Seto Sometsuke YakiSeto Underglazed Ware

Burning technology and picture technique of porcelain which native took home with him/her from Kyushu to be soft, and to put picture with moisture for of Sinicism that received instruction from specialist in picture belonging to influenced each other and, at the beginning of the 19th century, greatly developed, and skills and techniques of Seto Sometsuke Yaki was established at the mid-19th century.
Efforts of Rev. painting were repeated, and Seto's original dyed pattern technique to represent nature of Seto, and to draw was built up afterwards.
When it is the Meiji era, production of dyed pattern porcelain is enriched more and shows expanse. Large articles such as vase, nest of boxes, garden lantern, table came to be made other than tableware. These products are continued making until today.

At the beginning of the 19th century, local people returned from Kyushu armed with the techniques for firing porcelain and a way of applying decorations using a soft Southern Sung Dynasty style of painting with great charm that they had learned from a specialist painter.
Learning from each other, great developments were made and all the skills and techniques used in making this unglazed ware were finally established by the middle of the same century. Ways peculiar to this ware were gradually developed by depicting motifs derived from the nature of the area by decorative artists whose efforts were finally rewarded.

Then in the Meiji period (1868-1912), production of this decorated porcelain was perfected further and expanded to include the making of large pieces such as jubako or stacking boxes, lamps and tables besides a more regular line of tableware, all of which are still being made today.

The greatest feature of Seto Sometsuke Yaki lies in the way the detailed patterns are applied with a brush directly onto the surface of the unglazed clay. The technique of firing to obtain a tasteful design and the technique used to apply the detailed patterns of birds, flowers, insects and scenery with a brush on the surface of the porcelain using an indigo blue glaze are the special features of the ware from this area. A great deal of tableware is made alongside of articles used in the tea ceremony, items associated with incense, and a number of other interior items.

  • Notification

    skills and techniques

    Molding is thing by the next technique or technique.

    As for the potter's wheel molding, katadanarikeimata is thing by hand twist molding.

    When is to porcelain, to have property that is equal to case by molding method that others, basis material by molding method to publish in (1) raise in (1); thing by "drain bag molding" to sharpen, and to do forming finish and wet wiping finish of the whole surface of basis material or "drain two folds molding."

    When do design charge account of basis material, carve, and heap up comb eyes, chamfering, and stick, and fly; thing by plane, pressing a flower design in intaglio, itchin assortment, makeup cliff or the texture.

    Perform unglazing.

    *sumi, reckoning pass, and, as for the china-painting with underglaze color, line drawing, dami, sumi do brush pull, *raku soon; or is thing by the texture. In this case, assume paint asbolite paint, glaze back rouge, rust paint or original Maruko.

    You are about to carry away glaze hook, and stop we are about to dip or to paint with brush. In this case, assume glaze stone ash glaze, hahasohaiuwagusuri, celadon porcelain glaze or lapis lazuli glaze.

    Firing perform nerashio.

    When do overglazing, sow, and brush is discounted by line drawing, dami, lacquer; thing by gold and silver Aya or silver foil.

    Raw materials

    It be said that potter's clay to use has materials which are equal to Sanage feldspar, Motoyama Kibushi clay, Motoyama frog eyes clay or these.


  • Work scenery

    We mainly give basis material of unglazing of cloth of white background o than asbolite (cobalt oxide color) with picture with Seto Sometsuke Yaki and say thing which hangs glaze on the top, and burnt. Dyed pattern generally says thing of porcelain, but thing which did dyed pattern is included in earthenware in Seto Sometsuke Yaki.

    Process 1: Potter's clay compounding (toudochogo)

    To tenacity strong-minded "Motoyama Kibushi clay" (motoyamakibushinendo) "Motoyama frog eyes clay (motoyamagairomenendo) peculiar to Seto," we mix "Sanage feldspar" (sanagechoseki) with translucency and make potter's clay. Porcelain with soft taste peculiar to Seto Sometsuke Yaki is completed by these raw materials.

    Process 2: The basis material formation (pheasant Kei result)

    We make basis material of Ceramics.
    1.Potter's wheel molding: We mold using turn of "potter's wheel".
    2.We defeat model and mold: We push potter's clay which we did into a board form to model and mold.
    3.Hand twist molding: It is made with string and we work out thread cutting and it is in shi and molds which technique including only by hand.
    After sharpening basis material which we molded with planes, and having equalized thickness, we wipe with cotton cloth and sponge which we soaked with water and smooth off the surface. We may make decoration using plane or comb.

    Video is played when we click image

    Process 3: Drying, unglazing (we come as soon as we do)

    We dry basis material which we molded and make bare roast at around 850 degrees. This performs to give water of clay, and soft white basis material is in this way completed.

