The A-Z of Japanese Pottery: 32 Most Popular Ceramic Styles

by Anne Walther | CRAFT

Nearly every one of the 47 prefectures in Japan makes their own unique ceramic ware, using locally available materials, from earthy unadorned clay bowls to highly decorative white porcelain. This great variety of Japanese ceramics tend to be named according to their place of origin, including Tokoname ware, Bizen ware, Kyoto ware, and many more. You will also see the names written with the suffix yaki (焼), which means fired as in fired ceramic ware.

What are the different types of traditional Japanese pottery and porcelain? What are the differences between them? You’ll find the answers here as we take you through the 32 most popular styles of Japanese pottery and porcelain from A to Z.

At Japan Objects Store you can also explore Japanese pottery, such as kyusu teapots and matcha bowls, handcrafted by master artisans!

1. Agano Ware (Fukuoka)

© Fukuoka Now, Agano Ware Chawan (Tea Bowl) — © Fukuoka Now, Agano Ware *Chawan* (Tea Bowl)

Produced around the town of Fukuchi, in Fukuoka prefecture, Agano-yaki (上野焼) is said to have begun in 1602 when the lord of the Kokura domain, a master of the tea ceremony, brought the potter Sonkai Joseon from Korea to build a very special kiln dug in the hillside of Agano. During the Edo period (1603-1868), this kiln was praised as one of seven kilns in faraway provinces and was used by successive generations of potters.

Lightweight and elegant, Agano ware is famous for its chawan (tea bowls), used in tea ceremonies. The most representative enamel for Agano ware is a green rust using oxidized copper, which gives a gorgeous blue color. Iron enamel Agano ceramics feature an unglazed reddish-brown surface and spotted enamel. Blue-green, iron, white-brown, and transparent enamels are used, allowing a diversity of colors, luster, patterns, and textures.

2. Akazu Ware (Aichi)

© Ippin Kogei, Akazu Ware Akazu Ware Chawan (Tea Bowl) — © Ippin Kogei, Akazu Ware Akazu Ware *Chawan* (Tea Bowl)

Akazu ware developed around Akazucho in the eastern part of the city of Seto, in Aichi prefecture, as far back as the Kofun period (300-538), so is one of the oldest surviving forms of Japanese ceramics. Seto was one of Japan’s Six Ancient Kilns, with Bizen, Echizen, Shigaraki, Tamba and Tokoname. Sophisticated Akazu pieces are still manufactured today and Seto is currently Japan’s largest ceramics center, with more than sixty traditional kilns.

Akazu-yaki (赤津焼) was the first to feature the glaze enamel application technique: ash glaze was used during the Heian period (794-1185), iron glaze and koseto glaze during the Kamakura period (1185–1333). During the Azuchi-Momoyama period (1568-1600), the appearance of enamels (kiseto, oribe and shino glaze), together with the growth of tea ceremonies and ikebana, gave Akazu ware a special recognition. Tea bowls were highly valued and treated as treasures. During the Edo period (1603-1868), seven types of glazes, as well as decorating techniques, were developed. The latter included flower printing and embossed carving.

3. Aizu-Hongo Ware (Fukushima)

Aizu-Hongo Ware Sake Bottle, Edo Period, 19th Century

Aizu-Hongo ware is a traditional craft from the region of Aizu, in Fukushima prefecture, with a history of about four hundred years. Aizu-Hongo pottery, which is thought to have started during the Sengoku period (1467-1600), was patronized and promoted by the lord of the Aizu domain at the beginning of the Edo period (1603-1868). Comprising both ceramics and porcelain, sometimes produced in the same kiln, Aizu-Hongo is area with the longest history of white porcelain production in northeastern Japan.

The differentiating feature of Aizu-Hongo-yaki (会津本郷焼) is its varied types of decoration including a blue ore named asbolite, traditional Japanese dyes, enamel, and western paints. Aizu-Hongo pottery tends to be very practical. It includes celadon and white porcelain, carbonization, as well as different textures and finishes such as glossy and matte.

4. Amakusa Porcelain and Pottery (Kumamoto)

© Kumamoto Guide, Amakusa Ware Porcelain Cups

In Amakusa pottery and porcelain were under control of the shogunate during the Edo period (1603-1868). Large quantities of quality porcelain stone were manufactured, and literature shows that porcelain was already being baked in Amakusa around 1670. Nowadays, 11 kilns continue to produce different types of Japanese ceramics in Amakusa, and maintain the tradition alive.

Amakusa porcelain is clear white, while Amakusa pottery, using island clay, has a characteristic simple texture. Takahama ware combines white porcelain and asbolite’s deep indigo blue. Uchida-Sarayama ware features white porcelain, celadon porcelain, and dyeing. Mizunodaira ware is glossy and has distinctive patterns. Maruo ware features a simple texture using red clay from the area of Maruogaoka. The main production of Amakusa is tableware.

