Kindai  近代 or Recent Modern Time

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In 1867, Mutsuhito was installed as emperor of Japan, and he would rule until his death in 1912.  During his lifetime he was called "the emperor," his name Mutsihoto was not mentioned and appears only in his signature and personal seal.  The Meiji period (明治,bright reign) lasted from 1868 to 1912, thus covering almost his entire reign with the exception of his first year of reign.  The reason is that in 1867 the Meiji government had not yet been installed because the battle between the conservative forces of the Tokugawa shogunate and the Meiji reformers, including the Daimyo of Satsuma, had not yet been decided. It was not until 1868 that the Tokugawa shogunate finally came to an end, a historical moment known as the Meiji Restoration that marked the beginning of a new era that would transform Japan from an isolationist and feudal country into an industrialized and powerful nation.

The role of the emperor was skillfully played out by the Meiji Reformers, a small group of men who shaped and implemented the Meiji reform program in the name of the emperor. That policy was established and communicated to the people according to the 5 articles of the Charter Oath (Gokajō no Goseimon,) in which was stated that Japan was to become a modern, Western-oriented state, where everyone would be judged according to their own ability and performance. Although the emperor had no political power, he was the head of the Shintô religion, which believes that the emperor is descended from the sun goddess and the gods who created Japan and is therefore divine himself. The Meiji reformers therefore made the Shintô religion the national religion, and the people had to implement its instruction and policies without question, out of respect for the emperor and for the unity of the Japanese people, which he represented. 

The success of the Meiji government was based on this obedience to the emperor, an attitude taught from an early age through a thorough overhaul of the educational system. The 1890 "Imperial Rescript on Education" was memorized by generations of schoolchildren until World War II, so that they would know that it was their duty and responsibility to "promote the general welfare and common interests; always respect the constitution and obey the laws; in case of need, offer themselves boldly to the state; and thus guard and maintain the prosperity of our imperial throne, equal to heaven and earth."

Within one generation, the Meiji government succeeded in reforming the country into a modern, Western-oriented country with a highly centralized, bureaucratic government, a constitution with an elected parliament and a highly educated population free of feudal class restrictions. The industrial sector was based on the latest technology, and the distribution of goods could take place through a well-developed transportation and communication system. And under the motto of fukoku kyōhei ("enrich the country - strengthen the army"), it could also compete militarily with the Western powers, as evidenced when Russia was defeated by Japan in 1905, a victory that had far-reaching consequences for the national consciousness of other countries in Asia.

During the Meiji period in Japan (1868-1912), ceramics underwent significant changes influenced by the nation's transformation from a feudal society to a modern industrialized state. Traditional pottery and porcelain production methods coexisted with new approaches influenced by Western techniques, including new ceramic machinery and innovations in glazing and firing techniques which enabled more efficient and controlled production. As early as the end of the Edo period and the beginning of the Meiji period, Japan was introducing itself to the West. There was a highly successful exhibition at the World's Fair in Paris (1867), followed by equally successful exhibitions in Vienna (1873) and at the Philadelphia Centennial in 1876. The revelation of Japanese art to a wider audience laid the foundation for an artistic movement - Japonism - that would have a lasting influence on European artists, as well as Japanese design and style, that would please Western eyes. All this caused a great interest from the West in all things Japanese, which in turn led to a huge demand for Japanese products, including ceramics. In particular, the minutely painted ceramics from Satsuma and Kutani with designs that matched international tastes were made in large numbers for export to Europe and the United States. It was a development in which the government played a crucial role by supporting and promoting traditional crafts, including ceramics, as part of Japan's cultural heritage. The establishment of official kilns and initiatives to preserve and promote traditional techniques helped sustain ceramic production during this period. There was a revival of interest in ancient styles such as Raku, Shino, Oribe and Karatsu, with potters and artists reinterpreting these traditional forms and adapting them to contemporary tastes. The result was a fascinating blend of traditional Japanese ceramic art with the integration of new technologies and styles. Ceramics from the Meiji period show a diverse range, from traditional to more modern and Western-influenced designs, reflecting the dynamic cultural and artistic shifts of the era. 

