You could call him a thoroughbred. Born into the “Fumoto Kiln”—which boasts six climbing kilns, among the largest in the Kodai-yaki tradition with its nearly 400-year history—Naoyuki Inoue is the son of Yasuaki Inoue, considered a master of Kodai-yaki. While this privileged environment was a source of pride, it also meant he was constantly subject to comparison and judgment.

Is what I want to do really pottery?

The sound of firewood crackling fills the air. As the flames spread upward, seemingly racing up the slope of the climbing kiln and breathing life into the pottery, I see the history of Kodai-yaki—passed down unbroken for nearly 400 years—overlapping with this scene.

Kodai-yaki is one of Kyushu’s representative ceramics. Its origins are said to date back to 1632, when Hosokawa Tadatoshi, accompanied by potters, established a kiln at the foot of Mount Shodai in northwestern Kumamoto Prefecture.Characterized by a rustic, robust texture created using Shodai clay—rich in iron and small pebbles—and bold designs achieved by applying glazes made from local natural materials, such as straw ash and wood ash, its appeal lies in a simple yet profoundly deep presence.It was designated as a National Traditional Craft in 2003, and today, 11 kilns remain, primarily in Arao City and Minamikan Town, Tamana District.

Among them, the “Kodai-yaki Fumoto Kiln” in Fumoto, Arao City, is a renowned kiln that has produced many apprentices and boasts six climbing kilns—the largest number among existing Kodai-yaki kilns. The founder, Yasuaki Inoue, won the top prize at the Japan Folk Crafts Museum Exhibition and received awards at numerous other exhibitions; he is known as an indispensable figure in the development of Kumamoto’s traditional crafts.

Born in 1975 as Yasuaki’s eldest son, Naoyuki Inoue has incorporated his own identity into the craft’s approximately 400-year history and tradition. He is a popular artist renowned for his unique “slipware” (pottery decorated with a slip, a type of decorative clay) inspired by old British ceramics.As a child, he played with chipped pottery pieces as if they were a dollhouse set, and naturally assumed he would become a potter one day. However, during high school, he suddenly paused to reflect. Was pottery really what he wanted to do? Though he enrolled in a local design college while still uncertain, the answer remained elusive. Looking back on that time, Naoyuki lowers his eyebrows and laughs, saying, “To be honest, I was just drifting along.”

The Fusion of Traditional Kodai-yaki and Slipware

Naoyuki set out on a journey. He visited acquaintances of his brother Taishu in Tokyo, Tochigi, and Okinawa, and while he was shown pottery and workshops in each place, nothing really clicked. But for some reason, Koishiwara was different. Upon seeing the “Ota Tetsuzo Kiln,” a representative of Koishiwara-yaki, he naturally felt, “I want to study here.”After that, he spent four years apprenticing under the kiln’s founder, Tetsuzo Ota, before returning to his family’s Futomogama kiln. Feeling anxious as he watched his senior apprentices far ahead of him, he continued his training. But when he finally sat down at the potter’s wheel, Naoyuki felt at a loss. Now that he was actually in a position to create, he couldn’t see what he wanted to make.

The clue came from “pon-gaki,” one of the techniques he had learned under Mr. Ota. This decorative technique involves pouring glaze from a special container onto the surface of the vessel to create lines and patterns.Naoyuki sensed a kinship between this “pon-gaki” and “slipware”—pottery decorated with slip, a tradition originating in England—and sought “what he wanted to create” by studying old slipware and related literature. He eventually arrived at a unique style that fuses Kodai-yaki with slipware. He had found his identity within the approximately 400-year history and tradition of the craft.

Creations Born from Local Materials and Universal Designs

Naoyuki’s works utilize Kodai clay that he excavates himself. Just like traditional Kodai-yaki, he uses local natural materials: wood and straw for the ash used in glazes, and pine wood for firing fuel. Before the shaped clay has completely dried, he pours over it a mixture of clay dissolved in water, and then drips another color of clay dissolved in water from a syringe-like tool onto the surface to create patterns.

His designs are based on universal patterns selected from old British texts, which he reinterprets and reconstructs in his own unique way. This stems from his belief that “universal things have been passed down to the present precisely because people never grew tired of them.” The variations are diverse, ranging from wavy lines and crosses to shapes resembling ribbons. His free-flowing, dynamic lines reflect Naoyuki’s easygoing and carefree personality.

While Naoyuki’s style is now widely supported by consumers, he faced strong criticism when he first began, with critics claiming, “This is not traditional Kodai-yaki.” However, the words of a certain benefactor—“Even if nine out of ten people are against you, there is one who is on your side. I am on your side”—became a source of strength for Naoyuki and have sustained him to this day.

A Craftsmanship Rooted in the Earth and Fire

Naoyuki uses a six-chamber climbing kiln to fire his works. It was completed by Taishu approximately 50 years ago, in 1977. A climbing kiln, which requires continuous feeding of firewood and temperature management over several days, is much harder to control than a gas kiln. It is said that “it might take a lifetime to fully understand it” and that “the condition of the kiln determines the quality of the work.”Because conditions inside the kiln—such as temperature and oxygen levels—cannot be kept uniform, defects like cracks and warping are common; at the “Kodaiyaki Fumoto Kiln,” the yield rate remains around 60%. Even so, many ceramic artists are captivated by the beauty—beyond human understanding—woven from the ash and flames produced by the firewood. Naoyuki, however, states firmly, “I don’t want to use the climbing kiln as either the reason for the quality of my work or as an excuse.”This is because he believes that the method of firing is not what matters; rather, the quality of the finished piece itself should be the focus of evaluation.

The interior of the kiln deteriorates with repeated use. The “Kodai-yaki Fumoto Kiln” has long since exceeded its estimated lifespan of 100 firings and continues to be used while undergoing repeated partial repairs. Naoyuki is unconcerned, stating, “I’m not fixated on climbing kilns, and even if it becomes unusable, I have a plan in place, so it’s not a problem.” Yet he also acknowledges its appeal, noting, “There is a unique charm found only in climbing kilns.”

After a long period of uncertainty and inner conflict, Naoyuki has found his place within history and tradition. Now, standing beside him is his son, Ryoga, who returned to the family home in 2024 as the third-generation head of “Kodaiyaki Fumoto Kiln” after completing his apprenticeship at “Iwai Kiln” in Tottori Prefecture. Not only the tradition of Kodaiyaki itself, but also the craftsmanship rooted in a continuous dialogue with clay and fire is now being passed on to the next generation.

The post Finding identity in a history and tradition spanning some 400 years. Naoyuki Inoue of “Kodai-yaki Fumoto Kiln” / Arao City, Kumamoto Prefecture first appeared on NIHONMONO.

When people hear “lacquerware,” they often imagine lacquer applied to wooden objects. However, there is a technique called “tōtai shikki” (lacquerware on ceramic bodies) where lacquer is applied to pottery or porcelain. The workshop of ceramic artist Koichi Onozawa, who creates pottery using this now-rare technique, is located in the pottery town of Mashiko.

Mashiko: A Ceramic Town Preserving the Original Landscape of Satoyama

Mashiko Town, Haga District, Tochigi Prefecture, is home to Mr. Onozawa’s studio. Located in the southeastern part of Tochigi Prefecture, this town rich in nature is famous as a renowned production area for “Mashiko ware.” Mashiko ware began in the late Edo period when Keizaburo Otsuka, who trained in Kasama, discovered high-quality clay in this area and established a kiln.

Today, Mashiko Town is home to about 160 kilns of various sizes and 50 pottery shops. During the “Mashiko Pottery Fair,” held every May and November, not only local artists but also ceramic kilns from across Japan, along with craftspeople, artisans, accessory makers, and food vendors, set up stalls.While the town usually offers a quiet, nostalgic satoyama landscape, during the pottery fair period, it bustles with cars and people from within and outside the prefecture.

Mr. and Mrs. Onozawa moved to this pottery town of Mashiko in 2021.

Finding the Roots of His Style in Tochigi Prefecture, Where Fate Led Him to Relocate 

Mr. Onozawa was born in Tokyo. His father collected pottery, so he was exposed to ceramic art from a young age. He also enjoyed playing with clay and drawing as a child, and tried pottery-making during his student years.

