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TRADITIONAL CRAFTS

Kasama YakiKasama Ware

As for the Kasama Yaki, it is considered to be opening at the middle of the Edo era that craftsman of Hakoda (now the Kasama city) baked kiln by instruction of ceramist of Shigaraki Yaki. We received protection, encouragement of feudal clan until Kasama feudal clan disappeared by establishment of prefectures in place of feudal domains in the Meiji era.
Until the about 20s of the Showa era, a lot of kitchen utensils such as bottle or earthenware mortar were baked after Kasama Yaki was born, but kind of product made little by little changed, and dining table article and vase or ornaments such as tableware came to be made now.

Kasama Yaki started in the middle of the Edo period (1600-1868) and was influenced by the feudal system until the abolition of the clans and the establishment of prefectures in the Meiji period (1868-1912).
Many kitchen utensils such as mixing bowls and jugs were produced from the outset up until about 1945. The type of products fired have changed gradually over the years since the end of World War II and at present tableware, flower vases and ornaments are being made.

Many different potteries, potters and outlets make or sell Kasama Yaki. Most of the products are handmade. The area is attracting attention because of the great variety of styles which exist, ranging from some really original pieces to those which are more traditional, and still others with a more modern look.

  • Notification

    skills and techniques

    1
    Molding is thing by potter's wheel molding, model raising molding or hand twist molding.

    2
    When do design charge account of basis material, thing by engobe, brush eyes, itchin, pressing a flower design in intaglio that carve, and fly, and are cancer or pasting.

    3
    When do china-painting with underglaze color, thing by line drawing pattern, shading off, itchin or painting. In this case, paint has with "rain paint" or "copper paint" "iron paint" "asbolite paint".

    4
    Is about to soak glaze hook, and is about to drain, and is about to drain, and hang pipe, and or scratch at comb; thing by last joke. In this case, as for the glaze, it is said with "sea cucumber glaze" or "irabo glaze" "rice bran white glaze" "candy glaze" "blue fabric glaze" "green glaze" "black glaze" "regular white glaze" "persimmon glaze".

    Raw materials

    As for the potter's clay to use, it be said that we have materials which are equal to "frog eyes clay" or these "Kasama clay".

  • Work scenery

    We use red-brown clay ooomoni including iron content and introduce process of the Kasama Yaki Kasama Yaki, here building up product warm one by one.

    Process 1: Soil sample digging

    We dig clay unknown underground of mountain and field. Kasama clay, frog eyes clay, Takahagi frog eyes clay, Kitaibaraki soft clay are used.

    Process 2: Akutsu soil process (the making of clay)

    We leave out in the open in the outdoors and mix water and we work out and will have jo and make clay with dug clay for a while. It is made with clay by elutriation, and there is the making of clay with Tron mill and filter press machine.

    Process 3: Chrysanthemum fir tree process

    We work out like petal of chrysanthemum by hand and let air and measure equality of moisture.

    Process 4: Molding process (form)

    For molding, we raise potter's wheel molding (technique 1 handles making of ball 3 making of limit 2 4.of next), model, and there are molding (we model, and technique 1 wakes up model law 2 law), hand twist molding (technique 1 works out 2.making of string 3.the making of board). By these methods, we make various forms.

    Process 5: Basis material decoration process

    We hang mud and carve brush eyes and we fly and heap up plane (itchin) and put processing for basis material by methods such as soaked in pattern (pressing a flower design in intaglio, pasting).

    Process 6: Dry process

    We dry on the average not to produce distortion and crack by single dehydration. There are shade drying, sun drying, (artificially) to hot-air dry.

    Process 7: Unglazing process

    We put well dry product in the kiln, and glaze is easy to suffer at 800 degrees from 700 degrees for 15 hours from approximately ten hours and is done bare roast to be easy to do the handling.

    Process 8: China-painting with underglaze color process

    We attach paint, glaze to writing brushes and attach sketch to product performed bare roast of. Besides, we do ooziness to be similar and put makeup soil for the surface at the time of half dehydration and it is sheet metal and scrapes off aspect of basis material again and describes design, and there is the manufacturing method sticking design on. There is decoration to make overglazing to baking product, and to print at 800 degrees.

    Process 9: hodokoshiuwagusurikohodo (we hang glaze)

    We hang glaze (black glaze, white mat glaze, ash glaze, milk white glaze) to product performed bare roast of. We are about to dip and are about to drain and are about to drain and hang pipe and, at comb, are performed kakiotoshinadogaari hardly by hand.

    Process 10: This grilled process

    We put half-finished goods made hodokoshiuwagusuri in ascending kiln, gas kiln, electric kiln, the kerosene kiln and, for approximately 20 hours, are done this roast at 1,300 degrees from 1,250 degrees.

    Process 11: Finish, inspection process

    It is kiln, and it is finished product thing which went along investigation inspection whether there are not finish, breaking with done product smoothly one by one at bottom.

  • Close-up

    Kasama Yaki which tradition and free air harmonize with

    Kasama Yaki with the Edo era, tradition from the Yasunaga year (1772 through 1781). It is not only technique to have been informed. Joy of the colander spirit of inquiry and creation has been also inherited in love, interval to soil. We use red-brown clay mainly and continue producing products with unique warmth.