5. Bizen Ware (Okayama)

Goma Bizen Ware Japanese Sake Set by Hozan, available at Japan Objects Store

Bizen-yaki (備前焼) is a form of pottery created in the area around the city of Bizen, in Okayama prefecture. Bizen ware is the creation of one of Japan's Six Ancient Kilns (Bizen, Echizen, Seto, Shigaraki, Tamba, Tokoname). It is one of the most outstanding Japanese kilns with a tradition that endures to this day.

Bizen ware developed during the Heian period (794-1185) with the production of daily use bowls and roof tiles. In the Kamakura period (1185–1333), reddish-brown Bizen ware was preferred, later gaining the favor of shogun Toyotomi Hideyoshi and Sen no Rikyu, the famous master of the tea ceremony. Its simplicity complemented the wabi-sabi aesthetics in chanoyu. To find out more, check out What is Bizen Ware? 7 Things to Know About Wabi-Sabi Pottery!

Bizen ware is not glazed and has a simple, rustic appearance. The reason for not adding glaze is that it is difficult to spread glaze on Bizen’s hiyose clay. Consequently, artisans have adapted their work to the characteristics of this clay, baking pieces inside kilns for a long time without touching them.

Interested in buying authentic Bizen pottery yourself? At Japan Objects Store, we work with some of the finest artisans and kilns from Bizen to bring you handcrafted sake sets, teacups and vases that you will treasure for years to come!

6. Echizen Ware (Fukui)

Echizen Ware Tokkuri (Sake Bottle), Momoyama Period, Late 16th Century — Echizen Ware *Tokkuri* (Sake Bottle), Momoyama Period, Late 16th Century

Echizen-yaki (越前焼) is a type of ceramic produced in the town of Echizen, in Fukui prefecture. Echizen is one of the Six Ancient Kilns of Japan, along with Bizen, Seto, Shigaraki, Tamba and Tokoname. These ancient kilns began fabrication from the Heian period (794-1185) and over the next five centuries, Echizen ware spread throughout Japan. However, during the Meiji period (1868-1912), Japan modernized and the demand for pottery diminished.

Echizen ware is notable for being fired without decoration or enamel, resulting in a simple texture. Echizen ware’s natural glaze comes from firewood ash covering and melting into the pieces as they are baked at a high temperature. Echizen-yaki is a form of earthenware between pottery and porcelain, also called yakishime or semi-porcelain, and mainly used for daily life objects.

7. Hagi Ware (Yamaguchi)

Christie’s, Hagi Ware Chawan (Tea Bowl), Edo Period, 17th-18th Century — Christie’s, Hagi Ware *Chawan* (Tea Bowl), Edo Period, 17th-18th Century

Hagi-yaki (萩焼) is a form of porcelain manufactured in the town of Hagi, in Yamaguchi prefecture. The history of Hagi ware goes back to the Japanese invasion of Korea during the Azuchi-Momoyama period (1573-1600). The shogun Toyotomi Hideyoshi instructed his feudal lords to bring back Korean potters to teach in Japan.

During the Taisho period (1912-1926), Hagi ware became a favorite type of pottery for tea ceremony, as embodied by the expression一楽二萩三唐津, “First Raku, second Hagi, third Karatsu”. In 1957, Hagi ware was nominated as Intangible Cultural Asset and designated as a traditional handicraft in 2002.

Hagi ware is raw, rarely decorated, and remains as simple as possible. The distinctiveness of this porcelain lies in deep cracks in the clay, expanding and contracting the enamel. During firing, Hagi ware also changes color. These unpredictable results, variations and color changes are called nanabake (“the seven disguises”). Hagi ware is often used for tea utensils that typically have a notched foot, a design that was brought from Korea.

8. Hasami Ware (Nagasaki)

Hasami-yaki (波佐見焼) developed in Hasami, in Nagasaki prefecture. Its story began in 1598, during the Sengoku period (1467-1603) when Omura Yoshiaki, the lord of the Omura domain, brought back potters from Korea. The type of kiln used at that time was an ascending kiln created by digging a hole in the hillside. In the beginning, kilns were used for firing ceramics decorated with a clay and water mixture. From 1602 onwards, celadon porcelain became popular and there was a gradual shift from slipware to porcelain. During the latter part of the Edo period (1603-1868), Hasami was Japan's largest porcelain producing area.

The beauty of Hasami ware lies in its white porcelain and transparent indigo porcelain adorned with blue gosu enamel. The modern-day Hasami ware are dyed objects or celadon porcelain pieces with a beautiful contrast between the white porcelain and the indigo enamel. The reason why Hasami ware became the most widely produced traditional Japanese porcelain was the popular and durable kurawanka bowls, which were used by many Japanese households.

9. Iga Ware (Mie)

© Asian Art Museum, San Francisco, Iga Ware Fresh Water Jar, Circa 1573–1615

Iga-yaki (伊賀焼) is a form of porcelain produced around the city of Iga, in Mie prefecture. Literature indicates that Iga ware was being manufactured as early as the Nara period (710-794). During the Azuchi-Momoyama period (1573-1600), tea ceremony culture flourished and Iga ware featured wave-like patterns, particularly appreciated for the feeling of wabi-sabi they evoked. Iga ware was appreciated by many tea ceremony masters, especially Sen no Rikyu. Nowadays, Iga ware mainly consists of tableware for daily use.

