Traditional Japanese Pottery: Historic Ceramic Styles (Part I)
Traditional Japanese pottery, also known as Japanese ceramics, reflects centuries of regional artistry, natural materials, and handcrafting traditions. In this two-part blog, we look closely at many different styles such as Raku ware, Shino pottery, Oribe ceramics, Bizen ware, and many more.
These classic Japanese pottery styles were developed using local clay and age-old firing methods. From the rustic look of Raku tea bowls to the iron-rich textures of Bizen stoneware, each type carries its own legacy of Japanese ceramic craftsmanship. This guide to Japanese pottery traditions highlights key features, regional roots, and the importance of handmade ceramics in Japanese culture.
1. Imari ware/Arita ware
Imari ware and Arita ware are both types of Japanese porcelain made near the town of Arita in Saga Prefecture. These two styles are closely related. They share the same roots and materials. The porcelain is made from a special type of stone found in the area, which gives it a strong but lightweight body. Both are known for their smooth surface, fine texture, and classic color mix. You’ll often see a deep indigo blue and a vivid red painted over clean white porcelain.
In the early days, there was almost no difference between Imari and Arita ware. They were both fired in kilns across the same region, including places like Mikawachi and Hasami. The names Imari and Arita came from the ports and stations used to ship them. Mikawachi ware and Hasami ware were even sold under the names Imari or Arita ware for a long time. These days, the name Arita ware is only used for pieces made in Arita. Imari ware now refers to porcelain made in Imari. One exception is Koimari. That term doesn’t mean the pottery was fired in Imari. Instead, it refers to earlier pieces made before 1650.
How It All Started
The history of Imari and Arita porcelain began in 1616 during Japan’s Edo period. It started when a Korean potter named Yi Sam-pyeong discovered a local source of porcelain stone. He had come to Japan with Nabeshima Naoshige, a regional lord. This find marked the beginning of full-scale porcelain production in Japan.
The earliest pieces from around 1650 were basic. They were thick and only painted with a blue pigment called gosu, made from cobalt. At this point, overglaze painting wasn’t part of the process yet. That changed in 1647, when Sakaida Kakiemon, the first of his family line, started using overglaze techniques. Around the same time, red-painted designs called aka-e became popular. These red-painted ceramics helped shape the Kakiemon style, which later gained worldwide attention. Even Germany’s famous Meissen factory copied these designs.
The Rise of Kinrande Style
By 1688, the look of Imari and Arita ware changed. A new, bold style called kinrande took over. This design used rich reds and golds to decorate the whole surface of the porcelain. It became one of the most recognized styles of Japanese ceramics and was highly valued in both domestic and overseas markets.
Modern Advances in Technique
In 1870, a big change happened in how these ceramics were fired. A coal-burning kiln inspired by Wagner’s design was built. This allowed for hotter and more stable firing. Around this time, cobalt also started being used as a raw ingredient for the blue pigment gosu. These changes helped spread the porcelain industry even further across Japan.
Imari and Arita ware both carry deep history, sharp craftsmanship, and a blend of Japanese and foreign influence. From simple blue patterns to gold-covered works of art, these ceramics continue to hold a strong place in Japanese porcelain today.
How Imari and Arita Ware Is Made
Making the Clay
The process starts with porcelain stone. This raw material is dug up and sorted into two main types: Izumi stone and Tengusa stone. Each type has slightly different properties. Once sorted, the stone is crushed and ground into a fine powder. First, a crusher breaks it into smaller chunks. Then a stamper turns those chunks into powder. That powder goes into a water tank. This step, called elutriation, helps remove impurities like iron. Afterward, the mixture is dried to remove extra moisture. What’s left is clean, workable clay ready for shaping.
Shaping the Form
Before shaping, the clay has to be kneaded. This part is crucial. Kneading gets rid of trapped air and makes the moisture levels even. If air bubbles or uneven spots are left in the clay, cracks and warping can happen during firing. This kneading step, sometimes called clay wedging, is standard in every kind of ceramic work.
After kneading, the clay is shaped using potter’s wheels, molds, or templates. Some use electric wheels; others rely on manual methods. Either way, the shaping stage creates the base form of each piece.
Drying and Touch-Ups
Once the form is shaped, extra parts are added. These include things like feet, handles, and rims. After that, the drying begins. But it has to happen slowly. If the unglazed pottery dries too fast, it can twist or crack. Patience during drying is key to keeping the shape solid and smooth.
Biscuit Firing
When the piece is fully dry, it goes through its first firing. This step is called biscuit firing. The temperature ranges between 850 and 950 degrees Celsius. The heat has to rise gradually. Sudden changes in temperature could break the piece. Cooling is also done slowly for the same reason. This firing hardens the clay and gets it ready for decoration and glaze.
Underglaze Decoration
After biscuit firing, the pottery is painted with its first layer of color. This is known as underglaze decoration. The most common dye used here is gosu, a cobalt-based pigment. This dye gives Imari and Arita ware its rich indigo blue. Artists often use water to adjust the shading instead of using different tones. They draw lines and fill in patterns with precise brushwork at this stage.
Applying the Glaze
Once the design is painted, glaze is added. The glaze coat is applied thinly and evenly over the whole piece. This step is called glazing. After it’s fired, the glaze turns into a glass-like surface. It adds shine, makes the surface smooth, and helps protect the piece from dirt and stains. The base of each piece is wiped clean of glaze so it doesn’t stick to the kiln. Then the pieces are dried again.
Glost Firing
After the glaze is dry, the next round of firing happens. This is called glost firing. The temperature is much higher, usually around 1300 degrees Celsius, and it lasts about 16 hours. This firing locks in the glaze and finishes the piece if no more decoration is needed.
On-Glaze Decoration
Some pieces get more detail after the glost firing. This is called on-glaze decoration. Bright red, a signature color of Imari and Arita ware, is added at this stage. Since these pigments can’t handle high heat, the kiln is set lower, usually between 700 and 800 degrees Celsius. If gold or silver leaf is used, one more firing is needed after that. In this final step, a thin layer of glaze is applied over the metal and fired again at about 400 degrees Celsius. This step is sometimes called nishikigama or kingama.
From raw stone to finished piece, the production process takes time, skill, and careful control at every stage. Each step brings out the beauty and strength that define traditional Japanese porcelain.
2. Hasami ware
Hasami ware, known in Japanese as Hasami yaki, is a type of porcelain made in Hasami, a town in Nagasaki prefecture. It started back in the late Sengoku period, sometime before 1600 CE, and people still use it today for everyday tableware. What makes Hasami ware stand out is the smooth, white porcelain and its signature blue glaze called gosu, a deep, semi-clear indigo that’s unlike anything else.
Some of the best-known Hasami pieces are kurawanka bowls, compra bottles, and warenikka tableware. Kurawanka bowls got their name from an old phrase in the Nagasaki dialect. Sellers used to shout “sake kurawanka?” which means “How about some sake?” to draw people in. Compra bottles were made mainly to export soy sauce and sake. The name comes from the Portuguese word "comprador," meaning broker. This was during the Edo period when foreign traders lived on Dejima, an island built in Nagasaki just for that purpose. Back then, Dejima was the only place in Japan open to global trade.
Warenikka tableware came much later, in 1987. It was designed to be stronger and harder to break, especially for use in schools. At first, only elementary schools in Hasami used them, but as school lunch programs spread across Japan, these pieces started showing up in other schools and hospitals, even outside the prefecture. Eventually, they became common all over the country.
How Hasami Ware Began
The roots of Hasami ware trace back to 1598. That year, Yoshiaki Omura, the lord of the Omura domain, brought Korean potters back to Japan. Real porcelain production started in 1599, just a year later. They used a type of kiln called an ascending kiln, which is basically a hole carved into a hillside. These kilns were built in three parts of Hasami: Hatanohara, Furusaraya, and Yamanita.
The first pieces weren’t porcelain, though. They made slipware, which is pottery decorated using a watery clay mixture. That changed around 1602, when celadon porcelain took over. Celadon is a smooth glaze with pale blue or icy-white tones. Around this time, locals found new sources of raw porcelain materials, and that helped change production away from slipware entirely.
As more porcelain was made, Hasami’s output grew fast. By the late Edo period, it had become the largest porcelain-producing area in all of Japan. One big reason was the popularity of kurawanka bowls. Back in those days, most porcelain was expensive, something only the wealthy could afford. But these bowls were made to be affordable. That opened the door for regular people to own porcelain, and these dishes started showing up in homes across Japan.
Why Hasami Ware Still Matters
Hasami ware has lasted centuries because it blends beauty with practicality. It was born from skilled hands and smart trade decisions, shaped by history and culture. The contrast between clean white porcelain and deep blue gosu still draws attention. And the fact that it was once seen as everyday dishware makes it feel real and rooted.
From hillside kilns to school cafeterias, Hasami ware has always adapted without losing its style. Whether you’re drawn to it for the color, the history, or just the craftsmanship, it holds a real place in Japan’s ceramic tradition.
How Hasami Ware Is Made
Preparing the Porcelain Stone
Everything starts with Amakusa porcelain stone. This material is dug out from the Amakusa peninsula, just south of Nagasaki. It’s known for its high quality and is also used in other famous Japanese ceramics like Arita ware. After the stone is mined, it’s ground down and sorted by hand into five quality levels. The sorted pieces are then crushed into a fine powder.
Next comes elutriation. This process filters out silica grains and iron from the crushed stone. The powder goes into a mixing tank, and pressure is used to remove excess moisture. After that, the clay gets kneaded in a machine to remove air bubbles. At this point, the porcelain clay is ready to be shaped.
Shaping the Porcelain
The forming stage shapes the clay into actual pieces. This can be done by hand, with a potter’s wheel, or a roller machine. But for Hasami ware, using molds is most common. Molds make it easier to create lots of pieces with the same shape. After forming, each piece is set out to dry in a place with good airflow and direct sunlight.
First Firing Without Glaze
Once dry, the pieces are fired in a kiln for the first time at around 800 to 950 degrees Celsius. This stage is called unglazed firing. It helps harden the porcelain and improves how well it handles decoration and glaze. After firing, any loose material on the surface is brushed off with something soft, like a feather duster.
Painting Under the Glaze
Before the glaze goes on, the decoration is added. This is called underglaze decoration. It’s where the deep indigo blue color, known as gosu, is applied. The design can be painted by hand with a brush or transferred using a print method.
Adding the Glaze
Now it’s time to apply the glaze. This clear coat gives Hasami ware its shine and smooth surface. It also makes the piece stronger, keeps liquids from soaking in, and helps prevent stains. Glaze also brings out the beauty of the decoration underneath.
Second Firing After Glazing
After glazing, the porcelain is fired again, this time at a much higher temperature: around 1300 degrees Celsius. Once firing is done, the pieces can’t be taken out right away. The temperature has to drop slowly until the kiln is almost at room temperature. If removed too soon, the glaze might crack or shoot off the surface.
Final Decoration on Top of the Glaze
Some colors, like red, don’t hold up at high heat. These are applied after the second firing, in the overglaze stage. Once the pigments are painted on, the pieces go back into the kiln at a lower temperature - about 750 to 850 degrees Celsius.
If gold is used, the process is slightly different. First, all the other colors are fired. Then the gold paint is applied. After that, a third firing is done at an even lower heat, around 400 degrees Celsius. This gives Hasami ware its final polished look.
Checking Each Piece
Before anything is packed or shipped, every single piece goes through a final inspection. Each item is checked by hand to make sure the quality meets the standard. Only then is it ready to leave the workshop.
3. Kutani ware
Kutani ware, or Kutani yaki in Japanese, is a traditional type of pottery made in and around Kaga, a city in Ishikawa prefecture. It first appeared in the early 1600s, during the start of the Edo period. People know it for its bold designs, strong colors, and a specific overglaze technique. That’s what sets Kutani apart. The process involves painting on top of a glazed surface using special pigments, then firing the piece again at around 800 degrees Celsius. That temperature allows for more color options than standard glazing, which is why Kutani ware is so bright and colorful. Arita ware also uses this method, but Kutani’s style is much louder and more detailed.
Each type of Kutani ware has its own color palette. Kokutani and mokubeifu both use five signature colors: red, yellow, green, purple, and Prussian blue. This mix is called Kutani gosai, or “the five Kutani colors.” Yoshidayafu uses four: blue, yellow, purple, and Prussian blue, giving it a cool but vivid look. Iidayafu is known for its intense red, while eirakufu balances red with gold to create a rich, elegant feel. Shozafu blends different styles and techniques to form one complete, well-balanced ceramic. The overall effect is always dramatic, colorful, and full of life.
