Complete Guide to Kiyomizu Ware (Kyoto Ware) | Thoroughly Explaining the History, Characteristics, and Kilns of Kyoto Prefecture’s Representative Ceramic Production Area
Kiyomizu ware (Kyoto ware), a traditional craft representative of Kyoto Prefecture, is one of Japan’s foremost ceramic production centers with a history spanning over twelve hundred years. As ceramics that concentrate brilliant decorative painting, advanced techniques, and Kyoto’s aesthetic sensibility, it receives high evaluation from both domestic and international audiences. This article provides detailed explanation of the production area, history, characteristics, manufacturing process, and development of Kiyomizu ware and Kyoto ware through to the present day.
What are Kiyomizu Ware and Kyoto Ware? A General Term for Kyoto’s Ceramics
Kiyomizu ware and Kyoto ware are general terms for ceramics fired in Kyoto. As a traditional craft designated by the Minister of Economy, Trade and Industry, it is registered under the name “Kyoto Ware and Kiyomizu Ware,” and is known as splendid and elegant ceramics based on high design capability and diverse techniques cultivated throughout Kyoto’s long history.
The Difference Between Kyoto Ware and Kiyomizu Ware
“Kyoto ware” is a broad term referring to all ceramics made in Kyoto. Historically, it includes Kiyomizu ware as well as Awataguchiware (Awata ware), Otowa ware, Yasaka ware, Mizoroike ware, Shugakuin ware, Seikanji ware, Omuro ware, and others.
On the other hand, “Kiyomizu ware” originally referred to works from kilns established approximately four hundred years ago at the foot of the Eastern Mountains in Kyoto, particularly around the Kiyomizu Temple. Currently, the term “Kiyomizu ware” is frequently used as a general term for ceramics fired in Kyoto, and Kyoto ware and Kiyomizu ware are treated as essentially synonymous.
Production Areas of Kiyomizu Ware and Kyoto Ware | Ceramic Regions Centered on Higashiyama Ward, Kyoto City
Distribution of Major Production Areas
The primary production areas of Kyoto ware and Kiyomizu ware are concentrated within Kyoto City, particularly in Higashiyama Ward, Yamashina Ward, and Fushimi Ward. The location of kilns centers on Higashiyama, and from there they have been scattered throughout Rakuto and Rakuhoku.
Higashiyama and Gojo-zaka Area
In particular, the Higashiyama and Kiyomizu Temple vicinity is also known by the popular names “Gojo-zaka” and “Chawan-zaka” (tea bowl slope), and as a ceramics town, many potters have established workshops here since ancient times. Gojo-zaka is the most important ceramic production area in Kyoto, and many kilns continue to gather here today.
The name Chawan-zaka is said to derive from the ruins of kilns built by the monk Gyoki at Seikanji (Higashiyama Ward, Kyoto) during the Nara period, where earthenware was manufactured. From the Edo period through the early Showa period, this area prospered as the center of Kyoto ceramic production.
Awataguchiarea
In Awataguchiarea, prominent kilns such as Kinkosan, Iwakura, and Hozan, responding to orders from shoguns, the imperial court, and various feudal lords, carried out traditional ceramic production centered on old Kiyomizu ware. This later became known as “Awata ware” and played an important role in Kyoto ware.
Otowa Area
Three locations—Awataguchiarea, Kiyomizu, and later Gojo-zaka—became Kyoto’s major ceramic production areas. The Otowa area also functioned as an important base for Kiyomizu ware development.
Current State of Production Areas
From the Meiji period onward, with urban development, some kilns relocated to surrounding areas such as Yamashina Ward and Uji City, but the traditional production area centered on Higashiyama Ward continues to function today as the center of Kyoto ware and Kiyomizu ware production and culture.
History of Kiyomizu Ware and Kyoto Ware | A Lineage of Ceramics Spanning Over Twelve Hundred Years
Ancient Period and Nara Period (Early 8th Century)
The history of ceramics in Kyoto traces back to over twelve hundred years ago. In the early 5th century, potters in what is now Uji City and Fushimi Ward, Kyoto City, are said to have made vessels for Emperor Yuraku.
In the early 7th century, ritual vessels and roof tiles were made near Rakuhoku and Kamigamo. In the early 8th century, during the Nara period, the monk Gyoki received an imperial edict and opened a kiln in Atagagun, Yamashiro Province, building a kiln at Seikanji to manufacture earthenware. The ruins of this are known as Chawan-zaka.
