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JAPANESE CRAFTS ONLINE MEDIA

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The International Interior and Design Trade Show “Maison&Objet” Will Be Held in Paris in January 2025

Featured Exhibitions & Events VOL.42
“Toward the Revitalization of Wajima Lacquerware”

Special Column “Toward the Revitalization of Wajima Lacquerware” VOL.1
Interview: Ryotaro Kato (Ceramic Artist)

VOICE VOL.7
Stories of Craftspeople: Taiyo Nakazato (CEO and Porcelain Artisan)

KOGEI & Me VOL.32

Exhibition Information

To Exhibitions

Tokyo

Shigaraki: Katsunori Sawa Exhibition

Jan 15 – Jan 20, 2025

Nihonbashi Mitsukoshi
Ishikawa

Ishikawa Crafts – Lacquer and Ceramics

Jan 16 – Jan 26, 2025

Seiko House Hall
Tokyo

Masaru Kawai Woodworks Exhibition

Jan 16 – Jan 29, 2025

WAKO B1F ARTS & CULTURE
Tokyo

Hitoshi Morimoto Solo Exhibition “Landscapes in Ceramic”

Jan 17 – Jan 31, 2025

HULS GALLERY TOKYO

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Craft Kogei Product

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KOGEI STANDARD Jan 8, 2025

The International Interior and Design Trade Show “Maison&Objet” Will Be Held in Paris in January 2025

“Maison&Objet,” the international trade show for interior and design, which celebrated its 30th anniversary in 2024, will take place at the Paris Nord Villepinte Exhibition Centre in France from January 16 to 20, 2025. Since its launch in 1994, Maison&Objet has been held twice a year in January and September, as a leading international exhibition in the fields of decoration, design and lif...

VOL.42Featured Exhibitions & Events

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Yusuke Shibata Dec 24, 2024

“Toward the Revitalization of Wajima Lacquerware”

On October 30, 2024, I visited the town of Wajima in the Noto region of Ishikawa Prefecture. This was my second visit since September of the previous year, but the town’s landscape had changed drastically since then. Upon arriving at the airport, I noticed that there were strange bumps all over the parking lot. The view from the car as I headed into the city was far more grim than I had imagined. ...

VOL.1Special Column “Toward the Revitalization of Wajima Lacquerware”

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KOGEI STANDARD Nov 29, 2024

Interview: Ryotaro Kato (Ceramic Artist)

The successive heads of the Kobeigama Kiln have each produced remarkable works, continuing the kiln’s legacy. As the eighth generation head of the kiln, how do you approach this tradition? Additionally, could you share how this history influences the ceramics you create today?The first generation head of the kiln, Kobei Kato, established a nobori-gama or climbing kiln on the slopes of this mountai...

VOL.7VOICE

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KOGEI STANDARD Nov 1, 2024

Stories of Craftspeople: Taiyo Nakazato (CEO and Porcelain Artisan)

Born into the Mikawachi ware lineage of the Hirado Kohsyo Danemon Kiln, Taiyo Nakazato naturally aspired to pursue the path of ceramics, and from a young age was expected to become the next head of the kiln. “When a successor is born, all the relatives celebrate and rejoice. Perhaps because of that environment, I knew from a young age that I wanted to work in this field.”During his stu...

VOL.32KOGEI & Me

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Craft Kogei Product

Things which are inherited through the ages.Numerous works that enrich life.

Recently Added

Sand Iron Sliver Ashiya Dragon Round Kettle

Seikodo

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Yamagata Pref.

Embracing everyday wellness

Sand Iron, with its fine molecules, is a very hard material. This “Sand Iron Silver Ashiya Dragon Round Kettle,” cast of sand iron using a w…

Yohen Kohiki Tea Bowl

Kai Tsujimura

Sakurai, Nara Pref.

VOL.180

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Cuir Design Boku-sansui Water Jar

Hataman Touen / Shinji Hataishi

Imari, Saga Pref.

VOL.179

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Tea Bowl with Ryuhaku Glaze

Takao Tahara

Nagato, Yamaguchi Pref.

VOL.178

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Seasonal Plates

Chiemi Ogura

Kyoto Pref.

VOL.177

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Karatsu Hakeme Tea Bowl

Takashi Nakazato

Karatsu, Saga Pref.

VOL.176

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Tanba Jar

Masahiko Imanishi

Tanba Tachikui, Hyogo Pref.

VOL.175

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Rectangular Layered Box, Vermilion

Wajima Kirimoto

Wajima, Ishikawa Pref.

VOL.174

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Ryumon Bowl

Masahiro Sakakura

Nagato, Yamaguchi Pref.

VOL.173

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Craft Artist Kogei Artist

Craft artists who reflects their philosophy in their works.They pursue their one and only expression.

CRAFT COMPANY Kogei Manufacturers & Brands

Japanese crafts manufacturers are rooted in various parts of Japan.We want to share with the world, the present situaton of Japanese crafts.

Recently Added

Hirado Kohsyo Danemon Kiln

Ceramics

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Mikawachi, Nagasaki Pref.

Harnessing the past, connecting to the future

The Hirado Kohsyo Danemon Kiln is located in the eastern part of Sasebo, Nagasaki Prefecture, an area where many Mikawachi ware kilns are co…

PICK UP

Taya Shikki

Lacquerware

Bringing Wajima lacquerware into daily life

Wajima, Ishikawa Pref.

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PICK UP

Wajima Kirimoto

Lacquerware

Nurturing the town of Wajima

Wajima, Ishikawa Pref.

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RESOURCECrafts Glossary

A

Abura-nuki (Oil draining)
- Wood & Bamboo
- Technique
The process of removing excess oil and water from green bamboo when making bamboo materials. There are two methods: “dry”, which uses a charcoal fire or gas burner, and “wet,” which uses boiling water to boil. The dry type, which increases the durability of bamboo, is suitable for materials such as bamboo fences, and the wet type, which makes the bamboo pliable, is suitable for intricate weaving.
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Aburage-de
- Ceramics
- Technique
One of the glaze styles of Ki-Seto ware. It has little luster and a texture similar to deep fried tofu. Also called ayame-de (iris style).
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Ai-zome (Indigo dye)
- Textiles
- Wood & Bamboo
- Leather
- Technique
A dyeing technique using indigo, a plant-derived dye. It is said to be the oldest dye known to mankind. In Japan it spread to the common people during the Edo period (1603-1868). Different plants are used as raw materials around the world, but in Japan, the main source is tade-ai or Japanese indigo plants from the knotweed family, of which Tokushima Prefecture is a major producer. The color does not fade easily, and it also has deodorizing and insect repellent effects.
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Aizu-Hongo ware
- Ceramics
- Generic term
Ceramic ware produced in and around Aizu-Misato-machi, Fukushima Prefecture. Its origins can be traced back to the Azuchi-Momoyama period (1568 – 1600) when the lord of Aizu-Wakamatsu castle had roof tiles for the castle fired. Porcelain production began in 1800, and both ceramics and porcelain are still produced in the region today. Various types of porcelain are produced, including those painted with a gosu blue pigment under transparent glaze, others decorated with multicolor Japanese and Western paints, and more, while ceramics are produced with traditional glazes such as ame-yu (literally, candy glaze) and hai-yu (ash glaze), with each kiln adding its own distinct characteristics to the production process.
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Aizu-tamamushi-nuri
- Lacquerware
- Technique
A lacquerware technique originating in Sendai, Miyagi Prefecture. After the wood substrate is coated with a base coat, silver powder is sprinkled on top, after which transparent lacquer with dye is applied to create a glossy color and luster like the wings of a jewel beetle (tamamushi).
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Aizu lacquerware
- Lacquerware
- Generic term
A general term for lacquerware produced in the Aizu region of Fukushima Prefecture. The planting of Japanese lacquer began in the Muromachi period (1333-1573) and developed into an industry after the Azuchi-Momoyama period (1573-1603). In addition to maki-e and chinkin, there are also a variety of other lacquerware techniques, such as Aizu-e with auspicious patterns, tetsu-sabi-nuri with sabi-urushi (literally, “rusted lacquer”), kinmushikui-nuri with patterns made with rice or barley husks, kijiro-nuri which brings out the best in the grain of the wood, and hana–nuri with a luster created by applying a mixture of transparent lacquer and oil.
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Aka-e
- Ceramics
- Generic term
- Technique
Either a decorative technique or a general term for ceramics and porcelain made by applying a transparent glaze to a white base and then overglaze painting it with red, blue, yellow, purple, green, or other color paints. Also known as “Iro-e,” “Gosai,” and “Nishiki-de.” In the narrow sense of the term, it refers to ceramics made with red as the base color.
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Amakusa porcelain stone
- Ceramics
- Material
A raw material for porcelain mined in Amakusa, Kumamoto Prefecture, discovered in the late 17th to early 18th centuries and first used as a raw material for ceramic making. It accounts for about 80% of all pottery stone produced in Japan. Porcelain can be made by firing it on its own without needing to be mixed with other clays. After firing, it reveals a distinct, pristine white color, known for its hardness and clarity.
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Ana-gama (Cave kiln)
- Ceramics
- Others
A distinctive type of kiln, introduced to Japan from the Korean Peninsula in the 5th century along with the Sue ware technique. Some ana-gama kilns were dug into a slope with only a ceiling constructed above, and others were dug into the ground – giving rise to the name, which literally means “cave kiln.” This enables ana-gama kilns to fire at high temperatures.
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Aogai-nuri
- Lacquerware
- Technique
A type of raden (mother-of-pearl inlay). Aogai-nuri is characterized by the thinness of the shells used. The shells are shaved to a thickness of approximately 0.1 mm. When applied on top of lacquer, the thinness of the shells allows the black color underneath to shine through, making the shells appear blue, hence the name aogai-nuri, which literally means “blue shell lacquer.” Sometimes a subdued coloring is applied to the underside of the shell.
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Arita ware
- Ceramics
- Generic term
Generic name of porcelain made mainly in Arita, Saga Prefecture. Arita is the first porcelain producing area in Japan. It is also called “Imari ware” as it was shipped from Imari port during the early days.
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Asanoha-ami (Hemp leaf weave)
- Wood & Bamboo
- Technique
A weaving pattern derived from the mutsume-ami.
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B