How Kutani Ware Started
The history of Kutani ware began in 1655. It’s named after Kutani village, where the first kiln was built. At the time, the village was under control of a feudal domain. The local lord sent a man named Saijiro Goto to Arita, a well-known pottery town, to study ceramic techniques. After learning the craft, Goto returned and started making pottery using the new skills he picked up. This led to the first Kutani kiln.
But the kiln only lasted for about 50 years before it shut down. No one knows exactly why. One theory says the closure had something to do with suspected smuggling. The pieces made during this early period are now called kokutani. These early ceramics are famous for their wild colors and bold designs. Even though the kiln disappeared, the style made a strong impression.
Revival and New Styles
Roughly a century later, Kutani ware made a comeback. The feudal domain helped restart production and new styles began to develop. In 1807, mokubeifu came first when Kyoto painter Mokubei Aoki opened a kiln called Kasugayama. From there, other forms of Kutani pottery followed. Yoshidayafu started in 1827, iidayafu in 1831, shozafu in 1841, and eirakufu in 1865.
Each of these added something different to the craft. Some focused on color. Others on brushwork or pattern. But they all stuck to the idea of mixing beauty with technique. Today, Kutani ware is known across Japan and beyond for its bold, artistic feel. It’s not just decorative. It’s a piece of living history, shaped by painters, potters, and centuries of change.
The Production Process
Step One: Crushing the Pottery Stone
The process starts by mining a special type of pottery stone. That stone gets crushed down into a fine powder using a machine called a pulverizer. But the powder isn’t ready yet. It has to be cleaned. Water gets added, and the mix is strained to get rid of impurities. Once it’s clean and the extra moisture dries up, the clay is kneaded. This removes any trapped air bubbles. At that point, the clay is ready for shaping.
Step Two: Shaping the Clay
There are a few ways to form the shape. Some potters use a wheel and throw the clay by hand. Others roll it into coils or flatten it into slabs to build up the structure. After the shape is formed, the details come next. That includes carving patterns, adding knobs, or trimming the base to clean up the form. When it’s done, the piece is left to dry in the sun if possible. Then it goes through what’s called a biscuit firing. This is the first round of firing. It lasts about 8 hours at a temperature between 800 and 900 degrees Celsius. The firing changes the color of the clay from gray to beige. It also makes the piece stronger and prepares it for glazing.
Step Three: Glazing and Glost Firing
After the biscuit firing, a white glaze called hakuyu is applied. This glaze looks milky before firing, but once it’s fired again, it turns clear and smooth, like glass. That glassy layer helps protect the surface and keeps the piece from staining. The glaze has to go on just right: not too thick, not too thin. It’s brushed or dipped on fast and evenly. Once that’s done, the piece is fired a second time in a glost kiln. This firing takes about 15 hours at a much higher temperature, around 1300 degrees Celsius. That’s what melts the glaze and gives it its finished surface.
Step Four: Overglaze Decoration
Once the main firing is complete, the last step is adding decoration on top of the glaze. This part is called overglaze painting. The patterns and colors vary depending on the type of Kutani ware. Artists might use a method called kotsugaki, where they outline the design in black using cobalt oxide. This outlining technique is common in Japanese art. After that, color is applied by hand. Then the piece is fired again, this time between 800 and 1000 degrees Celsius. This step bonds the paint with the glaze and brings out the colors.
Sometimes gold or silver is added to the design. Gold leaf or silver leaf is used depending on the look the artist wants. Once the metallic detail is added, a final glaze goes over it. One last firing at about 400 degrees Celsius seals everything in. After that, the pottery is done. The finished piece is strong, colorful, and built to last.
4. Mashiko ware
Mashiko ware, or Mashiko yaki in Japanese, comes from a small town called Mashiko in Tochigi Prefecture. This pottery is made using local clay that’s packed with iron and silicic acid. That mix gives it strength, heat resistance, and flexibility, which makes it easier to mold and fire. The clay is used raw, with nothing added to it. That’s what gives Mashiko ware its thick, solid feel. It’s heavier than other types of pottery, so it needs a bit more care when handled, but that weight is part of its charm. The thick texture gives each piece a strong, rustic look and makes it durable for daily use.
The glaze is just as special. It’s made with crushed stone and scrap iron powder. Artisans use brushes made with dog hair to apply the glaze. That method softens the look and brings out rich, layered color. Since the clay takes glaze easily, potters have a lot of room to experiment. Some use white slip, others make bold brush marks. These traditional techniques help create pieces that look both earthy and expressive.
Where Mashiko Ware Began
Mashiko ware started in 1853, right at the end of the Edo period. A man named Keizaburo Otsuka opened a pottery business in Mashiko after training in what used to be Hitachi province, now Kasama City in Ibaraki Prefecture. With help from Hitachi, he began making everyday items like pots, bowls, and water jars. These were used not just in Mashiko, but all the way in Edo, now Tokyo. People liked how simple and useful they were.
Shoji Hamada and Mashiko’s Turning Point
In the Showa period, a local potter named Shoji Hamada took things further. He made tableware and vases, but his aim wasn’t just utility. He wanted people to see that daily-use items could also be art. That idea was new at the time. Most folks didn’t think about using handmade pieces in daily life, but Hamada’s work slowly changed that. He believed beauty belonged in everyday routines. His influence drew in younger potters, and that helped shape Mashiko ware into what it is now.
Mashiko Ware Today
In 1951, potters formed the Tochigi Prefecture Ceramics Land Industry Cooperative, now known as the Mashiko Ware Cooperative. Then, in 1979, Mashiko ware was officially recognized as a National Traditional Craft of Japan.
Mashiko hasn't stood still since. It’s still a place where new potters set up shop, trying new things while keeping the old methods alive. Twice a year, in spring and fall, Mashiko holds a large pottery market. These events bring together traditional makers and modern artists, all sharing their work with people who want handmade pottery that feels real.
Mashiko ware continues to blend function, tradition, and beauty in a way that’s meant to be touched, used, and passed down.
How Mashiko Ware Is Made
Digging the Clay
Every piece of Mashiko ware starts with raw clay from the earth around Mashiko. Not just any clay will do. It has to be soft enough to shape but firm enough to hold form. If it's too sticky or too dry, the piece might crack or collapse during drying or the first round of firing. That’s why the mining stage matters so much. The quality of the clay affects everything that comes after.
Cleaning the Clay
Once the clay is dug up, it’s not ready right away. It first gets crushed and dried. Then it goes into a tank filled with water. It’s stirred until dirt, rocks, and sand float up and get skimmed off. The clean clay sinks to the bottom and is moved to another tank where it settles again. Once that’s done, it’s dried and ready to be shaped.
Kneading the Clay
Now the clay gets kneaded. This step is about more than just mixing. It helps remove air bubbles and any leftover bits of debris. It also makes the clay smoother and easier to work with. Potters do both rough and fine kneading. As they knead, the clay forms a swirl that looks like a chrysanthemum flower. That’s why this step is sometimes called “chrysanthemum kneading.” If the clay is too soft or too hard, potters might mix in another type to balance it. After kneading, the clay rests for a few days to even out before shaping.
Shaping the Clay
Most Mashiko ware is shaped on a potter’s wheel. After the piece is formed, it’s left out to dry just enough to firm up. Then the potter trims it on the wheel again to clean up the shape and finish the surface. After that, it’s left out to dry all the way. Some pieces are made without the wheel, using molds or flat slabs of clay. But the goal is always the same: a solid, clean base ready for firing.
First Firing
The first firing is called biscuit firing. This step hardens the clay and gets it ready to hold glaze and color. It also removes moisture and makes the piece stronger. Biscuit firing is done at a lower heat, around 700 to 800°C. That’s roughly 1290 to 1470°F. If the clay isn’t completely dry by this point, it can crack or even break during firing. That’s why drying time matters.
Glazing and Painting
Once the piece is fired, it’s ready for color. Some potters paint under the glaze, while others apply glaze directly. Mashiko glazes are made using metals like iron, copper, cobalt, manganese, or chrome. These metals react with heat during firing and give the ware its rich tones. The base glaze uses feldspar, clay, and fuel ash from charcoal or coal. There are five main glaze types in Mashiko ware. One is a deep black. Another is a warm reddish orange made with iron-rich powder. There’s also a soft white glaze made using ash from straw or rice bran. Potters often apply glaze using a brush made from dog hair, a method called nurikake, which helps create soft layers and movement in the finish.
Final Firing
After glazing, the piece goes back into the kiln. This final step is called glost firing. It lasts anywhere from two to three days, with temperatures reaching between 1200 and 1300°C, or about 2190 to 2370°F. That’s where the glaze melts and binds with the clay body. In the past, potters used wood to fire the kilns. These days, gas is more common. The atmosphere in the kiln also changes the results. Oxidation adds oxygen. Reduction takes it away. The difference affects the color and texture of the glaze. Once the firing is done, the kiln is left to cool for a couple of days. Then the finished pieces are taken out.
That’s the full process. From digging up raw earth to unloading the final piece, every stage plays a role in what makes Mashiko ware strong, distinct, and built to last.
5. Shigaraki ware
Shigaraki ware, also called Shigaraki yaki, is a traditional style of Japanese pottery made in Shigaraki, a town in Shiga Prefecture. The local clay is rough and full of grit, which makes it tough and heat-resistant. Potters blend different types of native clay like kibushi, mizuchi, and gairome. The final mixture is strong enough to shape thick, heavy pots and jars without breaking during firing.
How the Clay Reacts in the Kiln
One thing that makes Shigaraki pottery stand out is how the clay changes when it’s fired. The high heat and ash from wood-burning kilns leave behind red and pink tones, often with hints of brown or scarlet. These colors show up naturally from the fire, not from paint or added color. Every piece ends up looking different depending on how the fire hits it.
The white clay gets a soft glow that moves with the flame. Ashes settle on the lower parts of the pot and turn them a deeper brown. When the glaze melts just right, the surface smooths out and darkens in some spots, especially where it got scorched. That burnt, rusty look is especially valued in tea ceremony utensils, where people look for signs of wear and natural age.
What Makes Shigaraki Pottery Special
Shigaraki ware feels grounded and warm. The look is simple, not flashy. The clay keeps its raw feel, but the fire brings out deep character. This rough charm makes it one of the most expressive pottery styles in Japan.
It also has a long history. Shigaraki is one of Japan’s Six Ancient Kilns, along with Bizen, Tamba, Echizen, Seto, and Tokoname. These kilns helped shape Japanese pottery traditions, and they’re still active today. Shigaraki’s roots go back to the eighth century, when Emperor Shomu had roof tiles fired for his palace.
How It Evolved Over the Centuries
At first, Shigaraki potters mostly made things like water jars. That changed in the late 1500s, when the tea ceremony became popular. During the Azuchi-Momoyama period, people started to value rough, handmade teaware that reflected wabi and sabi - two ideas that celebrate simplicity and the beauty of age. Potters began crafting tea bowls and water containers that matched that mood.
In the Edo period, production expanded. Artisans began making practical items like sake bottles and cooking pots for daily use. These were simple but built to last.
By the time of the Taisho period, just before World War II, Shigaraki hibachi pots were found in most Japanese homes. These earthenware heaters became so common that Shigaraki ware made up 80% of all hibachi pots sold in the country.
What You’ll Find Today
Today, Shigaraki ware covers more than just tea bowls and pots. There’s tableware, flower vases, tiles, and even sculptures. One of the most well-known forms is the tanuki statue - the plump, smiling raccoon dog often seen outside shops or restaurants. These figures have become closely tied to Shigaraki’s identity.
In 1976, Shigaraki ware was named a National Traditional Craft. The town itself is now known as “Shigaraki, the pottery town,” and it continues to draw interest from collectors, artists, and anyone who values handmade work.
The appeal of Shigaraki ware lies in its raw, natural look. Each piece holds the marks of fire, ash, and time; no two are alike. It’s not about polish or perfection. It’s about quiet strength, natural change, and the kind of beauty that only shows up when things are left a little undone.
