Tosai-Tableware Ceramics Shop

Hands On Kyoto Volume 1

Tosai: Tableware Ceramics

I happened to come across Tosai 東哉 Tableware Ceramics Shop while walking along Cha‐wan‐zaka 茶わん坂 (lit. Teabowl Slope; a road lined with souvenir/ceramics shops). At first glance, the storefront seemed atypical compared to its compatriots. The larger, more conspicuous shops made it easy to quickly assess what they were about. In clear contrast to the rest however, Tosai stood out and required a closer inspection.

I remembered walking past and suddenly stopping in my tracks to circle back. I carefully spread open the noren (curtain‐like fabric hanging in front of the entrance of a shop/restaurant) and entered the mysterious space. It was at this time Yamada‐san, the

current owner of Tosai, greeted me.

We immediately hit it off. There were also unexplainable parallels such as his eldest daughter Tomomi, who had studied in Canada as an exchange student. Within the first few minutes of talking to Yamada‐san, I knew he was the inaugural person Hands On Kyoto would interview for its “Support Local Business” section of the website.

It was uncanny, but Yamada‐san was the exact person I was looking for. The interview was full of explanations about both the traditional world of Kyoto ceramics and Kyoto’s rich craftsman lineage. Separate from the interview and Tosai Ceramic Shop however, I found there was a surprising back story to Japanese ceramics.

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As is the case with many of Japan’s traditional arts, Japanese ceramics were heavily influenced by Chinese and Korean cultural traditions. Although, in the case of ceramics the context in which this took place is markedly different. It coincides with one of the darker moments in Japanese history when Toyotomi Hideyoshi (Last Name; First Name) decided to invade Korea in a campaign that lasted from 1592‐1598.

Ultimately, the Japanese forces were repelled but not before many Korean ceramics makers were forcibly brought back to Japan. This was because Toyotomi actually was a student of cha‐no‐yu (tea ceremony) and he coveted many of the tea implements produced in Korea at the time.

Once many of the Korean ceramics makers were brought to Japan, they were sent to fiefdoms all over. They were expected to teach the Japanese artisans their special skills and convey their knowledge. As a result, Japanese ceramics grew incredibly during this period and the Korean influence is directly responsible for helping to transform Japanese ceramics into some of the most elegant ceramic traditions in the world.

In particular, there are two ceramics ware traditions in Japan that are ensconced in the upper echelon of Japanese ceramics ware. These are Kyoyaki 京焼きand Aritayaki 有田焼き (another high level brand of ceramics from Kyushu, Saga Prefecture).

Both traditions appear to have been heavily influenced by the Korean ceramics makers but the Aritayaki tradition was also heavily influenced by Chinese porcelain. Due to this significant Korean and Chinese influence, many of the pieces tended to be produced with the foreign market in mind. Even today, Aritayaki pieces continue to have a strong presence overseas.

In contrast, the Kyoyaki artisans focused on the Imperial court (based in Kyoto from 794‐1868) and produced pieces in conjunction with these local traditional tastes. It is a more classical style still very much apart of Kyoyaki pieces today. Since Kyoyaki tradition tended to focus on the local Kyoto market, comparatively it hasn’t received as much attention overseas.

In the case of Tosai Ceramics Tableware Shop, Kyoyaki greatly influenced Tosai (founder of Tosai ceramic shop), but he also incorporated elements from Tokyo (more specifically Edo Period 1600‐1868 style) and created a slightly different style (incorporation of a more modern type of elegance).

The Tosai Ceramics Shop specializes in tableware. It has its own workshop and small gallery in Kyoto, along with other store locations in Ginza (Toyko) and Osaka.

Compared to other ceramics shops in Kyoto, Tosai is unique because it both produces and sells its own high quality ceramics. As in the case of many other traditional enterprises this family run ceramics business traces back its origins to its founder.

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Picture Borrowed from 銀座十五番街

Founder

Yamada Hayao 山田隼生

Yamada Hayao (Family Name; First Name) was the founder of Tosai, and following in the tradition of other Japanese artists he decided to produce his art under a pen name, Tosai. He started producing ceramic goods in 1917 for patrons from all over Japan. Similar to most ceramics makers in Kyoto, Tosai was greatly influenced by the Kyoyaki tradition and felt a strong connection to Kyoto. However, he had a broader vision that involved him conveying the Kyoyaki tradition to other parts of Japan, and that is probably what inspired him to open up the first Tosai shop in Ginza (Tokyo) in 1936. This proved short‐lived however, as war soon fell upon Japan.

