The oldest Japanese ceramics is an earthenware called Jomon-ware, and has a long history of approximately 12,000 years. [...]]]> The elements of Japanese Ceramics
Long history, pottery towns existing nationwide, variety kinds of glaze, highly honed techniques and cross-fertilizations with other Japanese traditional cultures such as tea ceremony, flower arrangements, and foods- These are pieces of Japanese ceramics.

The oldest Japanese ceramics is an earthenware called Jomon-ware, and has a long history of approximately 12,000 years. Starting from such ancient time, there occurred a lot of historical influence and cultural development on Japanese ceramics, and finally came to be as it is today.

Japan has more than 50 pottery towns nationwide, from Mashiko to Arita, and each pottery town has its own history and cultural background. These essences of each location have fostered ceramics having particular characteristics rooted in each place.

In regards to the variation of glazes, Japanese ceramics has immense kinds of glazes including Shino, possibly a most popular glaze, Oribe and a lot more, leading into beautiful colors of pottery.

Seeing such fine and sensitive painting techniques of Arita, for example, we feel astonished and see the highly advanced and improved the skills that Japanese ceramic artists have. In addition to Arita, the rusticity existing behind Yakishime is the achievement of nicety and beauty.

These elements mentioned above are stirred and formed into Japanese ceramics today. Japanese people use pottery teapot as a tea ceremony tradition, and cut flowers in pottery vase when they appreciate flower arranging.

Ceramics is surely a traditional culture for Japanese people, but still deeply embedded as a part of culture living today. With deeper understanding of each element, you will savor the lure and beauty of Japanese ceramics. Come and stay in Japan, the authentic country of ceramics.
Feel the fresh air, communicate with local people, and put yourself in totally new circumstances!
Enormous inspiration will surely come up to you.
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Seeing the whole history of Japanese ceramics, we can say that while ceramics are definitely a part of traditional Japanese culture, at the same time they are mixture of global cultures.

Some very common techniques such as the wheel and kiln were brought from Korea, as well as the techniques [...]]]> Ceramics, a mixture of cultures on earth

Seeing the whole history of Japanese ceramics, we can say that while ceramics are definitely a part of traditional Japanese culture, at the same time they are mixture of global cultures.

Some very common techniques such as the wheel and kiln were brought from Korea, as well as the techniques to make porcelain, which is now very common in Japanese ceramics.

In addition, typical painting for Imari ware which is now widely recognized as traditional decoration for Imari originated in Jingdezhen. It is said that Chinese pottery artists came from China to Japan and had a great influence on the techniques of pottery painting. It can be said that Japanese ceramics have been affected by Korea and China, but it is also true that Japanese ceramics were exported to Europe and had an immense effect on European pottery. One of the most royal ceramics in Germany, Meissen, is a good example. During the Edo era, Japan exported ceramics from Imari to Europe, mainly targeting royalty. The pottery artists in Imari used flamboyant pottery decoration since ceramics were used to as a room decoration. The wide acceptance of Imari in Europe led to an influence in paintings. In this manner, Japanese ceramics affected Western countries. People in Japan now use and enjoy such Western famous pottery as Wedgwood, Royal Dolton, and Minton which have been adopted by contemporary Japanese culture.

Seen from a global view, although Japanese ceramics has retained its original identity, it has developed by accepting international cultural influences. Many different cultures affected each other and has been formed into Japanese ceramics.

Looking at each Japanese ceramic type, it is interesting to see the history, political situations and the lifestyles of people through ceramics. For example, consider Shigaraki ware which is famous for raccoon dog statues. Its earthy and rustic look are a testament to its historical and cultural background. In the 8th century, Shigaraki ware started as pieces of roof tiles used for Shigaraki palace. The Shoumu Emperor built this palace for a great statue of the Buddha. Moving to the 14th century, people identified the spirit of ‘Tea cult’ with the simplicity and rusticity of Shigaraki, and preferred to use them as tea utensils. Even today, Shigaraki ware uses the traditional technique of Yakishime, a way to fire the work without using glaze.

In contrast, a most gorgeous ceramic example is Imari. From its beginnings as an imitation of the Chinese school of painting, it flourished under the influence of Kakiemon, and came to be exported as a ceramic to Europe. The bright colors of the Imari ceramics were suited to the tastes of the royal families in late baroque period. Knowing the history and stories hiding behind each ceramics will give you a new understanding of Japanese ceramics.