He says he always had the profession of “potter” in mind. Upon entering university and beginning to seriously consider his future career, his desire to “become a potter” grew stronger. Resolving that “if I’m going to work, I should strive at something I love,” he studied ceramic techniques and knowledge at the Tajimi City Ceramic Design Institute in Gifu Prefecture after graduating.

After graduation, he continued making pottery while working part-time for about two years. Then, introduced by an acquaintance, he moved and opened his kiln in the Bato district of Nakagawa Town, located about an hour’s drive north of Mashiko.

Mr. Onozawa’s work is not “Mashiko ware” to begin with. At the time, he was looking for “a place within the Kanto region with low rent,” and it just so happened that a property in the Bato area became available.

However, living in this land became the catalyst for his current artistic style.

Tout ai Shikki (Lacquerware on a Ceramic Base)

Initially, Mr. Onozawa’s work centered on “yakishime” (high-temperature firing without glaze). Now, he primarily creates pieces using the “tōtai shikki” technique, where lacquer is applied after the yakishime firing.

Adjacent to Nakagawa Town, where he lived at the time, was Daigo Town in Ibaraki Prefecture. Daigo Town is a renowned production area for lacquer known as “Daigo Urushi.” Ibaraki Prefecture is Japan’s second-largest producer of domestic lacquer after Iwate Prefecture. Most of the lacquer produced in Ibaraki comes from Daigo Town and is used in high-end lacquerware like Wajima-nuri.

By chance, Mr. Onozawa found himself surrounded by lacquer. His interest piqued, he researched and learned that the technique of applying lacquer to pottery existed since the Jomon period. This led him to try it himself, which became the root of his current style.

In 2020, he found an empty workshop in Mashiko, more accessible to Tokyo, and the couple moved there in 2021. There, alongside his wife Noriko, a Japanese-style painter, they each pursue their creative work.

Drawn to History and Antiquity

Mr. Onozawa’s work involves not only lacquer but also pieces where lacquer is applied together with tin powder. “It’s easier to understand if I call it ‘ceramic-based lacquerware,’ so I use that term, but I’m not particularly fixated on that classification.”

Mr. Onozawa says he loves history and is drawn to old things. He particularly likes “Yayoi pottery.” The shapes created by ancient people through scraping and polishing feel both soft and sharp, and he wants to incorporate this into his own work. “I’m moved when I see the fingerprints of the people who made it back then. With old things, I feel like I can hear the breath of the people from that time.”

Aiming for a Fusion of Primitive and Modern

His work begins at the potter’s wheel. He rarely sketches beforehand, preferring to think as he creates. His goal is to fuse the “modern sharpness” achieved on the wheel with the “primitive, freehand softness” reminiscent of earthenware.

Even when throwing on the wheel, he avoids perfect symmetry. While tableware is typically symmetrical and “distortion-free,” Onozawa deliberately introduces distortion. He also ensures no two vessels have identical distortions, consciously creating unique pieces.Furthermore, he applies ancient techniques to the surface, such as “brush adjustment”—where joints made with wooden boards or sticks during Yayoi pottery production are smoothed or subtly reshaped—and “smoothing adjustment”—erasing the lines created by brush adjustment. This results in a matte finish retaining the handcrafted character of brush marks and color variations.From there, four types of clay in five layers are applied and dried repeatedly, followed by lacquer coating. Finally, the surface is polished with a file to express even greater gradations and diverse textures.

Though an extremely labor-intensive and time-consuming process, it is precisely this layering of techniques—adding the unique texture achievable only by human hands to the “modern sharpness” of forms created using a machine lathe—that is essential for realizing the fusion of “modernity and primitivism” envisioned by Mr. Onozawa.

Mr. Onozawa describes his creative process as “working with a sense of encapsulating the passage of time.”

Indeed, numerous techniques exist to replicate aged objects. Theme parks, familiar to many, often feature artificially created ruins, artifacts, and weathered rock surfaces to evoke their world. While these modern, technologically advanced creations are impressive, they remain imitations that merely mimic the real thing.

“To simply achieve the texture of aged pottery, there are techniques like layering glaze to create mottled effects or revealing the base clay,” says Mr. Onozawa. Yet for him, the result is merely “superficial antiquity.”Instead, what is expressed “now” through Mr. Onizawa’s world is born from a deep respect for time-honored ceramics and techniques. The resulting texture feels as if it has truly weathered the years, yet it retains a modern beauty, free from mere antiquity. This unique expression, achievable only by Mr. Onizawa, is truly one of a kind.

Encounters with the history of people and places. The footsteps of predecessors become his “master.”

Mr. Onozawa has walked his own path, never formally apprenticed to any specific person.

“When I was in Gifu, I felt the depth of Mino’s history. When I was in Bato, I encountered Koisa-yaki pottery, older than Mashiko ware, and the people who work with it. I don’t have a specific ‘master,’ but I’ve learned to feel what the predecessors did by seeing, hearing, and experiencing these things firsthand.”

Mr. Onozawa speaks of his love for history and pottery. His words convey not just a simple “liking,” but a profound respect for the paths of those who came before and for history itself.

“Actually living in Mashiko allowed me to learn history even locals didn’t know. I love discovering that this land was shaped by diverse histories, and that affection fuels my motivation to create works here.”

“I want to discover the essential nature felt through the potter’s wheel.”

Expanding his activities from solo exhibitions and workshops in Japan to overseas, Mr. Onozawa says, “Now that I’m 40, while I still have the physical strength, I’d like to try making large pieces by hand-building.”

He also enjoys contemplating the background stories behind sculptures like Rodin’s human figures, stating, “I want to do work that involves observing subjects.” Onozawa explains, “Electric pottery wheels have a certain regularity, and there’s beauty within that. I want to create works by hand while observing the objects made on that wheel.”

One can’t help but wonder if this isn’t redundant work, but that is precisely the “work that involves observing the subject” Onozawa wants to do.”By thoroughly ‘observing’ the object first made on the wheel, and then engaging with it to sense something within myself, I believe I can uncover the essential beauty inherent in the wheel,” he says. While highly intuitive, one cannot help but feel that this delicate, beautiful sensibility and thought process is the very source of his style, which bridges the present and the past.

Everything he has seen with his own eyes and felt—every new learning and discovery—has been sublimated into his work. Undoubtedly, he will continue to evolve relentlessly, much like the history of humankind.

The post Primitive beauty found within modernity. Ceramic Artist Koichi Onozawa / Mashiko Town, Haga District, Tochigi Prefecture first appeared on NIHONMONO.

Mashiko Town, Haga County, Tochigi Prefecture, is a town where the original landscape of satoyama still remains. Mr. Toshifumi Tashiro is a potter who works hard in this town. Using a variety of unique techniques, he produces simple yet distinctive vessels with a unique texture and depth.

Guided by fate, he began his career as a potter.

Mashiko Town is located in southeastern Tochigi Prefecture. The town is famous for its Mashiko pottery, and the pottery market held in spring and fall attracts not only general customers seeking pottery, but also many artists who are involved in pottery and other forms of “monozukuri” (craftsmanship).

Mr. Tashiro has had his studio in Mashiko since 2007. Mr. Tashiro, who says he was born in Miyazaki Prefecture, became a potter in Mashiko through a series of coincidences.

The trigger was an invitation to join a club that was on the verge of being discontinued.

Mr. Tashiro was born in Miyazaki Prefecture, but because his father was a transferee, he spent time in Okinawa, Hakodate, Osaka, and other places in Japan before entering university.

His first encounter with ceramics was in high school. While attending high school in Osaka at the time, a friend invited him to join the pottery club, which was on the verge of being discontinued due to a lack of members.

I was dexterous with my hands, so I wondered if I was suited for it,” he recalls. He was attracted to ceramics and decided to attend the Nara College of Art and Design.

After graduation, he considered working at a pottery, but at the time, around 2002, it was the “ice age” of employment, and finding a job at a pottery was difficult, and he was not confident that he could suddenly start his own business. I was wondering if I should consider becoming an apprentice, when my father said to me, “Try as hard as you can. and a casual remark from a classmate, “I think you’re right for it. He decided to become an apprentice under Mashiko potter Seiichi Imanari.

