Complete A to Z Glossary of Traditional Japanese Crafts, Techniques, and Materials

 

Crafts Glossary: A

Abura-nuki (Oil Draining Method for Bamboo Work)

Abura-nuki is a traditional way to prep bamboo by pulling out the oil and moisture before it’s used in crafting. This step is key when building things like bamboo fences or woven goods. There are two ways to do it. The dry method involves heating the bamboo with fire or gas to toughen it up. It makes the bamboo stronger and more weather-resistant. The wet method means boiling the bamboo in water. That makes it softer and easier to bend, which helps for weaving tight patterns or detailed shapes.

Aburage-de (Fried Tofu-Style Glaze in Ceramics)

This is a type of glaze seen in Ki-Seto pottery. It has a dull, soft finish that looks and feels like deep-fried tofu. Sometimes people call it ayame-de, or "iris style." It’s not shiny like other glazes, and its rough texture gives the pottery a natural, earthy look.

Ai-zome (Japanese Indigo Dyeing)

Ai-zome is the art of dyeing cloth, leather, or bamboo using a blue pigment from indigo plants. It’s one of the oldest dye techniques on record. In Japan, it became common during the Edo period, when indigo-dyed clothes became part of everyday life. The main plant used is tade-ai, which comes from the knotweed family. Tokushima is known for growing it. The deep blue color sticks well to fabric, and it lasts. Ai-zome also naturally fights odors and repels insects, which is why it’s still used today in both fashion and home goods.

Aizu-Hongo Ware (Ceramics from Fukushima)

Aizu-Hongo ware comes from Aizu-Misato in Fukushima. This ceramic tradition started during the Azuchi-Momoyama period when roof tiles were first fired for the local castle. By 1800, porcelain production had started too. The area now produces both ceramic and porcelain pieces. Some are painted with deep blue gosu pigment and finished with clear glaze. Others are covered with colorful paints, using both Japanese and Western styles. Pottery from this region also uses traditional glazes like ame-yu, a glossy brown glaze, and hai-yu, made from ash. Every kiln in the region adds its own twist, so no two pieces are the same.

Aizu-Tamamushi-Nuri (Beetle Wing Lacquerware Finish)

This lacquer technique comes from Sendai in Miyagi Prefecture. First, a wood base gets a foundation coat. Then silver powder is spread across the surface. After that, dyed transparent lacquer is applied. This process creates a finish that reflects light like a jewel beetle’s wings. The final product has a rich, glossy color that seems to change depending on the angle and lighting.

Aizu Lacquerware (Traditional Coated Craft from Fukushima)

Aizu lacquerware is a broad name for the coated wooden goods made in the Aizu area of Fukushima. The use of lacquer trees in this region began during the Muromachi period. By the time of the Azuchi-Momoyama period, full-scale lacquer production was underway. The styles vary widely. There’s maki-e, where gold or silver powder is sprinkled into designs. There’s chinkin, where patterns are carved and filled with metal. Some styles feature lucky symbols called Aizu-e. Others use techniques like tetsu-sabi-nuri, which involves rust-colored lacquer, or kinmushikui-nuri, where patterns are created using grains like rice or barley. Kijiro-nuri highlights the natural wood grain, while hana-nuri adds a deep shine using a mix of clear lacquer and oil.

Aka-e (Red Overglaze Ceramics)

Aka-e refers to a painting method used on ceramics and porcelain. Artists apply a clear glaze over a white base, then paint on designs in red, green, blue, yellow, purple, or a mix of these. It’s also called Iro-e, Gosai, or Nishiki-de, depending on the color range used. When people say Aka-e in a strict sense, they mean pieces that mostly feature red as the main color. This method is common in decorative porcelain and adds a vivid, layered look to the surface.

Akahada Ware (Pottery from Nara)

Akahada ware is made in the Nara and Yamato-Koriyama areas of Nara Prefecture. It began in the Azuchi-Momoyama period, when Lord Toyotomi Hidenaga brought potters from Tokoname to his region. Akahada is one of the "Seven Kilns of Enshu," a group of pottery traditions tied to the tea master Kobori Enshu. This ware comes in many styles. Some pieces are simple, unglazed stoneware. Others are ash-glazed or painted with Nara-e, a classic style of art from the region. Every piece carries a strong local character, shaped by both tradition and regional taste.

Akazu Ware (Traditional Seto Pottery from Aichi)

Akazu ware comes from the Akazu district in Seto, Aichi Prefecture. It’s one of the Six Ancient Kilns of Japan and is part of the larger Seto ware family. What makes Akazu stand out is its range of glazes and decorative styles. There are seven glaze types used: Oribe, Shino, Ki-Seto, Ko-Seto, Ash, Ofuke, and Iron glaze. Along with that, it features twelve distinct design techniques, including inka which uses stamped patterns, kushime that leaves combed lines, and Mishima-de, a method with patterned inlays rooted in Korean ceramic tradition. Akazu ware also has deep ties to the Owari Tokugawa clan, once serving as their official kiln. Each piece carries both historic value and visual variety.

Amakusa Porcelain Stone (High-Quality Raw Material for White Porcelain)

This porcelain stone is mined in Amakusa, Kumamoto Prefecture. It was discovered between the late 1600s and early 1700s and quickly became essential to porcelain production in Japan. Today, about 80 percent of Japan’s pottery stone supply comes from Amakusa. This material doesn’t need to be mixed with other clays before firing. On its own, it turns into a bright, pure white porcelain known for its clean finish and durability. That clear white look is what makes Amakusa porcelain so highly valued by potters.

Ana-gama (Cave Kilns from the 5th Century)

Ana-gama kilns were introduced to Japan in the 5th century from the Korean Peninsula, alongside Sue ware techniques. The word "ana-gama" means "cave kiln." These kilns were either dug straight into a hillside or carved into the ground with a ceiling built on top. Their design allowed for extremely high firing temperatures, which made them ideal for sturdy, well-fired ceramics. The shape and airflow inside the kiln also gave each piece a unique finish, often marked by natural ash glaze and uneven color, which are now prized features in traditional pottery.

Aogai-nuri (Blue Shell Inlay on Lacquerware)

Aogai-nuri is a style of lacquerware that uses thin mother-of-pearl inlays. The name comes from the blue tint the shell gives off when laid over black lacquer. Craftspeople shave the shell down to about 0.1 millimeters, making it thin enough for the dark base to show through. This gives the shell a glowing blue appearance. Sometimes, subtle color is added to the back of the shell before it’s applied, creating even more depth in the finish. The result is a piece that changes in color and tone as it catches the light.

Arita Ware (First Porcelain of Japan from Saga Prefecture)

Arita ware is porcelain made in and around Arita, located in Saga Prefecture. It’s Japan’s oldest porcelain-making area and was the first place in the country to produce porcelain after kaolin was found nearby. Early on, these pieces were shipped out of Imari Port, which is why Arita ware is also called Imari ware. Arita porcelain is known for its fine detail, clean white surface, and colorful painted designs. It became popular both in Japan and overseas, especially during the Edo period, and remains one of the most recognized ceramic styles in Japanese craft history.

Asanoha-ami (Hemp Leaf Pattern in Bamboo Weaving)

Asanoha-ami is a type of bamboo weaving that forms a pattern shaped like hemp leaves. The design evolved from another weave called mutsume-ami. The hemp leaf pattern has long been a symbol of growth and strength in Japanese culture. When used in bamboo craft, the precise, geometric look of asanoha-ami gives structure and visual interest to items like baskets, trays, and other handmade goods. It’s both decorative and functional, with strong, interlocked lines that keep the weave tight and firm.

 

Crafts Glossary: B

Baren (Woodblock Printing Tool)

A baren is a simple but important tool used in woodblock printing. It helps press the paper against the inked wood block so the image transfers cleanly. The tool is made of three parts. First is the ategawa, which is a flat base. Then there's the baren-shin, the twisted core made from rope that gives it shape and flexibility. The outer layer is tsutsumigawa, a thin wrap made from bamboo skin. Barens come in different thicknesses, depending on the kind of pressure needed for each print. Some are better for fine details, while others help cover wide areas evenly.

Bizen Ware (Unglazed Stoneware from Okayama)

Bizen ware is a type of stoneware made in the Imbe area of Bizen City in Okayama Prefecture. It’s one of Japan’s oldest ceramic styles, part of what’s known as the six ancient kilns. What makes Bizen stand out is its raw, earthy finish. The clay is fired at high heat without using any glaze. The results depend entirely on the flame, ash, and placement in the kiln. This leads to natural patterns, scorched marks, and unique color changes on every piece. No two items look the same, and the surface often shows warm reds, browns, and even purple tones. The texture is rough and dense, with a handmade feel.

Bokashi (Color Gradation in Woodblock Prints)

Bokashi is a technique used in traditional woodblock printing to create soft color fades. It gives depth to prints by blending one color smoothly into another or fading it into the paper. Artists make this effect by mixing pigment and glue directly on a damp wood block. Then, the paper is pressed and rubbed with a baren to pick up the color. Bokashi can make backgrounds look misty, skies look natural, or shadows appear subtle. It’s often used to show space and add a three-dimensional feel to flat images.

Buff Polishing (Metal Surface Smoothing)

Buff polishing is a method used to shine and smooth metal surfaces. A spinning disc made from soft cloth or fiber is coated with abrasive material and applied to the metal. Depending on the grit, the polishing can range from rough sanding to a bright, mirror-like finish. This process removes small scratches and dullness from the surface. It’s used in everything from jewelry to larger metal crafts where a clean, reflective surface is needed. The key is control - different levels of pressure and polishing compound produce different results.

 

Crafts Glossary: C

Celadon (Ash-Glazed Ceramics with Jade Tones)

Celadon is a type of high-fired ceramic finished with a glaze that includes a bit of iron. It gets its soft blue-green color from how it reacts in the kiln. The key is reduction firing at over 1,200 degrees. Depending on how much iron is in the glaze and how the firing is done, the color can switch between pale green and deep blue.

Celadon started in ancient China and was prized for its jade-like look. It later spread to Korea, Southeast Asia, and Japan. In Japan, the most admired celadon was powder blue ware from China's Southern Song Dynasty. These were seen as top-tier pieces. The Japanese sometimes write the name using different characters depending on the materials. When made from stone, it's written as seiji (青磁), and when made from clay, also as seiji but with different characters (青瓷).

Chara (Clay Slip-Glaze Hybrid in Tokoname Pottery)

Chara is a glaze used mainly in Tokoname, Aichi Prefecture. It sits between regular glaze and white slip. Slip is usually a liquid mix of clay used for coating pottery before firing, but chara adds a unique feel and texture that doesn’t quite fit into either category. It’s more than a coating but less than a glaze, often used to give pottery a softer, more natural surface.

Chinkin (Gold Inlay Carving for Lacquerware)

Chinkin means “sunken gold” and is a detailed carving method used on lacquered surfaces. First, an artist cuts patterns into the lacquer with a small chisel. Then lacquer is brushed into the grooves, and gold or silver powder or foil is laid in to highlight the design. This method gives the pattern depth and a raised texture. The depth and angle of each cut affect how the gold looks once it's set. This technique started in China during the Song Dynasty and made its way to Japan in the Muromachi period.

Chokin (Metal Engraving Technique)

Chokin is a way to decorate metal by carving lines and designs into the surface with a chisel called a tagane. There are different styles. One is sukashi-bori, where parts of the metal are cut out to create open patterns. Another is zogan, where metals like gold or silver are inlaid into the grooves. There’s also uchidashi, where patterns are formed by hammering from the back to raise the design on the front. Each method creates a distinct texture and depth.

Chokoku-nuri (Carved Lacquer from Takaoka)

Chokoku-nuri is a lacquer technique tied to Takaoka in Japan and goes back to the Edo period. It was refined by a craftsman named Tanpo Tsuji. The process starts by carving a pattern into the wood. Colored lacquer is then brushed over the carved areas. This layering gives the piece a raised texture and rich shading, creating a three-dimensional look. The finish has a special shine that’s unique to this style.

Chu-buki (Free-Blown Glass Technique)

Chu-buki is a glass-blowing method where molten glass is shaped in open air without using any mold. A small bit of hot glass is picked up on the end of a blowpipe, softened again in the kiln, and then blown into a ball shape. From there, tools like tongs and paddles are used to shape it. This gives each piece a unique form since no molds are involved.

