There is a tradition for Japanese artists to use a pen name instead of their given family name when signing their work. In 1917 the craftman known as Tosai began producing for patrons throughout Japan. His eldest son (the current Tosai), wanted to offer the first Tosai store in the prestigious Ginza in 1936.
 From the ashes of postwar Tokyo, the shop was rebuilt and has continued to prosper. Having a very long history of appreciation and production of ceramic implements, the Japanese people possess a very high standard of excellence for ceramics and it is to this standard that Tosai subscribes.
 The Tosai tradition of Kyoyaki continues to delight and satisfy the progressive taste of Tokyo without betraying the fundamental principles of its source in Kyoto. Every piece of pottery has been handmade by the finest craftman of Kyoto. They have been designed and decorated in the family workshop at the base of the Kiyomizu Temple. It is our sincere hope that our ware will give you as much enjoyment and satisfaction in using it as we receive from producing it.

●(1957) Milan Triennial Exhibition - First Prize Gold Medal
●(1958) Brussels Exposition - Grand Prize
●(1958) Chosen as an example for the "Good Design Exhibition" by the Japanese MITI.

 

 In the dinig traditions of Japan, and especially Kyoto, there is a great deal of importance attached to using tableware which matched the season. The shapes and surface decorations of Kyoyaki are carefully designed to counterpoint the natural changed which occur and the different types of food taht are served during the four seasons.
 In spring, the bursting pinks of the delicate cherry blossom highlight the countryside. They are also seen in the motifs of tableware, along with patterns of spring grass and bracken.
Offsetting summer heat and humidity, the low open bowls and dishes of ceramic or glass flow with imaged of water and waves. Sometimes delicately glazed patterns of Morning Glories, Wild Pinks, and other summer grasses imply a cool field background for culinary refreshment.
 Fall will see the reds and golds of maple leaves dancing over the surfaces of the ware. The warm foods autumn nestle admist the images of Chrysathemum and Japanese Bush Clover that bloom in this season.
 Winter brings a change in the shapes of some of the serving dishes. In contrast to the low and open shapes of the summer season, winter utensils often have higher sides to retain the heat of the food. The New Year is the most important holiday period in Japan. The bamboo, plum, and pine are common symbols of happiness at this time, and can be found on many of the dishes used during this season.
 Thus tableware may be selected to provide a mood in harmony with nature, adding a subtle and enjoyable aesthetic dimension to your dinig.
 Delicacy is a companion to elegance, and as such there are a few important things to remember when using Japanese tableware.
※ White stoneware teacups or bowls with crackle glaze (kannyu) need to be soaked in clean water for 2-3 minutes before using to prevent the crackles in the glaze from becoming stained by the tea or food. This and drying the pieces carefully before storing are accepted traditional practices in Japan.
※ Pieces which incorporate gold or silver in the design, as with any metal, should not be used in microwave ovens.
※ The Kochi style of decoration (low-temperature bright glazes) is normally used on ceremonial items such as incense burners and ritual containers. Acidic foods such as pickles, tomatoes, or milk, should not be served in pieces decorated in the Kochi style. The glaze of this type of ware has been heated to a low temperature and will discolor when exposed to strong food acids.
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