Baren
- Other
- Others
A tool used when rubbing the paper on an inked wood block in order to apply pressure and transfer the paints onto the paper. It consists of “ategawa” (a flat pad), “baren-shin” (core ropes), and “tsutsumigawa” (bamboo skin for wrapping). There are various thicknesses of baren-shin, and they are used according to their purposes.
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Bizen ware
- Ceramics
- Generic term
Stoneware made mainly in Imbe area in Bizen City, Okayama Prefecture. One of the six ancient kilns in Japan. Characterized by high temperature firing without using glazes and various expressions brought about by transformation.
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Bokashi (Gradation)
- Other
- Technique
A technique for woodblock printing where a color gradually fades from deep to pale and finally colorless. Creates a gradation by mixing paints and glue on a moistened wood block, and then rubbing the paper that is pressed against it. Perspectives and three-dimensional effects can be expressed.
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Buff polishing
- Metalwork
- Technique
A technique to polish metal surfaces with a rotating disc of abrasive materials attached to lightweight cloth. By using a variety of abrasives, it is possible to transform a rough surface to a mirror-like finish.
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C

Celadon
- Ceramics
- Generic term
A type of ceramics in ash glaze which includes a small content of iron, called celadon glaze. With high temperature of over 1,200 degree through reduction firing, the color varies from blue to green. Its delicate tones depend on the blending ratio of iron and methods for firing. Originated in ancient China, celadon ware was highly regarded as prestigious ceramics which expresses the color of Jade. Later, it was spread to Korea, Southeast Asia and Japan. Celadon wares in powder blue (粉青 – funsei ) produced in China during the Southern Song Dynasty were especially cherished as the highest-ranked masterpieces in Japan. Its literal name is sometimes distinguished in Chinese character by its materials, when using stones it is referred to as 青磁 – seiji, and when using clay it is referred to as 青瓷 – seiji.
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Chara
- Ceramics
- Others
A type of glaze with properties between those of white slip (a liquid clay mixture used to decorate pottery) and normal glazes, used mainly in Tokoname, Aichi Prefecture.
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Chinkin
- Lacquerware
- Technique
Chinkin, literally meaning “sunken gold,” is a technique in which a pattern is carved into a lacquered surface using a chinkin chisel or knife, lacquer is applied to the concave areas, and then gold or silver foil or powder is inlaid into the surface to fix the pattern or design. The angle and strength of the carved grooves produce a unique and detailed, three-dimensional effect. In China, this technique has been known as so-kin (鎗金) since the Song Dynasty (960-1279). It is believed to been introduced to Japan during the Muromachi period (1336-1573).
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Chokin (Engraving)
- Metalwork
- Technique
A decorative technique in metalworking in which patterns are engraved on the surface of metal using a tool called a tagane, or chisel. Engraving techniques also include sukashi-bori (“open” or “pierced” work, in which certain areas are cut away to reveal a pattern), zogan (“inlaying,” in which other metals are inserted), and uchidashi (“hammering,” in which unevenness is formed by tapping).
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Chokoku-nuri
- Lacquerware
- Technique
This is one of the most representative techniques of Takaoka lacquerware, and is attributed to Tanpo Tsuji, a master craftsman of the mid-Edo period (1603-1868). The technique involves applying colored lacquer over a pattern carved into the wood, which creates a three-dimensional effect and shading and gives it a unique luster.
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Chu-buki (Free-blowing)
- Glass
- Technique
A technique whereby glass is formed freely in the air using tongs or trowels without the use of mold. After winding a small portion of molten glass on the tip of a blowpipe, the molten glass is soften with heat in a kiln and inflated into a spherical shape in the air.
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Chukin (Metal casting)
- Metalwork
- Generic term
- Technique
A technique to make metalworks by pouring molten metal into a mold, or igata in Japanese and extracting it after it is cooled. The technique makes it possible to form metal freely, which otherwise is a difficult material to process. A product made by this casting method is called imono. This method also allows for mass production. Once the mold of a prototype is made it is then possible to make multiples of the product.
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Crystal glass
- Glass
- Material
Glass to which lead oxide is added to remove impurities such as iron oxide. Crystal glass is characterized by high transparency, high reflectivity and refractive index, and a beautiful shine. It is often used for high-grade glassware and artistic crafts, and its brilliance enhanced by faceting and other decorations. Crystal glass is heavier than ordinary glass and produces a clear metallic sound when struck.
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D

Daido-tsuchi
- Ceramics
- Material
A type of clay that is the main raw material for Hagi ware. It is collected in an area around Daido, Hofu City to Yotsutsuji Suzenji, Yamaguchi City, in Yamaguchi Prefecture. It is generally characterized by having a large proportion of sand and gravel and low shrinkage of the clay when fired.
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Dami
- Ceramics
- Technique
A technique of painting within outlines.
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E

E-Karatsu (Painted Karatsu)
- Ceramics
- Technique
One of the decorative techniques of Karatsu ware. Patterns including plants, animals, and geometric designs, are drawn with iron-based paint.
Read More
Earthenware
- Ceramics
- Classification
Vessels and objects formed from clay and fired at low temperatures of about 700-800 degree Celsius without glaze. Therefore, it is brittle and has a high water absorption rate. However, earthenware is suitable for cooking and they are highly fire-resistant.
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Echizen lacquerware
- Lacquerware
- Generic term
Echizen lacquerware is a general term for lacquerware produced in the Kawada area of Sabae City, Fukui Prefecture. Its history dates back to the end of the Kofun period (“Ancient Tombs” or tumulus period), about 1,500 years ago. In the Edo period (1603-1868), a group of lacquer harvesters called Echizen-shu who extracted lacquer from trees were active throughout the country. Later on the techniques of maki-e (decorative finishes achieved by drawing designs with lacquer and gold or silver powder) and chinkin (gold-inlaid lacquerware, using powdered gold in etched grooves) were developed, and since the Meiji era (1868-1912), the region has become a major lacquerware production center in Japan. Traditionally, lacquerware is made in a series of distinct steps, each performed by a specialized lacquerware craftsman.
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Echizen tansu
- Wood & Bamboo
- Generic term
Echizen tansu are boxes or cabinets made of zelkova, paulownia, and other woods, through a technique known as sashimono handed down from the Nara period (710-794) in which wood boards are joined without the use of nails and decorated with lacquer and iron fittings. Lacquering techniques used in Echizen lacquerware include fuki-urushi (wiping lacquer), shunkei-nuri (transparent lacquer), and roiro-nuri (glossy lacquer). The iron metal fittings have a unique design called “inome” (literally, “boar’s eye”), which are heart-shaped elements often featured on Japanese traditional architecture, arms, and armor crafted using the technique of Echizen uchihamono (forged blades). The production of Echizen tansu began in the late Edo period (1603-1868), and the industry developed as many craftsmen gathered in Echizen in the Meiji period (1868-1912).
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Echizen ware
- Ceramics
- Generic term
Generic name of ceramics made in Echizen town, Fukui Prefecture. One of the Japan’s six ancient kilns. Characterized by high temperature firing using natural glaze.
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Edo kiriko
- Glass
- Generic term
Generic name for traditional handmade cut glass originating from Tokyo. Said to have started back in 1834, latter half of Edo period. Cut patterns are very detailed, and the light reflection is clear because of the thinness of the glass.
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Edo woodblock printing
- Other
- Generic term
Woodblock prints in multiple colors which is native to Japan. It is created through the collaboration between four specialist artisans- “eshi” or a designer who draws images, “horishi” or an engraver who carves it on a woodblock, “surishi” or a printer who transfer the paints onto the paper, and “hanmoto” or a publisher who oversees all planning and sales. During the Edo period, ukiyo-e printing was devised as a media source that people could easily enjoy.
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F

First Raku, second Hagi, third Karatsu
- Ceramics
- Generic term
An expression that refers to three kinds of pottery treasured by Japanese tea ceremony experts. They are Raku ware from Kyoto, Hagi ware from Yamaguchi and Karatsu ware from northern Kyushu.
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Fuki-urushi (Wiping lacquer)
- Lacquerware
- Technique
A technique whereby raw lacquer is applied and then wiped off repeatedly with a cotton cloth. Also called suri-urushi. It makes it possible to show the texture and beautiful grain of the wood while giving strength to the vessel.
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Fushikezuri
- Wood & Bamboo
- Technique
A process of making bamboo strips. Shaving the ends of the bamboo node with a knife.
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G