Chukin (Japanese Metal Casting Method)

Chukin is a casting process used to shape metal by pouring it into molds. First, a mold is made from a prototype. Then molten metal is poured in and left to cool. Once cooled, the mold is removed, and the solid metal form is revealed. This process works for shaping metal that’s hard to form by hand. It also allows for mass production, since once the mold is ready, multiple pieces can be made easily. Objects made this way are called imono.

Crystal Glass (Refined Lead Glass for Luxury Use)

Crystal glass is a high-quality glass that includes lead oxide. The lead removes impurities like iron, which helps the glass stay clear. This type of glass has a strong shine and high reflectivity. It bends light well, so it sparkles more than regular glass. It's heavier too, and when tapped, it gives off a clean, bell-like ring. Crystal glass is often used in fine drinkware and decorative pieces, especially those that are cut or faceted to show off the shine.

 

Crafts Glossary: D

Daido-tsuchi (Hagi Ware Clay from Yamaguchi)

Daido-tsuchi is a type of clay mainly used for making Hagi ware. It’s dug up around Daido in Hofu and Yotsutsuji Suzenji in Yamaguchi. This clay has a rough texture because it contains a lot of sand and small stones. It also doesn’t shrink much when fired. That makes it good for shaping, and ideal for the soft, earthy finish Hagi ware is known for.

Dami (Detail Painting in Ceramics)

Dami is a brush technique used to paint inside outlines on pottery. After the base lines are drawn, color is filled in with care. This method adds detail and helps keep the design neat and controlled. It’s often used in traditional Japanese ceramic styles that focus on hand-painted decorations.

 

Crafts Glossary: E

E-Karatsu (Iron-Painted Karatsu Pottery)

E-Karatsu is a decorating method used in Karatsu ware, where artists paint patterns with iron-based pigments. These designs often show nature themes like flowers, birds, or simple geometric shapes. The iron in the paint turns brown during firing, giving the finished piece a warm, earthy look that matches the rough Karatsu clay body.

Earthenware (Low-Fired Clay Pottery)

Earthenware is pottery fired at low heat, around 700 to 800 degrees Celsius. It doesn’t have a glaze, so the surface stays porous and rough. That means it can absorb water and break easily. Still, it holds heat well and is often used for cooking pots and fireproof vessels. Despite being fragile, its rustic quality and heat resistance make it popular in traditional kitchens.

Echizen Lacquerware (Lacquer Craft from Fukui)

Echizen lacquerware comes from the Kawada area in Sabae, Fukui Prefecture. This craft dates back about 1,500 years to the end of the Kofun period. By the Edo period, craftsmen called Echizen-shu traveled across Japan to harvest lacquer. Over time, techniques like maki-e and chinkin were added to their skillset. By the Meiji era, Echizen had grown into a major lacquerware hub. Each piece is made in stages, and every step is handled by a specialist. That division of labor is still followed today.

Echizen Tansu (Joinery Cabinets from Fukui)

Echizen tansu are wooden chests or cabinets built using sashimono, a nail-free joinery technique passed down since the Nara period. They’re made from durable woods like zelkova and paulownia. These cabinets are finished with traditional lacquer styles, including fuki-urushi, shunkei-nuri, and roiro-nuri. Metal parts are added using the Echizen forged blade technique, and often feature inome, or “boar’s eye,” a heart-shaped design with deep roots in Japanese aesthetics. Tansu-making in Echizen began in the late Edo period and grew rapidly during the Meiji era when skilled woodworkers moved into the region.

Echizen Ware (Ancient Kiln Ceramics from Fukui)

Echizen ware refers to pottery made in Echizen Town, Fukui Prefecture. It’s recognized as one of Japan’s six oldest kiln traditions. The pottery is high-fired and often features a natural glaze formed during the firing process. That glaze melts from the ash in the kiln, giving the surface a subtle, earthy finish. Each piece has a strong, rustic feel and is valued for its simplicity and strength.

Edo Kiriko (Traditional Tokyo Cut Glass)

Edo kiriko is the name for cut glassware from Tokyo. It began in 1834 during the late Edo period. Craftsmen use special tools to carve fine patterns into thin layers of glass. These cuts catch and reflect light clearly, making the glass sparkle. The designs are usually geometric, and the thinness of the glass lets the patterns show through with sharp contrast. Edo kiriko is known for its clean lines and high precision.

Edo Woodblock Printing (Ukiyo-e Printmaking in Japan)

Edo woodblock printing is a full-color printmaking process developed in Japan. Four different artisans work together to complete a single print. The eshi is the artist who designs the image. The horishi carves it into wooden blocks. The surishi inks the blocks and presses them onto paper. The hanmoto manages the whole production and handles the business side. This method became popular in the Edo period as a way to mass-produce art. Ukiyo-e prints from this time became a key part of visual culture in Japan.

 

Crafts Glossary: F

Fuki-urushi (Wiping Lacquer Technique)

Fuki-urushi, also called suri-urushi, is a simple but skilled method used in lacquerware. Raw lacquer is brushed onto the wood and then wiped off using cotton cloth. This is done over and over again. The process helps bring out the natural grain and texture of the wood while also making the surface tougher and more resistant to damage. The finish keeps the wood looking clean and earthy while adding a light sheen.

Fushikezuri (Bamboo Node Shaving)

Fushikezuri is a step in bamboo work where the ends of a bamboo node are shaved down with a knife. This is done to shape the bamboo into strips for weaving or other craft use. It helps smooth out the surface and makes the material easier to work with when making fine bamboo goods.

 

Crafts Glossary: G

Gas-gama (Gas-Fired Ceramic Kiln)

A gas-gama is a kiln that runs on propane or butane. These kilns are lined with special heat-resistant bricks that help hold in heat. Because of the controlled fuel and structure, gas kilns fire more evenly than wood kilns. They make it easier to manage oxidation and reduction during firing, which helps artists hit precise results with glazes and colors.

Ginsai (Silver Decoration in Ceramics)

Ginsai is a broad term for ceramic techniques that use silver in the decoration process. Silver can be used as a glaze, in overpainting, or as part of fine surface design. It adds shine and gives the finished ceramic a metallic, sometimes reflective surface. Over time, silver can take on a soft patina, giving the piece a more aged and refined look.

Glassblowing (Shaping Molten Glass by Hand)

Glassblowing is one of the oldest ways to shape glass. It started in ancient Rome around the 1st century BCE. The method involves heating glass until it’s molten, then gathering it on the end of a blowpipe. The artist blows air into the pipe to expand the glass into a bubble. From there, the form can be shaped either freely or inside a mold. The two main styles are free-blowing, which gives one-of-a-kind shapes, and mold-blowing, which uses forms to create more uniform pieces.

Glaze (Protective Coating for Ceramics)

A glaze is a glass-like coating that’s applied to the surface of pottery before the final firing. It serves multiple purposes. It seals the ceramic to prevent water from soaking in, adds strength, and gives the surface a glossy or textured finish. Glazes also bring out color and pattern. Depending on how it’s mixed and fired, the look can range from smooth and clear to bold and matte.

Goma (Ash Glaze with Sesame-Like Texture)

Goma is a ceramic surface effect created during firing when wood ash settles on the piece and melts into the glaze. The result is a speckled pattern that looks like sesame seeds, which is where the name comes from. Goma surfaces tend to have a rougher, earthy look and are common in traditional wood-fired kilns.

Gosai-te (Five-Color Enamel Painting)

Gosai-te is a decorative method where five vivid colors are applied to ceramic surfaces in thick, textured layers. The colors, green, red, yellow, purple, and navy blue, create a rich, painted look. This method came from China in the mid-1600s and became popular in Japanese porcelain, especially in pieces made for display or ceremonial use.

Gosu (Cobalt Blue Glaze Material)

Gosu is a glaze material made from cobalt oxide, used to get deep blue tones on ceramic surfaces. Raw gosu is dark and looks black, but once fired, it turns into a strong blue. Natural gosu is hard to find now, so most potters use a mix of cobalt and iron to get the same result. It’s often used in underglaze decoration, especially in traditional blue-and-white porcelain.

Goyo-gama (Official Kilns of the Edo Period)

Goyo-gama were kilns that worked under feudal orders during the Edo period. These kilns didn’t just make everyday wares. They created special ceramics for local lords, gifts for the imperial court, and offerings to the shogunate. Because of their role, these kilns were highly respected and often led ceramic trends of their time.

 

Crafts Glossary: H

Haba-biki / Haba-tori (Sizing Bamboo Strips)

Haba-biki, also known as Haba-tori, is a step used when shaping bamboo into thin strips for weaving or building. Two small knives are fixed into a wooden base or log. The bamboo is then pulled through the gap between the blades. This ensures every strip ends up the same width. It's a simple, hands-on method that keeps things consistent when making baskets or frames.

Hagi Ware (Ceramics from Yamaguchi Prefecture)

Hagi ware is a type of pottery made mostly in Hagi and Nagato, both in Yamaguchi. It’s known for its soft textures and earthy tones. The two main types are Matsumoto-Hagi and Fukawa-Hagi. These ceramics are especially known for tea bowls used in Japanese tea ceremonies. The glaze tends to crack slightly over time, which gives each piece a personal touch as it ages with use.

Hakeme (Brush-Stroke Slip Decoration)

Hakeme is a pottery technique where liquid clay, or slip, is brushed onto the surface of the pottery before firing. After brushing, a clear glaze is added on top. The name comes from the visible brush marks left behind. Depending on the brush used and the way the slip is applied, the final look can change a lot. This gives each piece a loose, natural finish with a handmade feel.

Hidasuki (Straw-Marked Bizen Pottery)

Hidasuki is a style seen in Bizen ware that shows reddish lines across a pale brown ceramic body. These marks are made by wrapping straw around the pottery before firing it. The straw reacts with iron in the clay during the firing process and leaves behind the red markings. The result looks like bands or cords tied around the piece, giving it a rustic and natural feel.

Hikimono (Lathe-Turned Woodwork)

Hikimono is the method of shaping round wooden items using a lathe. A dried piece of wood is spun on the lathe, and then carving tools are applied to shape it. This technique is used to make bowls, round trays, and other smooth, circular forms. It's often used in lacquerware production, but it’s also common in plain wood crafts.

Himo-zukuri (Coil Building with Clay)

Himo-zukuri is one of the oldest ways to shape clay by hand. Clay is rolled into long ropes, which are then stacked in a spiral to build up the form. Once the shape is complete, the joints are smoothed out to even the surface. This method goes back to Japan’s Jomon period and is still used today for sculptural and handmade pieces that need a more personal or organic look.

Hiyose (Iron-Rich Bizen Clay Soil)

Hiyose is a type of clay taken from the bottom layers of rice paddies. It's rich in iron, has a fine texture, and is very sticky, which makes it ideal for shaping. This soil is mainly used in Bizen ware pottery. Its high iron content plays a big role in how the surface looks after firing, often giving pieces a deep, earthy finish.

Hon-kataji (Standard Lacquerware Base Coating)

Hon-kataji is the main method used for preparing lacquerware surfaces today. First, several layers of base lacquer are applied, starting with coarse material and moving to finer ones. After each layer, the surface is polished using water and grindstones. The result is a smooth, even surface that’s ready for the final lacquer or decoration.

Horimono (Relief Carving in Wood or Lacquerware)

Horimono is a type of surface carving used in wood and lacquerware. Patterns or images are carved directly into the surface, either raised or sunken. It adds texture, depth, and detail to objects like boxes, trays, and panels. Both internal and outer surfaces can be carved this way, depending on the design.

Hoso-wari (Splitting Bamboo for Weaving)

Hoso-wari is the step where bamboo stalks, called culms, are split into strips before being woven. After cutting the bamboo, the pieces are arranged and prepared based on their size and thickness. This step is key in bamboo crafts like baskets, mats, and trays, where each strip must be shaped to fit the design.

Hotaru-de (Firefly Glaze Technique)

Hotaru-de is a decorative method used in ceramics where small holes are cut all the way through the clay body. These holes are then filled with clear glaze before the final firing. Once fired, the clear glaze fills the holes like glass. When light passes through, it gives off a soft glow, like the light of a firefly. This effect gives the piece a delicate, glowing look, especially in dim light.

 

Crafts Glossary: I

Ichi-Raku, Ni-Hagi, San-Karatsu (First Raku, Second Hagi, Third Karatsu)

This phrase ranks three types of Japanese ceramics based on their importance in tea ceremony culture. Raku ware from Kyoto comes first, prized for its hand-shaped, rustic charm. Hagi ware from Yamaguchi is second, known for its soft texture and earthy tones. Karatsu ware from northern Kyushu is third, valued for its simple designs and natural glaze. Tea masters have long considered these three styles the most fitting for the spirit of the tea ceremony.

