Traditional Japanese Pottery: Historic Ceramic Styles (Part II)
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Traditional Japanese Pottery: Historic Ceramic Styles (Part I)
18. Otani ware
Otani ware, or Otani yaki in Japanese, is a type of handmade pottery known for coming out of Naruto, a city in Tokushima Prefecture. It’s the most recognized traditional craft in the region and stands out for its raw texture and old-school ceramic techniques. You’ll mostly find Otani ware made with thick, earthy clay and shaped using a rare method called nerokuro, which sets it apart from other Japanese pottery.
Clay and Craft Techniques
The clay used in Otani ware is dug from Oasacho in Tokushima. It’s called Hagiwara clay. This material is rich in iron, which gives the pottery a gritty surface and a soft, natural shine after firing. That iron content also adds strength to the final product. People are drawn to the rough, almost rustic texture that makes each piece feel solid and earthy.
One thing that makes Otani ware unique is the nerokuro method. That word means "lying wheel" in Japanese. It’s named that way because the potter actually lies on the ground and spins the wheel with their feet while shaping the clay. This method is mostly used when making really large jars or pots, sometimes as tall as a full-grown adult. This way of working lets the artisan shape massive pieces with smooth control while keeping the clay steady.
Otani ware is fired in climbing kilns. These kilns, built along the side of a hill, use gravity and heat flow to bake multiple pieces at once. The ones in Naruto are some of the biggest in Japan. That large kiln space is part of why Otani ware includes oversized pieces you wouldn’t normally see in other styles of Japanese pottery.
What Otani Ware Looks Like
Most Otani ware has a deep brown tone, but you can also find gray and silver finishes depending on the clay blend and firing method. It’s not just about size and color, though. This pottery comes in a wide range of styles. There are big statement pieces, but also everyday items like rice bowls, teacups, and small dishes. Some are purely decorative. Others are made for regular use.
Even though the designs are simple, the texture, shape, and color give each piece a distinct character. That balance of function and form is what keeps Otani ware popular with collectors and people who appreciate traditional handmade goods.
Where Otani Ware Got Its Start
Otani ware dates back to 1780. That’s when a traveling potter came to Otanimura, which is now part of Naruto. He worked with the local red clay and shaped pieces using a lathe, setting the foundation for what would later become the signature Otani style.
In 1781, the local feudal lord got interested in the pottery being made there. He ordered a kiln to be built and run under domain control. This led to the first dyed porcelain made in Tokushima. But it didn’t last. The cost of materials became too high, and the kiln shut down three years later.
Then, in 1784, Bungoro Kaya, a merchant dealing in indigo dye, helped restart pottery production. He funded a climbing kiln by digging it into the hillside in Otanimura. This kiln was meant for practical pottery used in daily life, not just luxury goods. It was during this phase that Heijibei Noda got involved. He had brought in skilled workers from Shigaraki in Shiga Prefecture, known for their ceramic expertise. They helped shape the methods and style that would become the Otani ware we know today.
Why Otani Ware Still Matters
Otani ware is more than old pottery. It reflects a mix of strong local clay, hands-on craftsmanship, and time-tested techniques. From towering jars to everyday dishes, it covers a full range of forms while staying true to its roots. The blend of rough texture, earthy tones, and unusual shaping methods makes it a standout among Japanese ceramics.
If you're interested in traditional pottery that still gets made the way it was over 200 years ago, Otani ware is worth a closer look. It’s still produced in Naruto, using the same clay and the same core methods that started it all.
How Otani Ware Is Made
Clay Grinding and Drying
The process starts by collecting raw clay from the local area. Once it's gathered, it gets dried out completely. After that, the dry clay is crushed down into fine pieces. This step breaks it up enough to start shaping it later.
Removing Impurities by Sieving
After grinding, the clay goes through a sieve. This separates out rocks, roots, and anything that doesn’t belong. What’s left is a cleaner, smoother base. That makes a big difference in how the finished piece turns out.
Elutriation and Settling
Next, the clay gets soaked in water tanks. While stirring, the clay moves from one tank to another. This process, called elutriation, helps pull out anything heavy or unwanted. Whatever sinks to the bottom becomes the usable potter’s clay. Once that settles, it’s moved to a pot and left alone until it firms up a bit. The goal is to get it to the right texture, not too wet and not too dry.
Clay Kneading
When the clay is firm enough, it’s shaped into round chunks and placed on the floor. The artisan climbs on top and treads it by foot. This method, called araneri, softens the clay evenly from all sides. After that, the clay is hand-kneaded in a process called kikuneri. This helps remove air pockets, which could cause cracks later. It's a slow and careful job to make sure the clay is smooth and ready.
Forming the Pottery
Once the clay is prepped, it moves to the wheel. For small pieces, a single artisan can shape it by hand. But for larger pottery, like tall jars or wide pots, it takes two people. One lies on the ground to kick the wheel using the nerokuro technique. The other stands beside the wheel to mold the clay as it turns. This teamwork helps shape big items with steady control.
Drying Indoors and Outdoors
After shaping, each piece has to dry. First, it sits in the shade indoors. For large pieces, this stage takes around 20 days. Smaller pieces take anywhere from two to seven days. Once they’ve dried indoors, they’re moved outside. Big pieces stay in the sun for two to three days. Smaller ones dry outside in just one day. This two-part drying keeps the clay from cracking later in the kiln.
Applying the Glaze
Once dry, the pottery gets glazed. There are three main ways to do this. The first is namagake, where the glaze goes straight onto the un-fired clay. The second, hitashigake, involves soaking the bisque-fired pottery in glaze. The third, nagashigake, uses a ladle to pour glaze over the piece. Before any of this, though, bisque firing happens. That’s the first light firing at about 800°C. It takes between eight and sixteen hours, depending on the size and type of clay.
Stacking the Kiln
When the glaze is on and the bisque step is done, the pottery is placed into the kiln. Each piece is carefully arranged so nothing touches or topples during the firing. Kiln stacking is precise work and affects how the pieces turn out.
Firing the Pieces
Final firing heats the kiln up to around 1230°C. There are three kinds of kilns used. Climbing kilns take the longest, about five to six days and nights. Electric kilns and gas kilns are faster, usually done in one or two days. Each type gives different results, depending on airflow and temperature.
Checking for Cracks and Chips
After firing, every piece is inspected by hand. Artisans look closely for cracks, chips, or flaws. Only the ones that pass inspection move on to the last step.
Final Touch and Sale
Once inspected, the finished pieces are ready to be sold. Each one has been shaped, dried, glazed, fired, and checked by hand. That’s what makes Otani ware a craft that still holds its value today. Every step, from digging the clay to the final fire, is done with patience and skill.
19. Obori-soma ware
Obori-soma ware, known in Japanese as Obori-soma yaki, is a type of porcelain made in Namie, a small town in Fukushima Prefecture. This craft stands out for its crackled blue-glazed surface and deep roots in the region’s history. It’s made using ground stone from local mountains, which gives the blue porcelain enamel its unique look. People know it by its web of blue fissures that run across the soft, glossy celadon finish.
What Makes Obori-Soma Ware Special
The cracked pattern is what gives Obori-soma ware its signature style. When the glaze cools after firing, it contracts more than the body of the piece. That difference in shrinkage causes fine cracks to form across the surface. As the piece cools, you can even hear soft crackling sounds from the glaze. These blue cracks, set into a pale green or icy white glaze, give every piece a distinct, aged beauty.
Another signature of Obori-soma ware is the hand-drawn images of sacred horses. These horses were symbols of the Soma clan, a powerful family that once ruled the area. Drawing these horses on porcelain kept the local tradition alive. Each figure is painted by hand, giving every item a personal, one-of-a-kind feel.
Obori-soma ware also has a double-layered structure. The inner layer holds heat, keeping tea or soup warm for longer. The outer shell stays cooler, so your hands won’t burn. This double-firing method is rare. It’s made with comfort and practicality in mind and is not found in any other kind of porcelain.
How Obori-Soma Ware Got Its Start
This pottery started back in the early Edo period, around the 1600s. A warrior named Kyukan Hangai, from the Nakamura domain, found clay in the Obori area. He told his servant to use it to make pottery for daily use. That kicked off the craft that would grow into Obori-soma ware.
At the same time, another style called Soma Koma ware was being made near Nakamura Castle. That style was more exclusive and usually reserved for the local lords. Obori-soma ware, on the other hand, was made for regular folks. It became popular as everyday tableware. The local domain encouraged pottery-making and helped the industry grow fast.
By the late Edo period, more than a hundred pottery workshops were running in the area. These workshops sold their goods not just in Fukushima but all across Kanto and even as far as Hokkaido. Obori-soma ware became a major craft, and the market for it was strong.
Challenges and Recovery
When the Meiji era began in 1868, Japan ended the feudal domain system. That meant the Nakamura domain, which had supported the pottery trade, was dissolved. Without that backing, many of the potteries shut down. By the Taisho period in the early 1900s, only about thirty workshops were left.
World War II brought another major hit. The war and its aftermath slowed production even more. But the craft never fully disappeared. Today, about twenty-five workshops still produce Obori-soma ware using the traditional tools and firing methods. They continue to keep the techniques alive, making pieces that are both practical and full of history.
Why Obori-Soma Ware Still Matters
Obori-soma ware blends function with beauty. It’s made with strong local materials, painted by hand, and built to last. The blue crackle glaze, the double walls, and the sacred horse motifs all carry stories from centuries past. Even now, this porcelain holds its place as one of the standout crafts of Fukushima. It connects everyday life with a long-standing heritage and offers something unique in a world full of mass production.
How Obori-Soma Ware Is Made
The process of making Obori-soma ware follows a detailed, hands-on routine. Every step matters, and each piece takes time, patience, and skill. The final product isn't just functional. It carries centuries of tradition.
Molding the Shape
Everything starts with molding. Potters use a lathe to shape the clay. Since Obori-soma ware has a double-layered build, the potter has to plan both the inner and outer pieces from the start. The shapes must fit together perfectly. That’s what creates the heat-insulating structure that sets this ware apart.
Trimming and Joining
After the clay firms up a bit but is still soft, potters begin shaving the base or the outer surface. This depends on what kind of item they’re making. They also decorate the piece using a method called the "jumping plane." This involves pressing a spatula-like tool against the spinning clay to carve light scratches or ridges in a patterned way.
Once both the inner and outer parts are shaped and carved, the potter places one inside the other. They join the pieces by sealing them together at the rim. At this point, the basic form of the vessel is done.
Adding Color Before Glazing
When the combined piece is still slightly soft, it’s colored using different techniques. Some are brushed with designs like chrysanthemum patterns. Others get dipped in mud coating or a method called hananuki, which adds floral details. Once the pieces are dry, they’re carved with more designs.