Gas-gama
- Ceramics
- Others
Kilns fueled by propane or butane gas, with refractory insulating bricks inside. Generally, there is very little inconsistency in firing, and oxidation and reduction are easily controlled.
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Ginsai
- Ceramics
- Technique
A general term for techniques and ceramics in which silver is used for decoration.
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Glassblowing
- Glass
- Technique
A glass forming method. It is said that it began in ancient Rome around the 1st century B.C. Molten glass is wound on a blowpipe and then air is blown into it to form shapes. It is mainly classified into two types; free-blowing and mold-blowing.
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Glaze
- Ceramics
- Others
Glaze is a vitreous material for coating the surface of ceramics. Not only for decoration, glaze can strengthen the vessel, make it glossy and prevent water absorption.
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Goma
- Ceramics
- Technique
A glazed surface of a vessel to which wood ashes have been applied during firing. The name comes from how its appearance resembles sprinkled sesame seeds.
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Gosai-te
- Ceramics
- Technique
A decorative technique in which five colors of paint (green, yellow, purple, navy blue, and red) are applied in thick layers to create a painted surface. It was introduced to Japan from China in the middle of the 17th century.
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Gosu
- Ceramics
- Material
A cobalt blue glaze containing cobalt oxide pigments. Gosu itself is a blackish mineral, but after reduction firing, the color changes to blue. Currently, it is difficult to obtain natural gosu. Therefore, a compound that mixes cobalt and iron are being used prevalently.
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Goyo-gama (Official kiln)
- Ceramics
- Others
During the Edo period (1603-1868), an official kiln was one that operated under the patronage of a feudal domain. These kilns produced not only ceramics for the use of the lord of that domain, but also offerings to the imperial court or the shogunate, and gifts to other domains.
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Graal
- Glass
- Technique
A technique developed in Sweden in the early the 20th century, in which colored glass is layered on top of transparent glass starter bubble, cooled slowly to apply a pattern, and then reheated with another layer of transparent glass before inflating. The colored glass appears to be trapped between transparent layers.
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H

Haba-biki / Haba-tori
- Wood & Bamboo
- Technique
A step in the process of making bamboo strips. Two small knives are driven into a log, and bamboo strips are pulled through the gap between the blades to ensure a uniform width.
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Hagi ware
- Ceramics
- Generic term
Ceramics made mainly in Hagi City and Nagato City in Yamaguchi Prefecture. It is roughly classified as Matsumoto-Hagi and Fukawa-Hagi and are mainly made into tea bowls.
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Hakeme
- Ceramics
- Technique
The technique of applying slip (a liquid clay mixture used to decorate pottery) with a brush to the base material and firing it with a transparent glaze. (Hake-me literally means “brush marks” in Japanese.) Various brush strokes can be created by the combination of slip, brush material, and how it is used.
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Hidasuki (Fire markings)
- Ceramics
- Technique
A pattern of Bizen ware which features reddish lines across the pale brown base which resembles cord bands. In order to make this pattern, the pottery base is covered with straw before firing. And the covered parts react with the component in the clay and produce its reddish color.
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Hikimono (Woodturning)
- Lacquerware
- Wood & Bamboo
- Classification
- Technique
A technique to carve round shaped tableware by putting a dried lumber on a spinning lathe and applying a turning tool like a chisel to it. Products made by using this technique include bowls and round trays.
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Himo-zukuri (Coil building)
- Ceramics
- Technique
A type of hand-forming technique in which clay is rolled into rope-like coils and stacked in a spiral to form the base, and the joints then smoothed out to form an even surface. This technique has been used since the Jomon period (c. 14,000 to 300 B.C.).
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Hiyose
- Ceramics
- Material
Hiyose is the soil in the lower layers of rice paddies, which is used as raw material for Bizen ware. It is characterized by its high iron content, fine texture, and high viscosity.
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Hon-kataji
- Lacquerware
- Technique
A base coating which is currently the most commonly used. Layers of coarse to fine base lacquer are gradually applied after which they are polished using grindstone and water to achieve a smooth surface.
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Horimono (Engraving / Embossing)
- Lacquerware
- Wood & Bamboo
- Classification
- Technique
A technique of woodworking to decorate the surface of wood by carving reliefs on the internal and external surfaces.
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Hoso-wari
- Wood & Bamboo
- Technique
Splitting the bamboo culm into strips and arranging them prior to weaving. A step used in making woven product in bamboo crafts.
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Hotaru-de
- Ceramics
- Technique
An openwork technique to make cuts or holes that go right through biscuit and then apply transparent glaze to fill up the holes before firing again. It is called “hotaru-de” because the patterns shine through the light, compared to the light of hotaru (a firefly).
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I

Iga ware
- Ceramics
- Others
Iga ware is the general term for ceramics produced mainly in Iga, Mie Prefecture. It is characterized by its natural glaze, called biidoro (from “vidro”) glaze, which results in a translucent jade color, and its hard, tightly fired clay surface.
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Ikomi (Casting)
- Ceramics
- Technique
A method of forming pottery using plaster molds instead of the potter’s wheel. The fluid slip solidifies as the plaster mold absorbs the moisture from the clay. This method is suitable for mass-production. It can be divided into two general methods: pressure casting and slip casting.
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Inbe-te
- Ceramics
- Technique
One of the decorative techniques of Bizen ware. The base clay is formed and dried, then covered with watered-down clay with a high iron content and fired to produce a glaze-like sheen on the surface. As a result, it is also effective in preventing water leakage.
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Iro-e
- Ceramics
- Generic term
- Technique
A decorative techniques or a general term for ceramics and porcelain made by applying a transparent glaze to a white base and then overglaze painting it with red, blue, yellow, purple, green, or other color paints. It is synonymous with “Gosai,” “Nishiki-de,” and “Aka-e.” In Japan, Kakiemon Sakaida I of Arita first successfully produced iro-e ceramics in the middle of the 17th century, after which splendid iro-e ceramics were produced in Arita, Kyoto, Kutani, and other areas.
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Iro Nabeshima (Colored Nabeshima)
- Ceramics
- Generic term
A type of Nabeshima ware characterized by elegant and subdued colors, with delicate patterns painted in indigo blue that are overglazed with red, yellow, and green designs.
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Ishi-haze (Stone bursts)
- Ceramics
- Others
- Technique
When a pebble in the clay bursts out onto the surface during firing. It is appreciated as one of the unique views of ceramics.
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Isubai glaze
- Ceramics
- Technique
A type of glaze made from the material which is obtained from the ash of burnt “isu” tree (Distylium racemosum). It has a higher content of lime and less iron. Used for Imari ware produced in the Edo period which is called “ko-imari”, it is characterized by its soft hues and smooth texture.
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Itame
- Wood & Bamboo
- Others
Itame refers to the wood grain pattern where the grain lines of a board are irregular, such as having mountain-like or wavy shapes. This pattern is obtained by sawing the log without passing through the center of the trunk.
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Itchin-gaki
- Ceramics
- Technique
A method of drawing a pattern by pouring slip (clay mixed with water), glaze, or paint into a tool called an itchin and squeezing it out onto a bare surface. It is also called tsutsu-gaki. Itchin tools often take the form of a squeezable conical tool made of paper treated with astringent persimmon juice, a bamboo tube with a spout, or in recent years, a dropper.
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J

Ja-gama
- Ceramics
- Others
A type of climbing kiln with a single chamber shaped like an elongated snake.
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Jinoko
- Lacquerware
- Material
A powder of calcined diatomaceous earth. Mixed with raw lacquer and glue, it is used as a lacquer base.
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Joseon ware
- Ceramics
- Generic term
Ceramics and porcelain produced on the Korean peninsula during the Joseon dynasty (14th century onward). Following the development of Funseisaki ware, known through such representative styles as Mishima (using inlaid decoration or inka stampings), Kohiki (using white slip and a clear glaze for decoration), and Hakeme (with a white slip brushed on), white porcelain and decorative techniques such as Sometsuke (blue and white porcelain), Tessha (iron-brown decoration), and Shinsha (red-copper decoration) also flourished. Joseon ceramics were introduced to Japan by Soetsu Yanagi through his mingei (folk art) movement, and attracted many enthusiasts.
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K