Similar to many other Japanese, Tosai could not escape the call of duty to war. He served in the navy and like many other lower ranking Japanese, suffered along side many other ill‐fated men.

After the war, Tokyo lay in ruins from fire bombings and other repeated attempts to bomb Japan into submission. After the war, Tosai’s situation mirrored many others. They were destitute and had to rebuild from the ashes. In Tosai’s case though, he still retained a loyal following of patrons, and at their behest rebuilt the Tosai shop in Ginza. Along side many other stoic Japanese, he started the rebuilding process.

Though it probably seemed impossible at times, Tosai gradually returned to prominence. His passion to convey the Kyoyaki tradition to Tokyoites and other Japanese people seemed to be burning brighter than ever. As Tosai’s reputation grew in Tokyo and throughout Japan, it appears Tosai began to set his sights even higher. Since he had captured the attention of the domestic market, he now envisioned moving abroad. He entered his works into competitions overseas, resulting in some stunning results. The Milan Exhibition (1957)‐ First Gold Medal; Brussels Exposition (1958)‐Grand Prize.

Usually, on a world stage it’s not too uncommon to credit one’s country after a victory. However, upon winning the Brussels Exposition Tosai famously proclaimed, “made in Kyoto, not in Japan.” This speaks to the respect and strong connection he felt for Kyoto, and more specifically its long lineage of craftsmen in the Kyoyaki tradition. I found this intriguing, and wondered how he became recognized not only domestically, but internationally too. During the interview his son Yoshio hints at a few of the reasons.

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Current Owner

Yamada Yoshio 山田悦央

Today, Yamada Yoshio (Family Name; First Name), the eldest son of the Yamada family, runs Tosai while other family members are involved as artists or in other day‐to‐day operations. From the time he was young, he was compelled to be involved in traditional Japanese arts such as cha‐no‐yu (tea ceremony). However, he also was exposed to English at a very early age, and as a young man he decided under his own volition to live in Denmark and travel around Europe. Since this was very rare at the time, to some extent I would go so far as to say Yoshio is somewhat of a pioneer and visionary.

In the following interview, Yoshio goes into more detail about some of his experiences both in Japan and abroad. Also, encapsulated in the interview are moments I felt paralleled those of my own life, and through some of his responses I could feel his humility and passion not only to produce high quality ceramics, but to pass along Tosai’s lineage to an international audience.

Local/International Perspective

In my 9 years in Japan, I have met very few Japanese who possess both a local Japanese and international perspective. Yoshio is unique in the sense he both understands and respects traditional and modern elements in his daily life. Unlike many other Kyotoites, he can communicate in English. As a result, he is able to reach an international audience. At the moment, he is tirelessly working to build links with international markets and peoples. Although he has an affinity for modern and western elements, he has a keen sense of Japanese tradition and the elements worthy of preserving and passing along.

Much like his father, he is quick to emphasize his strong pride in Kyoto culture and his desire to convey it to the next generation. Unfortunately, young Japanese seem less interested in traditional Japanese culture, so increasingly he finds himself educating a new international audience. In order to court this new market, he has started selling on the Internet and utilising media (magazines) and international shops (France).

One of the big obstacles Yoshio faces is the lack of knowledge international markets have about the Kyoyaki brand. Currently, brands such Aritayaki already possess a strong brand presence in the international market, making it difficult for Kyoyaki to gain a foothold.

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Picture borrowed from Wikipedia Commons

Director

Ozu Yasujiro

Many people interested in film probably know of Japanese Director Kurosawa Akira, who directed the acclaimed “Seven Samurai” (Shichi nin no Samurai). However, just as prominent at the time was another director, Ozu Yasujiro (Family Name; First Name) who directed such critically acclaimed films as “Tokyo Story” (Tokyo Monogatari). Typically his films were not dramatic, they instead focused on everyday Japanese life. Even though his themes seemed less dramatic, Director Ozu’s masterful skill and techniques allowed him to capture the essence of everyday Japanese life, and elevate the typical banal aspects of our lives into appealing stories.