Due to its high level of fire resistance, Iga ware is famous for its plain, strong, and reddened surface. It is also known for its glassy, greenish quality known as vidro (the Portuguese word for glass) glaze, which is caused when ash drops on the surface of the items baked at a high temperature.

Iga ware is usually heavier and harder than Shigaraki ware and has handles. An expression says that “Iga has ears (handles) and Shigaraki has none.”

10. Imari-Arita Ware (Saga, Kyushu)

© Baur Foundation, Geneva, Switzerland, Imari-Arita Ware Kinrande Bowl, Edo Period, Late 17th or Early 18th Century — © Baur Foundation, Geneva, Switzerland, Imari-Arita Ware *Kinrande* Bowl, Edo Period, Late 17th or Early 18th Century

Imari-Arita ware is made around the town of Arita, in Saga prefecture. Its origins go back to Edo period (1603-1868). In 1616, Sam-Pyeong Yi, a Korean potter, discovered a kaolin deposit on the Izumi mountain in Arita. Around 1650, the production comprised simple and rather thick pieces, finished with blue gosu enamel. In 1647, the first generation of the Kakiemon family started using overglaze. In the 1640s, ceramics with a red design named aka-e became the symbol of the Kakiemon-style ceramic. By 1688, another important style appeared: kinrande, featuring gold and red patterns. In 1870, gosu porcelain developed, using cobalt as raw material.

Imari-Arita ware is delicate and lightweight, with an excellent durability. Its fine transparent white porcelain, and its colors, indigo, bright red and sometimes gold, make it easily recognizable.

Imari-yaki (伊万里焼) and Arita-yaki (有田焼) were originally identical, their distinct names coming from the stations and ports used for shipping them, although there has been a tendancy in English to refer the blue and white designs as Arita ware, and the more colorful kinrande designs as Imari ware. Nowadays, Arita ware simply describes pieces baked in Arita, and Imari ware, those are produced in Imari.

The artisans of Arita continue to innovate in exciting ways. Check out The Future of Japanese Pottery: Arita Porcelain Lab to find out more.

11. Iwami Ware (Shimane)

© Gotsu City Tourist Association, Iwami Ware Bowls and Water Jug

Iwami-yaki (石見焼) is manufactured around the city of Gotsu, in Shimane prefecture. When the Japanese invaders of Korea (1592-1610) returned to Japan, they brought back Riroushi, a Korean potter, who produced pottery in the area.

Porcelain manufacturing was then taught there in 1765. Bowls and sake bottles were produced by a potter coming from the Iwakuni domain, in Yamaguchi prefecture. Large ceramics, such as water jugs, started in the 1780s when potters from Bizen visited Gotsu. At the end of the Edo period (1603-1868), Gotsu area’s pottery production was mainly focused on the famous Iwami water jugs.

Iwami ware has low water absorbency and is resistant to salt, acidification, and alkalization. It uses a local high-quality clay, similar to porcelain. Back when running water was difficult to obtain, Japanese families would keep their supply in an enormous pot, named hando, which was large enough for a child to hide inside. These hando were usually produced around the city of Gotsu.

In terms of colors, Iwami ware mostly features dark red-brown kimachi enamel, which contains iron, and transparent enamel items using yunotsu stone, which comprise alkali elements.

12. Izushi Ware (Hyogo)

© The Museum of Ceramic Art, Hyogo, White Porcelain Basket, Meiji Era

Produced in the town of Izushi, in Hyogo prefecture, Izushi ware started in 1764, when a potter named Izuya Yazaemon established a glaze kiln in the area. Later, a local potter was sent to Arita to learn the porcelain production processes. He came back with a potter from Arita who stayed in town, became a specialist in unglazed earthenware and trained other potters.

During the latter half of the Edo period (1603-1868), an elite organization established in Izushi, employed artisans from an Arita ware kiln and produced large quantities of white porcelain. Nowadays, four kilns are still active in Izushi, with traditions that have been transmitted over the centuries.

Izushi-yaki (出石焼) porcelain has an extraordinarily rich white color, coming from kakitani pottery stone. To make the most of this pure white, which is said to be whiter than snow, Izushi potters preferred carving the surface instead of adding color or dyes. Suitable for daily use, Izushi ware pieces have a silky gloss and are mainly used as tableware.

13. Karatsu Ware (Saga)

Japan National Tourism Organization, Karatsu Ware

Karatsu-yaki (唐津焼) is a type of porcelain manufactured since the 16th century in the Saga and Nagasaki prefectures. During the Azuchi-Momoyama period (1573-1600), Karatsu ware was highly appreciated for its tea vessels, especially tea bowls, which were used in tea ceremonies along with Hagi ware from Yamaguchi and Raku ware from Kyoto. Both are more recent than Karatsu ware, as they have a history of approximately 400 years.

During the Edo period (1603-1868), the Saga crowded kilns were demolished, and the production focused on Arita. Consequently, this caused a drastic decline in the amount of Karatsu ware. During the Meiji period (1868-1912), the amount of Karatsu ware decreased again, but the traditional craft rose from his ashes under the hands of the potter Nakazato Muan, a Living National Treasure.