How Shigaraki Ware Is Made
Forming the Clay
Shigaraki clay comes from ancient soil deposits beneath Lake Biwa, just north of Kyoto. That soil started forming around four million years ago. It’s full of grit and minerals that help the clay stand up to high heat. This gives the pottery its earthy texture and warm reddish tones. The raw soil is dug up, crushed, and blended with other materials. Water is added to make it soft and workable. Depending on the kind of piece being made, the clay may need to go through more kneading in the machine to get the right texture.
Once it’s ready, the potter shapes the clay by hand or with a wheel. The choice depends on what’s being made and how the clay is reacting to the temperature and humidity that day. Potters have to think ahead, too, because the clay shrinks during firing. That means every form starts out larger than the final size. A wheel is usually used for shaping, but for plates or bowls that can’t be done on a wheel, guide boards are used to help shape the clay by hand.
Adding Design Work
After shaping, the surface gets detailed. Artisans carve, press, or mark the surface to add texture or patterns. Two well-known designs are matsukawa, which looks like pine bark, and inka, a stamped flower motif. These details add depth and character, making each piece unique.
Underglaze Decoration
Sometimes the potter adds color or decoration before glazing. This is done by hand with brushes, using iron sand or impure cobalt oxide. These minerals react with heat during firing, creating natural tones under the glaze. This step needs steady hands and good judgment, because once the piece is fired, those markings can’t be changed.
Applying the Glaze
Before the final firing, the pottery goes through a first round of firing at a lower temperature. This is called the biscuit firing. It hardens the clay enough for glazing. The glaze itself is a mix of feldspar, limestone, silica, and iron oxide. It gets applied using a brush, a ladle, or an air gun. Once the glaze melts in the kiln, it can take on different looks depending on how thick it was and where it landed on the surface.
If the glaze goes on too thick, it might not melt all the way and can leave rough patches. If it’s too thin, it sinks into the clay and loses color. That’s why this part of the process depends heavily on the potter’s experience and feel for the material.
Final Firing
The glazed pottery is loaded into the kiln and fired at over 1200°C, or around 2192°F. Traditional Shigaraki ware was fired in a wood-burning climbing kiln, a type brought to Japan from China and Korea long ago. The flames and ash would react with the clay, forming a natural glaze and creating that glassy, uneven surface Shigaraki is known for.
These days, some potters use gas or electric kilns. These offer more control over temperature and airflow, but even with modern tools, no one can predict exactly how each piece will turn out. Factors like weather, humidity, and how the flame moves through the kiln all matter. Firing lasts more than 24 hours, and the kiln isn’t opened until the temperature drops to around 200°C, or 392°F. Workers use heavy gloves and take precautions to unload the pottery safely.
Finishing Touches
After firing, each piece gets its top and bottom polished. This removes rough spots and gives the piece a smooth feel. Every item is inspected by hand. Once approved, the pieces are wrapped, boxed, and shipped.
The entire process, from digging the clay to the final polish, blends old-world knowledge with modern skill. That’s what gives Shigaraki ware its strong, timeless character. Each pot or bowl holds the marks of fire, earth, and the hands that shaped it.
6. Bizen ware
Bizen ware, or Bizen yaki in Japanese, is a type of pottery made in and around Bizen City in Okayama Prefecture. It’s one of the Six Ancient Kilns of Japan, along with Seto, Tokoname, Shigaraki, Tamba, and Echizen. These six kilns are some of the oldest and most respected pottery traditions in Japan. Bizen ware stands out because it follows a very old method and doesn’t use glaze at all. That makes it look rough, natural, and raw.
In most pottery, glaze is used to make the surface shiny and water-resistant. It also helps add color and patterns. Bizen ware skips that step. Because of this, no two pieces ever look the same. Every item comes out unique, shaped by the fire and the clay itself. That earthy, handmade look is one of the main reasons people love it.
Why Bizen Ware Is Unglazed
The reason Bizen ware doesn’t use glaze comes down to the clay. It’s called hiyose clay, and it’s only found near Bizen. It’s dense, sticky, and doesn’t work well with enamel. Instead of trying to force it, potters over time adapted. They figured out how to bake the clay at high heat for long stretches without even touching it. That slow, steady firing process helps harden the clay and bring out natural patterns made by fire, ash, and heat.
Even though Bizen ware lacks the shiny glaze most people expect in ceramics, it’s still very strong. In fact, it’s known for being extremely durable. Potters have been perfecting this technique for centuries.
The History Behind Bizen Pottery
Bizen ware came from older pottery techniques. It started from Sue ware, a kind of bluish-gray ceramic that came from the Korean peninsula during the Kofun period, which was around 250 to 538 CE. Over time, Japanese potters developed it further, and Bizen ware began taking shape during the Heian period, between 794 and 1185. Back then, it was mostly used to make everyday items like bowls and roof tiles.
By the Kamakura period, from 1185 to 1333, potters started recognizing the reddish brown color as a key feature of Bizen ware. Then, in the Muromachi period, from 1336 to 1573, they began using hiyose clay regularly. That clay helped give Bizen ware its tough, rustic feel.
During the Azuchi-Momoyama period, from 1573 to 1600, Bizen pottery became popular with the elite. Hideyoshi Toyotomi, who ruled most of Japan at the time, was said to favor it. Sen no Rikyu, the famous tea master, also appreciated it for its plain look, which matched the wabi-sabi values of the tea ceremony. Wabi-sabi is all about simplicity, imperfection, and natural beauty. Bizen ware fit that perfectly.
Bizen Ware Today
The tradition of Bizen ware is still alive. In 1956, the Japanese government named Toyo Kaneshige a Living National Treasure for his Bizen pottery work. That title is given to people with skills considered vital to keeping Japanese cultural heritage alive. After him, others like Kei Fujiwara and Toshu Yamamoto were also recognized as Living National Treasures for their work in Bizen ware.
That title isn’t handed out lightly. It means their work helps preserve something essential to Japanese history and art. Like kabuki or other traditional arts, Bizen pottery is seen as a living tradition that deserves to be passed on.
The legacy of Bizen ware is about more than just the pottery itself. It’s about a way of thinking and working with the natural world. It’s about patience, care, and deep respect for materials and process. Even today, each piece of Bizen ware tells that story through its rough surface, deep color, and quiet beauty.
The Bizen Ware Production Process
Making Bizen ware takes time, care, and patience. Every step matters, but it all begins with the clay. Because there's no glaze to cover mistakes, the raw material has to be perfect from the start. The whole process is built around making sure the clay is clean, strong, and ready to handle the long, intense firing that gives Bizen ware its look.
Clay Collection and Soil Preparation for Bizen Ware
The quality of Bizen ware starts with the soil. Since there’s no glaze to hide flaws, the raw clay has to be near perfect. Potters dig the clay from three to five meters underground in fields around Bizen. But the soil isn’t ready right away. Sometimes they fire a test batch to check the quality. After that, the soil has to sit outside in the open for one to two years. Wind and rain break it down naturally.
Once that’s done, the clay goes through several steps to remove anything too coarse. First, a tool called a fret crushes the bigger particles. Then, it goes through elutriation. That means they soak the clay in water and separate the fine grains from the heavier ones. The finer particles settle slowly, so only the smoothest grains are kept.
Spiral Wedging and Clay Conditioning
After refining, the clay sits again, this time for weeks or even months. Water is added as needed to get the right texture. Potters mix it with dark soil by stepping on it with their bare feet, slowly working it together. Then it rests again, sometimes for years.
Before shaping anything, the clay is wedged one last time. This process is called spiral wedging, also known as chrysanthemum kneading. The name comes from the way the clay twists into a pattern like a chrysanthemum flower. Wedging removes any trapped air and makes the clay smooth and consistent.
Forming the Bizen Pottery
Once the clay is ready, the real shaping begins. Some potters use a wheel, others build by hand using coils or slabs. The technique depends on the shape they want, but the forming process is like most other ceramics.
Adding Texture with a Spatula
After shaping, the piece goes back on the wheel. A spatula is used to add patterns and surface details. These marks are often simple but show up clearly after firing, since there’s no glaze covering them.
Drying and Kiln Loading
Even after shaping and decorating, the pottery isn’t ready to fire. It has to dry completely first. This drying is slow and natural. If cracks show up, the piece is scrapped and returned to raw clay.
Once the pieces are fully dry, it’s time to load the kiln. But this step takes planning. Heat levels inside the kiln aren’t even, so potters have to think carefully about where each piece goes. Placement decides how the fire touches the surface and what patterns show up in the end. The kiln itself does a lot of the work, and getting it right means knowing exactly where to put every piece.
First Firing Ceremony and Blessing the Kiln
The first firing of Bizen ware doesn’t start without a ceremony. Potters choose a day believed to bring good luck, hoping the pieces come out strong and flawless. Before lighting the kiln, they offer a prayer to the gods. This ritual has been part of the process for generations. It’s about respect for the craft, the fire, and the outcome.
The Long Firing Process
Firing Bizen pottery takes time, care, and a lot of control. It’s not just loading a kiln and lighting a fire. The process is broken into phases. The first two days are for kuyushi. During this step, potters feed small pieces of wood into just two fire inlets at the front of the kiln. It’s a slow burn that starts building heat deep inside the kiln walls. This part helps toughen the clay early on.
By the third day, the next stage begins. It’s called scorching. Potters slowly raise the heat, usually by 3 to 5 degrees Celsius every hour. This slow climb prevents stress cracks and strengthens the pieces. Once the temperature crosses 400 degrees, they switch to naka-daki, a more intense heating stage. From this point, the heat rises faster, by 7 to 10 degrees an hour.
When the temperature hits 800 degrees, the pace speeds up again. It climbs 10 to 15 degrees each hour until it reaches the final range, somewhere between 1150 and 1300 degrees Celsius. The kiln holds this temperature steadily for the rest of the firing. The full process takes anywhere from one to two weeks. It’s slow on purpose. This is what gives Bizen ware its durability, deep colors, and fire-marked textures.
Cooling the Kiln
Once firing is finished, the kiln isn’t opened right away. All the inlets and air holes are sealed tightly. The heat inside must drop slowly. If the temperature falls too fast, the pottery can crack. Cooling the kiln takes as much patience as firing it. It’s all part of protecting the work done so far.
Final Steps and Inspection
When the kiln has cooled completely, the pieces are removed by hand. Each one is inspected closely. The natural patterns made by the flame and ash are revealed. The potters polish each piece by hand, bringing out its texture and details. They check for flaws and finish the surfaces gently. What’s left is raw, strong pottery that shows its full character without glaze or decoration. Every Bizen piece is one of a kind, shaped by fire, clay, and time.
7. Hagi ware
Hagi ware, also called Hagi yaki in Japanese, is a type of traditional pottery made mostly in Hagi, a city in Yamaguchi Prefecture. It stands out because of how plain it is. You won’t find flashy designs or heavy decoration. That’s on purpose. The beauty comes from the clay itself. Every piece looks a little different. That’s part of the appeal.
When the pottery is fired, cracks form in the glaze as the clay expands and contracts. These cracks change the color and texture in a natural, uneven way. Over time, with use, the surface changes even more. These unpredictable color changes are known as “the seven disguises” or nanabake. This transformation is one of the reasons collectors and tea ceremony lovers admire Hagi ware.
The clay mix used in Hagi pottery also adds to its special look and feel. The pottery turns color during firing, so the final result is never the same twice. Most pieces are tea bowls. They usually have a notched foot. That detail actually came from the Korean Joseon dynasty, the same place where Hagi ware began. While no one fully agrees on why the notched foot was used, in Hagi ware, it’s a key visual feature that gives the bowl its character.
The clay used is a mix of three different soils: daidou, mishima, and mitake. Each one comes from a different place. This clay blend doesn’t shrink much when fired. It also holds heat well and has a soft, pleasant texture. That’s why it works so well for making teaware.
The Origins of Hagi Ware
Hagi ware’s roots go back to 1592, during the Azuchi-Momoyama period, when Toyotomi Hideyoshi ruled most of Japan. That year marked the start of Japan’s invasions of Korea. During that time, the Japanese elite were focused on the tea ceremony, and Korea, especially during the Goryeo dynasty, had already produced some of the best tea bowls around.
Toyotomi ordered his generals to bring Korean potters back to Japan. As a result, many skilled craftsmen were taken from Korea and resettled in Japan. Two of these potters, Ri Shyakko and Ri Kei, arrived in Hagi in 1604. They were brought over by Mori Terumoto, who would go on to establish the Hagi domain. The kilns they built are considered the birthplace of Hagi ware.