Director Ozu and Tosai happened to meet through an okiya (Geisha House) they both frequented. It appears the two hit it off immediately. So much so Tosai became an on‐set advisor to Director Ozu. Director Ozu was a perfectionist and using his

characteristic low angle and cut shots, he always ensured every shot was meticulously constructed. Every object or artifact used in a shot had to be authentic. To this end, Tosai and other advisors in relation to Japanese art, ceramics and traditional culture were retained to help create Director Ozu’s elaborate world.

A few pieces used on the set of Ozu films remain at the Tosai workshop/store in Kyoto. The hanging lantern and lampshade in the pictures above are a few movie props on display. Also, the Tosai store in Ginza served as a place Director Ozu and other movie staff frequently met at to discuss shoots.

Even now, the influence from this collaboration lives on in some Tosai pieces. They still produce pieces modeled on a few of the ones actually used in some films.

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The following is an interview between Tosai owner Yamada Yoshio, and myself.

Q. 1

Your father pursued many interests (tea ceremony, canine protection, film…) and others probably have certain memories about him. What are some of your fond memories?

A. 1

I remember my father had a love of nature and in particular he really liked dogs. He was actually head of the National Japanese Preservation Society for Dogs. The society originally started in Hokkaido where Ainu Dogs (dogs native to Hokkaido) were declared Japanese Natural Treasures. Eventually, the society took on more of a specialized role in breeding and the protection of dogs all across Japan.

When I was a boy, we rented another lot next to our present workshop and store on Cha‐Wan‐Zaka, Kyoto. The building was used to house and breed dogs that we received from all over Japan.

Since my father was very busy with work in Tokyo, my mother and I usually walked and took care of the dogs. Remember, this was a time (mid 1960’s) when there was no dog food, so my mother had to prepare food for the dogs herself. My father was gone most of the time, but when he returned to Kyoto, he loved taking the dogs out to Maruyama Park; moreover he usually had 2 or 3 dogs with him at any one time.

Exclusive Interview: Yamada Yoshio

Chichipan

It’s kind of foolish, but when I was a kid there was a popular style of eating bread associated with a product called “Chichipan”(literally translates into Father Bread) that always brings back fond memories of my father.

Usually, people drank milk and ate bread separately. However, the Chichipan concept was imported from the west and involved dunking the bread with jam/butter into the milk. Sometimes jam was left at the bottom of the cup and I absolutely loved drinking the last bit of sweet jam along with the milk.

Also, walking around my neighbourhood when I was a boy, I used to see the Chichipan logo on a noren (similar to a curtain, hanging over the entrance to a store or restaurant) near my house, and whenever I saw the logo or ate Chichipan, I always associated it with memories of my father.

Q. 2

What are the most important things you learned from your father?

A. 2

My father always used to talk about the value and importance of personality. If a piece didn’t have a certain element of personality, then it wouldn’t sell. He also said every piece must embody a unique Tosai personality.

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Q. 3

How did your father meet Japanese Director Ozu Yasujiro?

A. 3

A head clerk by the name of Kitagawa‐san who worked at Tosai happened to meet Director Ozu at a drinking establishment in Ginza. As fortune would have it Kitagawa‐san’s hometown was the same as Director Ozu and this common link brought them together. Then, through Kitagawa‐san my father Hayao was introduced.

Q. 4

Do you think the collaboration between Director Ozu and your father inspired your father’s work?

A. 4

Director Ozu was noted for having a clear idea of what he envisioned in every shot and he would not compromise this for anything. To compromise his vision was analogous to betrayal of his high standard of quality and authenticity.

He strongly believed the creation of mood or atmosphere of certain shots required real props, costumes etc. and went to great lengths to ensure these high quality standards were met on set. Every scene used authentic articles and Director Ozu meticulously chose all the articles with the advice of my father and others who possessed an artistic eye.

I believe Director Ozu’s understanding of high

quality and his process to achieve it also inspired and influenced my father in his own work. Especially, Director Ozu’s unwillingness to compromise on aspects he felt confident about.

Q. 5

Your father really valued customers and it seems you also place a high value on your customers. What specific things do you think are necessary when you deal with patrons?

A. 5

We value our customers and extend the same friendliness and expertise that any other professional business does. However, we are not willing to compromise Tosai’s personality in order to please every customer. For example, now a days many businesses treat their customers as `King.’ We have never done this. To use this approach would ultimately compromise Tosai’s personality and our ability to create unique and high quality pieces.

