In the past, there were seven main streets
connecting Kyoto and its neighboring cities. The seven connecting points of these streets
to Kyoto have been called “Kyo-no-Nanakuchi
(seven entrances of Kyoto)”. One of them, “Awataguchi” was the final
point of “Tokaido-Gojusantsugi”. Tokaido was the key road connecting Tokyo
(Nihon Bashi Bridge) and Kyoto (Sanjyo Ohashi
Bridge). It still remains as “Awataguchi” at around
Sanjo Dori St. where Heian Shrine and Westin
Miyako Hotel stand today.
Early Edo Period
It was the beginning of the 17th century, when smoke started to trail from kilns in
Awata area. Some write about Awatayaki as “the earliest
kiln in Kyo-yaki (Kyoto made pottery)”.
It depends on category of the word
“Kyo-yaki”, but that’s a bit overstated, I suppose.
However, Awatayaki existed in the very early
period of pottery history in Kyoto. Awatayaki (or Awataguchiyaki) held a large
position in a group of works called “Ko-Kiyomizu
Ware (old Kiyomizu)”.
Let’s look at it a little closer. Hourin Shoushou (1592?-1668), a head priest of Kinkakuji
Temple (The Golden Pavilion) in Kyoto wrote
a diary called “Kakumeiki”(1635-1668). It is only a temple-diary but shows us a
historical material explaining the lives
of various groups of people of those days
including the Emperor, priests, nobles, samurais,
farmer, and the common people. And in this
diary, a ceramist called “Sakubei” who lived at Awataguchi or “Awataguchiyaki cha-ire (green-tea caddy)” often appears. In those days, tea ceremonies were widely
held among the upper class societies in Kyoto,
and the tea utensils for those ceremonies
were made by ceramists of Awata.
Sanmonjiya Kyuuemon, the first ceramist of Awata, is said
to have been come from Seto; one of the famous
Japanese pottery production area located
in current Aichi prefecture. Therefore, early period of Awatayaki glaze
is similar to Seto Ware glaze. Also, potteries of Shigaraki Utsushi (Shigaraki
style) of earthen ware as well as Kohrai Utsushi (Korean
style) were made, according to some
historical records.
Middle Edo Period
After that period, Nonomura Ninsei played
an active part in the pottery history of Kyoto. According to one of the folklores,
he was from northern Kyoto, practiced his
skills of throwing wheel in Awata,
and moved to Seto to study the glazing techniques. Then, he returned to Kyoto and held his
own kiln in Omuro area near Ninnaji Temple. His appearance made a dramatic change to
Awatayaki as well as to the history of potteries
in Kyoto. Until his appearance, the Kyo-yaki works
(Kyoto Ware including Awatayaki) were only
with glaze, or under glaze painting, that
is what we call “Sabie-sometsuke”; drawn with rusty color and cobalt blue
paint. Ninsei got technique of over glaze painting using
with red, blue, green, purple, glod, and
silver colors. He opened the world of colorful designs in Kyo-yaki. He is said to be the founder of “Iroe Kyo-yaki (Kyoto Ware with colorful
paintings)”.
Historically, as Kyoto had been the capital
of Japan for 1100 years, Kyoto had been
filled with various crafts, arts and cultures
such as Japanese lacquer wares, textiles,
drawings, etc. Such environmental background had given Kyo-yaki
various artistic hints in creating new pottery
works in Kyoto. For example, there is one “Jyubako” (Japanese stacking box, usually made by
Japanese lacquer ware) made by pottery and
decorated with small pattern designs taken
from traditional textiles. We often call such movement as “collaboration”
these days, but “collaboration” was popular
from the past by Kyoto's nature of place.
In addition, one of the distinctive features
of Awatayaki is that it prospered as a designated
kiln for the Shorenin Monzeki temple. It is one of the very traditional temple
in Awata and every head priest comes
from the Emperor family. Only a few kilns including Awata,
they were allowed to draw Imperial crest
of the chrysanthemum with 16 leaves. Even with such a short episode, you'll
know what a magnificent environment
Awatayaki had stood on.
On formal wooden boxes for some works made
during this period, I have seen the Japanese
words, “Yuusoku Touki” (pottery made by
highly qualified ceramist). It is now very rare to see the word “Yuusoku”
in Japanese, which implies “this work is
made by highly qualified specialists who
is aware (or keen) about conventional practice
of the Emperor and the nobles”. From such words written on the formal boxes,
I can feel the pride and the sense of responsibility
of the Awatayaki ceramists towards their
work.
Later Edo Period
There were many ceramists in this period
who were related to Awata. Eiraku Hohzen, the 11th generation of the very famous Eiraku family, spent his younger days in Awata. Ninnami Douhachi, the 2nd generation of Takahashi Douhachi, spent his days in Awata before moving to
Gojo area in Kyoto. Ohtagaki Rengetsu, a famous female poet, brought her hand
molded works to one of Awata kilns. And,
Aoki Mokubei was said to have his kiln where
Keage subway station exit exists now. The 6th Kinkouzan Soubei who is famous in Europe
and the U.S. as a potter of Kyo-Satsuma ware
was born in Kagiya family of Awata. These people created the second golden times
of Kyoto pottery.
