Kishiwara YakiKoishiwara Ware

It is the Chikuzen opened in earlier period of Edo era in the 17th century by Kuroda feudal clan feudal lord's first kiln.
It is called "burning off a field" from the place name at first and baked porcelain such as large tortoise, pot, sake bottle, but earthenware comes to be baked from the early 18th century, and it is said that it came to be called Kishiwara Yaki.

The kiln set up by the feudal lord of the local Kuroda clan, in the 17th century at the beginning of the Edo period (1600-1868), was the first to be set up in Chikuzen in northern Kyushu. Large porcelain urns, jars and sake flasks were made under the name of Nakano yaki but in the middle of the 18th century, pottery was being produced under the name of Koishiwara Yaki.

The special features of this ware lie in the way in which the pottery is decorated using brush strokes on the large dishes and the large pots with their chattermarks. Using techniques which have barely altered over the centuries, urns, drinking vessels and flower vases are still being made today along with a range of tableware and some figurines.

  • Notification

    skills and techniques

    Molding is thing by potter's wheel molding.

    "We hang live" and grind niyoru glaze hook.

    When do design charge account, "fly plane," is thing by "speculation" or "not finished draining" "vomit eyes" "yubi*" "kushi*".

    Raw materials

    Potter's clay to use assumes "Koishihara potter's clay".

    Makeup soil to use assumes "Koishihara makeup soil".

    Feldspar which "hangs live", and uses ni assumes "Akatani feldspar".

  • Work scenery

    Characteristic of Kishiwara Yaki hangs white soil called makeup mud on the potter's clay, and there is in various technique in place carving pattern. Is simple in platter of fine striped pattern, technique not to still change including combed line which fly, and can enter in pattern with plane, comb which hires Fumi when is half-dried; is tasteful.


    Process 1: We dig soil sample

    Originally soil suitable for potter's clay is produced abundantly in Koishihara, and it does not change now either.


    Process 2: Soil drying

    We dry soil which we adopted once.


    Process 3: Crush

    Using water of Tanikawa, we crush using machine "mortars for hulling" (lightly) crushing soil which we gathered finely finely. Until about 1965, approximately 30 mortars for hulling moved regularly in Koishihara.
    Sound to assail gigoton, gigoton and mortar for hulling echoes through Tanikawa regardless of the night and day.


    Process 4: We filter soil

    We stir with water tank well, and soil crushed finely filters over and over again. Soil gradually turns into soil with detailed tenacity.



    Process 5: Dewatering

    We spin-dry soil including moisture.


    Process 6: Soil kneading on fire

    We knead soil thoroughly before making earthenware costs. This work is called "chrysanthemum kneading on fire" to knead like form of petal of chrysanthemum finely when we knead soil. Chrysanthemum kneading on fire sends air in soil and provides tenacity and hardness that product to make is required.


    Process 7: We knead soil

    It is performed by handwork carefully to completely lose equalization of coarseness and minuteness of particle, averaging of strong density of moisture and air bubbles in potter's clay.


    Process 8: Potter's wheel molding

    When soil is completed, it finally becomes form structure process. We use potter's wheel here. In the times when there was not electricity, we kicked with foot and turned potter's wheel. "* potter's wheel" means it. Electric potter's wheel is important, but can regulate speed to play by liver adjustment freely now.
    About technique, we lengthen potter's clay into a stick form with both hands for a long time. We repeat to the top to the top while kneading potter's clay which we lengthened carefully. Technique of "kneading on fire reckoning" means this. Next is technique of "the making of pull". We make one product with potter's clay on potter's wheel and cut with string if it is completed and are technique making the next product with potter's clay which remained. We make many products from potter's clay put on the potter's wheel. "tamazukuri" means technique to make one product from one potter's clay. In addition, we say technique to make with "the making of string" or "handbuilding" without using potter's wheel.


    Process 9: Half drying

    When the making of form is over, we dry by the sun and begin the next process. Drying in the sun scenery is charming sights of Koishihara-mura.


    Process 10: Engobe

    We give work using various tools in state of half dehydration. "Fly; "finger comes" plane" "fine striped pattern" "combed line", and there is, and nadono technique is characteristic of Kishiwara Yaki.


    Process 11: Sharpen

    We win wankyokushita piece of iron while turning article which we hung makeup soil. The piece of iron jumps, and skipping sharpened Fumi enters article. This is technique called "black kite plane". This piece of iron is royal fern used for what an old "royal fern clock". We prepare it to tool which we put cut so that each ceramist matches own hand and are easy to use. It is technique to need mastery of skills.
    In addition, we give basis material makeup soil and spend by brush in spite of being mawashi with potter's wheel pitter-patter at regular intervals and say technique putting unique pattern in with "dasurimomoku" (we beat and are brush). We put makeup soil in the pipette and draw Fumi freely. "We write itchin" and say to. These are all technique of Kishiwara Yaki original.