    Process 4: Dyed pattern (china-painting with underglaze color)

    We say what color development including tool for glaze back blue (yuurisei = cobalt oxide color), glaze back rouge (saying good kid = copper oxide color), lacquer painting (rust paint = iron oxide color brown), plus Maruko (we play = gold pigment, pinkness to carry) wears using different mineral paint and marks to basis material which performed bare roast with "dyed pattern". We come to often paint using single color of asbolite (glaze back blue) mainly.

    We wear dyed pattern by the most important process of Seto Sometsuke Yaki, and there are various things for method of image.
    *It is technique to describe outline and flight of picture design in line drawing ... groundwork uniformly.
    *It is technique to paint with using big writing brush in design that performed dummy line drawing. We paint using the tip while saving asbolite in big writing brush.
    *When we do dummy in the whole basis material after having described design that white space on a colored background wants to do in sumi, and sumi burns in technique when we make design of ... white space on a colored background soon, part of sumi painting whitens.
    *It is technique representing picture design in ... free brush strokes having just finished attaching. Particularly pictorial work can look.
    In addition, we scatter writing brush which we soaked with asbolite, and there is various technique when it is plane and sharpens asbolite which we painted basis material with and drops and makes design.

    Video is played when we click image

    Process 5: hodokoshiuwagusuri (seyuu)

    We hang glaze to basis material which performed dyeing. "Vomit and paint" how to hang glazes for "boiling greens" for "sink", and there is nadono method. "Lime glaze" (sekkaiyuu) is used for glaze of Seto mainly. Because this lime glaze extremely has good luster, and there is translucency, we are suitable for glaze of thing which we put dyed pattern for. "hahasohaiuwagusuri" (we increase chair times say) "celadon porcelain glaze" (free to do result) "lapis lazuli glazes (we say lapis lazuli) are used elsewhere, too".

    Process 6: Drying, burning (result to carry)

    We dry basis material which did hodokoshiuwagusuri and make burning (result to carry). We let "we let you work out" as characteristic of Seto in the last of burning and keep temperature in toitte kiln high temperature of around 1,250 degrees, and glaze mature.

    Process 7: Completion

    We give "overglazing" depending on work. By overglazing, we put color and gold and silver which do not appear in dyed pattern (china-painting with underglaze color) and burn at low temperature of 700-800 degrees again. "We let you work out", and, about work which does not do overglazing, ga is completion at stage when it is over and started from kiln.


  • Close-up

    We seem to hit grilled dish which continues being loved

    Town Seto of ceramic ware with the history of 1300. Ceramic ware of Seto had been used habitually by for a long time many people so that many people used the word "setomono" as "Ceramics" and most synonyms, but ceramic ware of Seto changed in the long history with the times, too. It was relatively new technique that began dyed pattern grill itself, approximately 200 years ago, but we exceeded previous earthenware production soon afterwards, and it was in ceramic ware which represented Seto. We were born for the fourth generation of pottery of Seto and asked craftsman, Gaku Kato who continued looking at ceramic ware of Seto about story.


    In the times of the industrial production height of prosperity

    "Trade was devoted in those days. Anyway, work was busy, too and made a profit." It is said that most of ceramic ware production of Seto were products such as plain white coffeepot or sugar bowl for export at the mid-30s when Kato has begun to help with the making of ceramic ware of business of the Showa era. Father of Kato made coffeepot which Chugoku produced mainly now, too. However, it was grilled dyed pattern that grandfather did that Kato who liked picture since it was small wanted to really do. We lent how many years and began study soon. When grandfather made bowls of dyed pattern, the neighborhood whole area does dyeing and has the neighboring craftsman tell, and it is said that person popular in those days began grilled dyed pattern that there was little.

    • Kato who does dyed pattern

    • Workshop of Kato. Plate and bowls are displayed on shelf of workshop closely

    When picture does not run, dyed pattern is no use

    "Color that we liked is not readily over dyed pattern." Color changes with compounding and glaze of asbolite. From dark blue that is almost black to bright navy blue, we almost change with one addition and subtraction. As we draw pattern on round thing unlike describing on the paper, it is difficult. We learned compounding and manner of handling a brush of asbolite from neighboring person and studied. In addition, it is said that we come to do dyeing, and Kato has begun to learn Japanese painting. oshi many well-known painters belonging to picture of dyed pattern grill taught picture on porcelain mechanic again since technique of Seto Sometsuke Yaki was completed approximately 200 years ago. Minute expression of Japanese painting is characteristic of Seto Sometsuke Yaki. Picture of Kato seems to place Nitten spring exhibition in skill as we tell person now three times. Seto Sometsuke Yaki that Kato says, "is no use when after all dyed pattern cannot draw picture.", but hardly paints without draft at a stretch therefore.

