Miyagawa Kôzan (the first) was born in 1842 into a family that had made its livelihood from ceramics for several generations in Makuzugahara, Kyoto (now the area around Maruyama Park). At a young age, Kôzan studied painting and calligraphy and also made a name for himself at pottery. After the death of his father and older brother, at the age of 19, he took over management of the family business. Soon after the Meiji Restoration in 1868, he decided to move to the burgeoning city of Yokohama. In 1871, he opened the Makuzu kiln in Ota Village (now the Minami district of Yokohama) and began producing ceramics for export, encouraged by a new industrial policy of the Meiji government, the purpose of which was the acquisition of foreign currency.
The takaukibori (high relief) ceramic conceived by Kôzan in which the surface of vases, incense burners and other things was extravagantly sculpted with realistic depictions of animals and plants won awards at expositions in many countries, including the Philadelphia Exposition of 1876 and the name Makuzu-ware became known throughout the world for its creativity. Thereafter, Kôzan, who was alert to what was in and out of vogue in the West, began studying the Qing Dynasty ceramics of China, developed new glazes and bases, and then abandoned earthenware, making porcelain the main Makuzu product. In Japan also, he was appointed as Teishitsu Gigeiin, an artist of the Imperial Household, and became known as someone who contributed greatly to the development and advancement of ceramic art.
This exhibition features the fanciful Makuzu-ware that captivated the world, brought back to Japan from overseas, mainly in recent years, by businessman Yamamoto Hiroshi, founder of the Makuzu ware Museum in Yokohama, who hails from the place they originated.
This year marks 100 years since the death of Kôzan. Approximately 40 pieces will be exhibited, mainly his “high relief” and “underglazed” pieces which, with their refined sense of beauty and exceptional craftsmanship, transcend the parameters of mere pottery.

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  猫二花細工花瓶

  見事に咲き誇る高浮彫の薔薇の下、毛並みを整える愛らしい猫。その細い毛並みから、複雑な耳の中、そして薄い舌までもが精緻に表されています。

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  七宝筒形灯籠鳩細工桜

  灯籠の明かり部分に七宝技法が用いられおり、明治14年（1811）前後の作と思われます。香山は七宝や漆芸、金工といった異素材も積極的に取り入れています。

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  磁製鯉図鉢

  鉢の優雅な曲線上を自由に泳ぐ鯉が、釉下彩で描かれています。器と絵付けが見事に融合した作です。

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  氷窟ニ鴛鴦花瓶

  氷窟の中をのぞくとそこには2羽の鴛鴦が。水分を含んだ氷柱が垂直に垂れている様子や視線を合わさない鴛鴦など、若冲の「動植綵絵」との類似点が近年指摘されています。

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  琅玕釉蟹付花瓶（ろうかんゆうかにつきかびん）

  最晩年の作。釉下彩を用い、いまにも動き出しそうなほどリアルな蟹。香山が開発した琅玕釉、そして内側には水に見立てた瑠璃青の釉薬が用いられています。