Heian Period Through Medieval Period
Kyoto, ancient as it was, was a center of distribution, and during the medieval period, large quantities of domestic pottery from Seto, Tokoname, Bizen, Shigaraki and ceramics from China and Korea flowed in. From the Heian period of Kyoto, production of Sue ware and other ceramics occurred, but during this period Kyoto functioned strongly as a consumption center for ceramics, and full-scale ceramic production had not yet begun.
Momoyama Period Through Early Edo Period (Late 16th Century–Early 17th Century)
Ceramics began to be made using climbing kilns from the Momoyama period through the early Edo period. During this time, with the flourishing of tea ceremony culture, full-scale ceramic production began in Kyoto.
Under the influence of tea masters including Sen no Rikyu, demand for tea ceramics increased, and ceramic manufacturing techniques unique to Kyoto developed.
Early Edo Period (Mid to Late 17th Century)
The golden age of Kyoto ware arrived in the early Edo period. The representative ceramic artist of this era was Nonomura Ninsei. Ninsei perfected the technique of colored enamel ceramics, establishing the position of Kyoto ware through brilliant decorative painting and elegant forming. Ninsei’s works were highly valued by the imperial court, nobility, and daimyo, spreading the fame of Kyoto ware throughout the nation.
Following Ninsei came Ogata Kenzan. Through cooperation with his brother Ogata Korin, Kenzan opened new horizons for Kyoto ware with original designs and innovative pattern expression. Kenzan’s works possess high artistry and continue to influence many contemporary ceramic artists.
Mid to Late Edo Period (18th–Early 19th Century)
During this period, Kyoto ware achieved further technological development. Okuda Eisen became the first to successfully fire porcelain in Kyoto, bringing new possibilities to Kyoto ware. Master craftsmen such as Aoki Mokubei and Ninnami Dohachi also flourished, each establishing their own techniques and styles.
Meiji Period (Late 19th–Early 20th Century)
With the arrival of the Meiji period, Kyoto ware and Kiyomizu ware entered a major turning point. Amid the influx of Western culture and the wave of modernization, Kyoto ware developed also as an export industry. Under the Meiji government’s industrialization policy, through exhibition at world expos, Kyoto ware and Kiyomizu ware were widely introduced domestically and internationally.
During this period, technological innovation also progressed, with active research on new glazes and development of manufacturing techniques. Many works were produced that preserved traditional techniques while meeting the needs of the times.
Modern Period (20th–21st Century)
In the postwar period, Kyoto ware and Kiyomizu ware established their position as traditional crafts, while works adapted to modern lifestyles also began to be produced. In 1977, they received designation as traditional crafts by the nation.
In the present day, kilns preserving traditional techniques and ceramic artists pursuing new expression coexist, with diverse works being presented. Multiple artisans have been designated as Living National Treasures, and the techniques and high artistry of Kyoto ware and Kiyomizu ware continue to receive high evaluation domestically and internationally today.
Characteristics of Kiyomizu Ware and Kyoto Ware | Diverse Techniques and Splendid Design
The Freedom of No Unified Style
The greatest characteristic of Kyoto ware and Kiyomizu ware is that it does not possess a specific unified style. Whereas ceramics from other production areas have clear characteristics determined by region-specific soil and techniques, Kyoto ware and Kiyomizu ware has seen individual potters and kilns pursue their own techniques and styles.
This stems from Kyoto’s position since ancient times as a cultural center where various information and techniques have gathered. Potters learned from Chinese and Korean ceramics and ceramics from throughout Japan, interpreting them uniquely to create new works.
Splendid and Refined Decorative Painting
Kyoto ware and Kiyomizu ware feature brilliant and meticulous decorative painting as a major characteristic. Using decorative techniques such as colored enamel, gold leaf, and silver leaf, elegant and refined patterns are expressed. This painting technique was fostered and refined within tea ceremony culture.
Representative patterns include flowers, birds, natural scenery, auspicious designs, and geometric patterns, each reflecting Kyoto’s aesthetic sensibility. The colored enamel technique called Ninsei style is received as the representative decorative technique of Kyoto ware and continues to be passed down today.
Accumulation of Advanced Techniques
In Kyoto ware and Kiyomizu ware, both earthenware and porcelain are produced, and various techniques are employed. All processes—forming techniques such as wheel-throwing, hand-shaping, and mold-forming; glazing; decorative painting; and firing—require advanced techniques.
In particular, glaze research and development is an important element of Kyoto ware, with diverse techniques in glaze technology producing varied colors and textures having developed. Various glazes such as transparent glaze, colored glaze, and crystalline glaze have been researched and applied to unique expression.
Tradition as Tea Ceremony Ware
Kyoto ware and Kiyomizu ware have been closely connected to tea ceremony culture. The production of works as tea utensils—tea bowls, tea caddies, water containers, flower arrangements—is an important field of Kyoto ware. A unique tea ware has been created that merges the spirituality of “wabi and sabi” sought by tea masters with Kyoto’s elegant aesthetic sensibility.