An iron-rich clay called sarupo is used to add reddish hues. Some designs feature heart-shaped symbols known as plovers, which are small shorebirds. These details give every item a personal touch.
Controlled Drying
The drying stage is slow and careful. If the pieces dry too fast, they can crack or warp. So first, they’re set in the shade. Once they’ve hardened a bit, they’re placed in sunlight to finish drying evenly.
First Kiln Firing
After drying, the pottery is fired for the first time at around 900 to 950°C. This is called bisque firing. It strengthens the clay and gets it ready to absorb glaze. At this stage, the pottery still looks dull and dry.
Undercoating Designs
The bisque-fired pieces are then coated with a special underpainting. It’s made from a mix of iron and cobalt called asbolite. This is when the iconic running horse designs are added. But there are also other hand-painted themes, like pine trees, rivers, mountains, bamboo, or plum blossoms.
Applying the Glaze
Next, the glaze is added. This is the shiny, glass-like coating that creates the crackled surface. Potters apply the glaze using three techniques: dipping the piece, spinning it, or pouring the glaze over it. Each method is chosen based on the shape and size of the item.
Final Glaze Firing
Glazed pieces go back into the kiln for a second firing. This one is much hotter, around 1250 to 1300°C. This high heat melts the glaze, causing it to shrink slightly and form a web of fine cracks across the surface. These fissures are what give Obori-soma ware its signature look.
Optional Overcoating
Some pieces are finished after the glaze firing. Others get an extra layer of decoration or overcoating, depending on the final design.
Bringing Out the Cracks
As the last step, potters rub ink into the cracks to highlight the pattern. They wipe off the extra ink with a cloth. This makes the fine fissures stand out and adds depth to the surface. Once this is done, the piece is complete.
From start to finish, each stage is done with purpose. The double walls, blue crackle glaze, and hand-drawn designs all come together to make Obori-soma ware unlike anything else. Every cup, bowl, or plate reflects the care and history that went into it.
20. Tsuboya ware
Tsuboya ware, or Tsuboya yaki, is a traditional type of pottery that comes from the Tsuboya area in Naha, Okinawa. It's one of the most well-known forms of Okinawan pottery, which locals call yachimun. What makes it stand out is the bright enamel coating, something that's tied closely to Okinawan culture and materials. At first, it was made for everyday use by regular folks. But during the Taisho era, a thinker named Muneyoshi Yanagi helped bring attention to its beauty. He was a strong supporter of folk crafts and believed in the value of handmade objects.
Two Main Types of Tsuboya Pottery
There are two kinds of Tsuboya ware: arayachi and jouyachi. Arayachi is more basic and usually used for things like sake bottles or water jugs. It’s plain and functional. Jouyachi, on the other hand, is more detailed. It’s fired at high heat, around 1200 degrees Celsius, which gives it a solid, heavy feel. This style uses several kinds of enamel, and the look reflects Okinawa’s natural surroundings.
One signature glaze is a white enamel. It’s made by mixing slaked lime, rice husk ash, and local Okinawan clays like gushikami and kina. That combo gives the pottery a smooth, chalky white coat that’s easy to recognize. It’s one of the key traits that sets Tsuboya ware apart from other pottery styles across Japan.
Where Okinawan Pottery Comes From
Okinawa’s pottery roots go back to when it was still the Ryukyu Kingdom, an independent nation that traded with China and other parts of Southeast Asia. Around the 14th to 16th centuries, Korean roof tile techniques made their way over to the islands. This likely helped shape early styles like arayachi.
Later, in the 17th century, the Tokugawa shogunate took control of the region through the Satsuma domain. That move cut Okinawa off from its international trade. To keep the craft alive, King Sho Nei brought over skilled potters from Korea. He supported the use of their techniques and gave them space to work. That’s when the more refined style of jouyachi really started to take shape in Okinawa.
By 1682, three main kilns from Shuri, Chihana, and Wakuta were merged into one location in Tsuboya. That marked the start of what we now call Tsuboya ware.
The Decline and Revival of Tsuboya Ware
During the Meiji era, cheap factory-made pottery took over the market. That hurt traditional pottery like Tsuboya ware. For a while, it fell out of the spotlight. But in the Taisho period, the folk art movement gave it new life. People began to value handmade crafts again.
In 1985, a turning point came when Jiro Kinjo was named a Living National Treasure. He was the first person in Okinawa to get that title. It’s a major honor in Japan, given to artists who help preserve important cultural skills, like pottery or traditional theater.
Thanks to artists like Kinjo and the renewed interest in folk crafts, Tsuboya ware became known as a key part of Okinawa’s heritage. Today, it’s a symbol of local culture and one of the most respected types of handmade pottery in Japan.
How Tsuboya Ware Is Made
Digging and Preparing Okinawan Clay
The process starts with digging up red and white clay in Onnason, a town in Okinawa. The red clay is called shimajiri mahji. The white clay is also unique to the area. The two types are blended depending on what kind of piece is being made. The raw clay gets filtered, stirred, and pressed through a machine that evens out the texture. Then it’s kneaded thoroughly by a clay mixer. This used to be a long, hard job done by hand, but machines have made it easier and faster.
Casting the Pottery
Lathes are used to shape things like bowls, plates, and vases. Some are powered by electricity, others by foot. Small items like sake jugs, Okinawan liquor flasks, or mini shisa statues are made using molds. Big shisa statues are shaped entirely by hand. This method lets artists give each statue a unique face and feel. For zushigame jugs, which used to hold ashes of the dead in ancient Okinawa, potters use a wooden mold.
Adding the Clay Slip Coating
Once the pieces are shaped and dry, they get coated in a clay slip called nabu. This is a watery mix made from a special white clay called gushitou, only found in Okinawa. Nabu gives the pottery a soft, white surface. It also adds a bit of thickness and creates a smooth base for the decoration that comes next.
Carving and Painting the Surface
While the enamel is still a little damp, the potter starts decorating. This step is key to Tsuboya ware. Artists carve bold patterns directly into the surface. Sometimes they add raised designs for a 3D effect. This kind of heavy carving is one of the signature looks of Tsuboya pottery. After the firing, red paint is often added on top. These red-painted pieces are some of the most valuable and sought after.
Glazing with Local Enamel
After decoration, the pottery gets glazed. The overglaze mix includes Okinawan materials like coral limestone and rice husks. The glaze gives the piece its shine and color. Depending on the design, potters might use amber glaze, clear glaze made from white clay, or dark black glaze. The finish depends on the look the artist is going for.
Firing the Pottery
Most pottery is fired twice, but Tsuboya ware is only fired once. Once the kiln is lit, it burns nonstop for at least ten hours. That one firing is enough to finish both the clay and the glaze. Traditional wood-burning climbing kilns were used in the past, but because of smoke pollution and more homes being built near Tsuboya, they’re no longer allowed in the city. Today, gas kilns are used instead. They give potters better control over the heat and help keep the quality consistent.
Some potters who still want to use wood kilns have moved their workshops to Yomitan Village. Because of them, the old ways of making Tsuboya ware are still being carried on there.
21. Aizu-hongo ware
Aizu-Hongo ware, or Aizu-Hongo yaki, is a traditional form of pottery from the Aizu region in Fukushima, Japan. This craft has been around for about 400 years. It likely began during the Sengoku period, a time of constant war from 1467 to 1600. In the early Edo period, the local lord of Aizu helped the craft grow by backing its production. Later, once the magistrate’s office was dissolved, each pottery group started creating their own pieces with their own style.
What makes Aizu-Hongo ware stand out is the wide variety of designs and finishes. Some potters make porcelain, others make ceramic, and some do both. That mix gives the region a strong tradition in both fields.
Styles and Materials in Aizu-Hongo Pottery
Aizu-Hongo ware is known for its range of decorations. You’ll see everything from classic Japanese paints to Western-style colors. One of the most common paints used is asbolite, a deep blue pigment that adds a bold touch.
This pottery comes in many forms. There’s celadon porcelain, known for its soft green glaze. There’s also pure white porcelain and pottery with carbonized finishes. Some pieces have a glossy look. Others have a matte texture. There’s a lot of variety, but every style keeps things simple and practical.
Many of these pieces are meant for everyday use. They’re sturdy, useful, and not just for show. Traditional glazes and methods are still used, giving the ware a timeless look that still works today.
The History Behind Aizu-Hongo Ware
The story of Aizu-Hongo ware goes back to 1593. That’s when Ujisato Gamo, a military leader, became the lord of Aizu. During the rebuilding of what’s now Aizuwakamatsu Castle, he had roof tiles made, which kicked off local pottery production.
Later, during the early Edo period, Masayuki Hoshina of the Aizu-Matsudaira clan took things further. He brought skilled potters from Owari, now part of Aichi, to build a serious ceramics industry in Aizu. With support from the domain, the craft flourished. Both ceramic and porcelain goods were made in large numbers.
But things didn’t stay smooth. During the Boshin War in 1868, potters had to leave their work and fight. On top of that, many porcelain factories were destroyed in fires. Production slowed to a halt. Still, the potters came together afterward and rebuilt. By the middle of the Meiji period, they had recovered enough to start exporting their work overseas.
In 1916, another major fire wiped out most porcelain factories again. It was a serious setback, but once again, the community pulled through and kept the tradition alive.
Why Aizu-Hongo Ware Still Matters
Aizu-Hongo ware has survived war, fires, and major change. But it never disappeared. It kept going because the people behind it refused to let it fade. Today, it’s known for its clean look, daily use, and deep connection to Japanese craft history.
The ware’s beauty lies in its simplicity. And while the techniques have roots in old traditions, they still meet modern needs. That balance of history and everyday usefulness is what keeps Aizu-Hongo ware relevant, both in Japan and abroad.
How Aizu-Hongo Ware Is Made
Clay Exposure to Weather
The process starts long before anything is shaped. The raw clay is left outside for at least a year. It sits through wind, rain, and changing seasons. This breaks it down and makes it easier to work with later.
Kneading the Clay
After the clay has weathered, it’s crushed and sifted to remove any lumps or debris. Water is added, and the clay is kneaded until smooth. This step helps get rid of air pockets and makes the clay more workable.
Shaping on the Lathe
Once the clay is ready, it’s placed on a spinning lathe. As it turns, the potter shapes it by pushing and pulling the clay into the desired form. When the basic shape is done, the wheel is stopped. The edges are then cleaned and smoothed with a piece of leather to sharpen the lines and finish the form.
Drying the Pottery
After shaping, each piece is set aside to dry. This can happen naturally or with added heat, depending on the weather or the type of clay used. If a design is going to be painted, it’s either added right away or after a bisque firing, which is a low-temperature bake that sets the clay before glazing.
Firing the Pieces
The pottery is then fired in a kiln. The length of time and temperature vary depending on the clay, glaze, and type of finish. This is what hardens the clay and brings out the color and texture of the surface.
