Approximately 260 years ago, during the mid-Edo period, there was a wealthy merchant named Numami Rozan. Rozan, who was knowledgeable about the tea ceremony and enjoyed pottery as a hobby, stamped his works with the seal "Banko Fueki" (萬古不易), meaning "eternal and unchanging," with the hope that his creations would be passed down forever. This is the origin of the name Banko ware. Banko ware, which was born in this way, was temporarily discontinued after Rozan's death, but production resumed in the late Edo period.
Modern YOKKAICHI BANKO Yaki (Ceramics) is based on the techniques used in the early Meiji era, which were studied and adapted from the original designs. YOKKAICHI BANKO Yaki (Ceramics) continues to produce distinctive ceramics that reflect the trends of each era.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. Forming shall be done by wheel throwing, mold pressing, or hand twisting.

  2. When decorating the base material, the following methods may be used: openwork, rippling, fine lines, tortoise shell, pine bark, stone pattern, insect-eaten pattern, pasting, carving, torn lines, comb pattern, stamping, decorative coating, or smearing.

  3. When glazing, the glazing method shall be either dipping or pouring. In this case, the glaze shall be either "ash glaze" or "transparent glaze".

  4. When applying overglaze decoration, the following techniques may be used: raised application, blurring, dabbing, slip trailing, line drawing, layering, or brushwork. In this case, the paints used shall be "Japanese pigments" or "gold and silver pigments."

   

  raw materials

  The clay or pottery stone used for the topsoil shall be Chita yellow clay, Tarusaka yellow clay, Tarusaka blue clay, Murakami clay, Kibushi clay, Takikawa pottery stone, Kawai pottery stone, or a material of equivalent quality.

• Work scene

  Work scene

  The most representative piece of YOKKAICHI BANKO Yaki (Ceramics) is the purple clay teapot. Its distinctive features lie in the shaping and firing methods of each component.

  Process 1: Clay Forming Process

  This is the process of creating the clay that forms the base of the ceramics. In the case of Banko ware, red clay containing iron and yellow clay are mixed in an appropriate ratio. This is because blending the clays results in a more consistent quality.

  Process 2: Base material molding process

  The clay is kneaded and kneaded with both hands to remove air. This kneading process is also called "chrysanthemum kneading" because the kneaded clay takes on a pattern resembling chrysanthemum petals. There are three methods of shaping: wheel throwing, mold pressing using wooden molds, and hand-building. Before shaping, the clay is first "natauchi" (to flatten the clay). This is to make the clay's hardness uniform. After that, the body, lid, handle, spout, and tea strainer are each shaped, but they are rolled out as thinly as possible to make them as light as possible.
  The shaping of teapots and lacquerware using wooden molds is a unique technique attributed to Mori Yusetsu, and it continues to be practiced today. These wooden molds consist of several pieces that can be easily fitted together and removed. The process involves applying thinly rolled clay to the mold to form the shape, then removing the center to extract the individual pieces.

  

  Step 3: Patterning process for the base material

  This is the process mainly performed on teapots. Representative patterns include openwork, stripes, fine lines, pine bark, stone pattern, insect-eaten pattern, pasted-on pattern, comb pattern, torn lines, stamped pattern, decorative glaze, dobetataki, diamond cut (tortoise shell), and Rokubei. New techniques are still being developed every day.

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  Step 4: Finishing and drying process

  After drying, the individual parts (body, lid, handle, spout, and tea strainer) are joined together, the base and the knob on the lid are trimmed and shaped, and then polished. When polishing, the parts are placed on a base called a "shitta" made from the same clay, and polished on the potter's wheel using polishing planes or leaves specifically designed for each part.

  

  Step 5: Engraving process

  For pieces that haven't had a base pattern applied, we'll use a carving knife to add a pattern.
  Representative carving techniques include line carving, pull carving, curved chisel carving, diagonal openwork carving, stone-like carving, file-like carving, and carved and colored carving.

  画像をクリックすると動画が再生されます

  Step 6: Bisque firing process

  Traditional Banko ware is primarily fired without glazing or underglaze decoration, but if glazing or underglaze decoration is applied, it is bisque-fired at approximately 800 degrees Celsius. There are two methods of glazing: dipping (immersing the entire vessel in a container of glaze and then removing it) and pouring (pouring the glaze onto the vessel with a ladle).

  

  Step 7: Final firing

  The final firing takes place at 1180-1200 degrees Celsius for 24 hours. The unique reddish-brown color YOKKAICHI BANKO Yaki (Ceramics) is created through reduction firing. Reduction firing is a method of creating an oxygen-deficient environment inside the kiln, resulting in incomplete combustion (a steaming-like firing process). Even when using the same clay, the color will vary depending on the amount of oxygen and temperature inside the kiln.

  

  Process 8: Overglaze

  This process is performed on items that have not had any base patterning or carving done.
  Overglaze painting techniques include raised decoration, blurring, line drawing, and slip trailing.

