Ninami Dohachi (仁阿弥道八)
Dohachi NINAMI (1782 - 1855) was a ceramic artist in the late Edo period.
He was Dohachi TAKAHASHI the second, but generally well-known by the name 'Dohachi NINAMI.'
His retirement name was 'Doo.'
Brief biography
Born as the second son of Dohachi TAKAHASHI the first, he took over as the head of the family at the age of 29 because his brother died young; he started his own kiln in Gojozaka, Kyoto. He was well trained under the guidance of Eisen OKUDA and Bunzo HOZAN, and became known as a master of Kyo yaki (Kyoto style ceramic art) along with Mokubei AOKI. The kanji character 'Nin' (仁) used in his name was given from Ninnajinomiya, and 'Ami' (阿弥) from Sanboinnomiya of the Daigo-ji Temple; he took the priest name of 'Ninami' (仁阿弥). At the age of 45, he took part in the starting up of Oniwa yaki (ware) of the Kishu Domain (Kairakuen yaki), and subsequently attended the launching of Oniwa yaki of the Takamatsu Domain (Sanyo 賛窯), Oniwa yaki of the Satsuma Domain (Satsuma yaki), Oniwa yaki of the Suminokura family (Ippodo yaki), Oniwa yaki of the Nishi Hongan-ji Temple (Rozan yaki). He also supported the nationwide distribution of the Kyo yaki technique. Although he had a retirement life in Fushimi in 1842, he set up a kiln called 'Momoyama gama' and kept on working.
Style of work
His style was totally different from that of Mokubei AOKI, who was also a contemporary master of Kyo yaki, and he created a lot of ceramic works of great variety and free of idiosyncrasies. Some of his works included Yakimono (pottery), such as Raku yaki (hand-molded lead-glazed earthenware) or Iro-e (painted earthenware), which were in stark contrast to others.
He excelled in making Iro-e so and was praised as 'the second coming of Kenzan OGATA, or Ninsei NONOMURA.'
He created not only tableware or vessels but also pottery and porcelain figures of humans or animals, many of which were regarded as masterpieces. He also produced the Korean Yi Dynasty porcelain and Seika jiki (ware).
The refined 'nobleness' could be pointed out as a common feature of his works. Which is why he was invited by prestigious families throughout Japan, and revered as a master of Oniwa yaki.