In Amakusa, a territory under direct shogunate rule, the village headmen of each village on the island sought a way for the villagers to make a living through pottery, and porcelain and earthenware were being produced from the early to mid-Edo period.
In Amakusa, where particularly excellent pottery stone was found, porcelain was produced by Uchida Sarayama ware even before the Enpo era (1673-), and subsequently, porcelain was produced at kilns such as Takahama ware. As for pottery, the tradition of everyday pottery full of modern sensibilities has been passed down, with Mizunohira ware being founded in Mizunohira, Hondo Village, Amakusa District (present-day Hondo City) in 1765.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The clay body should be prepared by elutriation.

  2. Molding shall be carried out by the following techniques or methods:
  (1) Formed by pottery wheel, slab building, coil building, mold building, or hand twisting.
  (2) In the case of porcelain, in addition to the molding method specified in (1), the body shall be molded by bag casting or "double casting" which involves scraping and wiping the entire surface of the body so that it has properties equivalent to those obtained by the molding method specified in (1).

  3. When decorating the base material, the following methods may be used: glaze application, inlay, brushwork, slip trailing, chamfering, application, carving, openwork, comb pattern, or cloth pattern.

  4. When applying underglaze, use line drawing, dabbing, or dabbing. In this case, the pigments used shall be "cobalt blue pigment" or "iron pigment."

  5. Glazing shall be done by "dipping," "pouring," "spraying," "painting," "ladling," "slip trailing," or "double glazing." In this case, the glaze shall be "transparent glaze," "wood ash glaze," "straw ash glaze," or "iron glaze."

  6. When applying overglaze decoration, it shall be done by drawing lines, applying dabbing, or dabbing. In this case, the paints shall be "Japanese pigments" or "gold and silver pigments."

   

  raw materials

  1. The clay used shall be clay from Amakusa Island or a material of equivalent quality.

  2. In the case of porcelain, Amakusa pottery stone shall be used.

• Work scene

  Work scene

  In Amakusa, both pottery and porcelain are produced using locally sourced clay and pottery stone.
  Here, we'll show you how porcelain is made.

  Step 1: Elution

  The mined Amakusa pottery stone is crushed into small pieces, water is added and stirred, and then transferred to a sedimentation tank.
  In the sedimentation tank, pebbles and sand are allowed to settle at the bottom, the muddy water is sifted, and the iron is removed through an iron removal machine before being transferred to another tank. This process is called "elutriation."

  Process 2: Dehydration

  Place the raw clay (clay slip) that has settled at the bottom of the tank containing the muddy water after iron removal into an unglazed pot or plaster pot and leave it until the moisture has evaporated to a suitable level and it becomes clay-like.

  

  Process 3: Rough kneading

  The clay-like raw material is kneaded with the feet to remove air from the clay and to create a uniform consistency.

  

  Step 4: Resting

  Store the clay in a cool, dark place with high humidity to allow it to mature. Matured by organic bacteria increases its viscosity and improves its moldability.

  Step 5: Chrysanthemum kneading

  The air trapped in the clay is carefully removed, and the final hardness is adjusted to suit the artwork being created and the artist's preferences.

  

  工程6： 成形

  We use the finished clay to create the shape of the product.
  There are various shaping techniques, including "wheel shaping," where clay is turned on a potter's wheel to create the shape; "slab shaping," where clay is rolled out into a sheet and then shaped using that sheet; "coil building," where clay is coiled into a string to create the shape; "press molding," where clay is pressed into a ceramic or plaster mold to create the shape or pattern; and "hand-molding," where the shape is created using only the hands without any tools.

  

  Step 7: Surface finishing

  The clay, shaped using various techniques, is placed on a potter's wheel while still slightly damp, and the base and sides are trimmed. For molded pieces, the seams are finished and the surface is smoothed by wiping with a damp cloth.

  工程8： 加飾

  We apply decorations to fabric products that have already undergone a basic finish, as needed.
  The decorative techniques are diverse and include the following:
  • Applying/Attaching
  Inlay and carving
  • Brushstrokes • Watermarks
  - Itchin (a type of slip trailing technique) - Comb pattern
  - Beveling - Fabric texture

  Process 9: Drying/unglazed firing

  Fabric products that have been finished or decorated are air-dried indoors.
  Depending on the shape and decoration, the item may be kept enclosed until its condition stabilizes.
  After drying them to a certain extent indoors, move them outdoors to dry completely. Sometimes, heat drying is used at this stage.
  Once drying is complete, bake at a temperature of around 900°C.