Mashiko’s welcoming atmosphere for people from outside

I chose Mashiko because it has a relatively short history among Japanese pottery, and I thought it would have a climate that would make it easy for people from outside the prefecture to be accepted,” Tashiro said.

The history of Mashiko pottery, which is said to have started when Otsuka Keizaburo opened a kiln at the end of the Edo period (1603-1867), is only about 170 years old, which is certainly short compared to regions with centuries of history such as Bizen, Mino, and Arita. It is also an area with easy access to the Tokyo metropolitan area, yet rich in nature, making it an easy area to move to. In addition to potters, there are also bakeries and cafes run by people who have moved here from Tokyo and other cities, and many of these people cite “a climate that naturally accepts people from outside” when talking about the good qualities of Mashiko.

In addition, his mentor, Mr. Imanari’s idea of “polishing one’s sensitivity” had much in common with the policy of his teacher at the university and, above all, with what Mr. Tashiro himself wanted to do.

He worked as a live-in worker for about five years, and it was during that time that he learned how to handle a potter’s wheel and how to fire a kiln in particular. It was also a period during which he learned about the work of a “potter,” such as where to obtain clay and where to distribute his works.

A time-consuming and labor-intensive process, but necessary to produce the pottery he wanted.

In 2007, Tashiro began to think about becoming an independent potter, and was considering returning to the Kansai region when he happened to find his current studio.

Tashiro uses an electric potter’s wheel for shaping and a manual potter’s wheel for finishing. Since the speed of the electric wheel can be adjusted, many potters use the electric wheel from start to finish, using high or medium speed at first and then using low speed for the finishing process. However, Mr. Tashiro is particular about using a hand wheel for the finishing process.

With an electric potter’s wheel, even if you turn it slowly, it will be regular, and the shape of the vessel you are making will inevitably give a cold impression. With a hand wheel, it takes more time, but the rotation is a little more irregular, so it gives a warmer impression.”

Tashiro’s vessels are mainly thinly made with delicate forms. However, Mashiko clay has a tendency to be sandy, less viscous, and easily cracked, which is why most “Mashiko-yaki” has a thick appearance. Therefore, Tashiro mixes Mashiko clay with clay from other regions to create clay suitable for his own works.

I try to make simple yet expressive vessels with an emphasis on texture,” he says. However, I believe that the vessel is only a tool, and the food is the star, so I put emphasis on how the food looks when it is served in the vessel. The vessel itself should not make a strong statement. Ease of storage. As a result, I think the dishes will last for a long time and never grow tired of being used. says Tashiro.

Nama-kake,” a process of glazing without firing.

Mr. Tashiro is particular about the firing method, saying, “I want to create expressive and soft textures.

In general, pottery is made by forming a vessel from clay, drying it, and firing it at a low temperature. This is called “unglazing,” and after unglazing, glaze is applied, followed by “honyaki” to add color (there is also a technique called underglaze glazing, in which color is added after unglazing). Unglazing increases the strength and water absorbency of the vessel, so the vessel does not collapse when liquid glaze is applied, and the glaze can adhere to the fabric.

However, Mr. Tashiro does not use this unglazing method, but instead uses a method called “nama-kake,” in which the glaze is applied while the vessel is still half-dry, and then the vessel is fired.

However, the strength of vessels made of thin, half-dried clay is low. It is only natural that liquid glaze would cause the vessels to lose their shape. Even if glaze is applied without destroying the shape, problems are likely to occur later. The clay of the vessel itself contains water, which evaporates and shrinks during drying and firing. However, the glaze does not shrink as much at that point, making it easier to peel off from the fabric. If the vessel were unglazed, the liquid (glaze) would be applied to the water-absorbent state (dry clay vessel), so it would absorb water and shrink at about the same rate, increasing the adhesion between the vessel and the glaze, but Mr. Tashiro dares not do this.

However, Mr. Tashiro dared not to do so. “Because I was doing something special, things did not go well at all for about three years after I started my own business…. It was much harder than the time I spent as a live-in trainee,” says Tashiro.

Why did he choose such a difficult method?

The reason lies in Mr. Imanari, under whom Mr. Tashiro studied. Mr. Imanari’s roots as a potter originally come from Bizen Pottery in Okayama Prefecture. Bizen ware is characterized by long hours of firing at high temperatures without unglazing or glazing. In the process, he also paid attention to the “Nama-kake” technique that his master sometimes used. He wanted to create his own unique style that was different from others, and he thought it would broaden the range of his original expression, so he began to actively use “nama-kake” in addition to yakijime, and that was the beginning of his difficulties.

Trial and error was used to determine the clay mixture, the type of glaze, its density and thickness, and each combination, with repeated failures. Based on the method of applying glaze only to the inside of the vessel, Tashiro pursued his ideal form and texture of the vessel. By glazing only the inside of the vessel, the shape is maintained, while the outside has a soft clay texture. Through repeated fine-tuning, Tashiro now applies clay to the outside with a brush and adds glaze to the inside with a compressor to create the “expressive texture” that he envisions.

Painting with a brush or spraying with a compressor takes time and effort. Thinning also entails the risk of distortion. Nevertheless, Tashiro enjoys the change in texture and feel of the finished product after overcoming this time-consuming process, and he continues to go through a process of trial and error every day in order to give shape to the vessels he aims to produce.

When asked if the technique has a name, he replied, “I haven’t decided on a name. It’s like a one-shot firing…,” he smiles.

The delicate form and simple texture of the clay. The shading and flow of the glaze, which cannot be found in homogenized products. At first glance, the pieces look simple, but one cannot help but feel the skill and thought that went into every detail.

Creating products with value, with an eye toward new challenges

Mr. Tashiro continues to steadily increase the number of fans of his vessels through his many activities such as solo exhibitions and special exhibitions, and he never misses the “Mashiko Pottery Market” held every spring and fall.

When asked about his future outlook, he replied, “I am facing some difficulties due to the recent rise in prices of materials. However, I hope to continue to express myself with my unique sensibilities and techniques and create products that people can feel the value of. I hope I can continue to express my unique sensibility and technique and create products that people can feel the value of.

His wife, Hiromi Suzuki, also works as a potter at his current studio. They hope to continue their activities in Mashiko, a place they both love.

In 2022, his vessels and vases (oysters) were collected by the “Ceramic Museum of Ibaraki. Some French and Western restaurants in and outside of the prefecture have asked to use Tashiro’s vessels.

This has led to an increase in business with French and Western restaurants in Utsunomiya City. It makes me very happy to have my tableware used in a “special place to eat,” says Tashiro. The inspiration and inspiration he receives from the restaurants he meets with and delivers to are also utilized in his current production concept, and after much trial and error, the tableware he has arrived at has become something that is sure to captivate.

In the future, Tashiro hopes to broaden her horizons by creating not only vessels, but also objects, which she studied as a university student, and other figurative works such as interior decorations. Expectations for new developments are high.

The post Tashiro Michiaki, a potter who continues to create expressive vessels with his hands and time / Mashiko Town, Haga County, Tochigi Prefecture first appeared on NIHONMONO.

It has been about 250 years since Tobe ware was first produced in Tobe Town, Iyo County, Ehime Prefecture, adjacent to Matsuyama City. Kazuya Yamamoto of Wajogama creates pottery in a free style that combines practicality and originality with the traditional regional craft of Tobe-yaki.

Tobe Pottery has been close to me since I was a child.

There are currently about 80 Tobe pottery studios, each of which produces its own unique pieces in accordance with the Tobe pottery production standards. The individuality and texture of each piece reflects the creator’s personality, which is another unique aspect of Tobe Pottery. The Wasagama kiln is located in the town of Masaki in Iyo County, which is the same as the town of Tobe, and was established in 1998 by Yamamoto’s father, Shunichi, when he was 18 years old.

He says, “I started the kiln not because I liked Tobe pottery, but because it was the first clay I came in contact with. I have tried other clay, but the one that still feels good in my hands is Tobe clay,” Yamamoto said. For Mr. Yamamoto, Tobe pottery has been a part of his life ever since he can remember. As a child, he and his son learned the basics of pottery making under the tutelage of Mr. Fukuoka at the Fukko Kiln in Tobe Town. Later, when his father, Shunichi, quit his job and purchased a kiln at home, Tobe Pottery became more familiar to him. At the age of 20, he began helping out at the “Wasagama Kiln” and became a full-fledged ceramic artist.

