SATSUMA Yaki (Ceramics) was started during the Bunroku-Keicho War by potters from the Joseon Dynasty who were brought back from Korea by the Shimazu clan, the feudal lords at the time.
Over its long history spanning more than 400 years, SATSUMA Yaki (Ceramics) has been nurtured by the rich natural environment of Kagoshima, and through the tireless efforts of its potters, it has developed in its own unique way, giving rise to distinct styles such as the Katano, Ryumonji, and Naeshirogawa schools, which are still passed down today. In 1867 (Keio 3), SATSUMA Yaki (Ceramics) captivated Europeans at the Paris World's Fair, where the Shimazu clan exhibited alone, and the name "SATSUMA" became famous throughout the world.
Currently, pottery studios exist throughout the prefecture, producing works that utilize a variety of techniques.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The molding shall be done by wheel-throwing, mold-making, coil-building, slab-building, or by bag-casting, in which the entire surface of the base material is shaved and finished with a damp cloth so that the base material has properties equivalent to those obtained by these molding methods.

  2. When decorating the base material, the following methods may be used: comb marks, scrape marks, slip plane marks, inlay, Mishima style, brush marks, decorative finish, slip trailing, chamfering, pasting, openwork, stamping, or carving.

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

  4. Glazing shall be done by pouring or dipping. In this case, the glaze shall be transparent glaze, ash glaze, iron glaze, copper glaze, sharkskin glaze, lapis lazuli glaze, or white glaze.

  5. When applying overglaze decoration, it must be done by hand. In this case, the paints used must be Nishiki-de overglaze paints or gold paints.

   

  raw materials

  1. The clay used shall be "Narukawa White Clay," "Kasasa Pottery Stone," "Isakuda Clay," "Iimori Clay," "Kurakake Sand," or a material of equivalent quality.

  2. The slip used shall be "Narukawa white clay," "Amakusa pottery stone," or a material of equivalent quality.

   

• Work scene

  Work scene

  SATSUMA Yaki (Ceramics) can be broadly divided into white Satsuma and black Satsuma.
  Here, we will introduce the production process of white Satsuma ware.

  Step 1: Preparing the clay for the clay bowl.

  "Hazuchi" refers to the clay used as the raw material for ceramics, which is made by finely crushing and mixing raw materials. In Shiro-Satsuma ware, several types of clay are blended to create the hazuchi.
  By skillfully blending the main ingredient, white clay, with other types of clay, the translucent, pale yellow color unique to Shiro-Satsuma ware is created.

  

  Step 2: Elution

  The clay is placed in a tank and stirred, and the upper layer of muddy water is transferred to the next tank. At this time, sand and gravel remain at the bottom of the first tank. The muddy water is transferred from tank to tank repeatedly using the same procedure.
  The soil that has settled at the bottom of the final tank is scooped up, placed in a container, and allowed to dry to the appropriate extent to create pottery clay. This process is called "elutriation."
  In Shiro-Satsuma ware, finely textured clay is used, which has been meticulously processed through repeated elutriation.

  

  工程3： 成形

  The finished clay is used to create the shape of the product.
  There are various techniques for shaping pottery, including "wheel shaping" (shaping on a potter's wheel), "hand twisting" (shaping by hand), and "mold making" (using plaster or bisque molds). Currently, most works are made using "wheel shaping."

  

  Step 4: Drying and shaping finish

  After shaping, let it dry for a while. Once it's partially dry, use a plane to remove any excess material and refine the shape. Also, carvings such as openwork and relief, as well as decorative work with a spatula, should be done while the material is still slightly damp.

  

  工程5： 乾燥

  After the shaping is complete, the pieces are thoroughly dried by natural sun drying or hot air drying to remove all moisture before proceeding to the bisque firing process.

  

  Process 6: Bisque firing

  The products are placed in a kiln and fired at a temperature of 750-850°C for about 15-16 hours. This process is called bisque firing. Bisque firing hardens the clay and makes it easier for glaze to adhere.
  After baking and letting it cool, polish the surface to remove any roughness and make it smooth.

