Ceramics in Everyday Life
Ceramics are a traditional craft that has developed alongside daily life since ancient times. Beyond their practicality and functionality as vessels or decorations, they enrich everyday life with artistic beauty, warmth, and uniqueness, bringing small joys to life, adding a sense of atmosphere, tranquility, and a pleasant inner accent.
Handmade ceramics, bearing the marks of artisans and artists, convey warmth, character, special feelings, and value to the user each time they hold them. They gain character with use, accumulating history alongside daily life, and their aging process becomes a source of enjoyment.
The Ancient and Global History of Pottery
Pottery (or ceramics) refers to practical vessels made by shaping malleable clay and firing it at high temperatures in a kiln. The term encompasses a wide range of vessels, from unglazed earthenware to ceramics with a glassy glaze, and can refer to everyday items like bowls and plates, or to works of art and crafts appreciated for their aesthetic appeal.
The oldest techniques for shaping and firing pottery date back to prehistoric times, such as the late Paleolithic Venus of Dolní Vestnice (28,000 BC) discovered in the Czech Republic, the Sennin Cave Jar (仙人洞の壺, 18,000-17,000 BC) in China, and the Jomon pottery of Japan.
In ancient China, between 10,000 and 20,000 years ago, hunter-gatherers are thought to have produced harder pottery by molding wet clay and firing it at high temperatures in kilns. In addition, a wide variety of pottery such as gray pottery, black pottery, and white pottery are made by adjusting the selection of clay, firing temperature, and amount of oxygen sent into the kiln.
Furthermore, the use of a potter’s wheel produced ceramics with delicate shapes and thin, uniform walls, and in the middle of the Shang Dynasty (殷), around 1500 B.C., glazed pottery (施釉陶) with an artificial ash glaze (灰釉) was produced.
By the time of the Qin Dynasty (221–206 BCE), the production of gray pottery became widespread, and the Terracotta Warriors of Qin Shihuang, which contains approximately 8,000 nearly life-sized statues of soldiers, horses, chariots, and other figures buried as guardians in the Mausoleum of the First Emperor, with different facial features, hairstyles, and armor, demonstrate outstanding skill and artistry.
During the Ming Dynasty (1368-1644), Jade Factory (玉器廠), an official kiln that produced ceramics for the imperial court, was established in Jingdezhen (景徳鎮). The technique of blue painting using cobalt was perfected, and blue flower porcelain (青花磁器) was born, with increasingly rich depictions of motifs such as flowers, landscapes, and stories. A variety of decorations such as dyeing (染付), five colors (五彩), and powder colors (粉彩) flourished, including the tou-sai (豆彩) technique, which applied multicolored glazes on the outline of the blue painting.
Throughout the Song, Yuan, Ming, and Qing dynasties, Chinese porcelain was an important export item, and was transported to Western Asia and Europe via the ceramic route (陶磁の道). The white, transparent, and lustrous porcelain fascinated Western European aristocrats at the time, which is why they called porcelain “China.”
In ancient Greece and ancient Egypt, terracotta, a reddish pottery made from fired clay, was used as ornaments for temples and tombs.
Amphora, which were mainly used in ancient Rome, were used to store and transport liquids such as olive oil and foodstuffs, and are essential containers for the wine trade. (ref., Wine In Logistics And Cultural Exchange Since Ancient Times)
In Islamic pottery, from around the 9th to the 14th century, a unique decorative technique called luster painting, in which patterns are painted with oxides such as copper or silver on a lead glaze of fired white tin and fired in a low-temperature reduction flame, has a shine similar to gold paint, developed and spread to Europe through Mediterranean trade.
At the beginning of the 18th century, the successful production of hard porcelain fired at extremely high temperatures of approximately 1,300 to 1,400 degrees Celsius in Meissen, Germany, led to the flourishing of the ceramics industry throughout Europe and ushered in a new era in table culture and court art.
Since the founding of Meissen porcelain, all of its products are hand-painted by craftsmen, with a distinctive deep Meissen blue color, and even when looking at the angles and colors of petals from the same series, there are slight differences due to being hand-painted, which makes each product unique.
French Sèvres porcelain, which descends from Meissen porcelain, has unique French designs that suit the times, such as the Rococo style favored by the Bourbon dynasty, the Enpierre style favored by Napoleon, and the majestic style of Egypt and Greece. One of its distinctive charms is the wide variety of mysterious blue expressions it produces, including the dark blue “Brue de Roi” (King’s Blue), which uses chemical cobalt as a pigment, “Crowded Blue,”‘ which has a characteristic cloud-like blur, “Fat Blue,” and “Agatha Blue.”
Japan’s Spiritual Relationship with Earth and Fire
In Japan, the use of earthenware as everyday containers dates back to the Jomon period, approximately 16,500 years ago.