Cooling and Removing from the Kiln
Once firing is done, the pottery stays inside the closed kiln until it cools. This slow cooling process prevents cracks or breaks. Only after everything has fully cooled are the pieces removed.
Final Inspection
Every item goes through one last check. The makers look for any flaws like cracks, bubbles, or warped edges. Only pieces that pass this step move forward. This is how quality is kept high, and why Aizu-Hongo ware has such a strong reputation for reliability and craftsmanship.
22. Shodai ware
Shodai ware, or Shodai yaki in Japanese, is a type of pottery made mostly in the north part of Kumamoto Prefecture in Japan. It’s easy to spot because of its raw texture, thick build, and bold patterns. These patterns come from how the glaze is poured, not painted. The clay itself has a lot of iron in it. That’s what gives it the deep reddish-brown tone once it's fired. On top of that, potters pour other glazes in colors like white and yellow. These glazes are made from the ash of straw or bamboo grass.
The look of each piece depends on the mix. Some turn out white, some yellow, some lean blue. This simple but striking way of glazing sets it apart from other Japanese pottery styles. Even though it looks rustic, there’s real skill in getting the balance right between glaze, shape, and clay.
The Five Qualities That Make It Practical
Shodai ware has also been called gotoku-yaki, which means “five virtues.” These five features make it useful in everyday life: it won’t rust, it blocks out smells, it resists moisture, it fights off bacteria, and it lasts a long time. That’s why people use it not just for tea sets, but also for normal dishes and cooking tools. The tough finish and strong shape make it great for daily use. It doesn’t just sit on a shelf. It works.
How Shodai Ware Got Started
The story of Shodai ware goes back to 1632. Tadatoshi Hosokawa, the head of the Hosokawa clan, moved into the area and brought two potters with him: Genshichi and Hachizaemon. They set up a kiln near the base of Mount Shodai. This first kiln made everyday items like tea utensils and indoor heating pots called hibachi. Because it was backed by the clan itself, the kiln had support and status. It became the official source of pottery for the local ruling family.
Later, in 1836, a government worker named Rin-emon Senoue helped push the craft forward again. He started the Senoue kiln, also at the foot of Mount Shodai. This move was part of a plan to grow local industry. With that support, more kilns opened and more potters learned the Shodai techniques. The craft grew.
The Decline and Revival
Shodai ware didn’t stay strong forever. Once the Meiji period started in 1868, other types of pottery like Arita ware and Seto ware became more popular. As demand changed, many Shodai kilns shut down. The style nearly disappeared.
That changed during the Showa period, which started in 1926. Two potters, Chitaro Chikashige and Heijiro Jojima, led efforts to bring the craft back. They studied the old ways and helped build interest again. Because of them, Shodai ware got a second life.
Today’s Shodai Ware Scene
Now, the area around Mount Shodai is home to twelve working kilns that make Shodai ware. The tradition has stayed alive thanks to both old methods and modern appreciation for handmade pottery. People still buy it for tea, for cooking, or just to display. Each piece carries the look and feel of its past. It's not just about beauty. It's about usefulness and staying power.
Shodai ware is a real mix of history, craft, and function. That’s what keeps it relevant today.
How Traditional Shodai Pottery Is Made: Step-by-Step Clay to Kiln Process
Clay Collection from Mount Shodai
The process starts in Arao, a city in Kumamoto Prefecture. Potters gather raw clay from beds around Mount Shodai. This clay is thick, loaded with iron, and full of tiny stones and grit. That’s what gives Shodai ware its rough surface and heavy texture. The natural mix isn’t altered much. The rawness is part of the charm.
Drying the Raw Clay
Once the clay is dug up, it’s laid out under the sun. The sunlight helps pull out excess alkali, which lowers the chance of cracks forming later. This slow drying makes the clay more stable. It’s a simple step, but important for getting clean results during firing.
Elutriation: Purifying the Clay
After drying, the clay is broken down and soaked in water. This happens in an elutriation tank. Stirring separates the clean clay from rocks, grit, and other heavy junk. The clean, muddy water is then filtered into another tank. The filtered clay is collected again and left in the sun to dry inside a bisque pot. This turns it back into usable material, clean and ready for shaping.
Letting the Clay Rest
When the clay gets firm enough, it’s brought inside and left to rest. This resting phase allows bacteria to grow in the clay, which softens its texture and improves the viscosity. That sticky, elastic feel helps when shaping pieces on the wheel. Clay with good stickiness is easier to mold and less likely to crack. A fine grain means it won’t shrink too much or split during drying. Letting it rest is a key part of making it usable.
Kneading the Clay
Next, the clay is kneaded to get the moisture even and to remove air pockets. First comes wedging, either by hand, foot, or machine. This evens out the texture and makes the clay smoother and more flexible. If the clay feels off, two different types might be mixed together to fix that.
After wedging, the clay goes through chrysanthemum kneading. This is a slow, controlled hand process that works out all remaining air. The movement presses the clay in a way that makes the surface twist like chrysanthemum petals. It’s a mix of hard pressure and gentle shaping. This step makes the clay smooth, even, and ready to shape. It also helps prevent breaks or scratches later on.
Shaping the Pieces
Now comes casting. There are several ways to shape the clay. Some potters use a lathe. Others press the clay into plaster molds. Hand-twisting is another method. Some prefer to roll out the clay into slabs, then cut and form it. Another option is building pieces up by stacking coils. Each method gives a different finish and shape. The choice depends on the item being made.
Final Touches Before Firing
After shaping, the pottery is left to sit until it firms up just enough. Usually, that takes one or two days. At this point, it’s time for final touches. Potters might cut the base, attach spouts or handles if it’s a teapot, or shape edges. Decorative cuts, inlays, and fretwork can also be added now. These details bring character to each piece before it heads into the kiln.
Slow Drying for Stable Clay
After the pottery is shaped and decorated, it needs to dry out fully. This step happens slowly in a shaded area. Direct sun or fast drying can ruin the shape. If water stays inside the clay, it might crack or even explode in the kiln. Uneven drying can also cause warping or weak spots. A steady environment with balanced humidity and temperature is key. Rushing this part leads to broken pieces.
Bisque Firing: The First Heat
Once dry, the pieces go through their first firing. This is called bisque firing. The kiln is heated to around 800 to 900 degrees Celsius, which is about 1470 to 1650 degrees Fahrenheit. The firing lasts for eight hours. Then the kiln is left to cool naturally. This step strengthens the pottery and helps the enamel stick better later. It also gets the clay ready for glazing.
Mixing the Enamel
Enamel is the coating that makes pottery waterproof and gives it color and shine. It’s made by mixing clay dissolved in water with plant ash, crushed feldspar, or iron-rich minerals. The ash can come from straw, hay, bamboo grass, or wood from trees like pine, cedar, evergreen oak, or other small local trees. The mix gives the final color and finish, and the exact blend makes each batch a little different.
Glazing the Pottery
Shodai ware uses several types of glaze. These include charcoal glaze, straw ash, bamboo ash, hay ash, and iron glaze. The mix of ingredients, kiln heat, and how the glaze is applied all affect the final look. Colors fall into three main groups: blue, yellow, and white. Potters use different techniques to apply glaze, like dipping, ladling, sprinkling, pouring, coating, layering, and slip trailing. Each method changes the texture and design. These steps are part of what gives Shodai ware its strong visual style.
Loading the Kiln Carefully
When the glaze is on, it’s time for the final firing. But first, the pieces must be loaded into the kiln with care. Potters have to think about shrinkage, how clay softens during heat, and how nearby ash or flames might affect the glaze. They also need to space items out so they don’t stick together or fall over. Placement is planned carefully so every pot fires evenly.
Glaze Firing: The Final Bake
The second firing is hotter than the first. The kiln reaches 1300 degrees Celsius, or about 2370 degrees Fahrenheit. This firing lasts ten hours. The glaze melts and bonds to the clay, sealing the surface. But outside conditions matter too. Weather, humidity, and even the wind can change how the fire behaves. So adjustments are made depending on the day. Timing and heat control are both critical.
Letting the Kiln Cool
Once firing ends, the kiln can’t be opened right away. If the temperature drops too fast or the lid is lifted early, pieces can break. Potters wait about ten hours for the heat to drop on its own. Only after the kiln has fully cooled are the finished pots taken out. At this point, the final look of each piece is revealed, with all the color changes, glaze patterns, and firing effects locked in. This marks the end of the long process behind every piece of Shodai ware.
23. Echizen ware
Echizen ware, or Echizen yaki, is a traditional form of Japanese pottery that comes from the town of Echizen in Fukui Prefecture. It's one of Japan's Six Ancient Kilns, alongside Bizen, Tamba, Tokoname, Seto, and Shigaraki. These old kiln sites have been making pottery for centuries and are still active today. Echizen’s roots stretch back to the late Heian period, which was around 850 years ago. The techniques have been passed down through generations, keeping the craft alive and close to its original form.
How Echizen Ware Is Made
Echizen pottery stands out because it’s made without enamel. Most of the pieces aren’t decorated either. That plain, raw finish is part of the appeal. The surface gets its natural glaze from the ashes of firewood during firing. When the pieces are baked at high heat, the ashes fall on the surface, melt, and form a thin, glossy coat. It’s not quite porcelain, not quite regular pottery. It’s a dense, semi-porcelain material called yakishime. It feels earthy but refined.
The pottery is fired at such high temperatures that it becomes extremely hard and watertight. This makes it ideal for practical use. The items most commonly made include tea utensils, sake bottles, storage jars, and everyday pots and containers. Their color tends to be a dark, reddish-brown. The lack of decoration doesn’t make them dull; it actually gives them a calm, grounded look that stands out in a subtle way.
History and Spread Across Japan
The earliest Echizen ware was made in the late Heian period. Over time, the style remained steady, staying close to its basic, useful forms. During the Muromachi period, when cargo ships began sailing routes up and down the Sea of Japan, Echizen pottery started spreading across the country. These boats carried goods between Hokkaido in the north and Tottori in the southwest. They traveled all the way down through the Seto Inland Sea to Osaka. Echizen ware was packed onto these ships and reached new parts of Japan, helping the craft gain more attention.
But this growth didn't last forever. When the Meiji period began and Japan started modernizing, the need for traditional jars and pots dropped off. While other kilns adapted by switching to higher-end items like tea ceremony pieces during the Edo period, Echizen stuck with its basic, utilitarian wares. That choice slowed its progress and made it harder to compete.
The Revival of Echizen Pottery
Echizen pottery almost faded out, but after World War II, researchers started digging into the old kiln sites and studying the remains. People realized the historic value of Echizen ware. In 1970, the Echizen Ceramics Village opened. That turned things around. It brought new attention to the pottery, drew in more artists, and helped bring tourists to the region. Since then, more potters have set up shop in the area, and the craft has found its place again in modern Japan.
