It is counted as one of Japan's six ancient kilns, and its origins are said to date back to the late Heian period. Until the Momoyama period, anagama kilns were used, but after that, they were replaced with the climbing kilns that are used today. Along with the "kerokuro" (a left-rotating potter's wheel unique to this region), which was introduced around the same time, the traditional techniques have been passed down to the present day.
Initially, their main products were jars and pots, but during the Edo period, under the guidance of Kobori Enshu and others, they began to produce many masterpieces of tea ceremony utensils.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The molding process shall be carried out by wheel-throwing, slab-building, hand-building, or press molding.

  2. When decorating the base material, the following methods may be used: carving, pasting, chamfering, Mishima style, comb pattern, brushstroke, stamping, leaf pattern, decorative coating, or suminagashi (marbling).

  3. If underglaze decoration is to be done, it must be done by hand.

  4. When glazing, the following methods should be used: "dip glazing," "flow glazing," "splash glazing," "tube glazing," or "sprinkling." In this case, the glaze should be "ash glaze," "Iroho glaze," "Tenmoku glaze," "amber glaze," "sea cucumber glaze," "straw ash glaze," "feldspar glaze," or "red slip."

  5. If glazing is not applied, firing should be done in a climbing kiln or a pit kiln.

   

  raw materials

  The clay used shall be Yotsuji clay, Benten black clay, or a material of equivalent quality.

• Work scene

  Work scene

  TAMBA TACHIKUI Yaki (Pottery), considered one of Japan's six ancient kilns, has long been dedicated to producing everyday utensils closely integrated into the lives of ordinary people. It prides itself on producing simple, unadorned, and rustic "everyday tableware" such as teacups, plates, sake bottles, sake cups, jars, and vases.

  Process 1: Soil extraction

  The clay used as material is Yotsutsuji clay (Yotsutsuji, Sanda City), Benten black clay (soil from the bottom of rice paddies around JR Sasayamaguchi Station), or materials of the same type. It is then refined, but nowadays this process is handled entirely by the ceramics cooperative.

  

  Process 2: Kneading the soil

  The clay used as the material is thoroughly kneaded. Kneading removes air from the clay. This is done to prevent cracks and distortions when fired. No machines are used; it is kneaded carefully by hand.

  

  工程3： 成形

  When shaping circular objects, a potter's wheel is used. There are traditional kick wheels and electric wheels that became popular in the 1960s. The kick wheel from Tanba is unique in that the wheel is kicked with the right foot and pulled with the left foot to rotate it counterclockwise. The method of pouring clay into a plaster mold to shape the object is called "slip casting." This is used for mass production of small items and thin, standardized products. Other methods such as "slab building," "hand building," and "press molding" are also used.

  

  Step 4: Shaving

  The shaped, semi-dry material is then trimmed and shaped using a bamboo plane or similar tool. In the case of a teapot, this is when the holes are drilled.

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  工程5： 乾燥

  Dry them thoroughly in the sun. However, nowadays they are mostly dried indoors.

  

  工程6： 素焼き

  The dried pieces are bisque-fired at 700-900 degrees Celsius. The purpose of bisque firing is to ensure that the glaze adheres well to the clay.

  Process 7: Glazing

  After bisque firing, glaze is applied. The glazes used in TAMBA TACHIKUI Yaki (Pottery) are mainly artificial ash glazes that were devised during the climbing kiln era, inspired by natural glazes. These include wood ash glaze, straw ash, rice husk ash, chestnut burr ash, and bamboo leaf ash. Other glazes such as earthenware ash glaze, iron glaze (black glaze), and white glaze are also used.

  

  Step 8: Kiln loading

  The pieces are transported to the kiln and placed in the firing chamber. They are then placed on a stand and arranged on the kiln floor. Smaller pieces are placed inside larger ones or in containers called saya. When stacking pieces, rice husk ash is applied to the connecting parts, or small balls of clay called "hama," which are made by rolling clay and sprinkling it with rice husk ash, are placed in between. Once the pieces are placed inside, the opening is sealed with a pillow and then sealed with clay.

  

  工程9： 本焼き

  It begins with "warming" (roasting), which continues for 24 hours. After the warming process, the main firing begins, with pine firewood fuel being continuously added through holes on both sides of the firing chamber. The temperature inside the chamber reaches approximately 1300 degrees Celsius, and the firing continues for more than 24 hours. This is done without rest or sleep during this time. Firing in a climbing kiln produces a vivid, beautiful kiln transformation through the fusion of pine ash fuel and artificial glaze.

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  工程10： 窯出し

  Once the main firing is complete, the firing port and fuel inlet are sealed with clay, and after a cooling period of about 24 hours, the kiln is opened, which is the process of removing the fired pieces. This completes the process.

  

   

• Close-up

  Close-up

  Simple pottery comes from simple master craftsmen.

  The history of TAMBA TACHIKUI Yaki (Pottery) dates back to the end of the Heian period, with the kilns being opened over 800 years ago. To this day, they have consistently produced mainly everyday utensils, emphasizing the creation of simple, unadorned, and rustic "everyday tableware." We spoke with six traditional craftspeople to find out where these distinctive characteristics originated.