At first, these potters stuck to the same methods they used in Korea. But over time, different styles and schools developed. Each brought new ideas while still respecting the core tradition.
Evolution Through Time
During the Meiji period, around the late 1800s, Japanese culture saw a renewed interest in older art forms. A potter named Kyuusetsu Miwa developed a fresh take on Hagi ware. His work helped bring it back into the spotlight.
By the Taisho period in the early 1900s, Hagi ware had become one of the most respected pottery styles in Japan’s tea world. There’s even a famous saying among tea experts: “First Raku, second Hagi, third Karatsu.” That tells you just how important Hagi ware became.
After World War II, Japan went through fast economic growth. During that time, Hagi ware continued to evolve. In 1957, it was nominated as an Intangible Cultural Asset. That means it was officially recognized as a valuable part of Japan’s cultural heritage.
More honors followed. In 1970, Kyuuwa Miwa, a descendant of Kyuusetsu, was named a Living National Treasure. His son, Jusetsu Miwa, received the same honor in 1983. A Living National Treasure is someone the Japanese government recognizes for keeping traditional crafts alive, like pottery or kabuki.
Finally, in 2002, Hagi ware was officially listed as a traditional Japanese craft. That status ensures it remains protected and valued, both in Japan and around the world.
How Hagi Ware Is Made: Step-by-Step Process
Preparing the Clay
Everything starts with the clay. Hagi ware uses a special mix made from three types of soil: daidou, mishima, and mitake. Each blend is a little different depending on the piece being made. Some workshops even add their own clay to the mix for more control over texture and color.
Cleaning the Clay
The raw clay is full of small rocks and sand, so it has to be cleaned. First, it’s dried out and crushed. Then it gets stirred with water in a tank. The heavy stuff sinks, and the clean clay rises to the top. This cycle gets repeated several times. Once done, the refined clay is left to dry again.
Removing Air from the Clay
Next is a process called clay stomping. The clay is put on a stool and stomped to push out any air pockets. This makes the texture more stable and helps keep the surface even during firing.
Hand-Kneading for Uniform Texture
After that, the clay is kneaded by hand. It’s folded and pressed about 70 to 80 times in one direction, then 70 to 80 times the other way. This helps make sure the firmness stays even all the way through. If this step is rushed or skipped, the piece could crack or warp later on.
Forming the Shape
Once the clay is ready, it’s shaped. This can be done on a potter’s wheel, by hand, or using a mold, depending on what’s being made. Each method creates different textures and forms.
Drying the Clay
After shaping, the pieces are placed in the shade for two or three days to dry slowly. This helps prevent cracking. Fast drying under direct sun could ruin the shape.
Trimming and Carving
Once the clay is firm but not completely dry, the shape is refined using a Japanese plane. At this point, any details like carved patterns, handle attachments, or brush marks are added, especially on the base of tea bowls.
Applying Slurry and Adjusting Color
While the piece is still only half-dried, a thin slurry made of watered-down white clay is applied to the surface. This smooths the texture and adjusts the color, prepping it for glaze.
First Firing (Biscuit Firing)
After drying fully, the pottery is biscuit-fired. This is the first round of firing, done at 700 to 800 degrees Celsius. It lasts for about 15 to 16 hours. The goal is to harden the piece and make it easier to glaze. Sometimes this step is skipped, depending on how the final piece will be used.
Applying the Glaze
Next comes glazing. Ash glaze or straw ash glaze is usually applied. Ash glaze gives a clear, glass-like finish. Straw ash glaze creates a milky white surface. The glaze can be applied by dipping the whole piece into the liquid or by pouring the glaze on with a ladle. The choice depends on the shape and size of the piece.
Loading the Kiln
The glazed pieces are then carefully loaded into an ascending kiln, also called an aragama. This old-style kiln has several small chambers and is built into a slope. Pieces are arranged using a method called balanced loading, where pots are stacked on circular boards. This helps the flame move through the kiln evenly. Other methods like shelf loading or saggar loading may be used when needed. After everything is in, the openings are sealed with bricks and mud except for a slot for kindling.
Final Firing
The firing starts from the lowest chamber. The fire is kept going around the clock. The temperature is brought up to about 1250 to 1300 degrees Celsius. During this process, the fire must be closely watched. The flame color helps potters judge the heat. When they think the glaze is ready, they pull out a sample piece to check the color. Once the surface looks right, the fire is put out and the kiln is sealed.
Cooling and Unloading
After the fire goes out, the kiln is left sealed for several days. This lets the pottery cool slowly and evenly. When it’s finally safe to open, the bricks are removed, and the finished pieces are taken out. Each piece now shows the unique texture, color changes, and slight irregularities that make Hagi ware what it is.
8. Koishiwara ware
Koishiwara ware, also known in Japan as Koishiwara yaki, is a style of pottery made in the Asakura area of Fukuoka Prefecture. It’s been around since the 1600s and is still made today. Over time, it’s grown into a well-known form of handmade pottery, known for its simple look, practical design, and unique patterns.
The pottery is made on a spinning wheel. While the clay turns, patterns are shaped by hand or tools. These designs give the pottery its signature look. People love Koishiwara ware for how it blends everyday use with visual appeal. The surface has a smooth, natural feel. The forms are clean, and the colors change in soft, earthy ways. Even though it’s practical, it doesn’t feel plain.
Locals and visitors often pick it up as a traditional souvenir. It’s also a common choice in pottery classes across Japan. Beginners learn how to work with it by trying out different pattern-making techniques.
How the Patterns Are Made
Koishiwara ware stands out because of how the designs are made on the spinning wheel. One method is carving the clay with a kanna, a type of Japanese hand plane that pulls instead of pushes. This shaving technique creates ridges that wrap evenly around the piece.
Other ways include brushing or combing the surface while it spins. Sometimes, artists use their fingers to make direct marks. There are also glazing techniques used after shaping. One is called nagashikake, where a thin clay slip or glaze is poured over in steady intervals. Another, called uchikake, involves slowly pouring the glaze on in stages. In ponkaki, glaze is dripped little by little using a bamboo tool. Each of these methods leaves its own type of mark, giving the piece texture and depth.
Where It Came From
The roots of Koishiwara ware go back to 1669, during Japan’s Edo period. A potter named Hachinojo, grandson of the well-known Takatori Hachizo, found a new clay source in a village called Koishiwara, in an area known as Sarayama. He moved there and started using the local clay to create pottery.
In 1682, Mitsuyuki Kuroda, the ruling feudal lord of the region, brought over Imari ware potters to work with Hachinojo. They combined Japanese and Chinese methods to make high-quality porcelain. Back then, the area was known as Nakano, so the pottery was called Nakano ware.
Later, during the early 1900s, Nakano ware disappeared for a time. Around 1927, in the Showa era, potters in the area brought it back. This time, they stopped working with porcelain and focused on earthenware. Records from 1835 show that even before then, Koishiwara ware was used for daily items like tea utensils, sake bottles, and flower vases.
From Postwar Demand to Global Recognition
After World War II, Koishiwara ware became more popular due to material shortages. People needed simple, usable goods. The demand gave local potters a chance to grow the craft again. In 1958, at a global expo in Brussels, Koishiwara ware won the top award. Its catchphrase at the event was “The Beauty of Utility,” and the win helped put it on the map.
In the 1960s, production change. Instead of only making items after receiving orders, potters started producing in advance and selling more widely. This change helped Koishiwara ware reach buyers all over Japan.
In 1975, Koishiwara ware was officially recognized as a traditional craft by Japan’s Ministry of International Trade and Industry. It was the first type of Japanese porcelain to earn that title.
Why It Still Matters Today
Koishiwara ware has been around for over 350 years. It’s one of Japan’s oldest and most respected pottery styles. Even now, it’s used in daily life across Japan and admired worldwide for its balance of form and function. Every piece carries the story of its craft, the history of its region, and the touch of the person who made it.
How Koishiwara Ware Is Made: Step-by-Step
Digging Up the Clay
Koishiwara ware starts with local clay. The soil in this region has always been packed with high-quality clay, and it’s still pulled straight from the ground in large amounts. This natural clay is what gives the pottery its strong, earthy base.
Drying the Clay
Once the clay is dug out, it gets dried out. This step makes it easier to break down and process later.
Grinding With River Water
After drying, the clay is ground down using water from the nearby mountain streams. This grinding breaks it into a soft, fine texture. It’s one of the key steps that sets up the clay for shaping.
Filtering the Clay
Next, the ground clay goes into a water tank. Here, it gets filtered again and again until it becomes smooth and thick. This process removes any grit or impurities. What’s left is a soft, sticky mixture that’s ready for pottery.
Removing Water
After filtering, the clay is drained to take out excess water. This gives it a firmer, moldable form.
Kneading the Clay
Then the clay gets kneaded by hand. This process is known as chrysanthemum kneading. As the name suggests, the clay folds in a way that looks like flower petals. This step gets rid of air pockets and makes the texture even. It also balances moisture and firms up the clay, which helps with shaping.
Shaping on the Wheel
Once kneaded, the clay goes onto the potter’s wheel. These days, potters use electric wheels and adjust the spin with a lever. They form the shapes by stretching, piling, or cutting the clay into form. Each method depends on the type of item being made.
Sun-Drying the Pieces
After shaping, the clay is left to dry in the sun. This semi-drying stage makes the pieces firm enough for decorating.
Adding Patterns
When the pieces are partly dry, it’s time to decorate. Artists use different tools like a kanna (a curved Japanese plane), combs, or brushes. Some use just their fingers. They carve, draw, and mark the surface while the piece still has some give. Each tool leaves a distinct look.
Carving With a Plane
Next, a clay slip called engobe is brushed onto the surface. While the wheel spins, the artist scrapes the surface again using a bent iron plane. This step gives Koishiwara ware its signature grooved and textured look.
First Firing
Once decorated, the piece goes through its first firing. This is the bisque firing. It hardens the clay and preps it for glaze.
Glazing the Surface
After firing, the surface gets coated with glaze. The glaze is a mix of local ingredients like straw ash, wood ash, and feldspar. If the piece has a small opening, glaze is poured inside in intervals. Other pieces get glazed using either a ladle or by dipping them in glaze all at once. The type of glazing changes how the final surface looks and feels. It also protects the piece from water damage and adds shine.
Second Firing in an Ascending Kiln
The final firing happens in a special kiln called an ascending kiln, or aragama. It’s built into a slope like a tunnel and heated with wood. The firing starts at the lower part of the kiln where it gets to about 1000°C. It takes 15 hours to hit that point. Then it moves upward, reaching around 1300°C. The firing lasts roughly 40 hours in total. After that, the kiln cools down over a full week before the pottery is removed.
Checking Each Piece
The last step is inspection. Each piece is looked over carefully by hand. Any item with cracks, flaws, or mistakes gets pulled. Only the best make it out for use or sale.
This whole process takes time and skill, but it’s what gives Koishiwara ware its deep character and long-lasting quality. Every pot, plate, or cup carries a part of the land, the maker, and over three centuries of tradition.
9. Mino ware
Mino ware, also known as Mino yaki in Japan, is a traditional type of Japanese pottery made in the Tono region of Gifu Prefecture. It’s been around for centuries and still plays a big role in everyday Japanese life. One thing that makes Mino ware stand out is how many different styles it has. It doesn’t stick to just one look. Instead, there are more than 15 officially recognized types, each with its own shape, color, and design.
Different Types of Mino Ware
One of the most famous styles is Oribe ware. This one came from the ideas of Oribe Furuta, a student of Sen no Rikyu, who helped shape the tea ceremony in the late 1500s. Oribe ware has a bold green glaze and often features quirky shapes and geometric designs. Depending on how it’s made, it can also show up in black, blue, or other deep shades.
Another key style is Setoguro. It’s a pitch-black glaze that comes from pulling the pottery out of the kiln while it’s still glowing red hot. This method started in the Tensho era, so you might hear it called Tensho Guro. It’s also called Hikidashi Guro, which literally means “pulled out black ware.”
Then there’s Shino ware. This one has patterns painted under the glaze, giving it a softer look. It first peaked during the Azuchi-Momoyama period, between the late 1500s and early 1600s. Back then, Shino ware was known for its pinkish tint and bubbly surface, created by a feldspar glaze. It faded out during the Edo period but was brought back in the 1900s by Arakawa Toyozo, who was later named a Living National Treasure for his work.
Kizeto is another kind of Mino ware getting more attention lately. It has a plain and unpolished feel, which makes it simple but beautiful in its own way.
