Iwami YakiIwami Ware

It was in the middle of the Edo era, and local craftsman learned the ceramics method than ceramist of current Yamaguchi, and small products such as one side of the story or sake bottle of Iwami Yaki came to be made.
Approximately 20 years later, it is said that big earthenware product such as water tortoise was introduced from Bizen of current Okayama.

About 1763, Morita Motozo who lived in the province of Iwami learned how to make pottery from a potter from present-day Yamaguchi prefecture, and he began making small items such as lipped bowls and sake flasks. Some 20 years later, it seems that much larger pieces of pottery such as water jars found their way into the area from present-day Okayama prefecture and these were also made.

Using a clay similar to the one used for porcelain, most of the pieces produced are either glazed with a lightish brown glaze made from a iron rich local mineral, or have a transparent glaze made from another mineral containing an alkali. The latter turns ochre with complete combustion occurs, and green when there is incomplete combustion. Various items used in the kitchen are now made along side water jars and suribachi, a ridged ""mortar"" bowl used for grinding such things as sesame.

  • Notification

    skills and techniques

    Yes, soil does elutriation, and produce.

    Molding is thing by hatatara molding potter's wheel molding, direct copy molding again.

    When do design charge account of basis material, wear, and, combed line, spatula eyes, carve eyes, and is about to drain engobe or fly; thing with plane.

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

    Glaze hook takes ditch; or is thing with ladle hook. In this case, assume glaze transparent glaze, candy glaze, black glaze, Kimachi glaze, irahowagusuri, white glaze or ash glaze.

    Raw materials

    It be said that potter's clay to use has materials which are equal to Uno argil, Uno red clay or these.

    It be said that makeup soil to use has materials which are equal to Uno argil or this.

  • Work scenery

    Process 1: Mixture (kongo)

    It is basic to dry soil sample which we mined in state of lump of clay of 30-40cm under roof more than half a year. In the case of later process, this is because clay makes it easy to disperse underwater by drying. Harmful ingredient included in soil sample becomes easy to dissolve in water at the same time, and this is because certain harmful ingredient firmly connects and becomes easy to be eliminated.

    Process 2: Elutriation dewatering (mizuhadassui)

    We scatter soil samples underwater and do into muddy water form. We remove rough drops such as gravel from muddy water which we scattered afterwards. After having spin-dried muddy water which removed rough drop the first using "oro", we move to "forest bowl" and spin-dry until it is to around 25% of moisture by naturally drying.

    Process 3: Chrysanthemum kneading on fire (work work out)

    After having kneaded clay which we spin-dried thoroughly, we work out soil with size to use with potter's wheel more and do and completely send air bubbles.

    Process 4: Potter's wheel molding

    We fix clay which did chrysanthemum kneading on fire necessary to make one product on the potter's wheel and mold using scoop (the inside) and palm (the outside). We make one product from one clod.
    In addition, one people - two people of other distinction pull rope in total, and there is technique to turn potter's wheel in condition of person leading work when we make super big game (large tortoises of around 72 liters). Point to put up stake, and to use is characteristic to wind rope around foot of potter's wheel in the case of Iwami Yaki in particular once, and not to slip when we add pressure and pull.

    Video is played when we click image

    Process 5: Drying

    We dry thing which we molded.

    Process 6: Unglazed (we come as soon as we do)

    Unglazing burns at temperature of 800 degrees Celsius to product so that the adhesion of glaze (we say we bake) becomes more effective. We judged 800 degrees Celsius only from perception of skilled worker while being old, and seeing state of ascending kiln and stopped fire.

    Process 7: For glaze

    A.After having hit water to the bottom of aggravating kakari ke (big game product) – product, we grind glaze "(hanging glaze inward) in" with ladle. We return "glaze" which remained inside to rolled letter paper (tubbish thing to put glaze in) and turn down product on "me" afterwards. The outside of product builds glaze with ladle. We remove glaze collecting on part of mouth hook with finger quickly. Product that we finished glazing puts ground board on bottom and wakes up with two and cleans relationship by brush and dries.

