Kyo Yaki - Kiyomizu YakiKyoto-Kiyomizu Ware

Opening dated back before the Heian era, but grilled manufacturing began with building of Heiankyo in earnest. Thereafter Kyoto produces perfect gem with superior ceramist in sequence. Excellent ceramist called jinsei (result not to be similar) and Kenzan (kenzan) appeared in the 17th century, and Egawa (we obtain and do not shirr) succeeded in burning of porcelain in the 19th century and, in addition, master craftsmen and others such as tree rice (we put and are), maintenance (hozen), jinaya (not similar ordinary) were remarkable and played an active part.
The Meiji era began, and, taking the opportunity of having invited German industrial artist Vagner, technique of foreign countries was adopted, and Kyo Yaki - Kiyomizu Yaki developed more and more.

Although this craft dates back to before the Heian period (794-1185), the making of pottery began in earnest when the capital of Heian-kyo (now Kyoto) was founded in 794. Since that time Kyoto has been the home to many famous potters and the birthplace of many fine pieces of work.
Famous potters such as Ninsei and Kenzan were at work in the 17th century and then in the 19th century, the potter Eisen successfully fired porcelain, while such masters as Mokubei, Hozen and Ninami were remarkably active during the same century. Great advances were then made from toward the end of the 19th century with the introduction of various techniques from around the world, when German ceramists were invited to come to Kyoto.

The sheer beauty and craftsmanship of some pieces over which so much trouble is taken have a strong traditional feel, while other pieces are invested with a freshness that finds favor in contemporary life. Each piece has its place within the scheme of things and manages to maintain its own unique ambience. The range of pottery and porcelain now made in Kyoto is almost beyond comprehension, but mainly consists of good quality tableware for use at home and in the best Japanese style restaurants. Many pieces are still made for use in association with the tea ceremony. More humble and yet equally elegant are the many incense burners.

  • Notification

    skills and techniques

    Yes, "captured go stone crawls, and, "yes, "we knead, and, yes, "yes, "yes, "red, put together, and, yes, or, "yes, in soil, comfort use soil" soil" soil Awata" soil soil" soil semiporcelain" soil" "soil white Korai, yes" Shigaraki".

    Molding is thing by the next technique or technique.

    Potter's wheel molding, direct copy molding, hand twist molding, "armor-back held-flag molding," it is thing by "we collect molding" or "tatara raising molding" "we drive molding" "we flock molding".

    Drain bag which sharpen, and does forming finish and wet wiping finish of the whole surface of basis material 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) when is to porcelain; thing by molding or "drain two folds molding."

    When do design charge account of basis material, "carve", and wear pressing a flower design in intaglio, combed line, and chip eyes, engobe, inlay, itchin, and "stick," texture, "bungle" "scratch, and take" "heap up" "reticulation," is thing by "polish" or "fire iron charge account".

    When do china-painting with underglaze color, describe, and there be dami, and stand, and or "white space on a colored background" "blows" "shade off" "creak" bone; niyorukoto. In this case, paint has with "copper red glazing tool" or "Netherlands paint" "rust paint" "asbolite paint".

    When do glaze hook, "itchin hangs" "blow" "is about to paint" "is about to dip" "is about to drain"; or is thing by "collect coating". In this case, glaze "nothing special glaze (include color glaze.) ", "iron glaze" "copper glaze" or "comfortable glaze (include color glaze.) We assume ".

    When do overglazing, "insert" bone describe, and be accompanied, and stand, and "collect, and paint", and, dami, "shade off" "creak," "foil tension" "blows" "wave" "seared" "lacquer firewood" "white space on a colored background"; or is thing by the texture. In this case, paint has with "gold and silver colored picture tool" or "ko*, ceramic ware paint" "paint in multi-colored porcelain".

    Raw materials

    Yes, say that there be Kakitani clay for chinaware, Amakusa clay for chinaware, and clay for chinaware to use for soil or potter's clay has materials which are equal to eyes clay, feldspar, Kibushi clay, kaolin or yellow ocher or these.

    Assume foil gold leaf or silver foil.

  • Work scenery

    Process 1: Soil fir tree

    As for the soil which is raw materials, as for the potter's clay, Shigaraki, kaolin sell Amakusa and Iga, Seto, soil of Izushi mainly. We knead thing which we added frog eyes clay, kaolin, silica stone, clay for chinaware, feldspar to to kaolin, Kibushi clay, silica stone, kaolin including feldspar to potter's clay using hand.

    Process 2: Molding

    We pick up lump of soil which did soil fir tree, and potter's wheel molding makes form by the use of centrifugal force in the center of turning disk. There are hand potter's wheel, * potter's wheel, jigger. High technique is necessary. In addition, there is method called twist molding, too. We mold while kneading clay using finger-tip and bamboo seawife.

    Process 3: And we sharpen drying and seem to finish

    When dough semidried after we dry, we sharpen with metal spatula and fix overall form once. And we do sun drying after having made beautiful with finish tools such as water brushes.

    Process 4: Unglazing

    We do bare roast in low temperature inside and outside 600-800 degrees to make strength necessary for ya hodokoshiuwagusuri (for glaze (medicine)) with picture.

    Process 5: China-painting with underglaze color

    We do handwriting using writing brush in metal and pigment such as asbolite, iron oxide.

    Process 6: For glaze (medicine) (hodokoshiuwagusuri)

    We hang glaze (glaze) to give translucency and luster.

    Process 7: This roast

    We pack glaze or thing which we turned off in pot and put up roast in high temperature of 1200-1300 degrees. We used ascending kiln in old days, but gas kiln and electric kiln are used now.