How Mino Ware Started
Mino ware traces back to the 5th century. It all began when techniques and tools like potter’s wheels and underground kilns came over from the Korean peninsula. These tools helped shape early Japanese pottery.
In the Heian period, between 794 and 1185, potters improved Sue ware by using a glaze made from wood ash, which added a smooth finish. But the big change came during the Azuchi-Momoyama period. Around this time, the tea ceremony became a major influence on Japanese culture, and it drove the demand for more artistic pottery. That’s when Oribe, Shino, and Kizeto styles really took off.
From Tea Ceremonies to Daily Use
By the mid-1600s, Mino ware changed toward everyday use. Craftsmen began making containers and dishes for regular households. These items were coated in a white glaze that made them look like porcelain. Then, in the late Edo period, real porcelain started to be produced. Potters began using translucent feldspar, which gave the pieces a glassy finish.
Modern Growth and Industry
Things changed fast in the Meiji period. Between 1868 and 1912, potters started using new methods, like copper transfers and screen printing. Blue pigment called zaffer was imported and helped stabilize the coloring process. Around the middle of the Meiji period, Mino potters divided up the work by type of product to bring costs down and compete with other pottery regions. That let them mass-produce daily-use items.
By the end of the Taisho period, electricity helped speed up production even more. Charcoal kilns replaced the old wood-fired climbing kilns. In the Showa era, production expanded to include tiles and fine ceramic goods. Mino ware grew to become the top pottery in Japan, leading in both quality and quantity.
Mino Ware Today
Today, Mino ware covers everything from traditional tea bowls to modern kitchenware. It’s still made in Gifu Prefecture and remains one of the most widely used types of Japanese ceramics. Its mix of old techniques and new ideas keeps it relevant, whether for collectors, tea lovers, or anyone looking for well-made pottery that feels both classic and useful.
How Mino Ware Is Made
Clay Kneading
The first step is kneading the clay. The potter works it slowly while turning it to get the air out. The moisture and texture need to be just right before shaping starts. The motion used here isn't just random pressing. It's a mix of heavy massaging and light pressing. As it turns, the clay forms spiral folds that look like chrysanthemum petals. That’s why this part of the process is often called chrysanthemum kneading.
Shaping the Clay
There are a few ways to shape Mino ware. The most common is using a potter’s wheel. But hand rolling and slab building are used too. For large-scale production, makers rely on a range of molds. They start with a model, then create working molds for casting. One method, slip casting, involves pouring liquefied clay into a plaster mold. Another is pressure casting, which uses air pressure to push the clay into the mold. Other shaping techniques include mechanical wheels, press molding, and fully automatic forming machines.
Drying the Pieces
After the piece is shaped and trimmed, it needs to dry. Drying time depends on the design, thickness, and size. Some pieces dry slowly in the shade. Others are left under the sun. If the pottery has decorations or if the base is thick, it takes longer. The goal here is to dry it enough so it’s ready for the first round of firing.
Bisque Firing
This is the first firing. It happens at a lower heat, around 700 to 800 degrees Celsius. That’s about 1290 to 1470 degrees Fahrenheit. The main goal is to remove leftover moisture and burn away anything that might cause the piece to crack later. It also hardens the clay so it can handle the next steps, like glazing and painting.
Underglaze Decoration
Once the bisque firing is done, patterns can be added. These go beneath the glaze. Artists use pigments made from metals like cobalt, iron, or copper. When cobalt oxide, or zaffar, is used, it creates a deep indigo blue. Iron gives reddish-brown or black tones. Once the design is done, a clear glaze goes over it.
Glazing the Surface
The glaze does more than add color. It seals the pottery and makes it strong. When fired, the glaze melts and forms a smooth, shiny coat. There are three basic types of glaze: ash, feldspar, and lead. Other materials like iron or copper can be added for different looks. Potters apply glaze in a few ways: by dipping, spraying, or dripping it onto the surface.
Glost Firing
This is the high-temperature firing that sets the glaze. The pottery is carefully packed into the kiln to keep the heat even. The kilns used might be gas, electric, or traditional climbing kilns. This firing melts the glaze fully and finishes the basic form of the piece.
Overglaze Decoration
This step comes after the final glaze firing. Artists paint extra patterns on top using brushes. These colors sit above the glaze and are often made with metal powders like iron, copper, cobalt, or manganese. The paint is mixed with soda or lead for texture. Red, multicolor, or five-color styles are common. After painting, the pottery goes back into the kiln at a lower heat between 700 and 800 degrees Celsius. This locks in the colors without letting them blur.
Final Touches
Once all the firings are done, the pottery is finished by smoothing the surface. The final piece is then ready. Every step matters, and each one adds to the strength, detail, and look of Mino ware.
10. Tobe ware
Tobe ware, or Tobe yaki as it's called in Japan, is a style of porcelain that comes from the town of Tobe in Ehime Prefecture. It started taking shape in the mid-Edo period, around the 1700s, and became officially recognized as a traditional Japanese craft in 1976. Tobe is the heart of pottery making on Shikoku island. Its location near Japan’s Median Tectonic Line, a fault zone rich in natural materials, made it ideal for ceramic production.
Back when porcelain stone was first discovered in the nearby mountains, people started building kilns in the area. That’s when ceramic culture really took off. Tobe ware stands out for its clean white finish. It’s slightly translucent, and it has a soft gray tint compared to the pure white seen in Arita ware, which is made in Saga Prefecture. The color comes from iron in the porcelain stone, which can change the look of the final product. To fix that, makers either fine-tune the glaze or bring in artists to hand-paint detailed patterns. Every piece is crafted by hand and designed for everyday use, which is why it remains popular in Japanese homes.
How Tobe Ware First Began
Tobe ware was officially born in 1777. It all started when the Ozu domain, located in what’s now the Iyo district, began experimenting with ceramic techniques. The area had been known for a sharpening stone called iyoto, but the supply was limited and couldn’t support large-scale production. So potters started using leftover fragments from those stones to create something new, and that’s how Tobe ware took root.
During the Edo period, production developed in isolation because travel and communication between domains were restricted. That made it hard to share methods or materials with other pottery regions. Things changed in the Meiji period, after Japan switched from a feudal system to a prefectural one in 1871. At that point, Tobe was able to learn from more established ceramic regions like Karatsu and Seto. These influences helped Tobe ware grow quickly. Thanks to new tools and mass production methods, it even found its way into overseas markets like Southeast Asia.
Tobe Ware Faces Competition and Change
As time went on, the demand for Tobe ware changed. During the Taisho and Showa periods, places like Seto ramped up production using modern equipment, especially mechanical potter's wheels. That gave them a major edge in volume and speed. In contrast, Tobe ware stuck to its handmade roots, which made it harder to compete on a commercial scale.
Still, Tobe ware didn’t fade away. Muneyoshi Yanagi, a well-known thinker and the founder of Japan’s Mingei folk craft movement, saw value in everyday handmade objects. He praised Tobe ware for its skillful craftsmanship and its usefulness in daily life. That respect helped keep the tradition alive.
Today, Tobe ware remains a quiet staple in Japanese homes. Each piece reflects the region’s long history, hands-on methods, and close ties to the land. It's simple, sturdy, and still made by artisans who care about every detail.
How Tobe Ware Is Made: Step-by-Step Ceramic Production
Where the Clay Begins
It all starts in the mountains around Tobe. Porcelain stones rich in iron are dug out of the earth, especially from the Uebi mountain ridge. This area is full of trachyandesite, a feldspar-heavy rock that works well for pottery. After the stone is quarried, workers crush it into small pieces and throw out the low-quality parts. Then they use a method called elutriation. This separates the heavier material from the lighter one using gravity, which helps clean up the stone.
Next, they dry it out, add clay, and shape it into the material used for ceramics. During this step, magnets are used to pull out the iron so it doesn’t stain the final piece. Then the stone is ground down in a ball mill. That’s a machine that spins with magnets inside, crushing the stone into fine powder over the course of about 25 to 45 hours. Once that’s done, the powder goes into a filter press for another two hours to remove any remaining dirt or debris. What’s left is clean, smooth potter’s clay.
Kneading the Clay
Once the clay is ready, it has to be kneaded. Machines handle most of this now, making sure the clay is the same consistency all the way through. This step removes air bubbles that could ruin the pottery during firing. In the past, kneading was all done by hand, and it took years of training to get it right. Apprentices would spend at least three years learning how to knead clay the traditional way.
Shaping on the Potter’s Wheel
Most Tobe ware is shaped on a potter’s wheel. Tobe clay is tough and doesn’t get soft just by adding water, so shaping it takes some real effort. The potter slaps the clay into the center of the spinning wheel to keep it steady, then begins a technique called coning. That means pushing the clay up and down as it spins, kneading it to get the right texture and shape.
After that, any extra clay is cut off to make the piece tighter and more balanced. Tools like spatulas, surface gauges, and leather pieces help shape and smooth everything. A potter’s wire is used to slice the piece off the wheel, and a kanna (a special Japanese tool) is used to shave and finish the surface.
There are other shaping methods too. Hand-building, slip casting with plaster molds, string molding, and slab building all offer different forms and finishes. Once the item is shaped and partly dry, it gets engraved with designs. The piece has to dry completely before firing, or it could crack.
First Firing: The Bisque Process
After drying, the pottery is checked for cracks. Then the pieces are lined up in a kiln. It takes 18 hours to heat up to 950 degrees Celsius, which is about 1742 degrees Fahrenheit. Once the temperature is right, the pottery is fired for about two hours. Then it’s slowly cooled down, which hardens the clay and gets it ready for decoration.
Painting the Underglaze
The next step is hand-painting. Artists use a blue pigment called gosu to draw patterns on the pottery. This pigment turns a deep indigo color after the next firing. This step gives Tobe ware its signature blue-on-white look.
Adding the Glaze
After the designs are painted, a glaze is applied. This glaze seals the piece and gives it a glossy, glass-like surface once it’s fired.
Final Firing: Glost Firing
The last firing is the most intense. It’s called glost firing and reaches up to 1300 degrees Celsius, or about 2372 degrees Fahrenheit. This takes between 15 to 24 hours. After firing, the kiln is allowed to cool slowly. Once the pottery is cool enough, it’s removed and the process is complete.
Every piece of Tobe ware goes through this long, detailed process. From digging the stone out of the mountain to shaping, painting, and firing, each step is done with care and experience. That’s what gives Tobe ware its strength, clean lines, and timeless style.
11. Tokoname ware
Tokoname ware, or Tokoname yaki in Japanese, is a style of pottery made in Tokoname, a city in Aichi Prefecture. This area is known as one of Japan’s Six Ancient Kilns. Along with Bizen, Tamba, Echizen, Seto, and Shigaraki, Tokoname has a deep history in Japanese ceramic art. The craft started near the end of the Heian period, sometime between 794 and 1185 CE. That makes it one of the oldest forms of pottery in Japan.
The clay used in Tokoname pottery comes from the Chita Peninsula, which has iron-rich soil. When fired, the iron in the clay turns a red shade. This natural reddish color is called shudei, and it shows up in many pieces that are left unglazed. That warm, earthy tone has become a signature look for Tokoname pieces.
Traditional Materials and Timeless Techniques
Tokoname clay is tough and packed with iron. It holds shape well, fires strong, and brings out that distinct red color. Craftsmen still collect clay from the local hills just like their ancestors did. Small red teapots are especially popular today. Some say the iron in the clay softens the bitterness in tea and improves its flavor.
Tokoname artisans use time-tested methods. One of the oldest is hand-twisted casting, a method passed down for over a thousand years. For larger items like jars, they use yoriko tsukuri, a technique where clay is built up by hand. For bonsai pots, they use pressing molds. Electric potter’s wheels are also used today for more precise shapes, but the traditional skills remain at the heart of the process.
Tokoname’s Long History of Pottery
Tokoname ware began taking shape at the end of the Heian period. Back then, the area had around 3,000 anagama kilns. These were tunnel-shaped kilns built into the hillsides. Among the Six Ancient Kilns, Tokoname was the largest and most productive. Early products were mostly big containers like jars and storage pots. But over time, smaller items became common too. Teacups, flower vases, and other daily tools started to show up in the Edo period between 1603 and 1868.
During that time, shudei tea utensils grew in popularity. They were unglazed, reddish brown, and made to serve the tea culture that was spreading across Japan. The small teapots that Tokoname is now famous for were also first made in this era.
