Kyoto Ware

Kyoto ware (Kyo-yaki) refers broadly to pottery made in Kyoto. In the past, when Kyoto was the capital of the country, the highest quality in all cultural products was sought. Kyoto ware was one such product. In response to demand, it continues today to change and respond in terms of design and variety.

Kyoto ware covers a wide variety of processes depending on the craftsmen. In all of them, a great many craftsmen work at kilns in a division of labor, manufacturing high-quality products with great efficiency. Here one example of a manufacturing process will be shown, from beginning to end.

In Kyoto ware, a potter's wheel is generally used in forming the shape. In this method of producing the desired object from a lump of clay, it is not only the sensitive fingertips that are important but also the most subtle of sounds. After drying the object for a half day or a day, trimming is done to the foot and elsewhere to produced the desired shape. To do this, some craftsmen use tools of their making.

After the object has been fired unglazed (suyaki) and the first layer of decoration has been applied to the surface, the object is then covered with a glaze. In the final firing the glaze changes to a vitreous substance that that makes the object largely impervious to fluid and increases its strength.

The beginning of Kyoto Ware can be traced back to the making of chawan (tea bowl) - a utensil for the enjoyment of matcha (powdered green tea) drinking. In the first half of the Edo period matcha tea utensils created by the famous Kyoto potter, Nonomura Ninsei, became popular among people with prominent social standings. In the latter half of the Edo period when sencha (a type of green tea) served in kyūsu or Chinese-style small teapot became a trend, Kyoto potters also started to make small teapots and teacups.

In an attempt to compensate for the loss of local clients, the market shifted to the West. There were various reforms, such as the establishment of art schools that pursued European styles and the launch of ceramic research institutions to improve quality.

There are ceramic artists working at established kilnswho also create their own work as individual artists. Kei Katsura Tanabe who works for Shunzan-gama as a ceramic painter is one of such artists. He She give gives great importance to his her unique artistic expression in his her creation.

This marbled work reflecting the concept of ichigo-ichie (once-in-a-lifetime encounter that should be cherished) is an example of the accessories she makes from being inspired and fascinated by the beauty of nature. She proposes the new wearable form of ceramic ware by adapting Kyoto Ware that has transitioned through the centuries to modern sensibilities.

In Kyoto Ware the unique colors produced by the glaze plays an equally important role as the glazed ceramic ware itself. This work by Genki Manabe features colors that appear as if being absorbed into the ceramic. He encountered this color that reflects the mysterious blue of the sky after many years of research on glazes. The blue of the great sky that connects the world is also imbued with his wish for a peaceful world.

There are a myriad of styles and techniques used by Kyo-yaki ceramic artists. One thing that has remained constant since ancient times is the attitude of the ceramic artists in always seeking out new designs and more sophisticated technical skills. With young artists also creating Kyoto Ware today, we can expect to see more works with new artistic expressions.