The Old Kimono Maker

I remember a story I once heard about an old kimono maker. He was approached by a customer and asked to produce a type of kimono that the kimono maker had never made before. Skill‐wise he was very capable, but he mulled over the request. This kimono would have brought the shop tens of thousands of dollars in revenue, but the kimono maker declined. Ultimately, he felt it would compromise his shop’s legacy.

The thought of someone years down the road

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looking at the kimono, and wondering why this particular piece betrayed the tradition and lineage his shop had represented, greatly affected him.

Similar to the kimono maker, I always have a strong idea of Tosai’s legacy and try to be up front and honest with customers. I try to handle every situation diplomatically and ensure I don’t offend the customer in the process. However, I clearly convey what I am willing and not willing to do.

Q. 6

What do you think is the difference between an artisan and an artist?

In general…

Ceramics Maker

I believe a ceramics maker is someone who replicates the same piece over and over again and they are guided and influenced by production costs. Also, Tosai’s ceramics makers and many others of the Kyoyaki tradition tend to utilize a division of labour approach. Instead of having one artist, certain artistic elements of a piece are broken down into specialized tasks. For example, one person draws a picture or pattern while another person is responsible for another task. This process allows the best skilled person to focus on their area of expertise. After bringing all of the creative elements together, a comparatively high quality piece is created. Actually, this division of labour approach is found not only in Kyoyaki ceramics, it is also characteristic in many other traditional arts in Kyoto.

Artist

An artist on the other hand, basically creates a piece of art with no inclination to price. After an artist finishes their work, they simply set a price and a customer either buys it or not. Also, an artist is usually the sole producer of their work and is responsible for all of the creative elements involved.

Of course it’s also possible for a ceramics maker to be considered an artist. However, I believe that distinction is not up to the ceramics maker them self. It is in the hands of someone else, such as a customer to decide.

Q. 7

What specific aspects in Kyoyaki do you find appealing? Do you think this same type of appeal is recognizable by non‐Japanese people too?

A. 7

As in many aspects of Japanese culture (food, flower arrangement, cha‐no‐yu) I believe nature, more specifically, the four seasons have heavily influenced the production of ceramics in Kyoto. For example, every pattern and shape of a piece has a strong connection to the season it is made for.

Each season strongly influences the patterns, colours materials, and the type of process used to make certain pieces.

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Even though typical Japanese lifestyles have changed over the past few years, the four seasons continue to influence Kyoto ceramics.

For those interested in Japanese culture, I think they could find ceramics interesting. However, Japanese people must adequately explain the influence and involvement of nature in many of Japan’s traditional arts. Then, non‐Japanese people might become more interested after they are better able to understand this very basic but essential connection between the four seasons and Japanese ceramics.

Q. 8

You seem to posses a strong affinity for Japanese traditional arts. For example, you practice cha‐no‐yu (tea ceremony). Were you always interested in traditional Japanese arts or did you feel compelled to learn because of your father and family situation?

A. 8

When I was a young boy, I was compelled by my father to learn and practice cha‐no‐yu. At the time, I didn’t really feel any affinity towards cha‐no‐yu. It wasn’t until I went to Denmark, that I realized the value of cha‐no‐yu and other traditional Japanese arts.

Irrespective of what my father thought, I decided to go to Denmark after I graduated from college. I was about 23 years old and even though he didn’t outright stop me, he didn’t totally support me either. While in Denmark, I quickly realized how the Japanese mentality differed from Canada and America etc. In particular, I remember back to when

I met a fellow from Boston by the name of Bob Koffman. He had spent a whole year or so saving up money to go to Denmark. Comparatively, I felt somewhat immature because I expected my father to pay for my living expenses etc. while in Denmark.

At the time I guess I felt a little spoiled, but after staying in Denmark and travelling around Europe I began to realize the merits of Japanese culture, especially ceramics. After recognizing this high value in Japanese culture, I started to think about ways to get involved in maintaining and passing on its tradition.

Ironically, it wasn’t until I went to Denmark that I was introduced to the Arita (Aritayaki) and Minge (Japanese ceramic and folk arts) for the first time. However, something was missing. I wondered to myself, why wasn’t Kyoyaki, Japan’s highest quality ceramics also available? It was at this point my passion for ceramics and Japanese traditional culture began to be engaged.

In an interesting aside, due to this sudden recognition of the value and high level of Japanese culture, I actually came up with a catch phrase,

“Discover Japan.”