     

    Generous air based on tradition and it

    In the Edo era, Kuno half gate-guard office of Hakoda village (current Kasama-shi) began ceramic ware by ceramist of Shigaraki, instruction of long gate-guard office in the Yasunaga year. Shallows soldier of the Imperial Guard of son-in-law inherited kiln which half gate-guard office got, and we served with younger brother, good luck Saburo of long gate-guard office, and stood and we made superior ceramic ware inherited in now and gave. This is the origin of Kasama Yaki. Thereafter there are few Kasama Yaki having tradition and the history that have been inherited from parent to child from teachers more than 200 years to pupil, unexpectedly formal form or firm traditions. Such free character continues producing unit-related new works which overflowed in tradition and there are many young ceramists and plays an active part. We do not hear voice such as lack of successor in Kasama Yaki. We asked one, Akio Nukaga of young ceramist story this time.

    Akio Nukaga having one of the works

    Consideration to customer having you use

    Generous character, young ceramist heard that it was a lot and described image of ceramist of strong artist skin of original consciousness in head. However, such a preconception collapsed meeting Nukaga easily and left. "We aim at work which good work, customer of atmosphere are easy to use." Since we have customer spend as well as artistic sense, it is easy to get close and should be easy to use. Nukaga who has such a faith. Work which he creates has soft warmth as well as the person. And the real feel is the best, too. We have been moved with a feeling of fitting unintentionally when we picked up coffee cup. We have not come across coffee cup which came nicely to here so far. Tableware and vase, Kasama Yaki which there are many things to usually use casually including coffee cup and creates, heart of consideration to customer who is never imposition. This heart is the essence of Kasama Yaki.

    Coffee cup of Nukaga product fitting hand really well

    Tradition is mother of creation

    Is free; even if untie, tradition is inherited well for a little less than 200 years. Generous character does not disturb tradition and becomes big energy for the succession adversely. Because Nukaga thinks deeply about the past history, work of Kasama Yaki by oneself, we are doing with source of new creation. It is existence of customer and tradition that has been inherited that support in such a case when labor pains creating new thing torment ceramist consistently.

    We will go to Kasama

    Village, Kasama of ceramic ware. There are many galleries in Kasama-shi and can enjoy the world of really various Kasama Yaki casually. Work looking good on place that is formal from handy work which seems to be usable in everyday life casually. To stylish thing which there is thing seeming to be pretty, and there is thing of simple atmosphere and seems to look good with on slight memorial day. We are really full of individuality and variations. It borrows rent-a-bicycle in front of Kasama Station, and it will be good to make a tour of galleries leisurely. We can enjoy air of rich nature that small bird sings if we appear in the suburbs, and there are slightly many tourist attractions, too. It is deeper, and person to want to feel Kasama Yaki should go to forest Park of Kasama art. There are Ibaraki ceramic art Museum, hill of done Kasama industrial arts of ceramic art experience where we collected various works.

    Morinaga who is impressed deeply with work and personality of Nukaga, and trains himself/herself with Nukaga

    Craftsman profile

    Akio Nukaga (oyatadahiro)

    It was born in 1963.
    We are interested in ceramic ware for Tokyo Zokei University Era.
    We continue making with usability, thing of good atmosphere, consideration to customer having you use.

    Gleanings

    The world of Kasama Yaki

     

    • Stay type allotment Kleine gal ten that opened in Kasama-shi in 2001

     

     

Summary

Industrial art object name Kasama Yaki
Phonetic symbol kasamayaki
Classification of industrial art object Ceramics
Main product Western dishes, Japanese dishes, vase, ornament
Main production area Ibaraki / Kasama-shi, Mito-shi, Ishioka-shi, Hitachiota-shi, Hitachinaka-shi, Chikusei-shi others
The designation date October 8, 1992

Contact information

■local production associations

Kasama Yaki cooperative association
〒309-1611
2481-5, Kasama, Kasama-shi, Ibaraki
TEL: 0296-73-0058
FAX: 0296-73-0708

http://www.kasamayaki.or.jp/

■Associated exhibit space, facility

Characteristic

Kasama Yaki has pottery approximately 200 and ceramic art writer, store. We mainly attract attention with handmade product as individual thing and specific production center where work of various sensitivity coexists from thing doing of unprecedented new feeling to traditional thing.

There are nearly 200 pottery barns, potters and shops dealing in Kasama Yaki pottery products in the Kasama area of Ibaraki prefecture. The region garners a great deal of attention as its products are primarily hand made, and range from unique, never-before-seen pieces to traditional designs.

How to make

Because iron content is included in potter's clay of raw materials, Kasama Yaki becomes earthenware which is dark red if the same. We create works with various expression by giving decoration using thing which dissolved painting and white soil with water there. How to make is handmade, and thing which we made with methods such as potter's wheel, tatara, getting out twist is frequent.

The clay used for Kasama Yaki pottery is high in iron, and if no special steps are taken produces a dark red product. Therefore to produce a variety of different expressions, decoration techniques such as drawing pictures and applying white dirt turned into a paste are used. The products are hand-crafted, and many products produced by turning on a potters wheel, being cut from a sheet of clay or being entirely hand molded can be found.