There are several theories about the origins of KARATSU Yaki (Pottery), but it is believed to have been produced as early as the end of the 16th century.
Kilns were built in various parts of the Matsuura region, and these were known as Matsuura Old Karatsu, Taku Old Karatsu, Hirado Old Karatsu, and Takeo Old Karatsu. Among them, Matsuura Old KARATSU Yaki (Pottery) is known as "Karatsu ware" and has been passed down to the present day.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. Forming shall be done by wheel throwing, die stamping, press molding, or slab forming.

  2. When applying patterns to the base material, the following methods may be used: decorative coating, brushwork, hammered brushwork, comb brushwork, stamping, inlay, scraping, slip trailing, printing, carving, chamfering, combing, pasting, or "raised relief."

  3. When applying underglaze decoration, it must be done by hand. In this case, the pigments used shall be oniita, copper pigment, or cobalt blue.

  4. Glazing shall be done by "scooping," "dipping," "ladling," "dividing," "double glazing," or brushing. In this case, the glaze shall be "wood ash glaze," "straw ash glaze," "feldspar glaze," "iron glaze," "ash glaze," or "copper glaze."

   

  raw materials

  The clay used shall be "Matsuura River system clay," "Arita River system clay," "Shioda River/Rokkaku River upper reaches clay," or clay of equivalent material.

• Work scene

  Work scene

  Step 1: Excavation of clay

  The essence of pottery, often referred to as "earthenware," lies in finding and mining clay that suits the artist's style, and this process begins with obtaining high-quality clay.
  The preparation of the clay used for pounding begins with the "clay scraping" process. The collected clay is piled up in mounds, and scraped away using a scraping sickle. At this stage, unevenness is eliminated, and if necessary, the clay is compacted with a hammer called a "donji," and then scraped away again. This meticulous work is the first step to making good pottery.

  

  Step 2: Stepping on the soil

  After removing the necessary amount of clay, add an appropriate amount of water and tamp it down with your feet to form a disc.
  The clay is cut using a cutting board, stacked, and then stepped on. The process of treading the clay relies on the softness of the clay transmitted to the feet, the feel when cutting with the cutting board, and the intuition ingrained in the potter's body over many years. The clay is adjusted so that the entire mass has the same softness. This process is repeated several times, and the clay is divided into appropriate-sized balls.

  

  Step 3: Clay preparation

  The clay is kneaded thoroughly to ensure uniform particle distribution and to remove air. It is then shaped into a bullet-shaped "tamatsuchi."

  

  工程4： 成形

  In addition to the common wheel-throwing method, shaping techniques include hammering, board building, and coil building, which are used depending on the type of pottery being made. After that, the base is trimmed and the piece is air-dried.

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  Step 5: Decoration process

  Traditional techniques such as carving, combing, brushwork, inlay, slip trailing, and sgraffito are used to decorate the molded raw clay according to its purpose. Any necessary pieces are then bisque-fired.

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  Process 6: Painting process

  In addition to painting with brushes and calligraphy brushes, the artist uses readily available tools such as fingers, straw, and bamboo to paint the design in one go without using an underpainting. After that, the piece is glazed and dried before firing.

  

  Step 7: Final firing process

   

  

   

  

   

• Close-up

  Close-up

  "Tea ceramics should be subservient" KARATSU Yaki (Pottery)

  KARATSU Yaki (Pottery) developed during the Azuchi-Momoyama period when the tea ceremony became popular, and it has become so well-established as a "wabi-style tea bowl" that it is said to be one of the three most important types of tea bowls, alongside Raku and Hagi. This time, we spoke with Touya Inoue, who cherishes the origins of KARATSU Yaki (Pottery), such as the wood-fired climbing kiln, glazes, and clay preparation, and continues to uphold its traditions.

   

  "Meeting people and building connections is the foundation of who I am."

  Toya Inoue was born in 1942. His father was a doctor in his hometown of Karatsu. He was also a well-known collector of KARATSU Yaki (Pottery) in the region. From a young age, Inoue was exposed to fine KARATSU Yaki (Pottery). Needless to say, the foundation of who Inoue is today was laid by the environment his father created for him. During high school, he developed a strong desire to become a ceramic artist, which led to a conflict with his father, who wanted him to become a doctor. He initially followed his father's wishes and went to university in Tokyo, but he became more engrossed in excavating ancient kiln sites and studying pottery than in studying his main profession. There, he met and became a disciple of Tansai Nushi, who became both his pottery teacher and his life mentor. This teacher was a favorite ceramic artist of Rosanjin Kitaoji, a famous connoisseur of fine arts. After that, his resolve to become a ceramic artist became firm, and after returning home, he began serious training in KARATSU Yaki (Pottery), opening his own kiln at the foot of Mt. Kagami in 1969.

