using them as a base for works with abstract
patterns in white and cobalt blue.
'Uguisu-Gusuri' is a glaze that proves challenging during
firing. While it can yield unexpectedly beautiful outcomes
or unintended imperfections, it is a glaze crafted specifically
to achieve unique expressions only possible through its
unpredictable nature.
'Uguisu' is the Japan-
ese word for a Japan-
ese nightingale. The
color of the nightin-
gale ranges from light
brown to a dark, dull
yellow-green, a
traditional Japanese color cherished since
ancient times. I create my own glazes in
this color, using them as a base for works
with abstract patterns in white and cobalt
blue.
'Uguisu-Gusuri' is a glaze that proves
challenging during firing. While it can yield
unexpectedly beautiful outcomes or
unintended imperfections, it is a glaze
crafted specifically to achieve unique
expressions only possible through its
unpredictable nature.
Iroe-Hishimon
The diamond pattern, also used by Ninsei, the founder
of 'Kyo-yaki' - a style of overglaze pottery active in Kyoto
during the first half of the 17th century (Edo period) - has
inspired me to design a new, original diamond pattern.
I create not only tea ware but also a variety of ceramic
pieces. At a glance, people will recognize this pattern as
a work by Zengoro 18th.
The diamond pattern, also
used by Ninsei, the founder
of 'Kyo-yaki' - a style of
overglaze pottery active in
Kyoto during the first half of
the 17th century (Edo period) -
has inspired me to design a
new, original diamond pattern.
I create not only tea ware but also a
variety of ceramic pieces. At a glance,
people will recognize this pattern as a
work by Zengoro 18th.
WORKS OF ZENGORO 18th
2025
"Zengoro Eiraku XVIII, Memorial Exhibition of
Name Succession", Takashimaya S.C., Kyoto
2023
"Zengoro Eiraku XVIII, Memorial Exhibition of
Name Succession", Nihonbashi Mitsukoshi, Tokyo
2021
Succeed the name of the 18th generation Eiraku
2002
Completed the doctoral program at
Tokyo University of the Arts
Began training under his father, Zengoro Eiraku 17th "Jizen"
1999
Completed the master's program (M.A.) at
Tokyo University of the Arts
Graduation work was included in the collection of
Tokyo University of the Arts
1997
Graduated from Tokyo University of the Arts,
majoring in Japanese painting (B.A.)
1972
Bone in Kyoto
2025
"Zengoro Eiraku XVIII, Memorial Exhibition of
Name Succession", Takashimaya S.C., Kyoto
2023
"Zengoro Eiraku XVIII, Memorial Exhibition of
Name Succession", Nihonbashi Mitsukoshi, Tokyo
2021
Succeed the name of the 18th generation Eiraku
2002
Completed the doctoral program at
Tokyo University of the Arts
Began training under his father, Zengoro Eiraku 17th "Jizen"
1999
Completed the master's program (M.A.) at
Tokyo University of the Arts
Graduation work was included in the collection of
Tokyo University of the Arts
1997
Graduated from Tokyo University of the Arts,
majoring in Japanese painting (B.A.)
1972
Bone in Kyoto
BIOGRAPHICAL NOTE
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copyright © eiraku-zengoro. all right reserved.
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copyright © eiraku-zengoro. all right reserved.