VOL.207 SEPTEMBER 2025
THE MUSICAL INSTRUMENTS AND MUSIC CULTURE OF JAPAN [Introducing Precious Traditional Japanese Culture to the World] The Richness of Japanese Pottery: Diversity Shaped by Regional Clay and Craftsmanship

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A selection of Karatsu-yaki pieces by Mike Martino.
Photo: ISHIZAWA Yoji

Mike Martino, originally from New Mexico, USA, now works as a Karatsu-yaki¹ (Karatsu ware) potter in Saga Prefecture. Having explored ceramics across Japan and been captivated by their unique appeal, he shares his perspective on the enduring charm of Japan’s togei (pottery and ceramic craft) culture.

My fascination with Japanese pottery may trace back to experiences from my childhood. In our garden, I would uncover centuries-old shards of pottery with my father, and together we would imagine how people long ago might have used them. Those fragments seemed to whisper stories of the past, captivating me with the sense of history they carried.

In 1990, I came to Fukuoka Prefecture to train in karate, and on weekends I often visited the Kamamoto kilns² producing Koishiwara-yaki³ (Koishiwara ware) and Takatori-yaki⁴ (Takatori ware). While pottery is also popular in the United States, the world of Japanese ceramics was unlike anything I had experienced. Each region has its own clay, techniques, and designs, giving rise to distinct traditions. I was completely captivated by this diversity.

For example, Karatsu-yaki reflects influences from the culture of the Korean Peninsula, Arita-yaki⁵ (Arita ware) is known for its translucent white porcelain, and Bizen-yaki⁶ (Bizen ware) is distinguished by its robust, unglazed firing technique.⁷ Each type possesses a character that can only be produced in its native region.

Among them, one that particularly captivated me is Iga-yaki⁸ (Iga ware). By keeping a wood-fired kiln burning for ten days, the flying ash melts into a natural glaze on the vessels, creating beautiful, greenish glass-like effects known as ‘natural glaze’, a form that human hands cannot replicate. Equally fascinating is Oribe-yaki⁹ (Oribe ware), favored by the 16th-century tea master FURUTA Oribe.¹⁰ The Kutsu-chawan, a tea bowl distinguished by its deliberately irregular shape and bold green glaze, was born from a free-spirited approach reminiscent of contemporary art, challenging the era’s conventional preference for symmetry.

In 2002, I met my master, TSURUTA Yoshihisa, and began pursuing pottery in earnest. Surprisingly, the first lesson in his workshop was not about “making” but about “observing.” My training began by studying old pottery shards that he had carefully collected.

When I held a 400-year-old Karatsu-yaki shard, the childhood sense of “learning from the old” came rushing back. What surprised me was that while these ancient pieces never leaked, some 20th-century works included a note claiming that any leaks would stop with use. Why didn’t the older pottery leak? Research revealed that, although Karatsu-yaki today is shaped purely from clay, early potters mixed clay with stones or sandstone to create a clay body that would mature well during firing. Because working with sandstone to achieve the right consistency was labor-intensive, it was gradually replaced by more manageable materials as new raw sources were discovered, leading to changes in production methods. These old shards proved to be an invaluable resource, offering a direct way to study traditional techniques and serving as the ideal learning material for a potter.

What I find remarkable about Japanese ceramic culture is the depth of knowledge among the general populace. In the United States, functional ceramics are rarely regarded as art, but in Japan, through the culture of tea ceremony that has continued for over 400 years, many people naturally develop an eye for discerning the quality of tea utensils.

Pottery from across Japan has developed this rich culture through mutual influence. Its diversity and depth, along with an aesthetic sensibility rooted in everyday life, are the true allure of Japanese ceramics. My current goal is to share this remarkable tradition with the world.

Mike Martino
Originally from New Mexico, USA. From a young age, he developed an interest in pottery, exploring ancient sites and collecting ceramic fragments. He came to Japan in 1990, and in 2002 began studying under a master Karatsu-yaki potter, creating his own works. In 2005, he established his own kiln, Gotanbayashi Kama. Many of his pieces are used as tea utensils for the tea ceremony, and he also actively produces Japanese and Western tableware, as well as sake vessels.
Note: Visits to his studio require advance reservation.
Photo: ISHIZAWA Yoji
Search: Mike Martino

• 1. Karatsu-yaki: A general term for pottery produced mainly in Karatsu City, Saga Prefecture. While there are several theories, it is said to have begun in the late 16th century, incorporating techniques brought over by potters from the Korean Peninsula, which boosted production. Made with coarse, unrefined clay, its vessels convey a rustic yet powerful impression.
• 2. Kamamoto: Refers to a workshop where pottery is produced, or to the potters themselves.
• 3. Koishiwara-yaki: Pottery produced primarily using clay from the Koishiwara district of Toho Village, Asakura-gun, Fukuoka Prefecture, with kilns dating back to 1682. Influenced by exchanges with the already-established Takatori-yaki in Koishiwara, it is characterized by simple, warm, and distinctive patterns.
• 4. Takatori-yaki: Pottery produced mainly in Toho Village, Asakura-gun, Fukuoka Prefecture. Its origins trace back to 1600, when potters from the Korean Peninsula established kilns there. It has been especially highly regarded for its tea utensils, known as chatou.
• 5. Arita-yaki: Porcelain produced mainly in Arita Town, Saga Prefecture. It is said to have been first made in the early 17th century by potters from the Korean Peninsula who came to Japan. It is characterized by its hard, white porcelain, often decorated with vivid colored paints.
• 6. Bizen-yaki: Pottery produced mainly in Bizen City, Okayama Prefecture. Its origins trace back to the techniques of Sueki, a hard-fired earthenware introduced from the Korean Peninsula around the 5th century, which later evolved into Bizen-yaki. It is fired without glaze or painted decoration, allowing the natural texture and color of the clay to be fully expressed.
• 7. Glaze: A glassy coating applied to the surface of pottery.
• 8. Iga-yaki: Pottery produced mainly in Iga City, Mie Prefecture. Its origins date back to around the 8th century, when it was primarily used to make jars and pots. From the early 17th century, it became highly valued as tea utensils for the tea ceremony. Repeated high-temperature firings cause the clay’s components to melt and react with wood ash, forming a green, glassy surface and a rich, tactile texture that showcases the natural qualities of the clay.
• 9. Oribe-yaki: Pottery produced in southeastern Gifu Prefecture. Favored by the tea master FURUTA Oribe, it is characterized by tea utensils that embrace beauty in asymmetrical, irregular shapes and feature a variety of designs, including checkerboard patterns, geometric motifs, and fans.
• 10. FURUTA Oribe (born 1544, according to some sources; died 1615): Born in Mino (present-day Gifu Prefecture), he was both a military commander and a tea master. A disciple of Sen no Rikyu, the great unifier of the Japanese tea ceremony, he created Oribe-yaki.⁹

By MURAKAMI Kayo
Photo: ISHIZAWA Yoji; ColBase; PIXTA

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