Iga Ware (Ceramics from Mie Prefecture)

Iga ware is pottery made mainly in Iga, Mie Prefecture. It stands out for its natural biidoro glaze, named after the Portuguese word for glass. This glaze creates a smooth surface in translucent jade green. The clay used is hard and tight after firing, making the pieces strong. Iga ware often shows the rough texture of the clay and the effects of fire, giving each piece a raw, powerful look.

Ikomi (Slip Casting for Ceramics)

Ikomi is a way to shape pottery using plaster molds instead of a wheel. Liquid clay, called slip, is poured into the mold. The plaster pulls moisture out of the slip, and the clay hardens to form the shape. There are two main types: pressure casting and slip casting. This technique is useful for making many pieces of the same shape quickly and with precision.

Inbe-te (Iron-Rich Coating in Bizen Ware)

Inbe-te is a surface treatment used in Bizen ware. After forming and drying the clay body, a thin layer of watered-down iron-rich clay is brushed on. When fired, this coating creates a natural sheen that looks like glaze but is formed without actual glazing. It also helps prevent water from leaking through the finished piece. This method adds visual depth and subtle luster to the surface.

Iro-e (Overglaze Enamel Decoration)

Iro-e is a decoration method where painted designs are added over a clear-glazed white ceramic surface. These overglaze colors include red, blue, yellow, purple, and green. Iro-e is another name for Gosai, Nishiki-de, or Aka-e. In Japan, this style started in the 1600s when Kakiemon Sakaida from Arita succeeded in making richly colored porcelain. After that, many areas like Kyoto, Kutani, and Arita began producing their own versions, each with distinct color tones and brushwork.

Iro Nabeshima (Colored Nabeshima Ware)

Iro Nabeshima is a refined style of Nabeshima porcelain. It features delicate underglaze designs painted in soft indigo. These are then enhanced with overglaze accents in red, yellow, and green. The result is elegant and controlled, with an emphasis on subtle color rather than bold contrast. It was originally made for feudal lords and not for public sale, which added to its prestige.

Ishi-haze (Stone Burst Effect in Pottery)

Ishi-haze happens when small stones or pebbles in the clay surface break out during firing. Instead of being seen as a flaw, it’s appreciated as part of the pottery’s natural character. These bursts leave behind unique marks and rough patches that add texture and personality to the piece.

Isubai Glaze (Ash Glaze from Isu Tree Ash)

This glaze is made from the ash of the isu tree, also known as Distylium racemosum. It has more lime and less iron than other ash glazes, giving it a soft look and smooth finish. It was used in early Imari porcelain, especially in pieces called ko-imari from the Edo period. The glaze gives off muted colors and a quiet, even surface.

Itame (Wavy Wood Grain Pattern)

Itame refers to a wood grain pattern where the lines are irregular. Instead of straight, clean grain, it has curves, waves, or mountain-like shapes. This pattern shows up when the wood is cut off-center, not through the heart of the trunk. It’s valued in woodcraft and bamboo work for its visual movement and natural look.

Itchin-gaki (Slip Trailing Decoration on Ceramics)

Itchin-gaki is a way to draw on pottery using liquid clay, glaze, or paint. The material is placed in a tool with a spout, then squeezed out onto the surface to create raised lines or designs. These tools can be made from treated paper, bamboo, or even modern droppers. This method is also called tsutsu-gaki. It allows for detailed, textured patterns that stand out from the surface.

Izumiyama Porcelain Stone (Original Source of Arita Porcelain)

Izumiyama porcelain stone comes from Arita in Saga Prefecture. In 1616, a Korean potter named Yi Sam-pyeong used this material to make Japan’s first porcelain, which marked the birth of Arita ware. From then until the early Showa period, this stone was the main material for Arita porcelain. Today, most Arita ware uses Amakusa porcelain stone, since mining at Izumiyama has nearly stopped. Still, this stone holds deep historical importance in Japanese ceramic history.

 

Crafts Glossary: J

Ja-gama (Snake Kiln for Pottery Firing)

Ja-gama is a type of climbing kiln shaped like a long, narrow tunnel that stretches upward like a snake. It has a single firing chamber. This design allows the heat to move evenly through the structure. As the fire travels uphill, the temperature stays consistent, making it easier to fire many ceramic pieces at once. This type of kiln is efficient and was often used in traditional pottery villages.

Jinoko (Lacquer Base Powder from Diatomaceous Earth)

Jinoko is a fine powder made by heating and crushing diatomaceous earth. It’s mixed with raw lacquer and glue to form a base layer in lacquerware production. This mixture helps the lacquer stick to the wood and gives the surface strength and texture before the top layers are added. It’s a key step in creating a smooth and durable finish.

Joseon Ware (Korean Ceramics of the Joseon Dynasty)

Joseon ware refers to ceramics made in Korea during the Joseon dynasty, starting in the 14th century. These include both pottery and porcelain, known for their natural look and simple beauty. Famous styles include Mishima, which uses stamped or inlaid designs; Kohiki, made by covering the piece with white slip and adding a clear glaze; and Hakeme, where white slip is brushed on roughly. Later styles included Sometsuke, with blue-and-white painting; Tessha, using iron-brown glaze; and Shinsha, decorated with copper-red. These Korean wares were introduced to Japan by Soetsu Yanagi, who admired their handmade feel and brought them into the mingei, or folk craft, movement. They are still valued for their honest forms and earthy colors.

 

Crafts Glossary: K

Kaba-zaiku (Cherry Bark Woodcraft from Akita)

Kaba-zaiku is a type of woodworking that uses the bark of wild cherry trees. It comes from Kakunodate in Akita Prefecture and began as a side craft for samurai in the late 1700s. It grew into a specialty trade during the Meiji era. There are a few ways to make it. In katamono, thin sheets of cherry bark are glued with gelatin and wrapped around a wooden cylinder. In kijimono, cherry bark or wood veneer is pressed onto flat wood to make box shapes. In tatamimono, layers of polished bark are stacked and glued, then carved to shape. The result is a dark, smooth surface with a natural shine. These crafts are used to make tea canisters, trays, and other small items.

Kairagi (Wrinkled Ceramic Glaze)

Kairagi is a type of ceramic glaze known for its rough, wrinkled texture. The name comes from sharkskin, which was once used on sword handles and had a similar look. This glaze shrinks and cracks in firing, leaving a speckled, bumpy surface. It adds a tactile layer to tea bowls and other handmade ceramics, often used in Japanese tea ceremonies.

Kake-wake (Split Glaze Decoration on Ceramics)

Kake-wake is a glaze technique where different glazes are applied to separate areas of the same piece. Each glaze is poured or brushed onto its own section, either side-by-side or layered, without mixing. When fired, the contrasting finishes stay separate and create a bold visual effect. This method highlights the shape of the piece and adds depth by blending different colors or textures in one object.

Kakigara (Oyster Shell Technique in Tokoname Pottery)

Kakigara is a ceramic surface technique found in Tokoname ware. Ground oyster shell is sprinkled over the base clay before firing. During firing, the shell burns and melts slightly, leaving behind a soft, speckled texture across the piece. This creates a natural, grainy finish with fine white spots, giving each item a subtle variation and a weathered, organic look.

Kakishibu-zome (Persimmon Tannin Dyeing Technique)

Kakishibu-zome is a traditional Japanese method of dyeing using fermented juice from young astringent persimmons. The juice is aged until it turns into a thick, brown tannin liquid called kakishibu. This dye has been used since the Heian period. It's known for its waterproof and antibacterial qualities, making it useful for both textiles and leather. The dyeing process includes long exposure to sunlight, which deepens the color and gives it a warm reddish-brown tone. Because of this sun-drying method, it’s also called "Taiyo-no-some," which means "sun dye."

Kan-nyu (Crackle Glaze in Ceramics)

Kan-nyu is the network of fine cracks that appear on the surface of glazed pottery. These cracks form when the glaze and the ceramic base shrink at different rates during firing. This is not a flaw but a valued feature that adds texture and depth. Crackle patterns are unique to each piece and often appreciated for how they enhance the visual character of the pottery.

Kanakedome (Heat Oxidation for Rust Prevention in Ironware)

Kanakedome, also called yakinuki or kamayaki, is a finishing process used in making Nanbu ironware. After the iron object is removed from its mold, it's heated in a charcoal fire at about 900°C. This creates an oxide layer on the surface, which helps prevent rust. It’s a vital step in preserving the durability and appearance of traditional cast iron pieces.

Kanna (Wood Plane Tool for Smoothing Surfaces)

A kanna is a hand tool used in woodworking. It smooths the surface of wood by shaving off thin layers. Craftspeople use different types of kanna depending on the job. Some are for rough shaping, others for fine detailing. Each version is designed with specific blade angles and body shapes to fit various needs.

Kanshitsu (Lacquered Cloth Molding Technique)

Kanshitsu is a way to form lacquerware by layering cloth soaked in lacquer onto a mold. There are two main types. In dakkatsu kanshitsu, the mold is removed after the lacquer dries, leaving a hollow piece. In mokushin kanshitsu, the mold is made of wood and stays inside as the core. This technique came from Tang Dynasty China and reached Japan during the Nara period. Because the form can be freely shaped, kanshitsu is often used to create expressive and sculptural lacquer art.

Karatsu Nanban (Unglazed Karatsu Stoneware Style)

Karatsu Nanban is a modern twist on traditional Karatsu ceramics. It’s based on the yakishime method, where unglazed pottery is fired at a high temperature. This wasn’t originally part of Karatsu ware, but potter Takashi Nakazato introduced it after working with Tanegashima pottery. He used local Karatsu clay to develop this new approach. The name comes from Nanban, a historical term for Southeast Asia, referencing the unglazed foreign pottery that once came to Japan.

Karatsu Ware (Ceramics from Saga and Nagasaki)

Karatsu ware is made in the western Saga and northern Nagasaki areas. It's one of Japan's historic pottery styles and became important during the Momoyama period, especially for tea ceremony pieces. Production dipped over time but saw a revival in the Showa era. Karatsu ware features many different styles. E-Karatsu has painted designs, Madara-Karatsu shows speckled patterns, Chosen Karatsu has Korean influence, Mishima Karatsu features inlaid designs, and Kawa-kujira has a look like whale skin. These styles give Karatsu pottery a wide creative range.

Karazuri (Embossing in Woodblock Printing)

Karazuri is a printmaking method where patterns are pressed into paper without using ink. The technique uses a carved woodblock and firm rubbing to raise the design on the paper surface. This creates a subtle embossed texture that plays with light and shadow. It’s often used in fine traditional prints to add depth without color.

Kasane-gake (Layered Glaze Technique in Ceramics)

Kasane-gake is a ceramic glazing method where different glazes are layered over one another. As each glaze reacts to heat and the other layers during firing, it creates complex surface effects. This method gives the final piece a rich and varied appearance, making every piece unique.

Kashoku-biki (Spiral Carving on a Lathe for Lacquerware)

Kashoku-biki is a carving method used to decorate wooden items before lacquering. The work is done on a spinning lathe, where the surface is cut into spirals or rings. This technique is a signature feature of Yamanaka lacquerware. Craftsmen have developed over 40 known patterns, including sen-suji (fine lines) and hira-suji (flat grooves), each adding texture and movement to the surface.

Kata-buki (Glass Mold-Blowing Method)

Kata-buki is a method where molten glass is blown into a mold, usually made of wood or metal, using a blowpipe. The mold shapes the glass as air is blown in, letting the artisan control the form with precision. This process creates consistent shapes and sizes for glassware and is often used when making symmetrical or repeated designs.

Kata-zome (Stencil-Dyeing for Fabric)

Kata-zome is a fabric dyeing technique that uses stencils, or kata, to control where the dye goes. The stencil is cut from special persimmon-coated Japanese paper called shibugami. This paper resists the dye, allowing clean patterns to appear on the cloth. It's a detailed method used to repeat intricate designs across fabric and has long been a key part of traditional Japanese textile art.

Kawa-kujira (Whale Skin Decoration in Karatsu Ware)

Kawa-kujira is a painting style used in Karatsu pottery. It involves darkening the rim of a vessel with an iron-based pigment. The dark rim stands out against the lighter color of the body, much like a whale’s black skin against its lighter underside. That’s where the name comes from. “Kawa” means skin, and “kujira” means whale.