In pottery decoration, pigments which can withstand high temperatures such as gosu, tessa (also known as oni’ita) and shinsa (cinnabar) are used to paint designs after unglazed firing. Then the pottery is glazed, and once it undergoes complete firing, paints which can melt at low temperatures are used [...]]]> The Color of Ceramics – Glazing and Decorating

In pottery decoration, pigments which can withstand high temperatures such as gosu, tessa (also known as oni’ita) and shinsa (cinnabar) are used to paint designs after unglazed firing. Then the pottery is glazed, and once it undergoes complete firing, paints which can melt at low temperatures are used for decoration. Since gosu contains cobalt oxide as its main component, the pottery can give off a cobalt-blue color. Tessa contains a dark, rocky mineral which helps to give off a blackish color while shinsa expresses itself as a red color. Pigments used in design can be said to have the trait of frequently blending with the pottery, but on the other hand, decoration with colors such as red, green, purple, and yellow provide vivid hues. In addition, the kinds of pictures used to illustrate pottery are abundant. Images such as whirlpools, mountain rivers, thunder, and pictures of nature, treasures, knotting, Japanese celebratory ornaments (shochikubai), and other designs of celebration, motifs with Chinese children and saints, shrimp, crabs and other forms of marine life are often used. Images from Japan’s oldest manga, “Animal Caricatures” (Choju-giga) have also been depicted. Things that are rooted in Japan’s history, topography, culture and lifestyle are preferably used.

Even in glazing, there are actually many kinds of glaze used. Glazes have the role of a cover or lid over the surface of ceramics and porcelain, but there are also many kinds of clear and colorless glazes along with the abundant types which provide a variety of colors. Depending on each ingredient and firing style, the colors that come out can differ, and so making minute adjustments to the composition of these ingredients will create changes in the colors expressed. For instance, ash glaze, lead glaze and feldspar glaze make up a foundation by dissolving in water and adding iron or copper. Another glaze, shino, which consists of white feldspar can create a white finish. Even with all of these numerous glazes, the firing will take a lot of time. But however basic the works are, the glazes are very popular. Adding iron oxide or manganese oxide to feldspar glaze creates candy glaze (ameyu) which has a light caramel color with a glossiness, while adding cobalt oxide to the same glaze creates an azure glaze which provides a deep blue finish. In addition, ash glazes which consist of dobai, an ash made from the burning of kindling wood in ovens, and natural ash which comes from trees and shrubs and their bark, have a light ashy color, while cinnabar glaze, which is made by burning lead with a reduction flame, produces a red color. Furthermore, even if you apply the same glaze, differing firing techniques can produce vastly different finishes. For example, applying glaze with added copper and then using an oxidizing flame during firing will cause the copper to oxidize and thus produce a green finish, but using a reduction flame will reduce the copper to produce a purple finish. Also, there is also the mixing of several kinds of glaze which can produce a whole new glaze, methods to apply several discrete glazes onto one piece of work, and the combination of these colors and the manner of application which can create works with various expressions.

People dwell on true beauty…”functional beauty”…especially when it comes to a thing they use day after day. As the Taisho Era arrived, practical and popular objects of craftwork (shominteki kougeihin…abbreviated as “mingei”) which had a simplicity that hadn’t been an object of merit up to that time in art history, showed a new [...]]]> Japanese Folk Arts

People dwell on true beauty…”functional beauty”…especially when it comes to a thing they use day after day. As the Taisho Era arrived, practical and popular objects of craftwork (shominteki kougeihin…abbreviated as “mingei”) which had a simplicity that hadn’t been an object of merit up to that time in art history, showed a new value and caused a folk art movement which would spread widely around the world. Muneyoshi Yanagi, known as the main force behind the spread of the folk art ideology, helped to spread the folk art movement within Japan alongside Shoji Hamada and Kanjiro Kawai. Due to the outbreak of the independence movement on the Korean peninsula at that time, there was an interest in the simple works made there during the Osho Era, and in the idea of gathering Korean goods mainly consisting of porcelain goods and bringing them back to Japan to display to the public. A Japanese folk arts museum was established in Komaba, Tokyo to help spread the beauty of folk arts. After Yanagi’s death, Shoji Hamada was made the 2nd director of the folk arts museum to further ensure the spread of Yanagi’s ideology, and he created his own simple, powerful and original style. By using just a hand pottery wheel, he created many simple models. With a dynamic application of glaze, he took pride in his simple and powerful style. Hamada also set up the Mashiko Sankokan Museum to display domestic and foreign works of folkcraft that he had personally collected.