There were over twenty large kilns in Awata
area, with many ceramists and their craftsmen
kneading and molding the clay by throwing
wheel and firing it in their own kilns
every day.
Meiji(1868-1912) to Taisho Period(1919-1926)
Meiji revolution made a big change to the
history of Awatayaki as well. Until then, Awatayaki had been producing
refined potteries and prospered as designated
kilns for the Emperor, the nobles and also
military families like Tokugawa shogun. But from the time of Meiji revolution, patronage
of those privileged classes could not expect
anymore. They must find the next market.
At that time, Satsuma Ware made a big success in the world
Expo London in 1867. The fact stimulated Awata. Awata adopted Satsuma Ware style and opened its market to overseas for Satsuma was similar to awata's
yellowish body color with fine crackles glaze.
Also, Awata had techniqe of colorful
painting with Kyo-yaki style sophisticated designs. They called it “Kyo-Satsuma”. Kyo-Satsuma did not need much time
to become very popular in Europe and America. They won many big prizes at every
world Expo.
This debut of Satsuma ware including Awatayaki
in overseas market became one of the stimuli
to the world of arts especially in Europe,
which was in the middle of its stagnant period. In those days, many world Expo were held
in various places. Many works of art from Awata including 6th and 7th generation of Kinkouzan Soubei or 9th generation of Taizan Yohei, were exhibited at these Expos,
and received various honors and prizes. Such development of Awatayaki in overseas
markets led to the movements of Japonism
and Art Nouveau in later days.
Although Awatayaki became very popular at
the beginning of Meiji period, there were
some periods when the unchanged old designs,
excessively decorated pots and the stains
made in the crackles were pointed as defects
by some. It was such time when ceramists researched
ways to produce new design of Art Nouveau
type or works without crackles.
There is another face of Awatayaki. Do
you ever know that they made cloisonne, too?
It is unexpectedly unknown that Awata
Ware kiln also fire cloisonne in Meiji period. You can find cloisonne made by Kinkouzan
or Yasuda in antique shops or auction markets
today. As Kyo-Shippou(cloisonne made in Kyoto),
Namikawa Yasuyuki and Inaba Cloisonne(Kin-un-ken)
is very famous. Both of their workshop
is in Awata area. And at some
point, ceramic and cloisonne require close
skill of glazing. There might have
been mutual technical exchange. It
is rather out of subject but interisting
story that today both Kyo-Satsuma and Kyo-Shippou
are estimated properly in Europe and
the U.S than in Japan.
Showa(1926-1989) to Heisei(1989-) Period
World Crisis in 1929 (2nd Showa) and two World Wars had fatal impacts
on Awatayaki which had many clients in overseas. My grandfathers’ company, Kyoto Toujiki
Goushi Gaisha had its branch offices in BuenosAires
Argentine and Shanghai Chaina. However, every one of them was confiscated
at the time of these wars. (The amount of damage has been said to be
20 million yen at that time.) In 1953, the company was broken and
it meant it was the end of Awatayaki as an industry.
In Showa after the WWU, two great ceramists,
Ito Touzan and Kusube Yaichi succeded the
fire of Awata. They were main memberｓ of Nitten, the most
popular of all the great art organizations
in Japan. Specially, Kusube Yaichi was given the Order
of Cultual Merits which is the highest prize for ceramists
in Japan, or Jusanmi-prize and sliver cup .
However, this fire completely ceased when
Ito Touzan died in 1970 at the age of 70 and Kusube Yaichi died in 1984 at the age
of 87.
Conclusion
I’m often asked what the features of Awatayaki
is. I say, “Well, the base of Awatayaki is yellowish
or gray in body color, and with glaze producing
fine crackles. The most popular designs are
simple ones like under glaze painting with what we call “Sabie-sometsuke”, drowing the crest of the chrysanthemum with 16 leaves, or ones using green and blue as its basic
colors and decorating it with red,
green, blue, and gold colors(Ko-kiyomizu
style)” .
However in reality, as I have mentioned previously, there have
been various features in different periods
in its history such as Seto style glaze,
Shigaraki style designs, Satsuma like designs,
Art Nouveau types. Also, there have been non-traditional type
works by individual great ceramists. Every one of them was made in Awata.
What I like the most is Awatayaki from the
Edo period with “Saibe-sometsuke”. Underglaze painting is not gorgeous like
Kyo-satsuma style. Indeed, it is very
quite simple but has inimitable atomosphere
of Japanese common sense of beauty. I hope to produce works close to the old
times of Awatayaki, but it is not easily
done. I feel my works are a little different from
the past . . . something is different. Of course, it is caused by the clay, the
kiln or the way I fire them. But I feel it’s the flow of time and the
heart of people that make these differences. I really feel so.
That was an overall view of 400 years of
Awatayaki's story. The more I learn
about it , the more I feel it's hard to explain
it in one word.