Kaba-zaiku
- Wood & Bamboo
- Generic term
Kaba-zaiku is a woodcraft made from the bark of wild cherry trees in Kakunodate, Akita Prefecture, and became popular as a household industry for samurai warriors in the late 18th century and developed into a regional specialty during the Meiji period (1868-1912). Techniques used include katamono, in which nikawa (gelatine glue) is applied to thinly sliced wood and cherry bark and wrapped around a cylindrical wooden mold and troweled together to form a cylindrical shape; kijimono, in which cherry bark or tsuki-ita wood veneer is troweled onto a wooden base to form a box shape; and tatamimono, in which multiple layers of polished cherry bark are pasted over one another and then engraved to finish.
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Kairagi
- Ceramics
- Others
A shriveled and grainy glaze. Its name stems from its resemblance to the sharkskin originally wrapped around the scabbard and handle of a sword, which was called kairagi (literally, “plum flower skin”) for its appearance.
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Kake-wake
- Ceramics
- Technique
A decorative technique where multiple glazes are applied separately to single piece.
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Kakigara (Oyster shell)
- Ceramics
- Technique
A technique unique to the Tokoname region, in which ground oyster shell is sprinkled on the base material and fired to produce a fine speckled pattern.
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Kakishibu-zome (Persimmon tannin dye)
- Textiles
- Leather
- Other
- Generic term
- Technique
Kakishibu-zome is a dye or dyeing technique using kakishibu, persimmon tannin, which is made by fermenting and maturing the pressed juice of young astringent persimmons. Kakishibu has antiseptic and waterproofing properties, and has been used as a dye unique to Japan for a variety of purposes since the Heian period (794-1185). It is also called “Taiyo-no-some” or “sun-dyeing” because it is exposed to sunlight during the dyeing process to promote coloration, giving it a warm reddish-brown color.
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Kan-nyu (Crackle)
- Ceramics
- Technique
The cracking that appears on the surface of glazed ceramics as a result of the differing rates of expansion and contraction between base and glaze during firing. Crackle is regarded as an important factor in appreciating the aesthetic quality of such ceramic works.
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Kanakedome (Yakinuki, Kamayaki)
- Metalwork
- Technique
Ironware removed from the mold is fired in charcoal at a high temperature of approximately 900°C, forming an oxide film on the surface to prevent rust. This is a traditional technique unique to Nanbu ironware.
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Kanna (Plane)
- Wood & Bamboo
- Others
One of the tools for woodworking, mainly used for shaving the surface of wood. It has many variations and shapes depending on the purpose of use.
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Kanshitsu
- Lacquerware
- Technique
A technique in which linen cloth soaked with lacquer is pasted onto a mold made of wood, clay, or plaster. There are two types of kanshitsu technique: dakkatsu kanshitsu, in which the original clay or plaster mold is removed after drying to leave the inside hollow, and mokushin kanshitsu, in which the original wooden mold is not removed, but is left inside as the core. Kanshitsu was introduced to Japan from Tang Dynasty China during the Nara period (710-784), where it is known as 夾紵 (pronounced “kyocho” in Japanese or “jiazhu” in Chinese). Since it can be freely shaped, it is now mainly used to create works of art in richly varied forms.
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Karatsu Nanban
- Ceramics
- Generic term
- Technique
A technique which reflects a style of unglazed pottery fired at a high temperature known as yakishime. Although Karatsu ware did not originally have a yakishime tradition, in recent years the potter Takashi Nakazato began to make it that way using Karatsu clay, based on his experience with Tanegashima ware. The name “Karatsu Nanban” was chosen because of the many pieces of pottery that had been brought to Japan from “Nanban,” or Southeast Asia, that were fired in yakishime style.
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Karatsu ware
- Ceramics
- Generic term
A general term for ceramics fired in western Saga and northern Nagasaki Prefectures. This region prospered as a major pottery production area and is especially renowned for its ceramics made for the tea ceremony, which were first produced in earnest during the Momoyama period (1573-1603). Following a period of decline, it recovered during the Showa era (1926-1989). Karatsu ware is notable for the variety of decorative techniques such as E-Karatsu (Painted Karatsu), Madara-Karatsu (Mottled Karatsu), Chosen Karatsu (Korean Karatsu), Mishima Karatsu and Kawa-kujira (whale skin), and as such has a wide variety of expressions.
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Karazuri (Emboss)
- Other
- Technique
A technique for woodblock printing to make an embossed pattern on paper by rubbing it with strong pressure on an engraved wood block without applying paints.
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Kasane-gake
- Ceramics
- Technique
A decorative technique where multiple glazes are layered on top of each other. The different properties of the glazes interact, resulting in varied expressions of the glaze.
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Kashoku-biki
- Lacquerware
- Wood & Bamboo
- Technique
A technique for carving decorative circular or spiral patterns on the surface of a wooden base using a rokuro, or spinning lathe. Kashoku-biki is a traditional characteristic of Yamanaka lacquerware. It is said that there are more than 40 different patterns, such as sen-suji and hira-suji.
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Kata-buki (Mold-blowing)
- Glass
- Technique
A technique for molding glass by blowing glass material into a wooden or metal mold with a blowpipe.
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Kata-zome (Stencil dyeing)
- Textiles
- Technique
A general term for a textile dyeing technique in which a pattern is dyed using a kata, a stencil made from shibugami, a Japanese paper coated with persimmon tannin.
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Kawa-kujira
- Ceramics
- Technique
One of the decorative techniques of Karatsu ware. The blackened rim of the vessel’s mouth is painted with iron-based pigment. The name comes from comparing the black of the rim to the skin of a whale (“kujira” is the Japanese word for “whale”, and “kawa” for “skin”), and the color of the vessel itself to the whale’s body.
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Kawari-nuri
- Lacquerware
- Technique
A general term for techniques that take full advantage of the special characteristics of lacquer. It encompasses various techniques, such as repeatedly applying and polishing multiple coats of colored lacquer or utilizing the adhesive strength of lacquer. It is also called “Saya-nuri,” from the Edo period practice by which craftsmen created various types of elaborate sword sheaths using such kawari-nuri techniques.
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Kento
- Other
- Others
Marks that are carved on a wood block to serve as an alignment guide for the paper to be placed in the correct position so that the colors to be added accurately.
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Kenyo (Jian yao kiln)
- Ceramics
- Others
A kiln located in Shuiji Town, Jiangyang County, Fujian Province, China. It was founded in the late Tang Dynasty and is widely known for specializing in firing black-glazed Tenmoku ware, called Kensan (in Chinese, Jian zhan, which translates as “Jian tea cup”) in the Song Dynasty.
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Ki-Seto
- Ceramics
- Generic term
- Technique
A type of Mino ware created during the Azuchi-Momoyama period (1573 – 1603). It is characterized by a pale yellow glaze, and is often decorated with line carvings and floral motifs, as well as mottled patterns in green caused by copper sulfate called tanpan, and in brown caused by iron. It uses two types of glazes: one transparent and shiny called “Kiku-zara-de” (chrysanthemum plate) or “Guinomi-de” (sake cup), and the other moist like fried bean curd called “Ayame-de” (iris) or “Aburage-de” (deep fried tofu).
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Kijibiki (Woodturning)
- Lacquerware
- Wood & Bamboo
- Technique
A technique to carve round shaped vessels by spinning wood blocks on a lathe using turning tools that are similar to chisels. An artisan specializing in this process is called “kijishi” or a woodturner using special customized turning tools resulting in wooden vessels of the highest quality.
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Kijishi (Woodturner)
- Lacquerware
- Wood & Bamboo
- Generic term
A craftsman who uses a rokuro, or spinning lathe, to shape wood to make wooden products such as bowls and trays. Also called a rokuroshi (woodturner).
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Kinran-de
- Ceramics
- Generic term
- Technique
A decorative technique where gold is applied over red or colored painting, as well as the generic name for ceramics decorated with that technique. It began in China during the Song dynasty (960-1279) and developed during the Ming (1368-1644) and Qing (1616-1912) dynasties. It was first produced in Japan in the mid-Edo period (1603-1868).
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Kinsai
- Ceramics
- Generic term
- Technique
A generic term for the technique of using gold as a decoration as well as for ceramics decorated in that fashion.
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Kintsugi
- Ceramics
- Technique
A technique for restoring broken or chipped vessels by gluing them together with lacquer and decorating the joints with gold or other materials. This technique is said to have originated in the Muromachi period (1336-1573).
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Kiri-kodai
- Ceramics
- Technique
One of the characteristic features often seen in Hagi ware, the “cut foot” involves a notch or incision made in part of the foot of a tea bowl. This technique is believed to have been introduced from Korean Peninsula, as similar methods can be found in Joseon-era ceramics, although there are various theories regarding its origin.
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Kiriko (Cut glass)
- Glass
- Technique
A technique of sculpting the surface of glass and applying various patterns on it with a grinder, achieved through various steps such as roughing, stoning, and polishing. Traditionally, the patterns are in geometric forms. Edo kiriko and Satsuma kiriko are the most widely known representations.
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Kise-glass (Cased glass)
- Glass
- Technique
A technique in which two or more layers of different colors are partially or completely layered and welded to shaped glass while it is still hot. When the glass is covered on the outside, it is called “soto-gise,” or “outer layer-cased,” and when it is layered on the inside, it is called “uchi-gise,” or “inner layer-cased.” It can also be used as a base for carving and surface processing, to create decorative effects that reveal multiple different colors.
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Kiso lacquerware
- Lacquerware
- Generic term
Generic name of lacquerware produced in Shiojiri City, Nagano Prefecture and the surroundings areas.
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Ko-Imari
- Ceramics
- Generic term
A generic term for porcelain produced during the Edo period (1603-1868), mainly in Arita, Hizen Province, or what is now Saga and Nagasaki Prefectures. The name “Imari-yaki” was derived from the fact that porcelain produced around Arita at that time was shipped from Imari Port. Many of the works have high historical and antique value.
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Ko-sometsuke
- Ceramics
- Technique
Porcelain made in private kilns in Jingdezhen during the Tenkei period, in the late Ming Dynasty (first half of the 17th century). The shapes and patterns has a free and easy style compared to traditional Chinese porcelain.
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Kodai
- Ceramics
- Others
The “foot” of the back of a ceramic vessel. The kodai is considered to be one of the most important features of a vessel. It can be roughly divided into two types: Kezuri Kodai, a “scraped” foot which is carved out after molding, and Tsuke Kodai, an “attached” foot which is molded from clay and attached to the body of the vessel. Depending on the shape of the foot, kodai can be categorized as wa (“ring”), janome (“snake’s eye”), mikazuki (“crescent moon”), wari (“split”), kiri (“cut”), takenofushi (“bamboo joint”), and others.
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Kohiki
- Ceramics
- Technique
A firing technique wherein the entire surface of a base is covered with white slip (a liquid clay mixture used to decorate pottery) and then with a transparent glaze before firing, producing a characteristic soft texture. Also known as kofuki.
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Koji-guchi
- Ceramics
- Metalwork
- Others
Literally, “citron mouth”; a ceramic piece where the mouth is rounded and puffed up like a citron.
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Kokura-ori
- Textiles
- Generic term
Cotton textile made in Kokura, Kitakyushu, Fukuoka Prefecture. Good quality and durable fabric featuring vertical stripes.
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Kumiko
- Wood & Bamboo
- Generic term
- Technique
The art of wood joinery without using any nails or glue, or the techniques of doing so. The wood is meticulously prepared with holes and grooves and then the pieces assembled one by one. This technique, which began in the Asuka period (592 – 710), was mainly used for framing and decoration of shoji screen and ranma transoms. The delicate patterns and unique shadows that emerge when held up to the light are truly enchanting.
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Kurimono (Hollowing)
- Lacquerware
- Wood & Bamboo
- Classification
- Technique
A technique of woodworking to hollow out a block of wood with a chisel and knife. Products made by using this technique include spoons and trays.
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Kuro-chiku (Black bamboo)
- Wood & Bamboo
- Material
A medium-sized bamboo, typically around 4 meters in height. The culms initially appear green but turn a distinctive black-brown color within 1-2 years. Due to the beauty of its culms, black bamboo is used in bamboo crafts and is also popular for ornamental purposes.
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Kuro Karatsu (Black Karatsu)
- Ceramics
- Technique
One of the decorative techniques of Karatsu ware, it is fired with an iron based glaze. Depending on the amount of iron and the degree of oxidation, the color can range from candy amber to dark brown to jet black.
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Kusaki-zome (Natural dye)
- Textiles
- Technique
Kusaki-zome, which literally means “dyed with plants and trees,” refers to natural dyeing techniques using plant, animal, and mineral elements rather than synthetic substances. Common dyes include those made from indigo, madder, safflower, gardenia, turmeric, sappanwood, kariyasu (miscanthus tinctorius), and Amur cork tree.
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Kushime Kodai
- Ceramics
- Technique
Decoration of the kodai, the foot of the ceramic, with a kushi-me (comb pattern) in blue and white, a motif traditionally seen in Nabeshima works.
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Kutani ware
- Ceramics
- Generic term
A general term for colored ceramic ware fired mainly in the southern part of Ishikawa Prefecture, most distinguished by its splendid colors. It includes several styles, including Ao-te, an application of deep green overglaze; Gosai-te (or Iro-e), which uses five vivid colors – green, yellow, blue, purple, and red – to their full extent; and Aka-e, which uses red and features intricate designs.
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Kyo ware
- Ceramics
- Generic term
Generic name of ceramics made in Kyoto. There are various kinds of techniques.
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L