Hamada, who had sensed “functional beauty” in everyday items such as pots and bowls that had been made in Mashiko, designated the city as the city for pottery making. As a result, the name of Mashiko spread widely throughout Japan. Its uniquely massive earthenware along with the folk ceramics that had the dynamic application of glaze, also common in Hamada’s style, fused into them were considered masterpieces. Afterwards, many craftsmen also chose Mashiko as their starting point to create their works. Until that time, there had been no framework for the tradition to be bound to, but artists with their own respective sensitivities and personalities to express started to congregate in Mashiko, and eventually it became the Kanto region’s primary ceramics town, and a centre for folk arts. Many nations of the world modernized and industrialized, and yet the handicraft industry known as folk arts strongly survived. In addition, it can be considered to be one of the characteristics of ceramics specific only to Japan as a firm part of Japanese culture.

Mr. Robert Yellin Mr. Robert Yellin has lived in Japan since 1984, and runs a Japanese pottery gallery in Mishima, Shizuoka. He is one of the pioneers to deal with Japanese pottery on the internet targeting overseas residents. He imparts how attractive Japanese ceramics is through his eyes as a non-Japanese, [...]]]> Japanese pottery experts contribute to our website.

Mr. Robert Yellin
Mr. Robert Yellin has lived in Japan since 1984, and runs a Japanese pottery gallery in Mishima, Shizuoka. He is one of the pioneers to deal with Japanese pottery on the internet targeting overseas residents.
He imparts how attractive Japanese ceramics is through his eyes as a non-Japanese, and influences even a lot of Japanese.

>> Visiting Japanese Kilns by Robert Yellin　(2009.08.04)
>> Appreciating Japanese Ceramic Art by Robert Yellin　(2009.08.19)

[ Reference ]
e-yakimono.net [ http://www.e-yakimono.net/ ]
web gallery [ http://japanesepottery.com/ ]

Visiting Japan for many people usually turns out to be one the most memorable trips of a lifetime. Personally I’ve heard this time and time again, “the best trip of my life,” one person told me and another exclaimed, “I was overwhelmed by the beauty of the arts I saw, I [...]]]> by Robert Yellin　(04 August 2009)

Visiting Japan for many people usually turns out to be one the most memorable trips of a lifetime. Personally I’ve heard this time and time again, “the best trip of my life,” one person told me and another exclaimed, “I was overwhelmed by the beauty of the arts I saw, I shall always treasure the memories.” Most visitors usually take back a part of Japan with them and nothing is more representative of that than an actual piece of the land, a clay pot.

Most likely there is no country in the world with such a vibrant, rich, exciting and diverse ceramic culture then Japan. Literally the flames have been burning in Japan for more than 10,000 years from the very first ceramics ever made in the world, that being known as Jomon. Today the potters of Japan turn out a myriad of styles and forms that run the gamut of lowly chopstick rests to high-end porcelain and stoneware sculptures that are highly sought after by private collectors and museums the world over. Looking at such works in books is a good way to learn about the styles, yet nothing can hold a flame to actually visiting the studios and kilns of the artists themselves.

Most traditional Japanese styles, such as Bizen, Karatsu or Mashiko, are located away from major cities and often in rural areas, such as Tamba. The journey to these areas is often filled with wonderful scenery, as the drive to Hagi is, and one’s imagination runs wild thinking of all the history that each potting center has rooted there. Often pottery towns have ceramic museums displaying the proud history of the area and these are often a good place to start a journey. One can see masterpieces and learn about processes that define what each style is, for all of the great ceramic traditions in Japan are defined by region and more specific the indigenous materials found only in that area. A Bizen jar, for example, is defined by the very specific clay of that area as can be said for all ancient potting centers. And that is one of the greatest aspects of the beauty of Japanese ceramic art, the way that materials—as well as the human hand-consciousness–create the uniqueness of each style.

Meeting the creators of Japan’s finest pottery is also a treasured encounter. One can see firsthand the studios and kilns as well as ask questions about inspirations, goals and technique. Often works are bought and sent back home as a daily reminder of the meeting and the great joy such works bring to the home is never-ending.

And thus a visit to Japan’s magical kilns is a dream come true for any ceramic lover, whether one be a potter or a collector; so much to see, so much to experience with all the senses, so much to learn and appreciate, and so much to treasure as part of life’s journey.

ArtIn pottery, as with life, sometimes the most basic questions are the most important: Why is this so? Or, how did this happen? Or, what does this part mean?

What makes a fine Japanese pot is a question that many of you interested in visiting Japan’s ceramic towns may have asked before.

