Imari Arita YakiImari-Arita Ware

It is beginning of Imari Arita Yaki that clay for chinaware which is raw materials of porcelain was discovered in Arida Izumiyama by Sanpei Ri of ceramist whom Saga feudal lord who participated in the Korea dispatch of troops by Hideyoshi Toyotomi of the end of 16th century brought back from Korea.
It is said that thing burnt then is first Japanese porcelain.
It was called Imari ceramic ware now because porcelain called Imari Arita Yaki assumed Imari Port outport in those days. From dyed pattern that we painted with one color of blue to thing which did colorful overglazing, there is various expression. The styles included Old Imari, Kakiemon, gold-painted porcelain, Nabeshima, and Kakiemon style and Koimari-type porcelain attracted European people with the beauty among other things. Imari Arita Yaki was exported in large quantities through Netherlands firm in the Edo era.

The origins of Imari Arita Yaki date back to the end of the 16th century when the Saga clan, which had been involved in Toyotomi Hideyoshi's campaigns in Korea, brought back the potter, Li Sanpei who discovered porcelain stone at Mount Arita Izumi, in northern Kyushu. The porcelain that was subsequently made there was the first to be produced anywhere in Japan and was originally called Imari Yaki, simply because it was shipped through the port of Imari.

There are a number of different qualities ranging from a simple blue and white ware to pieces over-glazed with brilliant colors. Out of the number of styles including Koimari, Kakiemon, Kinrande and Nabesima, it was the beauty of the Koimari and Kakiemon porcelains which really appealed to people in Europe. In fact, during the Edo period (1600-1868), large quantities of Imari Arita Yaki was exported through the trading facilities retained exclusively by the Dutch in Japan.

Today as in the past, many fine pieces of Japanese and Western tableware are being produced along side some decorative items. Inevitably, however, it is the brilliance of the enamels and the beautiful white surfaces as well as its practicality, which continue to characterize Japan's most famous porcelain.

  • Notification

    skills and techniques

    Drain bag which sharpen, and does forming finish and wet wiping finish of the whole surface of basis material so that molding molds direct copy potter's wheel molding, and defeat model, and molding, "hand twist molding" or basis material has property that is equal to case by these molding methods; thing by molding or "drain two folds molding."

    When do design charge account of basis material, carve, and combed line, itchin, chamfering stick, and heap up, and fly, and knit plane; thing by hand, firefly hand, the texture, pressing a flower design in intaglio or engobe.

    When do china-painting with underglaze color, stand, and scratch, and "*sumi" takes marking gauge, sumi line drawing, dami, reckoning soon; or is thing by the texture. In this case, paint has with "glaze back rouge" or "rust paint" "asbolite paint".

    Is about to soak glaze hook, and is about to drain or vomit; thing by credit. In this case, glaze has with "iron glaze" or "lapis lazuli glaze" "celadon porcelain glaze" "stone ash glaze" "hahasohaiuwagusuri".

    When do overglazing, line drawing, dami are things by marking gauge, lacquer firewood or foil tension. In this case, paint assumes "sum paint" or "gold and silver colored picture tool".

    Raw materials

    Yes, it be said that clay for chinaware to use for soil has materials which are equal to Amakusa clay for chinaware, Izumiyama clay for chinaware or these.

    It be said that clay for chinaware to use for celadon porcelain glaze has materials which are equal to Izumiyama celadon porcelain stone, celadon porcelain stone in Okawa or these.

    Assume foil gold leaf or silver foil.

  • Work scenery

    Arita ware is narido as well as other Ceramics → Molding → Finish, drying → Unglazing (we come as soon as we do) → China-painting with underglaze color → hodokoshiuwagusuri (seyuu) → Fire (honshosei) → Overglazing → We are made along process called overglazing burning. In the case of Imari Arita Yaki, it is most of prominent craftsman shares these processes in each, and to perform.

    Process 1: narido

    We mine Izumiyama clay for chinaware and Amakusa clay for chinaware by open-air mining, kodokutsusakugyo and sort out clay for chinaware. We crush clay for chinaware and powder slightly more. Viscosity increases by making 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) and removes impurities such as iron content and silicic acid in clay for chinaware. Except extra moisture, we make potter's clay of suitable hardness to finish to clay which it is easy to mold.