Etude Patterns in Black and White

Mr. Yamamoto’s representative work is a flowing “etude pattern. When he first began his career as a potter, he often painted traditional patterns. Sometimes for fun, he would draw free patterns that differed from the traditional patterns that were the starting point of his etude patterns. I started drawing free-form patterns that were different from traditional patterns,” he says. In 2007, he won the Grand Prize at the Ehime Ceramic Art Exhibition. With the concept of black and white, his unique “Washo” series of design art was born, opening the way for his work.

Molded by rokuro making and tatara making. Although the motifs are not specific, he draws freehand through his own filter, depicting scenes he saw as a child, such as the local sea and waves. The core of his work is “a pleasant sensation when drawing.” He is not bound by traditional patterns such as arabesques and whirlpools, but rather trusts his own sense of style and draws freely.

His use of color is also characteristic. While white porcelain and indigo or blue are often associated with Tobe ware, Yamamoto’s etude patterns are unified with black gosu, which has a strong black coloring. This creates a contemporary and tightened look. The glaze is applied thinly. Unlike the heavy weight of Tobe ware, the practical aim is to make it as light as possible as a tool to be used in the hand, and the effect is to clearly show the border between black and white, a characteristic of Yamamoto’s design.

There are whiter clay than Tobe ware all over the country, and I was tempted to think what kind of expression I could achieve if I added black to it. But I wanted to use Abobe clay. I am familiar with it, but I also want to protect it in the world of Tobe pottery, which is open to new expressions. This is how Yamamoto’s work is born, with its beautiful contrast between the soft bluish white porcelain and deep black with cobalt tints, a characteristic of Tobe ware.

Combining practicality and originality

In 2017, the “tension” product, a set of cup & plate, sauce container & plate, was selected for the “LEXUS NEW TAKUMI PROJECT 2017. He says he likes to think about and create not only vessels but also practical things. The driving force behind his creations is the idea of “making something that fits the scene,” with an emphasis on practicality. He is conscious of adding new elements of his own to tools that can be used in everyday life. As soon as an idea is born, he starts working on it, and the number of works he has produced is too large to keep track of.

Sometimes he feels that simply following standard shapes is not enough for his products. One of his goals is to explore forms and uses that he has conceived from scratch, rather than using products that already exist.

His style is also broad. They range from designs that make it easy to incorporate Tobe ware into daily life to the “UNLEASH” series, which incorporates Yamamoto’s skills in three-dimensional molding of skulls, dragons, and other shapes. Many of the works are born from requests, and all kinds of requests arrive, including lighting fixtures, calligraphy tools, urns, and reproductions of memorable dolls. The requests feel like a challenge and inspire him to create.

The Freedom of Tobe Pottery and What It Should Preserve

Yamamoto says that Tobe Pottery is a free environment where tradition and innovation coexist. There are many opportunities for young people to learn in Tomochi, including the “Tomochi Ceramic Art School,” and the entire community is making efforts to nurture them. Because the world of Tobe pottery accepts free expression, there is a “foundation of freedom” in the use of Tobe clay, and each piece is handmade and hand-painted.

The company is also looking to the future as a long-lasting traditional craft, not only in terms of training the makers and successors, but also in terms of sustainability as a ceramic stone production center. The senior potters of Tobe Pottery are still searching for new ideas and continuing to create new works. I want to continue making pottery even when I am 80 years old,” Yamamoto says.

It is not easy to get people to choose expensive traditional crafts for their everyday tools,” he says. That is why we need to communicate the values of each brand.

Tobe ware, which has accumulated 250 years of history, not only preserves the past, but also continues to create forms and designs that are in tune with the lifestyle of the times. While the traditions are still there, they evolve to suit the sensibilities and lifestyles of the users. This progress will never cease.

The post A New World of Tobe Pottery Spun by Etude Patterns in Black and White. Kazuya Yamamoto of Wasagama Kiln / Matsumae Town, Iyo County, Ehime Prefecture first appeared on NIHONMONO.

Tobe pottery was born in the town of Tobe, Ehime Prefecture, and boasts a history of 250 years. Currently, there are about 80 kilns, one of which is the “Midorikogama” run by Shigeki Kameda (Midoriko) and his son Shigetomo. They are pursuing an unprecedented expression of blue-and-white porcelain by taking advantage of the characteristics of Tobe’s clay.

Tobe Pottery has been handcrafted for 250 years.

Tobe ware, produced in and around Tobe Town, Ehime Prefecture, has been handed down since the mid-Edo period. It began in 1777, when Yasutoki Kato, the lord of the Oshu domain who ruled this area, ordered the production of porcelain as a new specialty. Tomochi had long been known for its whetstone, called “Iyoto,” and he wondered if it would be possible to use the waste stone produced when the whetstone was quarried as a raw material. Josuke Sugino, who was entrusted with this development, succeeded in firing porcelain in 1777, despite repeated failures. This was the beginning of Tobe ware.

During the Edo period (1603-1867), there was little information available from other clans, so the pottery developed only with its own techniques, but during the Meiji period (1868-1912), techniques from Kyoto and Karatsu were introduced, and in the early Taisho period (1912-1926), tea bowls known as “Iyo bowls” were well received overseas, and exports accounted for much of the production volume. After the war, there was a period of decline due to modernization, but a turning point came in 1953 when Muneyoshi Yanagi and Shoji Hamada, promoters of the folk art movement, visited Tomochi. While other production centers were turning to mechanization, the quality of Tobe pottery, which is made by hand, was reevaluated. Under their guidance, the prototype for modern-day Tobe ware, in which thick white porcelain is painted with arabesque and chrysanthemum designs in gosu, was created. In 1976, Tobe ware (four types: white porcelain, some-glaze works, celadon, and tenmoku [iron glaze]) was designated a national traditional craft.

A kiln of Tobe ware that has continued for half a century

The Ryokko Kiln was opened by Shigeki (Ryokko) in 1974. The kiln was named “Midorikogama” after the lush greenery of the original location where he opened the kiln and after the name of the “Houkogama” kiln where Shigeki learned pottery making.

Shigeki is a master potter who has won numerous awards at the Japan Traditional Crafts Exhibition and the Japan Ceramic Art Exhibition, and was registered as an intangible cultural asset by Ehime Prefecture in 2019. His current studio is located in Kitakawage, Tobe Town, and also serves as a sales and gallery. The wide range of items on display includes everyday use vessels, couple’s tea bowls, and flower vases of various sizes, as well as traditional and new styles.

A potter’s path started with his father as a mentor

With his father as his teacher, Shigeyu began his career as a potter at the age of 26. His blue-and-white porcelain sculptures have won numerous awards at the Japan Traditional Crafts Exhibition, the Japan Ceramic Art Exhibition, and other exhibitions.

Most of Tomoitomo’s pottery is used in daily life. Our main production is tableware,” he said. I also try to make large pieces for exhibitions. If the size of the vessels is too large, I have to create a design that will not be overwhelmed, so it is difficult to find the right balance,” says Motomo.

He continues to challenge himself to create new expressions by using a variety of techniques, such as carving patterns and glazing in a gradation of colors.

Use local materials. Depth is born from restrictions.

The characteristic of Tobe ware is its beautiful white porcelain surface with a sense of transparency. This is due to the unique clay of Tobe.

Tomochi says, “Tomochi pottery is not pure white like Arita-yaki, but has a slight grayish tinge. Therefore, it is necessary to take advantage of the characteristics of this clay when painting. Even if you use Arita-yaki clay for arabesques, the coloring is different,” says Shigeki.

The clay of Tomochi contains iron, which makes it easy to produce blue colors. In the end, when I was doing something that suited the clay, it naturally took this shape,” he says. This is what Tobe pottery is all about,” he says, with a sense of conviction backed by many years of experience.

Recently, an increasing number of porcelain production areas are importing raw materials from other places, and the true meaning of “production area” seems to be disappearing, but the duo is determined to use only the soil from Tobe.

