Introduction to Japanese Pottery

Japanese pottery dates back to the Neolithic period (around the 11th millennium BCE), marked by the creation of early soft earthenware.

Jōmon Pottery (c. 6000 - 300 BCE)

- Origins & Techniques:
Potters in the early Jōmon period (6th millennium BCE) used clay coils, shaping vessels by stacking clay ropes and smoothing them by hand.

- Decoration:
These pots featured rope-impressed patterns - hence the name “Jōmon,” meaning “rope‑patterned.”

- Style Evolution:
Over time, Jōmon pottery reached an elaborate peak before simplifying in later phases. All pottery was fired in open fires.

Yayoi Pottery (c. 4th - 3rd century BCE)

- Design & Aesthetic:
The Yayoi period introduced pottery with simpler or no decoration, yet used similar earthenware techniques as Jōmon.

- Comparison of Styles:
Though they shared firing methods, Jōmon, Yayoi, and later Haji ware differed in decorative style.

Technological Advances: Kiln & Wheel (3rd - 4th centuries CE)

- New Methods:
Around the 3rd to 4th centuries CE, Japan adopted the anagama kiln and the potter’s wheel.

- Origins:
These innovations arrived in Kyushu from the Korean peninsula.

Materials and Local Clay Use

- Local Resources:
Japanese potters relied on local clay, especially kaolin-rich clay in Kyushu. Traditional kilns were built near clay deposits.

- Clay Characteristics:
From Jōmon to Yayoi, potters used iron-bearing shale and alluvial clays. Early Jōmon pieces sometimes mixed in organic matter; later work favored sand or crushed stone.

- Studio Potters Today:
Modern artisans continue to use local clays, tailoring glazes and decoration to each region’s material.

Chinese Influence: Nara and Heian Techniques (8th - 9th centuries CE)

- Refined Materials:
Chinese influence during the 8th and 9th centuries CE led Japanese potters to use white, refractory clays.

- Levigation:
They refined clay by washing, creating finer vessels for both Nara three-color wares and Heian ash-glazed pieces.

Sue Stoneware and the Anagama Kiln (5th - 14th century)

- High-Temperature Firing:
The anagama kiln allowed stoneware creation (1200 - 1300 °C).

- Accidental Effects:
Introducing plant materials in a low-oxygen phase created natural glaze effects.

- Timeline & Spread:
Sue pottery began in the 5th century and spread across Japan until the 14th century.

- Consistency & Function:
Despite regional differences, Sue remained stylistically uniform. Its uses changed:
* Kofun period (CE 300 - 710): funerary vessels
* Nara (710 - 794) & Heian (794 - 1185): elite tableware
* Later periods: everyday utensils and Buddhist altar vessels

Earthenware: Haji Ware & Haniwa Objects

- Parallel Styles:
Haji ware and funerary haniwa sculptures continued the earthenware tradition, echoing Yayoi techniques in their design and firing.

Lead-Glazed Techniques and Temple Wares (Heian Period)

- Three-Color Glaze Arrival:
Inspired by Tang dynasty China, a three-color lead glaze was introduced in the 8th century.

- Temple Production:
Official kilns during the Heian period (c. 800 - 1200) produced basic green lead glazes for use in temple ceramics.

Regional Styles: Kamui, Atsumi, and Tokoname Wares

Distinct Traditions:
The Heian period also saw the rise of regional names such as Kamui ware, Atsumi ware, and Tokoname ware, each rooted in local clay and kiln practices.

 

Unglazed Stoneware for Daily Life (Until 17th Century)

Until the 1600s, most Japanese pottery was unglazed stoneware. It served practical uses - funerary jars, storage jars, kitchen pots - for a farming society.

Some kilns gained prominence by refining their work. These became known as the “Six Old Kilns”:

- Shigaraki
- Tamba
Bizen
- Tokoname
- Echizen
- Seto

Seto Kiln and the Start of Glazed Ceramics

- Origins: Seto, in Owari Province (now Aichi Prefecture), stood out by mastering glaze.

- Legend of Katō Shirozaemon: Around 1223, Katō Shirozaemon Kagemasa (also called Tōshirō) is said to have studied in China and brought back high-fired glazed ceramics to Seto.

- Chinese Imitation: Seto kilns copied Chinese wares and produced ash brown, iron black, feldspar white, and copper green glazes.

- Legacy: So common were these wares that “Seto-mono” became a phrase for ceramics in Japan.

- Unglazed Work: They also made unglazed stoneware.

In the late 1500s, civil wars forced many Seto potters to flee to Mino Province (Gifu Prefecture). There, they created:

- Yellow Seto (Ki-Seto)
- Shino ware
- Black Seto (Seto-Guro)
- Oribe ware

Chinese Ceramics and the Tea Ceremony

- Gifts from China: In 1406, the Yongle Emperor of Ming China gifted ten Song dynasty Jian ware bowls to shōgun Ashikaga Yoshimitsu (1358 - 1408), ruler in the Muromachi period.

- Monks and Imports: Japanese monks brought back Chinese pieces. These became popular in tea ceremonies.

