Collection: CRAFTED – Voices of the Creators vol.4

A New Path Discovered Through Illness

One might imagine, from the refined beauty of her work, that Uesaka has long possessed an exceptional aesthetic sensibility. Yet her path into traditional crafts came only after experiences such as running a restaurant. Born and raised in Gunma, she had never formally studied art.

“I loved drawing as a child, but perhaps because I grew up in the countryside, I didn’t even realize that pursuing a career in art was an option.”

At the age of 29, while running a soba restaurant with her younger brother in Kusatsu Onsen, Gunma, she suddenly collapsed due to a brain tumor. Though she narrowly survived, she temporarily lost vision in her left eye and spent more than five years in and out of the hospital, facing a prolonged and uncertain recovery.

When her condition finally began to stabilize, a chance encounter changed the course of her life. A television program introducing Kyoto ware and Kiyomizu ware featured Tea Caddy with Poppy Design in Overglaze Enamels by Nonomura Ninsei (collection of the Idemitsu Museum of Arts; designated Important Cultural Property). She was instantly captivated. Ninsei, an Edo-period potter representing Kyoto ceramics, perfected the technique of vividly colored overglaze painting and is often regarded as the founder of Kyoto ware.

“I happened to have the TV on, but the moment I saw it, I instinctively felt, ‘This is what I will do.’ My grandfather was a Wajima lacquerware artisan, so I had seen lacquerware before, but the beauty of this piece was unlike anything I had ever encountered.”

In that program, the artist applying gold decoration as a Kyoto ware and Kiyomizu ware painter was Zensho Yamaoka—who would later become her mentor.

“I wanted to see the real thing. That feeling alone led me to Kyoto almost immediately. At first, I visited restaurants hoping to see the works in use, but I couldn’t find them. I also went to the Kiyomizu-yaki complex in Yamashina, where many kilns are gathered. Still, I couldn’t let go of the desire to see Zensho Yamaoka’s work from the program. So I called and visited his studio. I had only meant to see his work, but the moment I met him, I found myself saying, ‘Please let me work here.’”

Her sudden request was, understandably, turned down. Even after returning home, she continued reaching out again and again. Eventually, she received a response: “If you acquire the necessary skills at a technical school and prove yourself, I will take you on.”

She went on to study at the Kyoto Prefectural Ceramic Technical Institute, and in 2016, she became an apprentice at Zensho Kiln, led by Zensho Yamaoka. Driven purely by determination, she moved with remarkable speed and resolve, carving out her own path.

“Most of the people at the technical school came from pottery families or had studied art at university. I had no such background, so it was difficult to keep up. But I had determination. My family was concerned about my health and opposed the idea, but having gone through a life-threatening illness, I think that’s exactly why I was able to push forward. Simply finding something I truly wanted to do made me happy.”

A One-of-a-Kind White Chrysanthemum
Born from an Original Technique

Her signature work, White Chrysanthemum, was born during her apprenticeship at Zensho Kiln. While working on pieces inspired by Ito Jakuchu, she became particularly drawn to Birds, Animals and Flowers in Color: Chrysanthemums and Flowing Water, and decided to try painting it herself.

“At the technical school alone, my skills were still far from sufficient. Even after becoming an apprentice, I was only allowed to paint small parts of a design. The White Chrysanthemum began as something I painted freely on ceramic bodies that had been set aside as seconds. When my master saw it, he said, ‘What kind of way of painting is this? It’s interesting—try developing it further.’ That moment led me to pursue this style and create my own work.”

The work that emerged in this way was White Chrysanthemum: ”Shiragiku-Soukyu”. It received numerous awards and was even presented to the Imperial Household, leading to her independence as an artist. ”Soukyu”, meaning “azure sky,” evokes a clear, expansive blue. With the image of white chrysanthemums drifting like clouds across that sky, she pursued the perfect shade of blue with unwavering dedication.

“I mix traditional Japanese pigments, fire the piece, and check the color—repeating the process until I arrive at the right tone. I’ve always loved the color of the sky, and it’s a constant source of inspiration for my work. The brief violet hues that appear in the western sky after sunset, the light filtering through the clouds… the colors created by nature are truly extraordinary. Even though Kyoto is a city, nature feels very close. I love that I can look up and see the sky wherever I am.”