Kawanobori Porcelain Stone (Raw Porcelain Material from Ehime)

This is a type of porcelain stone that was once mined in the Kawanobori region of Tobe, Ehime Prefecture. It was used from 1818 to 1970 and served as a raw material in local porcelain production. It’s now part of the history of Japan’s ceramic industry, especially in regions known for fine porcelain work.

Kawari-nuri (Alternative Lacquer Techniques)

Kawari-nuri is a term for a range of lacquer techniques that focus on showing off lacquer’s natural qualities. This includes layering different colors of lacquer and then polishing them down to reveal textures and color changes. It also makes use of lacquer’s natural stickiness to build unique textures. The name also ties back to the Edo period, when these methods were used to make complex sword sheaths, also known as saya-nuri.

Kento (Woodblock Print Registration Marks)

Kento are small notches or carved marks on a woodblock. They act like guides to help align the paper during the printing process. These marks make sure each layer of color prints in the right spot. Without them, the images could end up misaligned. Kento marks are essential in traditional Japanese multi-color woodblock printing.

Kenyo (Chinese Jian Kiln Famous for Tenmoku Ware)

Kenyo refers to a kiln in Shuiji Town, Jiangyang County, in China’s Fujian Province. It started during the late Tang Dynasty and became known during the Song Dynasty for firing dark, shiny tea bowls with thick glazes. These black-glazed pieces are called Tenmoku ware in Japan and were known in China as Jian zhan, or “Jian tea cups.” The ware was highly prized by tea drinkers and collectors.

Ki-Seto (Yellow-Glazed Mino Pottery)

Ki-Seto is a type of Mino ware that began in the Azuchi-Momoyama period. It's easy to spot because of its soft yellow glaze. The surface often features etched lines or floral decorations. Some pieces have blotches of green from copper or brown from iron. These marks give the pottery a natural look. There are two main glaze styles used. One is clear and glossy, known as Kiku-zara-de or Guinomi-de. The other has a soft, matte finish that looks like fried tofu, known as Ayame-de or Aburage-de.

Kiji-gatame (Base Lacquer Coating in Wajima Ware)

Kiji-gatame is the first stage of making Wajima lacquerware. Raw lacquer is applied to the bare wood, soaking deep into the grain. This step seals the wood and gives it strength. It also makes the surface more stable for the layers that come next. This process helps make Wajima ware known for its durability.

Kijibiki (Woodturning for Rounded Vessels)

Kijibiki is a technique for shaping round wooden vessels using a lathe. The wood block spins while the artisan uses chisel-like tools to carve the shape. This process creates smooth, even forms like bowls and trays. The tool and skill of the turner affect the final quality. The craft demands accuracy and steady hands.

Kijishi (Woodturner Skilled in Shaping Wood)

A kijishi is a woodturner. They use a spinning lathe, called a rokuro, to shape blocks of wood into everyday items like trays, cups, and bowls. The term can also be rokuroshi. These artisans specialize in turning wood with precision, and their work is often the base for lacquerware and other fine crafts.

Kinran-de (Gold-On-Color Glaze Decoration)

Kinran-de is a ceramic decorating method where gold is added over painted red or other colors. This technique started in China during the Song Dynasty and grew more detailed during the Ming and Qing dynasties. Japan began using it in the mid-Edo period. It gives ceramics a rich, layered look. Pieces often sparkle due to the contrast between the gold and the bright background colors. It’s both a technique and a style label for works decorated this way.

Kinsai (Gold Decoration on Ceramics)

Kinsai refers to the use of gold in ceramic decoration. This method involves applying gold over the surface of a piece, either as a painted accent or as part of a detailed design. It’s both a technique and a general term for any ceramic that features gold embellishment. These pieces are often used in formal settings or as display items because of their rich, eye-catching finish.

Kintsugi (Repairing Ceramics with Gold)

Kintsugi is the art of fixing broken pottery with lacquer and then highlighting the repaired lines with gold or other metals. Instead of hiding the cracks, this method brings attention to them. It creates a new look that values the history of the item. The technique began in the Muromachi period and is closely tied to Japanese aesthetics that embrace imperfection and the passage of time.

Kiri-kodai (Cut Foot in Hagi Ware)

Kiri-kodai means "cut foot" and is often seen in Hagi ware tea bowls. It refers to a notch or slice made in the foot of the vessel. This small detail adds a unique character to each piece. The technique likely came from the Korean Peninsula, where similar styles appeared during the Joseon era. While its exact origin is debated, it remains a well-known trait in Hagi ceramics.

Kiriko (Cut Glass Carving Technique)

Kiriko is the process of carving detailed patterns into the surface of glass. Artisans use grinding tools to etch designs through stages like roughing, stoning, and polishing. The patterns are usually geometric and sharp. Edo kiriko and Satsuma kiriko are the most famous styles in Japan. This technique turns plain glass into something elegant and reflective, often used in high-end drinkware and decorative pieces.

Kise Glass (Layered or Cased Glass Technique)

Kise glass involves layering different colors of molten glass while it's still hot. The layers can go on the inside or outside of the piece. When the colored glass is on the outside, it’s called soto-gise. When it’s on the inside, it’s uchi-gise. This layering creates contrast and depth, especially when the outer surface is cut or carved to reveal the color beneath. It’s a common method used to make glass more decorative and complex.

Kiso Lacquerware (Traditional Lacquer from Nagano)

Kiso lacquerware comes from Shiojiri City and nearby areas in Nagano Prefecture. This is a broad name for all lacquered crafts produced in that region. Known for its smooth finish and durable surface, Kiso lacquerware includes a range of household and ceremonial items. The area has a long history of producing high-quality pieces using locally sourced wood and traditional techniques.

Ko-Imari (Antique Japanese Porcelain)

Ko-Imari refers to porcelain made during the Edo period in Arita, part of old Hizen Province, now Saga and Nagasaki. These works were shipped through Imari Port, which is how the style got its name. Ko-Imari pieces are highly valued today for their historical and artistic worth. Many of them feature bold patterns and vibrant overglaze painting, making them popular among collectors.

Ko-sometsuke (Freeform Ming-Era Blue and White Porcelain)

Ko-sometsuke is a style of porcelain made in private kilns in Jingdezhen during the Tenkei era, in the early 1600s. These pieces often feature loose, casual brushwork that sets them apart from the more formal look of traditional Chinese porcelain. The relaxed style and soft blue designs appealed to tea culture in Japan and are still admired today for their handmade feel.

Kodai (Foot of a Ceramic Vessel)

The kodai is the base ring or foot at the bottom of a ceramic piece. It plays both a structural and aesthetic role. There are two main types: kezuri kodai, which is cut out after shaping the piece, and tsuke kodai, which is made separately and then attached. The shape of the foot can vary and includes forms like wa (ring), janome (snake’s eye), mikazuki (crescent), wari (split), kiri (cut), and takenofushi (bamboo joint). These shapes often help identify the region, style, or even the potter.

Kohiki (White Slip-Covered Pottery Technique)

Kohiki is a technique where the surface of a vessel is covered with a white slip, then finished with a clear glaze and fired. The result is a soft, almost powdery texture that feels natural and muted. The look is subtle and quiet, which makes it popular in tea ceremony wares. Kohiki is also called kofuki, and its understated finish has made it a classic in Japanese ceramics.

Koji-guchi (Citron Mouth Ceramic Form)

Koji-guchi means “citron mouth” in Japanese. It describes the shape of a ceramic or metal vessel where the rim is rounded and puffed outward, similar to a yuzu or citron fruit. This rounded form gives the piece a soft, organic look and is often used in teaware and decorative bowls.

Kokura-ori (Striped Cotton Weaving from Fukuoka)

Kokura-ori is a woven cotton fabric made in Kokura, Kitakyushu, in Fukuoka Prefecture. It’s strong, smooth, and known for its fine vertical stripes. This textile was traditionally used for samurai hakama pants and obi sashes because of its durability. The tight weave gives it a firm texture and clean pattern, making it a lasting choice for both clothing and crafts.

Kumiko (Traditional Japanese Wood Joinery)

Kumiko is a woodworking method where thin pieces of wood are cut and fit together without any nails or glue. Instead, they are shaped with precise holes and grooves that allow the parts to hold together tightly. This technique dates back to the Asuka period and is most often seen in shoji screens and wooden transoms called ranma. Kumiko creates intricate patterns that cast delicate shadows, especially when light passes through the design.

Kurimono (Hollowed Woodwork Technique)

Kurimono is a carving method used to hollow out solid blocks of wood using hand tools like chisels and knives. This technique is used to make wooden bowls, trays, spoons, and other utensils. Each piece is shaped from a single chunk of wood, allowing the natural grain to stand out while giving the item both strength and a clean, seamless form.

Kuro-chiku (Black Bamboo Material)

Kuro-chiku is a type of bamboo known for its deep black-brown stalks. When young, the culms are green, but after one or two years, they darken naturally. This bamboo grows to around four meters in height and is valued for its rich color and clean surface. It’s often used in traditional bamboo crafts and is also planted as an ornamental feature in gardens.

Kuro Karatsu (Black Glazed Karatsu Pottery)

Kuro Karatsu is a style of Karatsu ware known for its dark glaze. It’s made by coating pottery with an iron-rich glaze before firing. Depending on the amount of iron and how the kiln is fired, the color may come out amber, dark brown, or solid black. The finish has a warm, earthy quality and is one of the core features of traditional Karatsu ceramics.

Kusaki-zome (Plant-Based Natural Dyeing)

Kusaki-zome is a dyeing method that uses natural materials from plants, minerals, and even insects. The term literally means “plant dye.” Common sources include indigo, madder root, turmeric, safflower, gardenia, sappanwood, and the bark or leaves of native trees like the Amur cork tree. This method avoids synthetic dyes and creates soft, natural tones that age beautifully over time.

Kushime Kodai (Comb Pattern on Ceramic Bases)

Kushime Kodai refers to a decorative detail found on the foot of ceramic works, where a comb-like pattern is carved or painted in blue and white. This motif is a traditional feature of Nabeshima ware and adds a subtle touch of detail to the underside of the piece, often only noticed upon close inspection.

Kutani Ware (Colorful Ceramics from Ishikawa)

Kutani ware is a type of ceramic produced mostly in southern Ishikawa Prefecture. It stands out for its bold use of color and detailed painting. There are several well-known styles. Ao-te uses a deep green overglaze. Gosai-te, also called Iro-e, applies five bright colors: green, yellow, red, blue, and purple. Aka-e focuses on intricate red designs. Each style highlights a different approach to decoration, but all share the vivid, high-contrast look that defines Kutani ware.

Kyo Ware (Kyoto Ceramics with Varied Styles)

Kyo ware is the broad term for ceramics made in Kyoto. The region is known for refined techniques and detailed designs. There’s no single look for Kyo ware, since the area produces a wide range of styles, including painted porcelain, glazed stoneware, and tea ceremony utensils. What ties it all together is the high craftsmanship and the long tradition of ceramic work rooted in Kyoto’s culture.

 

Crafts Glossary: L

Lost Wax Casting (Precision Metal Casting Method)

Lost wax casting is a method used to create detailed metal objects. It evolved from the traditional wax casting process but now uses materials like silicon rubber, which makes it possible to cast more complex shapes. This method is known for how smooth and precise the surface turns out. It’s one of the most advanced ways to cast metal, often used when fine detail and accuracy are essential.

 

Crafts Glossary: M

Ma-dake (Strong, Flexible Bamboo Type)

Ma-dake is a tall bamboo species that can grow up to 10 meters. It has two rings at each node and long sections between joints. Its walls are thin, but the material is strong and flexible. This bamboo is often chosen for construction work and bamboo crafts because of its natural elasticity. It bends well without snapping, which makes it perfect for structural and woven applications.

Madara Karatsu (Spotted Karatsu Pottery)

Madara Karatsu is a ceramic technique from Karatsu ware, known for its cloudy white glaze made from straw ash. The glaze is applied over rough clay, and during firing, the iron in the clay melts and creates blue or black specks on the surface. These spots give the ware its name, since "madara" means mottled or spotted in Japanese. This finish is especially common on tea bowls and sake cups, where the natural pattern adds character.

Mageki (Steam Bending Wood Technique)

Mageki is the process of bending wood by applying heat and moisture. The wood is softened by boiling or steaming, then shaped using molds and dried to hold that form. This technique was refined in Europe in the 1800s and came to Japan in the early 1900s. Today, it’s mainly practiced in Hida and parts of the Tohoku region. Mageki is widely used for making curved furniture pieces with clean, flowing lines.

