The Legacy of the 14th Generation Master at Le Sanpei Kiln

Yi Sam-pyeong, known as Le Sanpei (also spelled Ri Sanpei ) in Japanese, is a pivotal figure in the history of Arita ware, playing a crucial role in the development of Japan’s first porcelain industry. His fourteenth-generation master, Kanagae Sanbei, continues his legacy, creating everyday ceramics while also producing special works only twice a year using a traditional climbing kiln.

The pieces fired in the climbing kiln capture the charm of early Imari ware. The natural distortions and wheel marks from firing highlight the warmth of handcrafted pottery. The soft hues of ash glaze and cobalt underglaze create a rustic elegance, with each piece possessing its own unique character.

Team Musubi visited the gallery shop of the Le Sanpei Kiln, located in the Uchiyama district of Arita Town, Saga Prefecture. This historic area is lined with white walled townhouses and long-established kilns, preserving the essence of Arita ware’s beauty and tradition. In this storied setting, we spoke with the fourteenth-generation kiln master to explore the enduring charm of the climbing kiln.

During Team Musubi’s visit to the gallery, the kiln master demonstrated the wheel-throwing process by shaping a kodai-bachi (footed bowl). As the piece gradually took form, the master’s craftsmanship came to life, unfolding a story of tradition and skill.

The kiln master sets the clay on the potter’s wheel and skillfully begins shaping it. The clay spins quietly, responding to his touch as it stretches and contracts, seemingly guided by his hands.

According to him, clay made from Izumiyama pottery stone loses its elasticity if it absorbs too much moisture, unlike common pottery clay. To prevent this, rather than adding water directly, artisans carefully shape the piece by applying dobe—a damp clay mixture—to their fingertips. Additionally, compared to Amakusa porcelain stone, which is commonly used in Arita ware, clay made from Izumiyama pottery stone has a higher shrinkage rate, requiring precise calculations to account for changes in form after firing.

Firing in a climbing kiln is an artisanal process that requires meticulous adjustments, making it unsuitable for mass production. Unlike gas-fired ware, pieces fired in a climbing kiln develop a distinctive luster, brilliance, and depth of color. The rich lapis blue and vibrant crimson of copper red glaze, in particular, emerge with exceptional clarity and radiance.

Observing the process up close, one quickly realizes that such craftsmanship is far beyond the reach of amateurs. The head of the kiln’s repeated remark, "It's all about experience," left a lasting impression.

Once the shaping was complete, the next was painting the design. After finishing his brushwork, the fourteenth-generation master playfully revealed the result and said, "Not very good, is it?"

When our interviewer, Nishina-san, chuckled and remarked, "It has character," the kiln master replied, "That’s one way to put it." He went on to explain that his wife usually handles the painting, or at times, they outsource it to friends or skilled artisans.

His wife, in fact, comes from a kiln family and is a ceramic artist herself. When they first got married, he asked her to paint for him. At her family’s kiln, she had honed her craft, as painting onto bisque-fired ceramics requires both speed and precision—skills she had mastered over the years.

As the conversation unfolded, their warm relationship and mutual trust as both partners and coworker became evident. The husband shapes, and the wife paints. Their combined craftsmanship brings each piece to life. This harmony is what truly enhances the beauty of their pottery.

The fourteenth-generation kiln master draws a clear distinction between commercial products and artistic creations. While he typically fires pieces for sale in a gas kiln, he is deeply committed to using the climbing kiln—fired only twice a year—for creating art pieces. His dedication to this traditional method stems from a desire to get closer to the ceramics crafted by the first-generation master.

"In a climbing kiln, even the same glaze develops different expressions depending on how the flames touch the surface. That unpredictability is what makes it so captivating," he explains. The wood-fired flames envelop the pottery, creating unexpected variations in color and glaze that cannot be replicated.

The kiln master also has a deep commitment to his glazes. He carefully blends his own formula using a mix of Izumiyama pottery stone and ash. This unique composition allows for subtle color variations depending on the firing method, adding another layer of depth to his work.

