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TRADITIONAL CRAFTS

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.

  • Notification

    skills and techniques

    1
    Molding is thing by potter's wheel molding or hand twist molding "tatara molding".

    2
    When do design charge account of basis material, thing due to line carving, the texture, itchin, pressing a flower design in intaglio, Mishima hand, spatula eyes, tochiri, "malignant smallpox" or "worm-eaten spot hand."

    3
    When you paint, assume china-painting with underglaze color by freehand drawing. In this case, assume paint crest or asbolite.

    4
    When you grind glaze hook, you are about to drain and are about to dip itchin and are about to repeat, and you blow, and depend again without harou. In this case, glaze has with "lime glaze" or "bronze glaze" "ash glaze".

    5
    "Vidro" by ascending kiln letting color of a blaze or "it seems to be dark" appear when we do not do painting and glaze credit.

    Raw materials

    Do potter's clay to use that "there be Mt. blue, and "there be Shimagahara, and eyes clay" has materials which are equal to eyes clay" or "round column clay" or these.

  • Work scenery

    Natural Fumi (malformed china) created in rugged form and kiln has characteristic of Iga Yaki. "There be Mt. blue, and potter's clay to use uses eyes clay" a little bluish clay which "there be Shimagahara, and is mined in the Iga neighborhood such as eyes clay" or "round column clay" or uses thing that ingredient of these soil is near.

    Made area is Ueno-shi, Shimagahara-mura, Ayama-gun, Ayamacho, Ayama-gun (leading round column, Makiyama), area that has been ever called Iga country including Aoyama-cho, Naga-gun.

    Process 1: Soil sample digging

    Soil sample is mined in Ueno-shi suburbs, Ayamacho round column, Makiyama, Shimagahara. Ceramic ware developed from soil necessary for ceramic ware in place where firewood is prepared, but Iga Yaki is no exception, too. In addition, the feature was that we used potter's clay which had high degree of enthusiasm-resistant, and a lot of earthenware pots were made.

    Process 2: Soil process to prepare

    We make clay with elutriation (operation that suihi divides into soil particle group different of size using sedimentation rate in the water being different by size of soil particle) or dry process (we dry and powder soil and we add water and make clay). As for the elutriation clay, tableware, dry process clay form key points, but may mix depending on article.

    Process 3: Molding (we work out chrysanthemum)

    We let air in clay and adjust so that hardness becomes uniform. Molding is technique that potter's wheel molding, tatara molding (we use model), hand twist molding are traditional, but there is molding made with string, too.

    Video is played when we click image

    Process 4: Finish

    We dry a little and attach handle to article and sharpen part of hill and give decoration. We touch design called "line carving" "texture" "itchin" "pressing a flower design in intaglio" "Mishima hand" "spatula eyes" "tochiri" "malignant smallpox hand" "worm-eaten spot hand" in case with design charge account as basis material (pheasant) (we give sculptures).

    Process 5: Drying

    We dry enough in the sun and drying room.

    Process 6: Burning

    We perform unglazing at 700 degrees - 800 degrees. osuru article with picture is oshimasu with picture at this stage. It is traditional technique that paint uses "crest" or "asbolite" by "china-painting with underglaze color" by freehand drawing. hodokoshiuwagusuri is important in not only decoration but also meaning to prevent penetration and dirt of water. There is "itchin" where "we are about to drain" technique to "be without rou" "to blow" that "we are about to repeat" to glaze hook. There is "ash glaze" "stone ash glaze" "bronze glaze" to glaze. There is thing which it is said, "roast creak" depending on article, and does not do hodokoshiuwagusuri.

    When we do not do ya glaze hook with picture, we bake so that "vidro" by ascending kiln "color of a blaze" "burnt rice" appears. Ash in kiln puts this on in ceramic ware naturally and part of ash melts and makes pattern with "ash or yellowtail" which is characteristic decoration method of Iga Yaki. In this way, powerful ceramic ware peculiar to Iga Yaki is created. This roast is carried out in gas pot, hole kiln, ascending kiln. We change with size and quantity of kiln, but it is said that we generally suffer in 4-7 days, ascending kiln by from 15 hours to 30 hours, hole kiln with gas pot for around 4-10 days.

    Video is played when we click image

    Process 7: It is kiln

    We take so that completed container is not broken by sudden temperature change after waiting for kiln cooling down naturally.

     

  • Close-up

    In the origin, it is pursued Old Iga

    Though is in Shigaraki and place one mountain away, village of Iga Yaki quiet in contrast, Ayamacho round column. We visited craftsman who pursued reproduction of "Old Iga" where Yasunari Kawabata said, "it was said that digit was the highest in flower bowl of ceramic ware, and value string is high again".