Today, Echizen ware continues to focus on everyday, functional pieces. Some studios experiment with modern designs, but the heart of the craft still lies in its simplicity, durability, and raw beauty. It’s a style that reflects centuries of quiet craftsmanship, still standing strong in the world of Japanese ceramics.
How Echizen Ware Is Made: Step-by-Step Process
Preparing the Clay
The process starts by digging up local clay. Different types are gathered from the area, like akabeto, aoneba, and takodo. These clays are then blended together. Before anything is shaped, the clay has to be cleaned. This is done through a method called elutriation, which filters out iron and other impurities while also balancing the texture. After this, the clay is left to settle and thicken so it's easier to shape.
Next comes kneading. This isn’t just simple mixing. It's a mix of heavy and delicate hand movements. The clay is folded and pressed in a spiral, which ends up looking like the petals of a chrysanthemum. That’s why it’s called chrysanthemum kneading. This step gives the clay the right strength and consistency for shaping.
Shaping the Base
Once the clay is ready, the first step is casting. The method depends on the shape of the piece. If the item is circular, a lathe is used. If the shape is more complex or squared, liquid clay is poured into plaster molds. Either way, the base starts to take form on a wooden stand that stays completely still while the shaping happens.
Layering the Clay
After the base is in place, the next step is to build up the body. The potter takes a rope-like strip of clay, about five to ten centimeters thick and around forty centimeters long. This strip is wrapped around the base by the right hand while the left hand keeps it steady and presses it down to smooth the height. The same step is repeated layer by layer. This method is called wazumi casting. It creates a tall and even wall around the base, one layer at a time.
Smoothing the Surface
After a few layers are added and the shape is cylindrical, the outside is smoothed. A hot iron tool is used to rub down the seams and smooth the surface from top to bottom. Inside the piece, the clay is stretched and shaped to form a fan-like curve. This adds both structure and elegance.
Drying and Repeating the Steps
At this point, the piece is partly done. It needs to dry before more weight can be added. Once dry, the potter repeats the same layering and smoothing process to build it up further. This is how the final height and shape of the piece is achieved.
Forming the Rim
The last part to shape is the mouth of the vessel. A wet cotton cloth is placed over the top. The potter then presses down and shapes the rim with both hands. The final look of the mouth depends on how the fingers are used. Different pressure and angles can create different styles and curves.
Firing the Pottery
After the shaping is done, the piece goes into the kiln. It’s fired at a high temperature, between 1200 and 1300 degrees Celsius. That’s roughly 2190 to 2370 degrees Fahrenheit. This high-heat firing is what gives Echizen ware its strength, dense texture, and natural ash glaze. The end result is a durable, practical, and beautiful piece of pottery that reflects centuries of skill and tradition.
24. Akazu ware
Akazu ware, or Akazu yaki, is a type of Japanese pottery made in Akazucho, on the east side of Seto City in Aichi Prefecture. It’s a branch of Seto ware, one of Japan’s Six Ancient Kilns. The other five are Bizen, Tamba, Echizen, Shigaraki, and Tokoname. Out of these, Seto stands out for its strong ceramic history that still lives on today.
Akazu ware played a big role in that legacy. It was the first out of the six kilns to use glaze. That started with ash glaze during the Heian period, between 794 and 1185 CE. Later, iron glaze and koseto glaze came along in the Kamakura period, from 1185 to 1333 CE. By the early 1600s, during the Edo period, potters had come up with seven different glaze types. They also created twelve decoration methods, like flower stamps and combed lines with swirls, dots, and waves.
Preserving Traditional Pottery in Seto
People still make Akazu ware today using those same old techniques. These methods have been passed down, and younger generations continue to practice them. Artists make all kinds of pieces. You’ll see Akazu ware used in tea ceremonies, flower arrangements, and everyday meals. Some are meant for art displays, others for daily use.
The roots of this pottery go deep. Akazu ware evolved from kilns near Mount Sanage in Seto, starting as far back as the Kofun period, between 300 and 538 CE. Its early forms were influenced by Sue ware, a style from the Nara period that ran from 710 to 794 CE. By the Heian period, Akazu ware already featured Japan’s earliest glaze. Over time, it gained carved and layered designs.
How Akazu Ware Became Highly Valued
During the Azuchi-Momoyama period, between 1568 and 1600 CE, glaze styles like kiseto, shino, and oribe showed up. These types added color and texture. That period also saw a rise in the tea ceremony and flower arrangement culture. As a result, Akazu ware tea bowls became prized items. Many had iron-painted patterns that are still popular in modern versions today.
When the Edo period began in 1603 CE, the Owari domain set up its base near Nagoya Castle. Akazu ware was chosen as the official kiln of the domain. This turned it into a large-scale operation. They made everything from fine tea utensils to household dishes.
Seto’s Legacy as a Ceramics Hub
Today, Seto is home to over sixty traditional kilns. It’s the largest pottery center in Japan. Akazu ware helped shape that reputation. With its long history, wide range of glazes, and detailed techniques, it continues to represent a core part of Japan’s ceramic art.
How Akazu Ware Is Made
Preparing the Clay
The first step is making the clay. Local materials from Seto are used, like Honyama-kibushi, Honyama-gairome, and Akazu mountain clay. Workers dig up raw clay and stones, then crush and sift them. The powder is soaked in water. When the mixture settles, the good clay floats to the top. That layer is scooped up and placed in a drying cabinet called a muro. Once the moisture is right, the clay is pulled out. Air pockets inside are pushed out by pressing with hands or feet. After that, the clay is twisted and kneaded to get a smooth texture.
Shaping the Pieces
Next comes forming the shape. There are three main ways to cast the clay. One is using a lathe. The clay is set on a spinning wheel and shaped as it turns. Some lathes run by hand or foot, others use electricity. Another method is slab casting. This uses flat sheets of clay stacked or shaped to make square or box-like pieces. The third method is hand forming, or tebineri. This involves shaping the clay fully by hand without tools. Sometimes, artists use a mix of methods. For example, they may shape a rough piece on the wheel, then refine it by hand, or roll the clay into coils and build from there.
Adding Details Before Firing
After the base form is done, small parts like spouts or cup feet are attached. Then comes the decorating. Akazu ware uses twelve types of decoration. These include stamping, pressing, scratching, engraving, carving, pasting, and more. Some methods use combs, paddles, nets, or brushes. Patterns are either drawn, pressed, or etched into the surface.
Applying an Undercoat
Before the glaze goes on, an undercoat is applied. Artists use a brush to paint patterns on the raw, unglazed piece. Natural pigments like red dye, asbolite, and yellow ochre are used.
Glazing the Pottery
Akazu ware is known for its seven traditional glazes. Each glaze has a long history and a unique look.
Ash glaze is the oldest. It formed naturally when wood ash melted onto pottery in the kiln. Iron glaze started showing up in the Kamakura period. It used iron-rich clay and often paired with carved patterns and same-clay decoration. Oribe glaze usually refers to bright green or blue tones, but there’s also black oribe, which falls under iron glaze, and picture oribe, a form of ash glaze.
Kiseto is a yellow glaze made with about ten percent iron. It’s used for plates, bowls, and tea sets. Shino glaze is white, made with feldspar from the Akazu area. This type of feldspar has low iron, which gives it that pale look. Ofuke glaze is an ash glaze that gets fired in a low-oxygen environment and decorated with imported cobalt blue pigment. Kozeto glaze is another iron glaze, often used for tea containers. It shows mixed tones of black and deep reddish brown.
Firing the Pottery
Once glazed, the pieces are loaded into the kiln. The fire starts low, then slowly builds up to between 1170 and 1250 degrees Celsius. That’s about 2138 to 2282 degrees Fahrenheit. The firing process takes 24 to 30 hours.
Soaking in Chestnut Tannin
If the piece is glazed with oribe, there’s one last step. After firing, it gets soaked in horse chestnut tannin for about a day. The tannin seeps into the glaze cracks and helps stop the surface from oxidizing. This keeps the colors rich and clean.
That’s the full process behind Akazu ware. It takes skill, time, and a deep knowledge of both tradition and material. Every step, from clay to finish, reflects the craft's long history and its place in Japanese ceramic art.
25. Tamba-tachikui ware
Tamba-Tachikui ware, or Tamba-Tachikui yaki, is a type of traditional Japanese pottery made in the Konda area of Sasayama City, located in Hyogo Prefecture. It’s one of Japan’s Six Ancient Kilns, along with Bizen, Echizen, Seto, Tokoname, and Tamba. This pottery has been made for over 800 years and is still crafted today using the same traditional methods.
The kiln’s long history began at the end of the Heian period, around the 12th century. Back then, it was known as Onohara ware. Before potter’s wheels were common, large jars, bowls, mortars, and sake containers were shaped by stacking coils of clay by hand. These were fired without glaze in basic hillside kilns dug into the ground.
The Climbing Kiln and the Ash Effect
One of the key features of Tamba-Tachikui ware is its natural ash glaze. Potters fire the pieces in a climbing kiln for around 60 hours at nearly 1300°C, or 2372°F. They use pine firewood, and as the wood burns, the ash floats and lands on the pottery. That ash melts and reacts with the clay, creating natural drips, streaks, and glaze patterns. The results vary with each firing. No two pieces are the same. The heat, flame direction, and ash coverage all affect how the final surface looks.
This random ash pattern is one reason collectors and tea masters value Tamba-Tachikui ware. The pottery has a raw, earthy feel. The glaze looks like it formed naturally, without much human control.
The Kiln’s Evolution Over Time
The kiln started to grow during the Azuchi-Momoyama period between 1568 and 1600. That’s when Tamba-Tachikui ware became known more widely. By 1611, potters had built a proper climbing kiln at the foot of the hillside. This allowed for more consistent and larger-scale production.
At that time, they started making smaller items like oil pots, pepper jars, and katakuri bowls. These were practical tools for everyday life. Katakuri bowls, which have a dip on one side of the rim, were often used for drinking or pouring. During the mid-Edo period, which spanned from 1603 to 1868, potters expanded their lineup. They made tea jars, pouring pots, teacups, and more refined sake bottles.
Tamba Ware Becomes Tachikui Ware
By the Meiji period, between 1868 and 1912, the main production area changed from the older Tamba kilns to the nearby Tachikui region. That’s when the name “Tachikui ware” started to spread. With better transportation and new markets, this pottery reached areas as far as Kyushu and the Tohoku region. The demand grew, and the craft adjusted to meet it, but the core techniques stayed the same.
One Unique Feature: The Reverse Wheel
Unlike many other Japanese pottery styles, which use a wheel that spins clockwise, Tamba-Tachikui potters spin their wheels counterclockwise. It’s one of the small details that sets this craft apart. Even with that difference, the focus has always been the same: make pottery that people can use daily, with surfaces shaped by fire, ash, and time.
