Mashiko YakiMashiko Ware

It began under the influence of middle part, Kasama Yaki of the 19th century. Early Mashiko Yaki caught support of feudal clan and baked daily necessities, and thing made in that way was used in kitchen of Edo.
Shoji Hamada after starting writer activity had a big influence on ceramists who lived in Mashiko from 1924. From there, containers which arranged dining table article and flower got close to as Mashiko Yaki came to be made now. Using high quality potter's clay of Mashiko, powerful works are created in traditional technique such as white makeup, fine striped pattern (brush) in large quantities.

The distinctive Mashiko style of pottery developed sometime about the middle of the 19th century having come under the influence of Kasama Yaki. In the early days, everyday articles were made with the support of the local clan and many of the pieces found their way into the kitchens of Edo.
Shoji Hamada, who began work as an studio potter in 1924, influenced the potters living in Mashiko and the tableware and flower vases that are being made there now, have the recognizable stamp of Mashiko Yaki, with which so many people are familiar. Today, using good quality Mashiko clay, some dynamic pieces of pottery utilizing such traditional techniques as a white cosmetic dribble of glaze and brushmark slip decorations are being produced in large quantities.

Mashiko Yaki has made many friends with its gentle luster born out of a union between, among other things, glazing techniques and Mashiko clay, which boasts traditional attributes. Crockery of an amazing variety is produced along side such things as flower vases by 320 firms employing 338 people. Among these are no fewer than 10 government recognized Master Craftsmen whose work ensures the fame of Mashiko Yaki extends far beyond the shores of Japan.

  • Notification

    skills and techniques

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

    When do design charge account of basis material, wear engobe, and carve eyes, and fly; thing by plane or itchin.

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

    You are about to soak glaze hook and are about to drain, and depend it is about to drain or to describe pipe. In this case, as for the glaze, it be said with "ash glaze" or "rice bran celadon porcelain glaze" "rice bran white glaze" "rain glaze" "black glaze" "persimmon red glaze" "regular white glaze".

    When do glaze overglazing, thing by line drawing or shading off. In this case, paint has with "iron dust paint" or "copper paint" "asbolite paint".

    Raw materials

    Yes, it be said that potter's clay to use for soil has materials which are equal to Shinpukuji clay, Kitago Valley clay, Kibushi clay or these.

  • Work scenery

    Process 1: Potter's clay digging

    Even if moderate plasticity is necessary for potter's clay, and stickiness is too strong, we are ill even if too weak, and we bake at breaking and high temperature in drying, and form must be thing which does not collapse. Kinds become various, and potter's clay which was refined by machine in cooperation facility factory of association is used other than old soil sample now.

    Process 2: suihi

    We dry potter's clay which did kutsu and crush and can enter water tank and we stir and remove garbage, sand, and it is to potter's clay which can enter different cistern, and precipitates potter's clay of muddy liquid form, and takes, and dries, and is usable.

    Process 3: Soil fir tree

    Garbage and air left in potter's clay are removed when we repeat wild fir tree and small fir tree before putting on potter's wheel. Soil which we suffered hardship in well is good on potter's wheel, and growth work is easy. We repeat wild fir tree and small fir tree in this way to make it easy to mold at the same time to measure uniformity of soil. "Chrysanthemum fir tree" means this. We knead a mixture of two kinds or further soil and, depending on soil, make up for mutual faults. We let soil which we rub and put up idle for a few days.

    Process 4: Molding

    Potter's wheel is important in Mashiko, but there is die cutting using gypsum, too. We dry completed article in the sun once and dry and we sharpen to fix form on potter's wheel again if it is in moderate hardness and work and finish. We dry enough in outdoors on fine day and put up thing which finished which we finished.

    Video is played when we click image

    Process 5: Unglazed

    Unglazing makes absorption of paint and glaze better. We often bake by kiln of this roast and are baked at 700-800 degrees Celsius.

    Process 6: Glaze hook with picture

    Metal such as iron, copper, manganese, cobalt, chrome chemically changing at high temperature is included in paint and glaze. Glaze increases charcoal or coal, kaolin in long nature of a rock and makes transparent glaze and we add metal oxide thing on the basis of this and make color glaze. Mashiko Yaki makes persimmon glaze and black glaze using much natural red powder and yellow ocher, and rice bran white glazes using straw ash, ash, rice bran ash are used and provide unique taste.