Lost wax casting
- Metalwork
- Technique
A casting technique that evolved from wax casting. The use of silicon rubber enables the casting of complex shapes. It is also characterized by its ability to produce a precise casting surface. This is one of the most advanced metal casting techniques available.
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M

Ma-dake
- Wood & Bamboo
- Material
A large type of bamboo that grows to about 10 meters in height. It features two rings at each node and has long internodes with thin wall material. Known for its excellent elasticity, ma-dake bamboo is widely used in construction and bamboo crafts.
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Madara Karatsu (Mottled Karatsu)
- Ceramics
- Technique
One of the decorative techniques of Karatsu ware. It is made by coating a cloudy white glaze of straw ashes over rough clay and firing it. As “madara” means spots in Japanese, the name comes from the appearance of blue or black spots on the surface of the glaze as the iron content of the base material dissolves. This technique is often used for tea bowls and guinomi sake cups.
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Mageki (Wood bending)
- Wood & Bamboo
- Technique
The process of bending wood by adding moisture and heat. The wood is softened by steaming or boiling, fitted into a mold, and dried to form the desired curve. This technique was perfected in Europe in the 19th century and introduced to Japan around the beginning of the 20th century. Since then, Hida in Gifu Prefecture and the Tohoku region have become the main production centers of this mageki furniture.
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Magemono (Bent-wood)
- Lacquerware
- Wood & Bamboo
- Classification
- Technique
A technique of woodworking to bend thin wooden planks into circle or oval shapes, products made with this technique include wappa (food box) and dipper.
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Magewappa (Bent-wood ware)
- Wood & Bamboo
- Generic term
A container made by bending thin sheets of wood such as cedar or Japanese cypress into a cylindrical shape, binding the joints together, and attaching a bottom plate. It is renowned for its excellent humidity control properties and is mainly used as a rice container or lunchbox. The name and manufacturing method vary slightly by region, but they have long been produced in various parts of Japan using local natural wood.
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Maki-e
- Lacquerware
- Technique
Maki-e (literally, “sprinkled picture”) is a technique in which a picture or pattern is drawn in lacquer, gold or silver powder is sprinkled on the lacquer before it dries, and the adhesive force of the lacquer hardens it to form a pattern or design. This technique started in the Nara period (710-794) and has developed uniquely in Japan. The technique is subdivided according to the size of the powder to be sprinkled, the way the lacquered surface is raised, and whether or not grinding is done. Typical examples are togidashi maki-e, hira maki-e, and taka maki-e.
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Makiji
- Lacquerware
- Generic term
- Technique
Makiji is a base coat of raw lacquer applied directly to the wood or to the base after the cloth has been applied. Before the lacquer dries, it is sprinkled with powdered diatomaceous earth called jinoko or a polishing powder called tonoko. Because no water is used the surface is very durable, with a coarse, scratch-resistant texture.
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Masame
- Wood & Bamboo
- Others
Masame refers to the wood grain pattern where the grain lines of a board are straight and parallel. This pattern is obtained through the method of sawing the log along the center of the trunk. Masame exhibits minimal distortion due to shrinkage.
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Me-ato
- Ceramics
- Others
Marks left by clay lumps or shells placed between ceramics to prevent them from sticking together when they are stacked during the firing process.
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Mentori
- Ceramics
- Technique
A technique of chamfering a surface to create a faceted polyhedral shape. This technique is used to create a linear plane on a rounded vessel, giving it a different impression. It is sometimes applied to detail areas such as the kodai (foot) and spout.
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Mikawachi ware
- Ceramics
- Generic term
Mikawachi ware is the generic name for porcelain produced in Sasebo, Nagasaki Prefecture. It is said to have originated at the end of the 16th century, when the lord of the Hirado domain brought back potters from the Korean Peninsula, and at the same time potters from Karatsu emigrated to this area. During the Edo period (1603-1868), it flourished as the official kiln of the Hirado clan. In addition to the typical sometsuke (blue and white porcelain), a variety of traditional techniques have been handed down to the present day, including karako-e (motifs of Chinese children), sukashi-bori (openwork carving), okiage, in which clay is heaped up with a brush to create a three-dimensional picture, and usuzukuri, also known as rankaku-de, or egg shell style.
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Mikomi
- Ceramics
- Others
The view presented by the entire inside, or the bottom part of the inside, of a ceramic vessel. Along with the kodai or “foot”, it is one of the most important features of a vessel.
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Mingei
- Others
Mingei is an abbreviation for “minshu-teki-kogei,” which means “folk craft,” a new concept of beauty proposed by Soetsu Yanagi, Shoji Hamada, and Kanjiro Kawai in 1925. The concept finds beauty in ordinary and utilitarian everyday objects made by nameless and unknown craftsmen rooted in the various regions of Japan. Unlike works of art, these exhibit a “beauty of everyday things” which resides in their practical use.
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Mino ware
- Ceramics
- Generic term
A general term for ceramics fired in the Tono region of Gifu Prefecture. A wide variety of types exist, with four major representative styles – Ki-Seto, Seto-guro, Shino, and Oribe – together called Mino-Momoyama ware. As time went on, the production of finer porcelain also flourished. Even today, Gifu Prefecture is still the largest producer of ceramics in Japan, producing about half of the country’s ceramics.
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Mishima
- Ceramics
- Technique
One of the decorative techniques known as zogan or inlaying. The technique involves decorating the base material before it dries with patterns such as patterned stamps (inka), or carved lines; applying slip (a liquid clay mixture used to decorate pottery) to the depressed areas; and finally coating transparent glaze over and firing the piece.
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Mogake
- Ceramics
- Technique
A technique unique to Tokoname City, Aichi Prefecture, in which seaweed is wrapped around a base clay and fired with it in the kiln to create a pattern. The part touched by the seaweed develops a scarlet color.
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Mokuhan-zuri (Woodblock printing)
- Other
- Technique
Mokuhan-zuri is the printing of colors on paper using engraved woodblocks based on a design. In traditional woodblock printing, the engraving and printing processes are carried out by specialized craftsmen. Since one woodblock is used for each color, the production of a work with multiple colors requires a high level of skill in manually engraving as many woodblocks as there are colors, and then printing the design one layer after another.
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Mokume (Wood patterns)
- Wood & Bamboo
- Others
Mokume (杢目), or wood patterns, refer to rare and highly decorative patterns that appear on the surface of wood when it is cut. They are a result of the tree’s growth environment, climate, and wounds it experienced, all of which affect the fibers of the wood.
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Mushikui (bug-eaten)
- Ceramics
- Technique
Markings resembling glaze which has fallen off the rim of pottery. The word comes from its resemblance to a bug-eaten hole. It is also used as a technique to express a sense of antiquity in pottery making.
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Mutsume-ami (Hexagonal weave)
- Wood & Bamboo
- Technique
One of the basic weaving methods for bamboo crafts where the woven pattern is hexagonal.
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N

