Japanese Pottery and Porcelain

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Japanese Pottery

The origins of Japanese pottery can be traced back about 10,000 years to the Jomon period. During this era, earthenware decorated with cord-mark patterns and the flamboyant flame-rimmed vessels (kaen-doki) were produced, noted for their unique decorative style. In the subsequent Yayoi period, with the spread of rice cultivation, thinner and more practical Yayoi pottery appeared. By the Kofun period, clay figures known as haniwa were widely made for ritual and funerary purposes. Furthermore, from the Asuka to the Nara period, ceramic techniques were introduced from the Korean Peninsula and China, leading to the production of hard, gray stoneware called Sueki. From the Heian period onward, the “Six Ancient Kilns” — Seto, Tokoname, Shigaraki, Echizen, Tamba, and Bizen — flourished, establishing the foundation of Japanese ceramic culture in the medieval period and beyond.

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There are distinctive pottery-producing regions throughout Japan, each with its own characteristics. Seto ware from Aichi is known as the center of Japanese ceramics, producing a wide range of items from everyday tableware to utensils for the tea ceremony. Arita ware from Saga emerged as Japan’s first porcelain, and because it was exported from Imari Port, it also came to be called Imari ware. Shigaraki ware from Shiga is noted for its rustic and bold style, and is especially famous for its ceramic raccoon dog (tanuki) figures. Bizen ware from Okayama is fired at high temperatures without glaze, giving it subdued colors and remarkable durability. Kutani ware from Ishikawa represents the pinnacle of overglaze-enamel porcelain, decorated in the brilliant gosai palette of red, yellow, green, purple, and dark blue. Mino ware from Gifu developed a wide variety of styles such as Shino, Oribe, and Kiseto, demonstrating the rich diversity of Japanese ceramics.

In the 16th century, under the influence of tea masters such as Sen no Rikyū, the aesthetic ideal of wabi-sabi came to be highly valued, and the tea ceremony became deeply intertwined with pottery. Raku ware from Kyoto, characterized by its hand-molded form and soft texture, holds a particularly important place as tea bowls for the practice of tea. In addition, Oribe ware and Shino ware also developed alongside the spread of tea culture, giving rise to a wide variety of artistic expressions.

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Contemporary Japanese ceramics, while inheriting these traditions, have also shown new developments. Many works are created as artistic expressions or as tableware incorporating modern design, enriching both daily life and aesthetic experience. Furthermore, each production region has been designated as a “Traditional Craft,” giving it value not only as a cultural asset but also as a source of tourism, and making it a symbol of Japanese culture.

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Pottery and Porcelain

Japanese ceramics can be broadly divided into two categories: pottery and porcelain. Pottery is made by firing clay and is characterized by its absorbency and warm texture, while porcelain is produced from stone materials fired at high temperatures, resulting in a hard, white body with no absorbency.

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Pottery (Earthenware, Stoneware)

Pottery (earthenware and stoneware) is primarily made from clay. Its main components are silica (SiO₂) and alumina (Al₂O₃), and when the clay contains a high amount of iron, the finished product may take on a reddish or grayish hue. Forming methods include the potter’s wheel, hand-building, and mold pressing. After shaping, the process involves drying, a bisque firing at around 700–800°C, glazing, and then a main firing at approximately 1,200–1,300°C. Because the vitrification is incomplete, tiny pores remain on the surface, giving pottery its characteristic absorbency.

Pottery has a warm and rustic texture. Compared with porcelain, it is softer, thicker, and heavier. It also offers a wide variety of glazes—such as ash glaze, iron glaze, and amber glaze—creating diverse expressions. Historically, its origins in Japan can be traced back to Jomon pottery, Yayoi pottery, and Sueki stoneware. From the medieval period onward, the Six Ancient Kilns—Seto, Tokoname, Shigaraki, Echizen, Tamba, and Bizen—flourished. With the rise of tea culture, tea ceramics embodying the aesthetic of wabi-sabi emerged, including Raku ware, Shino ware, and Oribe ware.

Representative production centers include Bizen ware in Okayama, known for its unglazed high-fired style (yakishime); Shigaraki ware in Shiga, with its rustic boldness and famous raccoon dog (tanuki) figures; Tamba-Tachikui ware in Hyogo, noted for the beauty of its natural ash glaze; Echizen ware in Fukui, the largest ancient kiln site on the Sea of Japan coast; and Mino ware in Gifu, which developed a wide range of tea ceramics such as Shino, Oribe, and Kiseto.

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Porcelain

Porcelain is made primarily from crushed and refined pottery stone (touseki), a type of stone rich in feldspar. Purity and a high degree of whiteness are essential qualities of this material. The forming methods are similar to those of pottery, including the potter’s wheel, slip casting, and mold forming. After shaping and drying, the production process involves a bisque firing at around 800–900°C, glazing, and then a main firing at approximately 1,250–1,350°C. Through this high-temperature firing, the body vitrifies, becoming glass-like, non-absorbent, hard, and dense.

