Endless Possibilities: Shigaraki-yaki

Thanks to the rare excerent clay available in the province, Shigaraki-yaki embodies a perfect combination of the warm "color of fire" (red) created from baking, "glassy glaze" from natural grazinf, and "burning". It is an art of earth and fire, and enhances the beauty of pottery. The simplicity and subduced exquisiteness realize the subtlety of the Japanese aesthetics for quietness, simplicity, sobriety and refined taste called "wabi" and "sabi". Shigaraki-yaki has been drawing attention since days ofyore as the pottery that expresses the Japanese taste for dry, simple discermnent. Since the birth and prosperity of the tea ceremony in the late l6th century, the tea ceremony masters have always loved Shigaraki-yaki, and the teacups, in particular, have been highly esteemed as the valuable articles for those selected for initiation in the intricacies of the tea ceremony.

In the 17th century, acclivitous kilns were introduced. Since then, earthenware has become daily articles for every commoner and the usage spread nadionwide. Mass productlon started for tea leaf canisters and many other types of earthenware, including water vats, miso (soybean paste) vats, cosmetic plates, sweet dumpling jars, mortars, sake flasks, distilled spirit bottles, pipkins and plates.

Since the end of the 19th century, mass production began for smaller ceramic pieces, such as Shinto and Buddhist altar fittings, lamps, spirit flasks and tea utensils, as well as large pieces including vases, silk reeling pans and braziers. In the early 20th century, baking products extended to sulfuric acid containers, ink wells and other acid-resistant, waterproof ceramics application. Techniques of Shigaraki-yaki improved dramatically thanks to the "Model Factory" established in l902 and started operations in the next year, where specialists were invited tosuprevise from famous pottery provinces of Kutani and Shimizu.

Production of braziers continued to increase since its stary in the 17th century. every possible size, shapes and ornament was baked as the major ceramic products, which continued intil well into the l950s. The demand, however, ceased when electric and kerosine heaters were developed. From the mid 1960s, the mafn emphasis shifted to flower pots. All types of flower pots and bonsai pots have been baked.

Since l98l to date, demand from the construction industry has grown. Every year, new development continues on garden ceramics, tableware and vases. The Shigaraki-yaki with its rich variety is a focus of attention as the ceramics that can represent the Japanese crafts.