Guide to Japanese Pottery

Pottery is an essential part of the dining culture. The history of Japanese ceramics is incredibly long, dating back more than ten thousand years, and it has evolved with each era. In this guide, we begin with a brief overview of that history.

The craft of pottery is influenced by geographical conditions, and the clay and firing methods used differ from region to region. However, confusion often arises as some Japanese terms do not have perfect English equivalents. Therefore, after covering the history, we will explain the difference between pottery and ceramics before delving into classifications, characteristics, and representative types found across Japan.

Finally, we will introduce how to care for your pottery according to its specific characteristics. We hope that by learning about these qualities, and by using and caring for your items accordingly, you will feel a closer connection and enjoy them for many years to come.

The history of Japanese ceramics begins with prehistoric earthenware and continues to the present day, with techniques and aesthetics evolving through each era. Below, we introduce the development of Japanese ceramics, divided into six major periods.

The history of Japanese ceramics begins with Jomon pottery from the Jomon period (ca. 10,000–300 BCE). Characterized by cord-marked patterns, these vessels were used as everyday tools for cooking and storage. Many pieces were highly decorative, and some are thought to have held ritual significance.

During the Yayoi period (ca. 300 BCE–mid-200s CE), as agricultural society developed, more functional Yayoi pottery with less decoration came to be produced. These vessels were well-formed and often finished with thin walls.

Around the 5th century, new techniques were introduced from the Korean Peninsula, leading to the production of Sue ware (sueki). Sue ware was fired in tunnel kilns called anagama, which were dug into hillsides and covered with earth. The high firing temperatures produced hard, dense gray pieces, marking a significant advancement in Japanese ceramic technology. Around this time, roof tile manufacturing techniques were also introduced from the Korean Peninsula.

In the late Heian period (794–1185 CE), ash-glazed stoneware (kaiyu toki) emerged, featuring a hard body coated with wood-ash glaze and fired at high temperatures. The natural ash glaze gave the surface of the vessels a soft luster.

These production techniques spread to various regions, but in the process, only the glazing techniques were lost, and the technology for firing hard, unglazed stoneware developed independently in each area.

During this period, the Rokkoyo (Six Ancient Kilns)—Seto, Tokoname, Shigaraki, Tamba, Bizen, and Echizen—developed into major ceramic production centers. Each area produced distinctive wares that made use of local clays and firing methods, eventually becoming representative ceramic regions of Japan.

In the late 16th century Momoyama period (1573–1603 CE), the spread of the tea ceremony brought about a significant shift in the aesthetics of Japanese ceramics. Tea masters such as Sen no Rikyu came to seek tea wares with a rustic, powerful beauty, distinct from the ornate Chinese vessels.

During this era, Mino, in present-day Gifu Prefecture, produced notable wares including Setoguro, ki-Seto, Shino, and Oribe. The soft white of Shino and the bold green glaze of Oribe exemplified free and creative expression, making them representative of Japanese tea ceramics.

In Kyoto, Raku ware was created to embody the tea bowls that Rikyu envisioned. Formed by hand without a potter's wheel and rapidly cooled by being removed from the kiln—a technique called hikidashi—Kuro Raku (Black Raku) and Aka Raku (Red Raku) tea bowls became widely cherished as vessels that express the spirit of the tea ceremony.

In the early 17th century, porcelain was produced in Japan for the first time. Porcelain stone was discovered in the area around present-day Arita, Saga Prefecture, and the production of white, hard porcelain began. These wares came to be known as Imari ware, named after the nearby port from which they were shipped.

Before long, Sakaida Kakiemon pioneered overglaze enamel porcelain, enabling Japanese porcelain to achieve a more colorful expression. Additionally, luxurious overglaze enamel porcelain known as kinrande, featuring red enamel patterns accentuated by gold decoration, appeared and was actively exported to Europe and other overseas markets.