Refined Sensibility,
Mastering the Art of Overglaze Painting

Like many traditional crafts such as Nishijin weaving, Kyoto ware and Kiyomizu ware have long been produced through a system of division of labor. The role of the decorator begins after the vessel has been glazed and fired, applying color through overglaze painting. Today, she entrusts the forming of the vessels to Zensho Kiln, though there are also times when she develops designs herself based on the pieces she envisions.

“Perhaps it would be ideal if one person could carry out every step, but mastering both is extremely difficult. When I sought to become an apprentice at Zensho Kiln, my master told me that unless I was committed to focusing solely on painting, I wouldn’t be accepted. As the years have passed, I’ve come to understand why. Even as I devote myself to painting, I don’t think I could produce vessels of such precision on my own.”

Watching the painting process up close, even for a short time, makes her words immediately clear. On the curved surface of a tea bowl, she carefully paints each petal one by one—small at the center, gradually growing larger toward the outer edge. Once painted, the piece is left to dry and then fired in the kiln. Additional layers—background colors, gold, or silver decoration—are applied and fired again, each step requiring another round in the kiln. The process demands an extraordinary amount of time and effort.

Works inspired by "Rakuchu Rakugai-zu" (Scenes in and around Kyoto) present a different impression from her White Chrysanthemum series—charming and playful. “The figures depicted are so lively; it’s a joy to paint them,” Uesaka says. With her soft brushwork and richly layered colors, these pieces, like her chrysanthemums, embody an expression that is uniquely her own.

“No matter how many years I’ve been doing this, I still feel a sense of joy as a piece gradually comes together while I paint. And when something I envisioned fires beautifully, it’s truly moving. What I aspire to is the aesthetic of the Rinpa school, which I personally love. By expressing its brilliance and bold decorative qualities through the use of white, I hope to create my own interpretation of Kyoto ware and Kiyomizu ware.”"

As a Bearer of Traditional Craft,
Sharing Its Beauty with the World

In February 2026, Uesaka achieved a long-held goal when she was certified as a Traditional Craftsperson. This national certification is awarded to artisans with over 12 years of experience who demonstrate a high level of skill through practical examinations and interviews.

“When I asked to become my master’s apprentice, I told him that if I was going to do this, I would go independent—and that I would become a certified Traditional Craftsperson. I wanted to show how serious I was, and I feel relieved to have fulfilled that promise. When I shared the news, I think my master was a little teary-eyed, though he said, ‘I’m not crying.’ Everything I am today is thanks to the people who supported me. Creating my work is my way of giving back.”

As a certified Traditional Craftsperson, she is not only recognized as a highly skilled artisan but also takes on the role of nurturing the next generation and supporting the craft community. Looking ahead, a broader perspective is essential to carry these traditions into the future.

“The path of traditional crafts is a narrow one. At the technical school, I studied alongside about twenty others, but I’m probably the only one still continuing today. Some step away to raise children, and making a living independently can be very challenging. I hope for an environment where those who are interested can begin—and continue—this path. Kyoto’s traditional culture is truly remarkable, something that must be preserved. As someone who came from outside, Kyoto feels especially meaningful to me, something to be proud of as a Japanese person. It would be wonderful if traditional crafts naturally caught the eye the moment people arrive at Kyoto Station, and if there were more opportunities for visitors to discover them.”

Deeply rooted in the world of traditional crafts and surrounded by beauty in her daily life, one cannot help but look forward to the works she will create in the years to come.

【Events & Exhibitions】

"Kasane" – Wearing the Seasons - Fresh Verdure Edition

May 9 (Sat) – May 24 (Sun), 2026

Venue: MOCAD Gallery, Kyoto Museum of Crafts and Design

For information on other exhibitions and upcoming events, please visit Instagram:

https://www.instagram.com/tae_kyoto_ceramic/

For inquiries regarding production lead times and availability, please contact MOCAD ONLINE SHOP.