Today, Tamba-Tachikui ware is still being made. It’s a living tradition, one that blends old tools, natural materials, and long hours of careful firing. The results speak for themselves. Each piece feels like it holds a piece of the mountain and a bit of the flame.
How Tamba-Tachikui Ware Is Made
Digging the Clay
The process starts with digging clay from either the Yotsuji or Benten areas in Hyogo Prefecture. If clay from other places has the same texture and makeup, it can be used too. This raw material goes to a local clay factory where it’s cleaned and processed.
Kneading the Clay
Next, machines knead the clay to even out the moisture and texture. After that, potters knead it by hand to press out air bubbles. If air stays inside, the pottery can crack or warp during firing. This step helps keep the clay stable.
Shaping the Pieces
Potters shape Tamba-Tachikui ware by hand using a lathe. Some use a foot-powered wheel. Others use an electric one. These tools help shape round items like bowls and cups. For more detailed or unusual shapes, they use molds. They pour liquid clay into a plaster mold to form those pieces. Other methods include slab casting, hand molding, and pressing.
Trimming and Detail Work
Once the clay is partly dry, potters trim the shape. They use bamboo blades or iron strips to clean up the base, the outside surface, and the rim. At this stage, they also cut spouts into teapots and attach extra parts like the bases of incense holders.
Drying the Pottery
Drying takes time. Potters usually dry the clay in the sun for three to four days. These days, it’s more common to dry pieces indoors using heat from the kiln. Either way, the clay must be fully dry before firing, or it will break.
First Firing (Bisque Firing)
The first firing happens at lower heat, usually between 700 and 900 degrees Celsius, or about 1290 to 1650 degrees Fahrenheit. This is called bisque firing. It hardens the piece enough to handle glaze.
Applying the Glaze
Once cooled, the pieces are glazed. Tamba-Tachikui ware uses ash-based glazes made from natural materials. These include wood ash, straw ash, bamboo leaf ash, rice husk ash, and chestnut husk ash. Other common types are iron glaze and white glaze. These coatings create the final surface after firing.
Loading the Kiln
Finished, glazed pieces are taken to the kiln site. Potters carefully load them onto shelves inside the kiln. Smaller pieces often go inside larger ones or inside a special container called a saya. They place clay balls or fir tree ash between items to prevent them from sticking. Once everything is packed inside, they seal the kiln with clay.
Final Firing (Glaze Firing)
They start by warming up the kiln slowly for a full day. Then, they add pine wood for fuel. Flames burn continuously for 30 to 40 hours, raising the heat to around 1300 degrees Celsius, or about 2370 degrees Fahrenheit. This glaze firing lasts at least 24 hours. The high heat melts the ash and glaze into a smooth surface on each piece.
Cooling and Unloading
After firing, the kiln is sealed again and left to cool for another full day. Once cool, potters remove the finished work. From start to finish, this whole process takes about a week.
Each piece that comes out of the kiln carries the mark of every step. The fire, ash, and clay all come together to form the final look. That’s what makes Tamba-Tachikui ware so special. No two pieces turn out the same.
26. Yokkaichi-banko ware
Yokkaichi Banko ware, or Yokkaichi banko yaki in Japanese, is a type of ceramic pottery made in Yokkaichi, a city in Mie Prefecture. Locals have been making everyday items like plates, cups, and vases here for a long time. Today, the most common pieces are purple clay teapots and clay cooking pots called donabe. Almost all of the donabe made in Japan come from this area, with Banko ware making up close to ninety percent of the total.
Why Yokkaichi Banko Ware Stands Out
One reason Yokkaichi Banko ware is so popular is because it handles heat really well. That’s thanks to the unique clay recipe used by the local potters. They mix the clay with about forty percent petalite, which is a mineral rich in lithium. Petalite helps the clay survive direct heat without breaking. This mix isn’t just clever. It’s patented. You won’t find it used this way anywhere else in Japan.
Small teapots are usually made with a specific type of clay called shidei, or purple clay. This clay has a lot of iron in it. When the pots are fired, the iron reacts with the flames. That reaction gives the teapots a one-of-a-kind color that gets shinier the more you use it.
A Festival for the Fans
Every year in mid-May, the city hosts the Banko Festival near the Banko Shrine in Yokkaichi. Potters come from all over the region to show and sell their work. People travel from across Japan to browse and buy pieces at fair prices.
How Banko Ware Began
The story of Banko ware goes back about 300 years. Between 1736 and 1740, a man named Rozan Nunami opened a small kiln in what’s now Kuwana, also in Mie Prefecture. He was a trader, but his true love was tea. He started making his own tea tools and stamped them with the phrase Banko fueki, which means “eternal and unchanging.” He wanted his work to last for generations, and that phrase became the name of the craft.
After Nunami died in 1777, production stopped. But about thirty years later, near the end of the Edo period, two brothers brought it back. Their names were Yusetsu and Senshu Mori. They were antique dealers who picked up the craft and revived it. During that time, people had started drinking more sencha, a steamed green tea made from full leaves. Sencha became more popular than matcha, which is made from powdered leaves. So the potters began creating small teapots made for brewing sencha.
How It Became Yokkaichi Banko Ware
Over the years, Banko ware went by different names. Some called it Kobanko, others called it Yusetsu Banko or Meiji Banko. But it finally got tied to Yokkaichi in the Meiji period. That’s when the area became the center for making it. The city had good access to coal and was close to shipping ports, which made production and distribution easier.
That’s how Yokkaichi became one of the top places in Japan for ceramic work. And that’s how the craft took on the name it still carries today: Yokkaichi Banko ware.
How Yokkaichi Banko Ware Is Made
Clay Preparation
It all starts with the clay. Each workshop has its own blend, but most use a mix of red clay, which is rich in iron, and yellow clay. These two types are combined to make the base for unglazed pottery.
Shaping the Pottery
The blended clay goes through a deep kneading process. First, it’s worked with large, rough motions, then carefully refined by hand. This stage removes air bubbles and impurities. The finished clay becomes smooth, pliable, and ready for shaping. Potters call this process chrysanthemum kneading, since the texture looks like the petals of the flower.
Once the clay is the right firmness, it’s shaped into form. This part is known as casting. Potters use three main methods: spinning it on a lathe, pressing it into wooden molds, or shaping it by hand. Press mold casting is a special technique developed by Yusetsu Mori, the man who helped bring Banko ware back to life. It’s still used today.
To cast a teapot, potters wrap cloth or traditional Japanese paper around a carved wooden mold. A thin coat of liquid clay is spread over the surface. When the mold is removed, a hollow form remains. Teapots have several parts: the body, lid, handle, spout, and tea strainer. Each one is shaped separately using this method.
Adding Texture and Design
Once the forms are made, potters move on to surface decoration. This stage brings in a wide variety of patterns. Some common ones include watermarks, stripes, stone-like textures, mottled finishes, pine bark effects, pressed patterns, combed lines, printed florals, clay slips, and diamond cuts. New designs are created all the time, blending old traditions with modern styles.
Drying and Assembly
After decorating, each piece is dried and carefully assembled. The parts of a teapot are joined and adjusted. Sometimes the bottom or lid needs trimming to fit just right. Special tools are used to polish the surfaces and smooth out the final shape.
Carving Details
If no pattern was added earlier, now’s the time for carving. Potters use tools to chisel designs into the dried clay. There are different carving styles, like straight line carving, pulled edge carving, and soft curved cuts.
First Firing: Bisque
Next comes the bisque firing. This first firing happens at about 800°C. Potters use this stage if they plan to glaze the piece. Glazing means coating the pottery in enamel. Some pieces are dipped directly into the glaze. Others have the glaze poured over them with a ladle.
Final Firing: Glaze Firing
Once glazed, the pottery goes into the kiln again. This time, it’s fired at higher temperatures, around 1180 to 1200°C, for a full twenty-four hours. The deep reddish color of Yokkaichi Banko ware comes from a process called reduction firing.
In reduction firing, the oxygen inside the kiln is limited. This incomplete combustion affects both the glaze and the clay itself. It changes the final color and tightens the clay, making the pieces smaller and stronger.
Finishing Touches
After firing, the pieces are decorated further. Techniques include overcoating, slip trailing, blending shades, line drawing, and metallic finishes like gold and silver glaze. Each finish adds something different to the look and feel of the final product.
These teapots aren’t just beautiful. They also improve how tea tastes. The iron in the clay reacts with the tannins in sencha tea. That softens the bitterness and brings out a sweeter, smoother flavor. It’s one reason why these teapots are so respected by tea drinkers in Japan and beyond.
27. Izushi ware
Izushi ware is a kind of white porcelain made in the town of Izushi, located in Hyogo Prefecture. Right now, there are four potteries still running in the area, each carrying on the work passed down through generations. The porcelain stands out for its bright, pure white color. That clean finish comes from a raw material called Kakitani pottery stone, which gives the pieces their vivid look.
Each kiln uses its own methods, so the results vary. Some focus on simple, traditional white porcelain, while others add fine decoration to make each piece more distinct. The surface has a soft gloss that feels smooth and clean. These pieces are meant for everyday use, but they also have a history. For over three centuries, locals have used them to serve Izushi soba noodles, a famous buckwheat noodle dish from the region.
Izushi ware is also a favorite activity for visitors. Tourists often get a chance to try their hand at making their own pieces. The setting is casual and relaxed, which makes it easy for anyone to join in and create a design that’s their own.
How Izushi Ware Began
The story of Izushi ware starts in 1764. That’s when a man named Yazaemon Izuya opened a kiln to make pottery in the town. A bit later, another man, Chinzaemon Nihachiya, wanted to switch from pottery to porcelain. Backed by the Izushi domain, he went to Arita in Saga Prefecture, the birthplace of Arita ware, to learn how to make porcelain.
He brought back an Arita potter to Izushi and tried to set up a porcelain business. But money problems forced Nihachiya to leave town. The potter he brought with him stayed. He continued the project on his own, making unglazed earthenware and teaching others the porcelain-making process that Nihachiya had wanted to bring to life.
The Rise of Izushi Porcelain
At one point, the Izushi domain tried to take over and manage the kilns directly. That plan didn’t go smoothly. But things changed during the second half of the Edo period. Skilled artisans from Arita moved in, and a new group formed around them. These craftsmen had real experience with porcelain. When large deposits of white porcelain stone were found nearby, production improved even more.
With better material and more skill, Izushi potters were able to create a brand-new kind of white porcelain. In 1904, their work won a gold prize at the St. Louis World’s Fair. That moment put Izushi ware on the map internationally. The name became known well beyond Japan, and the tradition has continued since.
How Izushi Ware Is Made
The process of making Izushi ware is detailed and takes over a month from start to finish. Each step plays a key role in shaping the final porcelain piece. Here's how it all comes together.
