Kyo Ware and Kiyomizu Ware
"Emblematic Pottery Flourishes in the Old Capital of Japan"

Kyo ware and Kiyomizu ware is one of Kyoto's representative crafts. Its a traditional craft designated by the Minister of Economy, Trade and Industry, named Kyo-yaki or Kiyomizu-yaki in Japanese.

There is no specific style, and all pottery techniques from various regions of Japan are used. Another characteristic of Kyo ware is that all processes, such as pottery wheel turning and painting, are done by hand. With a history that has developed along with traditional culture, Kyo ware is characterized by delicate painting and excellent modeling skills, resulting in ceramics of great elegance and highly pictorial qualities. Kyo ware and Kiyomizu ware were designated as traditional crafts by the Japanese government in 1977 and are very popular for its artistic quality.

Artistry and Design

Famed for their craftsmanship, artisans from all over Japan flocked to Kyoto due to the city's demand for tea ceremony utensils and other items from court nobles and feudal lords. Although lacking the materials required for traditional pottery clay production, these craftspeople used an array of imported ingredients to create unique and individual works of art. This led to a notion that anyone whose work was recognized had made it on their own merit, spurring many potters with confidence to try their luck at Kyoto's flourishing market.

Unlike Bizen and Arita ware which have fixed techniques, Kyo Ware and Kiyomizu Ware have no definitive hallmark. Each craftsman fashions their individual pieces by combining various molding methods such as hand-building, "Rokuro (potter's wheel)," and pouring with decorative touches like tinting, color painting, and rust painting. That is why these types of wares are said to be "without distinctive characteristics." It may appear unlikely that they all came from the same production region given the variety of styles; however there is a shared appreciation of refinement shared in all pieces along with excellent craftsmanship.

Around the time Kyoto was Japan's capital, culture itself was being ushered in by tea masters and court nobles. These people had no liking of mainstream pottery, rather they desired pieces of all shapes and colors not seen elsewhere. As a result various workshops sprang up to provide these unique-shaped vessels in response to their needs. It is because much of this process is done by hand that only a limited amount can be made; making them quite rare finds. The care with which Kyo ware and Kiyomizu ware are crafted is amongst the most appealing aspects as it distinguishes them from its peers.

Kyoto, the imperial city since time immemorial, was a vital hub for distribution. During the Middle Ages, it played host to an influx of domestic wares from Seto, Tokoname, Bizen, and Shigaraki as well as ceramics from China and Korea. Sue ware and other vessels had been crafted since the Heian Period (c. 794-1185), but it was during the Momoyama period (c. 1573-1600) and early Edo period (c. 1603-1867) that production shifted to utilizing climbing kilns.

The Edo period was a time of great advancement for the craftsmanship of Japanese pottery, particularly around Kyoto. Merchants from throughout the country brought artisans to this city and set about making pottery that represented regional styles. The tea ceremony was an activity which gained immense popularity, leading to the production of exclusive tea utensils and vessels. These items were crafted so well that they became deserving presents for esteemed tea masters, as well as court nobles and feudal lords.

Ninsei Nonomura, a potter from Tamba province, perfected brilliantly colored pottery, and Kenzan Ogata, the younger brother of the painter Korin Ogata, collaborated with his brother to create masterpieces using his own unique designs.

The two roads leading to Kiyomizu-dera Temple, Kiyomizu-zaka and Gojo-zaka, were popular during the Edo period. Locally made pottery was sold as souvenirs to visitors of the temple, crafted from local clay that was thought to bring luck. People flocked to the area and enjoyed these items to commemorate their visit.

In the late Edo period, Eisen Okuda succeeded in firing porcelain. This was followed by the emergence of master craftsmen such as Mokubei Aoki, Dohachi Ninami, and Hozen Eiraku, who produced a number of masterpieces.

In the Meiji period (1868-1912), with the relocation of the capital to Tokyo and the abolition of feudal domains, the city lost all of its previous demand base, including court nobles and various feudal lords. 1869 (Meiji 2) saw the establishment of an industrial promotion center to promote the industry and actively introduced European and American ceramic techniques. There was also a period when efforts were focused on products for export, but success did not last long, and the industry returned to its traditional high-end products.

In the Taisho era (1912-1926), the area around Kiyomizu-zaka and Gojo-zaka became too crowded and was newly expanded to Hiyoshi and Sennyuji areas. It is said that these sites were chosen not only because of their proximity to Kiyomizu-zaka and Gojo-zaka, but also because of the slope required to build a climbing kiln.

During this period, large-scale factories were opened in other production areas, and mass production of daily necessities by machine began one after another. Outstanding craftsmen who were forced out of their jobs moved to Kyoto. Although the workshops and factories in Kyoto were mainly small-scale, advanced techniques and tea ceremony utensils continued to be produced.

Today, Kyoto has schools where people can learn the techniques of Kyo ware and Kiyomizu ware, and an environment where people can train through employment in Kiyomizuyaki estates, attracting young people from all over the country who want to become potters in Kyoto. The pottery made in Kyoto, which is diverse and highly artistic, continues to be produced by new makers every day.

Variety nurtured by rich culture and history

As the capital of Japan, Kyoto has seen its fair share of history which is mirrored in the ever-changing styles of Kyo ware and Kiyomizu ware potteries. Ranging from luxurious decorative pieces to more simplistic designs with a homey feel, these arts surely enrich the hearts and minds of those who see them. As part of this historic city's rich cultural heritage, we expect both Kyo ware and Kiyomizu ware will continue to be held in high regard for many years to come.