  

  Toya Inoue in front of his prized climbing kiln

  Apprenticeship as a ceramic artist

  "Of course, my master was very strict. Compared to him, I'm so much kinder to my students now," he said with a smile, reminiscing about those days. The title, "Tea pottery should be subservient," is something he heard hundreds of times from his master. "In the way of tea, the master is always the tea and the host. Tea pottery is merely a subordinate tool to make tea more enjoyable to prepare and drink. Therefore, tea pottery should be made with humility, focusing only on that." When his master looked at Inoue's work at the time, he would say things like, "This doesn't feel good to the touch," or "It's difficult to prepare tea with this," and would teach him without compromise, trying to embody his own words. How to prepare the clay, how to use the potter's wheel, how to fire pottery—all of that became an integral part of Inoue's being. "Tea ceramics have a history of 500 years, but there are no size manuals whatsoever for tea bowls or water pitchers. However, the size that makes it easiest to drink tea and the height that makes it easiest to prepare tea are naturally determined. I believe that only by setting aside one's own ego, understanding the Way of Tea, and understanding the host's tea ceremony can a ceramic artist create truly 'subordinate' tea ceramics," says Mr. Inoue, who has been devoted to the Way of Tea for over 30 years. He is truly a ceramic artist who pursues the true essence of "subordinate."

  The future of Japan, the future of KARATSU Yaki (Pottery)

  Inoue said, "The whole of Japan is in chaos right now, isn't it? One possible reason is that children haven't been exposed to truly 'beautiful things' or 'right things' since they were young."
  Let's settle down here. For the sake of 21st-century Japan, wouldn't it be important to re-examine our ancient traditional culture and incorporate manners and etiquette as part of education? You too will feel at peace just sitting on the tatami mats in this space of "stillness" and "beauty" that is a tea room. And try some delicious tea. In the past, it was a pastime for samurai. I'm sure that many strong-willed Japanese people will continue to grow in the 21st century.
  Currently, Mr. Inoue's son, the heir to the family business, is studying ceramics at a ceramics university. After graduating, he is scheduled to apprentice with BIZEN Yaki (Pottery) potter. It is likely that he has received a proper education from his strict father since childhood. Mr. Inoue always tells his son, who is still a student, "Forge your own path. You don't have to follow in my footsteps. Trust your own instincts, further refine them, and forge a new KARATSU Yaki (Pottery) for the 21st century without being bound by tradition."

  

  A young apprentice is diligently working on painting in the workshop.

  Craftsman Profile

  ​Touya Inoue

  Born in Karatsu in 1942 (Showa 17).
  Although he enrolled at Nihon University, he witnessed the excavation of an ancient kiln, became fascinated by pottery, and decided to pursue this path.
  After returning to his hometown, he built a kiln at the foot of Mt. Kagami and opened it in 1969.
  He currently serves as the chairman of KARATSU Yaki (Pottery) Cooperative Association and is dedicated to the further development of KARATSU Yaki (Pottery).

  Anecdotes

  "Climbing kiln" and firing method

  We will examine the "climbing kiln" and firing method, which are major characteristics of KARATSU Yaki (Pottery). We take pride in the fact that we are more particular about the climbing kiln than any other type of pottery in Japan.
  Kiln loading
  We assemble shelves inside the kiln and then pack the pieces in.

  We carefully consider the characteristics of the kiln and how the flames spread, and then arrange the pieces accordingly.
  Depending on the type of pottery, the pieces must be arranged in either the front (himae) or back (hiato) areas.

  After firing for about 30 hours, the kiln is cooled for three days before the pieces inside are removed.
  Depending on the temperature and how the flame hits the piece, some pieces may crack or the glaze may not melt properly.

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    This is a scene of adding firewood to a climbing kiln, taken around midnight.
    It's been about 10 hours since the fire was lit.
    We've finally moved from the gap between the wooden beams to the first bay.

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    The fire started between the wooden beams, then moved to the first, second, and third sections, and more than 24 hours have passed since the fire was lit in the final fourth section.

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    A panoramic view of the climbing kiln
    The kiln is kept burning for 1.5 to 2 days after the fire is lit. Pine wood is used as firewood.

  The warmth of the earth in everyday life

  Takeo Ko-KARATSU Yaki (Pottery) expresses the warmth of the earth and the aesthetics of wabi-sabi. In the peaceful rural landscape of Takeo City, Saga Prefecture, at Koichi Inoue's Tadashi-gama kiln, the gallery bathed in afternoon sunlight displayed works that exuded the warmth and gentleness of the earth.