Preparing the Raw Material
The porcelain starts with a special type of stone that’s mostly quartz and sericite. When crushed and mixed with water, it forms a soft, elastic clay known as kaolin. This used to be made by hand, but now it’s done in larger batches to keep the quality consistent.
Casting the Clay
Before shaping anything, the kaolin is kneaded carefully for one to two hours. This removes air bubbles that could cause cracks later. Once the clay is ready, it’s shaped on a lathe. The potter forms the piece, then uses the lathe again to smooth out the surface and base.
Drying the Form
After casting, the pieces sit indoors to dry slowly. This stage lasts about 20 to 30 days. Drying too fast can damage the shape, so patience is key.
Adding Carved Details
When the piece is dry enough, designs are added. One method is embossed carving. This makes patterns that look raised, as if they rise off the surface. Another option is attaching shaped pieces directly to the clay to build texture and detail.
First Firing (Bisque)
After carving, the pieces go into the kiln for the first time. This is called the bisque firing. It happens at around 800 to 900 degrees Celsius and lasts up to 20 hours. Once the firing ends, the kiln is sealed, and the items stay inside for two more days to cool slowly. They’re removed on the third day.
Painting the Surface
Izushi ware uses a painting style called undercoating. This means the design is drawn before glazing. The paint goes on in layers. Some designs use blue tones. Others include gold or silver. These details are applied with a light hand, giving each piece its own look.
Glazing the Porcelain
Glaze is made from natural minerals like feldspar, potter’s stone, and limestone. It protects the piece from dirt and scratching. There are two types: clear glaze for a glass-like finish, and crystal enamel that removes glaze for a matte effect.
Final Firing (Glaze Firing)
Once glazed, the porcelain goes back into the kiln. This time, the temperature is even hotter: between 1250 and 1300 degrees Celsius. The firing takes about 20 hours.
Cooling and Completion
Just like before, the kiln is sealed and left to cool for two full days. On the third day, the finished pieces are removed. From raw stone to polished porcelain, the entire process takes more than a month. Each step adds to the final strength, color, and quality of the porcelain that defines Izushi ware.
28. Kyo ware/Kiyomizu ware
Kyo ware, also called Kiyomizu ware or Kyoto ware, is traditional pottery made in Kyoto, Japan. The Japanese names are Kyo yaki and Kiyomizu yaki. These two terms are often used together, but they aren't exactly the same. Kyo ware is the broad name for all ceramics made in Kyoto. Kiyomizu ware is a specific type of pottery made near Kiyomizu Temple. It’s one style within the wider group of Kyo ware. Over time, Kyo ware has come to include many kinds of pottery made in different parts of Kyoto.
Each pottery studio, or kiln, has its own style and method. But as long as the pieces are made in Kyoto, they fall under the Kyo ware or Kiyomizu ware category. What makes this pottery special is that it's tied to a place known for deep-rooted culture and long-standing art traditions.
The Cultural Roots of Kyoto Pottery
Kyoto is famous for keeping its traditional arts alive. You’ll find practices like tea ceremonies, flower arranging, and incense appreciation still active here. These rituals often go hand in hand with Kyoto-style food and sweets. Within this world of tradition, Kyo ware developed as a refined craft, shaped by the culture around it.
Even now, with machines doing most of the work in other places, Kyo ware and Kiyomizu ware are still handmade. Craftsmen stick to the same techniques that have been used for hundreds of years. Every piece is shaped and finished by hand, staying true to Kyoto’s artistic roots.
The History of Kyo Ware and Kiyomizu Ware
The origins of Kyo ware go back to the Nara and Heian periods, between 710 and 1185 CE. It really began to grow during the Azuchi Momoyama period, from 1573 to 1600. That’s when tea ceremonies became more popular, and demand for fine ceramics went up. Pottery started to evolve as a more expressive art.
In the early Edo period, around the 1600s, highly skilled potters started to emerge in Kyoto. These artisans helped raise the standard of Kyo ware, turning it into a serious art form.
One of the most famous potters from this time was Ninsei Nonomura, who was born in Hyogo but worked in Kyoto. He became known for colorful, detailed painting on pottery. Another key figure was Kenzan Ogata. He worked closely with his brother, Korin, who was a well-known painter. Together, they created ceramics with original and artistic designs.
Later in the Edo period, another artist, Eisan Okuda, gained recognition for his elegant porcelain. Others, like Mokubei Aoki, Douhachi Ninnami, and Hozen Eiraku, also made big contributions. Each one brought something different to the craft.
How Kyo Ware Evolved in the Modern Era
During the Meiji period, from 1868 to 1912, Japanese pottery started to change. Artisans in Kyoto began learning European porcelain techniques. This let them create new types of work and helped them reach markets outside Japan. Even with those changes, they kept the original methods alive.
Today, Kyo ware and Kiyomizu ware continue to be shaped by tradition. But the designs are always evolving. Craftsmen find ways to mix old techniques with new ideas. This keeps the work fresh without losing the essence of what makes it Kyoto pottery.
People still value the handmade quality, the fine detail, and the deep connection to Kyoto’s culture. Kyo ware and Kiyomizu ware stand as proof that art rooted in history can still stay relevant in a fast-moving world.
How Kyo Ware and Kiyomizu Ware Are Made
Clay Preparation
It all starts with the clay. Potters knead it by hand to get rid of air bubbles and make the texture even. This part matters because trapped air can ruin a piece during firing. Since Kyoto doesn’t produce its own potter’s clay anymore, makers bring it in from other parts of Japan. They mix it with kaolin, kibushi clay, silica, and feldspar to get the right blend for shaping and strength.
Forming the Shape
There are a few different ways to shape the pottery. One is lathe casting, where the clay is set at the center of a spinning wheel. Water is used to keep the clay soft while the wheel spins, helping the potter mold it with steady hands. This method takes years of practice. There are three main kinds of potter’s wheels used: hand-powered, kick wheels, and mechanical ones.
Another method is hand forming. This one skips the wheel. Potters twist and shape the clay using their fingers and a bamboo spatula. It’s simpler and better for beginners or small, unique pieces.
Then there’s molding. For this, a watery clay mix is poured into a plaster mold. The mix includes base clay, water, and silicic acid soda. This approach makes it easy to create identical pieces with fine details.
Drying and Trimming
After forming, the pieces are left to dry for a few days until they’re halfway dry. Then, they’re trimmed. A stand called a chuck is placed on the wheel, and the pottery is flipped upside down. While the piece spins, the foot is shaped and the surface is smoothed with a metal blade or bamboo spatula. Once trimmed, they’re set out to finish drying in sunlight.
First Firing (Bisque Firing)
The next step is the first firing, called bisque firing. This locks the shape in place and makes the clay strong enough for decorating and glazing. It also stops the piece from cracking or warping during later steps.
Painting the Underglaze
Before glazing, artists add underglaze decoration by hand. Using fine brushes and different metal-based pigments, they paint designs directly onto the surface. Iron oxide and asbolite are common, with asbolite giving a strong blue tone. Every mark is made by hand, so this stage takes both patience and precision.
Applying the Glaze
Once painted, glaze is applied. There are many types: clear, colored, frosted. The glaze can change a lot during firing. It affects how glossy, matte, smooth, or textured the piece turns out. This step is just as important as shaping the clay.
Second Firing (Glaze Firing)
Next comes the glaze firing. The glazed pieces go back into the kiln, this time at a higher temperature. Instead of the old-style climbing kilns, potters now mostly use gas or electric kilns. Depending on the desired finish, they choose between oxidation and reduction firing. The heat melts the glaze, causing it to fuse with the clay and create its final texture.
Overglaze Decoration
Some pieces get another round of decoration after glaze firing. This is called overglazing. Not all pottery needs this, but for those that do, artists use fine brushes and metal-based paints. Gold and silver are often used here to add shine and detail.
Final Firing (Overglaze Firing)
After overglazing, the pottery is fired one last time at a lower temperature. This seals the paint and prevents peeling. It also enhances the colors and adds luster. The temperature must be watched closely throughout, or the decoration might not set right. Once the kiln cools, the finished pieces are taken out.
Each part of this process takes time and care. From raw clay to final glaze, every step plays a role in how Kyo ware and Kiyomizu ware look and feel. These methods haven’t changed much over the centuries, and the results show why they’re still respected around the world.
29. Iwami ware
Iwami ware, or Iwami yaki, is a traditional type of Japanese pottery made in Gotsu, a small city in Shimane Prefecture. This pottery is built to last. It holds up well against salt, acid, and alkaline substances. It barely absorbs water, which makes it perfect for storing pickled foods like plums and scallions.
The craft is best known for large water containers called handou, but it also includes smaller everyday items like tea cups, bowls, and dishes. Local potters use fine, natural clay from the region. This clay shares some of the same qualities as porcelain, which makes it strong and smooth when fired.
Most Iwami pieces are coated with a thick, reddish-brown glaze called kimachi enamel. This glaze gets its color from iron. Some pieces are finished with a clear glaze made from a type of stone called yunotsu, which has natural alkali. Potters use different firing methods to control the final color. When they fire the pottery with full oxygen, it turns an ocher color. When they reduce the oxygen during firing, the pieces turn bluish. This process lets them create very different looks with the same materials.
The History Behind Iwami Pottery
The roots of Iwami ware trace back to the late 1500s, during Japan’s invasions of Korea between 1592 and 1610. Some Japanese warriors returned from Korea with a Korean potter named Riroushi. He began making pottery in two places: today’s Hamada city and the village of Kakinoki, both in Shimane.
Later on, in 1765, people in Gotsu learned how to make true porcelain. That year, a potter named Rokuro Irie came to Gotsu from the Iwakuni region of Yamaguchi Prefecture. He passed on techniques for making smaller ceramic items like sake bottles and rice bowls.
Then, in the 1780s, potters from the Bizen area in Okayama came to Gotsu. They introduced methods for making much larger pieces, like the handou water jugs. These large vessels became a core part of local production.
By the late Edo period, things ramped up. The top official of the Hamada domain pushed to expand ceramic production. Thanks to his support, Gotsu developed into a major pottery center, especially known for its water jars. The whole region got involved, and Iwami ware became a major craft in western Japan.
Why Iwami Ware Stands Out Today
Iwami ware is still made by hand using natural clay from the area. The tradition continues with a deep focus on everyday function. These pots, cups, bowls, and jugs are practical, durable, and made to last. Their earthy colors and thick glazes give them a quiet, grounded look that fits both rustic and modern homes.
Every piece reflects centuries of local knowledge, passed down through generations of potters. That history, along with the raw beauty of the clay and glaze, makes Iwami ware more than just ceramic. It’s a craft rooted in place, shaped by time, and still going strong.
How Iwami Ware Is Made
Preparing the Clay
The process starts with raw clay dug from the ground. Large chunks, usually about thirty to forty centimeters across, are left out to dry for at least six months. This long drying time makes the clay break down more easily in water later. It also helps release any toxins in the clay, which dissolve during soaking and are washed away.