    Video is played when we click image

    Process 7: Getting out burning, kiln

    Work which hangs glaze with picture, and was done is baked at 1200-1300 degrees Celsius. We burn in 3 night and day from 2 night and day. We came to often perform burning with fuel such as heavy oil, gas recently. Getting out kiln is begun after burning being over, and cooling on around 2nd.


  • Close-up

    Traditional - Mashiko Yaki named new star

    Mashiko whom the name is known to abroad as production center of earthenware. Mountain which is slightly elevated in the fields opening gently and blessing in the four seasons to color hill, pond, strawberry, persimmon, grape, village including apple which waterfowl swoops down in spring, and are covered to thin ice in winter. Town which lets person coming for the first time feel some nostalgia. We asked Katsuhiko Enokida about charm of Mashiko Yaki born against a backdrop of such climate.


    Change of nature and change of Sue law

    As for the Mashiko Yaki, it was said to Keisaburo Otsuka who trained himself/herself having built kiln in Kasama in last years of Edo era that it began and thereafter accomplished development as bowl, water jar, production center of tool of daily use including earthenware teapot because producing superior potter's clay, big market Tokyo were near. Enokida is the fourth generation. Sue law was old, too and discovered the reserve ground of clay in hill and built kiln in the ground and it was self-sufficient and produced when we cut and brought down Akamatsu of fuel.
    However, in late years we ate pine by heat, and, probably because of warming, insect occurred in large quantities, and big Akamatsu completely died, and pine small recently has died. Because oil content included in one of Akamatsu is eaten, heat becomes weak even if we make fuel. It is said that there was not such a thing during long history. Hilly section case was a part for cycle of life once to make fuel, and to make compost. Life of people has changed from such times. Mountain is stormy when we do not care for. "Still Enokida to tell to be, we come out all at once when nameko and shiitake are autumn in mountain behind" still does work of the U.S. structure and field by oneself. While, in old days, study all agriculture, is family that derives only part of its income from farming half Sue definitely. It was way of nature of people of Mashiko of life. A lot of big ascending kilns were seen along slant place, too. It is said that we turned into kiln of gas since the age of oil crisis in Mashiko. Home of Enokida changed place that was successive ascending kiln and big factory little by little, too. The whole of Mashiko Yaki transformed. Enokida lives in changing Mashiko while being particular about traditional Mashiko Yaki like way of nature which has been inherited of life from generation to generation.

    • Big water tortoise using ash of apple

    • Trough

    The skill of big water tortoise - Mashiko making with potter's wheel

    Thick container which fully did that shiny smooth skin has Mashiko Yaki. Warmth gradually reaches if we use for a long time when we give using with palm. As we accepted internal and external ceramists as base of folk handicraft campaign from the Taisho era, nature of the locality to be full of go-aheadism is big charm of Mashiko. There are a lot of containers of new design in place of Enokida depending on change of food culture and lifestyle. There were many water jar, earthenware mortar, troughs in old days even if we said life product. Trough is intended to knead udon and side. As it does not work when we are heavy and knead, in fact, than to thing it is easy to use. Water jars from daily necessity of the door displayed. Sense entered teapot, bowl, plate which appeared on the table at necessities of the state of things in glaze to use and the color ainadonimo present age.
    Enokida stares at traditional Mashiko Yaki while we did so. The skill that tradition has difficult that we turn potter's wheel and build up big thing. The also best body game. Because it is said that it is around 40-50 years old that potter's wheel technology is completed, it is said that masterpiece can be completed only at limited time in the life of craftsman. It is surely hard labor to turn big water jar while hurting waist. Saying "do not know whether can make how many more"; Enokida. Important thing that we still use tool which lasted four generations. Hand structure tools made of cherry trees are slightly lovely. Such a late warmth of the hand will let Enokida go to the traditional skill. In place of Enokida "is like that, and lend breast, and is. There are really many people who say, this is Mashiko Yaki, and enter with pleasure.