    Process 8: For ditch (accessory product)

    We dip into pails with glaze with hill of product.

    Process 9: We pile up kilns (kamazumi)

    We pile up on kiln carefully one by one.

    Process 10: Burning (result to carry)

    We bake by kiln.


  • Close-up

    We continue baking heart of Iwami Yaki brought up in living by traditional kiln

    The Ishimi district who ascending kiln was built for a long time, and was known as production center of "Omika" (worship) in the Edo era. While large handoto from ancient times made called Omika and small-sized water jar, in response to change of change in the times and life of people, it produced daily use earthenware abundantly.
    Traditional technique "is made with shino" and makes Omika regularly to leave technique of large hando (Omika) in now when demand of Omika decreased and continues baking heart of Iwami Yaki.


    "Large hando" of supersized pot used in goods dyed deep blue mainly

    Using clay of 200 kg, it takes approximately one month with three people until we make form. The technique is called "the making of shino". While we pile up clay which we did into a string which is bigger than arm form on shoulder on the potter's wheel as if carrying on the shoulder, and two handles pull rope of potter's wheel in total, and they turn breath with the point of tug of war slowly, we repeat handono bottom, waist, shoulder and 7-8 times and complete.
    It is inquiry gatta in story for Haruo Shimada (we do and still swell) of a little Master of Traditional Crafts which convey the unique production technique now.

    Workshop scenery of Shimada

    "Sky, though it might be hard now already bo reteshimotawana."

    In the suburbs of Gotsu-shi where grilled dish had been made flourishingly for a long time, "large hando" was mass-produced in the Meiji era, and there was kiln more than 100 in the golden age. However, in the 30, Showa generation, the spread of plastic container and waterworks advanced, and demand has decreased sharply. "Large hando" has been not readily seen in everyday life.
    We looked back on those days, and Shimada talked in this way.
    "Iwami Yaki studied large handoga pronoun. It was able to sell yo from Meiji to defeat of Showa. At first it was daily necessity at the time. My father opens kiln and puts the ascetic practices era because sputum is 1935 and has been already engaged in Iwami Yaki more than 60. It is thing which, anyway, is popular, and is popular, and was very busy at that time."
    "But it was the 30, Showa generation, and water supply came to be fully equipped with, and it was light, and Japan has stopped by inflow of plastic which it was easy to treat by rapid economic growth suddenly again, too. I who was young still went to production center of earthenware of each places of the whole country for study. Meanwhile, we suggested new product including umbrella stand and pickle pot while we made use of traditional technique."

    Iwami Yaki mug cup which is drying

    "Hand making tableware is different from hand to make in handoo."

    "Of course, in state that information from commission merchant (wholesale dealer) has few, there is no advice in those days, too. Because it was in such a state, we did not get movement of market at all. But folk handicraft boom came in the 40, Showa generation, and spotlight has begun to hit Iwami Yaki." "But we were said to a certain person in this way. "Hand making tableware is different from hand to make in handoo (technique to make tableware to put thing entering mouth of person in is different from technique to make big game. Do not underestimate.) It was said to be "." The words instigated born competitive spirit of Shimada, and development was able to produce grilled dish which had simple texture and warmth peculiar to Iwami Yaki with effort recklessly. Shimada who protects tradition and technique of the main stream of the Iwami Yaki rigidly while it is moved by passage of times, and is active now, and continues working. There is feeling "that there is craftsman here of Japan".

    Tradition and technique continue being succeeded to with mind

    "We are particular about old thing even if we say to a word that traditional and are over long ago. I say design again for the fourth generation (Kentaro Shimada) of grandchild for burn, the third generation (Takayuki Shimada) of son for the second generation when I inherited the back of father. "Do not sit cross-legged on tradition. ja important what is supported by market. As for the terms of life study. If forget to challenge, quit work"; tone
    Haruo Shimada is certainly superb person as both craftsman and human being.