Initially, unglazed, red earthenware fired in an oxidizing flame was used as a boiling vessel. The unique forms, adorned with cord-marked patterns, possess a powerful artistic quality despite their practicality. The decorations, mimicking burning flames, suggest the Jomon people perceived a spiritual power residing in earth and fire.
Around the time of the rise of ancient civilizations, hard, gray earthenware fired in a reducing flame appeared. Later, glazed earthenware fired at high temperatures and coated with ash glaze came into use. As technological advancements made the earthenware more durable, its uses expanded to include storage and rituals.
There are also names like “○○-yaki (○○-ware),” which include the name of a type, style, or production area.
In pottery-producing regions throughout Japan, there has been a long-standing tradition of worshipping the gods who protect the kilns. Each kiln has a small shrine called “Kamagami-san (窯神さん),” and before firing, a ceremony is held in which sacred sake, salt, and rice are offered to pray for safety during firing and for a good harvest, expressing gratitude for the blessings of earth and fire. This speaks to a profound sensibility that pottery making is not merely a skill, but a sacred act that draws on the power of nature.
From Clay to Vessel: Preparing and Shaping Pottery
The properties of the ceramic base are determined by the ratio of clay minerals, feldspar, quartz, etc., but let’s start with the general materials and production process.
* Clay preparation:
The process of pottery making requires considerable time and patience, even just for the preparation of the clay.
1. Collecting raw clay.
2. Beat the raw clay to break down the particles.
With raw clay from the same bedrock, the unweathered, harder parts and pebbles generally have lower fire resistance than the weathered parts. Even pebbles containing highly fire-resistant silica will not become fine powder just by beating them with a wooden mallet. Therefore, to further enhance the “firing” of the clay, the pebbles are continuously beaten and crushed with a wooden mallet. While it is possible to grind the clay with machines such as stampers and mills to make the particles finer, this also means that the silica is crushed too much, which could cause the refractory clay to rise again. Therefore, beating the clay by hand with a wooden mallet is more effective in bringing out the unique properties of the clay.
3. Refining the clay through a process called elutriation (水簸, suihi), where impurities are removed by dissolving it in water.
4. The refined clay undergoes a period of resting, ranging from several months to several years (土殺し, tsuchigoroshi).
5. Finally, the clay becomes ready for shaping.
* Shaping Techniques:
There are various techniques such as wheel throwing, hand building, and slab building, each requiring different skills and sensibilities.
Regardless of the shaping method, meticulous attention to the use of water is crucial.
Clay, distinguished from silt and sand with larger particle sizes, refers to materials with particles smaller than 5 μm in the field of soil mechanics. When water is present in clay, for the same volume, finer particle size increases the total amount of water (free water) each particle is surrounded by, resulting in viscosity, or plasticity.
Sand lacks viscosity and plasticity because of its large particle size. The viscosity of clay comes not from the clay itself, but from the water; once dry, it loses all viscosity, just like sand.
Therefore, the state of water in the clay during shaping significantly affects not only the appearance of the piece, even when using the same clay and creating the same shape, but also the subsequent drying and firing processes. It is necessary to intentionally control the moisture content in the clay during shaping, trimming, and decoration, working backward from the desired firing result.
For example, when using a potter’s wheel, the moisture content of the clay and the amount of water used by the hands, as well as the degree of drying during trimming, can completely change the appearance not only immediately after shaping but also after firing.
After the shape is determined, it is thoroughly dried, then bisque-fired, glazed, and finally fired again.
1. Wheel Throwing (ろくろ挽き, rokurobiki):
This technique uses rotational motion to shape the clay, creating form through centrifugal force and hand pressure control. It goes beyond mere tool manipulation, reflecting the maker’s physical sensations and sense of time in the creation.
2. Hand Building (手びねり, tebineri):
This technique involves pressing lumps of clay with fingers, stacking rope-like clay, and assembling flattened clay sheets, relying on the sense of touch to create natural forms through a dialogue with the clay.
3. Tatara method (たたら作り, tataratsukuri):
This technique involves cutting clay into uniformly thick sheets (tatara) using wire or thread, and then assembling them to form the desired shape. By cutting, bending, and joining, flat surfaces, straight lines, and corners can be created, and this method is used in pottery to create square plates, long plates, square bowls, and vases with clearly defined surfaces.
Glaze, Decoration, and the Beauty of Variation
* Decoration:
Glaze (釉薬, yūyaku) is a chemical applied to the surface of clay or other materials after shaping. Also known as uwagusuri, it becomes glassy when fired, coating the surface of the vessel.
Even if the natural clay used for glaze is collected from the same location, such as a one-meter square area, its composition can vary considerably. Therefore, it’s impossible to precisely mix the glaze each time, and it’s impossible to completely replicate the dimensions, thickness, material, firing temperature, kiln conditions, and external air. Conversely, the fact that the same results are almost never achieved is what contributes to the unique and captivating nature of pottery, resulting in one-of-a-kind pieces.