However, the duo is determined to use only the best clay from Tobe. “If there is one restriction, we can pursue it in depth within that range. So I think it is better to have restrictions. If I can take an approach that has not been seen in previous Tomochi pottery, it will become my new expression. That is what I have been pursuing for the past 10 years or so,” says his son, Shigeyu. He has been pursuing his own expression in a very honest manner.

Seeking the possibilities of blue-and-white porcelain and creating an expression that only he can create

Blue-and-white porcelain, with its translucent shades of blue that ripple and spread, is synonymous with Ryokko-gama.

Blue-and-white porcelain is made from porcelain clay made from white stones and fired with a glaze containing a small amount of iron. The molten blue glaze collects in the engraved patterns and creates a beautiful puddle-like expression.

The difficulty with blue-and-white porcelain lies in the fact that the thicker the glaze is applied, the more stress is placed on the vessel during the firing process, making it susceptible to cracking. The thicker the glaze is applied, the more beautiful the shading will stand out, but if too much is applied, the glaze will run into unintended places. This is where the skill of the craftsman really shines.

The wavy patterns are carved. After carving with a round carving knife, Shigetomo polishes and smoothes the surface before applying the glaze.

The glaze melts and flows a little during firing, so the glaze in the mountainous areas flows a little to the left and right. The glaze in the mountainous areas flows a little to the left and right, and the glaze in the valley areas accumulates and the color becomes darker. This is how gradation is created.

This is the same principle as seawater. If you scoop sea water, it is clear, but the sea itself looks blue. Even if the same glaze is applied, the thickness of the glaze makes such a difference.

Although he creates his pieces with an image of how the glaze will flow in advance, he does not know how they will turn out until after they are fired and pulled out of the kiln. Unlike painting, it is not possible to create a clear design with colors, which makes it both interesting and difficult. The two say that this is one of the most exciting aspects of ceramics.

Aiming to create vessels that fit comfortably in the hand

Tomochi’s pottery is for daily use. That is why Shigetomo also places importance on the user’s point of view. The blue-and-white porcelain teacups he makes have an uneven surface due to carving, so they are easy to hold even when hot tea is served. This is where I feel the beauty of utility.

When choosing tableware, I want people to hold it in their hands and choose the one that fits comfortably in their hands,” he says.

Passing on skills to the next generation

In recent years, an increasing number of potteries have been closing due to a lack of successors and the aging of the workforce. The aging of the kiln operators is very noticeable. How to nurture the next generation is a major issue,” says Shigeki with a sense of crisis.

The road to mastering Tobe pottery is a long one. The simpler the piece, the more difficult it is to make.

At first, there are many failures, and I sometimes feel like giving up. But if you don’t get over that, you won’t be able to master the technique. It is important to learn the basics until you can express yourself. If you don’t have a ready supply of techniques, you will eventually get stuck,” says Shigetomo.

Together with the clay of Tobe, they continue to seek new expressions beyond tradition. From their backs as they work silently on their ceramics, I could sense their deep love for Tobe pottery, which boasts a history of 250 years.

The post Half a century of working with the soil of Tobe. Midorikogama, a father-and-son potter seeking new expression in blue-and-white porcelain / Tobe Town, Ehime Prefecture first appeared on NIHONMONO.

Kikigama is located in Chikushino City, where Amagaisan (Mt. Amagaisan) spreads out in the midwestern part of Fukuoka. Takaaki Yoshida, who has a studio and gallery in a lush residential area, does everything by himself, from clay making to potteries, painting, and kiln firing. His pottery has the flavor of old pottery and attracts many people.

From Graphic Design to Vessel Making

Mr. Yoshida says, “I started late as a pottery maker. First, he majored in graphic design at university, but during his studies, he became attracted to three-dimensional industrial design instead of two-dimensional graphic design. After graduation, he wanted to do work that incorporated graphic design into three-dimensional objects, and that’s when he came across vessels.

I felt a sense of luck that Saga, a production center of tableware, was located next to Fukuoka, where I was born and raised,” he said. At the time, he knew nothing about pottery and spent two years at a pottery college in Arita, Japan, learning the basics. After graduating from the university, he went to Shigaraki in Shiga Prefecture to study pottery making until he was satisfied with his decision to pursue this career. While studying at the “Shiga Prefectural Ceramic Cultural Park,” which houses studios of ceramic artists from Japan and abroad, he immersed himself in the production of chair objects, hoping to create art that could actually be used.

Training at a Karatsu Pottery Became a Turning Point

Mr. Yoshida says, “Apprenticeship at the Tenpyo Kiln in Karatsu was a turning point for me. The kiln was known for its old-fashioned, antique-style pottery, and produced a wide variety of pottery with wonderful painting techniques, including “Sometsuke,” in which blue is the only color used, and “Iroe,” in which a variety of colors are used. Mr. Yoshida, who has been pursuing his own path in graphic design and art production, says, “I was very much influenced by my teachers, Mr. and Mrs. Shingo and Satsuki Oka. It was here that the foundation for Mr. Yoshida’s tasteful pottery was formed.

Pursuing his own style after becoming independent

After becoming independent in 2007, Mr. Yoshida spent his days going deep into the mountains of Arita to search for materials such as potter’s stone and clay, hoping to use the same materials as those used by his predecessors 400 years ago. At the time, there were not many potteries that started with the search for materials, so I thought there was room for me,” he says.

But that was like a sushi chef growing rice, catching tuna on a boat, and making sushi. It takes too much time and costs too much, and if you do that, you have to make expensive items such as sake and tea utensils to make a profit,” he said. Through a process of trial and error, Mr. Yoshida turned his attention to making everyday vessels that he truly wanted to produce.

Aiming to create vessels that look like old pottery

Yoshida’s vessels are made of “porcelain,” a clay made from crushed stones, but their warm, natural form gives the impression of softness, just like ceramics.

The warm, natural form of his vessels gives them the soft impression of ceramics, and the slightly bluish texture of his antique-like pieces is the result of mixing clay from Amakusa, Kumamoto, with crushed stones he has dug up.

Today’s clay is too white and tasteless,” he says. If you look at old pottery pieces, they were more uneven and had more expression because there was no such thing as a de-ironing machine to remove the iron like today. I add stones that I have dug up myself with the intention of making them a little dirty so that they don’t become too clean,” says Yoshida. The glaze is made of crushed ash from stones dug in the Arita area. He makes his vessels using the traditional combination of stone and ash.

When using the potter’s wheel, Yoshida emphasizes the importance of momentum. Many people are highly skilled at carefully turning a potter’s wheel, but I think it is interesting when I let my momentum guide my work. As my master told me, I am attracted to pieces that are not too tightly made, but have a “blank space” for people to enter,” he says.

Painting in blue using old-fashioned gosu

The painting of the pieces cannot be overlooked when talking about “Kikkigama. Mr. Yoshida chose an old technique called “Somezuke,” in which cobalt-containing pigments called gosu are used. When fired, the finished product has a simple blue color.

However, the painting is only one part of the vessel. I try to make the lines live,” he says, “even if they are a little off or overhang, so that the painted surface has a sense of blank space. The paintings are traditional patterns such as small patterns, chrysanthemums, birds and animals, and so on, like Ko-Imari paintings from the Momoyama period to the beginning of the Edo period. The lively patterns created by the vigor of the brush are inspiring just by looking at them.

What is surprising is that Mr. Yoshida has decided to “never paint the same pattern. It is said that a craftsman is highly skilled only if he paints dozens or hundreds of the same picture, but I am not suited to keep painting the same thing,” says Yoshida, laughing. Each mug has a different pattern, so it is fun to choose which one suits you best.

Yoshida invented the “prime number design,” which represents prime numbers in Chinese characters.

While there are many other potteries besides Kikki-gama that make pottery that looks like old pottery, there is one pattern that Mr. Yoshida has created. He created the “prime number pattern,” in which prime numbers are randomly written in Chinese characters. Prime numbers are “undivisible,” aren’t they? I have always loved prime numbers because I feel the emotion of the human heart that cannot be divided,” says Mr. Yoshida. Another popular work is the humorous “Ku (bitterness) Laughing Text,” in which the hiragana character “Ku” is lined up in a row. Ms. Yoshida’s light sensitivity makes the familiar seem fresh.