Magemono (Traditional Bent-Wood Crafting)

Magemono is a woodworking method where thin wooden boards are bent into round or oval shapes. These bent pieces are used to make items like rice boxes, trays, and dippers. The process often involves cedar or cypress and combines flexibility with strength. Magemono can be left plain or coated with lacquer, depending on the intended use.

Magewappa (Cedar Bent-Wood Containers)

Magewappa refers to wooden containers made by bending thin strips of cedar or Japanese cypress into a circular shape. The ends are fastened, and a flat base is added. These containers are known for keeping food fresh because they help control moisture. Magewappa is often used for rice and lunch boxes. While the name can change from region to region, the craft remains rooted in local wood and long-standing tradition.

Maki-e (Gold and Silver Powder Lacquer Art)

Maki-e is a traditional Japanese lacquer art where designs are drawn using wet lacquer. Before the lacquer dries, artists sprinkle gold or silver powder onto it. The powder sticks to the lacquer, forming a detailed, raised design. This technique began in the Nara period and has developed over centuries. There are several styles, depending on how the powder is applied and how the surface is finished. Common types include togidashi maki-e, where the surface is polished flat; hira maki-e, with simple flat patterns; and taka maki-e, where the design is raised for a more sculpted look.

Makiji (Durable Lacquer Base Coating)

Makiji is a strong base coat used in lacquerware. Raw lacquer is applied either directly to the wood or over a cloth base. Before the lacquer sets, powdered diatomaceous earth (called jinoko) or polishing powder (called tonoko) is sprinkled on. This layer dries into a tough, scratch-resistant surface. Makiji forms the foundation for many lacquer pieces, making them sturdy enough to handle wear while giving the final product a slightly rough texture that holds later layers of lacquer or decoration.

Masame (Straight Grain Wood Pattern)

Masame is a straight wood grain pattern where the lines run parallel across the board. You get this pattern by cutting along the center of the tree trunk. This kind of cut helps reduce warping since it shrinks evenly. It’s often used when clean, straight lines are important in wood or bamboo crafts.

Me-ato (Firing Marks in Ceramics)

Me-ato refers to the marks left on pottery during firing. These come from small bits of clay or shell that are placed between stacked pieces in the kiln. They keep the ceramics from sticking together. Once the pieces are fired and separated, those contact points leave visible impressions.

Mentori (Faceting Technique in Pottery)

Mentori is a carving method used to shape pottery into faceted surfaces. Instead of keeping the surface rounded, the artist slices off edges to form flat planes, giving the piece a more geometric look. Sometimes this technique is only applied to small parts, like the base or spout, for added detail.

Mikawachi Ware (Fine Porcelain from Nagasaki)

Mikawachi ware is porcelain made in Sasebo, Nagasaki. It started in the late 1500s, when potters from Korea and Karatsu moved into the area. During the Edo period, it became the official porcelain of the Hirado clan. Most known for its blue and white style called sometsuke, Mikawachi ware also uses several traditional methods. These include karako-e, where Chinese children are painted onto the surface, and sukashi-bori, which uses open carving. There's also okiage, where clay is built up with a brush to form raised designs, and usuzukuri, or eggshell style, which makes the porcelain very thin and delicate.

Mikomi (Inner View of a Pottery Piece)

Mikomi is the term for the view of the inside of a ceramic vessel, especially the bottom. Along with the foot of the piece, or kodai, this part often reflects the skill and style of the maker. It’s one of the first places collectors and potters look to understand the work.

Mingei (Japanese Folk Craft Movement)

Mingei stands for “folk craft” and comes from the phrase minshu-teki-kogei. It was a concept started in 1925 by Soetsu Yanagi, Shoji Hamada, and Kanjiro Kawai. The idea celebrates the beauty found in everyday handmade objects. These items were made by unknown craftsmen and were meant to be used, not displayed. What sets them apart is the honest, natural beauty that comes from their function and simplicity.

Mino Ware (Ceramics from Gifu Prefecture)

Mino ware is a broad term for ceramics made in the Tono area of Gifu. It includes four main styles: Ki-Seto, Seto-guro, Shino, and Oribe. Together, these are known as Mino-Momoyama ware. Over time, Mino potters expanded into making fine porcelain. Today, Gifu still leads Japan in ceramic production, making about half of all Japanese pottery.

Mishima (Inlay Decoration in Pottery)

Mishima is a type of zogan, or inlay technique, used to decorate pottery. Before the clay dries, the artist presses stamps or carves lines into the surface. Then white slip is applied to fill the grooves. After wiping the extra slip off the top, the piece is coated in clear glaze and fired. The result is a clean, crisp design that feels both carved and painted.

Mogake (Seaweed Firing in Tokoname Pottery)

Mogake is a method unique to Tokoname in Aichi Prefecture. Potters wrap seaweed around the clay piece before firing. When it’s fired in the kiln, the seaweed leaves a reddish scarlet pattern on the surface. Each result is different, depending on how the seaweed touches the clay and how it burns.

Mokuhan-zuri (Traditional Japanese Woodblock Printing)

Mokuhan-zuri is the technique of printing designs on paper using carved woodblocks. Each color needs its own block, so making a full-color print requires precise carving and careful layering. Skilled craftsmen handle both the engraving and printing. The blocks are pressed one after another, building the image step by step.

Mokume (Natural Decorative Wood Patterns)

Mokume refers to the unique patterns found in wood grain. These patterns happen because of how the tree grew. Climate, soil, age, and damage to the tree all play a role in how the fibers twist and move. When the wood is cut, these natural details show up as waves, swirls, or tight knots. Craftsmen often highlight these for their visual texture.

Mushikui (Bug-Eaten Rim Effect in Pottery)

Mushikui describes a chipped or pitted look on the rim of a ceramic piece. It looks like small parts of the glaze have fallen away. The name comes from how it resembles bug bites. Some potters use this effect on purpose to make the piece look older or more weathered.

Mutsume-ami (Hexagon Weave in Bamboo Work)

Mutsume-ami is a basic way to weave bamboo where the pattern forms repeating hexagons. This type of weave is both strong and flexible, and it’s often used in baskets and other practical bamboo items. The uniform, geometric look also gives the finished piece a clean, traditional feel.

 

Crafts Glossary: N

Nabeshima Celadon (Blue-Green Glazed Nabeshima Porcelain)

Nabeshima celadon is a type of fine porcelain that uses a celadon glaze over stone sourced from Okawachiyama. It's fired using a method that blocks oxygen, known as reduction firing. This is what gives the surface its soft, jade-like blue-green color. The process is repeated several times to get the right depth and evenness in the glaze. Nabeshima celadon stands out for its clean tone and smooth finish, making it one of the more refined versions of celadon ware in Japan.

Nabeshima Sometsuke (Ai Nabeshima - Indigo-Dyed Porcelain)

This style of Nabeshima ware features pure white porcelain decorated with deep blue designs. The pigment used is called Gosu, a strong indigo blue. The entire piece is painted using just this one color, which gives it a sharp, simple, and elegant look. The finish is clean and detailed, with a calm beauty that has long been appreciated as noble and formal. This type of single-color porcelain highlights the fine lines and balance of the artwork without the distraction of added colors.

Nabeshima Ware (Porcelain from the Nabeshima Kilns)

Nabeshima ware is a high-quality porcelain line developed under the Nabeshima clan between the 1600s and 1800s. These pieces were not made for public sale. Instead, they were created as exclusive gifts for shoguns and powerful feudal lords. The style is very refined and carefully executed. It’s known for four key types: Iro Nabeshima, which uses multiple colors; Nabeshima Sometsuke, in blue and white; Ai Nabeshima, using only indigo blue; and Nabeshima Celadon, with a cool jade-colored glaze. All share the same commitment to clean design and precise technique, and they continue to influence modern ceramic art in Japan.

Nama-gake (Unglazed Body Glazing Technique)

Nama-gake is a pottery method where glaze or white slip is added directly to the shaped but still unfired ceramic body. Since the piece hasn’t been fired yet, the surface is still soft and porous, which allows the glaze to stick easily. This step is done before the piece ever sees the inside of a kiln. The result is a strong bond between the body and the glaze, giving a natural and uniform finish after firing.

Nama-gata Chuzo (Raw Mold Sand Casting in Metalwork)

Nama-gata chuzo is a casting process for metalwork. It starts with pressing damp sand around a wooden mold to form a shape. This sand is called imono-zuna. The mold, known as nama-gata or raw mold, isn’t fired beforehand. Molten metal is poured directly into it. Once cooled, the mold is removed, and the solid piece remains. This method is useful for making the same item many times. Since the sand can be reused, it keeps production cost-effective and fast.

Nanbu Tekki (Traditional Ironware from Iwate)

Nanbu tekki refers to iron goods made in Mizusawa and Morioka in Iwate Prefecture. This tradition grew strong during the Edo period. The Mizusawa area started with samurai armories, which later changed to iron pots and kettles. In Morioka, the local feudal lord brought in a kettle-maker from Kyoto to support tea culture, and the region became known for refined iron kettles used in tea ceremonies. With access to quality iron sand, charcoal, and casting sand, both areas built a reputation for durable and finely crafted ironware. Nanbu ironware is still popular today for its long life and deep black color.

Narashi (Planishing Process in Forged Metal)

Narashi is a smoothing step in forging metal. It’s done by gently hammering the surface to fix the shape and balance the thickness of a piece. There are two kinds of narashi. Ara-narashi is rough planishing used early on to flatten out deep hammer marks. Shiage-narashi is the final planishing, where the metal is shaped with precision to bring out a clean, finished surface. This step is important for making sure the form is even and the surface is polished.

Negobouki (Rice Straw Brush for Blackening Metal)

Negobouki is a tool used in metalwork during the ohaguro process, where metal is blackened for finishing. It’s made by tying bundles of rice straw together to make a stiff brush. The brush is used to clean and polish the surface while applying the blackening treatment, helping to set the color and remove any loose particles at the same time.

Nemoku (Root Burl Pattern in Woodworking)

Nemoku is a grain pattern found in wood cut from the root section of a tree. This part of the tree grows in all directions, which leads to twisting and swirling grain. That makes it more visually interesting than straight-cut wood. Wood with nemoku patterns is often chosen for high-end woodworking because of its natural, dramatic look.

Nezumi-Shino (Mouse-Grey Shino Ware)

Nezumi-Shino is a variety of Shino ware, a key style of Mino ceramics. The base is coated with a thick iron-rich slip called oni-ita. Parts of this slip are then scraped away to reveal a design. A feldspar glaze, known as choseki-yu, is applied on top. When fired, the areas with slip turn a soft gray tone, which is where it gets its name. “Nezumi” means mouse in Japanese, and this ware has the same muted gray color. The contrast between glazed and unglazed areas creates a subtle yet striking look.

Ni-iro (Patina Coloring for Metal Alloys)

Ni-iro is a metal coloring method that gives copper-based alloys a patina finish. The metal is simmered in a solution made from copper sulfate and copper carbonate. This causes surface oxidation that brings out different shades, from brass-like gold to deep brown or blackish bronze. The final color depends on the exact mix of metals in the alloy. Before boiling, the surface is often washed with juice from grated daikon radish. This step has been used for generations to help the patina form cleanly and evenly.

Nobori-gama (Traditional Climbing Kiln for Ceramics)

A nobori-gama is a type of kiln built on a slope to take advantage of rising heat during firing. The structure helps raise the internal temperature efficiently. In the more specific sense, the term refers to a multi-chambered kiln that uses a series of connected firing chambers built along a hillside. This setup is called renbo-shiki nobori-gama. As each chamber heats up, the next one absorbs that heat, making the firing process more stable and energy-efficient. These kilns are used to fire ceramics that require precise control over heat and airflow.

Nogime Tenmoku (Rice-Ear Patterned Tenmoku Ware)

Nogime Tenmoku is a type of Tenmoku tea bowl first made at the Jian kilns in Fujian, China, during the Southern Song dynasty. What makes it unique is the fine pattern that forms when iron oxide crystals in the glaze melt and flow down during firing. The result is a subtle, streaked look. In Japan, these patterns are called “Nogi-me,” which means rice ears, because of their thin, arching shape. In China, they’re called “Tu-hao,” or rabbit hair brush, for the same reason. This style is highly valued for its natural, flowing surface detail.