    We do line drawing in plate. All the small designs describe freehand

    Craftsman as in the past does not appear anymore

    It is said that old craftsman was great. "For example, we describe pappa and painting in no time though we make five steps of nests of boxes. Because work; early kunakuchaanaranainda. So it is said that we failed to burn one of the middles when we baked by chance. Picture is just correct if we do so when we bring the third step from one of the neighbor and can enter. It was great." We say craftsman indeed. But Kato said that such a craftsman did not appear anymore from now on. It makes the same product with both 10,000 and 20,000, and it was popular in old days, but is not popular now. Not the same thing, we change picture little by little and change form, and it is said that this is because many items small quantity must produce.

    Vase of blue-and-white porcelain grill which Kato burnt. With indigo blue of the same asbolite, color is delicately different in all

    Ceramic ware acceptable for young person

    Though "work relatively evaluation to consume trouble saying is saying is low."; Kato. Person liking knows, but it is said that amateur cannot readily tell the difference whether it is genuine freehand drawing whether present print technology is very high, and it is ceramic ware of machine production machine print which freehand drawing-style, was made. It is big trouble. We make thing with demand cheaply in large quantities by machine. Handmade surviving way acquires variation, and make many kinds even little by little. In addition, think about product which is not done by machine. Make new product earlier than machine. Kato goes to Nagoya well, and it is said that young people such as Tokyu Hands go to visit together shop. "We always think about new thing what catches to young people." Ice cream case and leg incense lamp with of form that most Shinsaku who showed boiled, and increased some egg cups. I came to want pattern with simplicity slightly, too. That reminds me we may receive recently because tableware of Vietnamese freehand drawing is popular.

    Dyed pattern grill fits constitution of Japanese people

    "We think that ceramic ware of Seto fits constitution of Japanese people. Therefore we think that form does not disappear to change either. Thing which followed for one thousand several hundred years does not die out suddenly. We do not get tired every day even if we use." and Kato said so last.

    Gaku Kato. You say that you always think about new product happily

    Craftsman profile

    Gaku Kato (Manabu Kato)

    It was born in 1935 (Showa 10).
    After graduation from university, we inherit kiln of business as the fourth generation.
    The spread of Seto Sometsuke Yaki is active as industrial arts person meeting's chairperson to organize in the whole country and plays an active part in 12 Master of Traditional Crafts.


    Style of painting of Seto dyed pattern that affected the Art Nouveau

    Flowers and birds and insect, paysage which were described in the light and shade of indigo blue when it was soft white of Seto Sometsuke Yaki received evaluation that was high at international exposition performed flourishingly in Europe including Vienna and Paris in the early 20th century, and the name came to be known to the world. Not only we affected the European Ceramics, but also style of Seto Sometsuke Yaki affected the art exercise Art Nouveau that happened at the end of 19th century. As for the pictorial technique of Seto Sometsuke Yaki, many well-known painters visited Seto for a long time and performed picture o belonging to and greatly developed because they hit instruction of picture on porcelain mechanic again. The names such as Baiitsu Yamamoto (mountain cause, when 1783-1857 to double) or Kinkoku Yokoi (come kinkoku 1758-1832) are well known.

    • Figure of dyed pattern flowers and birds size pot. About 1877 (Meiji 10)

    • Dyed pattern Chinese phoenix arabesque sentence bowl. Meiji 10-20 (1880-1890) age



Industrial art object name Seto Sometsuke Yaki
Phonetic symbol setosometsukeyaki
Classification of industrial art object Ceramics
Main product Dining table article, tea service set, sinter tool, interior decoration article
Main production area Aichi / Seto-shi, Owariasahi-shi
The designation date May 14, 1997

Contact information

■local production associations

Seto Sometsuke Yaki industry cooperative association
1-8, Tougencho, Seto-shi, Aichi
TEL: 0561-82-4151
FAX: 0561-82-4157

■Associated exhibit space, facility


As for the big characteristic of Seto Sometsuke Yaki, the sketch representing design that is small by direct writing brush on the surface of dough which performed bare roast is dated. As for the technique of burning to do to picture with technique and moisture to describe chicken and flower, insect and scenery in the surface of porcelain with color to come out of indigo blue of asbolite paint finely, this production center is unique.

The main characteristic of Seto Sometsuke yaki, is how delicate designs are sketched directly on the bare surface after bisque firing. The indigo-colored porcelain paint is used to paint birds, flowers, insects, and landscapes on the surface of the porcelain in fine detail. This, as well as the firing techniques used that give the pictures a wet quality are unique to this craft.

How to make

We defeat potter's wheel, model and make form with methods such as hand twists. We add design to made basis material and we put china-painting with underglaze color for thing which did bare roast at low temperature and do this roast.

Potter’s wheel, casting, and hand forming methods are used to make the works. The bisque-fired works are painted with designs, or works bisque fired at a low temperature are painted with underglaze decoration before the final firing.