  

  Process 7: Glazing

  After polishing, the product is glazed. When fired, the glaze transforms into a glass-like substance that covers the surface of the product.
  In Shiro-Satsuma ware, a glaze is used that results in a transparent and glossy finish.
  Glazing methods include "dipping," where the vessel is dipped in the glaze, and "pouring," where the glaze is poured onto the vessel using a ladle or similar tool.

  Step 8: Final firing

  Once glazing is complete, place the piece in the kiln and fire it at a temperature of 1,230-1,260°C for at least 12 hours.
  During the final firing, the glaze vitrifies and covers the surface of the vessel, while the clay body becomes even more densely fired than during the bisque firing.
  One of the characteristics of white Satsuma ware is the fine cracks on the surface called "kannyu," which occur during the cooling process after firing.

  

  Process 9: Overglaze

  After the initial firing, the plain white Satsuma ware is decorated. First, the outlines are drawn, and then the outlines are colored in. In SATSUMA Yaki (Ceramics), the process of drawing the outlines is called "bone drawing," and the coloring is called "color filling."
  The painted pieces are placed in a kiln and fired at a temperature of 720-800°C for about 6 hours to bake the paint onto the surface. *Goldwork (gold painting)
  When applying gold work, the piece is removed from the kiln and cooled after the overglaze painting is fired. After applying gold paint in a "gold drawing" or "gold raised" style, it is placed back into the kiln and fired at a temperature of 600-680°C to set the gold.

  

  工程10： 完成

  Once the overglaze painting and gold work are fired, any roughness on the bottom or any glaze imperfections are corrected.
  And that's it!

  

   

   

• Close-up

  Close-up

  SATSUMA Yaki (Ceramics) aims to be a leading pottery producing region.

  Currently, there are over 100 pottery kilns scattered throughout Kagoshima Prefecture. Some kilns have inherited centuries of history and tradition, while others are young and just starting out. Each kiln produces different products and has a different approach to production. The person who plays a role in bringing these diverse producers together is Takafumi Saigo, a ceramic artist and the first chairman of the Kagoshima Prefectural Pottery Cooperative Association. We spoke with Mr. Saigo about his own work and the current state of SATSUMA Yaki (Ceramics).

   

  The path to becoming a ceramic artist guided by human connections

  SATSUMA Yaki (Ceramics) is a type of pottery with a tradition of over 400 years. Within this tradition, Mr. Saigo has been creating pottery for 30 years. Before immersing himself in the world of ceramics, he worked in the cutting edge of fashion as an apparel manufacturer. "Predicting the future and creating things from nothing"—that was Mr. Saigo's job. He enjoyed his work and found it fulfilling, but the image of "returning home someday" never left Mr. Saigo's mind, as the eldest son.
  "If you're going to return to Kagoshima someday, why don't you try your hand at pottery?" These words from his middle school art teacher ultimately motivated Saigo. His teacher, Mr. Ariyama, had once worked as a teacher but resigned to take over his family's pottery business. It was Mr. Ariyama who took Saigo to see the Nitten exhibition for the first time when he was a university student. Saigo was surprised and moved by the many innovative ceramic works he saw there. However, that feeling of awe gradually faded, and his interest was buried deep within his heart. It was Mr. Ariyama's words that rekindled his forgotten interest in pottery.
  With the thought "pottery might be interesting too," Saigo returned to his hometown and joined the family business of Mr. Ariyama, "Chotaro-yaki Hon-gama." His former middle school teacher had now become his pottery mentor.

  

  Don't make things that are the same as everyone else's.

  Beneath the red and black lacquer is SATSUMA Yaki (Ceramics) ware
  "Snake and Scorpion Glaze" is one of the traditional techniques.
  (Dakatsuyu) (It reminds me of snake scales)
  The distinctive feature is the three-dimensional finish.
  It has a distinctive marking. It is coated with lacquer.
  When fired, the underlying "snake and corpse glaze" dripped.
  This piece has a plump, three-dimensional feel (ceramic-based lacquerware).