Mr. Yoshida’s Challenge Continues as He Eyes the World

When asked about his future plans, Mr. Yoshida’s eyes light up as he says, “Right now, I am using a gas kiln, which is easy to reproduce and produces vessels exactly as I want, but eventually, I would like to try a wood-fired kiln. It takes more time and effort, but a wood-fired kiln is the best way to get closer to traditional pottery. Because firing is done by natural forces and cannot be controlled, the clay and glaze sometimes change in unexpected ways, and you can expect to make things that are beyond your imagination. Also, overseas customers seem to find added value in the traditional wood-fired kilns,” he says.
Yoshida’s pottery has received many orders from overseas, including Kanto, Kansai, and the United States, and there is currently a two-year waiting list. The texture of his pottery, which looks as if it were made 400 years ago, and his lively painting have captured the hearts of people living today, transcending national borders. Today, in his small workshop, daily vessels that enrich people’s lives are being created.

The post Old painted ware is made into vessels that are a part of today’s life. Kikigama” by Takaaki Yoshida / Chikushino City, Fukuoka Prefecture first appeared on NIHONMONO.

Tsuyoshi Ikenishi of “Fugengama” continues to make pottery based in Imabari City, Ehime Prefecture. He reads and translates old pottery from the Nara and Heian periods to the early Edo period, edits it with his own sensibility, and expresses it. We came into contact with Mr. Ikenishi’s thoughts as he approaches pottery from his unique point of view and approaches its essence.

A chance encounter led him to pottery

Ikenishi first encountered pottery when he was 19 years old. He happened to pick up a book on pottery at the library and found a bowl in it. It was a Shino ware tea bowl named “Hagoromo. Mr. Ikenishi, who had never been involved with pottery in his life, was completely fascinated by this several hundred year old tea bowl.

At the time, he was living in Tokyo and passionate about his musical activities, but he found himself visiting antique stores. The first thing he acquired was a cracked pot from the Yi Dynasty (a Korean dynasty that lasted from 1392 to 1910). He picked up the jar and continued to look at it whenever he had time.

The more he looked at them, the more he wondered, “How did they get such textures and lines? The more he looked at them, the more he wondered, “Why do they have such textures and lines?” He asked around in antique shops and galleries, but could not find a satisfactory answer. Then one day, he thought, “If I try to make something by myself, I might be able to understand something,” and he began to touch the clay.

Learning through experience rather than technique

I believe that knowledge should never outweigh interest, so I sought out hands-on experience. Even now, there are many things I can learn from my work,” he said.

Ikenishi’s stance on pottery is based on actual experience, not theory.

He has traveled to various production centers, including Seto Mino, Tanba Bizen, and Korea, and has touched the clay, held the fire, and held the tools at kilns that maintain ancient techniques. He believes that the greatest lesson in pottery making is “what you can feel on site.

Eventually, there were people who wanted to see his work, and he was asked to hold a solo exhibition. It was not until he was 27 years old that he decided to get serious about pottery and make it his profession.

From Tokyo to Ehime, a place with deep connections

Ikenishi was born in Osaka and devoted himself to music in Tokyo, but as he continued to make pottery, he moved back to his roots in Ehime Prefecture, his parents’ hometown. He had spent his high school years in Saijo City, so moving to Ehime was not completely new to him.

The natural surroundings and quiet environment were perfect for immersing himself in manufacturing.

Since then, he has continued to produce pottery at his kiln in Imabari City, Ehime Prefecture.

Human Activities Engraved on Pottery

For Ikenishi, pottery is a condensed form of human information.

He says, “Pottery is a hardened product of people’s hands. Everything is recorded, including the historical background, the environment in which it was used, and the thoughts of the creator. The more I try, the more I think that there is nothing else out there that has as much human information.

He is particularly interested in pottery from the Nara and Heian periods to the early Edo period. Although there is a lack of written materials from that period, he says that the fact that the objects have survived is what makes them meaningful.

Looking at works of art is a process of deciphering and extracting information. As long as you have the will to do so, pottery can provide you with any amount of information.

Pottery Making is Translation and Confirmation

Ikenishi looks at ancient pottery, translates what attracts him in his own way, and edits it with a modern sensibility. For Ikenishi, pottery making is a confirmation process.

If there is no need to show it to others, I can just read it and be satisfied with myself,” he says. But as long as you are presenting it to the public, you have to edit and translate it. Translation is the process of putting together what you feel into a form, rather than conveying it as it is. When people buy my work, I feel that I have to put it in the realm of what I think is good. I don’t mean to say that it is equal to or better than something else,” he says.

He did not set out to become a potter from the beginning, nor does he remember ever having done so.

The reason he describes himself as a “ceramic maker” is because his attitude has not changed since his first encounter with pottery.

In pottery, the material is everything. All we do is edit.

The quality of pottery depends on the materials. The choice of kiln, the way of filling, and the way of firing are all determined by the materials.

Making the most of the materials is the key to pottery making. With this in mind, Mr. Ikenishi is working to reevaluate each production area and material.

There are three types of kilns: anagama, climbing kiln, and small gas kiln. They use one kiln for each material and each type of pottery they want to express. The gas kilns are more difficult to use and require more delicate adjustments to fire the pieces as desired.

The kiln transformation that occurs during firing is truly the wonder of natural chemical reactions,” he says. People in the past made the most of what was there before they thought about it. People today try to look at it with modern techniques, which makes it difficult. I think that today, the balance is such that the decline of our animal abilities is balanced by the development of chemistry and other techniques,” he says.

Working with galleries that share the same passion

At present, he has narrowed down the number of galleries that directly handle his works to two trusted ones, in addition to “Gallery Labo” in Saijo, Ehime Prefecture. He has been involved with a variety of galleries, but he feels that unless the relationship is balanced in terms of passion for pottery, it will not last for a long time.

The two sides, the maker and the seller, may be in different positions, but if they do not share the same passion for pottery, they cannot build a good relationship. It is a business, but it is also an exchange between human beings, so you need a partner who can resonate with you,” he said.

Even if you are not knowledgeable about the pottery, do you have the enthusiasm to convey that knowledge? The gallery, which stands between the viewer and the pottery, is also important to the creator.

I will never do the same thing twice. That is my rule.

Since the starting point of pottery making is “checking,” Ikenishi’s rule is that he will never do the same thing the same way twice.

When he is not working with clay, he thinks about how to match the materials, how to fire the pieces, and the details of the modeling. This is quite important, and I think it is more important than the actual work.

In a world where materials, tools, and techniques are all intertwined, Ikenishi approaches each pottery-making session as a one-time event.

Even kiln changes are inevitable, not accidental, and require skill and sensitivity to control. For this reason, he repeats the checking process of “looking, translating, and editing.

The more he does, the more he becomes interested in pottery that he had not been so interested in before, and he makes new discoveries. So I never get bored. However, although I don’t dislike making pottery, I have never found it particularly enjoyable. In fact, I like looking at and using pottery much more than making it,” he says.

Blissful days spent looking at and using pottery

Because I make pottery for a living, I am able to buy other pottery and acquire old pottery. People buy what I make. I use the money to buy pottery, get information from it, edit the information, and give it shape. Then people buy it again. The act of making and the act of acquiring are in a cycle,” he says.

The first time he uses a piece of pottery he has made in this way, he says, is the greatest joy of his life.

After the day’s work is done, when I drink sake, I think about which sake cup and sake cup I will choose today, and that is the most enjoyable part.

Ikenishi’s curiosity, which is a straight line between his personal and professional life, never seems to run out.

There are so many things I still have to do that there is no limit to what I can do. It is not a question of what to do in the future, but what not to do. Behind these words lies a passion that continues to burn quietly and an endless quest.

The post Challenging the old masterpieces. Never-ending interest in pottery “Fugengama” / Imabari City, Ehime Prefecture first appeared on NIHONMONO.

Tomoko Takahashi has established her own unique gold and silver painting technique, in which thick foil called “uwazumi” is burned onto white porcelain. The beauty of her work is always imbued with respect for the indigenous culture she has come into contact with and a warm attitude toward the local people.

Aiming for Harmony of Gold and Silver Colors and White Porcelain

Tomoko Takahashi is a ceramic artist known for her “gold and silver painting” technique, in which gold or silver, which is thicker than foil, is pasted on top of overglaze painting on the surface of white porcelain and fired. The glitter of gold and silver on the delicate geometric patterns is like moonlight with a hint of dimness and somewhat exoticism.

