Arita Ware

The term "Arita Ware" appears sporadically in records of the Edo period, but came into widespread use after 1897 during the Meiji period. In that year a railroad line to Arita was opened, making it possible for pottery to be shipped directly from Arita instead of going through the port of Imari. Previously in the Edo period, when porcelain made in Arita and other towns in the Hizen region was shipped from the port of Imari, the ware was called “Imari Ware.” Shipments from Imari port destined for the Japanese market were sent to Osaka and other domestic ports, while ware for overseas markets was routed from Imari through Nagasaki.

Arita ware made great progress in a surprisingly short period of time. One of the reasons for this is the development of the Izumiyama clay mine as a reliable source of high-quality porcelain clay. In 1637, to prevent erosion of the mountains due to excessive logging of trees for fuel, the Saga clan consolidated the Arita Saraya (later known as Sarayama) kilns. Potteries were concentrated in eastern Arita near the Izumiyama clay mine, and a manufacturing system dedicated to pottery production was established. Later, the office of the Saraya Magistrate (later Sarayama Magistrate) was established, enabling materials, technology, and labor to all be controlled by a central authority.

Less than 30 years after the birth of porcelain in Japan, Arita ware underwent a major transformation. Colored overglaze decorating techniques were introduced from China, and by 1622 the first porcelain decorated with colored overglaze was being fired in Japan. Early examples of this style were fired around 1640-1660. Patterns were developed for use with colored enamels, and a variety of new products were fired. Part of the reason for this development was the transition from the Ming to the Qing Dynasty in China that occurred in 1644, and the resulting freeze in exports from China. Arita ware from around this period shows the influence of Chinese ceramic technology beyond merely copying form and design. Arita ware suddenly assumed the style of Chinese Jingdezhen ware.

In Arita, forming porcelain ware is called "crafting (saiku)." Craftsmen do this work at crafting studios. A pot goes through a number of delicate forming processes before it is finished: the wet clay is thrown on the potter's wheel; if necessary it is pressed into a mold; the foot rim and surface are trimmed. Trimming a pot is performed meticulously, maintaining a sharp edge on the trimming tool.

The decoration is painted on the surface of the bisque-fired pot in cobalt pigment. This decoration is painted on under the glaze. "Line painting," painting the outlines of the pattern, and "thickening," filling in the outlines with a cobalt-loaded brush, are performed by different specialized artisans.

After underglaze decoration, the pot is glazed and fired to a temperature of over 1300 degrees. Porcelain is fired in a single-chamber kiln. At the Imaemon kiln, the kiln is fired eight times a year, with three people taking turns firing for 32-34 hours. Oil, pine wood, and coal, in that order, are used as fuel to bring out the rich surface texture and coloring of Arita ware.

The Kyushu Ceramic Museum is dedicated to the comprehensive collection, preservation, exhibition, and research of the ceramics of Kyushu, the Hizen region, and Arita. As one of the leading institutions of its kind, the Museum is indispensable in the appreciation of Japanese ceramics.