Nabeshima celadon
- Ceramics
- Generic term
A type of Nabeshima ware in which a celadon glaze is applied to the raw stone from Okawachiyama and repeatedly fired in a way that prevents the work from coming into contact with oxygen. This reduction firing technique causes it to develop a beautiful blue-green color.
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Nabeshima sometsuke (Ai Nabeshima)
- Ceramics
- Generic term
A type of Nabeshima ware in which porcelain is dyed in a single color using a deep indigo blue “Gosu” pigment, giving it a distinctive noble beauty.
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Nabeshima ware
- Ceramics
- Generic term
A generic term for the high-quality porcelain produced in kilns operated by the Nabeshima clan between the 17th and 19th centuries. At that time it was manufactured as gifts for the shogun and feudal lords because of its outstanding quality and artistry. Its distinctive original style, which has been carried on to this day, is known simply as Nabeshima style, and includes “Iro Nabeshima” (colored Nabeshima), “Nabeshima sometsuke” (blue-and-white Nabeshima), “Ai Nabeshima” (Indigo Nabeshima), and “Nabeshima celadon.”
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Nama-gake
- Ceramics
- Technique
A glazing technique, in which glaze or white slip (a liquid clay mixture used to decorate pottery) is applied to the unglazed and unfired base after shaping.
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Nama-gata chuzo (Raw-mold casting)
- Metalwork
- Technique
A metal casting method in which a mold is made by pressing moist sand, called imono-zuna, or “casting sand,” around a wooden mold. The mold is called a nama-gata, or “raw mold,” because it is cast as-is without firing. Because sand can be reused, this method is excellent for mass production.
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Nanbu tekki (Nanbu ironware)
- Metalwork
- Generic term
A generic name for ironware made in the Mizusawa and Morioka regions in Iwate Prefecture. Blessed with high-quality raw materials such as iron sand, sand, and charcoal, it was developed under the patronage of the Date clan of the Sendai domain and the Nanbu clan of the Morioka domain, respectively, in the Edo period (1603 – 1868). In Mizusawa, iron pots and kettles were mainly produced, growing out of a samurai armory in the old days. In Morioka, the lord of the Morioka domain, who favored the tea ceremony, invited an artisan from Kyoto who specialized in making kettles for the tea ceremony, which led to the production of iron kettles.
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Narashi (Planishing)
- Metalwork
- Technique
One of the processes of tankin (forging), in which a hammer or wooden mallet is used to adjust a piece’s overall shape and make its thickness uniform. There are two types of planishing: ara-narashi, a rough planishing to even out the larger rough hammer marks left from the forming process, and shiage-narashi, a finishing planishing to set its final appearance.
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Negobouki
- Metalwork
- Others
Bundled rice straw used for brushing the metal during the ohaguro stage.
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Nemoku (Root burl)
- Wood & Bamboo
- Others
A type of wood pattern found in wood obtained from the base of a tree trunk, closer to the root.
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Nezumi-Shino
- Ceramics
- Generic term
- Technique
A type of Shino, a representative style of Mino ware. After the molded vessel is coated with an iron-rich clay slip called oni-ita, the patterned areas are scraped off and fired with a choseki-yu, or feldspar glaze. The name “Nezumi”-Shino comes from the fact that the part of the vessel where the oni-ita remains is gray colored like a mouse, or nezumi in Japanese.
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Ni-iro
- Metalwork
- Technique
Refers to the color or coloring method in which metals such as copper alloys are simmered in a pan containing a mixture of copper sulfate and copper carbonate, resulting in a patina on the metal surface. The color tones that are produced, such as brass, dark brown, and blackish bronze colors, vary depending on the composition of the alloy. The traditional practice of washing the metal ware with grated Japanese radish juice before boiling has been used for a long time to obtain good coloration.
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Nobori-gama (Climbing kiln)
- Ceramics
- Others
A kiln that is built on a hill or other slope and has a structure designed to make use of the slope to increase the temperatures in the kiln. In a narrower sense, it refers to a kiln with several firing chambers in succession on a slope; this is known as a “renbo-shiki nobori-gama,” or multi-chambered climbing kiln.
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Nogime Tenmoku
- Ceramics
- Generic term
A type of Tenmoku fired at the Jian kilns in Fujian Province during the Southern Song dynasty (1127-1279) in China. Crystals of iron oxide contained in the glaze melted in the kiln and flowed down, forming fine linear patterns. In Japan it is called “Nogi-me” (ears of rice), while in China it is known as “Tu-hao” (rabbit’s hair brush).
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Nukayaki
- Metalwork
- Technique
A technique of firing metal such as a copper alloy after coating it with a mixture of rice bran (nukamiso) with salt and sulfur. The burnt marks from rice bran coating result in mottle-like patterns on the metal.
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Nuno-kise
- Lacquerware
- Technique
The technique of reinforcing wood by pasting it with hemp or cotton cloth coated with lacquer.
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Nushi (Nurishi)
- Lacquerware
- Generic term
Traditionally, lacquerware is made in a series of distinct steps and nushi is a specialized craftsman in the process of applying lacquer.
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O

Ofuke ware
- Ceramics
- Generic term
This name derives from the ceramics fired in the Ofuke enceinte (Ofukemaru) in a part of the Nagoya Castle which served as the official kiln of the Owari Tokunaga clan during the Edo period (1603-1868). A glaze in which feldspar is added to ash, the iron in the glaze develops a pale blue or yellowish green color during firing.
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Ohaguro
- Metalwork
- Technique
Refers to the color or coloring method in which metal is dyed using a solution which has been allowed to stand, consisting of iron scraps, Japanese sake and vinegar before it is fired. The shiny finish is achieved by brushing the metal many times with the liquid solution while it is being heated. Frequency of brushing and the concentration level of the solution result in a wide range of colors from red to dark brown and black.
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Oribe
- Ceramics
- Generic term
- Technique
A type of Mino ware first created during the Azuchi-Momoyama period (1573-1603). It is thought to have reflected the taste of Furuta Oribe, a celebrated master of the Japanese tea ceremony, and is characterized by novel shapes and patterns. It can be classified into various types depending on the glaze and technique, including the copper-green glazed So-Oribe and Ao-Oribe, as well as Aka-Oribe, Kuro-Oribe, Yahichida-Oribe, and Narumi-Oribe.
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P

Persian Pottery
- Ceramics
- Generic term
Colorful and gorgeous ceramics produced mainly in Iran during the Islamic period from the 8th century onward. Typical examples include blue glazed ceramics and lusterware.
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Plain weave
- Textiles
- Technique
The simplest of the three fundamental types of weave: plain, satin, and twill. Plain weave is created by weaving the warp (vertical threads) and weft (horizontal threads) in an up-and-down pattern, alternating each row.
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Porcelain
- Ceramics
- Classification
Vessels and objects made using mainly kaolin from shattered porcelain stones. It is stronger than pottery because it is fired at a higher temperature of about 1300 degrees Celsius and has a clear sound when struck. It has no water absorption. The translucent quality of porcelain gives you a sense of coolness and hardness. Traditional production areas are Arita, Tobe, Kyoto, and Kutani.
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Pottery
- Ceramics
- Classification
Vessels and objects made from potter’s clay. It is fired at around 800-1200 degrees Celsius after being glazed. It has a high water absorption and high heat retention. Compared to porcelain, pottery gives a sense of softness and warmness. The trditional production areas are Karatsu, Hagi, Mino, and Mashiko.
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Pressure casting
- Ceramics
- Technique
A molding method in which pressure is applied using an air pump or other means to pour slip into special plaster molds formed from specially formed pairs of convex and concave shapes. When the plaster has hardened after absorbing the water, the molded products are removed from the molds. This method is mainly used for mass production of irregularly-shaped vessels.
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Printing block
- Other
- Others
A wooden board that is used as a printing material when creating a woodblock print. In traditional ukiyo-e printing, cherry wood is the main source of wood.
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R

Raden (Mother-of-pearl inlay)
- Lacquerware
- Technique
A technique in which thin, flat shells are cut into various shapes and pasted onto the surface of lacquered vessels to create patterns and designs. It is said that this technique was introduced from China during the Nara period (710-794). Many exquisite examples are preserved in the Shosoin Repository. The vivid glow of the shells shines against the color of the lacquer. Mother-of-pearl can come from abalone, white butterfly, and other luminous shells.
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Raku ware
- Ceramics
- Generic term
Raku ware is a type of glazed pottery shaped by hand without using a potter’s wheel and fired at low temperatures. It includes sub-types such as Aka-Raku (Red Raku), Kuro-Raku (Black Raku), Shiro-Raku (White Raku), and others. Raku ware is said to have been first created under the guidance of Sen no Rikyu, and although it often refers specifically to pottery produced by generations of the Raku family, in a broader sense it refers to all ceramics produced using the same technique.
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Rankakude (Egg shell)
- Ceramics
- Others
The finest porcelain with the thinness reminiscent of an egg shell, which was made in the late Edo period (19th century) under the order by the Hirado clan. It was exported to Europe where it was highly valued. The production was revived recently having ceased after World War I.
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Rinpa
- Generic term
A school of decorative arts such as painting, crafts, and calligraphy during the Edo period (1603-1868). It originated with Hon’ami Koetsu and Tawaraya Sotatsu and was carried forward by a core of artists such as Ogata Korin, Kenzan, and Sakai Hoitsu, among others. Rinpa was rooted in traditional Yamato-e painting but was characterized by elaborate and rich decorative elements, as well as bold compositions. Unlike traditional patterns of transmission based on family or master-disciple relationships, it spread through personal admiration and affinity.
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Ro-gata chuzo (Wax casting)
- Metalwork
- Technique
A metal casting technique that makes use of the special properties of wax. It has been widely used in Japan since the Asuka period (592 – 710). A wax mold is made by boiling beeswax or Japan wax together with pine resin and then wrapping it in clay and baking it at high temperature to create a mold. The heat melts the wax of the original mold, which then flows out (known as “dewaxing”), and the molten metal is poured in. After the metal has cooled, the mold is broken and dismantled, allowing the casting to be removed.
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Roiro-shiage
- Lacquerware
- Technique
This is a finishing technique for the top coat, in which a thin coat of transparence lacquer, which does not contain oil, is applied and repeatedly polished to produce a beautiful glossy finish. The lacquered surface is polished with charcoal and fine particles, a time-consuming process but one which produces a neat and refined finish. Also called roiro-nuri.
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Rokuro (Potter's wheel)
- Ceramics
- Technique
One of the tools for forming pottery by using centrifugal force from the rotating wheel to shape the clay. There are various types of potter’s wheels such as hand-operated wheel, kick wheel, and motor-driven wheel. The motor-driven wheel is the most popular as the rotation speed is easily adjustable by stepping on the pedal.
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S