    Process 2: Molding

    We equalize particle and moisture of potter's clay and perform soil koneo to completely lose air bubbles in potter's clay. If this process is insufficient, "we go berserk and become cause of hizumi" after the molding. In the case of potter's wheel molding, we cast, and there are molding and machine potter's wheel molding, roller machine molding.

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    Process 3: Finish, drying

    We complete half-dried cast in form of the final product. We sharpen, and hill is made with outside cut, snacks, and, depending on product, there is cleared out. Furthermore, we wet-wipe the surface of container with cloth carefully to smoothen processing in hodokoshiuwagusurikohodo with picture and smooth off. We go berserk at the time of the shrinkage, and hizumi occurs when we suddenly perform drying of straight product. Product equal plate board, and drying depending on dry in the shade, each including sun drying is necessary.

    Process 4: Unglazing

    Temperature in kiln gradually burns at advance approximately 850-950 degrees to prevent the damage of instrument and kiln tool. We gradually cool to prevent damage by sudden temperature change at the time of cooling. We release product from kiln and sort.

    Process 5: China-painting with underglaze color

    Distribution compounding of paint is one of the important work of picture on porcelain mechanic. There is paint of line drawing (outline part of picture design) and dyed pattern dummy (light and shade part of dyed pattern in line drawing) and we print with milk drumsticks and prepare. A lot of asbolite composed primarily of cobalt oxide is used for china-painting with underglaze color. Painting needs considerable mastery of skills to draw on the surface of unglazing with writing brush directly. We are told that the superiority and inferiority of product is decided in brush strokes, stroke of the pen of line drawing. Technique of dummy is performed by this process, too.

    Process 6: hodokoshiuwagusuri

    Glaze is thin vitreosity covering up Ceramics appearance and we purify feldspar, limestone, silica, hahasohai and make. We soak small product in glaze tank which we mixed well. Big product is about to spread with tool called choppage from the top and does spray cliff. We flatten to average hodokoshiuwagusurimen. We sharpen or wipe off glaze of hill not to attach to shelf board at the time of this burning.

    Process 7: Fire

    Express beauty of white porcelain by letting let mature, and magnetize burning, and warm, and light, and attack, and light, such as deep-fried fire light, and give temperature to approximately 1,300 degrees through.
    As for the thing becoming product as this roast, other things continue to overglazing process with white porcelain, dyed pattern, celadon porcelain, lapis lazuli more.

    Process 8: Overglazing

    To dyed figure on cloth, we prepare red, yellow, green, black, money, much paint including silver. Overglazing refers painting with paint on the glaze, and there is combination of line drawing and dummy representing outline of picture design. After painting, we print at low temperature of 760-830 degrees to make fixation of paint better. We give until overglazing, and finished thing is called dyed figure on cloth (red glazing) and sennishiki. We are sorted and are shipped afterwards.

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  • Close-up

    Entrust container with pure feeling; and ... Imari Arita Yaki

    A certain translucency hue beautiful white and clear metallic sound. Porcelain, Arita ware making to be said to be top quality goods which can arrive at by ceramic art in noble family in ceramic ware most. We asked young china-painting with underglaze color craftsman who worked for pottery "shin kiln" which was particular about pattern of freehand drawing the charm.


    Momentary impression that decided the life

    Craftsman, Hiroyuki Hashiguchi of shin kiln are the youngest in Master of Traditional Crafts of Arida. We asked reason why we chose this work as. "We already learn it well. If I am not mistaken, it is time of fifth grader. We had time of ceramic ware by class and made vase. When we hung glaze to thing which was colored mud and baked, we were impressed by beautiful color of green and white though we changed. We had had the work accepted for schoolchild art exhibition and were interested in thing which oneself designed remaining as form and, also, felt admitted joy. It graduates from design department of local Arida technical high school, and this is because it was attracted at point that is particular about freehand drawing that we decided on the present workplace."

    Hashiguchi was smile calm from beginning to end

    Container is gift of teamwork

    There are various processes in ceramic ware. We put in the kiln representing picture turning potter's wheel kneading soil digging clay for chinaware. Painting that Hashiguchi is engaged in is only part of process to make Arita ware making. Therefore it is said that there is not container which is splendid if there are not all people engaged in each process, feeling of thanks to all things. "We worked together in competition with person who made form and people who burnt and grew up. As a result, when we won a prize in ceramic works exhibition, we were glad, and customer buys container which we made, and what he/she values encourages. We feel charm of this work in place where talks are born mainly on container."