Nukayaki (Rice Bran Firing for Metal)

Nukayaki is a firing method for metal, usually copper-based alloys. The surface is coated with a mix of rice bran, salt, and sulfur before being placed in the fire. When burned, this mixture leaves behind irregular dark spots and patterns. These marks aren’t painted on. They come directly from how the rice bran burns and sticks to the metal. The result is a surface that looks organic and textured, with no two pieces turning out exactly the same.

Nuno-kise (Cloth Reinforcement in Lacquerware)

Nuno-kise is used to strengthen wooden lacquerware by covering the surface with cloth. The cloth, usually hemp or cotton, is pressed onto the wood and coated with lacquer. This adds extra durability and helps prevent cracking. It also gives the base a flexible surface, making it easier for the final lacquer layers to stick and last. This method is common in pieces that need to withstand frequent handling.

Nushi (Lacquer Craftsman Specializing in Coating Work)

In traditional lacquerware, each step is handled by a different craftsperson. Nushi refers to the artisan who handles the actual application of lacquer. This includes brushing on each layer, drying it, and polishing between coats. The role takes years of practice. A skilled nushi can control the thickness, evenness, and finish of the lacquer, which directly affects how the final piece looks and feels. They’re a key part of any lacquerware production team.

 

Crafts Glossary: O

Ofuke Ware (Ceramics from Nagoya Castle Kilns)

Ofuke ware comes from the official kilns once set up inside Ofukemaru, a part of Nagoya Castle. These kilns operated during the Edo period under the Owari branch of the Tokugawa family. The glaze used in Ofuke ware mixes ash with feldspar. When fired, the iron content in the glaze turns shades of pale blue or yellowish green. The final tone depends on the firing conditions. These soft colors and simple finishes made Ofuke ware popular among tea ceremony practitioners.

Ohaguro (Traditional Metal Coloring Technique)

Ohaguro is a method used to give metal surfaces a deep, rich color. Metal is coated repeatedly with a solution made from vinegar, scrap iron, and sake that has been left to sit and ferment. As the piece is heated and brushed with the mixture over and over, the metal darkens. The final color depends on how strong the solution is and how many times it’s applied. Results can range from reddish tones to dark brown or near-black, always with a subtle shine.

Oribe (Innovative Mino Ware with Unique Glaze Styles)

Oribe is a type of Mino ware that first appeared in the late 1500s and early 1600s. It’s linked to Furuta Oribe, a master of tea ceremony known for pushing creative limits. Oribe ceramics break from symmetry and use bold shapes and glazes. The copper-green glaze seen in So-Oribe and Ao-Oribe is one of the most recognized styles. Other types include Aka-Oribe, which features red patterns; Kuro-Oribe with black glaze; and versions like Yahichida-Oribe and Narumi-Oribe, which show off layered techniques and textures. Each type reflects a mix of rustic charm and artistic flair.

 

Crafts Glossary: P

Plain Weave (Basic Textile Structure)

Plain weave is the most basic way to create fabric. It works by weaving vertical warp threads and horizontal weft threads in an alternating over-and-under pattern. This simple structure makes the fabric firm and balanced. Because it’s easy to produce, plain weave is used in many everyday textiles, from cotton shirts to canvas and linen.

Porcelain (High-Fired White Ceramic with Strength and Shine)

Porcelain is a type of ceramic made mainly from kaolin, which comes from crushed porcelain stone. It’s fired at about 1300 degrees Celsius, making it harder and stronger than regular pottery. It doesn’t absorb water and gives off a clear, ringing sound when tapped. The surface is smooth and slightly translucent, with a cool feel. In Japan, traditional centers for porcelain production include Arita, Tobe, Kyoto, and Kutani.

Pottery (Clay-Based Ceramics with Warm Texture)

Pottery is made from natural clay and fired at lower temperatures than porcelain, usually between 800 and 1200 degrees Celsius. It has more water absorption and holds heat better than porcelain. The surface is less smooth and gives off a warmer, softer look and feel. Well-known pottery towns in Japan include Karatsu, Hagi, Mino, and Mashiko. Unlike porcelain, pottery is heavier, more porous, and often used for rustic or traditional-style pieces.

Pressure Casting (Slip Casting Method for Mass-Producing Ceramics)

Pressure casting is used to make complex or uneven ceramic shapes in large numbers. This method uses a liquid clay mix called slip. The slip is forced under pressure into plaster molds shaped like puzzle pieces. The plaster absorbs the water, and once the clay hardens, the mold is opened, and the piece is removed. Pressure casting is ideal for making items that are hard to shape by hand, like curved or hollow forms, and it allows for consistent production.

Printing Block (Tool for Traditional Woodblock Printing)

A printing block is a carved wooden board used to print images, especially in traditional Japanese woodblock art. Cherry wood is often used because it’s strong but easy to carve with fine detail. Artists carve out the areas that won’t print, leaving the raised surface to hold the ink. This carved block is then used to press the design onto paper. It’s a key tool in creating ukiyo-e and other classic print styles.

 

Crafts Glossary: R

Raden (Mother-of-Pearl Inlay on Lacquerware)

Raden is a decorative lacquer technique where thin pieces of shell are cut into patterns and pressed into the surface. These shell pieces usually come from abalone or white butterfly shells and are shaped into flowers, waves, or other motifs. The iridescent shine stands out against the dark lacquer background. This method came to Japan from China during the Nara period. Some of the oldest and most detailed pieces are still stored in the Shosoin Repository. The contrast between the lacquer and the shimmering shell creates a bold, elegant look.

Raku Ware (Hand-Shaped, Low-Fired Pottery)

Raku ware is pottery made by hand without a wheel and fired at low temperatures. It includes different types like Aka-Raku, which is red, Kuro-Raku, which is black, and Shiro-Raku, which is white. It started with Sen no Rikyu, the famous tea master, and was developed further by the Raku family in Kyoto. While Raku technically refers to work from that family line, the term is often used for any pottery made with the same hands-on, low-fire method. The surface is usually soft in texture, with natural glaze patterns caused by how it reacts in the kiln.

Rankakude (Eggshell Porcelain)

Rankakude is an extremely thin type of porcelain that looks as delicate as an eggshell. It was first made in the 1800s under the Hirado clan during the late Edo period. These pieces were so fine and light that they were in high demand across Europe and were sold as luxury goods. Production stopped after World War I but was brought back more recently. Its translucent quality and fragile look make it stand out among Japanese ceramics.

Rinpa (Decorative Arts School of the Edo Period)

Rinpa is a school of art that blends painting, crafts, and calligraphy. It began in the Edo period and was first shaped by Hon’ami Koetsu and Tawaraya Sotatsu. Later artists like Ogata Korin, Kenzan, and Sakai Hoitsu carried it forward. Rinpa isn’t a style passed down through family or official schools, but grew because artists admired each other’s work. Its roots come from traditional Yamato-e painting, but it’s known for bold designs, bright colors, and refined decoration. You’ll see Rinpa influence in folding screens, painted fans, textiles, and lacquer pieces.

Ro-gata Chuzo (Wax Casting for Metalwork)

Ro-gata chuzo is a traditional way of casting metal using wax. This method has been used in Japan since the Asuka period. First, a model is made using beeswax or Japanese wax mixed with pine resin. That wax model is then coated with clay. When it's heated, the wax melts and drains out, leaving a hollow mold behind. Molten metal is then poured into the empty space. After cooling, the clay mold is broken off, and the finished piece is removed. This casting method works well for detailed or delicate metal forms and is still used today for both tools and art pieces.

Roiro-Shiage (Glossy Lacquer Finish)

Roiro-shiage is a method used to polish the final coat of lacquer. The top layer is a thin, transparent lacquer that doesn’t have oil in it. It’s polished over and over using charcoal and ultra-fine powder until it gets a deep, mirror-like shine. The process is long and requires careful handwork, but the result is a clean, rich finish. This is also known as roiro-nuri and is often used in high-end lacquerware to bring out depth and color.

Rokuro (Potter’s Wheel for Shaping Clay)

Rokuro is the Japanese word for potter’s wheel. It’s a tool that spins clay so the potter can shape it with both hands. There are hand-turned wheels, kick wheels, and electric wheels. The electric version is most common now because it allows full control of the speed with a foot pedal. The steady spin lets potters make bowls, cups, and plates with even, symmetrical shapes.

Ruri-yu (Cobalt Blue Glaze on Ceramics)

Ruri-yu is a glaze that uses cobalt blue pigment, known as gozu, to create a vivid, transparent blue. When fired, it gives pottery a deep sapphire tone that looks glossy and rich. This glaze is often used on porcelain and gives pieces a sharp, clean finish. The color holds up well and stays bright over time.

 

Crafts Glossary: S

Saki-zome (Pre-dyeing Yarn for Weaving)

Saki-zome is a dyeing method where threads are colored before they’re woven into fabric. This technique gives the final textile a deeper and more even tone. It also lets makers create patterns that are sharp and clear because the color is already built into the threads. Saki-zome is common in traditional Japanese weaving and is still used today for high-quality fabrics.

Sandblasting (Glass Surface Etching Technique)

Sandblasting is used to carve or frost the surface of glass. It works by spraying sand or another abrasive material at high speed onto the glass. The pressure and size of the particles can be adjusted to control how deep the carving goes. The areas that get blasted take on a matte or frosted look. This technique is often used for patterns, logos, or texture, and it gives glass a custom, handcrafted appearance.

Sangiri (Ash-Resistant Glaze Effect in Ceramics)

Sangiri happens during reduction firing when part of a ceramic piece gets buried in ashes. This lack of oxygen causes changes in color and texture on the surface. You might see gray, black, blue, reddish brown, or other tones in the same piece. No two sangiri effects are the same. That randomness makes it a sought-after feature in wood-fired ceramics, especially in traditional Japanese pottery.

Sashi-mutsume-ami (Fine Bamboo Embroidery Weave)

This is a detailed weaving style using thin bamboo strips. The base pattern is mutsume-ami, which creates a hexagon shape. Sometimes it’s mixed with asanoha-ami, a hemp leaf design. These patterns are layered like embroidery, giving the final piece a delicate, lace-like finish. This method is used for baskets and other bamboo crafts that need both beauty and structure.

Sashimono (Traditional Japanese Joinery)

Sashimono is a woodworking method where boards are joined without nails. Instead, pieces are fitted together using clean, precise cuts. This allows for strong furniture and boxes that hold together over time. Sashimono has long been used in Japanese cabinetry, chests, and shelves. It’s also a common base for lacquerware, since the surface is smooth and doesn’t show hardware.

Satsuma Kiriko (Cut Glass from the Satsuma Domain)

Satsuma Kiriko is a type of cut glass that first appeared in Kagoshima during the late Edo period. It’s made using layers of thick colored glass on top of clear glass. Craftsmen cut the surface by hand, creating smooth transitions of color known as bokashi. These fades and changes in tone are what make Satsuma Kiriko stand out. Production stopped for a time but has since been revived, bringing back the intricate patterns and deep color tones that define the style.

Sen-biki (Bamboo Strip Sizing Process)

Sen-biki is a step in bamboo craft where strips are pulled through a fixed gap to make them even. A tool is used to split and shape the bamboo into uniform width and thickness. This step is essential before weaving or forming any kind of bamboo product. It makes sure the pieces are strong and balanced, which keeps the final work tight and clean.

Seto-guro (Jet-Black Mino Pottery)

Seto-guro is a style of black pottery linked to Mino ware. It started in the Azuchi-Momoyama period. The surface gets its deep black color from an iron glaze and a firing process called hikidashi. That means the piece is pulled out of the kiln while still red-hot, then cooled quickly. This shock to the surface locks in the color and gives it a glassy shine. Seto-guro is also called hikidashi-guro and is known for its dramatic tone and rich, solid feel.

Seto Ware (Ceramics from Seto City)

Seto ware comes from Seto in Aichi Prefecture. It’s one of Japan’s oldest pottery traditions and is part of the "six ancient kilns." In eastern Japan, Seto pieces were once so popular that people used the word “Setomono” to mean all ceramics. Seto makers have worked with many styles and glazes over time, making it one of the most flexible and lasting pottery regions in the country.

Shibori (Metal Hammering Technique)

Shibori is a metalworking method where a flat metal sheet is shaped into curves or forms by hammering it. The sheet is placed on a rounded metal block called an ategane. Then it’s struck repeatedly with a hammer or mallet. This slowly bends the metal into shape without cutting or removing material. It’s used in both traditional and modern sculpture, as well as metal vessels and tools.