    • Traditional potter's wheel to turn with foot

    • Photograph of Enokida and father

    • Enokida ceramics

    Newness and tradition that joy to make produced

    At first, sense that we are gradually absorbed in even if not too interested. This is charm of ceramic ware. We have never thought, "I hated today, do not want to make". Place where it is interesting to discuss sensitivity and sensitivity while receiving criticism. It is right work with response for Enokida. It is good ceramic ware not to be found not to try, and such somewhere is place to take pains over. However, ceramic ware has reaction and scientific part which pretext included. Therefore there is worth of trial and error, too. Enokida is going to remodel kiln this time. "We do not know whether you improve, but try." After all go-aheadism may root in Mashiko.
    Enokida that to is perfect for daughter succeeding after oneself. After all we think that we cannot defy flow in the times when we see that we cook grilled dish of sense different from oneself. We enjoy texture using Enokida, ash which we mixed in various ways. Big water tortoise which we made with ash which we burnt tree of apple and made. Tree of apple was reborn in one of traditional water tortoise modestly. We are brought up in tradition and generosity of such a new star with functional beauty on day and may be loved.

    • Tool which we inherited from generation to generation

    • Tool like love made with cherry tree

    Craftsman profile

    Katsuhiko Enokida

    The fourth generation of Enokida ceramics.
    We inherit business since the age of 20 years old. Soil of Mashiko and Master of Traditional Crafts which went together well


    Earthenware city

    Earthenware city begins in 1966 (Showa 41) and, in average year, is held around spring Golden Week and autumn November 3. Approximately 500 tents stand in a row other than store approximately 50 store, and is sold from traditional Mashiko Yaki to daily necessities, art such as cup or plate. We can enjoy direct conversation with rising writer and craftsmen of pottery by tent. Not only ceramic ware but also sale of local farm products and special product is carried out, and there are approximately 500,000 crowds in spring and summer. Earthenware City which we completely fixed as festival. It is chosen as "100 selections of festivals of Tochigi". Anyway, from big water tortoise to small small sake cup, it does well.

    <holding place>
    Each site in Mashiko-machi (Jonaizaka, the sayado district center)
    From Mito IC via Joban Expressway Mito IC, Route 50 approximately 60 minutes
    From Kanuma IC via Route 123 via the Tohoku Expressway Kanuma IC, Utsunomiya city approximately 60 minutes
    Getting off at railroad JR Tohoku Main Line Oyama Station, Mito Line Shimodate Station, Moka railroad Mashiko Station. Approximately 20 minutes on foot
    From bridge stop of getting off at bus JR Tohoku Main Line Utsunomiya Station west exit, shrine
    It is approximately 60 minutes from Tono bus Mashiko line, Utsunomiya

    Earthenware city executive committee
    (Mashiko-machi tourist association)
    TEL 0285 (70) 1120

    • Earthenware city of the large prosperity




Industrial art object name Mashiko Yaki
Phonetic symbol mashikoyaki
Classification of industrial art object Ceramics
Main product Tableware, vases
Main production area Tochigi / Moka-shi, Mashiko-machi, Haga-gun, Ichikai-machi, Motegi-machi
The designation date August 3, 1979

Contact information

■local production associations

Mashiko Yaki cooperative association
4352-2, Mashiko, Mashiko-machi, Haga-gun, Tochigi
TEL: 0285-72-3107
FAX: 0285-72-3058

■Associated exhibit space, facility


It is shiny simple grilled dish which calmed down which potter's clay to get in Mashiko who is material of traditional land and techniques such as glazes (says bakes) are tied, and was born.

Born of the union of traditional Mashiko clay and glazing techniques, Mashiko Yaki pottery has a soft, rustic luster.

How to make

We raise potter's wheel, model and create forms by method such as hand twist. Technique called fine striped pattern to keep fine striped pattern of writing brush alive, and to paint place where there was form with white mud sharpen with plane (plane), and touch irregularities, fly, and, using technique called plane, touch design. And painting is performed using iron dust, copper providing brown color taste by asbolite, black to give blue. In addition, Mashiko Yaki has many glazes. By rice bran white glazes (nukajiroyuu) using persimmon glaze and black glaze, ash of straw (straw), ash of tree, rice bran ash, we give unique taste.

The clay used for Mashiko Yaki pottery is shaped using a pottery wheel, mold or by hand molding. After the clay is shaped, it is decorated by brushing on white mud, creating a pattern that takes advantage of the contrast between the white mud and underlying clay by the brush marks, or by carving patterns using an s-shaped plane. Pictures are then painted using celedon blue, iron paints which can produce a color from black to brown, or copper paints. Mashiko Yaki pottery also uses a wide variety of glazes. Glazes such as persimmon glaze, straw ash, tree ash, or white glaze made from rice husk ash impart a special character to the pottery.