    Sue career 64 of Iwami Yaki, Haruo Shimada


    Iwami Yaki The oldest document which exists of this

    In the Ishimi district, saifujishiro*eimon which went to the front in position (1592-1610) of Bunroku, the Keicho era that Hideyoshi Toyotomi went to brings back plum Akiko who is Korea ceramist, and there is record that opened Chinese and Korean people kiln. It is confirmed that plate or earthenware mortar excavated in Takatori ware and Hagi Yaki resemble excavated article of this area. Kiln which we had after position of Bunroku, the Keicho era such as Karatsu Yaki, Takatori ware, Hagi Yaki does the source of grilled dish of our country, and is evaluated in history of ceramics when one of the valuable kilns. This applies to "Chinese and Korean people kiln", and remains burnt by the kiln are found that ash glaze was hung.

    Korea or similar Karatsu technique learns from Rokuro Irie of Suo Iwakuni feudal clan in kanreki April, 13 (1765), and Morita certain person of Gotsu village (existing Gotsu-shi) is informed that authentic grilled dish comes to be cooked in the Ishimi district, and it is thought that accessory technique is Iwami and was manufactured birth.
    On the other hand, one workman always (about 1781) comes to Gotsu village from country of Bizen in dawn, and there is to history book when we initiated into rough ceramist, big game technique. These big games and two flows of accessory enter and are influenced by demand for times and they hang Iwami district having high quality clay abundantly by the late Tokugawa period establish the origin of "Iwami Yaki".
    For culture, Bunsei era Era (1804 through 1829), kilns suddenly increased in various parts of Japan. Sentence and description about by-your-leaves of complete set (ceramic ware) are left in the Ishimi district.

    "Tando scripture mound" was built in May, 1819 (Bunsei 2). We pass through excavated 1, Hitotsuishi from this scripture mound, and ga is important as the existing oldest document of "Iwami Yaki" put pot is done with thing before it.



Industrial art object name Iwami Yaki
Phonetic symbol We look at rock and bake
Classification of industrial art object Ceramics
Main product Water tortoise, earthenware mortar, cooking article
Main production area Shimane / Gotsu-shi, Hamada-shi, Masuda-shi, Oda-shi, Tsuwano-cho, Kanoashi-gun
The designation date April 4, 1994

Contact information

■local production associations

Iwami earthenware industry cooperative association
1315, Ushirojicho, Gotsu-shi, Shimane
Iwami Shimada kiln
TEL: 0855-57-0155
FAX: 0855-57-0155

■Associated exhibit space, facility


Using clay near porcelain, product using glaze (say bake) of dark brown using local stone containing iron and transparent glaze using stone including alkali is the main force. When it is non-flame which we completely burnt and bakes yellow ocher when we bake this transparence glaze by flame which we completely burnt, it becomes blue.

These ceramics are mostly made with a clay similar to porcelain and are then given a brown glaze made from local stones containing iron or a transparent glaze made with stones containing alkalis. The transparent glaze turns ocher if baked after the flames have completely combusted while turning blue if baked in incomplete combustion conditions.

How to make

We use potter's clay produced in the Ishimi district. We put this soil in the water and will have muddy water and divide by unnecessary thing that we use as clay. We dry mud which we sorted out and make clay and make form with technique such as potter's wheel, tatara. We dry in the shade and bake thing which became form at high temperature of 1,300 degrees.

The clay used for these ceramics is found in the Iwami region. This soil is immersed in water, reduced to mud and then separated into the clay that can be used for pottery and other components that will be discarded. The mud which has been sorted this way is dried, made into pottery clay and then molded into shape by means of techniques such as turning on a potter’s wheel or Tatara. Once molded, the pots are allowed to dry in the shade and then baked in an oven at a temperature of 1,300 C°.