Removing Grit and Extra Water
Once the clay has dried long enough, it’s soaked and stirred into water, creating a thick muddy mix. Sand, gravel, and other unwanted particles settle and get removed. What’s left is a smooth, muddy slurry. This mix is then drained using a machine, then poured into bowls to finish drying naturally. When the clay has about twenty-five percent moisture, it’s ready to use.
Kneading the Clay
Next comes a method called chrysanthemum kneading, or kiku neri. The potter uses both hands to knead the clay in a spiral motion. This helps get rid of air bubbles and spreads the moisture evenly. The kneading pattern looks like chrysanthemum petals, which is how the technique got its name. After that, the clay is portioned by size and kneaded again to make sure no air is left inside.
Shaping the Pottery
After kneading, the clay is shaped on a lathe. The potter uses a bamboo scoop and their palms to mold the clay. Depending on the item being made, shaping can also be done by hand or with slab-building techniques. Once the shape is right, the surface is shaved and cleaned, and then the piece is left to dry.
For very large jugs, up to seventy-two liters in size, a special two-person method is used. One person pulls a rope wrapped around the base of the lathe with their feet, while the other shapes the clay. A wooden stake driven into the ground keeps the rope from slipping.
Drying the Forms
Once the pottery is shaped, it's lined up and air-dried. This drying step helps prevent cracking or warping during firing.
Bisque Firing
When the pieces are fully dry, they go into the kiln for a first firing at around 800 degrees Celsius. This step is called bisque firing. It strengthens the pottery and makes it easier to apply glaze later.
Applying Glaze
After bisque firing, each piece is glazed. The glaze used depends on the final product. One of the most common is made with local kimachisabi stone, which gives the pottery its rich, iron-based look.
Dipping Small Pieces
For smaller items, potters hold the foot of the piece and dip it directly into a bucket of glaze. This coats the item quickly and evenly.
Loading the Kiln
Glazed pieces are carefully placed inside the kiln. They must be spaced and arranged neatly to allow even heat flow and prevent damage.
Final Firing
The kiln is fired up to temperatures between 1250 and 1280 degrees Celsius. This final firing vitrifies the clay, making it tough and low in water absorbency. After the heat cycle, the kiln is left to cool on its own. Once the pieces have cooled, each one is taken out and inspected to make sure the quality is right.
This full process, from raw clay to finished piece, keeps the tradition of Iwami ware alive. Every step shows the skill, time, and care that go into making strong, practical pottery with deep roots in Japanese craft.
30. Amakusa ceramics
Amakusa ware, or Amakusa Tojiki in Japanese, is a type of porcelain that comes from the Amakusa Islands in Kumamoto Prefecture. This region has long been known for its top-grade pottery stone. That’s why people have been making ceramics and porcelain here for centuries. The porcelain made in Amakusa stands out for its bright white color and smooth, clean finish.
When it was officially labeled as a traditional craft in Japan, the name "Amakusa ware" was introduced. Even today, the area is still known for its strong ceramic roots. Amakusa’s white porcelain looks refined and polished, while its clay pottery has a more rustic, natural look.
The Main Styles of Amakusa Ceramics
Takahama ware is one of the better-known styles. It uses porcelain stone with very high purity. The results are pieces that blend clear white tones with deep, rich blues created using a mineral called asbolite.
Then there’s Uchida-sarayama ware, which includes several styles: white porcelain, celadon, and blue-and-white porcelain known as sometsuke. This last one uses cobalt pigment for patterns. After firing, the cobalt turns a dark blue that pops against the white base.
Mizunodaira ware is said to be the origin of the deep blue namako glaze, also called "sea cucumber" glaze. This style is known for its glossy shine and hand-painted designs that give each piece a distinct character.
Maruo ware is more understated. It uses red clay found around Maruogaoka. This gives the pottery a simple, grounded texture. Most pieces are everyday items like plates, bowls, pots, and vases.
History of Amakusa Pottery
The roots of Amakusa ceramics go back to around 1650, when the region discovered its porcelain stone. During the Edo period, from 1603 to 1868, Amakusa was ruled directly by the shogunate. At that time, many local families relied on ceramics as their main way of earning a living.
In 1676, people in the Uchida-sarayama area were already baking porcelain. Takahama started its production later, in 1762. Just a few years after that, in 1765, Mizunodaira ware began in what is now the city of Hondo.
These communities developed their own methods and techniques, many of which are still used today. The work has been handed down through generations, keeping the tradition alive.
Modern-Day Amakusa Ceramics
In 2003, Amakusa ware was officially recognized as a national traditional craft. Today, there are eleven active kilns in the region. Each one makes ceramics that fit today’s lifestyle but still stay rooted in local tradition. The styles may differ, but every piece carries the deep heritage and careful craftsmanship that Amakusa is known for.
How Amakusa Porcelain Is Made
Preparing the Porcelain Stone
It all starts with raw porcelain stone dug up from the ground in Amakusa. This stone is finely crushed into powder. Water is added, and the mixture is stirred until it turns into a slurry. That mix goes into a settling tank. Heavy stuff like pebbles and sand drops to the bottom. What’s left is muddy water, which gets filtered. That liquid is then sent into another tank, and any bits of iron are pulled out with a magnetic tool. This step is called elutriation. It cleans the raw material and gets it ready for use.
Removing Moisture from the Clay Slip
After the iron is gone, the fine clay settles at the bottom of the tank. That settled clay, called slip, is poured into porous containers made from ceramic or plaster. These pots slowly pull out the water. What’s left behind is solid clay.
Kneading the Clay by Foot
Once the clay has dried enough, it’s kneaded by foot. This process removes air bubbles and makes the texture more even. It also helps the clay stick together better when shaping.
Letting the Clay Rest and Mature
The clay is then stored in a dark, humid space. This resting period lets organic bacteria break down parts of the clay, which boosts its stickiness and makes it easier to mold.
Chrysanthemum Kneading for Final Prep
Before shaping, the clay is kneaded again using a spiral hand motion. This technique forces out any last bits of air. The spiral shape of the clay at the end looks like a chrysanthemum flower, which is where the name “chrysanthemum kneading” or kiku neri comes from. This last step adjusts the firmness so it’s ready for forming.
Shaping the Clay
Now the real making begins. The clay can be formed in many ways. Some use a potter’s wheel. Others use slabs, coils, or molds. Some artists shape it fully by hand. The method depends on the final piece.
Smoothing the Form
Once the piece is shaped but still damp, it’s placed on a lathe. The foot and sides are trimmed down to clean up the shape. A damp cloth is also used to smooth out the surface so it’s ready for decoration.
Adding Decorative Touches
After shaping, some pieces are decorated. This could mean carving, inlaying colored clay, painting slip over the surface, or applying patterns with a nozzle. There are many ways to give each piece its own look.
Drying and the First Firing
The decorated pieces are first dried indoors to prevent cracking. Once they’re partly dry, they’re set outside to finish drying completely. After that, they go into a kiln for the first firing. This step, called bisque firing, happens at about 900°C or 1652°F. It hardens the clay and gets it ready for glazing.
Underglaze Decoration Begins After First Firing
Once the piece has gone through the first bisque firing, it’s ready for underglaze decoration. Artists use pigments like zaffer or iron to paint designs directly onto the surface. These patterns are drawn before any glaze is added, so the decoration sits under the glaze once the piece is finished.
Mixing Enamels for Color and Finish
Next comes the enamel mixing process. Each kiln blends its own enamel formulas, often using locally gathered pigments. Clear glazes bring out the underglaze patterns. Iron glazes are used for darker tones, while straw ash glazes give off softer, lighter hues. These mixtures help define the final texture and color of each piece.
Applying the Glaze
Now the pottery gets glazed. There are a few ways to apply glaze depending on the effect the maker wants. Some dip the piece straight into the glaze. Others pour it with a ladle, spray it, or brush it on by hand. The goal is to coat the surface evenly without damaging the decoration underneath.
Stacking the Kiln
Once glazed, the pottery is loaded into the kiln. The kiln is stacked with shelves made from boards and pillars. Each piece is carefully placed to avoid touching anything else. A sample tile is also loaded with the batch so the makers can monitor how the colors turn out during the firing.
Final High-Temperature Firing
The kiln is fired up to around 1300°C, or 2372°F. Firing time depends on the size and type of piece. While firing, the kiln is watched closely through a small window. When the glaze starts to melt, the sample tile is removed and checked. The heat is kept steady for a set time, then slowly cooled. Once the temperature drops to about 100°C, or 212°F, the pieces can be removed.
Adding Overglaze Decoration
After the glaze firing, some porcelain gets another layer of decoration using overglaze paint. This step adds color and detail on top of the glaze, often with more delicate brushwork.
Firing the Overglaze Paint
Those pieces go back into the kiln one more time. This second firing is done at a lower temperature, around 800°C or 1472°F. It fixes the overglaze paint without melting the glaze underneath.
Cooling and Removing the Final Pieces
Once the temperature drops again to about 100°C, the final pieces are taken out of the kiln. This slow cooling keeps the surface from cracking and helps hold the paint in place.
Careful Inspection Before Completion
Every piece goes through a full inspection. Makers check for cracks, color issues, or surface flaws. Only the ones that pass this final check are considered complete.
Finished Amakusa Porcelain
When all steps are done and the piece is free of defects, it’s finished. Each one reflects the care, tradition, and skill that define Amakusa porcelain.
31. Seto-sometsuke ware
Seto Sometsuke ware is a type of Japanese pottery made near Seto and Owariasahi in Aichi Prefecture. In Japanese, it’s called Seto Sometsuke yaki. Most of the time, the word sometsuke means painting designs on porcelain using blue pigment. But with this craft, it also applies to painting on regular ceramics.
This pottery has a white surface with soft, detailed images painted in blue. It’s made from fine local clay like feldspar from Mount Sanage, along with Honyama-kibushi and Honyama-gairome clays. These materials give the ware its clean white background. On top of that surface, artists use asbolite to draw scenes from the Seto region. The asbolite turns a rich indigo color after firing.
The History Behind Seto Sometsuke Ceramics
This style began in the early 1800s during the late Edo period. A potter named Tamikichi Kato from Seto went to Kyushu to study porcelain-making. He brought that knowledge back with him. After that, artists in Seto learned how to paint in a Chinese style from other visiting painters. Over time, they created their own methods and style.
By the mid-1800s, both the production and painting techniques were in place. These local painters focused on scenes from nature and landscapes around Seto. Their work got international attention. It was shown at world fairs in Paris and Vienna. The style even influenced the early Art Nouveau movement in Europe.