    Caliber is person

    We make with tableware oshin kiln which doll called "the Dutch" was drawn on. Heart of person describing seems to be reflected on the expression. When "sad thing, hard thing may be painful, it just comes out. We cannot draw live line with power of expression if we do not spend time for normal feeling calmly."
    It is said that line with power of expression is line with strength in the narrow inside. "Work of Fujii (Master of Traditional Crafts working for positive Shigeru, shin kiln) aiming for has delicacy in the powerful inside. We feel that thing which I make from it is hard. It does not come true still more at composition, movement of line, design which we regarded as feeling of consumers to purchase price, point called manufacturing."

    • Writing brush of various thickness is used for painting

    • It is said that expression of the Dutch shows feelings of author

    It finally showed quality of oneself

    Begin china-painting with underglaze color as craftsman; and Hashiguchi called 18 years. "We finally understood own way to aim at, the quality of oneself. My work is delicate; or "was woman made?" This is said well. It is said that "we are pretty" is, "we are gentle", but after all it is nice. Because when we use for human being, it is good word."
    It is said that there are many plans that own power is tried recently. "We wrestle with feeling exceeding big mountain whenever opposite to thing to exhibit at ceramic works exhibition and big work. Is it least feeling that important thing is modest, and is obedient in that?."

    We draft in masterpiece. The neighbor is Fujii

    Work which we can talk with person about through container

    It is said that Hashiguchi has a lot of dreams. "At first, seeing from company, around 100 people want you to move inside and outside the factory. And improve your skill personally. At last it was revealed, but, I'm ashamed to say, thing which own favorite thing and such world like is still vague, and it is not seen in concrete form. However, we are looking forward to when we may see it through work and conversing with with customer.
    We are that we are like being able to talk with person about my aim through container, and we entrust container with pure feeling, and it wants to make thing reaching person. Even if is small even if is big, air of the circumference wants to make pin and container under the strain, container said to, "dishes prosper if serve dishes to this dish, and was delicious" because there are container which can be pleased with person with novelty, the container;

    • Hand of Hashiguchi drawing warm level skillfully

    • Finished work is delicate, and it is beautiful

    Craftsman profile

    Hiroyuki Hashiguchi (do complaint Hiroyuki)

    After graduating from local Arida technical high school, we engage as china-painting with underglaze color craftsman by shin kiln.





Industrial art object name Imari Arita Yaki
Phonetic symbol imari, aritayaki
Classification of industrial art object Ceramics
Main product Japanese and Western tableware, accessories
Main production area Saga / Imari-shi, Takeo-shi, Ureshino-shi, Arita-cho, Nishimatsuura-gun
The designation date October 14, 1977

Contact information

■local production associations

Sue, Saga porcelain industry cooperative association
Hokaomachi, Arita-cho, Nishimatsuura-gun, Saga third class 1217
TEL: 0955-42-3164
FAX: 0955-43-2917

■We visit production center from foreign countries
Arita ware making, Imari ceramic ware - production center visit article

■Associated exhibit space, facility


jihada which Imari Arita Yaki is white, and is beautiful and gorgeous painting, usability and robustness as tableware are the characteristics.

Imari Yaki and Arita Yaki are porcelains known by its beautiful white texture, glamorous paintings and also usability and durability as tablewares.

How to make

We crush clay for chinaware and make powdery and we add water and will have clay. We make form with this clay using potter's wheel and model and do unglazing at low temperature. We give china-painting with underglaze color with paint and hang glaze (say bake) on the surface and bake at high temperature of around 1,300 degrees by kiln. When we attach polychromatic picture, we draw dyed figure on cloth to baked thing more and bake.

Crushed powder of pottery stone is mixed with water to make the clay. The clay is molded or wheel-throwed into a shape and biscuit-fired at low temperature. It is baked again with high temperature (around 1,300℃) in the kiln after painting and glossing are applied. When creating a multi-colored painting, it will be repeatedly baked after applying each color.