{"id":2385,"date":"2020-02-10T12:45:58","date_gmt":"2020-02-10T03:45:58","guid":{"rendered":"https:\/\/tsumugu-admin.yomiuri.co.jp\/en\/?p=2385"},"modified":"2020-02-10T12:45:59","modified_gmt":"2020-02-10T03:45:59","slug":"arita-ware-refined-art-of-saga-retaining-the-spirit-of-early-porcelain-making","status":"publish","type":"post","link":"https:\/\/tsumugu.yomiuri.co.jp\/en\/feature\/arita-ware-refined-art-of-saga-retaining-the-spirit-of-early-porcelain-making\/","title":{"rendered":"Arita ware: Refined art of Saga retaining the spirit of early porcelain making"},"content":{"rendered":"\n<h6 class=\"wp-block-heading\">By Vincent Heuser \/ CIR for Arita, Saga Pref.<\/h6>\n\n\n\n<p class=\"wp-block-paragraph\">In the northern Kyushu town of Arita in Saga Prefecture, the roots of a more-than-400-years-old Japanese tradition can be found. Arita is considered to be the birthplace of porcelain in Japan with its ceramic industry still being the town\u2019s major branch of economy. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It all started when the Korean potter\nRisanpei discovered kaolin, the main resource needed for porcelain production\nin the Izumiyama mountains in Arita. Being much harder and more stable than earthenware,\nwhich until then was the main resource for soft-paste porcelain already\nproduced in Japan at that time, the stone from Izumiyama could be fired at\nhigher temperatures and was therefore considered a priceless treasure. <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"790\" src=\"\/en\/wp-content\/uploads\/2020\/02\/76515b444d5b7a85c2e14cd705f9ddce.jpg\" alt=\"\" class=\"wp-image-3175\"\/><figcaption>Current state of Izumiyama quarry, where the material for porcelain making was discovered more than 400 years ago <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Over the centuries, a great variety of different styles and designs was developed, all representing different episodes in the history of the town. During the first years of Arita ware production, the so-called <em>sometsuke <\/em>style focusing on underglaze decorations in blue color was the most widely-known characteristic of Arita ware, still being one of the main features even nowadays. <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"790\" src=\"\/en\/wp-content\/uploads\/2020\/02\/81dccf1a939e57dbaca8e3a4f941d2dc.jpg\" alt=\"\" class=\"wp-image-3164\"\/><figcaption> Underglaze-painting process <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">However, in the middle of the 17th century,\npotters in Arita developed the technology of over-glaze firing, making Arita\nware suitable for a whole new range of patterns and styles. With the\nmilky-white shining <em>nigoshide<\/em> as the\nnew base color, kilns such as the Kakiemon kiln began to apply more colors such\nas red, yellow and green, even reaching to purple and gold designs. This made\nArita ware appear even more gorgeous and sophisticated. <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"790\" src=\"\/en\/wp-content\/uploads\/2020\/02\/99ffc84dfa184ee468ce308eac7ea0e8-1.jpg\" alt=\"\" class=\"wp-image-3166\"\/><figcaption> Overglaze-painting process <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Newly developed methods of firing the kilns contributed to a higher limit in temperatures, leading to the new approach of firing porcelain in at least two different stages. Therefore the processes of <em>keisei<\/em> (shaping) and <em>etsuke<\/em> (painting) became two separated steps, improving the quality of each stage of production. While the temperatures that were necessary to fire the vessels including the white underglaze usually did not exceed 1,000 degrees, temperatures in the process of firing the objects after the application of patterns and pictures often ranged between 1,300 and 1,400 degrees. Flashier and at the same time more detailed pictures (<em>iroe<\/em>) using all available colors became a new characteristic of Arita ware.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"790\" src=\"\/en\/wp-content\/uploads\/2020\/02\/9f0c59a31a68465d34f3ce9f94430422.jpg\" alt=\"\" class=\"wp-image-3165\"\/><figcaption>A kiln used for firing <\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"790\" src=\"\/en\/wp-content\/uploads\/2020\/02\/e72504ec4d814c58c823d631a2886489.jpg\" alt=\"\" class=\"wp-image-3179\"\/><figcaption>Tonbaibei walls made out of stones from former firing kilns <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">As a result of the extended range of\npossibilities regarding the use of colors and techniques, the so-called <em>kinrande<\/em> style became the most popular\ndesign during the Genroku period. The contrast of red and golden elements on a\npure white surface underlined Arita ware\u2019s unique qualities, boosting its\npopularity in many different parts of the world.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With the beginning of the 19th century,\nArita was confronted with several difficulties regarding the production of\nporcelain. In 1828, a huge fire broke out, destroying large parts of the\nfacilities that were crucial for the industry. Furthermore, as porcelain\nproduction increased in Gifu and Aichi prefectures, Arita was losing its edge\nin the domestic market. