It began in the mid-19th century, influenced by KASAMA Yaki (Pottery). Early MASHIKO Yaki (Pottery) was produced with the support of the feudal domain, and these items were used in kitchens in Edo (present-day Tokyo).
Shoji Hamada, who began his artistic career in 1924, had a great influence on the potters living in Mashiko. From there, the tableware and flower vases that are now known as MASHIKO Yaki (Pottery) came to be produced. Using the high-quality clay of Mashiko, powerful works are produced in large quantities using traditional techniques such as white slip and brushwork.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The molding shall be done by wheel throwing, mold making, or hand-building.

  2. When applying patterns to the base material, the following methods may be used: decorative coating, brushwork, carving, slip trailing, or slip trailing.

  3. When applying underglaze decoration, use line drawings or shading. In this case, the pigments used should be "cobalt blue pigment," "iron oxide pigment," "amber pigment," or "copper pigment."

  4. Glazing shall be done by dipping, pouring, brushing, or stencil painting. In this case, the glaze shall be "plain white glaze," "persimmon red glaze," "black glaze," "amber glaze," "rice bran white glaze," "ash glaze," or "rice bran celadon glaze."

  5. When applying overglaze decoration, use line drawing or shading. In this case, the pigments used shall be "cobalt blue pigment," "iron oxide pigment," or "copper pigment."

   

  raw materials

  The clay used for the clay base shall be Shinfukuji clay, Kitagoya clay, Kibushi clay, or clay of equivalent quality.

• Work scene

  Work scene

  Process 1: Pottery clay mining

  Pottery clay needs to have just the right amount of plasticity; it shouldn't be too sticky or too soft, and it must not crack when drying or lose its shape when fired at high temperatures. Currently, there is a wide variety of clay available, and in addition to the traditional raw clay, pottery clay refined by machinery at cooperative facilities and factories is also used.

  

  Step 2:​

  The excavated clay is dried and crushed, then placed in a water tank and stirred to remove debris and sand. The resulting muddy, liquid clay is then placed in another tank to settle, which is then removed and dried to become usable clay.

  

  Step 3: Mixing the soil

  Before placing the clay on the potter's wheel, it is repeatedly kneaded roughly and then lightly to remove any remaining debris and air bubbles. Well-kneaded clay stretches well on the wheel and is easy to work with. This process of roughly and lightly kneading is repeated to ensure uniformity of the clay and to make it easier to shape. This is called "chrysanthemum kneading." Depending on the type of clay, two or more types of clay may be mixed together to compensate for each other's shortcomings. The kneaded clay is then left to rest for several days.

  

  工程4： 成形

  In Mashiko, the potter's wheel is the primary method, but plaster casting is also used. The finished pieces are first dried in the sun until they reach the desired hardness, then placed back on the potter's wheel for trimming and finishing. The finished pieces are then left to dry completely outdoors on a sunny day.

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  工程5： 素焼き

  Bisque firing improves the absorption of paints and glazes. It is often fired in a kiln for the final firing, at temperatures of 700-800°C.

  

  Process 6: Painting and glazing

  Paints and glazes contain metals such as iron, copper, manganese, cobalt, and chromium that undergo chemical changes at high temperatures. Glazes are made by adding charcoal, coal, and clay to feldspar to create transparent glazes, and then adding metal oxides to these to create colored glazes. MASHIKO Yaki (Pottery) uses many natural red powders and yellow ochre to create persimmon glazes and black glazes, and also employs white glazes made from straw ash, wood ash, and rice bran ash, giving it a unique character.

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  Step 7: Firing and Unloading

  Painted and glazed pieces are fired at 1200-1300°C. The firing process takes 2 to 3 days and nights. Recently, firing using fuels such as heavy oil and gas has become more common. After firing is complete, the pieces can be allowed to cool for about two days before being removed from the kiln.

  

   

• Close-up

  Close-up

  A New Era of Tradition: MASHIKO Yaki (Pottery)

  Mashiko is a town renowned internationally as a center for pottery production. With gently sloping fields, rolling hills and mountains, ponds where waterfowl descend in spring and are covered in thin ice in winter, and the bounty of the seasons including strawberries, persimmons, grapes, and apples, it's a town that evokes a sense of nostalgia even for first-time visitors. We spoke with Katsuhiko Enokida about the charm of MASHIKO Yaki (Pottery), which was born against this backdrop of nature.

   

  Changes in nature and changes in pottery techniques

  MASHIKO Yaki (Pottery) is said to have originated in the late Edo period when Keizaburo Otsuka, who trained in Kasama, built a kiln. Since then, due to its excellent clay production and proximity to the large market of Tokyo, it has developed as a production center for everyday items such as bowls, water jars, and teapots. Mr. Enokida is the fourth generation. In the past, the pottery techniques involved discovering clay deposits in the hills, building kilns there, and cutting down red pine for fuel, thus achieving self-sufficiency in production.
  However, in recent years, perhaps due to global warming, the heat has caused a massive outbreak of pine beetles, killing off large red pine trees, and recently even smaller pine trees have died. The beetles eat the oil contained in the red pine, so even when used as fuel, the fire becomes weak. This has never happened in the long history of the area. In the past, maintaining the mountains for fuel and compost was part of people's lives. But people's lives have changed since those days. If the mountains are not maintained, they will become overgrown. "Even so, in the autumn, nameko and shiitake mushrooms come out all at once on the mountain behind my house," says Mr. Enokida, who still grows rice and works in the fields himself. In the past, everyone did farming and pottery, truly half farming, half pottery. That was the natural way of life for the people of Mashiko. Many large climbing kilns could be seen along the slopes. It is said that in Mashiko, kilns have been switched to gas kilns since around the time of the oil crisis. Mr. Enokida's house has also gradually changed from the site of the ancestral climbing kiln and large factory. MASHIKO Yaki (Pottery) as a whole has been transforming. Enokida, while adhering to the traditional MASHIKO Yaki (Pottery), just as the way of life in nature has been passed down through generations, is living in a changing Mashiko.

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    A large water jar made with apple ash

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    kneading bowl

  Large water jars made on a potter's wheel - Mashiko techniques

  MASHIKO Yaki (Pottery) is characterized by its glossy, smooth surface and generously sized, thick vessels. The longer you use it, the warmer it becomes when you hold it in your hands. As a center of the folk craft movement, Mashiko has welcomed potters from both Japan and abroad since the Taisho era, and its enterprising spirit is a major part of its charm. At Enokida's workshop, there are many new designs of pottery that respond to changes in food culture and lifestyles. In the past, everyday items mainly consisted of water jars, mortars, and kneading bowls. Kneading bowls were used for kneading udon and soba noodles. Because they are heavy and don't move around when kneading, they are actually easier to use than lacquered bowls. Water jars and other items have evolved from practical items to decorative items placed in the entryway. From kitchen necessities to teapots, bowls, and plates that sit on the table, a modern sensibility has been incorporated into the glazes and colors used.
  Amidst all this, Mr. Enokida gazes upon the traditional MASHIKO Yaki (Pottery). Creating large pieces on a potter's wheel is a difficult traditional technique. And above all, it's a physical challenge. It is said that pottery wheel skills only become fully developed around the age of 40 or 50, meaning that masterpieces can only be completed in a limited amount of time in a craftsman's life. Turning a large water jar while aching one's back is indeed hard work. "I don't know how many more I can make," says Mr. Enokida. The tools that have been passed down through four generations are still cherished items that he uses today. The handmade tools made from cherry wood have a certain charm. It is probably the warmth of the hands of his predecessors that drives Mr. Enokida toward the traditional technique. Many people come into Mr. Enokida's shop and say, "Ah, how nostalgic. This is MASHIKO Yaki (Pottery)," with delight.

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    A traditional potter's wheel operated by foot.

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    A photo of Ms. Enokida and her father.

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    Enokida Pottery

  The joy of creation gives rise to innovation and tradition.

  Even if you're not particularly interested at first, you gradually become engrossed in it. That's the charm of pottery. I've never once thought, "I don't want to do it today, I don't want to make anything." It's also interesting to see how different sensibilities clash, even while receiving criticism. For Enokida, it's truly a rewarding job. This uncertainty, where you don't know what will happen until you try, is both the beauty and the challenge of pottery. However, pottery also has logical reactions and scientific aspects. That's why trial and error is worthwhile. Enokida is now planning to modify his kiln. "I don't know if it will improve things, but I'll give it a try." Perhaps a pioneering spirit is deeply rooted in Mashiko.
  Enokida-san is looking forward to the possibility that his daughter may take over after him. Seeing her create pottery with a different sensibility than his own, he realizes that he cannot resist the flow of time. Enokida-san himself enjoys experimenting with different ash blends to create unique textures. There is a large water jar made from ash produced by burning apple wood. The apple wood has been modestly transformed into a traditional water jar. Perhaps the beauty of everyday objects is nurtured and cherished in this kind of innovative blend of tradition and tolerance.

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    Tools passed down through generations

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    A lovely tool made from cherry wood.

  Craftsman Profile

  Katsuhiko Enokida

  The fourth generation of Enokida Pottery.
  He took over the family business at the age of 20. A traditional craftsman who has worked closely with the clay of Mashiko.

  

  Anecdotes

  pottery city

  The pottery fair began in 1966 and is held annually during the Golden Week holidays in spring and around November 3rd in autumn. Approximately 50 shops and 500 tents line the streets, selling everything from traditional MASHIKO Yaki (Pottery) to everyday items like cups and plates, and even works of art. Visitors can enjoy direct conversations with up-and-coming artists and potters at the tents. In addition to pottery, local agricultural products and specialty goods are also sold, attracting around 500,000 visitors in total during the spring and autumn fairs. The pottery fair has become a well-established festival and has been selected as one of "Tochigi's Top 100 Festivals." From large water jars to tiny sake cups, it's a truly lively and bustling event.

  <Venue>
  Various locations within Mashiko town (mainly Jōnaizaka and Sayado districts)
  <Access>
  Approximately 60 minutes from Mito IC on the Joban Expressway via National Route 50.
  Approximately 60 minutes from Kanuma IC on the Tohoku Expressway, via Utsunomiya city and National Route 123.
  Take the JR Tohoku Main Line to Oyama Station, the Mito Line to Shimodate Station, or the Mooka Railway to Mashiko Station. It's about a 20-minute walk from there.
  Take the bus from the Miyanobashi bus stop, alighting at the west exit of Utsunomiya Station on the JR Tohoku Main Line.
  Higashino Bus bound for Mashiko - approximately 60 minutes from Utsunomiya

  ■Inquiries■
  Pottery Fair Executive Committee
  (Mashiko Town Tourism Association)
  TEL 0285(70)1120

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    A hugely successful pottery fair