   

  Path to Traditional Crafts

  Koichi Inoue was born in 1953. He serves as the chairman of the Takeo Old KARATSU Yaki (Pottery) Cooperative Association and is a leading young craftsman and artist of Takeo Old Karatsu pottery.
  My entry into the world of pottery began in 1972, when my father, who had been working as a designer for Arita ware and later as a craftsman of ancient Korean ceramics, told me to "come home," and I returned to my hometown. I was 23 years old at the time.
  At first, I thought, "I don't want to do work that gets me covered in mud," but I went back and did menial tasks for about three years. However, I decided, "This can't go on," and I was sent to Arita for a year to train on the potter's wheel.
  Young people had gathered there from all over Japan, including Hokkaido and Honshu. For Inoue, who had taken over the family business at his parents' request, seeing his peers diligently training made him honestly wonder, "Why are they so passionate about pottery?"
  However, encouraged by the passion of his friends, he thought, "I have my parents' workshop. I'm in a fortunate position, so I should do my best," and that's how he was able to dedicate himself to pottery.

  

  Koichi Inoue

  History and characteristics of KARATSU Yaki (Pottery)

  The history of Takeo Ko KARATSU Yaki (Pottery) is long, boasting a tradition and techniques spanning approximately 400 years. This area was a major production center for pottery known as Ko-Karatsu.
  During the Edo period, many everyday items were produced in folk kilns and spread widely not only throughout Kyushu but also across western Japan.
  The clay used for Takeo KARATSU Yaki (Pottery) is a slightly sandy clay with a higher iron content compared to other production areas. High-quality clay can be obtained from the Matsuura River system and the Shiota Rokkaku River system in the Hizen region (present-day Saga Prefecture).
  A wide variety of techniques are used in its manufacture, including slipware and brushwork. These diverse techniques bring out the warm, earthy texture of the "earthenware."

  

  Works by Mr. Inoue. Brushstroke (left) and slipware (right).

  Changes in the Times and Traditional Crafts

  I asked Ms. Inoue about the changes in the times in recent years. She said that there have been two or three major changes during her 20-year career as a writer. "Unlike in the past, customers can now express their preferences," Ms. Inoue said. Today's customers buy things they like to a reasonable extent at an affordable price.
  However, Inoue questions the current situation. "They say we're living in an age of individualization, but what's the reality?" "I feel that a culture where people are willing to spend money without hesitation on something they truly love hasn't yet taken root in Japan."
  Inoue, too, is facing the same difficulties that all contemporary craftspeople experience. Sometimes he's an artist, sometimes he's in sales, and sometimes he's a craftsman. One by one, the small retail stores that he did business with have closed down. These are tough times for potters.
  Tradition is refined through rigorous training. "We need to create new things that suit the lifestyles of the people who use them, rather than just being bound by tradition and form," says Inoue.

  

  Traditional techniques refine the warmth of the clay.

  The warmth of the earth, tradition in a modern way.

  Currently, Inoue sells her works in retail stores in the Kanto and Kansai regions, and also holds solo and group exhibitions several times a year.
  I enjoyed a cup of tea at the gallery while admiring the pottery. It was wonderful to spend such a peaceful moment, feeling the warmth of the clay.
  KARATSU Yaki (Pottery) boasts an incredibly diverse range of techniques. "My job as both a craftsman and an artist is to incorporate those techniques into my work," says Inoue. He has many ideas, but when he tries to bring them to life, they don't always turn out exactly as he imagined. Inoue told us that this is both enjoyable and challenging.
  Finally, a message from Ms. Inoue.
  "We create tableware that you will cherish and keep around you. Please pick it up and feel the warmth and texture of our pieces."

  

  Inoue-san, who is diligently working on pottery.

  Anecdotes

  Pottery-themed sightseeing drive (1-day course)

  We introduce a "One-Day Pottery Sightseeing Drive Course" where you can fully enjoy the charm of Takeo's old KARATSU Yaki (Pottery). How about sightseeing in the nature-rich city of Takeo during the autumn foliage season or the early summer Golden Week, and then enjoying dinner served in Takeo's old KARATSU Yaki (Pottery) ware at a government-designated tourist facility in the evening?

  JR Sasebo Line Takeo Onsen Station
  Get information at the tourist information center inside the station.

  Hiryu Kiln, a tour of the pottery studio
  <Kuromuta and Tadara districts> After visiting the world's largest climbing kiln, the Hiryu Kiln, enjoy the charm of traditional crafts by touring the kilns. You're sure to find many pieces you love.
  Takeo Onsen, Okusu Park, Mifuneyama Garden, Keishuen Garden
  Take a break in the shade of the trees or have lunch during your drive. Mifuneyama Park is at its best when the azaleas are in full bloom around Golden Week in May.

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    Keishuen

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    Takeo Onsen

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