Tokoname Ware in Modern Times
In the Meiji period, which started in 1868, Japan began to modernize fast. Western technology, railroads, and new ways of life changed what people needed. Tokoname adapted. Its clay was used to make durable water pipes that supported public works like canals and bridges. The clay was tough, dense, and ideal for building infrastructure.
In the Taisho period from 1912 to 1926, Tokoname’s pottery entered the world of architecture. Ceramics were used for building tiles, and these became common across the country. Even as times changed, the core techniques and traditions stayed strong. Today, Tokoname ware is officially recognized as a traditional Japanese craft.
Generations of makers have kept the process alive, refining it, but never losing its roots. The methods, the clay, the look, and the spirit of Tokoname pottery are still here. It's not just about teapots or tiles. It's about history, skill, and the bond between people and the earth they work with.
How Tokoname Shudei Teapots Are Made
Preparing the Clay
For Tokoname shudei teapots, the process starts with cleaning the raw clay. Potters pick out the fine particles from the collected clay. They knead it by hand until it becomes smooth and reaches a muddy, liquid-like texture. This step is key. The right clay texture sets the foundation for everything that follows.
Shaping on the Potter’s Wheel
Each part of the teapot is made separately. The body, lid, handle, and spout are all shaped one by one. The potter starts with the main body. It’s placed on the wheel and spun slowly. A spatula or similar tool is used to form and smooth it into shape. After finishing the body, the potter makes the other parts the same way, shaping and smoothing them with care. Once all parts are shaped, they’re set aside to dry. Every piece must dry at the same rate to avoid warping.
Fine-Tuning the Parts
As the clay firms up, potters begin trimming away any extra bits. They clean the edges and smooth out the surfaces. During this step, they make sure the lid and body match perfectly. That tight fit is what makes these teapots so well known. The trick is to shape every part with precision while the clay is still soft enough to adjust. If they wait too long, it hardens and can't be fixed.
Attaching Handle and Spout
Now the parts come together. The potter cuts circular holes in the teapot’s body. Then the spout and handle are joined to it. This stage needs a steady hand and sharp eyes. If these pieces don’t line up just right, the final teapot won’t function or look good. Potters also check how firm the clay is. If it’s too soft or too dry, the pieces won’t stick together properly.
Drying the Teapot
Once assembled, the teapot needs to dry slowly and evenly. If it dries too fast or too unevenly, cracks or misshaped parts can form. Potters control the environment carefully. Even a small change in temperature or humidity can ruin the shape. They monitor the drying the whole time and make small adjustments when needed.
Polishing Before Firing
The next step is polishing. This isn't just a quick wipe. The surface is rubbed over and over with cloth or similar tools. With enough polishing, the clay starts to shine naturally. This shine adds depth and brings out the red color after firing.
Engraving the Design
Before the teapots go into the kiln, potters carve patterns by hand. This step is where the craftsman’s personal style shows through. Using small carving knives, they engrave traditional or custom patterns onto each teapot. Every line is done by hand, and no two pieces are exactly alike.
Firing in the Kiln
After drying and engraving, the teapots are placed in the kiln. The door closes, and the firing begins. The kiln heats up to around 1100 degrees Celsius, or about 2012 degrees Fahrenheit. The firing takes 12 to 18 hours. These days, computer controls handle the temperature, but the outcome still depends heavily on careful timing. After firing, the teapots cool inside the kiln for a day before being taken out. During this process, each one shrinks down to about 80 percent of its original size.
Inking and Washing
When the teapots come out of the kiln, they’re polished again. This time, potters apply ink over the engraved patterns. The ink gets deep into the carved lines. Then it’s rinsed off, and what’s left behind is a bold contrast that highlights the design.
Final Touches
The last step is checking the fit. A Tokoname teapot is known for its tight seal. Potters test the lid and body together to make sure there are no gaps. If anything feels off, they reshape or polish it again. Each lid is made for its own teapot, so they don’t swap. A lid from one will almost never fit another. This one-to-one fit is what gives Tokoname shudei teapots their signature quality. Once everything lines up, the teapot is finished.
12. Karatsu ware
Karatsu ware, or Karatsu yaki, is a type of Japanese pottery that’s been made since the late 1500s. It comes from the Saga and Nagasaki regions. This kind of ceramic is known for keeping the natural texture of the clay. It feels raw but still looks clean and well-made. That balance between rough and refined is what gives Karatsu ware its charm.
Back in the Azuchi-Momoyama period, from 1573 to 1600, Karatsu pieces were prized for tea ceremonies. Along with Raku ware from Kyoto and Hagi ware from Yamaguchi, Karatsu was one of the top choices for tea bowls. Unlike Raku and Hagi, which have only been around for about 400 years, Karatsu ware is older. It’s closely tied to the Japanese idea of wabi-sabi, which means finding quiet beauty in things that are simple, a little imperfect, and never finished. Karatsu bowls capture that feeling better than most.
But Karatsu ware isn’t just about tea bowls. There are all kinds of forms, and many of them carry painted designs. One style, called e-karatsu, has pictures of flowers, birds, and trees brushed right onto the surface. Another kind, Chosen Karatsu or Korean Karatsu, mixes two glazes: black iron glaze and white straw ash. The way these two glazes react creates bold contrast. There’s also madara-karatsu, known for its speckled finish, which gives it a raw, earthy look. Each style shows off a different side of the clay.
The Origins of Karatsu Pottery
Karatsu ware is believed to have started around 1592, during the Japanese invasions of Korea. At that time, Korean potters were brought to Japan by the warlord Hideyoshi Toyotomi. They helped set up the kilns and brought new techniques. But some recent studies point to an earlier start, around 1580, which would mean Karatsu pottery began before the invasions. Either way, Korean influence played a big role in shaping its style.
In the early days, people mostly used Karatsu ware for everyday tableware. It was practical and sturdy. But over time, its raw beauty caught the attention of tea masters, who liked its simple shapes and quiet tone. It became a favorite for tea ceremonies and earned a solid reputation. By the end of the 1500s, in Western Japan, Karatsu ware was so widely used that the word “Karatsu” basically meant “ceramic.”
What Happened to Karatsu Ware?
During the Edo period, which ran from 1603 to 1868, the pottery scene changed. The mountains in Saga became crowded with too many small kilns. The local rulers started shutting them down. They decided to move most pottery production to Arita, a nearby town that would later become famous for its porcelain. As more kilns were shut down, Karatsu ware slowly faded.
By the time the Meiji era began in 1868, very few Karatsu kilns were left. The craft was on the verge of dying out. But one man, Nakazato Muan, helped bring it back. Born in 1895, he trained in pottery and worked to revive the Karatsu style. His work earned him the title of Living National Treasure, and thanks to him, Karatsu ware survived and found new life in modern Japan.
Today, Karatsu ware is still made. It's not just a relic of the past. Potters continue to shape it by hand, following the same spirit of honest materials and quiet design. Whether it’s a tea bowl or a plate, every piece reflects hundreds of years of tradition and care. Karatsu ware isn’t flashy, but it doesn’t need to be. Its strength lies in how quietly it speaks.
How Karatsu Ware Is Made
Finding the Right Clay
Everything starts with the clay. The feel, look, and quality of Karatsu ware all depend on the clay used. If the clay isn’t good, the pottery won’t turn out right. So the first job is digging up the right kind of clay. Once the clay is collected, it gets shaved with a sickle to smooth it out. Then it’s piled into a mound. A heavy hammer called a donjii is used to pound it and break down any rough spots. This early step is key because it shapes how the final piece will feel in your hands.
Mixing and Pressing the Clay
Next, the clay is mixed with water, then stomped and pressed to blend it well. The goal is to get a strong, even texture. The clay gets shaped into a flat round form, then cut and pressed again. This isn’t something you can rush. It takes a lot of practice to know exactly when the clay is ready. It all depends on the potter’s experience. The feel of the clay tells them what to do next. After this step, the clay gets broken down into small, round chunks for shaping.
Kneading the Clay
Now the air needs to be worked out. This is done by kneading the clay thoroughly. Removing air bubbles helps keep the final texture smooth and even. Bad kneading can cause cracks during firing, so this step matters. Once it’s soft and bubble-free, the clay is shaped into a shell-like lump, ready for forming.
Shaping the Form
There are different ways to shape Karatsu ware, but the potter’s wheel is the most common. It’s often called "water turning" because wet hands help shape the clay smoothly on the spinning wheel. These days, electric wheels are widely used, though some potters still use the old kick wheels. Another method, called tataki, or "striking," involves building a tall cylinder of clay. A piece of wood is placed inside to support it while the outside is hit and shaped. Each piece is made using the method that best fits the style. Once the shape is done, the foot of the piece is trimmed off, and it’s left to dry naturally.
Adding Designs
Decoration comes next. Potters use traditional methods like engraving lines, dragging combs through the clay, or brushing patterns on while the surface is still soft. Sometimes, the piece is fired once at low heat before adding designs. This is called bisque firing. It helps strengthen the piece before more work is done.
Painting the Surface
Painting is done freehand using brushes, bamboo, or even fingers. Since Karatsu ware often has curved or uneven surfaces, applying designs can be tricky. There’s no flat canvas, and no way to fix mistakes. Each line has to be laid down with care and skill. After the design is painted, glaze is added, and the piece is set aside to dry fully before its final firing.
Final Firing in the Kiln
This is the last and most intense step. The dry, glazed pieces are placed in the kiln and fired at high heat, usually between 1250 and 1300 degrees Celsius. That’s about 2280 to 2370 degrees Fahrenheit. The temperature has to be just right. Too hot or too cool can change the texture, glaze, or color. The potter needs steady focus and experience to control the fire and make sure every piece turns out right.
Every part of the Karatsu ware process depends on hands-on skill and close attention. From digging the clay to pulling the pieces from the fire, it’s all done with care. The finished pottery carries the marks of that long, careful work.
13. Kasama ware
Kasama ware, known as Kasama yaki in Japanese, is a kind of ceramic made in the Kasama area of Ibaraki Prefecture. It’s been around since the Edo period and is closely tied to the region's culture. Visitors to the Kasama Inari Shrine often pick it up as a keepsake. The shrine is one of Japan’s top three Inari shrines, which are dedicated to the god of rice and have foxes as their messengers.
This pottery stands out for its strength and durability. It’s made using gairome clay, which is fine-grained and packed with iron. Once fired, the clay turns a deep brown. Because of its dense texture, the pottery resists stains and holds up well in daily use. That’s why it’s popular for kitchen items like water jugs, tea containers, and other household tools.
Since the clay naturally darkens, potters often use glazes that drip or overlap, creating bold contrast and texture. These decoration styles make the pieces stand out. But what really sets Kasama ware apart is how open the local pottery culture is. Instead of sticking to strict rules, potters are encouraged to explore their own styles. This freedom gives Kasama ware a wide range of looks, from simple tableware to abstract art pieces.
The History Behind Kasama Pottery
Kasama ware began during the Edo period, sometime between 1603 and 1868. A potter from the Shigaraki region, named Choemon, came to the area and taught the craft to a local village head, Hanuemon Michinobu Kuno. From there, pottery-making in Kasama took root. The local domain supported the craft, helping it grow.
In the early days, most of the work focused on jars and bottles. But as potters got better at shaping the tough clay, they started making more types of items. Daily tools like plates and bowls became common. The strength of the material made large-scale production easier. The number of potters in the region grew fast.
After World War II, the ceramic scene changed again. Potters from across Japan came to Kasama, bringing new ideas. The Ibaraki Prefectural Ceramics School opened and began training young artists. This led to a creative surge, even as plastics were taking over much of the market. Instead of fading out, Kasama ware adapted and thrived.
Kasama Ware Today
Modern Kasama pottery keeps its deep roots while still evolving. The community has stayed committed to high-quality craftsmanship, but the tradition doesn’t feel stuck in the past. While some workshops still make everyday dishes, others focus on one-of-a-kind pieces or art for the home.
There aren’t many old customs holding potters back, which keeps the work fresh. That openness has helped the craft grow, even as technology changes. From daily-use cups to sculptural vases, Kasama ware keeps proving its place in both traditional and modern life. The potters working today aren’t just preserving the past. They’re building something new to pass on.
How Kasama Ware Is Made
Digging the Clay
Making Kasama ware starts with mining the clay. The area is known for clay that’s rich in iron. Potters use different types, but Kasama clay and gairome clay are the most common. That iron content gives the finished ceramic its natural brown tone and strength.