Takahashi’s workshop is located in Yachimata City, famous for peanut production, in the center of Chiba Prefecture.

Using a wide variety of supernatants and metal foils

Takahashi’s gold and silver overglaze painting is done by adding colors with overglaze pigments on top of white porcelain (porcelain with a transparent glaze on a white base) formed by roiro (roiro) molding and then applying gold or silver overglaze. The most characteristic material in this technique is called kamiicho.

For example, gold is 10 to 13 times thicker than gold leaf. Gold foil will burn away during the firing process, but there is no need to worry about this with jochin. However, even though it is thicker than gold leaf, it is only about 0.001 mm. It is still difficult to handle. The process of cutting out, gluing, and attaching each piece of jasumi is a tedious and time-consuming process.

There are many variations of hosho, each with its own unique color tone and vibrancy. In addition to using different types of jochi, Takahashi sometimes incorporates metal foils other than gold and silver into his work. Copper foil, for example, “is interesting because it sometimes turns black or slightly greenish due to the reaction with the glaze,” he says. The abundance of techniques he has developed is the basis for the variety of his works.

Firing warm white porcelain that harmonizes with gold and silver

Once the overglaze enameling is finished, the porcelain is fired at 700 to 800 degrees Celsius, which is lower than the firing temperature for overglaze enameling.

The firing of porcelain is roughly classified into two types: reduction firing, in which the oxygen supply to the kiln is limited, and oxidation firing, in which oxygen is supplied to the kiln. He says, “Reduction firing produces a white with a hard texture and bluish tint, but in the atmosphere of white porcelain, I think the presence of gold and silver would blend better with the softer tints. It is only through such harmony between white porcelain and jochin that the gold and silver shine with dignity and depth.

How Takahashi’s unique gold and silver coloring is created

Takahashi’s gold and silver paintings are lined with neat geometric patterns. Having seen many cultures of different lands, I feel a sense of mystery and happiness in geometric patterns that convey religious thoughts and beliefs through abstract expressions rather than figurative ones,” says Takahashi. We would like to trace the background of Takahashi’s craftsmanship up to the present.

Finding the beauty of foil in indigenous culture

Takahashi became seriously involved in ceramics after entering the Okinawa Prefectural University of Arts. He recalls that his interest in ceramics became stronger when he was able to “experience the primitive process of pottery making” in a class at the university, which began with digging out the earth to make earthenware.

Rather than originally being interested in ceramics, Takahashi’s motivation for going to Okinawa was that he was “interested in the Okinawan culture itself. It was this focus on indigenous culture that has influenced Takahashi’s style to this day, but a particularly significant turning point came during a visit to Myanmar when he was a university student.

One of the most significant turning points for him came when he was a university student in Myanmar, where local people were praying to a statue of Buddha enshrined in a temple by attaching certain objects to it one after another. The thing they were attaching was a piece of foil. I was very moved by the way these people, who may not be economically rich, went out of their way to buy the foil and pray. I was very moved by the sight of these people. It wasn’t that the foil was beautiful or anything like that, but the sight was so beautiful that I was irresistibly drawn to it. I took home a bunch of small gold leaf, which at the time cost less than 1,000 yen, and treasured it.

Encounter with Fujio Kitade

During his university years, Takahashi had another major encounter. This was Mr. Fujio Kitade, who came to Okinawa Prefectural University of Arts as a part-time lecturer. At the time, he was the president of Kanazawa College of Art.

The encounter with Mr. Kitade not only taught him the basics of overglaze painting, but also gave him many opportunities that led him to his current work, including an introduction to an employee of the Kutani Yaki Technical Research Institute who taught him the principles of underglaze gold painting and a foil shop where he could purchase overglaze (thick) foil. It was the moment when the important mental images painted in Myanmar and the technique of “foil” were connected as one.

Continuing on the path he believed in

In 2001, Takahashi set up a studio in Yachimachi City, where he was related to his relatives, and continued to work on glazed underglaze gold leaf while working as an elementary school teacher. He held solo exhibitions and entered public competitions, but he fell into a slump, saying, “I felt that it was impossible to master something in this field when there were already great artists.

Eventually, he began to change his mind, gradually shifting to a unique approach, saying, “Let’s eliminate the glaze over the foil and compete with the beauty of the gold and silver in the front and of the white porcelain itself. The Great East Japan Earthquake triggered a gradual change in his mindset, and he decided to quit all of his jobs and focus solely on ceramics.

For about five years, I was desperate to do anything I could do, whether it was opening a stall at craft fairs or selling my work by hand,” recalls Takahashi. As a result of his almost self-taught efforts to master his unique gold and silver painting techniques, he gradually began to win more and more prizes at traditional Japanese crafts exhibitions, including the Encouragement Prize at the 8th Kikuchi Biennale and the TOKI Oribe Excellence Prize at the Modern Tea Ceramic Exhibition several times. Some of his works have become part of the public collections of the National Museum of Modern Art, Tokyo and the Ceramic Museum of Ibaraki, and in 2024 he also received the 2nd “Japan Crafts Association Member Award Asuka Cruise Prize.

In 2024, he will also receive the 2nd “Japan Kogei Membership Award Asuka Cruise Prize. It is really a great encouragement for me,” said Takahashi. For the next Japan Traditional Crafts Exhibition, Takahashi said, “The foil shop I work for handles about 10 different types of gold leaf, each with different saturation and delicacy of expression, and their individuality is very interesting. I believe that each of these materials has infinite possibilities for expression, and I would like to continue to take on this challenge. We can’t wait to see what kind of beautiful worldview he will bring to his pottery in the future.

The post Tomoko Takahashi, who creates beautiful images of culture in gold and silver on vessels / Yachimachi City, Chiba Prefecture, Japan first appeared on NIHONMONO.

Kisarigeki Kiln is a pottery kiln that uses materials mainly from within Iwate Prefecture to create pottery that brings out the best of the materials.
Using a variety of techniques, they skillfully express the beauty of the Iwate region in their pottery. The warmth and strength of the clay and the ease of use in everyday life make their pottery a must-see.

A studio that produces warmth

Morioka City is located in the center of Iwate Prefecture. The Takamatsu Pond there is known as a swan flying site. Yuichi Yukinoura’s pottery studio, Kisaragi Kiln, is located on a hill adjacent to the pond. Mr. Yukinoura studied mathematics in the Faculty of Education at Iwate University, but majored in art as a minor. He studied classical painting, including frescoes, and after graduating from the mathematics department, he took a special art course and studied pottery in Nopporo, Hokkaido.

When Nakata commented on the “softness” of the tableware and other pieces lined up in the studio, Yukinoura said, “I am often told that they are warm. Indeed, the works on the shelves all have a simple warmth that comes from the relaxed nature of the clay. Yukinoura creates such tableware every day, which would be comforting to have on one’s dining table.

Using Local Products from Iwate

The dishes are only as good as the people who use them, ” says Yukinoura. I think it’s no good if you can’t make everyday tableware,” he says. Although he sometimes creates so-called “works of art” for exhibitions, at the core of his work is his commitment to making everyday vessels. This feeling can be sensed in the fact that he creates dishes that are not only stylish in appearance, but also easy to use.

Yukinoura also makes ceramics using as much as possible materials from Iwate, such as soil and ash. Most of his pottery is made of clay from Tono, Hanamaki, and Shiwa, but he also blends in a little fire-resistant Shigaraki clay for strength. He also uses apple ash to create a unique texture by layering the ash glaze over and over again in varying proportions to give it a glass-like thickness. Lacquer is also used as a glaze for ceramics. The surface of the finished piece is then lacquered with lacquer to prevent it from absorbing moisture during use.

He searches for materials in the wide area of Iwate Prefecture and always enjoys variations of clay. He is constantly experimenting with how to make the most of its completely different expressions.

Nakata is also fascinated by the pottery experience.

Yukinoura-san uses a variety of techniques, including rokuro (potter’s wheel), hand-building, and mold making, but this time, he allowed us to try our hand at making pottery using the tatara technique. The tatara technique is a method of forming a sheet of dough into a shape. It is a different and more difficult process than using a potter’s wheel, where a lump of clay is formed into a shape.