    Process 8: Overglazing

    We color in metal color with oxide such as cobalt, iron, copper. There is thing which does not do overglazing.

    Process 9: Dyed figure on cloth burning

    We give color development and luster of paint which did overglazing and print in low temperature of 600-800 degrees not to do peeling easily.


  • Close-up

    Ceramics of Kyoto also elegant delicately

    It will be to be deeply impressed by the refined beauty if we make "grilled dish of Kyoto" the first. Comfort to be familiar with hand which it reaches whenever we use in addition to delicate form which it is not only cunning of technique, and is created by hand of craftsman. It may be crystal of soul of one craftsman built up carefully each.


    Town dakarakosono taste of Kyoto

    Approach to a shrine following Kiyomizu-dera Temple, Article 5 slope. Thin alley which missed it a little. Scenery common in Kyoto where house in the town-style appearances form a line. However, beside nameplate, nameplates of another one such as master of potter's wheel and master of painting form a line.
    As for the ceramic ware of Kyoto, the mechanization is not done until the present age, and reasons that 90% are handmade include that it is divided into specialized labors and that it is worked for household industry in home one room.
    We visited Tsuchiyama pine spring (Tsuchiyama does not read aloud) to turn potter's wheel to in room like home four-and-a half-mat room.

    Tadao Tsuchiyama (the first pine spring). Master of born potter's wheel which likes crafting, and is unbearable

    Master of born potter's wheel

    We were affected by father who was master of potter's wheel and have begun to play with soil since 14 years old. Tsuchiyama who advanced to forerunner of Fushimi High School, second technical high school ceramics department (is disappearing in nochino ceramic department now) is attracted by pleasure of manufacturing. Existence of father is big and, for Tsuchiyama of that time, looks back when we continued thinking, "it is early and wants to play better" while seeing work of father. "We come to be able to do it if we only turn potter's wheel if there are two years. However, actually, we craftsmen must make the same form, thing of the same size in large quantities. Well, it takes decade until even skillful human being can do full-fledged work, confidence that came facing potter's wheel from Tsuchiyama who talks to drain lightly more than 50 years can call. Error disappears surely if we surely spread in model by machine. However, error occurs because we turn potter's wheel by hand if ordinary. However, we cannot help feeling experience and pride as professional to finish both roundness and thickness without changing for several minutes.

    Tsuchiyama who does china-painting with underglaze color

    Way of master of potter's wheel of life

    Saying is saying "there is not drill if see the top"; Tsuchiyama. Even if there is satisfaction making up, own unit evaluation for work is considerably severe. Therefore it is said that daily efforts are necessary. It is "to be what we continue making, and to fertilize eyes". We stand in situation of one consumer and we see and use and raise sensitivity. We cannot express Tsuchiyama as master of potter's wheel only by occupation. Way of life itself is expressed in work.

    Many works of Tsuchiyama

    Craftsmanship to introduce Miyabi of Kyoto into

    "Grilled dish of Kyoto was pleasure and usability when we used to see," said so, and Tsuchiyama guided in the second-floor room. Many works of Tsuchiyama displayed in two ken of 8-mat rooms. Teacup and bowl of shape that it was thought to be easy to have in addition to beautiful epergne and pot of coloration, and to be easy to use. Craftsman of Kyoto conveys Miyabi in everyday life.

    Workshop of Tsuchiyama


    Ceramic art lesson to learn from Master of Traditional Crafts, Takashi Takagi


    • Takagi who does glaze reckoning



Industrial art object name Kyo Yaki - Kiyomizu Yaki
Phonetic symbol Today fried kiyomizuyaki
Classification of industrial art object Ceramics
Main product Eating and drinking device, vase, tea set, incense smelling (so how) article
Main production area Kyoto / Kyoto-shi, Uji-shi, Joyo-shi, Muko-shi, Kameoka-shi, Nagaokakyo-shi
The designation date March 20, 1977

Contact information

■local production associations

Association of Sue, Kyoto porcelain cooperative association society
6-2, Kawatakiyomizuyakidanchicho, Yamashina-ku, Kyoto-shi, Kyoto
Cooperative house kiyomizu 103
TEL: 075-582-3113
FAX: 075-582-3114

■Associated exhibit space, facility


Nicety, gracefulness, elaborate container and novel caliber who deserves to be if we give modern living moisture who focused on tradition coexist, and each keeps unique atmosphere.

Elegant, delicate and elaborate vessels created with an emphasis on tradition exist next to more innovative models designed for modern living, with each maintaining their unique atmosphere.

How to make

As clay for chinaware, potter's clay becoming raw materials are not produced in Kyoto, we adjust by back order, thing to make each from Amakusa, Kumamoto or Shiga Shigaraki and are doing with raw materials. We do raw materials into a clay form and make form and dry and we sharpen and put finish for it and, after the drying, do unglazing. We do china-painting with underglaze color next and give glaze (say bake) and we do this roast and are completion. When we acquire color, we perform overglazing after this roast, and we print dyed figure on cloth, and it is finished product.

Because the required raw materials like porcelain stones and pottery clay cannot be found in the Kyoto area, they are brought over from locations such as Amakusa in Kumamoto Prefecture, Shigaraki in Shiga Prefectures, etc., and have to be modified according to the objects to be made. After the raw materials have been reduced to a clay-like state, molded, dried and given each its distinctive finishing, the different articles are then dried and bisque-fired. Next, after the under glaze decorations have been applied, they are glazed and then completed by kiln-firing them. If color is used, an over glaze is applied after kiln-firing and the products are completed by baking the overglaze decorations.