Porcelain is characterized by its white, translucent quality and high strength, even when made thin. It pairs well with decorative techniques such as cobalt-blue underglaze painting (sometsuke), red overglaze painting (aka-e), and multicolored enamels (iro-e). Its origins can be traced back to Chinese ceramics of the Tang and Song dynasties. In Japan, domestic porcelain production began in the 17th century with the discovery of pottery stone in Izumiyama, Arita, Saga Prefecture, leading to the creation of Arita ware. Exported wares became known as Imari ware, which gained high acclaim in Europe. In the Edo period, porcelain production spread to other regions, including Kutani ware in Ishikawa and Kyo ware in Kyoto.

Representative production centers include Arita ware in Saga, Japan’s first porcelain and a major center of export ceramics; Imari ware, named after the shipping port; Kutani ware in Ishikawa, famous for its lavish five-color enamel decoration (gosai); Kyo ware and Kiyomizu ware in Kyoto, noted for their elegant and refined painting; and Seto ware in Aichi, which evolved from pottery to porcelain and flourished as a production center from the Edo period onward.

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Pottery and porcelain differ not only in appearance but also in the way they feel when held and in the sound they produce when struck.

In terms of touch, pottery is somewhat thicker and rougher, with a texture that conveys the warmth of the clay. Because tiny pores remain on the surface, running a finger across it gives a rustic and slightly moist sensation. By contrast, porcelain is fired to a glass-like density, resulting in a smooth, cool surface. When held in the hand, it feels thinner, lighter, and conveys a sense of compact hardness.

In terms of sound, when pottery is lightly tapped with a finger or when two vessels are gently struck together, they produce a dull, subdued sound such as “kon” or “don.” This is because the minute pores inside the body absorb sound. Porcelain, on the other hand, resonates with a clear, metallic ring like “kaan” or “chin.” Its dense, hard structure allows sound to reverberate, leaving a high-pitched, clear resonance.

Thus, pottery expresses warmth and softness, while porcelain embodies hardness and translucency—each revealing its character through both touch and sound. These differences can serve as helpful guides when choosing tableware, allowing one to select pieces suited to different purposes and personal preferences.

Ceramics Festivals in Japan

Although the heat lingers, when autumn arrives and the air turns cooler, it becomes the most suitable season for travel. Throughout Japan, there are many regions with their own unique styles of pottery and porcelain, and encountering these ceramics on a journey is one of the great pleasures of travel. One way to experience this culture is through ceramics festivals. These festivals, held in pottery-producing regions across the country, are large-scale events where numerous kilns and artisans set up stalls, offering visitors the chance to purchase wares at more affordable prices than usual. In addition to shopping, visitors can enjoy kiln tours, hands-on activities such as using the potter’s wheel or painting ceramics, and events linked with local food and traditional performing arts, making these festivals an important part of regional cultural tourism.

Below are some of the major ceramics festivals and their features:

  1. Arita Ceramic Fair (Saga Prefecture, Arita Town)
    The largest ceramic fair in Japan, held every year during Golden Week (April 29 – May 5).
    Over 400 shops line a 4-kilometer stretch of road, attracting more than one million visitors.
    A wide variety of works are available, from traditional Arita and Imari ware to modern designs.

  2. Seto Ceramic Festival (Aichi Prefecture, Seto City)
    Held every September, this festival represents Seto ware.
    It originated as the festival of Fukagawa Shrine, dedicated to Kato Shirozaemon Kagemasa, the founder of Seto ceramics.
    Numerous stalls line the Seto River, offering both traditional and modern Seto ware.

  3. Mino Ceramic Festival (Gifu Prefecture: Tajimi, Toki, Mizunami)
    One of Japan’s largest ceramic fairs, held during Golden Week.
    Taking place across the Tono region, it includes events such as the Tajimi Ceramic Festival and the Toki Mino Ceramic Fair.
    Visitors can explore a wide variety of Mino ware, including Shino, Oribe, and Kiseto styles.

  4. Shigaraki Ceramic Festival (Shiga Prefecture, Koka City, Shigaraki Town)
    Held every October, this is the major event for Shigaraki ware, famous for its raccoon dog (tanuki) figures.
    The festival includes a large-scale market, pottery workshops, and popular kiln tours along the pottery district.

  5. Kutani Ceramic Festival (Ishikawa Prefecture, Nomi City)
    Held annually from May 3–5, featuring stalls from Kutani kilns and trading companies.
    Visitors can purchase lavishly decorated Kutani ware, enjoy painting experiences, and visit open kilns.

  6. Bizen Ceramic Festival (Okayama Prefecture, Bizen City, Imbe)
    Held every October, celebrating Bizen ware, one of the Six Ancient Kilns of Japan.
    Pieces are available at 20–50% discounts, and visitors can also enjoy kiln tours and pottery-making experiences.

The appeal of ceramics festivals is multifaceted. They provide the thrill of finding bargains and unique pieces, the enjoyment of hands-on activities such as using the potter’s wheel, hand-building, or painting, and the rare opportunity to speak directly with artisans and kiln masters. Furthermore, by being linked with local food culture and traditional festivals, the entire community comes alive, offering visitors a comprehensive cultural experience. For these reasons, ceramics festivals are not merely sales events, but occasions to truly experience the living culture of Japanese pottery—places where one can encounter both traditional craftsmanship and innovative contemporary expressions.

Reference

Reference Books on Japanese Ceramics (in English)

1. General Overviews

2. Technical and Material Studies

3. Historical and Cultural Context

4. Regional and Kiln-Specific Studies

5. Modern and Contemporary Ceramics

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