All Production Through Handwork
In the modern era, most Kyoto ware and Kiyomizu ware continues to be produced through handwork. The commitment to handwork rather than mass production has been preserved as a tradition of Kyoto ware. Through handwork, whether tea bowl or objet d’art, the artist’s individuality and spirit become embedded in each piece.
Materials and Tools of Kiyomizu Ware and Kyoto Ware
Raw Materials
Kyoto ware and Kiyomizu ware employ various clays. One characteristic is that not only local soil but also high-quality clay sourced from throughout Japan is used.
Earthenware Clay: Shigaraki soil, red soil, white soil and others are used. Each soil’s characteristics are understood, and selection or blending is done according to the work’s purpose.
Porcelain Clay: Porcelain clay using Amakusa pottery stone as the raw material is employed. High-quality refined materials are required to produce white and dense porcelain.
Glazes: Made through blending feldspar, ash, metal oxides and others. Kyoto ware has seen diverse glaze research and development, with transparent glaze, white glaze, colored glaze, crystalline glaze and others being selected according to the effect desired to be expressed.
Primary Tools
Wheel (Rokuro): A rotating platform for forming circular vessels. Both electric wheels and kick wheels exist.
Spatula and Plane: Tools used in forming and scraping work. Various shaped tools are selected according to use.
Brush: Brushes used in decorative painting. Various thicknesses and bristle qualities are prepared to paint detailed patterns.
Kiln: Equipment for firing works. In the modern era, electric and gas kilns are mainstream, though some kilns continue to use traditional wood-fired kilns.
Manufacturing Process of Kiyomizu Ware and Kyoto Ware
The production of Kyoto ware and Kiyomizu ware proceeds through numerous processes to completion. All processes are performed by hand, and advanced techniques and experience are required.
1. Clay Preparation (Clay Wedging)
Clay is refined and impurities removed. Afterward, air within the clay is removed and the clay is thoroughly wedged to achieve uniform firmness. This process is called “chrysanthemum wedging” and is an important operation for conditioning the clay’s quality.
2. Forming
Wheel Throwing: With the wheel rotating, clay is formed using hands and tools. This technique is used when making circular vessels such as tea bowls and plates.
Hand-shaping: A technique of directly shaping clay by hand. Free forming is possible, applied to objet d’art and shaped vessels.
Mold Forming: A technique of forming clay by pressing it against plaster molds and others. Used when making multiple vessels of identical shape.
3. Scraping and Finishing
Once the formed work reaches a half-dry state (leather-hard), the foot (koudi: the bottom portion of the vessel) is scraped out and the overall form is refined. The final form of the work is determined in this process.
4. Drying
The work is completely dried. If dried too rapidly, cracking results; therefore, works are left to air-dry naturally over time.
5. Bisque Firing
The dried work is fired at approximately 800 degrees. Through bisque firing, the work hardens and becomes in a state where glaze can be applied readily.
6. Underglaze Decoration (Blue and White Ware)
On the bisque-fired work, patterns are drawn using gosu (a pigment with cobalt as the main component) and others. Decoration at this stage is called “underglaze” as it enters beneath the glaze.
7. Glazing
Glaze is applied to the entire work. Various techniques exist such as immersion glazing, pouring, and spraying. The glaze’s thickness and uniformity significantly affect the final appearance.
8. Glost Firing
The glazed work is fired at high temperature of approximately 1200–1300 degrees. During this process, the glaze melts to form a glassy layer, and the work is completed. Temperature management and firing duration are critical processes affecting the final quality.
9. Overglaze Decoration
On the glost-fired work, patterns are painted using colored pigments or gold leaf. Much of Kyoto ware and Kiyomizu ware’s splendid decoration is expressed through this overglaze decoration.
10. Overglaze Firing
To set the overglaze, the work is fired again at approximately 800 degrees. As firing temperature differs by color, multiple firings may be necessary.
11. Completion
After proceeding through all processes, the Kyoto ware and Kiyomizu ware work is completed. It may take from several weeks to several months to complete a single work.
Master Craftsmen and Kilns of Kyoto Ware and Kiyomizu Ware
Historic Master Craftsmen
Nonomura Ninsei (Mid-17th Century): A ceramic artist who perfected colored enamel ceramic technique and established the golden age of Kyoto ware. Known for brilliant colored decoration and graceful forming.
Ogata Kenzan (1663-1743): A ceramic artist who opened new horizons for Kyoto ware through original design and innovative pattern expression. Works created in cooperation with his brother Ogata Korin are also famous.