Furthermore, the Saga domain produced Nabeshima ware at its official kilns as presentation pieces for the shogunate and feudal lords, and porcelain developed as a highly sophisticated craftwork.

From the latter half of the Edo period (1603–1868 CE) through the end of the shogunate, porcelain production techniques that originated in Arita spread throughout the country. New porcelain production centers such as Kutani and Tobe emerged, while established ceramic regions like Seto and Mino also began producing porcelain.

Each region developed its own distinctive ceramics, making use of differences in local clay, glazes, and firing methods. These wares came to be widely used as vessels supporting Japanese food culture and daily life.

From the Meiji period (1868–1912 CE) onward, Japanese ceramics were widely exported overseas, gaining great popularity in Europe and America.

In the early 20th century, the Mingei (Folk Craft) movement arose, led by Yanagi Soetsu and others, which brought renewed appreciation for the beauty of everyday objects made by anonymous craftspeople. Kilns and traditional techniques across Japan were reevaluated, and the value of Japanese ceramic culture was recognized anew.

In the postwar period, new designs and expressions suited to modern life emerged while inheriting traditional techniques, and ceramics came to be recognized not only as craft but also as art. Today, Japanese ceramics, from vessels made in traditional production centers to works by contemporary artists, continue to reach audiences around the world.

What comes to mind when you hear the words pottery and ceramics?

Some people imagine pottery as something earthy and traditional, while ceramics may sound more technical or contemporary. However, the difference between the two terms is mainly a matter of scope.

In general, ceramics is the broader term. It refers to objects made from clay or other inorganic materials that are hardened by heat. This category includes a wide range of items—from tableware and decorative objects to tiles, sanitary ware, and even highly specialized industrial materials.

Pottery, on the other hand, usually refers to traditional clay vessels such as bowls, plates, and jars that are made for everyday use. In this sense, pottery can be considered one category within the larger field of ceramics.

When talking specifically about tableware, the two terms are often used interchangeably in everyday English. At the same time, pottery sometimes carries the nuance of handcrafted clay vessels, while ceramics may be used as a broader or more technical term.

At MUSUBI KILN, we also use the terms ceramics and pottery depending on the context. When referring to the material or the field as a whole, we generally use ceramics. When describing specific vessels or traditional clayware, we may use pottery.

In Japanese, porcelain is called jiki. Japanese porcelain is highly valued for its refined beauty and has played an important role in the global history of ceramics. Alongside Chinese porcelain, it greatly influenced the development of porcelain in Europe.

Porcelain is made from refined porcelain stone containing materials such as kaolin, silica, and feldspar. Compared with natural clay used for many other ceramics, these materials create a very fine and dense body.

Japanese porcelain belongs to the category known as hard porcelain, which is fired at very high temperatures—around 1,300°C (2,370°F). As a result, it is strong, durable, and less porous than other ceramic types.

Because the particles in porcelain clay are extremely fine, porcelain can be shaped into thin, lightweight forms with great precision. Its pure white surface also provides an ideal canvas for decoration, allowing both underglaze and overglaze painting.

In Japan, porcelain tableware is often used for dishes such as sashimi, appetizers, and delicately presented foods, where its smooth white surface beautifully highlights the colors of the ingredients.

Representative porcelain traditions include Arita ware, Kutani ware, and Hasami ware. 

According to the American Ceramic Society, stoneware is typically fired at 1150–1300°C (2100–2370°F). It may be produced with or without glaze, and the fired body becomes dense and durable, with a water absorption rate of approximately 0–10%. When classified according to this definition, many traditional Japanese wares other than porcelain fall within the stoneware category.

In Japan, however, ceramic terminology differs somewhat from the Western classification system. Wares that would generally be classified as stoneware in the West are often described using different terms in Japan. Within this range, toki generally refers to pottery made from clay, while sekki refers to high-fired wares with a dense, hard body whose properties are closer to porcelain.

