Iga YakiIga Ware
Opening dates back to the eighth century from the late seventh century. Earthenware vessel called earthen vessel is baked, too, and unglazed pottery for agriculture was made while it is the beginning, but is when tile of temple was made in the Asuka era.
Because feudal lord of Iga-Ueno of the Azuchimomoyama era when tea ceremony became popular among samurais was person who knew tea and ceramic art well, the name of Iga Yaki spread out in the whole country as earthenware of tea ceremony.
When it was the Edo era, thin product of thickness called "Enshu Iga" came to be made with instruction of Enshu Kobori, and it was in the middle, and base as current Iga Yaki production place was built afterwards in the Edo era.
The origins of this ware date back to sometime between the second half of the 7th century and 8th century A.D. At the time, a type of earthenware called sueki was being fired and in the early days, seed pots used by farmers were being made. Subsequently, however, it seems that temple roof tiles were produced.
Much later on during the Momoyama period (1573-1600), when the tea ceremony had become popular with the warrior class, the name of Iga ware associated with tea bowls in particular became well-known throughout the land, due in no small part to the fact that the feudal lord of the Iga Ueno clan was very knowledgeable about tea and pottery. From the beginning of the Edo period (1600-1868), the thickness of this ware was reduced under the tea master Kobori Enshu and called Enshu Iga. By the 18th century, the foundations of the present-day production center for Iga Yaki were established.
More robust than Shigaraki Yaki that is made in a neighboring district, Iga Yaki is also slightly heavier. Various changes take place during firing to produce variations in color and shape according to how the kiln is fired. It is such yohen, "happy accidents" as the production of a glaze with a glass-like quality and surface stains from the firing as well as the sturdy forms and colors of the pieces, which characterize this ware. Everyday pieces of tableware are now made alongside traditional pieces of earthenware, flower vases and teacup and pots. It is the responsibility of the craftsmen to sustain this most ancient forms of pottery.
|Industrial art object name
||We roast burr
|Classification of industrial art object
||Tea set, vase, earthenware vessel, white-glazed earthenware pan (yukihira), tableware
|Main production area
||Mie / Iga-shi, Nabari-shi
|The designation date
||November 1, 1982
■local production associations
Iga Yaki promotion cooperative association
169-2, Marubashira, Iga-shi, Mie
Iga Yaki Kyoto Museum of Traditional Industry
■Associated exhibit space, facility
Also, there is heaviness a little firmly in comparison with the next Shigaraki Yaki immediately. We say that various changes appear in color and form of grilled dish by state in kiln when we bake with "malformed china" (yohen), but powerful form and color of condition of vitreosity and getting burnt called vidro by this malformed china belonging to and container itself characterize Iga Yaki.
It is harder and somewhat heavier in comparison to the nearby Shigaraki yaki. Depending on the conditions inside the kiln during firing, the color and shape of the pieces change in a phenomenon called "yohen", but the way a glass substance called vidro and how the glaze scorches, and the shape and color of the pieces themselves are what distinguishes Iga yaki.
How to make
We dissolve potter's clay of raw materials in method and water to crush with drying and we use two kinds of method to be about to show, and to do in total and make clay. We make done clay form using potter's wheel, the making of string, tataratoitta technique. We paint and put glaze (say bake) for thing which decorates the texture or spatula eyes there, and did bare roast and bake.
There are two methods in creating the clay used: first, the dry clay is broken down as-is, and then it is dissolved in water, then strained. The resulting clay is formed using a potter’s wheel, coil work, or slab work. Then, the surface is marked with cloth, a spatula, or other tools before bisque firing, then it is painted and glazed before a final firing.