    Process 12: Unglazed

    It is with picture and performs unglazing to be easy to do hodokoshiuwagusuri, and to do.



    Process 13: For glaze

    Glaze gives appearance of ceramic ware with film of vitreosity thinly. We give ceramic ware luster and make look beautiful, and there is role to prevent penetration of water. Raw materials of glaze of Kishiwara Yaki are produced in hometown and "they increase straw times and are mokubai, butterfly cough, rust soil". We provide color peculiar to pottery by ceramists doing original combination with these glazes.
    There is case to do after the unglazing when we live on half drying state after having dried by the sun for glaze. "Speculation" that can enter, and hangs glaze on the surface of product to accessories such as liking to drink "ladle cliff" hanging using ladle as technique for Kishiwara Yaki original glaze evenly at a stretch. Various designs that we cannot calculate are born. "We are about to drain" puts glaze in the small container of mouth and carries away glaze from the container to earthenware at regular intervals. Flow condition of the glaze decides taste of article.



    Process 14: This roast

    It is finally burning. Kiln uses "ascending kiln". A lot of gas and electric kilns are used recently, too. The length of the ascending kiln is an average of 20 meters. There is 4. kiln. ・ When it fills kiln with articles, it is sequence of article to be the most difficult. We arrange in shelf foot and shelf board so that we put article which glaze which is easy to melt from back one hung over, and articles do not come in contact again. And fire enters kiln. There is fuel hole under the first and we light and gradually send to the top. When continue cooking with the bottom fuel hole approximately 15 hours, and temperature of kiln reaches around 1,000 degrees, put firewood from horizontal fuel hole; "wide, light"; nihairimasu. "We light the side" puts firewood evenly with this side from the depths. Experience is required work. When temperature of kiln reaches around 1,300 degrees, of upper kiln "light the side"; nihaitteikimasu. From field firing to burning talismans fortune-telling, it is approximately 40 hours. Work of forgetting food and sleep to need perseverance and physical strength continues.
    We light and cool kiln from rise for approximately one week and become "kiln soup stock" which finally picks up product from kiln. At moment of getting out kiln for ceramist, uneasiness always mixes with expectation. Heart of ceramist dances. We take out product heartily while feeling warmth of flame on shelf.



    Process 15: Inspection

    Thing which performed bare roast does not have wounds or inspects.


    Process 16: Completion

  • Close-up

    Kishiwara Yaki which the traditional skill introduces warmth of soil into

    Ascending kiln which puts up purple Sue smoke at myth and legendary hometown, the foot of a mountain of Mount Hiko (hikosan) in the four seasons.
    Potter's clay of group becomes form on potter's wheel, and it is given glory by expert handwork and is given everlasting life by flame.


    The history of Kishiwara Yaki and the characteristic

    As for the Kishiwara Yaki made open kiln in 1682 (Tenna 2), simplicity not to change from large pot, pot, bowl, kitchenware product such as earthenware mortar to tableware for day from old days is liked. And we fly and are about to drain plane (technique to carve Fumi with metal wing which is hard when it is half-dried), combed line (technique to hire Fumi with comb), brush eyes (technique to hire Fumi by brush), yubi*, and, in this Kishiwara Yaki, unique technique such as speculation lives. Many ceramists and potters pray for development of Kishiwara Yaki in here Koishihara from ancient times while inheriting such traditional skill carefully and aim at establishment of newer style. We heard story from Yasuo Kumagai who was Master of Traditional Crafts of Kishiwara Yaki this time.

    It is life of Kishiwara Yaki to express own individuality

    In front yard of workshop of home where spring sunlight was warm, Kumagai dried earthenware of half dehydration by the sun. Opening went into explanation of powerfully suddenly own work immediately after greetings most saying "earthenware transforms by strength to hit on day this much when we did not dry by flip in such condition if day became strong.". It is quite individual Master of Traditional Crafts to look good with well of mustache. Workshop which smells soil. Ascending kiln which was made using slope of mountain. Mortar for hulling to draw water of river, and to prepare potter's clay into. From all of Koishihara-mura, it is transmitted through sokushi iga from the front for several hundred years. Kumagai "originally I was not ceramist. We leave school and work as office worker first. Sushi chef did it afterwards, too. If distantly related uncle is ceramist, and go out to play once, it "does not take place so much that it makes tableware to cook you, food. Same "" to make is product ruhogaeezo in thing having you value all the time. Help with my work." We invite me in this. What entered this world with light feeling, to be frank. However, it is not so sweet. To the boss, it was forged. It was said to be persistently when "we do not leave to an adult when both dozens of times of person and several hundred times were desperate and did not try hard because you were late more for years than person and entered". Because I hated to lose, we devoted ourselves desperately. There was every day at time when we left for potter's wheel earnestly until midnight around 3:00 without going as oneself thought. Earthenware should not be only only to follow traditional technique. Kumagai said own work, it is important at all hot how you expressed own individuality whether you expressed own what.