Shigaraki Ware (Unglazed Ceramic from Shiga)

Shigaraki ware is pottery made in Shiga Prefecture. It’s fired at high heat with no glaze, so the coarse clay and natural ash glaze create its signature texture. The pieces often have warm, earthy colors, with marks left by the fire and ash. Shigaraki is one of the six ancient kilns of Japan. Its rough surface and natural look make it a favorite for traditional tea wares and rustic tableware.

Shima (Stripe Pattern in Japanese Textiles)

Shima refers to textile patterns made with straight lines formed by the weave of colored threads. Today, we call them stripes, but before the Momoyama period, people used the word suji, which just meant "line." The term shima, meaning "island," came into use during the early modern era. Back then, many striped fabrics arrived in Japan by ship from Spain and Portugal. Since those ships came from across the sea, locals started calling the imported cloth shima-mono, or "island things." Over time, the character for “island” (島) was swapped with a homophone (縞) that now means “stripe.”

Shino (White-Glazed Mino Ceramics)

Shino is a type of Mino ware that first appeared during the Azuchi-Momoyama period. It uses feldspar-based glaze over Mogusa-tsuchi, a local clay. The glaze gives it a soft white finish with small pinholes and uneven textures that collectors prize. There are different types of Shino. Muji-Shino is plain, E-Shino has painted designs, Nezumi-Shino has a gray tone, and Beni-Shino features hints of crimson. Each kind has a rough, natural surface that feels tied to the earth.

Shinogi (Ridge-Carving in Ceramics)

Shinogi is a design technique where ridges are carved into the surface of a ceramic piece. The name comes from the raised ridgeline found on Japanese swords, which also goes by shinogi. In pottery, this creates texture and adds depth to the shape, letting light hit different angles and giving the surface a dynamic look.

Shira-take (Glossy White Bamboo)

Shira-take is a smooth, glossy type of bamboo known for its clean white color. It comes from high-quality ma-dake bamboo that goes through a degreasing process, then gets dried naturally in the sun. This bamboo is both tough and beautiful, making it a popular choice for fences, buildings, tea tools, and detailed bamboo crafts.

Shiro-Bizen (Rare White Bizen Pottery)

Shiro-Bizen, or "White Bizen," is a rare form of Bizen ware. It began in the Edo period. Early pieces were made by covering white clay with a clear or white glaze, then firing them at high heat. Later, some artists skipped the glaze entirely. They used clay with low iron content to keep the color pale during firing. Since the methods changed from one potter to another and production stopped at times, white Bizen pieces are hard to come by and highly collectible.

Shizen-Nerikomi (Natural Clay Blending in Bizen Ware)

Shizen-nerikomi is a raw, hands-on approach to forming Bizen pottery. It’s different from traditional nerikomi, which mixes multiple clays for color patterns. In shizen-nerikomi, only one kind of clay is used, straight from the source. The artist removes rocks and other debris by hand, but otherwise keeps the clay close to its natural state. The goal is to show off the subtle variations already in the soil, giving the final piece a surface that looks like natural rock or earth.

Shizen-yu (Natural Ash Glaze in Wood-Fired Pottery)

Shizen-yu is a glaze that forms by accident in wood-fired kilns. As wood burns, ash flies through the chamber and lands on the pottery. At high heat, the ash melts and becomes a glaze. This process creates random patterns and textures that can’t be repeated. The glaze often shows up as a thin glassy layer with a mix of green, brown, or gray, depending on the minerals in the ash.

Shoki-Imari (Early Japanese Porcelain from Arita)

Shoki-Imari refers to some of the first porcelain made in Japan, mostly in the Arita region of Saga Prefecture. Production started in the early 1600s. Before colored glazes were used, the main style was sometsuke, or blue-and-white porcelain. These pieces are clean and simple, often with cobalt designs under a clear glaze. Shoki-Imari marked the beginning of Japan’s porcelain industry and laid the foundation for centuries of fine ceramic work.

Six Ancient Kilns (Historic Japanese Pottery Regions)

The Six Ancient Kilns refer to the most respected and longest-running pottery centers in Japan. These include Seto, Tokoname, Shigaraki, Echizen, Tanba Tachikui, and Bizen. Each region developed its own style and methods, dating back to the medieval period. They’ve remained active to this day. These kilns helped shape the foundation of Japanese ceramics and continue to influence modern pottery with their strong roots in tradition and regional design.

Slip Casting (Ceramic Molding with Liquid Clay)

Slip casting is a method used to make hollow ceramic pieces like teapots and vases. A liquid clay mix called slip is poured into plaster molds. The plaster pulls moisture from the clay, forming a layer inside. Once it thickens to the right level, the leftover slip is poured out. What remains becomes the shell of the piece. This process is often used in mass production because it allows for consistent shapes. It's also known as gaba casting in Japan.

Soda Glass (Everyday Glass Material)

Soda glass is the most common kind of glass used in daily life. It's easy to melt and shape, which makes it ideal for products like bottles, tableware, and flat glass panes. But it's sensitive to sudden changes in temperature and can crack or shatter from heat shock. When tapped, it has a duller sound compared to finer glass types like crystal.

Sogata (Sand-Clay Mold Casting for Metalwork)

Sogata is a casting method where patterns are carved inside a mold made from sand and clay. Once the mold is complete and hardened, molten metal is poured in. The space between the mold's walls shapes the final object. This technique is often used to make round metal items like pots or large bells for temples. It allows for precise designs, even with heavy metals.

Sometsuke (Blue and White Porcelain Painting)

Sometsuke is a traditional way to decorate porcelain using a blue pigment called gosu, also known as zaffer. This method came from China in the 14th century and arrived in Japan in the early 1600s through Arita. Artists paint designs on unglazed porcelain, then cover it with a clear glaze and fire it. There are two common styles: one where only outlines are drawn, and another called dami, where the inside of the outlines is filled with color. A spray technique known as fukizumi creates a soft contrast of blue patterns across the surface.

Stoneware (High-Fired Ceramic Between Pottery and Porcelain)

Stoneware is fired at high heat, around 1,200 to 1,300 degrees Celsius. It’s denser than pottery but not as refined as porcelain. It doesn’t absorb much water and has a solid, earthy feel. In Japan, stoneware mainly refers to unglazed wares from places like Bizen, Shigaraki, and Tokoname. These pieces often rely on natural kiln effects rather than added glazes, which gives them a rough, rustic finish.

Sue Ware (Early Japanese High-Fired Pottery)

Sue ware is a type of hard, gray-blue pottery made in Japan from the mid-3rd century to the late 1100s. It was shaped on a potter’s wheel and fired in wood-burning cave kilns called ana-gama at temperatures over 1,000 degrees Celsius. The style came from the Korean Peninsula in the 5th century and marked a change in Japanese ceramics, introducing advanced shaping and high-fired techniques. The result was durable pottery with a cool tone and tight surface.

Sukashi-bori (Cut-Out Porcelain Design)

Sukashi-bori involves carving patterns into porcelain while it’s still partly dry. Using a small knife, the artist cuts away sections of the clay to create openwork designs. When light passes through, the patterns show clearly, adding a sense of depth and detail. It’s a delicate process that requires steady hands and careful planning to avoid cracking the clay.

Suri-otoshi (Wiped-Slip Pottery Technique)

Suri-otoshi is a surface design method where a layer of white slip is applied over the clay and then partly wiped away. This reveals the color and texture of the base material underneath. The contrast between the slip and the exposed clay creates natural, uneven patterns. Taki Nakazato developed this technique, drawing inspiration from Negoro-style lacquerware, which features a similar layered and worn effect.

 

Crafts Glossary: T

Taga (Barrel Hoop Made of Bamboo or Metal)

A taga is a round band made from either bamboo or metal. It’s used to secure wooden tubs, buckets, or barrels by holding the upright wooden pieces tightly in place. Without the taga, the container wouldn’t stay together. It’s a simple tool, but it’s what gives wooden cooperage its structure and strength.

Tagamono (Traditional Cooperage Craft)

Tagamono refers to the craft of making wooden containers by setting vertical wooden slats in a circle and tightening them with a taga hoop. This method is used to make things like tubs, barrels, and pails. It's a traditional woodworking skill that takes precision to keep everything watertight and evenly shaped. Each piece relies on the tension of the hoop to stay firm without using nails or glue.

Taihaku Ware (Stoneware with Blue Underglaze)

Taihaku ware is a type of ceramic that started in the 1800s in Seto and Mino. These pieces are made from stoneware and are decorated using the sometsuke technique, which means painting designs under a clear glaze using cobalt blue. The blue designs often show up as simple floral or geometric patterns. It’s a style that combines strength with fine, understated decoration.

Takaoka Copperware (Top Japanese Copper Craft)

Takaoka copperware comes from Takaoka City in Toyama Prefecture. This area is the center of copperware production in Japan, making over 90 percent of the country’s total. The work ranges from large cast statues to small tableware and decorative items. It’s known for its clean metalwork, smooth finishes, and deep patinas developed through controlled aging or coloring. Takaoka's long history and skilled craftsmen keep this metalwork at a high standard.

Takaoka Lacquerware (Traditional Coated Craft from Toyama)

Takaoka lacquerware is made in the same city known for its copper. The craft began in the early 1600s when Toshinaga Maeda, lord of the Kaga domain, started promoting local arts. Over time, artists added Chinese techniques like tsuishu (red lacquer carving) and tsuikoku (black lacquer carving). Takaoka lacquerware includes styles like aogai-nuri, which uses thin shell inlays for shimmer; yusuke-nuri, which shows off Chinese-style patterns; and chokoku-nuri, which stands out for its carved texture and vivid lacquer colors. Each technique adds layers of color, light, and texture.

Tame-nuri (Layered Lacquer with Red Base)

Tame-nuri is a finishing method where transparent lacquer is brushed over a red middle layer. The red can be either bengara-urushi or shu-urushi, both of which are types of red lacquer. Over time, the top coat clears up more and more, letting the deep red underneath shine through. This aging process is part of the charm. If the base is shu-urushi, the piece may be called shu-dame or beni-tame-nuri, depending on the tone. The look is warm and subtle, giving depth to bowls, trays, and other lacquerware.

Tanba Ware (Ancient Pottery from Hyogo)

Tanba ware is pottery made in the Tachikui area of Tanba-Sasayama, Hyogo Prefecture. It’s one of Japan’s Six Ancient Kilns and has been active for centuries. The work often includes unglazed yakishime stoneware, fired at high heat to make the clay strong and water-resistant. Each kiln adds its own natural firing marks and textures, which gives the pottery its earthy and raw appearance. It’s also known as Tanba Tachikui ware.

Tankin (Hand-Hammered Metal Shaping)

Tankin is a method of shaping metal by hammering it into form. A flat sheet or block of metal, like copper, iron, silver, or gold is worked with a mallet or hammer until it takes the desired shape. This method doesn’t melt the metal. Instead, it relies on the metal’s softness and the skill of the hand. Tankin is used to make anything from bowls and trays to sculptural works, and the hammer marks often become part of the final texture.

Tanpan (Copper Sulfate Decoration in Ceramics)

Tanpan is a copper-based mineral used to decorate Ki-Seto pottery. When it reacts with the glaze during firing, it creates soft green spots or blotches. This reaction happens best when enough oxygen is present in the kiln. If the green shows through both the front and back of the piece, it’s called nuke-tanpan. That version is especially prized by collectors and potters for its rarity and depth of color.

Tan’ou-ji (Light Yellow Tobe Porcelain)

Tan’ou-ji is a pale ivory type of porcelain developed in 1893 by Wahei Mukai, who led the revival of Tobe ware. The soft yellow tone gives the porcelain a warmer look than bright white varieties. It holds onto the strength and smooth texture of Tobe porcelain but adds a hint of warmth and age to the color. This makes it ideal for everyday dishes and tea sets with a quiet, elegant style.

Tataki (Tapping Clay by Hand)

Tataki is a hands-on way of building pottery by layering coils of clay in a spiral and shaping them with a wooden mallet. As each coil is added, the surface is tapped with the mallet while wooden boards are pressed against the inside. These boards and the mallet are carved in a way that lets the clay come away cleanly, while also stamping a subtle pattern into the outside of the piece. The tapping shapes the form and leaves a textured surface that becomes part of the final look.