When [...]]]> by Robert Yellin　(19 August 2009)

ArtIn pottery, as with life, sometimes the most basic questions are the most important: Why is this so? Or, how did this happen? Or, what does this part mean?

What makes a fine Japanese pot is a question that many of you interested in visiting Japan’s ceramic towns may have asked before.

When first looking at a piece of pottery, whether it be a chawan (tea bowl), tsubo (large jar) or just hashioki (chopstick rest), don’t immediately start asking yourself questions, such as: What style is it? What period? Who made it? Is it an original or a copy? Any restorations? These questions should come later.

First one must see and listen, without words. In this way of looking at Japanese pottery a slow and subtle dialogue will naturally come about between the viewer and the viewed. If a pot doesn’t “speak” to you, forget it. Plus, the aesthetics that western civilization values are not always the same in the orient, and that holds especially true for many of Japan’s famous stonewares, where imperfections often add character to a piece.

Okay. A pot appeals to you. Now return to that initial question: What makes it good?

The most basic and ultimately important question, though, is: Can I live with this pot? Many times a piece will jump out and then, like a fireworks display, dazzle and disappear. Such a piece would not be a “lifelong companion,” as Masako Shirasu, a renowned collector, once described a pot she lived with for decades.

Since pots are basically clay, fire, air, water and the potter’s skill and spirit (which cannot be hidden) one should look at the clay of stoneware first off to see if the clay has been brought to life in the fire of the kiln. Of course for porcelain it’s completely different. Yet on a Bizen, Shigaraki, Iga or other high-fired, unglazed piece, it’s the quality of the firing and the tsuchi-aji (clay flavor) that matter most. Sometimes a Shigaraki or Bizen piece is amai (underfired); on the other hand, it might be yaki-sugi (overfired). The clay might not have been processed correctly or might have a very boring tsuchi-aji. Looking at the clay will often reveal the age of the pot as well. Then one might see stones bursting out, or firing cracks, or shapes that are very asymmetrical; all of these are not considered faults at all and actually, as noted above, add character.

Next comes form. Even with centuries-old shapes, like a tsuru-kubi (crane’s neck) vase, a freshness can be felt if the potter’s spirit and technique are in order and he or she has felt the vibrancy in the prototypes. Indeed, it is rare to find such contemporary potters, but they do exist.

Many potters not content to copy the past want to create something fresh and compatible with modern life. This is a great challenge. We find much originality in form but very few pieces with grace and beauty — they are destined to become “fireworks displays.”

A basic question on beauty is: Will something stand the test of time? I once asked a Bizen potter why he continued to make pots in the same forms as his ancestors did. He replied that the simple beauty of form need not be changed if it worked well. In that simplicity was his spirit and believe me, making something so deep appear so simple isn’t an easy thing to do. It takes years of learning, and then unlearning as the late great Hamada Shoji once said.

Certainly a critical factor in choosing a pot is price, and we all know that good Japanese pots aren’t cheap. Yet, if you look and train your eye you will find good pots to fit your budget.

And now that you have the opportunity to come to Japan, visit the great kiln centers and even try your hand at the creating, you’ll discover a new world of beauty, the beauty of Japan and her splendid ceramic traditions.

Mashiko Ware centers on the concept of “Functional Beauty”

It is said that Mashiko Ware began at the end of the Edo Era when Keisaburo Otsuka, who trained in Kasama, built a kiln. From that point onwards, because of the area’s yield of excellent kaolin and the fact that the large metropolis of Tokyo [...]]]> Mashiko Ware: Characteristics

Mashiko Ware centers on the concept of “Functional Beauty”

It is said that Mashiko Ware began at the end of the Edo Era when Keisaburo Otsuka, who trained in Kasama, built a kiln. From that point onwards, because of the area’s yield of excellent kaolin and the fact that the large metropolis of Tokyo was nearby, Mashiko developed into a production area of pots, urns and water jars and other daily use items.

In 1924, Shoji Hamada moved into this region, and together with artists like Muneyoshi Yanagi, who paid attention to “Functional Beauty”, pushed the folk arts movement forward. He was also greatly influenced by the local artisans and took the side that Mashiko Ware was “works of art”.

Currently, there are 380 pottery studios and 50 pottery stores in Mashiko. There are many ceramicists, from young novices to veterans, who have built kilns here, and employ a diversity of styles. In spring and fall, pottery towns open up to many admirers of ceramics.

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Article by Mashiko Town Tourist Association