Although all Japanese ceramics in the Meji period benefited from exports to the West, the main demand was focused on Arita and Imari, Kutani and Satsuma products.

Arita and Imari porcelain had been exported to the west from its earliest days, around 1600, and became synonymous with Japanese porcelain in the world market. It would only grow in popularity during the Meiji period. Western influences led to the integration of new styles and techniques into Arita and Imari ceramics, with European floral motifs, landscapes and other Western design elements appearing on these ceramics. Kutani-style decorations, with vibrant colors and complex patterns, detailed hand-paintings and gold accents were also sometimes applied to Arita and Imari porcelain.

Kutani products, with their roots in the Edo period, experienced a veritable revival during the Meiji period. The efforts of the Meiji government aimed at exporting Japanese handicrafts led to the establishment of new kilns that focused on maintaining traditional Kutani techniques, but adapted to the changing tastes of the time. Kutani pottery from the Meiji period is therefore characterized by a diversity of styles. Some pieces adhered closely to the traditional Kutani aesthetic, while others had more experimental and eclectic designs with vibrant colors, intricate designs and a mix of traditional Japanese and Western motifs.

Satsuma pottery was first exhibited in London in 1863 and subsequently had an enormous success at the major world exhibitions in Paris and Vienna. Typical for this period, the first half of the 19th century, the floral, stylized or geometric motifs are painted with a full color palette and thickly applied gold. It is this type of Satsuma that left a deep impression on Western spectators. This created a demand from the west that far exceeded the range of authentic  Kagoshima Satsuma goods. Due to its worldwide success from the second half of the 19th century, this type of pottery was also produced in other parts, so that Satsuma also became a collective name for all types of pottery and even porcelain with overglazed decoration. Masters as Kinkozan, Ito Kozan, Okamoto Ryozan and others have contributed to the fame and admiration for Satsuma pottery.  In contrast with the works  these masters created, another trend was towards mass production, where quality was no longer taken into account. Although true masterpieces were produced in Satsuma and Satsuma style, many more products were of very mediocre and downright poor quality. (NB:  For more information about Satsuma pottery in the Meiji and Taisho period: satsuma-database)

The end of the Meiji period was marked by huge domestic and foreign investment and government defense programs, as well as nearly exhausted credit and a lack of foreign reserves to pay off debts. During World War I, however, Japan experienced economic growth. The conflict created greater demand for industrial goods and raw materials during the Taisho period (1912-1926), leading to a surge in Japanese exports. Industries such as steel, shipbuilding and textiles expanded to meet the needs of the war effort. However, the postwar period also brought challenges, as Japan had to navigate the transition to a peacetime economy and address social and political issues arising from the aftermath of the war. The overall impact set the stage for further developments in Japan during the subsequent Showa era. Increasing industrialization and urbanization took place and a rise in consumer culture, increased production needs and with it the rise of labor movements with strikes and protests to enforce better working conditions and more rights. There was a shift from the authoritarian rule of the Meiji era to a more democratic and democratic system that began to take shape in the 1920s.

The Taisho period also saw cultural and intellectual flourishing, leading to new literature, art and philosophical movements.  Overall, the Taisho period was characterized by a dynamic and transformative atmosphere with artists exploring new techniques, embracing innovation and responding to both traditional and international influences. There were also several notable developments in the field of ceramics. Although traditional, export-oriented ceramics also continued to be produced, mass produced as well as true masterpieces, this period also saw the emergence of modernist and avant-garde artistic movements, with artists experimenting with new forms and styles. Traditional Japanese ceramic techniques merged with modern Western influences, especially Art Nouveau and Art Deco styles. Various artistic groups and schools were formed, providing a platform for collaboration and the exchange of ideas among ceramic artists. These groups often played a role in shaping the direction of contemporary ceramics.

