Saga, a small, rural prefecture in a quiet corner of Japan, is not known for tourism riches. Outdoor adventurers may feel drawn to it because of its hiking and climbing opportunities, and hot spring enthusiasts will likely not be disappointed by Ureshino Onsen. For the sake ceramics enthusiast, however, there is ample reason to visit.
Saga is home to one of the most recognized styles of pottery in Japan, called Karatsu-yaki. Its guinomi (sake cups), in fact, are prized above most other styles in Japan. The name of the style draws from the attractive seaside town of the same name, which was once an important port of trade with China and Korea. With a large, beautiful castle that rises majestically from a hilltop, Karatsu is set scenically on the shores of Karatsu Bay and the Sea of Japan. Lush green mountains rise in dramatic relief behind it.
In the 16th century, potters there drawing on techniques imported from nearby Korea began producing what we generally know as Karatsu-yaki today (many of those early potters were Korean, in fact). Now it refers broadly to ceramics made in the Karatsu style across the region, and not just in Karatsu City, attesting to its power and influence as a style. It is a high-fired ware whose tones range from earthy browns to the rich, deep blues of the nearby sea. There are actually eight sub-styles among Karatsu-yaki, each with its own characteristics. One sub-style, for example, is well-known for having underglaze iron paintings or patterns.
In medieval times there were hundreds of active kilns in the region. Today there are several dozen, many of them of course still in Karatsu City. There are also plenty of pottery shops in town and it’s not unusual to see restaurants serving fresh fare with the local ceramics. The only family that has been producing Karatsu-yaki continuously since the dawn of the style is the Nakazato family. Nakazato Taroemon XII, who was named a National Living Treasure in the 1970s, helped repopularize the style.
(photo by Daniel Simmons)
The decline of Karatsu-yaki for several centuries until its modern renaissance was due to the rise of porcelain, notably from nearby Arita City, starting around the 17th century. Arita ware is much brighter and often features detailed decoration. Some have simple underglaze blue for color, but over time, more colorful enamelled work grew in popularity. There are several Living National Treasures from Arita, including Manji Inoue, who is known for plain white forms. The town, though rather small by Japanese standards, has two museums devoted to its firing legacy: the Kyushu Ceramic Museum and the Arita Ceramic Art Museum.
Imari is one more city in Saga known for porcelain. In fact, Imari ware and Arita ware are basically interchangeable when describing the styles of porcelain that these two towns have made world famous, though the histories of the towns and their role in the rise of local pottery differs. Imari was more functional as the port from which porcelain shipped in medieval times, but it does have its kilns. Ōkawachiyama, “The Village of the Secret Kilns” that is technically located in the city, is a must-visit district for ceramic enthusiasts. When the ruling Nabeshima clan of the 17th century learned from a Korean potter that porcelain could be made there, it protected the production secrets of this precious craft and resource.
You can still watch artisans working at some of the kilns, and there are shops selling shelves and shelves of sake ware. Our contributing photographer, Daniel Simmons, even got to meet Inoue and share some tea with him. Naturally, it’s hard not to buy a piece when you meet one of the artists. We recommend you do. Sipping some great Saga sake from it later, you’ll feel, see and taste the reason you visited.
(photo by Daniel Simmons)
