Hagi Ware

The history of Hagi ware began when an official kiln for the exclusive use of the Chōshū clan (Hagi clan) was established to utilize the techniques brought to Japan by potters such as Yi Chak-kwang (Japanese: Li Shakkō). These potters came from Korea to work in Japan after the Mōri clan relocated to Hagi in 1604. The kiln was made in the Nakanokura section of Matsumoto village, to the east of Hagi Castle (where the Sakakōrai Zaemon workshop is located today in Hagi´s Chintō district). Hagi Ware would later be called Matsumoto ware (or Matsumoto Hagi) after another official Hagi kiln was established at Fukawa.

At the Sakakōrai Zaemon workshop, one can still sense the solemnity of the former official kiln used during Japan's feudal period.

In 1663, two first generation potters, Saeki Hanroku (1630–1682) and Miwa Kyūsetsu (1630–1706), joined the official kiln of Matsumoto run by Saka Sukehachi II (son of Kōraizaemon), which improved the production of the kiln.

After the Meiji Restoration in 1868, individual and corporate-run potteries further developed along with Japan's modernization. Although a variety of ceramic wares were made with productivity in mind, wabi suki tea pottery that maintained traditional materials and techniques from the former official kilns would become mainstream Hagi ware again in the Taishō period (1912–1926).

The historical and artistic value of Hagi ware grew, with Miwa Kyūwa (1895-1981) being designated a Living National Treasure (Holder of Intangible Important Cultural Property) for Hagi Ware in 1970. His younger brother Miwa Jusetsu (Kyūsetsu XI) received the same title in 1983, while Yoshika Taibi was selected as a Person of Cultural Merits in 1990.

Also called dobai (“earth ash”) or mokubai (“wood ash”) glaze, this glaze allows the beautiful earthy clay color underneath to come through. It is created by turning the ashes of various types of wood (pine, sawtooth oak, oak, Isu wood, etc.) into a solvent. Upon firing with oxidizing flames, the glaze and the clay both become a bright, pale yellow.

This is a semi-opaque, cloudy white glaze made by mixing earth ash glaze with straw ash. It is commonly used not only on Hagi ware, but also by potteries in western Japan. Today, the main shade of this glaze is known as Kyūsetsu White which gives a look of thick, fluffy, and warm cotton.

To make Hagi pottery, the kneaded base clay is placed on the potter’s wheel and rotated clockwise. Once shaped, the basic piece is allowed to dry in the shade for two to three days before finishing touches are made, such as cutting out the foot. After this, slip or brush patterns are applied and the vessel is left to dry before being biscuit fired in temperatures between 700 and 800˚C for 15 to 18 hours.

The amount of time for the primary firing inside the kiln depends on the scale of the kiln  and how many chambers it has. Pieces are first fired inside the firing chamber for at least 15 hours, but may require a further 30 hours of firing if there are five chambers in the kiln. The firing temperature, between 1,260°C and 1,280°C, is maintained by feeding the kiln with pine wood fuel. After firing, the firing chamber is sealed tight. The fired pieces are removed from the kiln after having cooled for between twenty-four hours and five days.