I was so excited about this epiphany, I wrote this in a letter to my girlfriend (now wife). In her reply to me, I was shocked to hear there was already a campaign slogan using the same phrase. Unfortunately, the National Japan Railway got to it first and had been using it as its marketing slogan around Japan.

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Q. 9

It seems many Japanese artisans and artists are stymied by their inability to promote themselves in other languages to people from abroad. Why do you think you are an exception? Do you think there was a specific moment that showed you the value of international exchange and the necessity to pursue learning English?

A. 9

First Contact with English

Back in the 1960’s I made my first acquaintance with a foreigner. I managed to get into Doshisha‐ a famous private school in Kyoto. Bear in mind, this was amidst some of the fiercest competition between students to enter the most prestigious schools. Though not as competitive today, it continues till this day and is referred to as juken senso (exam wars) in Japanese.

At Doshisha, my junior high English conversation class was taught by an English native speaker; moreover a very rare situation at the time.

I still have fond memories of Miss Green, and this was my first encounter with a non‐Japanese. She was a sweet old lady with glasses as thick as bottle caps and a very plump figure. The class was completely in English and at the time I didn’t really understand much but Miss Green left a very favourable impression on me.

In my first year of high school, I was introduced to an English woman, Miss Gail Sawbridge. My cousin was teaching her cha‐no‐yu, and since he didn’t know how to speak English he ended up asking me to help translate for him. At the time she was around 23 years old. From the first time we met, I was smitten with her. To this day, I’m still stunned by her beauty (with a wide grin he reflects).

English Becomes Necessary

Miss Sawbridge and I became friends through cha‐no‐yu and I wanted to communicate so badly that this served as extra motivation to engage more intensely in my English studies at school. For the first time, I began to take an active interest in my English classes and my grades started to improve. She was only in Kyoto for a brief time, but it was the first time I had spent time with a non‐Japanese person for an extended amount of time. After she returned to England we exchanged letters for a time, but I haven’t heard from here in sometime. Last I heard she married an American fellow.

After high school, I entered Musashino Arts University in Tokyo. At the time most students didn’t take English seriously, but I met a few students open to starting an English club. Sometime during my first year, we formed the English Speaking Society (E.S.S.). I advanced to the head organizer position in just my second year. Not did I continue to enjoy English, as fortune would have it I ended up meeting my wife through E.S.S. too. Pretty amazing!

The point at which I really realized the importance of another language was when I

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did a homestay with a family in Denmark.

While in Japan, I met a Danish lady who worked at the Danish Consulate and wanted to live in Kyoto for a little while before she returned to Denmark. Compared to now, Kyoto had very little in terms of accommodation and I was unable to find her a place, so she ended up staying at my house for about 6 months. In return for letting her stay, she asked me to stay at her house in Denmark. I was about 23 years old at the time and decided to take her up on the offer.

To my pleasant surprise, her father turned out to be a nobleman in Denmark. The house was something out of a movie. It had an apple grove and servants with their own separate house. After dinner, we would retire into the living room where I was offered cigars and other indulgences of high society. However, what really impressed me was the dinner conversation.

It wasn’t the topic of the conversation, rather the language spoken in. I couldn’t believe it, but family members usually spoke French to one another during dinner and German to their servants.

Turns out, they were only speaking English because I was there. Oh, and when I asked them when they used Danish, the father simply replied, “ we basically use it to speak to the dog.” To this day I still don’t know if he was just joking, nonetheless this experience opened my eyes to a new world of international intrigue and its access card was at least one or two other languages.

Assessing Quality

Q. 10

When you look at a ceramic piece, what specific aspects do you look at in order to assess its quality? For example, what aspects do you usually see in a high quality piece?

A.10

That’s a difficult question to answer. The reason is because there are so many elements involved. From a professional point of view, I can recognize nuances such as when a design or pattern isn’t as full of colour or clear as it could be. This has to do with the attention to detail and skill of the ceramics maker. Also, we specialize in tableware ceramics, so it’s really difficult to compare our pieces to tea bowls or other ceramic pieces unrelated to tableware.

In general though, clay is import in any ceramic piece. Also, the ability to decipher between high and low quality pieces is basically an acquired taste developed over time and through experience. Moreover, you cannot simply look at a piece. You must actually pick it up and feel its contours and texture while running your eyes over it. I suggest looking at a number of pieces reputed to be of high quality, and if by chance you come across a piece of low quality, you will be sure to notice the difference.