Karatsu ware has a simple and imperfect beauty that can be related to wabi-sabi. Birds, flowers, and trees that are drawn on Karatsu ware are named e-karatsu ("picture Karatsu"). Karatsu yaki often features black iron glaze and white straw ash glaze, or speckled Karatsu.

14. Kasama Ware (Ibaraki)

The Cooperative of Kasamayaki, Tea Set by Akira Otsu

Kasama-yaki (笠間焼) is produced in the area around the city of Kasama, in Ibaraki prefecture. Its history begun in the Edo period (1603-1868), when a Shigaraki ware potter called Choemon instructed the head of Hakoda village about pottery. Kasama ware then established under protection of the Kasama domain, producing bottles, jugs, and tableware. Potters have always kept a high level of quality that has been transmitted ever since the Edo period (1603-1868). After the war, the Ibaraki Prefectural Ceramics School was founded, and new potters were trained.

For a long time, Kasama porcelain has been considered a traditional souvenir after visiting Kasama Inari shrine, one of Japan's three most important Inari shrines.

Kasama ware is strongly resistant to dirt and suitable for daily use. It is produced with fine grained ball clay named gairome nendo. Unglazed Kasama ware contains iron and turns brown after firing. Therefore, decorating techniques such as dripping or overlaying glaze are highly appreciated. Nowadays, Kasama ware is famous for household decoration and flower vases.

15. Koishiwara Ware (Fukuoka)

Koishiwara-yaki (小石原焼) is manufactured in the Asakura district of Fukuoka prefecture. During the Edo period (1603-1868), in 1669, the potter Takatori Hachinojo discovered a new type of clay and started working with it. In 1682, the head of the Kuroda domain (the ancient name of an area in Fukuoka), invited a master of Imari ware to start creating porcelain together with Hachinojo. At that time, Koishiwara ware was identified as Nakano ware, as the area used to be named Nakano.

During the following years, Nakano ware stopped being manufactured, until it was revived around the year 1927, during the Showa period (1926-1988). Pieces such as flower vases, sake jars, and tea containers were produced. Due to the shortage of resources after the Second World War, the demand for Koishiwara ware increased. In 1975, Koishiwara ware was the first porcelain to be identified as a traditional handicraft by the Ministry of International Trade and Industry.

Koishiwara ware's uniqueness lies in its patterns, applied while rotating on a potter's wheel. There are three main decoration methods: shaping the clay with a kanna (Japanese plane), using a paint brush or a comb, and making a pattern with fingers. The most frequent glaze techniques are nagashikake, where glaze is applied at regular intervals; uchikake, where glaze is slowly drizzled, and ponkaki, where glaze is distributed gradually from a bamboo container.

16. Kutani Ware (Ishikawa)

© Japan National Tourism Organization, Kutani Ware Plate

First produced during the early Edo period, in the beginning of the 17th century, Kutani ware is manufactured in and around the city of Kaga, in Ishikawa prefecture. It was officially recognized as type of Japanese ceramics in 1655 and named after the village where it was initially created. The domain lord of Kutani sent a potter to learn ceramics techniques in Arita. When he came back, the potter established, for approximately 50 years, a kiln in which he incorporated the techniques he learnt ther. The ceramics produced during this brief period are named ko-Kutani (“old Kutani”) and boast vivid colors and characteristic designs. The kiln then closed and the production of Kutani ware started again in the 19th century with the help of the feudal domain.

Kutani-yaki (九谷焼) is famous for its bold designs, vibrant colors, and overglaze painting. This process consists of painting a pattern with pigments over a glaze and then firing the piece once again. This technique is used in Arita as well. There are various Kutani styles, using distinctive colors. Ko-Kutani and mokubeifu feature green, Prussian blue, purple, red, and yellow, and are commonly referred to as Kutani gosai ("the five Kutani colors"). Yoshidayafu uses hues of blue, purple, Prussian blue, and yellow. Iidayafu boasts a distinctive shade of red. Eirakufu is characterized by a tasteful mix of gold and red.

17. Kyoto-Kiyomizu Ware (Kyoto)

Japanese Crane Sake Set, available at Japan Objects Store

Kyoto-Kiyomizu ware is produced in the Kyoto area. We also encounter the term Kyo ware or Kyo-yaki (京焼). Initially, Kyoto ware was a generic name for pottery manufactured in Kyoto, while Kiyomizu-yaki (清水焼) referred to items produced along the road to Kiyomizu Temple.

Kyoto-Kiyomizu ware was first created during the Nara and Heian periods (710-1185) and its fabrication increased as tea ceremonies became popular during the Azuchi-Momoyama period (1573-1600). In the beginning of the 18th century, the ko-Kiyomizu (“old Kiyomizu”) tri-colored pieces (blue, gold, and green) were particularly prized by the Imperial Court, the shoguns, and the daimyo families. During the Meiji period (1868-1912), Kyoto-Kiyomizu ware expanded to foreign markets.