Five southern Song dynasty vessels are now designated National Treasures of Japan. Jian ware inspired Japanese tenmoku, a prized tea-ceremony stoneware.

Continued Imports (11th - 16th Century)

From the 1000s to the 1500s, Japan imported:

- Chinese celadon greenware
- White porcelain
- Blue-and-white ware
- Korean and Vietnamese ceramics

Wealthy patrons ordered custom Chinese wares. High-end imports also came from Luzon (known as Rusun-yaki) and Annam (northern Vietnam).

Rise of Wabi-Sabi and Japanese Tea Ceramics (Late 16th Century)

- Buddhism & Tea: In the late 1500s, Buddhism influenced tea aesthetics. Tea masters began favoring simple, rustic ceramics - especially imperfect Korean tea bowls - over polished Chinese porcelain.

- Sen no Rikyū: The key figure, he praised the “rugged spontaneity” of humble pottery, a major change in Japanese ceramics.

- Raku Ware: The Raku family began producing brown-glazed earthenware tea bowls.

- Domestic Kilns: Mino, Bizen, Shigaraki, Iga, and more supplied tea utensils.

- Master Potter: Hon’ami Kōetsu crafted several tea bowls, now deemed masterpieces.

 

Korean Potters and the Birth of Japanese Porcelain (1592)

During Toyotomi Hideyoshi’s 1592 invasion of Korea, Korean potters were captured and brought to Japan as slaves. One of these, Yi Sam-pyeong, is credited with discovering porcelain clay near Arita. He produced Japan’s first porcelain. These potters introduced the noborigama - or “rising kiln” - built into hillsides, allowing firing at 1,400 °C. Soon, kilns in Satsuma, Hagi, Karatsu, Takatori, Agano, and Arita opened.

Chinese Conflict and Arita’s Porcelain Boom (1640s - 1740)

In the 1640s, war between Ming China and Manchus disrupted Chinese kilns. From 1656 to 1684, the Qing closed ports, leading Chinese potter refugees to bring refined porcelain techniques and enamel glazes to Arita.

- From 1658, the Dutch East India Company sought blue-and-white porcelain from Japan.
- Though early Kakiemon kilns struggled to meet demand, production expanded rapidly.
- Between 1659 and 1740, Arita kilns exported large quantities to Europe and Asia.

As Chinese kilns recovered, they created colorful enamel styles - famille rose, famille verte - that matched European tastes. Around 1720, Chinese and European workshops began copying Imari-style wares. By 1740, Japan’s export porcelain boom had mostly ended.

Arita also produced domestic ceramics, including Ko-Kutani enamelware.

Japanese Porcelain in China and Europe

Some Japanese porcelain was sent to China, where merchants sold it on to European East India companies that couldn't trade directly with Japan. Chinese buyers preferred Kakiemon ware over Imari, creating differences in early European collections - Dutch collectors favored Imari, while English, French, and German collectors leaned toward Kakiemon.

Imari port exported much of this, so blue-and-white pieces became known as “Arita,” while those with blue, red, and gold designs were called “Imari.” Both types often came from the same kilns. In 1759, the dark red bengara pigment became industrially available, reviving the orange Ko-Imari style of the 1720s.

Luxury Porcelain: Nabeshima and Hirado Wares (1675 Onward)

In 1675, the ruling Nabeshima family of Arita created their own kiln for top-tier enamelware porcelain. Known as Nabeshima ware, it featured traditional Japanese motifs inspired by textiles, distinct from Chinese-style Arita wares.

Hirado ware was another high-end porcelain developed for elite use. It is noted for its ultra-fine white body and detailed blue painting - artists skilled in scroll painting were hired. Unlike Nabeshima, Hirado later became an important export product in the 19th century.

Kyoto’s Overglazed Beauty: Kyōyaki Porcelain (17th Century)

In Kyoto, Japan’s imperial capital, potteries made clear lead-glazed wares in a southern China style. Potter Nonomura Ninsei innovated opaque overglaze enamel. His temple-sponsored studio refined many uniquely Japanese designs. His apprentice, Ogata Kenzan, took Kyoto ceramics (Kyōyaki) further with his own arts-and-crafts style.

Porcelain bodies arrived later, thanks to Okuda Eisen. But overglazed pottery remained popular. His students - Aoki Mokubei, Ninami Dōhachi, and Eiraku Hozen enriched Kyōyaki’s style.

 

Origins of New Porcelain Kilns in Japan

In the late 1700s to early 1800s, Japan discovered new deposits of white porcelain clay. This led to freer movement for potters and increased domestic trade. Local lords and merchants began opening kilns, such as Kameyama and Tobe, to profit from this new resource. Established centers like Seto reopened as porcelain producers. These “New Kilns” spread Arita-style porcelain beyond elite circles to everyday consumers.

Meiji Period and the Export of Japanese Decorative Arts

With Japan opening to the world during the Meiji period, Japanese arts found new audiences abroad. Traditional support from daimyō diminished, leaving many artisans without income. The government stepped in to promote art exports, showcasing Japanese crafts at international fairs, starting with the 1873 Vienna World’s Fair. The Imperial Household also got involved, appointing official artists and commissioning decorative pieces as diplomatic gifts. Most exported works were in the decorative arts, including pottery.