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The Significance of Likes/Dislikes

For your average person, a decision to purchase a product tends to rest on whether they like or dislike something. However, a pro has to possess the ability to distance them self from their emotional reaction to a piece. They must be able to look at the essence of the piece and assess its significance using a more logical process. I guess with experience, a person is able to assess pieces not according to their emotions, rather making a more informed decision based on rational analysis.

Q. 11

Tosai (Yoshio’s father) seems to have masterfully blended together chic elements of Kyoto and Tokyo design into ceramic pieces. How would you define Kyoto chic and Tokyo chic? Try and give one specific example of Kyoto chic and one specific example of Tokyo chic.

A. 11

Tokyo and Kyoto Chic: In Ceramic Form

Kyoto Chic

Kyoto Chic is embodied in that of a Kyoto maiko

(apprentice Geisha 16‐19 years old) wearing a cotton design kimono. Much like the cup, images of a plump and demure girl are bound together to represent a

more traditional essence of chic.

Tokyo Chic

There is a place called Kuroitabei in Tokyo. This particular place attracted

Tokyo Geisha, very different than their Kyoto maiko counterparts. This cup embodies a unique Tokyo (modern) concept of chic and for me linked very closely to the image

of Tokyo Geisha.

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tend to be retailers.

Concerning Tosai’s ceramic techniques, looking at the pieces themselves you wouldn’t be able to tell but we do incorporate a few family secrets into our production process. Obviously, I can’t go into detail about them but they are closely related to my father successfully blending Kyoto and Tokyo chic elements together. These have also been heavily influenced by the Kyoyaki tradition as well.

Q. 13

What is your most popular piece?

A. 13

The Tokyo style cup is popular because of its simple and functional appeal.

Mixture: Kyoto and Tokyo Chic

This one is a mixture of Tokyo and Kyoto Chic. It is designed with a Kyoto motif, but if you look carefully the bottom is raised. This characterizes a modern concept of Tokyo chic and restaurants tend to like these pieces because the slightly raised bottom emphasizes the cups contents and it’s also designed with function in mind.

Q. 12

How does Tosai differ from other ceramic shops? Are there any special ceramic techniques that differentiate it?

A.12

From a business stand point Tosai is both the producer and dealer, eliminating the distributor. This situation allows us the flexibility to more readily adapt to input from customers or any sudden changes in the market. By virtue of this business model, we differ from many other ceramics shops that

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Q 14.

Do you have a favorite piece?

A. 14

I like the old Kyoto cup because of its sophisticated craftsmanship, even though functionally it is quite limited.

Q. 15

Tosai is a part of Japan’s long tradition of high quality craftsmanship. More specifically it belongs to the Kyoyaki lineage. Can you identify any specific aspects in Kyoyaki craftsmanship that have allowed it to maintain its high standard of quality?

A. 15

It stems from a general trend where the best craftsmen spanning all backgrounds left their villages and gathered in Kyoto, the capital city (794‐1868).

Kyoto became a hub where the best craftsmen

and artists could meet, exchange ideas and showcase the latest techniques. They brought their own unique techniques, specific tools and clay from their native villages.

In conjunction with this, Kyoto was the capital where the Emperor, Buddhist Schools and other nobles served as patrons for craftsman. They all possessed an eye for beauty and expected a high level of craftsmanship. As a result, craftsman had no choice but to produce and create high quality art and goods. This served as one of the influential factors in creating a high level of expectations in regards to craftsmanship in Kyoyaki and other arts and crafts in Kyoto.

Q .16

What difficulties have you encountered in trying to preserve the lineage of Tosai? What challenges does Tosai currently face?

A. 16

It has much to do with Japanese lifestyles becoming more westernized. For example, modern lifestyles have gradually moved away from traditional Japanese food and living ways that were once very closely linked to nature. In Tosai’s case some people worry about the colour leaching from the pieces due to washing. In reality, they only have to learn how to carefully wash our ceramic pieces, but most families simply purchase more functional items from department stores and this has rendered most traditional ceramic pieces obsolete and unappealing.

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We still have a loyal customer base, but as time goes by it is shrinking. That’s why we are trying to engage the overseas market by selling online and trying other selling and promotional techniques.

Q. 17

In Japan many old traditional arts and crafts seem to be disappearing. Are you concerned about the continuation of the Tosai Family tradition?