Each kiln has its unique traditions but as long as the pieces are manufactured in certain areas of Kyoto, they are considered Kyoto-Kiyomizu ware. Kyoto-Kiyomizu ware pigments contain large amounts of glass; consequently, their colors seem almost transparent. The color range for one vessel is usually kept to the minimum. Some items are extremely fine and delicate, which makes them nearly translucent.

Discover the beauty of Kyoto pottery and elevate your home decor with our exquisite collection at Japan Objects Store. Our team has collaborated with talented artisans and kilns from Kyoto to bring you a stunning range of handcrafted sake sets, teacups and Raku ware matcha bowls that you'll love for years to come.

18. Mashiko Ware (Tochigi)

© Mashiko Museum of Ceramic Art, Mashiko Ware Teapot with Landscape Painting by Miyangawa Masu (1874-1960)

Mashiko-yaki (益子焼) is manufactured around the town of Mashiko in Tochigi prefecture. It was created at the end of the Edo period (1603-1868), in 1853, when Otsuka Keizaburo set up a production of water jugs and pots. During the Showa period (1912-1988), the potter Hamada Shoji made vases and tableware. In 1979, Mashiko ware was one of the first Japanese pottery types to be identified as a National Traditional Craft.

Mashiko clay is rich in iron and silicic acid, easy to sculpt, thick and highly fire-resistant. While this clay is heavier than others and require care, there is a rustic practicality to its dense texture. Mashiko ware's glazes are prepared with stone powder and scrap iron powder. As the local clay is easy to glaze, it allows artisans to use techniques such as white engobe (clay slip layer) and painted decoration, especially for sansui dobin, teapots with landscape designs.

Visitors to Mashiko can try their hand at making ceramics themselves. Find out more at 8 Best Ceramic Classes in Japan for English Speakers!

19. Mikawachi Ware (Nagasaki)

Produced around the city of Sasebo, in Nagasaki prefecture, Mikawachi-yaki (三川内焼) developed during the end of the 16th century when the lord of the Hirado domain brought about a hundred Korean potters to Japan, including an important artisan named Koseki. Around the year 1640, white porcelain mineral was discovered by Koseki's son.

Around the year 1650, business kilns were established, and Mikawachi ware was manufactured throughout the Hirado domain. It was often presented as gifts to the Edo shogunate and exported to territories like China and Europe, where this type of Japanese pottery is sometimes known as Hirado ware or Hirado-yaki (平戸焼).

Mikawachi ware has long been considered as a high-quality item due to its blue dye on white porcelain. Chinese children playing is a pattern often depicted on Mikawachi ware. In China's Ming dynasty (1368-1644), pictures of young boys meant prosperity and happiness. Mikawachi ware features techniques such as sukashibori (openwork) or tebineri (hand forming).

20. Mino Ware (Gifu)

© The Metropolitan Museum of Art, Mino Ware, Shino Type Chawan (Tea Bowl) with Shinkyo (Bridge of the Gods), Momoyama period, Late 16th Century — © The Metropolitan Museum of Art, Mino Ware, *Shino* Type *Chawan* (Tea Bowl) with *Shinkyo* (Bridge of the Gods), Momoyama period, Late 16th Century

Mino-yaki (美濃焼), produced in the Tono area, in Gifu prefecture, was created during the 5th century when Sue ware, potters’ wheels, and hillside kilns were imported from Korea to Japan. During the Heian period (794-1185), ash coating glaze was added to Sue ware white porcelain to enhance its beauty. During the Azuchi-Momoyama period (1573-1600) and the Edo period (1603-1868), the rise of the tea ceremony increased the taste for artistic pottery. At the end of the 17th century, pottery covered with white glaze to look like porcelain was highly appreciated for daily use. During the last part of the Edo period (1603-1868), translucent porcelain production began. During the Showa period (1926-1988), fine items and tiles were produced, and Mino ware became one the greatest pottery centers in Japan.

Mino ware has over 15 types of traditional Japanese pottery recorded, and the three most famous ones are listed below. Oribe, based on the aesthetics of Furuta, a student of Sen no Rikyu, has a deep green glaze, and geometrical design patterns. Setoguro refers to all-black glazed pieces that were mainly produced during the Tensho period (1573-1593), being pulled out of the kiln while still red-hot. They also bear the names tensho guro or hikidashi guro (to pull out). Shino’s golden age was the Azuchi-Momoyama period (1573-1600). Featuring patterns under its glaze, it has a beautiful soft red color and bubbly texture enhanced by feldspar glaze.

21. Obori-Soma Ware (Fukushima)

© Matsunaga Kiln, Obori-Soma Ware Double-wall Sake Cup with Horse Design

Obori-Soma ware, or Soma-yaki (相馬焼), is produced around the town of Namie in Fukushima prefecture. Its origins go back to the end of the 17th century. Under the patronage and protection of the local Soma clan, the kilns prospered and by the middle of the 19th century, they were the largest production center of the Tohoku region. During the Meiji period (1868-1912), the production decreased but nowadays, the creative spirit is still alive.