Preparing the Clay
After the clay is dug up, it’s mixed with water and worked until smooth. Some potters use machines, while others go for a slower method called elutriation. That means breaking the clay down in water, then separating out the fine sediment and drying it again. This step takes care. If the clay isn’t mixed right, it messes up everything that comes next.
Chrysanthemum Kneading
Next comes kiku-neri, or chrysanthemum kneading. It gets the air out of the clay and makes it uniform. When it’s done right, the surface of the clay looks like the petals of a chrysanthemum. This is what gives the clay its strength and consistency.
Shaping the Clay
Potters shape the clay using different methods. The wheel is the most common, but it’s not easy to master. Many say it takes about ten years to get good at it. For some pieces, especially larger or more unusual shapes, potters use hand-forming or press-molding instead. The shaping method depends on what the final piece will be.
Decorating the Raw Form
Before the piece is fired, it’s still soft enough to decorate. Potters carve patterns into the surface using bamboo tools or apply thin layers of colored clay with brushes. This stage is where the design starts to take shape.
Drying the Pieces
Once decorated, the pieces need to dry slowly and evenly. If one side dries faster than another, cracks can form. Potters might dry their work in the shade, in the sun, or with warm air, depending on the weather and the clay.
Bisque Firing
After drying, the clay is fired for the first time at around 800 degrees Celsius. This is called the bisque firing. It usually lasts about ten to fifteen hours. After this, the clay won’t go back to its raw form. That’s why potters always inspect each piece carefully before loading it into the kiln.
Painting the Underglaze
Once the first firing is done, the surface is ready for underglaze decoration. Potters paint patterns with materials like iron or cobalt. These look different depending on which glaze gets applied later. So at this stage, they’re already thinking about how the final color will turn out.
Glazing the Surface
Next comes glazing. Potters dip or drip glaze onto the piece, usually by hand. Some use black or white matte glaze, but there are endless possibilities. By changing the mix of raw materials, they can create all kinds of colors and textures. The glaze not only affects the look but also adds a protective layer.
Final Firing
After glazing, the pieces are fired again, this time at a much higher temperature - about 1250 to 1300 degrees Celsius. This firing lasts around 20 hours. Just like with the bisque, every piece is checked for cracks or scratches before going in. This final step locks in the glaze and completes the piece.
Smoothing and Checking the Finish
Once the kiln cools, the potters remove the finished work. They smooth out the bottoms so they won’t scratch tables or shelves. Then they go over every piece, checking for defects. Only the ones that pass inspection get released as finished products.
Every step in making Kasama ware takes time, skill, and close attention. From digging the clay to shaping and firing, it’s a long process that’s been refined over centuries. Even as tools and materials evolve, the core of the craft stays rooted in handwork and care.
14. Satsuma ware
Satsuma ware, or satsuma yaki in Japanese, is a traditional ceramic from Kagoshima, Japan. It comes in three types: white, black, and porcelain. Within those, there are six known styles named after their regions or origins: Tateno, Ryumonji, Naeshirogawa, Nishimochida, Hirasa, and Tanegashima.
Shiromon and Kuromon: White and Black Satsuma Ceramics
White Satsuma, called shiromon, uses a clear glaze over a pale yellow base. Fine cracks form in the glaze, which artists often highlight with painted designs. These pieces are mostly decorative, made for display. On the other hand, black Satsuma, known as kuromon, uses dark clay rich in iron. It’s coated in colored glazes and mainly used for drinking shochu, a local distilled liquor made from rice, barley, or sweet potatoes.
Porcelain stone is the original base material for Satsuma ware. It was once widely used but isn’t sourced anymore. Even so, the craftsmanship continues with other clays.
Where Satsuma Ware Is Made Today
Most Satsuma ware still comes from southern Japan, especially from the cities of Kagoshima, Ibusuki, and Hioki. Only three major kilns remain in operation: Naeshirogawa, Ryumonji, and Tateno. Naeshirogawa used to focus on black Satsuma but now leans into white pieces. Ryumonji sticks with the black style, making drinking vessels. Tateno works with the white style too, especially tea sets often given as gifts.
The Origin of Satsuma Ware
Satsuma ware has its roots in the late 1500s, during the Japanese invasions of Korea known as the Imjin War. Around that time, during the Bunroku and Keichou campaigns (between 1529 and 1598), Yoshihiro Shimazu, the ruler of Satsuma, brought back about eighty Korean pottery masters to Japan. That moment started the entire tradition of Satsuma ceramics.
Two of those potters, Boku Heii and Kin Kai, built kilns in Satsuma and introduced their own techniques. They each worked in different ways, which led to a wide variety of styles. These differences still shape the look and method of Satsuma ware today.
Korean Traditions Still Run Deep
Many modern Satsuma kilns still follow Korean techniques. One of the best-known is the Chin Jukan kiln, where overglaze painting became the main feature. These painted layers on top of the glaze are a direct nod to Korean design.
The Araki kiln, passed down through Boku Heii’s family, still uses a left-turning Korean-style pottery wheel. They also rely on natural glazes made the traditional way. That same workshop still holds on to its original techniques, passed down through generations.
Satsuma Ware on the World Stage
Satsuma ware first made a splash abroad during the late Edo and early Meiji periods. It was shown at the Paris World Fair, where it caught the attention of European collectors. That moment helped shape how the world sees Satsuma as a form of porcelain, not just a regional craft.
In 2007, the name gained even more recognition during the Satsuma Ware Traditional Arts Exhibition in Paris. It was held at France’s National Ceramics Museum and reminded the world how far this craft had come.
The Legacy Lives On
Satsuma ware continues to evolve, but its roots are clear. From Korean techniques to local Japanese innovation, it reflects centuries of blended culture. And while production areas have shrunk, the tradition remains strong, with skilled artists keeping every part of the process alive.
How Satsuma Ware Is Made: Step-by-Step Process
Clay Blending and Loam Preparation
The process starts by blending different types of potter's clay. These are ground down and mixed to form loam, the base material. The mix depends on whether the piece will be kuromon or shiromon. Shiromon turns dark brown after kneading, while kuromon becomes a reddish-brown. White clay is the main ingredient, but it’s blended with other clays to get a finish that’s unlike standard ceramics or porcelain.
Elutriation for Shiromon Clay
Shiromon clay goes through elutriation, which means the clay is mixed with water, then filtered and dried. This step makes the clay fine and smooth. It helps create a polished surface for white Satsuma ware. Kuromon clay skips this stage, since its natural, raw texture is kept on purpose. The goal with kuromon is to keep the earthy look intact.
Forming the Piece on the Wheel
Most pieces are shaped using a potter’s wheel. Some kilns also use hand forming, plaster molds, or raw casting. Each kiln uses the method that fits their style, but the wheel is the most common choice today.
Trimming and Surface Work
Once shaped, each piece is left to dry. If the surface dries unevenly, it gets trimmed or carved by hand. Kuromon pieces might be decorated with carved details, spatula markings, or raised designs. Shiromon, on the other hand, moves on to decoration after its first firing.
Sun Drying or Heat Drying
The formed and trimmed clay is then dried. Usually, the sun does the job. For some pieces, though, hot air is used to speed things up and make sure all moisture is gone before firing.
First Firing: The Bisque Stage
The dry clay is fired in a kiln at around 750 to 850 degrees Celsius, which is about 1382 to 1562 degrees Fahrenheit. This stage lasts for about 15 to 16 hours. It hardens the surface and helps the glaze stick better. After cooling, the surface is smoothed out to remove any grit.
Applying the Glaze
Shiromon uses a clear glaze. It’s applied by dipping or pouring. Kuromon uses darker glazes, like black, deep brown, or pale caramel. The glaze mix is adjusted depending on the piece. Each blend brings out different tones and textures.
Glaze Firing in the Kiln
Next, the glazed pieces go back into the kiln. This time, they’re fired at around 1250 degrees Celsius, or roughly 2282 degrees Fahrenheit, for at least 12 hours. The style of firing depends on the type of flame used. An oxidizing flame or a reduced-oxygen flame will give different effects. For shiromon, the signature crackle pattern appears during the cooling phase after this firing.
Decorating with Overglaze on Shiromon
Only shiromon pieces go through overglazing. Once the glaze firing is done, colored decoration is added. This part of the process involves baking the piece again at about 720 to 800 degrees Celsius, or 1328 to 1472 degrees Fahrenheit, for around six hours. Artists draw the outlines first, then fill them with red, green, yellow, purple, or gold. If gold is used, it’s either painted directly or applied as a thin gold layer after the colors are set. Then the piece is baked again at 600 to 680 degrees Celsius, which is between 1112 and 1256 degrees Fahrenheit.
Final Touches and Cleanup
The finished pieces are taken out of the kiln. Any roughness on the base is smoothed off, since alumina was used during firing to prevent sticking. Scattered glaze bits are cleaned away, and once the surface is even, the Satsuma ware is complete.
15. Iga ware
Iga ware, or iga yaki in Japanese, is a traditional type of ceramic made in Iga, a region in Mie Prefecture. Most of it comes from Makiyama and Marubashira in Iga’s Ayama area. What makes this pottery special is the clay. The local soil is rich in minerals and naturally resistant to heat, which is why Iga ware is often used for cooking pots and durable kitchenware.
One thing that stands out about Iga ware is its rough, firm surface that turns a deep reddish color when fired. It’s simple but strong. Another key trait is the greenish, glass-like layer known as vidro glaze. This shiny glaze happens when ash lands on the pottery during firing and melts into the surface. But it’s not random. Potters control how the ash falls to shape the final look. They move it around before firing to make sure each piece looks balanced and intentional.
How Iga Ware Compares to Shigaraki Ware
Iga ware often gets compared to Shigaraki ware, which comes from nearby Shiga Prefecture. Both use similar clay, but Iga pieces are usually heavier and tougher. You can often tell them apart by the handles. Iga pots often have small protrusions or “ears,” while Shigaraki ware usually doesn’t. There’s a saying in Japan: “Iga has ears, Shigaraki has none.” These “ears” are linked to a specific style called Tsutsui Iga, which began in the Azuchi-Momoyama period between 1568 and 1600.
Pottery from that time is called old Iga and is known for its variety. Each piece is different. Some were made to look broken on purpose or decorated with carved patterns that mimic natural waves. These pieces weren’t just for show. They were made to reflect wabi-sabi, the Japanese idea of beauty in imperfection and simplicity.
The Role of Tea Ceremony Culture in Shaping Iga Ware
Iga ware first showed up during the Nara period, around 710 to 794 CE. Early on, it was mostly used for making simple pots and grinding bowls. Back then, there wasn’t much difference between Iga and Shigaraki ceramics.
Things changed in the Azuchi-Momoyama period. That was a time when tea ceremonies were becoming a big deal in Japan, and wabi-sabi was highly valued. Local lords like Sadatsugu Tsutsui and Takatora Todo helped push Iga ware into the spotlight. Artists started creating unique pieces with intentional flaws and textures. Tea masters, especially Sen no Rikyu, admired these works for their quiet elegance. Iga ware became a favorite in tea rooms across Japan.
From the Past to the Present
In that period, potters made more than just bowls and cups. They crafted tall water jars and flower vases too. But after the Azuchi-Momoyama era ended in 1600, production slowed and then stopped completely. It wasn’t until the mid-1700s that Iga ware came back, this time focusing more on everyday items. Since then, it’s stayed in use, with craftsmen still making durable, fire-resistant pieces for modern kitchens.
Today, Iga ware continues to blend tradition with function. The rough clay, the ash glaze, the old techniques - they all show up in the pieces still being made. While the shapes and styles have changed, the spirit of Iga ware remains the same. It's tough, honest pottery rooted in centuries of craft.
Where Iga Ware Begins: Clay Mining in Mie
The process of making Iga ware starts deep in the earth. Clay is dug up from spots around Ueno, especially in Marubashira and Makiyama. These areas in Mie Prefecture are known for their high-quality, heat-resistant soil. That clay is the foundation for every Iga pottery piece.
Turning Raw Soil Into Clay
After the soil is mined, it’s processed into usable clay. How that happens depends on what kind of pottery is being made. If the goal is to make tableware, the clay goes through a method called elutriation. That means the soil is separated by grain size to make it smoother and easier to shape. But for bigger items like vases, a different method is used. The soil is dried out, ground into powder, and then mixed with water. This drying process creates a thicker, more rugged clay better suited for larger pieces.
