The Imperial Household Artist system was established from 1890 (Meiji 23) to 1944 (Showa 19) under the patronage of the Imperial Family, with the purpose of protecting and encouraging the production of artists and craftsmen. Following the Meiji Restoration, as new forms of art from Europe were introduced one after another, the decline of Japanese art and crafts and the economic difficulties faced by artists became increasingly apparent. In response, this system was created, modeled after the French Academy, to protect craft techniques and promote artistic production.
During the selection process, a committee appointed by the Minister of the Imperial Household recommended outstanding artists and craftsmen based on both technical skill and character. Final decisions were made at meetings convened by the Director-General of the Imperial Museum. Imperial Household Artists were sometimes specially commissioned by the Imperial Household to produce works and were also obligated to consult with the Director-General of the Imperial Museum.
This title was bestowed upon artists and craftsmen who received the protection of the Imperial Family and held national honor. Those selected were highly esteemed and were welcomed to pay their respects to the Emperor at the New Year’s audience, making it a very prestigious distinction.
Between the establishment of the system and 1944 (Showa 19), a total of 79 artists were appointed, mainly Japanese-style painters and craftsmen, including Western-style painters and sculptors. Among them, only five were ceramic artists: Itō Tōzan, Itaya Hazan, Suwa Sosan, Seifu Yohei, and Miyagawa Kōzan.
After the war, a new system called the Living National Treasure (holders of Important Intangible Cultural Properties) was established. In the crafts category alone—excluding performing arts—over one hundred individuals have been designated over about fifty years.
This clearly shows how highly selective and honorable the title of Imperial Household Artist was, given that only 79 were chosen over 55 years.