This craft features blue porcelain enamel which results from locally collected grindstone. The distinctive characteristic of Obori-Soma ware is its pattern of blue cracks, occasioned by a difference in the reduction rate between the enamel and the clay when baking. On a glassy surface of celadon porcelain glaze, these blue fissures spread across the entire object. Pictures that depict the sacred horses revered by the former Soma clan are hand-painted on the ware. The pottery items have a double-wall, a unique technique that cannot be found in any other type of Japanese porcelain, making a perfect insulation for hot liquids.

22. Otani Ware (Tokushima)

Otani-yaki (大谷焼), is the most famous craft of the city of Naruto, in Tokushima prefecture. Its story goes back to 1780, when a porcelain craftsman stayed in the former city of Otanimura (now Naruto) and made ceramics with local red clay. In 1781, the lord of the domain wished a kiln to be established in town. However, the cost of supplies was high, and the kiln was closed after three years. In 1784, a climbing kiln was built in Otanimura as a national kiln for the baking of daily-use ceramics, employing Shigaraki ware artisans.

The locally collected hagiwara clay has a faint luster, a rough texture, and a high iron content. Large Otani jars, taller than the height of average men, are made with a method called nerokuro, which means “lying and spinning a potter’s wheel.” An artisan lies on the ground and spins a wheel while the other stands on a stand and shapes the pottery. The ascending kilns used to bake large ceramics are said to be the biggest kilns in Japan. Besides large jars, Otani ware comprises rice bowls and teacups, and all kinds of ornamental products.

23. Sanshu Onigawara Crafts (Aichi)

© Muza-chan, Sanshu Onigawara Crafts, Hasedera Temple, Kamakura

In the Mikawa area, in Aichi Prefecture, Sanshu is one of the three places where kawara (clay tiles) have been made since the 6th century. Sanshu Onigawara crafts are a complex technique of clay work that requires a long experience.

Onigawara is a type of roof ornament in Japanese architecture. It represents an oni, a Japanese ogre whose mission is to drive away evil spirits to protect castles, houses, and temples. Similar to western gargoyles, this guardian of buildings first appeared in 1363 in the Chokyu-ji Temple in Nara. Sanshu onigawara crafts flourished in the 18th century. Their surfaces are not glazed and have a natural rough texture.

24. Satsuma Ware (Kagoshima)

© Los Angeles County Museum of Art, Satsuma Ware Tea Storage Jar, Edo Period, Circa 1800-1850

Manufactured in the cities of Hioki, Kagoshima, and Ibusuki, in Kagoshima prefecture, Satsuma-yaki (薩摩焼) can be traced back to the 16th century. During the Imjin War, also known as the Porcelain War, the lord of the Satsuma domain brought back eighty pottery masters from Korea and opened various kilns. Consequently, diverse schools and styles flourished. Two Korean potters brought traditions to this pottery style: Chin Jukan developed overglaze Satsuma porcelain while descendants of Boku Heii created a unique natural glaze. At the end of the Edo (1603-1868) and Meiji (1868-1912) periods, Satsuma became one of the most famous and highly sought-after types of Japanese pottery in Europe.

There are three types of Satsuma ware: black, porcelain and white. The white type of Satsuma ware is named shiromon. It features transparent glaze on off-white porcelain, with cracks on the surface and decorative elements. It is important to know that the Satsuma porcelain stone is no longer being produced. The black type of Satsuma ware is called kuromon. These items, especially shochu bottles and jars, are made from high iron clay covered with colored glaze.

The dark clay early ko-Satsuma (“old Satsuma”) was mainly used for tea ceremonies and practical everyday use, while the highly decorated ivory Kyo-Satsuma was intended to be exported. Manufacturers adapted their gilded polychromatic enamel overglaze designs to appeal to the tastes of western consumers with great success, but also controversy. Being over-decorated with a maximalist flair, Satsuma ware was sometimes viewed as unfaithful to the Japanese tradition. Three kiln sites remain today: Naeshirogawa (white pottery), Ryumonji (black ceramics), and Tateno (white pottery).

25. Seto Ware (Aichi)

© Setogura Museum, Seto Ware Large Ornamental Jar by Kawamoto Masukichi I, 1876

Seto-yaki (瀬戸焼) is produced around the cities of Seto and Owariasahi, in Aichi Prefecture. Seto is one of the Six Ancient Kilns of Japan, along with Bizen, Echizen, Shigaraki, Tamba and Tokoname. The origin of Seto ware goes back to the beginning of the 19th century. A potter from Seto brought the porcelain process from Kyushu back to his hometown. Local artisans then learned the Chinese-style art of painting and developed ceramic painting depicting Seto’s scenery and nature. By the end of the 19th century, Seto ware had become highly prized in the west and even influenced the Art Nouveau movement in Europe. During the Meiji Period (1868-1912), the production of this most valued of Japanese pottery prospered and comprised tableware, tables, lanterns, and flower vases.

The characteristics of Seto ware are its white unglazed pottery and its dyed and refined designs. Local raw materials are used: motoyamakibushi clay, motoyamagairo clay and sanage feldspar. The use of dyeing techniques for undercoating is a characteristic feature. Dye is applied directly on ceramics and painted designs are placed onto the unglazed pottery. The most famous dye is asbolite, an indigo blue paint.