Kneading and Casting the Clay
Before shaping the clay, it has to be kneaded to get rid of any air pockets. Potters use a method called chrysanthemum kneading, which gets its name from the way the clay looks afterward: it spirals out like a chrysanthemum flower. Once the clay is smooth and bubble-free, it’s ready to be shaped.
There are four main ways potters shape Iga ware. Some use a spinning lathe. Others form the piece entirely by hand. Another method uses flat slabs of clay to build up the form. There's also coiling, where the clay is rolled into long ropes and stacked to make the shape.
Finishing the Details: Handles and Patterns
Once the basic shape is done, it’s time to add the smaller touches. Potters attach handles and apply decorations that reflect the old Iga style. There are a few ways to add patterns. One is slip trailing, where watered-down clay is used like paint to draw raised designs. Another is line engraving, where the surface is scratched with fine lines. A third way uses real flowers or leaves, which are pressed into the soft clay to leave prints.
Drying the Pottery
After the details are in place, each piece is left to dry. This can happen indoors in a drying room or outside in direct sunlight. The goal is to remove all moisture before firing, so nothing cracks or breaks in the kiln.
Firing: Where Iga Ware Takes Shape
The firing process is where Iga ware really gets its character. Pots are baked at high heat, usually between 700 to 800 degrees Celsius. This is when the signature vidro glaze forms. Ash settles onto the pottery and melts into a glossy coating that protects the surface from dirt and moisture.
Different types of kilns are used. Gas kilns fire steadily for 15 to 30 hours over several days. Climbing kilns, which are wood-fired and built on hillsides, take longer, usually four to ten days. These older kilns allow ash to move naturally through the chamber, creating one-of-a-kind effects on each piece.
If the piece is going to be painted, potters often use a soft blue pigment called asbolite. It’s used to draw simple patterns or tint the surface. When there’s no painting involved, decoration comes from the ash itself. The type of glaze also varies. Some use glaze made from plant ash, others from limestone-rich calcareous glaze. These choices affect how the final piece looks and feels.
Cooling Down and Unloading the Kiln
Once firing is complete, the kiln needs time to cool. If pottery is pulled out too fast, it can crack from the sudden change in temperature. So potters wait. Only after everything has cooled evenly are the pieces taken out and inspected.
That’s the full process. Every stage, from mining the clay to cooling the final piece, has a purpose. Together, they create pottery that’s been trusted for centuries. Iga ware isn’t just about looks. It’s built to last, shaped by fire, and rooted in old methods that still hold up today.
16. Mikawachi ware
Mikawachi ware, also known as Mikawachi yaki, is a style of porcelain that comes from the Sasebo area in Nagasaki, Japan. It’s known for its fine craftsmanship and white porcelain painted with soft blue designs. The artwork usually shows scenes of Chinese children at play. These brushstrokes are light and rounded, giving the pieces a calm and warm look.
The original inspiration came from Ming dynasty porcelain from China, made between 1368 and 1644. In that tradition, pictures of young boys were symbols of happiness and wealth. Japanese potters took that idea and made it their own. Since the Meiji period, starting in 1868, they’ve been creating their own versions of those scenes, with a unique Japanese touch.
What makes Mikawachi ware stand out is the way it’s made. Every piece is shaped by hand, one at a time. Some pieces feature fretwork, called sukashibori, which is delicate cut-out detailing. Others are molded using a hand-building method known as tebineri. These traditional methods take time, skill, and patience. The result is porcelain that feels alive and personal.
People use Mikawachi ware for everyday items like bowls, cups, and plates, but it’s also given as gifts. It’s been seen as a refined and elegant form of pottery for centuries.
The story behind Mikawachi ware goes back to the late 1500s, during the Imjin War. This conflict, led by Toyotomi Hideyoshi between 1592 and 1597, brought Japanese forces into Korea. Afterward, Shigenobu Matsura, the local lord of the Hirado domain near Sasebo, brought back around one hundred Korean potters. Among them was a skilled potter named Koseki. They set up kilns in the area and started making pottery.
At first, they focused on standard ceramics. But in the 1640s, Koseki’s son, Sannojo Imamura, found a local source of white porcelain ore. That discovery marked a move from basic pottery to the fine white porcelain Mikawachi ware is known for today.
By 1650, the Hirado domain had created an official system of business kilns and fully backed the development of Mikawachi ware. These pieces were often used as diplomatic gifts to the Edo shogunate, Japan’s military government at the time. By the late 1600s, their quality gained attention not just across Japan, but also overseas in places like China and Europe.
Over time, Mikawachi ware became more than a luxury item. After the Meiji period began in 1868, it found its way into homes and became part of everyday life. Though once reserved for the elite, it slowly became something regular people could enjoy and appreciate.
Mikawachi ware is still respected today for its detailed design, handmade quality, and long history. It’s one of the clearest examples of how Japanese porcelain can blend tradition, art, and utility into something that lasts.
How Mikawachi Ware Is Made: Step-by-Step Porcelain Production
Crushing the Stone
The process starts with Amakusa potter’s stone, a special raw material from Kumamoto. This white stone gives Mikawachi ware its clean, bright finish. The stone is crushed into powder using a machine. It takes a full day to grind it down until it’s fine enough to use.
Sorting the Powder
Once the stone is crushed, it has to be sorted. The powder still contains chunks that are too big. These get separated in a sedimentation tank. The mix is poured into water. Larger grains sink fast, while the smaller, usable particles stay suspended longer. Filters then collect only the fine grains. After that, a vacuum machine removes the air and compresses the fine material into workable clay.
Shaping the Clay
The clay is shaped on a potter’s wheel or formed by hand. This step defines the final shape of the piece. For decorative works, special techniques come into play. Sukashibori is used to carve detailed cutouts. Tebineri helps create lifelike animals or plants. There's also pasting, which involves attaching small parts to larger ones while the clay is still unglazed.
Drying the Pieces
Once shaped, the pieces are laid out to dry in the sun. After drying, rough surfaces are shaved down to make everything smooth.
First Firing (Bisque Firing)
The first firing is called bisque firing. It hardens the piece so it can be painted and glazed. This firing lasts about seven hours at 900 degrees Celsius. It helps lock the form in place and makes the surface ready for decoration.
Painting the Underglaze
After the first firing, any dust is wiped away with a dry cloth. Even a bit of dust can mess up the paint. A pigment called asbolite is used for underglazing. Artists use brushes to paint by hand. At this stage, the color looks gray, but it turns a bright blue when fired. For shadowing, a darker version of asbolite called dami is added using thicker brushes.
Applying the Glaze
Next, the entire surface is covered with enamel glaze. This coating gives the porcelain a glossy, glass-like surface and adds strength to the piece.
Second Firing (Glaze Firing)
The glazed piece is fired again, this time at a much higher temperature of about 1300 degrees Celsius. This firing takes anywhere from fifteen to twenty hours. After the kiln shuts off, the porcelain has to cool down slowly. If it cools too fast, the piece can crack, so the cooling step is handled with care.
Adding More Color (Overcoating)
Most Mikawachi ware is finished after the glaze firing, especially those with just the classic blue designs. But sometimes extra colors like red are added on top. When that happens, the pieces go through another firing at 750 degrees Celsius for around seven hours. This last step helps the extra color set into the surface.
Each stage in this process has a purpose. Together, they create the smooth finish, delicate designs, and long-lasting strength that Mikawachi ware is known for.
17. Agano ware
Agano ware, also called Agano yaki, is a type of Japanese pottery that comes from the Fukuchi area in Fukuoka Prefecture. It was first made for tea ceremonies, so it has a soft, graceful feel. These pieces are known for being light and easy to hold, which made them popular as tea bowls from the start.
One thing that sets Agano ware apart is its shape. Some bowls have a taller foot than usual, with a wide, open base. This gives the piece a balanced and elegant look. But it’s the enamel that really makes Agano ware stand out. Potters use many types of glazes, including blue-green, iron, white-brown, and clear. These finishes create different textures, shines, and color patterns.
The most recognized glaze in Agano ware is a greenish-blue one, made using oxidized copper. This gives the surface a smooth blue tone with a rusty edge. There’s also an iron glaze that makes the pottery look like unglazed clay, with a deep reddish brown color. Another glaze, called spotted enamel, creates fine grain-like lines that almost look like insect bites. No two pieces look the same, but they all share a delicate, polished quality.
Agano ware started in 1602. The lord of the Kokura domain, who was skilled in the tea ceremony, invited a Korean potter named Sonkai from the Joseon Dynasty to build a kiln in Agano. This kind of kiln, called a climbing kiln, is built into a slope so the heat rises naturally through each chamber. Sonkai’s work brought new life to the area and helped shape Agano’s pottery style.
In 1632, Sonkai had to leave Agano, but his son, Magozaemon Totoki, stayed behind and kept the kiln going. Under the next lord’s rule, pottery production continued to grow. During the middle of the Edo period, the climbing kiln earned a strong reputation. It was even ranked among the top seven kilns in the outer provinces, which gave it a respected name across Japan. The kiln was used to produce official pieces for generations of local lords.
But when the Meiji period began in 1868, Japan’s government structure changed. Domains were replaced by prefectures, and traditional arts like Agano ware began to fade. Production slowed down for a while. That changed in 1902, when the craft was brought back with support from the new government.
Today, Agano ware still holds onto its roots. Each piece shows the skill and style that began over 400 years ago. The use of natural glazes, simple forms, and handmade techniques keeps this pottery tied to its past, even as it remains part of daily life.
How Agano Ware Is Made: Step-by-Step Pottery Process
Making Agano ware starts with raw clay and ends with fine porcelain. Every step in between is done with care and precision. Here's how this traditional Japanese pottery comes to life, using skills passed down for generations in Fukuchi, Fukuoka.
Digging and Preparing the Clay
Clay for Agano ware comes from the mountains near Fukuchi. It’s dried right after being collected. Once dry, the clay is ground into a fine powder using machines. After grinding, it's sifted through a mesh to separate out any rough particles. Only the smoothest, cleanest clay gets used. Anything too coarse gets tossed out.
Next, the refined clay is mixed with water inside a tank. This step is called elutriation. It helps filter out the best fine-grain clay using water flow. After that, the mixture is strained with cloth to remove excess moisture, then left out to dry in the open air.
Kneading the Clay
Once the clay starts to firm up, it’s kneaded by machine and shaped into thick, solid cylinders. But that’s just the start. These clay blocks are then kneaded again, this time by hand. This hand-kneading takes time but is crucial. It removes air bubbles and evens out the texture, so the clay is ready for shaping.
Shaping the Pottery
After kneading, the clay is shaped using a lathe. The potter casts the clay into its final form, whether it’s a bowl, cup, or plate. Once shaped, the pieces are left to half-dry on special shelves. At this stage, potters smooth out the base, attach any handles, and finish the details. The shaped pieces are then set out in the sun to dry fully. This sun drying takes two to three weeks.
Bisque Firing
Once dry, the pottery goes into the kiln for the first round of firing. This is called bisque firing. The goal here is to harden the clay before adding any glaze. It also helps prepare the surface so the glaze sticks better later. Pieces are tightly packed into the kiln and fired at around 800 to 850°C, or roughly 1470 to 1560°F, for five to six hours. Only the pieces that come out flawless move on to the next stage.
Glazing the Pottery
After bisque firing, the clean pottery is glazed. Glazing gives Agano ware its shine, color, and smooth surface. The most well-known glaze is blue-green, made with copper. This glaze changes during firing and creates a rich, changing blue-green color. Other common glazes include iron, white-brown, ash, irabo (a golden brown), transparent, and tri-colored types. Each one gives the pottery a different look and feel.
Final Glaze Firing
Glazed pieces are fired again, this time in either wood-fired or gas-fired kilns. Gas firing usually lasts around ten hours. This final firing brings out the colors, textures, and luster in the glaze. The result is pottery with depth, shine, and unique surface patterns.
Agano ware is known for using many types of glaze to create different effects. Some pieces have a texture like yuzu peel, known as yuzu skin. Others feature bug-eaten enamel, which creates a fine, pitted look. Wood grain textures are made by combining two colors of clay. Tri-colored pieces show off three types of glaze on one item. Each piece is one of a kind, shaped by fire, glaze, and the hands of the potter.
Next:
Traditional Japanese Pottery: Historic Ceramic Styles (Part II)
