1. The origins of Kyo-yaki and Kiyomizu-yaki
Chōjirō black Raku tea bowl, inscribed Old Tales, Azuchi-Momoyama period, 16th century
Integrated Search System for the Collections of the National Institutes for Cultural Heritage
https://colbase.nich.go.jp/collection_items/tnm/G-74?locale=ja
The origins of Kyo-yaki and Kiyomizu-yaki can be found in the Azuchi-Momoyama period in the 16th century. During this period, Kyoto was the political and cultural center of Japan, and the tea ceremony was very popular. In particular, there was a high demand for pottery for use as tea ceremony utensils, and many potters flocked to Kyoto. One of the most famous potters was Chojiro , whose Raku ware was highly praised as tea ceremony utensils. The simple yet beautiful tea bowls of Raku ware remain a symbol of Kyo-yaki even today.
2. From the 17th century: The development of Kyo-yaki and Kiyomizu-yaki and the patronage of temples, shrines, and aristocrats
Beginning in the 17th century, Kyoto potters began producing overglaze pottery and porcelain in addition to tea utensils. During this time, Kyoto's temples, shrines, and aristocrats sponsored potters, supporting the production of pottery for tea ceremonies and ceremonies. This provided economic security for the potters, allowing them to hone their skills and develop their own decorative techniques.
Nonomura Ninsei, Teapot with Moon and Plum Blossoms, Edo period, 17th century
Integrated Search System for the Collections of the National Institutes for Cultural Heritage
https://colbase.nich.go.jp/collection_items/tnm/G-40?locale=ja
Nonomura Ninsei , a potter who appeared in the second half of the 17th century, is a person who greatly developed Kyo ware. Ninsei mastered overglaze pottery, and in particular, beautifully decorated tea bowls and tea containers used as tea ceremony utensils. His works were widely loved by aristocrats and tea masters, and helped establish Kyo ware as one of Japan's leading ceramics.
Ogata Kenzan, Rust-painted Grape Pattern Square Plate, Edo Period, 18th Century
Integrated Search System for the Collections of the National Institutes for Cultural Heritage
https://colbase.nich.go.jp/collection_items/tnm/G-33?locale=ja
Ogata Kenzan , who contributed as much to the development of Kiyomizu ware as Ninsei, created many unique works of art by incorporating the designs of the Rinpa school established by his brother Ogata Korin into pottery. Kenzan's works were highly acclaimed not only as tea ceremony utensils but also as decorative pottery, further enhancing the artistic value of Kyo ware.
3. Internationalization and industrialization from the 19th century to the Meiji period
Large vase with gold brocade and floral and bird motifs, made by the ninth generation Obiyama Yohei, 1892 (Meiji 25)
Integrated Search System for the Collections of the National Institutes for Cultural Heritage
https://colbase.nich.go.jp/collection_items/tnm/G-137?locale=ja
At the end of the 19th century, during the Meiji period, Japan opened up to the world, and Kyo-yaki and Kiyomizu-yaki ware grew as export industries. In particular, the ornately decorated pottery known as Kyo-Satsuma was highly praised overseas and attracted international attention through events such as the World Exposition.
In the Meiji period, industrialization progressed and mass production systems were put in place for Kyo-yaki and Kiyomizu-yaki. As a result, Kyo-yaki became more widely used both at home and abroad, but the preservation of traditional techniques and quality control became new issues. Potters continued to search for ways to protect traditional techniques in the midst of industrialization.
4. 20th Century - Technological innovation from the mid-Showa period to the present
In the mid-Showa period, the production process of Kyo-yaki and Kiyomizu-yaki changed dramatically with the introduction of gas and electric kilns . Temperature control became easier, and the color development of glazes and firing stability improved, leading to an increase in pieces with complex and beautiful designs.
On the other hand, there are many potters who continue to use traditional wood-fired kiln firing techniques, and the diversity of Kyo-yaki and Kiyomizu-yaki has expanded even further. Today, the fusion of traditional techniques and new technologies is progressing, and Kyo-yaki is being re-evaluated both at home and abroad.
5. The future of Kyo-yaki and Kiyomizu-yaki
Today, while Kyo-yaki and Kiyomizu-yaki continue to preserve their techniques and beauty, they face the challenges of aging and a lack of successors . However, many potters are undergoing education and training to pass on traditional techniques to the next generation, and are working to fuse them with modern design.
Kyo-yaki and Kiyomizu-yaki are valuable cultural heritages of Japan, but they are also constantly taking on new challenges. Their history and beauty will no doubt continue to be loved both at home and abroad.