Okuda Eisen (1753-1811): A ceramic artist who was the first to successfully fire porcelain in Kyoto. Opened the path of porcelain production for Kyoto ware.
Aoki Mokubei (1767-1833): A literati ceramic artist specializing in sencha ware. He created unique works based on research into Chinese ceramics.
Ninnami Dohachi (1783-1855): A master craftsman of the late Edo period. Proficient in various techniques, he was particularly skilled in colored enamel and brocade style work.
Contemporary Kilns and Artists
In the modern era, many kilns and ceramic artists continue to work in Kyoto. Kilns that inherit traditional techniques, artists pursuing new expression—each produces unique works, transmitting the tradition of Kyoto ware and Kiyomizu ware to the present. Multiple artists have been designated as Living National Treasures, and their techniques and artistry are highly evaluated domestically and internationally. In the Gojo-zaka and Higashiyama areas, workshops offer kiln viewing and ceramic experience programs where visitors can directly experience the appeal of Kyoto ware and Kiyomizu ware.
Contemporary Development of Kyoto Ware and Kiyomizu Ware
Coexistence of Tradition and Innovation
Contemporary Kyoto ware and Kiyomizu ware preserve traditional techniques while also challenging new expression and use development. Beyond tea utensils and daily tableware, diverse works are produced including interior objets d’art and accessories.
Domestic and International Dissemination
Kyoto ware and Kiyomizu ware receive high evaluation as Japanese traditional crafts both domestically and internationally. Through exhibition at overseas museums and galleries and submission to international craft exhibitions, their appeal is disseminated globally.
Successor Development and Technique Transmission
The succession of traditional techniques is an important issue for Kyoto ware and Kiyomizu ware. Educational institutions and training facilities where ceramic art can be studied exist within Kyoto, with next-generation potter development being undertaken. Additionally, apprenticeship systems at kilns continue, with practical technique succession being promoted.
Experience and Tourism
For tourists visiting Kyoto, ceramic experience and kiln-viewing programs are provided. Through wheel-throwing and decorative painting experience, visitors can directly experience the Kyoto ware and Kiyomizu ware manufacturing process, providing opportunity to deepen understanding of traditional crafts.
Kyoto Ceramic Museum and Area Initiatives
The Kyoto Ceramic Museum is a facility with the purpose of promoting and disseminating Kyoto ware and Kiyomizu ware. In its exhibition spaces, diverse Kyoto ware and Kiyomizu ware can be viewed, from historic works to contemporary artists’ creations.
The production area overall, centered on the Kyoto Ceramic Association, undertakes efforts in technique research, personnel development, and market development. While preserving the value as traditional crafts, development of works suited to contemporary living also progresses.
Purchasing and Appreciating Kiyomizu Ware and Kyoto Ware
Purchase Methods
Kyoto ware and Kiyomizu ware can be purchased at kiln direct shops, ceramic shops, and department stores within Kyoto City. Numerous ceramic shops gather around the Gojo-zaka area, allowing comparison shopping among various works.
Online shops also allow purchase; however, it is recommended to see and handle pieces in person to confirm texture and weight. Many works bear the artist’s signature or kiln mark, which also become points of appreciation.
Points of Appreciation
When appreciating Kyoto ware and Kiyomizu ware, attention to the following points allows deeper enjoyment of the works.
- Form: Overall balance, the foot’s construction, finish of the rim
- Decorative Painting: Pattern’s intricacy, color harmony, composition’s beauty
- Glaze: Color development, texture, beauty of crackling (surface cracks)
- Feel: Tactile sensation when held, weight balance
Conclusion
Kiyomizu ware and Kyoto ware, representative traditional crafts of Kyoto Prefecture, possess a history spanning over twelve hundred years and are characterized by diverse techniques and splendid design. In the production area centered on Higashiyama and Gojo-zaka, many kilns and ceramic workers continue today to inherit traditional techniques while also challenging new expression.
The tradition established by master craftsmen such as Nonomura Ninsei and Ogata Kenzan has been passed to contemporary artists, continuing to produce exemplary ceramic artists including those designated as Living National Treasures. The aesthetic sensibility of Kyoto ware and Kiyomizu ware, fostered within tea ceremony culture, bears important responsibility as part of Japan’s fine and decorative arts.
Each piece of Kyoto ware and Kiyomizu ware, produced entirely through handwork, is a unique work without equal. When visiting Kyoto, be sure to visit the production area and directly experience its history, technique, and beauty. Beyond its value as traditional craftsmanship, the appeal of Kiyomizu ware and Kyoto ware as vessels enriching daily life is a major characteristic.