Another related term frequently encountered in Japanese ceramics is yakishime, which refers to wares fired without glaze. Many traditional sekki wares are produced using this technique, allowing the natural clay surface and ash from the kiln to create distinctive textures and patterns during firing.

Japanese toki refers to pottery made from clay that is typically glazed and fired until hardened. It offers a wide range of expressive possibilities, as both the clay body and surface decoration can vary greatly. The base clay may range from iron-rich red clay to pale beige or whitish clay, and each kiln tradition develops its own distinctive styles.

Compared with Western soft porcelain, toki is generally more resistant to sudden temperature changes, although it can be somewhat prone to staining. With proper care, however, it can be kept clean and maintain its beauty over time.

Traditional styles of toki tend to have thicker bodies and a calm, understated appearance that reflects a unique Japanese aesthetic.

Representative toki traditions include Hagi ware, Kyo ware and Kiyomizu ware, and Raku ware.

Sekki represents one of the most traditional forms of ceramics in Japan, valued for its earthy character and the quiet beauty associated with the aesthetic of wabi sabi.

The clay used in sekki often contains iron, which is said to react with tannins—the astringent compounds found in tea—softening its flavor. For this reason, sekki tea utensils have long been favored by tea masters, and it has often been said that tea tastes better when prepared in sekki vessels.

Another characteristic of sekki is the natural texture of the clay itself, often with little embellishment or glaze. In many cases, pieces are fired so that ash from the kiln falls onto the surface and melts during firing. Depending on the movement of the flames and the position of the piece in the kiln, this process can create unexpected patterns and natural surface effects.

Today, sekki is also appreciated in modern table settings. When used for plates serving sushi or other colorful dishes, its natural tones create a striking and contemporary presentation. It has also long been favored for flower vases in the world of the tea ceremony, where its understated texture expresses a beauty that cannot easily be achieved with other materials.

Because unglazed surfaces can absorb oil, it is recommended to place paper or leaves beneath oily foods such as tempura to help prevent staining.

Representative sekki traditions include Bizen ware, Shigaraki ware, Tokoname ware, and Banko ware. 

Japanese earthenware, known as doki, represents one of the earliest and simplest forms of pottery. A well-known example is the pottery of the Jomon period. It is made by shaping natural clay and firing it in an open fire or a simple pit kiln. The firing temperature is relatively low—similar to that of a bisque firing—resulting in a porous body that readily absorbs water.

Because of its porous nature, earthenware is commonly used for flowerpots, where its breathability promotes drainage and helps prevent root rot.

Care methods vary depending on the material, but in general, we recommend hand washing with a mild detergent and a soft sponge for all types of ceramics.

Porcelain has very low water absorption and is resistant to stains, making it relatively easy to care for. Because it is sturdy and durable, it can generally be washed more thoroughly. However, care should be taken to avoid knocking it against other dishes, which may cause chipping or breakage. The same precautions apply even when using dishwasher-safe porcelain.

Pieces decorated with gold or silver accents are more delicate, so they should be washed gently with care.

Before using toki for the first time, it is important to “season” the surface, referred to as medome in Japanese. This involves using starch to fill the tiny pores.

While seasoning is not required for some specially coated items, skipping this process for certain toki pieces may lead to discoloration or mold over time.

For instructions on how to perform medome, please refer to the following guide How To Care for Stoneware and Earthenware. 

After use, wash the piece as soon as possible to help prevent stains. Avoid soaking it in water for extended periods. After washing, allow it to dry completely in a well-ventilated area before storing to prevent mold and odors.

Before serving foods that contain oil, it is recommended to briefly rinse the pieces with water beforehand, especially plates and bowls. This helps reduce the likelihood of oil stains.

Teapots made of sekki can easily develop tea stains, so rinsing them with hot water is recommended. For more detailed instructions on caring for a sekki teapot, please refer to our guide How to Clean a Japanese Teapot.

After washing, allow the piece to dry completely in a well-ventilated place before storing to prevent mold and odors.