26. Shigaraki Ware (Shiga)

© Brooklyn Museum, Shigaraki Ware Chawan (Tea Bowl) by Tsujimura Shiro (born 1947) 1999 — © Brooklyn Museum, Shigaraki Ware *Chawan* (Tea Bowl) by Tsujimura Shiro (born 1947) 1999

Shigaraki-yaki (信楽焼) is manufactured around the town of Shigaraki, in Shiga prefecture. One of Japan’s Six Ancient Kilns, together with Bizen, Echizen, Seto, Tamba and Tokoname, Shigaraki is said to have originated in the 8th century, when Emperor Shomu had tiles fired for the building of the Shigaraki Palace. Until the middle of the Kamakura period (1185-1333), the manufacture focused on water jugs. With the expansion of the tea ceremony through the Azuchi-Momoyama period (1573-1600), the production of tea utensils increased. During the Edo period (1603-1868), the production of sake bottles and earthenware pots started. After the Taisho period (1912-1926) and before World War II, Shigaraki hibachi pots (indoor earthenware heating pans) were extremely popular.

Kibushi, mizuchi, or gairome clays are used to make thick and large pottery vessels that are highly fire-resistant. During the baking process, Shigaraki ware acquires various shades of red, from pink to scarlet, or red-brown nuances. Depending on the temperature and firing method, Shigaraki ware's white clay takes on a very distinctive scarlet glow and warm coloring.When the pottery is buried in the ash, the bottom portion gets a dark brown color. The rusty glaze on the burned parts of Shigaraki ware is prized in tea utensils for its wabi-sabi aesthetics.

In a totally different style, tanuki (Japanese raccoon dog) statues made from Shigaraki clay have become extremely popular. In 1976, Shigaraki ware was designated as a National Traditional Craft and Shigaraki is commonly described as “the pottery town". If you’re interested in visiting some of Japan’s other fascinating pottery destinations, check out these 6 Ceramic Towns!

27. Shodai Ware (Kumamoto)

© Freer Gallery of Art, Smithsonian, Shodai Ware Bowl, Edo Period, Circa 1750-1860

Shodai-yaki (小代焼) is mainly manufactured in the northern part of Kumamoto prefecture. In 1632, the head of the Hosokawa clan started baking items for daily use, hibachi (indoor earthenware heating pot) and tea utensils in a kiln opened at the base of Mount Shotai. The Senoue kiln was then established in 1836 and the Shodai ware techniques developed. During the Meiji period (1868-1912), the rise of Arita and Seto ware led to a period of decline for Shodai ware. Since the Showa period (1926-1989), Shodai ware has revived and the number of kilns has increased up to twelve.

Shodai ware is unique because of its simple texture and its pouring method of applying enamel. Local clay with high iron content is covered with dark reddish-brown enamel. Its distinctive design is produced by pouring differently colored enamels (blue, yellow, and white) made from straw’s ash or bamboo grass. Shodai ware is named gotoku yaki (“five virtues ware”), because it does not rust, it is protected from odors, moisture, bacteria and it lasts for a long time.

28. Tamba-Tachikui Ware (Hyogo)

© Freer Gallery of Art, Smithsonian, Tamba Ware Storage Jar, Muromachi Period, Circa 1400-1450

Tamba-Tachikui-yaki (丹波立杭焼) is produced around Konda, in the city of Sasayama, in Hyogo prefecture. Together with Bizen, Echizen, Seto, Shigaraki and Tokoname, Tamba is one of Japan's Six Ancient Kilns. The Tamba kiln is thought to have opened at the end of the Heian period (794-1185). Until the Azuchi-Momoyama period (1568-1600), Tamba ware was identified as Onohara ware. Bowls, buckets, jugs, mortars, large pots, and sake bottles were baked without glaze in ascending kilns. During the Edo period (1603-1868), the area started to produce a great range of products, including tea utensils and tableware for daily use. From the Meiji period (1868-1912), the center of Tamba ware was transferred to the Tachikui area and the pottery was sold under the name Tachikui ware. An interesting fact: Tamba-Tachikui potter’s wheels rotate in an unusual counterclockwise direction.

Tamba-Tachikui ware has a unique color which appears after firing for about sixty hours in a climbing kiln at circa 1300°C (2372°F). The ash of pine firewood alimenting the kiln is sprinkled onto the pottery items and melts with enamel and iron contained in the clay. Distinctive patterns and tints are produced depending on how the ash is employed and how the flames touch the piece.

29. Tobe Ware (Ehime)

© Kyoto Women’s University, Tobe Ware Plate from Baizan Kiln

Tobe-yaki (砥部焼) is produced around the city of Tobe on the island of Shikoku. Made with fragments of Iyo sharpening stones, it was established in 1777 by the Ozu domain. Through the Edo period (1603-1868), Tobe ware was independently manufactured. During the Meiji period (1868-1912), technology from famous production areas such as Karatsu and Seto led Tobe ware to develop swiftly.