Saki-zome (Yarn dyeing)
- Textiles
- Technique
The process of dyeing threads before weaving them into fabric.
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Sandblasting
- Glass
- Technique
A technique used to carve or sculpt on the surface of glass by spraying abrasive materials such as sand at high pressure. The areas that are blasted become frosted or textured. The degree of carving can be adjusted by controlling factors such as the pressure of the spray, the size of the particles, and the amount of sand used.
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Sangiri
- Ceramics
- Technique
An interesting and unexpected change in color or pattern caused by the absence of oxygen in during reduction firing due to the burial of the vessel in the ashes during firing. Sangiri can vary in color from black to gray to blue to reddish brown or other colors.
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Sashi-mutsume-ami
- Wood & Bamboo
- Technique
A technique in which thinly made bamboo strips are embroidered by using mutsume-ami (hexagonal weave) and its derivative asanoha-ami (hemp leaf weave) as a foundation.
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Sashimono (Joinery)
- Lacquerware
- Wood & Bamboo
- Classification
- Technique
A technique of woodworking to make boxes or furniture by assembling wood boards without using nail. Products made by using this technique include racks and chests.
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Satsuma Kiriko
- Glass
- Generic term
A generic term for faceted glasswork produced in the Satsuma domain (today’s Kagoshima Prefecture) during the late Edo period (1853 – 1868). It is characterized by a series of color gradations called “bokashi” arising from the cutting of the glass. The gradations are created by hand-cutting patterns into “iro–kise glass,” which itself is formed as a thick layer of colored glass overlaid on transparent glass. Although production of this type of glass had once been discontinued, it is now being brought back.
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Sen-biki
- Wood & Bamboo
- Technique
A step in the process of making bamboo strips. It involves pulling bamboo strips through a gap set in a fixed base, and using a splitter to even out the thickness.
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Seto-guro
- Ceramics
- Generic term
- Technique
A type of Mino ware first created in the Azuchi-Momoyama period (1573-1603). Jet-black pottery produced using the “Hikidashi” (meaning to withdraw or pull out) technique, in which iron-based glaze is applied and then removed from the kiln during firing and allowed to cool rapidly. Also known as “Hikidashi-guro”.
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Seto ware
- Ceramics
- Generic term
Generic name of ceramics produced mainly in Seto City, Aichi Prefecture. In the past, it was very popular especially in the eastern parts of Japan so much so that all porcelain was generally referred to as “Setomono”. One of the six ancient kilns of Japan.
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Shibori
- Metalwork
- Technique
A metal forging technique in which a metal plate is placed on a curved iron tool called an ategane, and then shaped with a hammer or wooden mallet into a sculptural form.
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Shigaraki ware
- Ceramics
- Generic term
A style of ceramics produced in Shigaraki, Shiga Prefecture. Fired at high temperatures without glaze, it is characterized by a tactile landscape resulting from its coarse base material and natural ash glaze. One of the six ancient kilns in Japan.
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Shima (Stripe)
- Textiles
- Generic term
A pattern consisting of straight lines produced by the color scheme of warp and weft thread. Up until the Momoyama period (1573 – 1603), this pattern was not called 縞 – shima then but 筋 – suji, which has a meaning closer to “line.” From the early modern era, many stripe-patterned textiles were brought to Japan by European ships mainly from Spain or Portugal. Since these striped textiles were brought from another continent across the ocean, people started to call them shima-mono, literally “island things.” From this, they later adopted a different character for shima (縞, meaning “stripe”) which is a homonym of the character for “island” (島, also read as shima).
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Shino
- Ceramics
- Generic term
- Technique
A type of Mino ware which first appeared in the Azuchi-Momoyama period (1568-1603), as well as a general term for ceramics in which a white Shino glaze (based on feldspar) is applied to the “Mogusa-tsuchi” clay. There are several types of Shino ware, including Muji-Shino (plain), E-Shino (picture), Nezumi-Shino (gray) and Beni-Shino (crimson).
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Shinogi
- Ceramics
- Technique
A decorative technique whereby ridgelines are carved on the surface. It derived its name from the appearance of the ridges on Japanese swords which are called “Shinogi”.
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Shira-take (White bamboo)
- Wood & Bamboo
- Material
A bamboo with a beautiful gloss. Selected high-quality ma-dake bamboo is put through a degreasing process and is sun-dried to finish. It is used in a wide range of applications including bamboo fences, architecture, tea ceremony utensils, and bamboo crafts.
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Shiro-Bizen (White Bizen)
- Ceramics
- Generic term
Literally, “White Bizen” ware. When production first began in the Edo period (1603-1868), white clay was covered with white or transparent glaze and fired at high temperatures. Later, it was said that the white color was produced by firing clay with low iron content in an unglazed process. There have been times when this type of ceramic was not produced, and the production method varied from artist to artist, making this type of white Bizen very rare.
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Shizen-nerikomi
- Ceramics
- Technique
A technique used in creating Bizen ware. In the normal nerikomi (literally, “kneading”) technique, different clays are kneaded together by hand to form a pattern. However shizen nerikomi, or “natural kneading,” uses raw clay from a single source, and leaves it as natural as possible: the artist removes pebbles from the clay, which is otherwise left in a state similar to that of the original soil it came from, and shapes it by hand. This allows the variations in the composition of the original clay to be utilized, and the surface of the work can be made to look like a natural geological formation.
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Shizen-yu (Natural ash glaze)
- Ceramics
- Others
A glazing produced in a wood-fired kiln, when the ashes from the burned fuel fall onto the substrate and melt to form a glaze.
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Shoki-Imari (Early Imari)
- Ceramics
- Generic term
A general term for porcelain produced in the Arita area of Saga Prefecture from the early 17th century, when Japan’s first porcelain was fired, to the 1640s, when colored paintings were introduced. Many of the pieces are sometsuke, or blue and white porcelain.
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Six Ancient Kilns
- Ceramics
- Generic term
A collective name for six distinctive ancient kilns in Japan, which have been famous for their pottery from medieval times to the present day. These include kilns in the Seto, Tokoname, Shigaraki, Echizen, Tanba-Tachikui and Bizen regions.
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Slip casting
- Ceramics
- Technique
A molding method in which slip poured into a plaster mold is allowed to stand for a certain period of time, with any excess slip being poured out when it reaches the required consistency. The plaster molds utilize plaster’s moisture-absorbing and adherence properties. It is mainly used for the mass production of hollow bag-shaped vessels such as teapots and vases. Also called “gaba” casting.
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Soda glass
- Glass
- Material
The most common type of glass. It is easy to melt and mold but is vulnerable to rapid heating and rapid cooling. It sounds slightly dull when struck. It is commonly used as tableware, bottles and flat glass.
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Sogata (Mold)
- Metalwork
- Technique
A pattern is carved directly on the inside of a mold made of sand and clay, forming the outline of the object to be produced, and fired to make the outer mold. Molten metal is then poured into the gap between the outer mold and the inner core to cast the object. This method is mainly used in the production of circular objects, such as pots and Buddhist bells.
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Sometsuke (Blue and white porcelain)
- Ceramics
- Technique
Decorating on biscuit under transparent glaze with a blue pigment. This pigment is known as zaffer or “gosu” in Japanese. It was first used in China in the 14th century and then spread around the world. In Japan, it was first introduced in Arita at the beginning of 17th century. The decoration methods can be broadly divided into two ways with each method using different brushes. One is drawing just the outline and the other is painting inside the outline which is called “dami” in Japanese. There are also other techniques such as “fukizumi” which creates pattern by spraying gosu on the surface resulting in a charming contrast of blue and white.
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Stoneware
- Ceramics
- Classification
Vessels and objects having characteristics that falls between pottery and porcelain. It is made from clay and fired at high temperatures of about 1200-1300 degrees Celsius. It has a low water absorption rate and is opaque. In Japan, stoneware refers mainly to Bizen, Shigaraki, Tokoname and other unglazed ceramics.
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Sukashi-bori
- Ceramics
- Technique
The technique of carving out patterns on partially dry porcelain with a small knife, creating a pattern that emerges when light shines through the translucent surface.
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Suri-otoshi
- Ceramics
- Technique
A technique wherein white slip (a liquid clay mixture used to decorate pottery) is partially wiped off (in Japanese “suri-otoshi”) to reveal the color and pattern of the base material. Taki Nakazato created this technique, inspired by Negoro-nuri style lacquerware.
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T