"The greatest appeal of the climbing kiln is that no two pieces are ever the same," he says. True to his words, each vessel bears its own distinct character, making the process of choosing a piece an experience in itself.

The pottery fired in the climbing kiln undergoes several days of cooling after the firing process before it is finally ready to be unveiled. Team Musubi was fortunate to witness this moment.

The fourteenth-generation master, though smiling, showed a hint of tension in his expression. As he opened the kiln door, the pieces emerged, each shaped by the flames of the wood-fired kiln. A lingering warmth filled the chamber, with air that was reminiscent of a sauna. At the back, small footed bowls were neatly arranged.

Carefully, the kiln master removed each piece, meticulously inspecting the hues and the way the glaze had developed. "This one turned out close to what I was hoping for," he remarked, his expression shifting with each discovery. Some pieces did not fire exactly as intended, but that unpredictability is precisely what makes the climbing kiln so fascinating.

Team Musubi was guided by the head of the kiln to Izumiyama Quarry, a place that had come up many times in our conversations with him.

This site holds historical significance as the place where high-quality and abundant porcelain stone was discovered, playing a crucial role in laying the foundation for Japan’s early porcelain craftsmanship.

That day rain shrouded the landscape, limiting visibility. Yet as we looked up at Izumiyama, the very source of Arita ware, the scene felt almost sacred. A vast, quarry-like expanse stretched before us, dotted with massive porcelain stones, their fractured forms resembling fallen boulders. It was unfathomable that such exquisite ceramics could emerge from this terrain.

Yet, about 400 years ago, Le Sanpei arrived here and saw its potential. “This is where white porcelain can be made,” he declared, setting the foundation for what would become Arita ware, a tradition that endures to this day. Izumiyama Quarry remains an indispensable part of the Le Sanpei Kiln’s history.

“We still use this porcelain stone today. Unlike clay from other regions, it has lower plasticity and a distinct shrinkage rate,” the head of the kiln explained.

We asked the fourteenth-generation kiln master of the Le Sanpei Kiln about his mindset, vision for the future, and thoughts on preserving tradition.

When asked about the first-generation master, the kiln master described him as "a figure beyond reach, almost like a deity," his gaze filled with deep respect. He humbly admitted, "My own work is still nowhere near that level."

"Four hundred years ago, Le Sanpei was brought to Japan, a land with a different language and culture, and tasked with creating ceramics. The hardships he must have faced are unimaginable. Yet, he overcame those challenges and firmly established Japan’s porcelain tradition. That, in itself, is an extraordinary achievement."

The fourteenth-generation kiln master, too, harbors an ambition—to create ceramics in Korea, using Korean clay and a traditional Korean climbing kiln.

"The foundation of pottery should remain rooted in historical forms, but adapting them to fit the modern era is just as important. Similar to how the first-generation master came from Korea to Japan, I want to take on a new challenge in Korea myself."

His words reflect a commitment to honoring tradition while also looking toward the future.

His views on succession are equally clear. "Whether my daughter continues this legacy or not is entirely up to her. However, if she does, I hope she will take on new challenges that align with the times."

As our conversation drew to a close, he added one final thought: "Whether it’s a climbing kiln or a gas kiln, it doesn’t matter. But I hope that Izumiyama porcelain stone will always remain part of the process."

His unwavering dedication to the origins of Arita ware, which has endured for over 400 years, is not just a source of pride but a testament to his commitment to preserving tradition for future generations.

Pottery is more than just a tool—it is a reflection of culture, infused with the thoughts and history of its creators. The works of the Le Sanpei Kiln carry on this legacy, passing from one generation to the next.

"A vessel holds true value when it is used. Nothing makes me happier than knowing my pieces are part of someone’s everyday table." These words from the fourteenth-generation master resonated deeply. When you hold a piece fired in the climbing kiln of the Le Sanpei Kiln, remember the story behind it.

To ensure that Arita ware’s 400-year-old tradition lives on, the head of the kiln continues to push boundaries and take on new challenges. We eagerly anticipate the works he will create in the years to come.