A Personal Encounter with Shigeo and Yotaro Takemura in Kyoto 竹村繁男 - 竹村 陽太郎

A Personal Encounter with Shigeo and Yotaro Takemura in Kyoto.

The Beauty of Tradition and Innovation

I was fortunate to have the chance to meet Shigeo Takemura and his son Yotaro Takemura at their family pottery studio, Dainichigama, in Yamashina-ku, Kyoto. The studio, established by Shigeo over 40 years ago, is steeped in the rich tradition of Kiyomizu ware—a style that has defined the region for centuries. Yet, despite the deep roots in history, Yotaro’s work is anything but traditional. It was truly inspiring to witness how father and son honor the past while forging ahead with bold, innovative approaches to ceramics.

One of the highlights of my visit was seeing Yotaro’s Glazed Deutsai Vase up close. This piece has a powerful presence that is impossible to ignore. The way the glaze shifts from a soft white to a vibrant red is mesmerizing—it’s not just a vase, but a living, breathing object that seems to shift in the light. Yotaro’s ability to capture that subtle yet striking gradation is a testament to his skill and vision. It’s one of those pieces that’s so beautiful, it almost doesn’t need flowers to complete it. The form itself is a work of art, simple yet profound, and it made me appreciate how ceramics can be both functional and deeply artistic at the same time.

We spent some time discussing Yotaro’s Glazed Deisai Series, which is where his innovation really shines. He uses an air-spraying technique to apply glazes, creating layers of color and texture that feel fresh and contemporary. When I looked at the Glazed Deisai Vase, I couldn’t help but think of how it seems to bridge the gap between traditional ceramics and modern art. The colors—bold yet subtle, reminiscent of pop art but with the softness of ceramics—draw you in and keep you coming back for more. There’s something playful about it, yet also very refined. It was clear to me that this series was Yotaro’s way of pushing the boundaries of what ceramics can be, beyond just objects to hold flowers.

Yotaro’s approach to ceramics isn’t just about technique, though—it’s about achieving the ultimate form. He mentioned how he makes his own tools to match the specific shapes and designs he envisions, which really struck me. This level of precision and care is rare, and it’s evident in every piece. The Glazed Deutsai Vase that I had the chance to admire is a perfect example of that pursuit of perfection. Its elegant shape and vibrant colors weren’t just about the vessel’s function—they were about creating something that feels alive, something that tells a story through its form.

What I loved most about spending time with Yotaro and his father was seeing the crossroads of tradition and innovation that defines their work. Shigeo’s legacy is clearly woven into the studio’s fabric, yet Yotaro’s fresh perspective breathes new life into the craft. While they still work within the traditional framework of Kiyomizu ware, Yotaro’s use of compound-based glazes and air-spray techniques show how he’s reinterpreting the craft for a new generation.

Before leaving Dainichigama, I couldn’t help but think about how much Yotaro’s work resonates with the balance of beauty and function. His Glazed Muddy Vase, for example, takes an ancient craft and elevates it to something that feels timeless yet modern. The delicate gradations of color, the graceful form, and the flawless technique—it’s a vase that could stand alone as a sculptural piece, making you feel like you’re looking at something far beyond just a functional object.

Spending time with Yotaro and Shigeo was a reminder of how artistry, when paired with innovation, can transcend tradition without losing the essence of what came before. Yotaro is taking the world of ceramics in exciting new directions, while still carrying the weight of a rich, centuries-old tradition. I left their studio feeling inspired, not just by the beauty of their work, but by the passion and dedication that both father and son bring to their craft. It was an experience that reaffirmed my belief in the power of art to connect generations and create something truly extraordinary.