Taga (Hoop)
- Wood & Bamboo
- Others
A ring made of metal or bamboo. It is put around a wooden tub or barrel to fasten it.
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Tagamono (Cooperage)
- Wood & Bamboo
- Classification
- Technique
A technique of woodworking to make containers and products by fastening wooden slats which are placed upright in a circle using a hoop called “taga”. It includes tubs and barrels.
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Taihaku ware
- Ceramics
- Generic term
Taihaku ware is a type of ceramics produced around the 19th century in Seto and Mino, featuring sometsuke underglaze decoration on stoneware.
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Takaoka copperware
- Metalwork
- Generic term
Generic name of copperware made in Takaoka City, Toyama Prefecture. Takaoka is renown as the largest production area of copperware in Japan, accounting for over 90% of domestic production.
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Takaoka lacquerware
- Lacquerware
- Generic term
A generic name for lacquerware produced in Takaoka, Toyama Prefecture. It began in the early Edo period (1603-1868) under Toshinaga Maeda, lord of the Kaga domain (now Toyama Prefecture). Later, the tsuishu and tsuikoku techniques were introduced from China, and a variety of new techniques were created. The most representative of those include aogai-nuri, a type of mother-of-pearl inlay that uses thinly shaved shells; yusuke-nuri, characterized by its Chinese style design; and chokoku-nuri, characterized by its three-dimensionality and the luster of colored lacquer.
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Tame-nuri
- Lacquerware
- Technique
One of the techniques used in lacquerware, in which transparent lacquer is applied atop a middle coat of red lacquer. The characteristic feature of tame-nuri is that the underlying color can be seen through the top coat of transparent lacquer; the more the lacquer is used, the more the color of the underlying layer becomes visible. The middle coating is made of either bengara-urushi or shu-urushi, both of which are red in color; those using shu-urushi as the middle coating are called shu-dame or beni-tame-nuri.
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Tanba ware
- Ceramics
- Generic term
A general term for ceramics produced mainly in Tachikui area of Konda-cho, Tanba Sasayama, Hyogo Prefecture. It is considered one of the Six Ancient Kilns of Japan. Various types of ceramics are produced, including yakishime style unglazed stoneware. Also known as Tanba Tachikui ware.
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Tankin (Forging)
- Metalwork
- Technique
A metalworking technique in which a hammer or wooden mallet is used to shape a sheet or ingot of metal, such as gold, silver, iron, or copper, by hammering or bending.
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Tanpan
- Ceramics
- Technique
A mineral composed of copper sulfate. It is a type of decoration for Ki-Seto ware, and shows a greenish mottling when fired with sufficient oxygen to react with the glaze. When the greenish coloration of tanpan shows through both the front and back sides it is called “nuke-tanpan,” and is especially treasured.
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Tataki (Tapping)
- Ceramics
- Technique
The technique of forming clay into a long ‘string’, laying it in spirals to form a vessel, and then smoothing out the joints and shaping it by tapping (in Japanese, “tataki”) the surface with a wooden mallet against wooden battens placed inside. The battened boards and mallet are carved to safely separate the clay from the board, but also produce a decorative effect as if the surface of the vessel is engraved with a pattern.
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Tatara-zukuri (Slab-building)
- Ceramics
- Technique
A method of molding slabs of clay by bending or combining them on a board or flat surface. Unlike thrown molding which uses the rotation of a potter’s wheel to make circular vessels, tatara-zukuri is used to make square bowls and other vessels from flat slabs of clay.
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Tategi-dori
- Lacquerware
- Wood & Bamboo
- Technique
A method to saw lumber by following the direction of the grain in order to have less deformation and strong resistance to shock.
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Tebineri (Hand-building)
- Ceramics
- Technique
A forming method using only fingers. The most primitive way of forming. Although it is not suitable for elaborate work, it is good for expressing rustic beauty.
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Tenmoku
- Ceramics
- Generic term
The name Tenmoku refers to black glazed tea bowls in general. It is said that the name comes from the fact that it was brought back by a Japanese Zen monk who visited Tenmoku (天目Tiān mù in Mandarin, or “Heaven’s Eye” in English) Mountain in Zhejiang Province, China in the Kamakura period (1185 – 1333). Typical shapes include Tenmoku, Asagao (morning glory), and Togasa (resembling an Asian conical hat). These have been produced in various parts of Japan since the early modern period.
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Tensha
- Ceramics
- Technique
A technique in which patterns are pre-printed using ceramic-specific paints on tensha (literally, “transcription” or “transfer printing”) paper, decals, copper plates, or other materials, and the patterns then transferred to the surface of the vessel.
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Tetsu-e (Iron underglaze)
- Ceramics
- Technique
An underglaze technique involving the use of iron-containing pigments to paint decorative patterns on unglazed base, over which a glaze is applied before firing. The painted portion develops shades of brown or black. Originating in China, this technique began to be practiced in Japan around the late 16th century, particularly in regions such as Mino and Karatsu.
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Tetsusabi-nuri (Iron-rust lacquer)
- Lacquerware
- Technique
A traditional technique in Aizu lacquerware. It is characterized by a texture resembling cast iron. The pattern is created by applying a mixture of rust-colored lacquer made from tonoko, in which polishing powder and raw lacquer are mixed and squeezed out of a tube to draw a pattern on the surface.
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Togi-dashi
- Lacquerware
- Technique
A technique of applying multiple layers of colored lacquer, each of which is carefully polished with charcoal to bring out the colors of the layers beneath them.
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Tokibo / Hakobi
- Other
- Others
A tool shaped like a broom. It is used when mixing or applying paints on a wood block. It is made of finely split bamboo skin, that are tied to a stick with a string.
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Tokoname ware
- Ceramics
- Generic term
Stoneware made mainly in Tokoname, Aichi Prefecture. It has the longest history among Japan’s six ancient kilns. Characterized by its iron-rich red clay which is fired using oxidizing flame.
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Tsubaki-de
- Ceramics
- Generic term
- Technique
A type of Mino ware, made by applying ash glaze and iron glaze together. It is distinguished by its appearance, featuring various colors ranging from yellow, reddish-brown, dark brown, to black depending on the amount of iron in the glaze. There are various theories about the origin of its name, but it is said that it was named Tsubaki-de for the red spots that sometimes form in the glaze, reminiscent of camellia flowers in bloom.
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Tsuiki
- Metalwork
- Technique
A metal working technique in which gold, silver, copper, or their alloys are stretched into a sheet and formed into a three-dimensional form, utilizing the ductility and malleability of the metal.
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Tsuki-ita
- Wood & Bamboo
- Others
Wood veneer made from natural wood that has been thinly shaved with a sharp blade. Tsuki-ita is applied to plywood or MDF fiberboard as a decorative facing material to create what is called “kesho-gohan,” or decorative plywood, often used for furniture and construction materials.
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W

Wajima lacquerware
- Lacquerware
- Generic term
Generic name of lacquerware produced in Wajima City, Ishikawa Prefecture. Characterized by its robustness. The wood surface is reinforced with cloth and is coated with many layers of “Jinoko” which is the powder of calcined diatomaceous earth.
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White porcelain
- Ceramics
- Generic term
A type of porcelain made from white porcelain stone. Transparent glaze are applied and fired at high temperature by reduction firing. Developed in China, this type of ceramic came into production in Japan after the discovery of porcelain stone containing kaolin in Izumiyama, Arita in 1616.
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Y

Yaki-namashi (Annealing)
- Metalwork
- Technique
The process of heating hammered and tempered metal in a fire to improve the malleability of the copper structure and make it easier to work. The repetitive hammering and annealing by which a piece will take its final shape.
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Yakishime (Unglazed stoneware)
- Ceramics
- Classification
- Technique
Forming clay and letting it dry before firing at high temperature as much as 1100~1400 degree Celcius without biscuit firing or glazes.
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Yamagata casting
- Metalwork
- Generic term
Yamagata-style casting is said to have originated when artisans migrated to riverside lands in Yamagata during the late Heian period (794-1185), as the local sand and soil composition proved suitable for casting molds. Its distinctive features include a thin and delicate cast surface, as well as precise shapes and dimensions. In many cases, each workshop handles all manufacturing processes, from production to sales, without adopting a division of labor for specialized tasks.
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Yamanaka lacquerware
- Lacquerware
- Generic term
Generic name of lacquerware produced in the Yamanaka-Onsen area in Kaga City, Ishikawa Prefecture. This area is well known for its woodturning.
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Yobitsugi
- Ceramics
- Technique
A type of kintsugi, in which fragments of different ceramic pieces are joined together to create a whole that showcases different styles.
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Yohen
- Ceramics
- Others
Effects that manifest on pottery in the kiln during firing. The changes are unpredictable as they are caused by the condition of the fire, oxygen or glaze.
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Yohen Tenmoku
- Ceramics
- Generic term
A type of Tenmoku fired at the Jian kilns in Fujian province during the Southern Song dynasty (1127-1279) in China. It is considered to be the finest example of Tenmoku, with a glossy jet black glazed tea bowl with silvery flecks like stars surrounded by blue and iridescent light. Only three bowls meet the definition of true Yohen Tenmoku: one in the collection of Seikado Bunko Art Museum (commonly known as Inaba Tenmoku), one in the collection of Fujita Museum, and one in the collection of Ryuko-in, Daitokuji Temple. All three are considered national treasures of Japan.
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Yokino ware
- Ceramics
- Generic term
Ceramics made in Sumiyoshi-yokino, Tanegashima, Kagoshima Prefecture, from the early Edo period (1603-1868) until 1902. It is characterized by its rustic texture, using clay rich in iron and lightly glazed. Mainly everyday household items were produced.
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Yosegi
- Wood & Bamboo
- Generic term
- Technique
Yosegi is a woodworking technique, similar to parquet, in which various types of wood are combined to create patterns using the different colors and grains of each type of wood. In Japan, it is famous as a traditional technique of Odawara and Hakone in Kanagawa Prefecture.
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Yotsume-ami (Lattice weave)
- Wood & Bamboo
- Technique
A basic type of bamboo craft weave where the pattern forms a square.
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Yuri-kinsai
- Ceramics
- Technique
A technique in which gold leaf, gold paint, and other gold colors are used to express patterns on the surface of ceramics, which are applied, glazed over, and then fired.
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Yuteki Tenmoku
- Ceramics
- Generic term
A type of Tenmoku fired at the Jian kilns in Fujian province during the Southern Song dynasty (1127-1279) in China. Gold and silver flecks like drops of oil appear on the jet-black glaze, with many of them spread over the entire surface of both the interior and exterior of the tea bowl. In addition to the Jian kiln, tea bowls were also fired at the Cizhou kilns in Hebei province during the Song and Yuan dynasties (1271-1367).
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Yuzu-hada
- Ceramics
- Others
A condition where fine pits appear on the surface of the glaze, giving it the texture of citrus peels.
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Z

Zogan (Inlay)
- Ceramics
- Lacquerware
- Metalwork
- Wood & Bamboo
- Glass
- Technique
A decorative technique where the surface of a base material such as metal, wood, or ceramics is carved, and contrasting materials are then fitted into the carved areas to create patterns.
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Ceramics
Technique

A technique for restoring broken or chipped vessels by gluing them together with lacquer and decorating the joints with gold or other materials. This technique is said to have originated in the Muromachi period (1336-1573).

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Embracing everyday wellness

Yohen Kohiki Tea Bowl

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Tea Bowl with Ryuhaku Glaze

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Karatsu Hakeme Tea Bowl

Tanba Jar

Rectangular Layered Box, Vermilion

Ryumon Bowl

Raizan Yasunaga

Teppei Terada

Eiichi Shibuya

Tori Yoshino

Q Tani

Ryo Sekino

Yuko Sekino

Hosai Matsubayashi

Hirado Kohsyo Danemon Kiln

Harnessing the past, connecting to the future

Taya Shikki

Bringing Wajima lacquerware into daily life

Wajima Kirimoto

Nurturing the town of Wajima

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