  

  Step 10: Underglaze painting

  The unglazed clay is then decorated with cobalt blue pigments and iron pigments to create pictures and patterns.

  

  Step 11: Glaze preparation

  Glazes include transparent glazes, iron glazes, straw ash glazes, and wood ash glazes, and each kiln prepares its own unique glaze mixture. At this time, locally sourced materials are used as much as possible.

  Step 12: Glazing

  After bisque firing, the glaze is applied to the products, which may have been decorated with underglaze as needed. Glazing techniques include "dipping," "pouring," "spraying," "coating," and "double glazing."

  

  Step 13: Kiln Loading

  We place the glazed pieces into the kiln.
  Shelves are constructed using boards and supports, and the artworks are placed between them. When placing artworks on the boards, a cracker-like material called "hama" is placed underneath to prevent the artwork from sticking to the board in case the glaze drips.
  In some kilns, the pieces are placed in saggars and stacked to prevent damage from ash, other deposits, and contact with the fuel firewood.
  Along with the finished artwork, a small sample called a "color sample" is also placed in the kiln.

  

  Step 14: Firing (final firing)

  The pieces are fired at a temperature of around 1300°C for 15 to 18 hours. Depending on the piece, firing may take longer than 18 hours.
  Firing methods can be broadly divided into two types: "oxidation firing," which involves taking in plenty of air to completely burn the fuel, and "reduction firing," which involves raising the temperature to around 1000°C and then reducing the amount of air to induce incomplete combustion.
  You observe the flames and the conditions inside the kiln through the viewing window, and when the glaze begins to melt, you pull out the "color gauge" with an iron rod or similar tool to check the state of the glaze.
  After maintaining the temperature for a certain period until the firing is complete, the firing opening is closed with bricks and the kiln is cooled. There are two methods for cooling the kiln: "slow cooling," which involves slowly lowering the temperature, and "rapid cooling," which involves rapidly lowering the temperature.
  Once the kiln reaches a temperature of around 100°C, the bricks that sealed the kiln opening are removed, and the artwork is carried out of the kiln.

  

  Step 15: Overglaze painting

  The design is painted onto the fired white porcelain using overglaze paints. First, the outline is drawn with a thin brush, and then the color is filled in within the outline with a slightly thicker brush.
  There is also a technique called "tsuketate" where you use a medium-thick brush to paint the design in one go without drawing an outline.

  

  Step 16: Overglaze painting and firing

  The painted pieces are placed in a kiln and fired at around 800°C for 7-8 hours to allow the overglaze paints to set.

  

  工程17： 窯出し

  Once the kiln reaches a temperature of around 100°C, the bricks that sealed the kiln opening are removed, and the artwork is carried out of the kiln.

  

  Step 18: Inspection

  We inspect the artwork for cracks or defects. If it's a set, we check if the colors match.

  

  工程19： 完成

   

  

   

• Close-up

  Close-up

  Giving form to gifts from heaven ~ AMAKUSA Yaki (Ceramics)

  Translucent white porcelain, earthenware that exudes the warmth of the clay—Amakusa has been producing a wide variety of pottery since the Edo period. The source of these creations is the pottery stone and clay found in Amakusa. This tradition of pottery making, utilizing materials right at their feet, has been passed down for over 300 years, and today, ten kilns are producing pottery, each with its own unique style.
  We visited one of them, Maruo Pottery, which has been making pottery in Amakusa for over 150 years since its founding in 1845, and spoke with the fifth-generation owner, Kazuhiro Kanazawa.

   

  Creating pottery that is in harmony with the times.

  Under a clear blue sky, the simple building, with its linear design of concrete and glass, stands out. The scene evokes a sense of the present era rather than the weight of history or tradition.
  Mr. Kanazawa says, "Tradition is built on a foundation of innovation." He always creates things that are in line with the times. He believes that this accumulation of innovations has given potters the strength to survive in their respective eras. For Mr. Kanazawa, tradition is not something to be preserved, but rather a culmination of the present moment.

  

  At Ms. Kanazawa's workshop, various types of pottery are produced, without being limited by materials or manufacturing methods, including simple white porcelain, chic ceramics, and slightly quirky, colorful ceramics.
  As Kanazawa himself says, "I always create with modernity in mind," and indeed, all of his works fit perfectly into the landscape of modern life.
  They make both porcelain and earthenware. They are not bound by any particular technique or design. This style of production is reminiscent of a microcosm of Amakusa's ceramics making.

