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Green Japanese pottery bowl, black background (landscape). Tsukushi

Nunobiki Pottery

Japanese ceramics where Nature in Glaze meets a thousand years of tradition.

More about Nunobiki Pottery

The Artisans Behind Nunobiki Kiln

Master Potter Taro Kojima. Tsukushi

Taro Kojima

Born 1940 in Miyagi Prefecture, Taro Kojima trained in Kyoto and Shigaraki, two of Japan's most respected ceramic centers.

In 1970, he collaborated with artist Taro Okamoto on the monumental ceramic relief "Face of the Past" for the Tower of the Sun at the Osaka World's Fair.

The following year, he founded Nunobiki Kiln in what is now Higashi Omi City, Shiga Prefecture. There, he developed the Nanasai Tenmoku glaze, a technique that transforms natural imagery into layered, luminous color on ceramic surfaces.

His work has been exhibited in Alaska and Michigan, and his relief murals can be found in public buildings and institutions across Japan.

Kazuhiro Kojima of Nunobiki at the potter wheel. Tsukushi

Kazuhiro Kojima

Kazuhiro Kojima (born 1972), Taro's son, grew up surrounded by clay, fire, and his father's restless experimentation.

After completing his studies at art college, he returned to the kiln and trained alongside Taro, gradually developing a visual language distinctly his own.

His signature subject is the Fukuro Owl, rendered in Nanasai Tenmoku across a range of scales, from monumental ceramic statues to small, intimate accessories.
His pieces have been placed in hospitals, public institutions, and streetscapes, chosen for the sense of calm and quiet warmth they carry.

The second generation of Nunobiki is not a copy of the first. It is a continuation.

map Higashiomi city, Shiga (square)

Rooted in Shiga, Shaped by Lake Biwa

The Nunobiki Pottery Kiln is located in Higashi Omi, Shiga Prefecture, a landscape defined by the still waters of Lake Biwa and the quiet rhythms of a region that has produced ceramic art for over a thousand years.

This is not coincidence. The local environment, the mineral-rich clay, the measured climate, the long tradition of craftsmanship near Shigaraki, shapes every piece that leaves the kiln.

Y. Onnis of Tsukushi and Kojima Ryoko and Kasuhiro at Nunobiki Pottery kiln.

A note from Tsukushi

How we work with Nunobiki Pottery

We go to the kiln. Not once, regularly.

There are no intermediaries, no agents, no catalogues exchanged at trade fairs. Every piece in this collection has been seen, held, and selected in person, directly from the hands that made it.

In Japan, an artisan who allows their work to be carried by someone else is extending a form of trust that is not offered lightly.
A family kiln producing in limited quantities, by hand, to a standard they set themselves, this is not a supplier relationship. It is something closer to a responsibility.

"A small kiln like Nunobiki produces pieces that no factory could replicate — not because of scale, but because of intention.
We don't try to bridge that gap. We simply make sure the work reaches the people who will understand it."
— Tsukushi

Japanese blue ceramic bowl with a owl design on a gray background

Craft That Cannot Be Repeated

Shaped by hand, transformed by fire.
Each piece carries the depth of Nanasai Tenmoku glaze and the quiet mark of a craft passed down through generations.

Making of Japanese pottery bowl. Tsukushi
Close-up of Yūkaede matcha bowl foot ring, Taro Kojima's impressed seal on natural Shigaraki clay.
Handpainting of a Japanese pottery plate. Tsukushi
Sōshū matcha bowl, angled view showing momiji tree rising from base
Close-up of a Japanese ceramic owl with speckled gray and blue design.

Learn more about this kiln

Nunobiky Pottery Q&A

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