  

   

   

• Close-up

  Close-up

  From "preserving" tradition to "creating" it

  The name Banko ware comes from the fact that its founder, Numami Rozan, stamped his works with the "Banko Fueki" (meaning eternal and unchanging) seal, expressing his wish that his creations would be passed down forever. We spoke to a teapot maker who continues to create new works while preserving the necessary functionality and beauty.

  Teapots are everyday utensils; their functionality is important.

  Mr. Ito began working with Banko ware 38 years ago. He says, "My parents were doing it, so I took over and started casually." Since then, he has continued to make teapots, which are representative works of Banko ware. Rather than learning, he started by helping out with the work and learning by imitation, beginning by making parts such as handles, spouts, and lids.
  After working for five years as a pottery maker (selling the raw materials to manufacturers and outsourcing the firing) for my parents, I became independent. Having my own kiln made me realize that "I have to be meticulous and make good products."
  This philosophy is reflected in the craftsmanship of the teapots. Banko teapots are made as thin as possible because the lighter they are, and the spout has a moderate curve to prevent spills when pouring. The size of the teapot itself is carefully considered, even taking into account the balance when paired with a teacup. "Teapots are everyday utensils, so functionality is important," he says.

  

  Each individual part is made on a potter's wheel.

  Seeking my own color

  The defining characteristic of Banko teapots lies in their red and purple clay, which is made from iron-rich clay. When fired in an oxidative atmosphere (with sufficient oxygen supplied during firing), this clay produces a vibrant red color, while when fired in a reduction atmosphere (in a steam-like state with insufficient oxygen), it develops a deep reddish-brown hue. The amount of oxygen, temperature, firing time, and the size and shape of the kiln all subtly affect the color. The clay mixture also makes a difference. Mr. Ito says he has made various efforts to bring out his own unique color. "You can't really change the shape that much. I tried changing the firing method and the clay. I tried using feldspar to produce different colors and various other things, and sometimes the teapots would collapse (deform) after firing. I did all of that to bring out my own style, but I think the ones I have now are easier to make and have a nice color," he says. The teapots are beautiful, and there is not a single wasted element in their form.

  

  Banko ware in its unglazed state is vermilion in color.

  Banko ware gains more color and luster the more you use it.

  Banko ware develops a beautiful color and sheen the more you use it, thanks to the oils from your hands and tea stains. If you use detergent or scrub it too hard with a scouring pad, the surface will get scratched and turn black. Ms. Ito said that her pottery is often taken by visitors. She happily recounted that sometimes visitors even take home teapots with tea leaves in them, saying, "I like that color better."

  

  The unique reddish-brown color of Banko ware develops a richer character the more it is used.

  Pottery made in Yokkaichi is called "YOKKAICHI BANKO Yaki (Ceramics)".

  There are traditional Banko ware teapot shapes and colors. When Mr. Ito began his apprenticeship, he learned that these were the Banko ware teapots. However, as times changed, various things came into demand. That's why he believes he must look at and learn from various things and create new styles. That's why he advises his apprentice (his son, Yoshihide Ito) to value relationships with people and to visit department store exhibitions and pottery shows. "At first, we often went to pottery shows together, but recently he says it's better for him to go alone. I have to let go of my son," he said, showing his fatherly side for once. Mr. Ito's own works are not bound by convention. He makes teapots with kiln transformations (works that create gradient-like patterns through temperature changes in the kiln) and glazed teapots, as well as incense burners and large vases. This is because he believes that "it's not enough to just preserve tradition," and he challenges himself with new things to create new traditions.

  Lifelong training, training until death

  Mr. Ito, who has been selected for numerous pottery exhibitions and continues to create artistic teapots that are everyday items, says he is still learning. "I want to do things that others can't do, but it's not that easy. I think that's the same for everyone." I was struck by his smile as he said that the best thing would be to make something better than others and have everyone use it, and that he is happiest when people use his work.

  

  Incense burner fired in a kiln with a unique glaze.

  Anecdotes

  Banko Ware Seasonal Events

  The Banko Festival, held annually on the second Saturday and Sunday of May, is a market held in conjunction with the grand festival of Banko Shrine, which celebrates the achievements of the pioneers who brought Banko ware to Yokkaichi. It is known for Banko ware producers holding massive sales. Discounts of 30-70% off market price are commonplace, and the festival is bustling with 150,000 visitors.
  The "Earthenware Pot Memorial Service," a ceremony to express gratitude for well-used earthenware pots, was started because Banko ware earthenware pots account for over 80% of the national market share. The "YOKKAICHI BANKO Yaki (Ceramics) Comprehensive Competition," held with the aim of further development and new creations of Banko ware, and the "Yokkaichi Earthenware Pot Competition," where winning entries are actually manufactured and sold, convey a spirit of creating a new tradition. Many children participate in pottery classes and pottery competitions aimed at them.
  Winning entries from the Banko Festival Clay Pot Memorial Service Clay Pot Competition Summer Vacation Children's Pottery Class

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