  

  The choice of diversity

  White porcelain that shines like fresh snow, porcelain with a striking glaze reminiscent of sea cucumbers, and earthenware that evokes a sense of warmth. Some porcelain has the rustic texture of earthenware, while some earthenware has the presence of porcelain. In Amakusa, each kiln produces its own unique style of ceramics.
  According to Kanazawa, when pottery production began in Amakusa, the choice was made for "diversity." Instead of all the kilns moving in the direction of producing similar products, each kiln made pottery according to their own vision. The result is the rich variety of AMAKUSA Yaki (Ceramics) we see today.
  The diverse range of pottery making in Amakusa is supported by the pottery stone and clay of the region. These high-quality raw materials, so desirable that other production areas seek them out, are likened to a gift from heaven.
  Kanazawa's words, "The fact that there is pottery stone in Amakusa means that we should make pottery," conveyed a sincere feeling of gratitude for the blessings of nature.

  

  A brand originating from Amakusa

  Ms. Kanazawa is based in Amakusa and maintains the stance of "having people come here to buy." The impetus for this was her belief that "crafts should be closely connected to the local community." She thought that crafts should exist within the cycle of life, where people can easily buy, use, and buy again when they break.
  No matter how well-known a brand may be, if it can't be bought elsewhere, and you have to go to that specific location to get it, then that's the style that Kanazawa believes will define the future of brands.
  "I believe that 'regional areas,' which have many unique cultures and traditional crafts, are precisely the places that can become truly prosperous," says Kanazawa.
  Currently, there are 10 pottery studios in Amakusa. And there are many young people who want to make pottery in Amakusa. Many of them train at Mr. Kanazawa's studio before going on to their own. What we can see in the future is the branding of the region itself as "Amakusa, the Island of Ceramics."

  

  Responsibility of the warp threads

  In Amakusa, there are several pottery kilns that have been operating since the Edo period, just like Mr. Kanazawa's "Maruo Pottery Kiln." These kilns have weathered the storms of time and continued to keep their kilns burning to this day.
  "Many people enter the world of pottery because they 'love' it. But I'm not doing it on that level," Kanazawa states firmly. "Love can turn into dislike, but in their case, they can't just quit because they've come to dislike it." For people who make pottery as a family business, "doing pottery" means continuing until they pass the baton to the next generation.
  "That's the weight of having passed it down through generations," Kanazawa says.
  Even long-standing family businesses eventually come to an end. When that time comes, the person who makes the decision to end the business has the responsibility of bringing it to a close. Those who are immersed in the warp thread of a family business are "constantly compared to other generations, and die in that environment. That is the harsh reality of the work of passing on a business from generation to generation," says Kanazawa.
  Kanazawa says he's never thought of himself as loving pottery, but he's also never thought of quitting. "I guess I was born to be a potter," he says with a bright smile.

  

  Craftsman Profile

  ​Kazuhiro Kanazawa

  Born in 1957. From the age of 20, he acquired skills through the traditional crafts successor training program at the Kumamoto Prefectural Industrial Technology Center.
  In 1980, at the age of 23, he inherited the position of the 5th generation head of the Maruo Pottery Kiln.
  He pursues the potential of ceramics as everyday items that enrich living spaces, creating works with a rich contemporary sensibility. His wife, Miwako, is also active as a female ceramic artist.
  Many young ceramic artists have emerged from Maruo Pottery, both within and outside Kumamoto Prefecture.

  

  Anecdotes

  Stones that produce white porcelain

  The translucent texture and luster unique to white porcelain are brought about by the porcelain stone used. Currently, there are only a handful of places in Japan that are known as porcelain stone producing areas. Among them, Amakusa stands out in both quality and quantity. Amakusa porcelain stone is used not only in Arita and Kyoto, but also in pottery producing areas throughout Japan.
  Even though we refer to them simply as "pottery stone," their properties differ subtly. If the pottery stone contains a lot of iron, the porcelain will not have a clear white color. Also, some types of pottery stone cannot be molded or fired without adding other materials such as clay.
  Amakusa pottery stone not only has a low iron content, but it can also be used to make porcelain on its own without adding other materials, resulting in whiter porcelain.
  The stone that produces porcelain with a translucent whiteness that captivates people—that is Amakusa pottery stone.

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