    Yasuo Kumagai toward potter's wheel

    Fusion, Kishiwara Yaki of new rashisato tradition

    A lot of youths in their twenties engage in Kishiwara Yaki. Though much Traditional Craft is troubled with lack of successor, local youth walks way of ceramist proudly in here Koishihara. Son of Kumagai graduates from art department of university, too and succeeds.
    Saying though "all the ceramists of Koishihara are strong in individuality, is saying want to tell person who is young by the skill own than following secret method of family lore rigidly."; Kumagai. We tell technique that expert craftsman is each good at to young person and younger student across frame of class and pottery eagerly and tell. Actually, it is said that we may be taught technique that we did not know by son who is pupil so far.
    "Person in the 60s or 70s gives mature expert individuality and young person matches new sense with traditional technique well and expresses own individuality. And while both sides were stimulated, we caught request of the times and, as for the basic tradition technique, Kishiwara Yaki changed while succeeding. Kumagai said, it is traditional one of new Kishiwara Yaki with warm smile while pointing at ceramic ware of new sense that son made.
    On the other side of garden, shakunageno flowers were in full bloom.

    Craftsman profile

    Yasuo Kumagai (kumagaeyasuo)

    It was born in September 18, 1949.
    From 1969 making earthenware
    Director at 58, Showa nine states a year Ministry of International Trade and Industry Prize receiving a prize
    It becomes Master of Traditional Crafts in 1994

    Master of Traditional Crafts Yasuo Kumagai who focuses on individuality


    The history and culture of Koishihara-mura

    Voice of person echoes through grove of cedar to go down, and to look up at in good old ancient times
    Old days, Buddhist monk that mountaineering asceticism was prosperous in here Koishihara were places of the most important ascetic practices to do with peak to Mount Hiko (hikosan). Woodcraft image of "Giyoja Enno" (ennogyoja) who is the founder of mountaineering asceticism is still enshrined in "Buddhist ascetic temple" protected carefully by villager. In addition, in front of Buddhist ascetic temple, there is altar for cedar-stick burning of piling-stones, and remains of an ancient structure and remains about mountaineering asceticism including "incense spirit temple" (how about Kosei) "perfume pond" (you breathe in this way, and go) remain much near.
    And huge tree group of cedar which grows for the sky to watch Buddhist ascetic temple. When mountaineering ascetic enters peak, this planted, and, with this cedar brought up to Oki of 50 meters or more for 300 through 500 years old, people call Buddhist ascetic cedar and get close.

    In border, the west of forest of Buddhist ascetic, the Chikuzen east is the Kogura, Buzen territory
    In forest of Buddhist ascetic that Buddhist ascetic cedars grow thick, mossed border stone (we impress boundary) is built two engines back to back. When border fight solved over right of beautiful Buddhist ascetic cedar between Chikuzen and Buzen told that fight did not die out in 1701 (Genroku 14) in the Edo era, this was built. The border Kannon of stone statue which there was in previous border was worshiped in temple of forest of the same Buddhist ascetic and erected the wooden border Kannon newly in Chikuzen. However, because theft often included this Kannon, we are moved to kiyomemanji by domain order, and thereafter only border stone continues watching border during long time.

    • Buddhist ascetic cedar of 300-500 years years old

    • Border stone (we impress boundary) which was mossed



Industrial art object name Kishiwara Yaki
Phonetic symbol It is dark and roasts straw
Classification of industrial art object Ceramics
Main product Tortoise, pot, ornament, eating and drinking device
Main production area Fukuoka / Toho-mura, Asakura-gun
The designation date May 10, 1975

Contact information

■local production associations

Kishiwara Yaki earthenware cooperative association
730-9, Koishiwara, Touho-mura, Asakura-gun, Fukuoka
Kishiwara Yaki Kyoto Museum of Traditional Industry
TEL: 0946-74-2266
FAX: 0946-74-2266

■Associated exhibit space, facility


Platter of fine striped pattern (brush) flies, and decoration such as pots of plane (plane) is characteristic. Pot, eating and drinking device, vase are made with old days and technique not to change very much now.

Their characteristics appear on its decorations, such as hakeme (white slip) on large plates or tobikanna (chatter marks) on pots. Pots, tablewares, flower vases etc., are created through a well-preserved techniques from old times.

How to make

Was established in the late 17th century; fly, and give technique of decoration such as plane, engobe, fine striped pattern, and write glaze (say bake) without performing unglazing, and bake.

They are directly glazed and baked without biscuit firing after decorations are applied. The decorative techniques such as tobikanna, keshogake, hakeme are established in late 17th century.