The main types of glazes include the following:
* Ash glaze (灰釉):
A high-temperature glaze primarily made from plant ash, blended with feldspar, silica, etc. Celadon glaze and straw ash glaze are examples of glazes based on ash glaze.
* Lead glaze (鉛釉):
A lead-based glaze found in ancient Mesopotamia.
* Transparent glaze (透明釉):
A general term for highly transparent, colorless glazes such as lime glaze. Used for underglaze blue porcelain, etc.
* Green glaze (緑釉):
A transparent glaze with 3-5 percent copper oxide added. There are low-temperature versions used in sancai (three-color) porcelain and high-temperature versions like Oribe glaze.
* Iron glaze (鉄釉):
A general term for high-fired glazes that use iron as a coloring agent. Representative glazes include amber glaze, black glaze, and Tenmoku glaze.
* Tin glaze (錫釉):
A glaze made by adding tin oxide to lead glaze to create a milky white color. Adding tin oxide emulsifies the glaze, allowing for richer expression of decorative colors.
* Salt glaze (塩釉):
Originating in the Rhine region of Germany in the 13th century, the manufacturing method spread throughout Europe. Sodium reacts with silicon to form a glassy film, but production is limited due to the need for special kilns and the generation of harmful chlorine gas.
In addition to various painting and glazing techniques, there are traditional decorative methods such as:
1. Kohiki (粉引): A technique where white slip is applied to the vessel, and then a transparent glaze is applied and fired.
2. Hakeme (刷毛目): A technique where white slip is applied using a brush made of bundled straw for decoration.
3. Scratching (掻き落とし, kakiotoshi): A technique of scraping the surface of a vessel to create a pattern.
4. Mishima-de (三島手): A technique in which patterns are applied to the vessel using a mold before it dries, then inlaid with white slip, and finally fired with a transparent glaze.
5. Comb Pattern (櫛目, kushime): A technique of drawing lines with a comb-shaped tool to create decoration.
6. Flying Plane (飛鉋, tobikanna): A technique in which a plane blade is applied to a semi-dry vessel while it is rotating on a potter’s wheel to create a continuous pattern. Koishiwara ware is a representative example of this technique.
The Kiln: Fire, Risk, and Unintended Beauty
* Kiln Firing (窯焚き, kamataki):
Kiln firing is the most tense moment in pottery making.
No matter how well-formed a piece is, if the firing process is flawed, it becomes a ruined piece. Therefore, proper kiln loading is essential, and the kiln must be constructed each time to ensure the best possible reaction between heat, hydrogen, and carbon is achieved through the heat, smoke, and fire working inside.
In a kiln where the works are constructed within the outer frame, the first stage of firing is pre-heating. This is done until the temperature reaches the transformation point—the point where the initial molecular structure changes—to the low to mid-300s Celsius. The purpose is to avoid creating extreme temperature differences within the objects by rapid heating.
The next stage is oxidation and reduction.
* Reduction firing is a process where oxygen is removed from oxidizing substances within a certain temperature range in the kiln, and the firing is carried out while maintaining that state.
* Oxidation firing is a process where oxidizing substances are first reduced within a certain temperature range in the kiln, and then recombined with oxygen. However, this is not a return to the original oxidizing state; rather, the desired color and texture are achieved by adjusting the degree of reduction.
A climbing kiln (登り窯, noborigama) has several internal partitions, while a single-chamber kiln without partitions is called an anagama kiln (穴窯).
In climbing kilns, firewood is kept burning continuously for three to five days, maintaining the kiln temperature at 1200°C to 1300°C. In the days before thermometers, craftsmen took turns watching the kiln overnight, relying on experience and intuition to judge the temperature by the color of the flames and the amount of smoke—a true testament to their craftsmanship.
It is said that to understand the conditions inside the kiln, one should look not at the flames themselves, but at the gaps between them. Furthermore, when judging the temperature by the color inside the kiln, one should look at the color temperature caused by the heat, not the luminous flames.
During this process, while pottery may crack or warp in the kiln, natural glazes (自然釉, shizenyū) formed by the natural accumulation of ash, and unexpected chemical reactions (窯変, yōhen) can create unforeseen beauty. In Japanese pottery culture, this accidental beauty has been revered as a divine creation beyond human control, and has even been valued more highly than calculated beauty.
While striving for perfection, they are also prepared to entrust the outcome to fate—this is the spirit of the artisans who stand before the kiln, and the wisdom of life that pottery teaches.
Wabi-Sabi, Utility, and Imperfection
Yanagi Soetsu (柳宗悦, 1889-1961), an art critic who emphasized folk art, systematized the concept of “beauty in utility (用の美, yō-no-bi),” an aesthetic sense that argues true beauty resides in everyday tools.
This sensibility, which values the warmth that fits comfortably in the hand and the changes that increase in character with use, rather than perfectly balanced vessels, is deeply rooted not only in pottery but also in Japanese culture through concepts such as wabi-sabi, mono no aware, and yugen. (ref., The Pathos Of Things And The Cycle Of Transience)
In fact, Sen no Rikyu (千利休, 1522-1591), who established the spirit of wabi-cha (a style of tea ceremony emphasizing simplicity and humility), valued and used simple, domestically produced tea bowls instead of ornate Chinese tea bowls in the tea ceremony. (ref., Tracing The Path That Tea Has Taken)
Rikyu commissioned Chojiro (長次郎), the founder of Raku ware, to create tea bowls that were formed by hand-building (手びねり, tebineri) without using a potter’s wheel (ろくろ, rokuro), through a dialogue with the clay. The result was the black Raku tea bowl (黒楽茶碗), shaped into an asymmetrical form, and this aesthetic of wabi-sabi, which values the beauty of imperfection and respects the natural form of things, has been passed down through the ages to the present day. (ref., Shadows Indwell Truth, Goodness, And Beauty)
Furthermore, the kintsugi (金継ぎ) technique, which repairs broken pottery with gold or lacquer, is not about concealing the damage, but rather about deliberately showcasing the repair marks as a form of beauty. It represents accepting the wound as an experience and elevating it to a new kind of beauty, symbolizing the strength to overcome setbacks and difficulties in life. The beauty of pottery lies in the vitality and stories that reside within its imperfection. (ref., The Art Of Kintsugi And Yugen On Depth Of Psyche)
The Development of Japanese Pottery
Let’s trace the history of Japanese pottery.
Japanese Jomon pottery (縄文土器) dates back 16,500 years, making it one of the oldest types of pottery in the world. Excavated artifacts include pottery and bowls adorned with intricate shapes and patterns such as cord marks, as well as clay figurines. It was made by either stacking coils of clay or flattening lumps, and flame-patterned pottery (火焔土器) features unique decorations reminiscent of flames.
Yayoi pottery (弥生土器, 2nd century BC to 3rd century AD) is thinner and more symmetrical than Jomon pottery, primarily consisting of practical items such as water vessels, pots, tiered vessels, and bowls. Ritual vessels (土師器, haji ware) and grave goods (埴輪, haniwa) were also produced during this period.
Sue ware (須恵器) was produced from the Kofun period (mid-3rd century – 7th century) to the Heian period (794 – 1185). Around the 5th century, it utilized new pottery techniques, known as yakishime (焼締), introduced from the continent and the Korean Peninsula, being shaped on a potter’s wheel and fired at higher temperatures (over 1200°C) in kilns built on hillsides (窖窯, anagama). Because they are fired in a reducing flame, the body is hard and grayish-black. There are many types of pieces, including cups, mugs, bowls, and jars, and some pieces have a natural glaze formed from the ash that melted during firing.
In the latter half of the 7th century, glazed pottery with artificially applied green glaze began to be produced, followed in the 8th century by the creation of Nara Sansai, which featured a three-color glaze influenced by Tang Sansai. The glaze of Nara Sansai is a low-fired lead glaze, similar to the green glaze.
In the early Heian period (9th century), ash-glazed pottery (灰釉陶器, kaiyutouki), using a high-fired glaze primarily made from natural plant ash, began to be produced. By the latter half of the 10th century (mid-Heian period), the Sanage kiln had established a production system for ash-glazed pottery, and the firing method was changed from a reducing flame to an oxidizing flame, resulting in a white finish.
Between the Kamakura and Muromachi periods (鎌倉時代から室町時代, late 12th to 16th centuries), pottery production flourished in various regions, including the Six Ancient Kilns (六古窯) of Japan, with each kiln exhibiting its own unique characteristics. The jars, pots, and mortars produced in these kiln-producing regions became popular as everyday necessities, and this tradition continued through the Momoyama and Edo periods.
Meanwhile, imported ceramics such as white porcelain, blue and white porcelain, and Goryeo celadon were passed down through generations as status symbols among the aristocracy and samurai. (ref., The Art Of Kintsugi And Yugen On Depth Of Psyche)
Furthermore, with the spread of the tea ceremony, pottery developed as vessels symbolizing the spiritual culture related to wabi-sabi (侘び寂び), the refinement of hospitality in the sense of “ichigo ichie (一期一会)” (one time, one encounter), and the embodiment of aesthetic sensibilities.
Japanese pottery is classified into several categories based on its raw materials and firing method. The finished color and texture vary greatly depending on the firing temperature and the type of glaze used.
* Earthenware (土器, doki or kawarake):
Fired at low temperatures, it is brittle, easily broken, and highly absorbent. Firing temperature: 700-800°C.
* Pottery (陶器, touki):
Made by shaping clay, applying glaze, and firing. The texture of the clay remains, resulting in a warm, soft feel and high heat retention. Firing temperature: 1000-1300°C.
Because pottery is absorbent, water can seep out, discolor, and odors can transfer to the vessel. Therefore, it is essential to seal the pores before first use to prevent these issues. Porcelain and stoneware do not require this sealing process as they are not absorbent.
For sealing, use rice water or water mixed with wheat flour or potato starch. The starch will fill in the pores and irregularities of the pottery, effectively sealing them.
* Porcelain (磁器, jiki):
Made by mixing fine feldspar and silica powder with clay and firing at high temperatures. It is hard, white, smooth, and has a crisp appearance. It has almost no water absorption and is slightly translucent when held up to the light. Firing temperature: 1300-1400°C.
* Stoneware (炻器, sekki):
Made using clay with a high iron content and fired without glaze. It possesses properties intermediate between earthenware and porcelain, and has almost no water absorption. The firing temperature is 1100-1250°C.
The Matcha Bowl as a Functional Work of Art
A matcha bowl (抹茶碗) is a wide-mouthed ceramic bowl, commonly called a chawan (茶碗), made for drinking matcha (抹茶, powdered green tea) directly from the bowl after whisking it with a bamboo whisk (茶筅, chasen).
* Chawan (茶碗): Literally meaning “tea bowl,” this is the most basic term for a bowl used for matcha, and can also refer to an everyday rice bowl.
* Chasen (茶筅): A tool made from finely split bamboo; the shape of the bowl is designed to accommodate the movement of the whisk.
* Chashaku (茶杓): A slender bamboo spoon used to scoop matcha into the bowl.
* Usucha (薄茶): Matcha prepared in a wide bowl, lightly frothed to create a foamy texture.
* Koicha (濃茶): Matcha prepared in a highly heat-retaining bowl, kneaded into a thick paste.
* Tenmoku (天目): A type of bowl-shaped vessel of Chinese origin, and the style of dark brown iron glaze applied to it.
Matcha bowls originate from Tenmoku-style tea bowls with dark brown iron glaze, which began to be produced in the Jian kilns(建窯) of Fujian Province and the Jizhou kilns (吉州窯) of Jiangxi Province during the Song Dynasty (宋, 960-1279) as vessels specifically for powdered tea (点茶, tencha).
At the end of the 12th century, the custom of tencha was introduced to Japan by Zen monks, and Karamono-tenmoku (唐物天目, Chinese-style Tenmoku) became highly valued in shoin tea (書院の茶) ceremonies. Subsequently, pottery from the Korean Peninsula came to be valued in Japan as Goryeo tea bowls (高麗茶碗), and in the 16th century, Raku ware (楽焼), which was linked to the aesthetic sensibilities of Sen no Rikyu, was created. During the Momoyama period (1573-1615), tea bowls with unique regional names such as Setoguro (瀬戸黒), Oribe (織部), and Shino (志野) flourished as objects of aesthetic beauty. Furthermore, Karatsu ware (唐津焼) and Hagi ware (萩焼) each established their own unique characteristics in terms of clay and glaze.
The names of the different parts of a matcha bowl originate from the pottery workshop, and they encapsulate all the roles that a matcha bowl should play: the rim for drinking the tea, the sides for whisking the tea, the pedestal (高台, kodai) that withstands the firing process, and the front that faces the guest.
* Rim (口造り, kuchi-zukuri):
The rim. Provides the pleasant feel against the lips.
* Body (胴, dou):
The side between the rim and the foot. The space inside for whisking the tea.
* Waist (腰, koshi):
The part where the sides taper towards the pedestal (foot). Provides a stable and light feel when held.
* Pedestal or foot (高台, kodai):
The ring-shaped base that supports the bowl. Traces of trimming and firing are visible on the base.
* Base side (高台脇, kodai-waki):
The clay is left unglazed, or the trimming reveals the texture of the clay and the artist’s individuality. This is one of the highlights, along with the base itself.
* Base underside (高台裏, kodai-ura):
Similar to the base side, this is where the trimming design is visible. There are various types, such as those with a spiral-shaped base (tokin) in the center, or crescent-shaped bases with the center slightly off-center.
* Tea cloth wear (茶巾摺, chakin-zuri):
This is the area that wears down from years of wiping with a tea cloth. It corresponds to the relatively shallow part of the interior. Glazing or trimming is done to ensure the tea cloth slides smoothly and doesn’t snag.
* Tea whisk wear (茶筅擦り, chasen-zuri):
This refers to the area worn down by the tea whisk, the deeper part of the interior. Similar techniques are used to ensure the tea whisk is easy to use and doesn’t get damaged. It’s common to see pieces where the glaze has peeled off in this area.
* Chadamari (茶溜まり, tea reservoir):
This refers to the small indentation where any remaining matcha tea collects after it has been finished. It is designed to collect neatly in the center of the cup.
* Shomen (正面, front):
This refers to the most visually appealing side of the tea bowl, as determined by the artist, and the direction in which it is presented to the guest.
The rim of a matcha tea bowl can be shaped inward, outward, or straight.
* Inward-facing – Ubakuchi (姥口):
The rim is slightly curved inward, making it easier for the remaining tea to return to the bowl after a sip. This shape is suitable for matcha that is drunk in several sips and is the most common type of matcha bowl. Because the rim doesn’t come into contact with other bowls, it is less prone to cracking or chipping.
* Outward-facing – Hatasori (端そり):
The rim is slightly curved outward, allowing the matcha to flow easily into the mouth. Its beautiful shape is highly appreciated.
* Straight – Suguguchi (直口):
Enjoy the simple feel of the tea bowl and savor the taste of the matcha and the feel of the matcha bowl without worrying too much about how to drink it.
When preparing matcha, the tea whisk (茶筅, a bamboo whisk made from a split bamboo stalk with approximately 80-120 thin bristles densely packed together in a crown shape) is used to quickly move across the bottom of the bowl in a W or M-shaped motion. Therefore, not just any bowl can be used as a matcha bowl. Glassware, mugs, and plastic containers are all unsuitable. Thus, a wide, flat central section beneath the whisk and outward-facing walls above the bristles are essential for a matcha bowl.
Ceramic matcha bowls typically have a wide, shallow, morning glory-shaped interior that allows the whisk to move freely without hitting the walls. They usually have a diameter of approximately 12-14 cm, a height of approximately 7-9 cm, and a capacity of approximately 400-500 ml. The fired clay affects heat retention and how tea stains accumulate, while the glaze on the inside determines the appearance of bubbles and the wear of the whisk.
In any case, the clay, glaze, size, foot, and rim of a matcha bowl are elements that tell the story of the artist’s intentions. When choosing one, it is essential that the bowl is fired ceramic with good heat retention, does not transfer the flavor of the material itself to the beverage, and has a hard, glassy surface that will not scratch even if the bamboo whisk slips.
For thin tea (薄茶, usucha), a wide-mouthed bowl is suitable, allowing ample space to whisk the tea with a bamboo whisk to incorporate air and create a firm foam. For thick tea (濃茶, koicha), a deep, heat-retaining bowl is appropriate, as it can maintain the temperature while the tea is being kneaded rather than being frothed.
A chashaku (茶杓, tea scoop) is an extremely delicate tool carved from natural bamboo, and one scoop weighs approximately 1 gram.
For one cup of thin tea (薄茶,usucha), the amount of hot water is approximately 60ml to 70ml, and the appropriate amount of matcha is about 1.5g to 2g. Therefore, about two light scoops (not a heaping scoop) of matcha will result in the perfect consistency. The preparation method is described as “whipping” (点てる, tateru). A tea leaf with a refreshing bitterness is used, resulting in a frothy, smooth texture.
For thick tea (濃茶, koicha), the amount of hot water is approximately 30ml to 40ml, and the appropriate amount of matcha is about 3g to 4g. Three to four scoops of matcha are placed in a tea bowl, and the matcha powder and hot water are mixed evenly with the tip of a bamboo whisk. The highest quality tea leaves with less bitterness and a strong umami flavor are used, and the mixture is kneaded until glossy. The preparation method is described as “kneading” (練る, neru).
The matcha tea bowl is presented with the front facing the guest. The guest holds the bowl with both hands, but instead of drinking directly from the front, they rotate it clockwise so that the front is not facing them, and drink from the side. After finishing, they wipe the part they drank from, return the bowl to its original position, and then return the bowl with the front facing the host. Rotating the bowl protects the decorative front and prepares it for the next appreciation.
While thin tea is generally served one bowl per person, in thick tea ceremonies, one bowl may be shared among multiple people.
Regional Traditions and the Living Heritage of Pottery
The Six Ancient Kilns (六古窯, rokkoyo) of Japan, established during the Kamakura period, refer to the representative production areas of Echizen (越前), Seto (瀬戸), Tokoname (常滑), Shigaraki (信楽), Tanba (丹波), and Bizen (備前). While inheriting pottery-making techniques that have continued since the Jomon period, each region developed its own unique style of pottery, utilizing the soil and climate of its respective area, and these traditions continue to this day.
In any case, Japanese pottery has unique characteristics depending on the region of origin.
* Mashiko ware (益子焼, Tochigi Prefecture):
Originating in the late Edo period when Keizaburo Otsuka (大塚啓三郎), who had trained in Kasama ware, built a kiln in Mashiko town, it is characterized by its sandy, low-viscosity clay texture, thick, and unique, powerful finish achieved through traditional techniques using white slip (白化粧) and brushwork glazes (刷毛目).
* Kutani Ware (九谷焼, Ishikawa Prefecture):
In 1655, Saijiro Goto (後藤才治郎), who had studied pottery in Arita (有田), opened a kiln, but it closed after about half a century. Approximately 100 years later, Kutani ware was revived in Kutani and Yamashiro within the Daishoji domain (its birthplace), as well as in Kanazawa and Komatsu, castle towns of the Kaga domain, and the number of kilns increased.
Kutani ware is characterized by its elegant and vibrant colors, including the “Aote (青手)” style, which features a striking use of green, and the “Iroe (色絵)” painting technique, which involves thickly applying five colors of paint—red, yellow, green, purple, and dark blue—known as “Kutani Gosai (九谷五彩).” It is used not only as everyday tableware but also, due to its high artistic value, as tableware for special occasions.
* Mino ware (美濃焼, Gifu Prefecture):
Originating around the 5th century when the potter’s wheel and anagama kiln (穴窯) were introduced from the Korean Peninsula, along with the Sue ware (須恵器) manufacturing method, Mino ware currently accounts for 50% of the domestic ceramics market share.
Designated as a traditional craft, Mino ware has 15 different styles. The “Oribe (織部)” style, established by Sen no Rikyu (千利休, 1522-1591), reflects the aesthetics of Furuta Oribe (古田織部, 1543-1615) and is characterized by a deep green glaze called Oribe glaze. It is also characterized by its ease of integration into everyday life.
* Seto ware (瀬戸焼, Aichi Prefecture):
This glazed pottery has been produced since the Middle Ages. The use of glaze gives it excellent water resistance, and the unique colors and patterns created by the glaze have made it popular as practical tableware.
In the Edo period, when porcelain production began in Kyushu, Seto also started producing porcelain. Porcelain is called “shinsei-yaki (新製焼)” or “sometsuke-yaki (染付焼),” while pottery is called “hon-gyo-yaki (本業焼).” This rare tradition of producing both porcelain and pottery continues to this day.
* Tokoname ware (常滑焼, Aichi Prefecture):
Once the largest production area, it is said to have had 3,000 anagama kilns, producing large storage items such as large jars. From the Edo period onwards, clay with a high iron content was used to produce vermilion-colored (朱泥, shudei) products.
While various products such as teacups are made using clay, teapots are still widely used today as a representative product because the iron content in the clay reacts with the tannins in the tea, mellowing its bitterness and astringency.
* Shigaraki ware (信楽焼, Shiga Prefecture):
Made using clay characterized by its fire resistance and coarse texture, it develops a subtle reddish color during firing, creating a reddish-brown (scarlet) hue. This change in texture is called “kiln flavor (窯あじ, kamaaji),” and subtle variations in color and other characteristics depending on the firing method and temperature contribute to a deep flavor and warmth.
Beyond tableware and vases, a wide range of products, including tiles, are made as traditional crafts, seamlessly integrated into daily life.
* Tamba ware / Tamba Tachikui ware (丹波焼 or 丹波立杭焼, Hyogo Prefecture):
Originating from the late Heian period to the early Kamakura period (around the end of the 12th century to the beginning of the 13th century), it is characterized by its calm green and reddish-brown hues, which are produced by using natural glazes rather than artificial ones..
Another distinctive feature is the unique color and pattern created by the ash glaze (灰被り, haikaburi), which occurs when wood ash falls onto the pottery during the approximately 60-hour firing process at a high temperature of 1300 degrees Celsius. This ash reacts chemically with the clay components and glaze, resulting in unique patterns and colors for each piece.
* Kiyomizu ware (清水焼, Kyoto Prefecture):
The name originates from the fact that it was produced in the Gojo-zaka (五条坂) area, the approach to Kiyomizu-dera Temple (清水寺). Because raw materials for pottery clay cannot be sourced in Kyoto, artisans source clay from various regions, blend it, and use a variety of techniques to create their pottery.
Nurturing alongside Kyoto’s traditional culture, including tea ceremony, Kyoto cuisine, and Japanese sweets, the pottery features elegant designs and vibrant colors reminiscent of folding screen paintings and hanging scrolls, and even today, the entire process is done by hand.
* Banko ware (萬古焼, Mie Prefecture):
Established in the mid-Edo period by Nunami Rozan (沼波弄山), a wealthy merchant from Kuwana who enjoyed the tea ceremony, Banko-yaki initially produced everyday items such as bowls and plates, as well as artistic pieces like vases.
However, due to its excellent heat resistance, teapots (急須) and earthenware pots (土鍋) began to be produced over time. The longer it is used, the more its luster increases, leading to changes in its appearance and overall charm.