Tatara-zukuri (Slab Building with Clay Sheets)

Tatara-zukuri is a pottery technique that uses flat clay slabs instead of spinning clay on a wheel. The clay sheets are cut, bent, and pressed together on a board or table to build square or angular shapes. It’s good for forms that can't be made with round motion. This method lets potters shape bowls, trays, and vessels with clean corners and flat sides, offering a different feel from wheel-thrown work.

Tategi-dori (Straight Grain Sawing for Wood Strength)

Tategi-dori is a woodworking method used when cutting lumber for lacquerware and bamboo crafts. The wood is sawed along the direction of the grain, which makes it more stable. Boards cut this way are less likely to warp or crack over time. They also resist impact better, making them useful for items that need to last. Following the grain keeps the natural look of the wood clean and even.

Tebineri (Primitive Hand-Built Pottery)

Tebineri is pottery made by hand without tools or molds. The clay is shaped using just fingers and palms. This is one of the oldest ways to form pottery. It’s not ideal for precise or detailed work, but it creates a raw, natural style. Many pieces made this way have a rough, earthy finish. The uneven form is part of the appeal. It shows the maker’s touch clearly and carries a rustic charm.

Tenmoku (Black-Glazed Tea Bowls)

Tenmoku refers to a style of black-glazed tea bowl. The name comes from Tenmoku Mountain in China, where Japanese monks first encountered this kind of pottery during the Kamakura period. When they returned to Japan, they brought back both the style and the name. Tenmoku bowls come in a few typical shapes: standard round bowls, morning-glory shapes, and others shaped like cone hats. Since the early modern period, potters across Japan have made these bowls using their own local materials and glaze variations.

Tensha (Transfer-Printed Decoration on Ceramics)

Tensha is a method where decorative patterns are printed onto special transfer sheets, which are then applied to the surface of a ceramic item. These prints can come from copper plates, decals, or other materials made for use with ceramics. The design is transferred before the final firing. This process makes it easier to apply detailed or repeat designs quickly and accurately across many pieces.

Tetsu-e (Iron Underglaze Painting)

Tetsu-e is a painting technique used before the glaze goes on. Iron-rich pigment is brushed directly onto the raw ceramic surface. Once the glaze is applied and the piece is fired, the iron reacts to the heat and turns into shades of brown or black. This gives a soft, blurred effect that adds depth to the design. Tetsu-e came from China and began spreading in Japan in the late 1500s, especially in areas like Mino and Karatsu. It's often used for floral or landscape motifs.

Tetsusabi-nuri (Iron-Rust Textured Lacquerware)

Tetsusabi-nuri is a unique lacquer technique from Aizu. It creates a dark, rough surface that mimics the texture of cast iron. Craftspeople mix raw lacquer with tonoko, a powder made from polishing stones. The mixture is piped through a tube to draw patterns on the surface. Once it hardens, the result is a bold, rugged texture with a rust-colored look. The finish gives the object a solid, almost metal-like feel.

Tobe Ware (Handmade Porcelain from Ehime)

Tobe ware refers to porcelain made mainly in Tobe, a town in Ehime Prefecture. It’s crafted using local porcelain stone, which gives it a dense and strong body. Most pieces are shaped by hand and tend to be slightly thick, which adds to their sturdy feel. Tobe ware includes several styles like pure white porcelain, sometsuke blue-and-white, celadon, and tenmoku. The pottery from this region is known for its clean lines and practical beauty. The hardness of the porcelain makes it ideal for everyday use.

Togi-dashi (Polished Layered Lacquer Technique)

Togi-dashi is a method used in lacquerware where layers of colored lacquer are applied one at a time. After each layer is added, it’s carefully polished with charcoal. This process reveals the lower layers and blends the colors into a smooth finish. The result is a subtle, multi-toned surface with depth and shine. This technique takes time and skill, but it gives lacquerware a rich, polished look that feels smooth to the touch.

Tokibo / Hakobi (Bamboo Brush for Paint Application)

Tokibo, also called Hakobi, is a handmade brush used for applying paint, mostly in woodblock printing or similar crafts. It's shaped like a broom and made from thin strips of bamboo skin. The strips are tied together with string and attached to a handle. The texture of the bamboo makes it good for spreading ink or paint evenly on wood surfaces. It’s a simple but essential tool in traditional Japanese painting and printing.

Tokoname Ware (Ancient Stoneware from Aichi)

Tokoname ware is stoneware that comes from Tokoname in Aichi Prefecture. It's one of Japan's six oldest kilns and has the longest continuous history. The clay in this area is rich in iron, which gives the finished pottery its reddish-brown color after firing. Pieces are made using an oxidizing flame, which enhances the warmth of the clay. This ware is mostly known for its practical forms and rustic look, especially teapots and everyday vessels with a solid, earthy tone.

Totai-shikki (Ceramic-Based Lacquerware)

Totai-shikki is a type of lacquerware that uses ceramic as the base instead of wood. The lacquer is applied directly onto a ceramic surface, blending the strength of ceramics with the gloss and color of lacquer. This method creates a hard, durable object that combines two traditional Japanese crafts. It has the visual depth of lacquer but the weight and feel of porcelain, giving it a unique presence.

Tsubaki-de (Multi-Glazed Mino Ware)

Tsubaki-de is a style of Mino ware pottery that uses both ash glaze and iron glaze. The mix of these glazes produces a surface that can show yellow, red-brown, deep brown, or black tones. The amount of iron in the glaze affects the final color. Sometimes small red spots appear in the glaze, and these spots are said to look like camellia flowers, which is where the name "Tsubaki" (camellia) comes from. The result is a natural, uneven finish with a soft, organic look.

Tsuiki (Hammered Metal Forming)

Tsuiki is a metalworking method where sheets of gold, silver, copper, or alloys are hammered into shape. Craftsmen stretch and form the metal by hand, taking advantage of its natural softness and flexibility. This process is used to make things like kettles, bowls, and other curved objects. Because the metal is shaped gradually, it builds strength even as it’s thinned and molded. The final form shows off both the shine of the metal and the precision of the handwork.

Tsuki-ita (Natural Wood Veneer Sheets)

Tsuki-ita is a thin sheet of natural wood that’s shaved with a sharp blade. These sheets are often glued onto plywood or fiberboard as a surface layer. When applied, they create decorative panels called “kesho-gohan,” or decorative plywood. These are widely used in furniture making and interior construction. The look and feel of real wood are kept, but the cost and weight are reduced, making tsuki-ita a smart choice for large-scale wood projects.

 

Crafts Glossary: W

Wajima Lacquerware (Durable Lacquer from Ishikawa)

Wajima lacquerware comes from Wajima City in Ishikawa Prefecture. It’s known for its strength and toughness. The base wood is first reinforced with cloth, then coated with several layers of lacquer mixed with jinoko. Jinoko is powdered diatomaceous earth, which adds thickness and durability to the surface. These layers build a solid, long-lasting finish that can handle daily use without losing its quality.

White Porcelain (High-Fired Japanese Porcelain)

White porcelain is made from a pure white stone that contains kaolin. It gets a clear glaze and is fired at high temperatures using reduction firing. The technique came to Japan after 1616, when porcelain stone was found in Izumiyama, Arita. The Japanese took what was developed in China and made it their own, producing white porcelain that’s smooth, clean, and strong. It’s now a key part of Japan’s ceramic tradition.

 

Crafts Glossary: Y

Yaki-namashi (Annealing Copper and Metal Alloys)

Yaki-namashi is a heating process used in metalwork, especially for copper. After a piece is hammered into shape, it becomes hard and brittle. To make it easier to shape further, it’s heated in fire. This softens the metal without melting it. Artists often repeat this cycle of hammering and heating until they get the final form. It keeps the metal workable and prevents cracking.

Yakishime (Unglazed High-Fired Stoneware)

Yakishime is a way to make ceramic pieces by firing dried clay at high heat, usually between 1100 and 1400 degrees Celsius. No glazes or undercoats are used. The bare clay gets its final look and texture from the fire alone. This method creates a strong, natural finish with an earthy feel. It’s used for both practical items and art pieces that show off the raw beauty of the clay.

Yamagata Casting (Fine Metal Casting from Northern Japan)

Yamagata casting began in the late Heian period when artisans moved to the area and used the local soil and sand for mold-making. These natural materials worked well for casting metals. Yamagata castings are known for their thin surfaces and precise shapes. Many workshops in the region handle everything in-house, from design to production to sales. This hands-on process keeps the quality high and the tradition alive.

Yamanaka Lacquerware (Turned Wood Crafts from Ishikawa)

Yamanaka lacquerware is made in the Yamanaka-Onsen area of Kaga City, Ishikawa Prefecture. This region is famous for its woodturning techniques. Artists shape wood on a lathe before coating it with layers of lacquer. The process allows for elegant curves and smooth finishes. The natural grain of the wood often shows through the lacquer, adding warmth and detail to each piece.

Yobitsugi (Mixed-Piece Kintsugi Restoration)

Yobitsugi is a version of kintsugi where broken ceramic pieces from different sources are joined together. Instead of trying to hide the repair, it turns the patchwork into a new design. Each fragment keeps its original character, creating a finished piece that blends styles, patterns, and glazes. It’s a way of celebrating imperfection and creativity through restoration.

Yohen (Kiln Effects in Fired Ceramics)

Yohen refers to the changes that happen to ceramics during firing. These effects are not planned. They happen when the fire, oxygen, or glaze reacts in an unexpected way. The results can include changes in color, shine, or texture. Potters often welcome these surprises because they add depth and uniqueness to each item.

Yohen Tenmoku (Rare Starry Glaze Tea Bowls)

Yohen Tenmoku is one of the rarest forms of Tenmoku ware. It comes from the Jian kilns in Fujian Province, China, during the Southern Song dynasty. The glaze is jet black with silvery specks that look like stars against the night sky. Hints of blue and changing light surround the specks, giving it a deep, iridescent look. Only three bowls are known to meet the strict definition of true Yohen Tenmoku. All are in Japan and are considered national treasures.

Yokino Ware (Rustic Everyday Pottery from Kagoshima)

Yokino ware was made in Sumiyoshi-Yokino on Tanegashima Island in Kagoshima. It was produced from the early Edo period until 1902. The clay used is rich in iron and has a rough, textured feel. These ceramics were lightly glazed and mostly used for daily household needs. They have a simple, grounded quality and reflect the practical roots of local pottery.

Yosegi (Traditional Japanese Wood Pattern Inlay)

Yosegi is a woodworking technique that creates detailed patterns using small pieces of different woods. The natural colors and grains of the wood form intricate designs. It’s similar to parquetry. This method is especially tied to Odawara and Hakone in Kanagawa Prefecture. Artisans carefully piece the wood together, creating panels that are later sliced and used on boxes and trays.

Yotsume-ami (Square Bamboo Weave)

Yotsume-ami is a basic bamboo weaving method where the strands are woven into a square pattern. It’s often used as a base structure in bamboo crafts. The clean, even layout gives strength and flexibility to baskets, screens, and other woven pieces.

Yuri-kinsai (Gold Decoration Technique for Ceramics)

Yuri-kinsai is a ceramic technique where gold leaf, gold paint, or other gold details are added to the surface. After the gold is applied, the piece is coated in glaze and fired. The result is a smooth, glassy finish with gold patterns that shine under the surface. It’s a delicate, high-skill method that adds richness without overpowering the base ceramic.

Yuteki Tenmoku (Oil Spot Glazed Tea Bowls)

Yuteki Tenmoku is another type of Tenmoku ware from the Jian kilns in China, dating to the Southern Song dynasty. The glaze is black with gold and silver flecks that resemble oil drops. These flecks cover both the inside and outside of the tea bowl. Similar pieces were also made at the Cizhou kilns in Hebei during the Song and Yuan dynasties. The speckled effect gives each bowl a dynamic, shimmering look.

Yuzu-hada (Citrus Peel Glaze Texture)

Yuzu-hada is a glaze texture that looks like the surface of a yuzu citrus peel. Small pits form across the ceramic surface during firing. The result is a tactile finish that adds subtle detail to the piece. It's usually unintentional but often appreciated for the natural, organic touch it brings.

Crafts Glossary: Z

Zogan (Inlay Technique Across Materials)

Zogan is a decorative method used in many types of crafts, including ceramics, lacquerware, metalwork, wood, and even glass. The process starts by carving patterns or grooves into the surface of the main material. Then, a different material (often one that contrasts in color or texture) is placed into those carved spaces. This creates detailed designs that stand out against the base. Zogan is used to add fine detail and layered visual depth. The technique varies depending on the materials, but the goal is always the same: to combine different elements into a single, unified design.