     

    Having seen in Iga Yaki seeing from the outside

    We were born in house of pottery and got used to earthenware, and craftsman, Takumi Morisato of Kayama kiln were brought up, but worked immediately in car-related company after graduating from school. As for doing, the rapid economic growth period, the auto industry were occasionally flower-shaped. On the other hand, anchor product of Iga Yaki at the time is earthenware pot. When "please it stared at Iga Yaki in new viewpoint to be in company all the time" while thinking, from now on not only earthenware pot but also even if make in large quantities, is used, thought that used besides, and tableware of handicraft which warm might be required, and came back to Iga, and seemed to begin to bake tableware. There was not kiln which actually burns ascending kiln, but many kilns bake tableware now, and kiln baking tableware reproduces ascending kiln in those days.

    In Kyoto Museum of Traditional Industry nearby

    We sharpen hill part of bowl

    Ascetic practices are made with soil kneading on fire and container. It was soil kneading on fire, life to be made with container at night at noon for first one year. We do not merely only knead even if we say soil kneading on fire. You must change hardness by size of thing to make and were fresh start when hardness did not match. The making of container had to make same size, thing several of form, too. Was taught these by teacher;, judging from eye, learned product more.

    We sharpen hill part of bowl

    Works created from "argument native"

    Ashtray with cover in gallery. It was said that this wanted you to make because ash of cigarette rolled up from person who used air conditioner and was born. At first, cover and the body were unified, but changed to style to cover with to hear opinion that it was hard to care for. We made heavy ashtray which did not move even if we kicked with foot if we heard that it was awkward for that we hit ashtray oke and spilled ash. Besides, some purchased whether there was person who thought about the same thing. "You talk with various people and must work as argument native. When it is (thought), oneself is thinking and becomes only oneself."

    Ashtray with cover is simple, but is full of consideration

    Charm of Iga Yaki is ...

    doshittoshite, this which there is elegance inside violent violently of Iga Yaki it is said that the feature is. However, the times when "good form" and "light thing" are demanded now. It may be said that it is in match of Iga Yaki. We make if demanded, but do not seem to like so by oneself. Reason even if "can imitate size, form, cannot imitate color. Because there is color to match form. Traditional water jar for the tea ceremony (yaburebukuromizusashi) and vase to break may look good with green of vidro glaze which there is in brown, ash of biscuit ware peculiar to Iga Yaki or yellowtail most. Ash or yellowtail is cooked in kiln naturally. "We bake and think that change of scenery is better than other ceramic ware by oneself".

    Ascending kiln is indispensable to burn Old Iga

    The making of work which is easy to use, and heals heart

    Which "do not make with writer feeling" from teacher if "make thing healing thing which is easy to use, heart of person because is craftsman, is enough. It penetrates with nature if we burn good thing. We learned that it could appear and said unpleasant squid. As for Shinri "feeling of author does not matter. We think, he/she calms down, and it is said that we want to tell it to successor (nephew of Morisato). Of course not only we buy home and display, but also use and provide before life if we enter, and good point of Traditional Craft is over there. "I hate sechigaraide (in the sechigarai world) all the more".

    Various works form a line in gallery and are fun

    For reproduction of Old Iga

    Form and color vary recently even if we say Iga Yaki. Morisato may make thing which left Iga Yaki, too. However, in the origin, it is pursued Old Iga. We continue baking for 30 years and try various soil and how to grill, but color of Old Iga does not seem to appear yet. We continue looking for Iga soil to give the color. If there is stratum even if running by car, we see just side, but are not still found. Still figure which said, "pleasure disappears if easily found" seemed to be really fun.

    Gleanings

    Four points to enjoy Iga Yaki

    1.Temperaments of no glaze biscuit ware
    Iga Yaki is made with biscuit ware without hanging glaze. Refractoriness is high in potter's clay of Iga, and it is to tasteful container by being able to enter kiln with strong high quality thing of tenacity many times, and baking.
    2.Vidro glaze which is done in ash or yellowtail
    Ash of firewood which fell is dissolved in high temperature flame and begins to melt from potter's clay naturally again, and it is sky glaze "vidro" such as glass.
    3.Pass; ra eyes, mountain breaking, ear
    We give container change by adding hand to big mountain breaking and daring skewness, regular form including spatula eyes and bring on "the beauty of discord".
    4.Color of a blaze, koge
    Iga Yaki burnt at extremely high temperature leaves color with change for fire list, inside of raging flames by the strength and weakness of flame. In addition, firewood which burnt out in kiln becomes ember (get up) and makes point that turned black.

     

Summary

Industrial art object name Iga Yaki
Phonetic symbol We roast burr
Classification of industrial art object Ceramics
Main product 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

Contact information

■local production associations

Iga Yaki promotion cooperative association
〒518-1325
169-2, Marubashira, Iga-shi, Mie
Iga Yaki Kyoto Museum of Traditional Industry
TEL: 0595-44-1701
FAX: 0595-44-1701

http://www.igayaki.or.jp/

■Associated exhibit space, facility

Characteristic

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.