Rise and Transformation of Satsuma Ware

Originally made in Satsuma Province, Satsuma ware featured intricate overglaze enamels and gold detailing. While Western audiences fell in love with it, the style was heavily influenced by imported pigments and Western tastes - and designed specifically for export. Many workshops rapidly produced cheaper versions outside Satsuma. Over time, “Satsuma ware” became synonymous with lower-quality export ceramics. But artists like Yabu Meizan and Makuzu Kōzan defied this trend. They maintained high artistic standards, won international awards, and in Meizan’s case, used copper plate techniques to apply up to a thousand motifs per piece.

Meiji-Era Porcelain Innovation

By Meiji’s start, Japan had a strong porcelain base - but much of it lacked finesse. Between the 1880s and early 1900s, that changed. Makuzu Kōzan led the transformation. He merged technical skill with traditional artistry, pioneering a style that blended multiple underglaze colors. In the 1890s, he refined these underglazes, and between 1900 - 1910, he reshaped forms and decoration under Western influence. His work redefined global views of Japanese design and elevated porcelain into one of Japan’s most successful decorative art exports.

 

Bernard Leach: Shaping British Studio Pottery Through Japan

Bernard Leach (1887 - 1979), often dubbed the “Father of British studio pottery,” lived in Japan from 1909 to 1920 during the Taishō period. He became the leading Western voice interpreting Japanese ceramics. His time in Japan informed his own craft and guided numerous artists worldwide.

The Mingei Movement: Elevating Commoner Pottery

In Japan’s early Shōwa era (late 1920s - 1930s), the mingei (民芸) folk‑art movement emerged. Founded by Yanagi Sōetsu (1889 - 1961), mingei saved simple utilitarian pots from Edo and Meiji eras as Japan urbanized.

Key figures include:

- Shōji Hamada (1894 - 1978): He put Mashiko on the map by leading Mashiko ware.
- Kawai Kanjirō (1890 - 1966) and Tatsuzō Shimaoka (1919 - 2007): Both revived old glazing techniques to preserve traditional wares.

War-Time Ceramics: Survival & Continuity

During the Pacific War, resources were diverted to the war effort. Pottery production halted or slowed, and markets collapsed. In response, the Cultural Properties Protection Division stepped in to safeguard traditional kilns and styles.

Village Pottery: Tradition in Everyday Use

- Tamba kilns near Kobe: These kilns still produce Tokugawa‑style daily ware, adapting traditional forms discreetly.

- Kyūshū’s Korean‑origin kilns: Locations like Koishiwara and Onta continue using 16th‑century Korean peasant styles.

- Okinawa: Village pottery flourished under masters like Kinjo Jiro, recognized as a ningen kokuho (Living National Treasure).

Traditional Kilns & Living Treasure Potters

Active traditional kilns include those in Shiga, Iga, Karatsu, Hagi, and Bizen. Notable ningen kokuho include:

- Yamamoto Masao (Toushuu) of Bizen, and
- Miwa Kyusetsu of Hagi.

They were recognized for their mastery in kiln‑ware and decoration. By 1989, only six potters or groups held this honor.

Kyoto, Mino & Porcelain Heritage

- Raku family in Kyoto continued making rustic tea bowls beloved since Toyotomi Hideyoshi’s era.

- In Mino, potters reproduced Momoyama‑period glazes like Oribe’s copper‑green and Shino’s creamy glaze.

- Ceramic education at Kyoto and Tokyo arts universities, led by masters like Fujimoto Yoshimichi (a ningen kokuho), pushed modern reinterpretations of traditional porcelain.

- In Kyūshū’s Arita region, kiln lineages like Sakaida Kakiemon XIV and Imaizumi

Imaemon XIII - once tied to the Nabeshima clan - upheld mukei bunkazai status (intangible cultural assets).

Western & Global Potters Adopting Japanese Influence

British artist Lucie Rie (1902 - 1995) blended Japanese techniques and Leach’s influence, earning acclaim in Japan.
Edmund de Waal (b. 1964) studied Leach and lived in Japan to learn mingei style.
Canadian potter Thomas Bezanson also drew inspiration from mingei principles.

Studio Pottery’s Evolution Since the 1980s

By the late 1980s, many potters abandoned ancient kilns. They continued traditional styles in new ways across Japan.

- In Tokyo, Tsuji Seimei worked with clay from Shiga, creating modern interpretations.

• Artists sought to recreate Chinese-style glazes:
  Blue‑green celadon, watery‑green qingbai, and chocolate‑brown tenmoku - popular in Japan for its wabi (rustic simplicity).
  The tenmoku glaze links to Zen traditions and influenced global potters. For example, Japanese‑born Hideaki Miyamura in the U.S. creates tenmoku‑glazed wares reflecting Zen aesthetics.

In our other blogs, we will carefully explore the techniques of each niche in greater detail...