One of the first ceramic collectives to do so was the Sekidosha or Red Clay Group, founded in 1919 by Kusube Yaichi (1897-1984), Kawamura Kitarō (1899-1966) and Yagi Issō (1894-1973). They found each other as students at the "Kyoto City Porcelain Laboratory" (京都市試験所, Kyōto-shi tōjiki shikenjo). They were highly educated ceramists, well versed in the history of East Asian ceramics in particular, and influenced by the British Arts and Crafts movement and modernist European sculpture and painting. They emphasized ceramics as individual expressions of artistic creativity, achieved through mastery of technique and form, and therefore as a form of fine art. To convey this, they often gave their work allegorical titles such as "Spring Awakening "and "Praise of Life" that accentuated their aspirational status as fine art objects, although fe works were no different in form from accepted ceramic types such as a vase, bowl or jar'.
Another more influential group was The Mingei (Folk Craft) movement, which was developed in Japan from the mid-1920s by the philosopher Yanagi Sōetsu, and a number of artisans including the potters Hamada Shōji and Kawai Kanjirō. Mingei emphasized the beauty of functional, everyday objects, and this philosophy had a significant influence on the creation of ceramics that were both aesthetic and practical. In fact, Mingei was also a reaction to the rapid modernization of Japanese society.

The Showa-1 period  was characterized by imperialist ambitions, militarization and a departure from democratic principles to authoritarian rule. Whereas the Taisho period saw a shift from the authoritarian rule of the Meiji era to a more democratic and democratic system, however, parliamentary democracy proved not to be deeply rooted enough to withstand the economic and political pressures of the 1930s. Central to this was the emperor's position in relation to the constitution, which was inaccurately described in the Meiji Constitution, and left room for the military system to seize power. Military leaders believed in expanding the Japanese empire in Asia to secure access to resources and establish Japan as a dominant regional power. Japan pursued economic policies aimed at achieving self-sufficiency and overcoming the effects of the Depression, including increased state intervention in the economy and an emphasis on military-industrial production.

In 1931, Japan's Kwantung Army invaded Manchuria, marking the beginning of Japan's aggressive territorial expansion in East Asia. The occupation of Manchuria was strongly condemned worldwide, leading to Japan's withdrawal from the League of Nations in 1933 and further removal from the democratic world stage and a rapprochement with Nazi Germany and Italy. This alliance eventually paved the way for Japan's involvement in World War II and its eventual defeat in 1945.

The Taisho perido was an open period when many contacts were possible between Western and Japanese artists and an exchange of art movements, views and philosophies. Western, modernist ideals of art were also still reflected in art during this Showa-1 period. However, the 1930s was also a time with a growing nationalist consciousness and even an emphasis on the Japanese people as unique and superior, and therefore also with a strong encouragement of traditional crafts, including ceramics.
As early as the 1920s, thanks in part to the Mingei movement, there was a revival of interest in folk crafts in response to the increasing industrialization and westernization of Japan, and with the rise of nationalism during the early years of the Showa, this trend only increased. The Mingei (Folk Craft) movement was influential in the revival of folk art. Artists and potters sought inspiration from national and regional folk traditions, but there was also research into combining Eastern and Western ceramic traditions, as Hamada Shoji and Bernard Leach did as early as the 1920s. This led to a fusion of traditional Japanese techniques mixed with modern aesthetics. Hamada Shoji and his students helped establish a center for Mingei pottery in Mashiko, known for its functional forms and natural, unglazed surfaces.

Of course, the war also had a major impact on the ceramic industry. Many traditional kilns had to close and resources became scarce. Some potters turned to more practical and utilitarian forms because of the demands of wartime production. Nevertheless several regional ceramic styles continued to develop during this period. Kilns in regions such as Shigaraki, Bizen and Mashiko played an essential role in the development of distinctive ceramic styles.