Later, porcelain producing areas such as Seto adopted modern technologies like mechanical potter's wheels, leading the hand-made Tobe ware to stagnate. However, Yanagi Soetsu, the philosopher and founder of the mingei (folk art) movement, valued Tobe ware’s high quality.

Tobe is the leading ceramic area in the Shikoku region, located along the Japanese Median Tectonic Line, famous for its abundant pottery material. Tobe ware features a beautiful white transparent ceramic texture. Compared to Arita ware, it possesses a light gray nuance.

30. Tokoname Ware (Aichi)

Tokoname Japanese Teapot Set, available at Japan Objects Store

Tokoname-yaki (常滑焼) is produced in the area around the town of Tokoname, in Aichi prefecture. It is one of the Six Ancient Kilns of Japan, with Bizen, Echizen, Seto, Shigaraki and Tamba. At the end of the Heian period (794-1185), Tokoname was the biggest pottery production area among the Six Ancient Kilns of Japan and owned approximately 3,000 ascending kilns, named anagama, created by digging holes in the hillside. Large bottles and pots but also small containers, tea utensils, vases and daily items were produced during of the Edo period (1603-1868). The highly popular Japanese kyusu (teapots) were also first created during this era. If you want to learn more about kyusu check out our guide to Choosing the Best Traditional Japanese Teapot.

During the Meiji period when Japan’s famous railroads started running, there was a strong demand for waterway construction work between railway lines and Tokoname clay water pipes were particularly sought-after. During the Taisho period (1912-1926), Tokoname tiles were then in high demand.

Collected in the Chita peninsula, Tokoname high-iron content clay turns reds after firing, in a process called shudei (unglazed reddish-brown pottery). Clay kyusu from Tokoname are highly appreciated by tea enthusiasts today. It is said that iron contained in the local clay softens the astringency and adds roundness to Japanese green tea. There are nowadays many kilns in activity, and artisans still pursue traditional techniques. To find out more, check out Why Tokoname-Yaki is Best in Class!

Interested in buying an authentic kyusu teapot yourself? At Japan Objects Store, we work with some of the finest artisans and kilns from Tokoname to bring you handcrafted teapot sets and matcha bowls that you will treasure for years to come!

31. Tsuboya Ware (Okinawa)

Produced mainly in Tsuboya, city of Naha, in Okinawa prefecture, Tsuboya-yaki (壺屋焼) is one of the main representations of Okinawan yachimun (pottery, in the Okinawa dialect), with unique enamel ceramic decorations. The origin of Tsuboya ware is said to be Korean roof tiles brought from continental Asia from the 14th to the 16th century. At this time, Okinawa had strong commercial contacts with China and Southeast Asia. During the 17th century, the Okinawan Ryukyu Kingdom fell under the control of the Tokugawa shogunate's domain, and the flourishing commerce with foreign countries ended. The king of Ryukyu demanded potters from Korea to open kilns and the first Tsuboya ware production started in Okinawa.

During the Meiji period (1868-1912), the fabrication declined. However, through the Taisho period (1912-1926) and due to the mingei (folk art) movement, Tsuboya ware gained recognition again. In 1985, the potter Kinjo Jiro was designated as the first Living National Treasure in Okinawa prefecture.

Tsuboya ware is divided into two types: arayachi and jouyachi. The former is a simple style mainly used for sake or water bottles. The latter boasts various types of enamel, baked at a high temperature (1200°C / 2192°F). Two typical enamels are used: white enamel made from slaked lime and unhulled rice ash mixed with gushikami and kina local clays.

32. Yokkaichi Banko Ware (Mie)

© Sazen Tea, Yokkaichi Banko Ware, Nasugata (Eggplant) Teapot by Masaki Tachi — © Sazen Tea, Yokkaichi Banko Ware, *Nasugata* (Eggplant) Teapot by Masaki Tachi

Yokkaichi Banko ware is a type of ceramic ware manufactured in the city of Yokkaichi, in Mie Prefecture. The history of Banko ware started around three hundred years ago. Between 1736 and 1740, Nunami Rozan, a tea aficionado and trader, opened his own kiln in Kuwanacho and started producing tea utensils. He stamped each of his own works with the words banko fueki (“an eternally unchanging life") and the name of Banko-yaki (萬古焼) is said to come from this imprint. After the death of Nunami, Banko yaki disappeared for almost thirty years.

At the end of the Edo period (1603-1868), it was revived by the antique dealers and brothers Mori. At that time, kyusu teapots for loose leaf sencha tea started to be used. It is important to note that sencha was even more popular than matcha tea at that point in history.

Today, shidei kyusu (purple clay teapots) and donabe (earthenware cooking pots) are characteristic of Banko yaki. Highly resistant to heat, Banko potter's clay for earthenware pots is combined with a heat-resistant lithium mineral named petalite. This patented technique cannot be found elsewhere. Kyusu are fired using shidei clay that contains a large amount of iron. Through a reaction with flames, the clay gains a peculiar purple-brown color and a specific shine, which increases with use and over time.

Each year in May, the Banko festival is held around the Banko shrine in Yokkaichi. People may encounter pottery works exhibited from local potteries and purchase beautiful items.