As Japan’s historic capital, Kyoto has witnessed a rich tapestry of history that is beautifully reflected in the evolving styles of Kyo ware and Kiyomizu ware pottery. These ceramics range from lavishly decorative pieces to simpler, more rustic designs, each one adding a unique warmth and depth that resonates with those who appreciate fine craftsmanship. This variety not only showcases Kyoto’s cultural heritage but also brings an emotional richness to each piece, bridging the past with the present.

Part of Kyoto’s enduring legacy, Kyo ware and Kiyomizu ware are expected to remain highly valued for generations to come. These ceramics embody a tradition rooted in history, yet they continue to inspire admiration and respect. The artistry and heritage they represent ensure that Kyo and Kiyomizu wares will be cherished as symbols of Kyoto's profound cultural contributions.

Renowned for their exceptional craftsmanship, artisans from across Japan were drawn to Kyoto to meet the high demand for tea ceremony utensils and decorative items requested by court nobles and feudal lords. Although Kyoto lacked the natural clay deposits typically used in pottery, these craftsmen improvised by incorporating imported materials to create distinctive and individual works of art. Recognition in Kyoto’s competitive market became a mark of skill and creativity, encouraging many potters to showcase their talents and contribute to the city’s vibrant ceramic culture.

Unlike Bizen or Arita ware, which adhere to established techniques, Kyo ware and Kiyomizu ware are known for their stylistic diversity and lack a singular hallmark. Each artisan crafts unique pieces by combining various forming methods, such as hand-building, the potter’s wheel calledrokuro, and pouring, along with decorative techniques like tinting, color painting, and rust painting. Despite their stylistic variety, all Kyo and Kiyomizu pieces share a refined elegance and superb craftsmanship, giving them a sense of unified artistry.

During the era when Kyoto was Japan’s capital, tea masters and court nobility sought items that departed from mainstream pottery styles, favoring unique shapes and colors. This demand fostered the growth of numerous workshops dedicated to creating one-of-a-kind pieces for ceremonial use. Due to the meticulous handcrafting involved, production is limited, making these wares rare and highly valued. The attention to detail in Kyo and Kiyomizu ware is among their most captivating qualities, distinguishing them from other Japanese pottery traditions.

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 in Kyoto 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.