  Chotaro-yaki Hon-gama is a traditional pottery studio with a century of history, known as the original home of "Kuro Satsuma" ware. It was here that Saigo learned the techniques of making "Kuro Satsuma" ware. "Kuro Satsuma" is a traditional type of pottery that uses Satsuma clay and glaze as raw materials, and is characterized by its jet-black color and smooth texture.
  After nearly five years of training, Saigo became independent and opened his own kiln. This is the "Hioki Nanshu Kiln," which remains his base of operations today. Here, Saigo produces two types of pottery: "Kuro Satsuma" ware, which he learned to make at the "Chotaro-yaki Hon-gama" kiln, and original ceramic art pieces.
  Saigo's production policy is "never to make the same thing as others." One of the works that reflects this philosophy is "ceramic-based lacquerware." Ceramic-based lacquerware refers to lacquerware finished by applying lacquer to pottery. It is a type of craft that is not often seen. It is both lacquerware and pottery. Although it is a type of pottery, generally, things that have been coated with lacquer are not fired. However, Saigo boldly puts lacquered pottery back into the kiln and fires it again. By doing so, the lacquer penetrates into the microscopic pores on the surface of the pottery and becomes one with the pottery. This is a technique that a lacquerware maker would never think of. The very idea of firing lacquer is art.
  The artist himself describes his work as a "collaboration between ceramics and lacquer," and it is filled with a novel and powerful energy born from the encounter of two things that would never normally meet: "fire and lacquer."

  

  The connection between traditional SATSUMA Yaki (Ceramics) and contemporary Satsuma ceramic art.

  Mr. Saigo is an artist who challenges the possibilities of pottery, and he is also a maker of "Kuro Satsuma" ware, having trained at a traditional kiln. After opening his own kiln, he has been actively involved in creating sales bases as a leader among young kiln owners. Based on this background, Mr. Saigo analyzes SATSUMA Yaki (Ceramics) industry.
  SATSUMA Yaki (Ceramics) industry is a mix of highly skilled craftsmen and artists with keen artistic sensibilities. Saigo believes that by combining the best aspects of these groups, who have had little interaction until now, it might be possible to create SATSUMA Yaki (Ceramics) that is in line with the times.
  Saigo says he wants to create such a collaboration of skill and sensibility not only within the industry but also overseas. "By doing so, I want to make SATSUMA Yaki (Ceramics) truly shine," he says.

  

  The gallery is located on the grounds of the Hioki Nanshu Kiln. Two types of works are on display: the artist's own ceramic pieces and traditional black Satsuma ware everyday items. In addition to his own works, the gallery also displays items purchased from other production areas and works by his younger brother, who is also a ceramic artist.

  Producer who orchestrates brand strategy

  The Kagoshima Prefectural Ceramics Cooperative Association, which is home to SATSUMA Yaki (Ceramics), comprises three main types of potters: traditional kilns that carry the banner of traditional crafts, mass-production kilns that play a role in spreading SATSUMA Yaki (Ceramics) to a wider audience, and artist kilns that produce works that foreshadow the future of SATSUMA Yaki (Ceramics). Mr. Saigo understands the strengths of these three types of kilns and is working to promote SATSUMA Yaki (Ceramics) to the world by using the right person for the right job. This is reminiscent of the brand strategies in the apparel industry, such as haute couture and ready-to-wear collections. Mr. Saigo, who is steering this operation, is essentially the producer of SATSUMA Yaki (Ceramics) brand. Mr. Saigo is using the business acumen he honed in the apparel industry to lead the front lines of sales activities for SATSUMA Yaki (Ceramics).
  As an artist and a businessman, Saigo's busy days seem likely to continue for some time.

  

  Craftsman Profile

  ​Takafumi Saigo

   

  

  Anecdotes

  The joy of visiting pottery kilns

  With its emerald green sea and blue sky, Kagoshima, a tropical paradise, is a treasure trove of pottery. A wide variety of works are produced there, from traditional to contemporary pieces. Many kilns welcome visitors, so why not take a drive and tour some of them?

  Some pottery studios offer participatory programs such as pottery workshops and classes, while others boast beautiful views and have attached cafes. Encountering completely different types of pottery one after another is a unique experience of touring Kagoshima's pottery studios.

  The Kagoshima Prefectural Ceramic Industry Cooperative Association publishes the "Satsuma Pottery Map." This handy map features descriptions and locations of over 60 kilns. A trip to enjoy the nature and pottery of the southern region with this map in hand—that might be a wonderful experience sometime.

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