   

  Differences in the surrounding environment

  "The potter's wheel rotates differently from others. In Tamba, it rotates counterclockwise," says Toru Ogami, who has been in the pottery business for 65 years. Indeed, others rotate clockwise. Perhaps this is the reason for the subtle difference in feel. "The fuel is pine wood, and the wood itself is different," says Shozo Ichino, who has 50 years of experience. This is what gives rise to the "ash glaze," a major characteristic of TAMBA TACHIKUI Yaki (Pottery). In other words, the ash from the pine firewood that falls on the vessel melts with the glaze, causing a kiln transformation. The difference in "clay" was also mentioned. The clay used as material is a blend of Yotsutsuji clay and Benten black clay, a unique clay containing iron. "Above all, the difference in the kiln is significant," says Noboru Ogami, who has 50 years of experience. The kiln has a very distinctive shape and is built on the slope of a hill. Because the kiln appears to be tilted, it is called a "climbing kiln." This Korean-style semi-underground "climbing kiln," which has been in use since the Momoyama period, is a unique and ancient form not found anywhere else in Tachikui, and has been designated as a national intangible cultural property. "The natural environment here is also a major characteristic," says Takeshi Shimizu. Imada Town is a quiet mountain village surrounded by mountains ranging from 300 to 700 meters in elevation. In particular, the Kamitachikui and Shimotachikui districts, where most of the pottery kilns are located, are beautiful areas sandwiched between Mt. Kamiyama and Mt. Wadaderayama behind, and the Shitodani River flowing north to south in front. Many of the potters are also from the local area. Traditional techniques have been passed down in this beautiful village. It can be said that these unique characteristics of Tachikui create the simple yet exquisite TAMBA TACHIKUI Yaki (Pottery).

  Constantly pursuing a modern sensibility

  "We should reconsider the merits of unglazed stoneware," says Takeshi Shimizu. Unglazed stoneware has a slightly rough texture when you use chopsticks on it, but after using it for a year, the base material of the pottery emerges, giving it an indescribable character. The more you use it, the more it becomes more beautiful. "I'm going to try things without being bound by past methods, such as whether or not to use glaze depending on the shape of the piece I'm making, and what colors to use," he says optimistically. Of course, he understands the importance of tradition. It may be rude to say this, but traditional craftspeople look very young for their age. They look and think very young. And they have beautiful smiles. Perhaps it's because they are always creating with the needs of the present age in mind. Or perhaps it's because they are always making new discoveries in the world of pottery, a world that is beyond human control.

  Craftsman Profile

   

  Six of the seven traditional craftspeople have gathered for this event.

  Tsuyoshi Ogami

  5th generation. Born in 1928. 53 years of experience in pottery. Currently the chairman of the Association of Traditional Craftsmen. Specialty techniques: Traditional techniques such as slip trailing. Main works: Simple tableware with ground glaze. The 3rd generation after his grandfather branched off from the family. Born in 1931. 40 years of experience in pottery. Specialty techniques: Traditional techniques such as wheel throwing and coil building. Main works: Vases, tea ceremony pottery, tableware, etc. Born in 1923. 65 years of experience in pottery. Specialty techniques: Pottery making that utilizes traditional wheel throwing and unglazed stoneware techniques. Main works: Simple vessels, tea ceremony pottery, and decorative pottery. Born in 1930. 50 years of experience in pottery. Specialty techniques: Firing in a climbing kiln using traditional techniques of Tamba Tachikui. Main works: Jars, tea ceremony utensils, etc., mainly unglazed stoneware. Born in 1926. 50 years of experience in pottery. Preferred techniques: Wheel throwing, slab throwing, unglazed stoneware. Main works: Vases, tea ceremony utensils, tableware, etc. Born in 1929. 50 years of experience in pottery. Younger brother of Toru Ogami. Preferred techniques: Inheriting traditional Tanba techniques, making full use of unglazed stoneware and ground glazes. Main works: Tableware, vases, tea ceremony utensils, and other elegant and refined works.
  Born in 1939. 43 years of experience in pottery. Preferred techniques: Traditional Sumi-ryu style, incorporating Shinogi and Ha-gata into his works. Main works: Works that make full use of the climbing kiln.

  

  Anecdotes

  A major turning point in TAMBA TACHIKUI Yaki (Pottery)

  The reason why TAMBA TACHIKUI Yaki (Pottery) has been passed down to this day lies in its unique manufacturing method. This includes the kilns used, unlike those of other pottery, and the glazes that began to be used at the same time. Let's look back at how these contributed to the survival of TAMBA TACHIKUI Yaki (Pottery). (Structure of the climbing kiln)
  The short firing time and ability to mass-produce stem from its structure. Using a slope, the flames and heat from the kiln opening rise up through the chambers like stairs, firing the pottery. Some kilns have up to nine chambers (firing chambers, called "bags"), allowing for large-scale firing. Looking at each part in detail, first, stones are laid to form the base, and split bamboo woven with rope is used as support, with "pillows" stacked in a semicircle from both sides. "Pillows" are sun-dried bricks. Entrances and fuel input ports are also provided, and finally, the floor inside the kiln, called the "kiln floor," is thickly coated and hardened to complete the kiln. The chamber with the firing opening is called the "firebed," and several firing chambers called "bags" follow, ending at the very front of the kiln, called the "hearth." The "hearth" has a smoke vent and is also called the "hearth tip," "fire tip," or, due to its shape, the "hoehive." The beauty of the bright red flames shooting out from the "hoehive" is truly breathtaking.

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    Beehive in a climbing kiln

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    "Ancient Tanba" artifacts unearthed from the Sosei-ki

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    Climbing kiln designated as an intangible cultural property