Growth During the Meiji Period and Beyond
Seto Sometsuke ware gained even more popularity during the Meiji period, from 1868 to 1912. Production scaled up. Besides daily dishes and stackable food boxes, artists started making bigger pieces, too. Tables, hanging lanterns, and tall vases became part of their output.
This tradition continues today. The artists still follow the old methods, but they also create new designs. The pottery is still recognized for its clean white base and sharp blue painting. It's a strong example of Japan’s craft heritage, still going steady in modern times.
How Seto Sometsuke Ware Is Made
Clay Preparation for Seto Pottery
Everything starts with the clay. The raw materials come straight from Seto. These include Honyama-kibushi clay, which is slightly sticky, Honyama-gairome clay, and translucent feldspar from Sanage. Potters mix these to create a smooth, workable clay. Each type of clay adds something to the final product. The blend is what gives Seto Sometsuke ware its clean, fine texture.
Shaping the Unglazed Pottery
Once the clay is ready, it’s shaped into form. This is done in a few ways. Some pieces are thrown on a potter’s wheel. Others are pressed into molds using a method called closed die forging. Some are shaped entirely by hand. After that, potters adjust the thickness with a small plane. They smooth the surface with a wet cloth or sponge. This is also when they might start decorating. Some carve designs into the surface using tools, a method called kakka. Others press stamps into the clay, which is known as inka.
Drying and First Firing
The shaped pottery needs to dry completely before it goes into the kiln. The first firing is done at a low temperature, around 850°C. This is called bisque firing. It hardens the clay so it’s ready for painting and glazing.
Underglaze Painting Using Sometsuke Techniques
Before glazing, the designs are painted. This step is what defines Seto Sometsuke ware. Artists use asbolite, a cobalt-based pigment, to paint directly onto the bisque pottery. This pigment turns indigo blue when fired. There are a few ways the designs can be painted. One is line drawing, where artists sketch outlines with thin, clean lines. Another is dami, which fills in color inside those outlines using soft gradients. There’s also tsuketate, where artists paint freely without outlines. Each method gives a different look, but all create the same strong blue on white contrast.
Glazing the Pottery
Once the designs are done, the pottery is glazed. The most common glaze is lime-based, which gives a clear, glossy finish. Sometimes they use celadon glaze, blue glaze, or oak ash glaze for different effects. The glaze is applied by dipping, soaking, or brushing.
Final High-Temperature Firing and Nerashi
Next comes the final firing. The glazed pottery goes back into the kiln at a much higher temperature, around 1250°C. This is where a key technique called nerashi comes in. Toward the end of the firing, the kiln is held at that high temperature for a set time. This helps the enamel settle, mature, and form a smooth finish.
Finishing Touches and Low-Temperature Firing
Once the firing is done, the pieces are taken out of the kiln. Some are finished at this point. Others get extra decoration. Artists might add gold, silver, or colored details using the same painting styles from the earlier step. These finishing touches are fired again, but at a lower temperature between 700 and 800°C. That final firing locks in the color without damaging the glaze underneath.
This whole process is what gives Seto Sometsuke ware its depth and detail. Each piece goes through careful steps that bring out the clear white base, deep blue patterns, and refined finish that define this traditional Japanese pottery.
32. Sado Mumyoi Ware
Sado Mumyoi Ware is a type of traditional Japanese pottery made only on Sado Island in Niigata. The clay comes from mumyoi, a mineral rich in iron oxide. It's found in the quartz rocks near the old Sado Gold Mine. Long ago, people believed mumyoi had healing properties and used it as medicine to stop bleeding or treat paralysis. Potters began mixing this iron-rich mineral with local clay from the Sawane area and firing it to create what's now known as Mumyoi Ware.
Why Mumyoi Clay Is Different
The clay used in Mumyoi Ware is super fine, much finer than regular pottery clay. Because of that, it shrinks a lot when fired. Most ceramics shrink around 10 to 15 percent, but Mumyoi Ware can shrink up to 30 percent from shaping to final firing. That shrinkage makes it very dense and solid. When it’s finished, it’s so hard you can tap it and hear a faint metallic sound.
Unique Steps in the Crafting Process
Mumyoi Ware uses some unusual methods during its creation. When the piece is half-dry, potters smooth it and tighten the surface with a spatula, which is not a common practice. After it’s fired, they polish it again with fine sand to bring out the shine. This adds to its firm finish and makes every piece feel refined.
No Two Pieces Are Alike
The surface color and texture of Mumyoi Ware depend on what’s mixed into the clay and how it reacts in the kiln. You won’t know exactly what it’ll look like until it comes out of the fire. That unpredictability is part of the charm. Each piece has its own natural design and color blend, which makes every item one of a kind.
The More You Use It, the Better It Gets
Over time, Mumyoi Ware becomes glossier with use. The iron in the clay is also said to affect flavor. Many say it makes drinks like tea, coffee, or alcohol taste smoother. That’s one reason why it’s getting attention from collectors and tea lovers alike.
Where It All Started
Sado Mumyoi Ware dates back to the late Edo period. A potter named Jinpei Ito began making low-fired, hand-molded raku ware using mumyoi from the gold mine. Later, Tomitaro Ito introduced glost firing with the same material to make the finish stronger.
In the Meiji period, Jozan Miura and Sekisui Ito worked to improve the quality. The early versions of Mumyoi pottery were weak and broke easily. These two craftsmen focused on strength and high-temperature firing. Eventually, they created a tough, bright red ceramic that could hold up over time. That change helped turn Mumyoi Ware into something more artistic and lasting.
Growth of the Craft in Sado
As techniques improved, more kilns began to open, especially around Aikawa, where the gold mine was located. The area became the heart of Mumyoi production. Over time, Sado Mumyoi Ware gained recognition across Japan and even overseas. In 2003, the Japanese government named it an Important Intangible Cultural Property.
Today, each kiln in Aikawa still carries on the same skilled techniques. The tradition lives on, shaped by hand and fired with care, just as it has been for over a century.
How Sado Mumyoi Ware Is Made
Preparing the Clay
Everything starts with collecting mumyoi soil from the old Sado Gold Mine. The raw material goes through a rough sieve to remove rocks, tree roots, and other debris. Once cleaned, it's mixed with water to create a liquid clay called slip. This slip gets filtered again through a finer mesh to make it smoother. Then it's left to dry until it firms up enough to shape. Before using it on the wheel, the clay is spiral-wedged by hand to push out air bubbles and get an even texture.
Shaping the Pottery
Once the clay is ready, it's formed by hand on a potter's wheel. This is when the basic shape of the bowl, cup, or other vessel takes form. The shaping is all done manually, which helps keep each piece slightly different and personal.
Polishing the Surface
When the shaped piece is halfway dry, the potter uses a flat tool to press down the surface. This step tightens the clay and makes it firmer. If the piece has parts like a spout or handle, the joints are smoothed out at this stage so everything connects cleanly.
High-Temperature Firing
Next, the piece goes into the kiln. It gets fired at a high temperature to harden the clay and lock in the shape. This firing stage is what gives Mumyoi Ware its strength and durability.
Final Polishing with Sand
After firing, the vessel is polished with sand and cloth. This step brings out the signature shine and deep red color that Mumyoi Ware is known for. But because the surface gets very hot from all the friction, some makers skip this polishing step now for safety reasons. Still, when done, it adds that rich, glossy finish people look for in traditional Mumyoi pieces.
33. Sanshu Onigawara Crafts
Sanshu Onigawara Crafts are handmade roof tiles from Aichi Prefecture. They’re mostly made in the cities of Hekinan, Anjo, and Takahama. The word "Sanshu" comes from the old name of this area. These towns sit on land rich with high-grade clay, perfect for tile-making. Because of that, this region became a major center for roof tile production in Japan.
Why Mikawa Clay Matters
The main ingredient in these tiles is Mikawa clay. It’s mixed with mountain soil and refined clay to get the right texture. Tiles are fired at about 1,150 degrees Celsius, which makes them hard and long-lasting. That intense heat also gives them a natural silver-gray color. It’s not painted on. It’s the result of the oxidation process during firing.
A Modern Industry Built on Old Traditions
Even though the methods are rooted in history, the designs keep changing. The colors, shapes, and uses of the tiles have adapted with time. Today, about 70 percent of Japan’s clay roof tiles come from this region. That’s a huge part of the country’s tile supply.
The local industry really took off around 1720, when Tokugawa Yoshimune pushed for tiled roofing. The area was perfect for it. The Yahagi River brought down top-quality clay from Mt. Sanage. Plus, the coast made it easy to ship tiles to Edo, which is now Tokyo. So the region grew fast as a roof tile hub.
The Meaning Behind Onigawara
Onigawara tiles are the ones shaped like faces or figures, kind of like gargoyles. They were first made to protect homes from evil, bring good luck, and show status or wealth. But that purpose has changed. Now people use them more for decoration or as charms in their homes. You’ll see them in entryways or sitting in alcoves.
Keeping Cultural Heritage Alive
These craftsmen aren’t just making tiles for new buildings. They also help repair historical sites. Some national treasures and cultural properties in Japan are restored using these traditional skills. The same tile makers that work in local kilns are also trusted with keeping Japan’s history standing strong.
How Sanshu Onigawara Roof Tiles Are Made
The process to make Sanshu Onigawara tiles is long and exact. Each one is shaped by hand, with care taken at every step. It’s a slow craft, built on skill and patience. Here’s how these traditional Japanese roof ornaments are made from start to finish.
Drawing the Design
It all starts with a detailed drawing. The artist creates a precise pattern, taking into account how much the clay will shrink when it’s fired in the kiln. Every line has to be exact so the final shape comes out just right.
Marking the Clay
Once the design is ready, it’s marked onto a slab of clay using a template. The outline is carved out with a small sickle. This forms the front face of the Onigawara.
Attaching the Sides
Next, the side pieces are joined to the front. Both surfaces are scratched with a sharp tool called a kakiyaburi. Then water is brushed on to help the pieces stick. The same is done to the back, so the parts hold firm when dried.
Adding the Details
Clouds or other design elements are shaped and added to the surface. These pieces bring the tile to life and give each one its character. At this point, the full form of the Onigawara begins to take shape.
Finishing the Shape
When the clay reaches the right firmness (not too soft, not too dry), the artist uses a spatula to smooth and finish the surface. This is where the fine details get locked in.
Slow Drying
After shaping, the tile needs to dry slowly. It’s placed in a room with no wind and left there for about a month. It’s dried from the center outward, with careful adjustments made using a cloth. The tile is turned regularly to keep the drying even. This step is important to prevent cracks.
Firing the Tile
Once fully dried, the tile is fired in a kiln at around 1,150 degrees Celsius. That intense heat hardens the clay and brings out the signature oxidized silver color. Large Onigawara tiles take about two to three months to complete from start to finish.
Each tile is shaped by hand, dried with care, and fired with precision. That’s why every Sanshu Onigawara tile is unique, tough, and made to last.