The shape must be changed slowly and gradually during the molding process, or else it will become distorted. Also, if the force applied for shaping is not uniform, tempering will occur during the firing process, which is another cause of deformation.

Nakata also took advice on how to shape the pieces little by little. He found himself so absorbed in the process that he ended up making two bowls and even a flat plate. Once the molding is done, the final step is to put a pattern on it and it is done. We are looking forward to seeing the finished product.

Ms. Yukinoura is trying to convey the simple and warm presence of clay that we have almost forgotten through her works. The design of his tableware, coupled with his desire to convey this warmth, will become a part of our daily lives.

I work hard every day, hoping that the works of Kisaragi Kiln will enrich the lives of those who use them. I hope that my works will enrich the lives of people who use them.

The post Pottery that brings warmth to everyday life: ceramic artist Yuichi Yukinoura / Morioka City, Iwate Prefecture, Japan first appeared on NIHONMONO.

Suzu ware is characterized by its strong, expressive black color and simple, beautiful form. This pottery, produced in Suzu City, Ishikawa Prefecture, ceased to exist about 500 years ago and was called “phantom old pottery. Shinohara Takashi, a Suzu-yaki artist, has devoted his life to the revival of Suzu-yaki since the Showa period (1926-1989) and continues to work with the clay to this day.

A fantastic old pottery originating from the Heian period

Suzu ware was representative of medieval pottery, but disappeared suddenly in the Muromachi period (1336-1573). Suzu City, Ishikawa Prefecture, located at the tip of the Noto Peninsula, was once a major pottery production center.

There are several conditions for the establishment of a pottery production center. There are several conditions for a pottery production area to be established: soil suitable for pottery, transportation, an abundant supply of red pine firewood for fuel, and a sponsor to support the production. Pearl Island met all of these conditions.

Although today’s Suzu City is located at the end of a peninsula, it was once a hub of distribution and trade via sea routes. In the mid-12th century, when Suzu ware was first produced, aristocrats were expanding their manors throughout the region. The manors of the Kujo family, a prestigious aristocrat from Kyoto, were located in the vicinity of Suzu City, and it is thought that Suzu ware was produced as a means of managing the manors. With the backing of the manor lords, Suzu ware expanded its business area to the Sea of Japan.

The production of Suzu ware ceased at the end of the 15th century, just in time for the decline of the manor. The prevailing theory is that the loss of sponsorship was the cause of the disappearance of this phantom old pottery.

In the mid-Showa period, the whole community came together to revive Suzu ware.

In Suzu City, black pottery shards have been found scattered here and there in the city for a long time. Because of their hardened, unglazed surface, they were thought to be Sue ware introduced from the continent during the Kofun period (burial mounds). However, a survey conducted in the mid-Showa period (mid-1989s) revealed the remains of a kiln, indicating that the area was a major production center of pottery in the Middle Ages.

The “Six Old Kilns of Japan” of Echizen, Seto, Tokoname, Shigaraki, Tanba, and Bizen are known as pottery production centers that have continued since the Middle Ages, and Suzu ware has a history on par with these kilns. The people of the region were motivated to revive Suzu ware, and in 1979, for the first time in approximately 500 years, Suzu ware was revived.

Enchanted by the graceful beauty of Suzu ware

Mr. Shinohara first encountered Suzu ware 10 years after the revival of Suzu ware. It was around the time he quit his job and returned to his hometown to take over his family’s temple. At the time, a nuclear power plant project was being proposed in Suzu City, and the town was sharply divided between proponents and opponents. Mr. Shinohara joined the opposition movement to protect his beautiful hometown, but he was still hazy on the issue. While the proponents and opponents were busy arguing, I was probably overreacting, wearing a cloak over my heart and arming myself with theories,” he said. It was at this time that he stopped by the just-opened Suzu Pottery Museum.

When I stepped into the exhibition room, I was struck by the beautiful appearance of Suzu ware. The dignified black color and cleanness without decoration. Mr. Shinohara, whose mind had been so entangled in the anti-nuclear power plant movement, was struck by the unadorned beauty of Suzu ware made by ancient potters, and thought, “I want to be naked like this vessel and create something from scratch. This was the beginning of his journey into Suzu ware.

Pursuing “black” and “beauty” in pottery

One of the characteristics of Suzu ware is its unique black surface. Suzu ware is fired in a process known as “strong reduction firing,” in which the kiln is sealed after firing at a high temperature of over 1,200 degrees Celsius. The kiln is deprived of oxygen from the iron contained in the clay due to the lack of oxygen in the kiln, resulting in a black color due to the reduction reaction.

According to Shinohara, it is this “black” that makes Suzu ware what it is. To produce this color requires a large amount of fuel and is very inefficient. Other production areas have made technological innovations to improve productivity, but Suzu did not do so. They kept the black color,” Shinohara continues.

Mr. Shinohara continues. Old pottery of Suzu ware is characterized by a form that rises from a small bottom. It is not suitable for mass production because it is not stable, but they did not change this beautiful shape. Losing its sponsor, the lord of the manor, and losing the competition in the production area, Suzu ware perished while preserving its “black” and “beauty.

Mr. Shinohara, who is fascinated by the old pottery of Suzu ware, also expresses beautiful forms that bulge out from the small bottom of his works, which may seem delicate.

The newly rebuilt wood-fired kiln was damaged for the third time.

The Noto Peninsula earthquake occurred on New Year’s Day, 2024. The city of Suzu, where the studio is located, was hit by an earthquake measuring 6 upper on the Japanese scale of seven, and the wood-fired kiln, which was built by piling bricks, was completely destroyed.

After the 2023 earthquake, the kiln was rebuilt with the help of supporters from all over Japan over a period of six months, and just as they were about to light the kiln anew at the beginning of the new year, the earthquake struck.

Accepting “Atawari

No matter how many times the bricks are reassembled, no matter how many times the potter’s wheel is turned, an earthquake takes everything away. Mr. Shinohara uses the word “atawari” to describe this ordeal. Atawari” is a word from the Hokuriku region that means a given fate or chance. It is a land where people have lived in harmony with the harsh natural environment. There is no way we can go against nature. Everything is ‘atawari.

Mr. Shinohara does not use a thermometer when firing his wood-fired kiln. He burns the red pine wood while watching the expression of the flames, using his experience and intuition. Once the fire is started,” Shinohara says, ”I have no choice but to let nature take its course. Suzu-yaki, which is the product of flames beyond the reach of human knowledge, is also an “atawari” of nature.

I want my craft to be close to someone’s heart.

After the earthquake, Mr. Shinohara was approached by an elderly woman. The woman told him that she had found a small Tamasu ware vase for a single flower among the debris of her collapsed house. She told us that when she took it back to her temporary housing and arranged wild flowers by the side of the road, her despairing heart was lifted a little and she was able to look forward.

It may not have been Mr. Shinohara’s work. However, the fact that “Suzu ware saved someone’s heart” brought tears to his eyes.

Mr. Shinohara believes that “crafts may not be a necessity in daily life, but they can be a force that helps people live enriched lives.

Building a Pearl Pottery Kiln Again for the Next Generation

Thirty-nine people belong to the Soenkai, an organization of Suzu pottery makers. Some of them closed their businesses after the earthquake, and others moved out of the city, but Mr. Shinohara is upbeat, saying, “The future of Suzu pottery is not that bleak. This is because all of the young people who have moved to the city in the past few years to become Suzu ware artists have decided to remain in Suzu and continue their creative activities.

Currently, Mr. Shinohara is living in temporary housing while working to rebuild his kiln. In the workshop, the collapsed bricks have been neatly sorted and are waiting to be stacked in their original locations. The project is scheduled for completion in the summer of 2025. He hopes to fire it up in the fall.

Rebuilding the kiln is not only for himself, but also for the next generation. Mr. Shinohara hopes to rebuild the collapsed kiln and “make it a kiln where young people can grow up. Under the harsh natural climate, the flames of Suzu pottery will rise again and again.

The post Keeping the flame of pottery born from the climate alive. Takashi Shinohara, Suzu ware artist / Suzu City, Ishikawa Prefecture first appeared on NIHONMONO.