A. 17

I have two daughters. The oldest one is currently involved in establishing Tosai’s online presence. While it still remains to be seen what is in store for the youngest, I think they will both play a role in the future of Tosai. I realize they won’t be able to handle things the way I have, but it’s only natural. We’ll see what happens.

Q. 18

Have you been inspired by anything in your work recently? What is your future vision for Tosai?

A. 18

Since the Japanese domestic market has been shrinking, Tosai has started looking elsewhere‐namely abroad.

This year Tosai started selling its pieces via the Internet. I realise we are late compared to other businesses but we are trying our best. Domestically we also received some promotion from this famous Japanese tea magazine (Jiyujin) earlier this year.

We were also asked to showcase a few pieces in a shop called Jugetsudo in France. In the past few months, Tosai’s exposure has increased by way of the Internet, this Japanese magazine and Jugetsudo.

These are some postive steps in the right direction, but we still haven’t seen any drastic changes in sales, and given the moribund state of the economy we are reluctant to invest vast amounts of money in any initiatives unless we are sure they will yield clear results.

Borrowed from 自遊日本茶

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In the future, I want to balance our traditional face‐to‐face selling along with Internet sales. I really think face‐to‐face selling is a valuable part of Tosai. For example, many of our customers comment on the unique ambience our shop and the traditional Kiyomizudera area provides. A purchase from our shop becomes more than just a functional piece used in the home. For our customers, a piece tends to embody a certain memory of Kyoto they can repeatedly look back on. That’s the biggest difference to online selling.

Q. 19.

What do you think is necessary to maintain traditional local businesses in Kyoto?

A. 19

I’m still looking for some concrete ways to ensure traditional businesses continue on. About one and a half years ago, I along with other businesses located close to Go Nen Zaka and Cha Wan Zaka (famous traditional areas located close to Kiyomizudera) created

a tentative network (traditional ceramics related business owners). We’ve tried to organize links between individual ceramic makers, large traditional business associations and Kyoto’s urban development centre, but it hasn’t yielded any results yet. However, I’m optimistic that we’ll have something definitive in the coming year or so.

Ginza Influence

Q. 20

How frequent is turnover in Ginza for shops?

A. 20

There is such a high percentage of turn over in Ginza. Exorbitant rent and land prices put such intense pressure on businesses that some businesses close within the first 3 months. The only reason we’ve managed to keep a store in Ginza is because we own the land outright. If we didn’t own the land, there is no way we could afford the unbelievable rent prices.

Q. 21

What is the main difference between running a business in Ginza and Kyoto?

A. 21

Ginza is the number one place for a store in Japan. It could be regarded as the Rodeo Drive of Japan. A Ginza store is immediately accorded high status. However, the competition is so fierce that it’s not uncommon to see a newly opened store go out of business in only three to six months.

Borrowed from 自遊日本茶

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As a result of competition and the quick pace in Ginza, I find our selves having to adapt quickly to the fluctuations in the Tokyo market. Since the market is less stable, we for example hire more part‐time staff for costs sake.

Kyoto on the other hand is very different. It’s a much more stable market that rarely changes. We can afford to look more long‐term and hire more full‐time staff. The two markets are quite dissimilar, but I have noticed one common theme between the two.

In Ginza, stores often make the same common mistake. They try to get by without changing their product, style and approach. Usually they simply put a piece on display, and expect it to sell itself just because their store is in Ginza. Similar to my father though, I believe there must also be a concerted effort to blend in local market elements.

In Tosai’s case, my father originally created a successful blend of Kyoto and Tokyo chic elements. This has proved successful in both Tokyo and Kyoto. Presently, I try to continue to maintain this careful balance and I guess we’ve been successful because our customers continue to return.

So, I would say it’s important to research or get a sense of what the tastes of the local market are and incorporate these into your product or service. Whether it’s Tokyo or Kyoto, this is a necessity.

Copyright ©2011 Greg Koch


Tosai: Tableware Ceramics

Location

Cha‐wan‐zaka in Higashiyama Area

Transportation Bus

#100, 202, 206, 207

Train

Keihan Train Line

Kiyomizu Gojo Station

See “Kyoto Map” at www.handsonkyoto.com

for more details

Contact

Website

http://tosai.shop‐pro.jp/?mode=f5

Phone

075‐561‐4120

Copyright ©2011 Greg Koch

Documents

Tosai-Tableware Ceramics Shop