* Hagi ware (萩焼, Yamaguchi Prefecture):
It began around 1604, shortly after the establishment of the Edo shogunate, when the brothers Lee Seok-gwang (李勺光, Yamamura family, later Sakakura family) and Lee Gye (李敬, Saka family), invited from Korea by Mori Terumoto (毛利輝元), the lord of the Hagi domain, opened a kiln for the domain (御用窯). Initially, they used the same techniques as the Goryeo tea bowls (高麗茶碗) that were popular as wabi-cha tea bowls, and later various schools of Hagi ware emerged.
It is characterized by its simple finish that makes the most of the clay. Furthermore, the individuality of the ceramics is created by utilizing the crackle pattern (貫入,kannyu) formed on the surface by the expansion and contraction of the glaze, and the change in appearance (七化け, nanabake) that occurs when tea or other liquids seep into the crackle. In the tea ceremony, it is highly valued, with the saying “First Raku, second Hagi, third Karatsu (一楽、二萩、三唐津).”
* Koishiwara ware (小石原焼, Fukuoka Prefecture):
Originating in the Edo period, Takatori Hachinojo opened a kiln in Nakano Sarayama (中野皿山) and began producing mainly tea ceremony pottery using Koishiwara clay (小石原陶土), which he discovered. It is characterized by a technique called “tobikanna (飛び鉋),” where a tool called a Japanese hand plane (鉋, kanna) is applied to the surface of the potter’s wheel to create continuous patterns, and by methods of applying patterns using brushes and combs. While used for everyday tableware, it has been praised by art critics such as Yanagi Soetsu (柳宗悦) as the world’s finest folk pottery.
* Arita ware / Imari ware (有田焼/伊万里焼, Saga Prefecture):
During the Edo period, porcelain fired in Arita was exported from near the mouth of the Imari River, hence the name Imari ware. It is characterized by its smooth texture, beautiful white porcelain surface, and vibrant painted designs. Its ease of use and high durability make it a popular everyday item.
Imari porcelain, which had been exported to Europe by the Dutch East India Company since the mid-17th century and gained popularity, caused a sensation at the 3rd Paris World’s Fair in 1878, with its exquisite and aesthetically pleasing designs reflecting Japanese spirituality, further fueling Japonism.
At the 1900 Paris World’s Fair, the Arita porcelain brand Fukagawa Seiji (深川製磁) won the prestigious gold medal, demonstrating the continued vitality of Japonism. Meanwhile, art dealer Samuel Bing played a crucial role in bridging the aesthetic trends between Japonism and the then-flourishing Art Nouveau movement. Bing’s art exhibitions sparked the creation of a unique new aesthetic influenced by Japanese aesthetics, leading to the emergence of numerous artists considered leading figures of Art Nouveau, such as Émile Gallé and Toulouse-Lautrec.
This era, known as the Belle Époque, was a time of exhilaration as Paris encountered a new aesthetic sensibility, ushering in a golden age of art. It is here that the allure of Paris, the city of art, continues to inspire admiration around the world.
* Karatsu ware (唐津焼, Saga Prefecture):
A traditional craft that has been produced since around the 16th century. It is characterized by its simple yet refined texture, achieved by using coarse clay. A variety of decorative techniques are employed, including painted Karatsu ware depicting plants, flowers, and birds, and Korean Karatsu ware with its combination of black and white glazes.
* Yamuchin / Ryukyuan pottery (やちむん, Okinawa Prefecture):
Yachimun is the Okinawan dialect word for pottery. Around 1600, when the Ryukyu Kingdom was still in operation, three potters from Korea introduced pottery techniques. In 1682, the scattered kilns were gathered in Makishi Village, which led to the creation of Tsuboya ware (壺屋焼), the foundation of Yachimun.
Ceramics, Nature, and Mindfulness
There are two main types: Arayachi (unglazed, low-temperature firing) and Joyachi (glazed, painted designs). Cobalt blue, green, and brown are frequently used, resulting in vibrant and dynamic patterns.
In any case, pottery is an act of giving form to one’s heart and feelings, and the tea and food served in the finished pottery are imbued with respect, hospitality, and sincerity, vividly coloring and shaping the emotional voids of both the host and the invited guests, creating a once-in-a-lifetime moment of savoring the experience.
Pottery can be described as an aesthetic creation based on the interrelationships of the elements wood, fire, earth, metal, and water, which are said to make up all things. Through earth and wood as gifts from the earth, water as a gift from the heavens, and fire which possesses a transformative power beyond human comprehension, one can express gratitude for the blessings of nature, create with one’s hands, and share in coexistence and harmony with nature through the finished vessels. (ref., Earthrise And Essential Elements Of The Earth)
It seems to me that there is an immeasurable depth in ceramics where intention and chance intersect.
Sincerely grateful for your financial support.
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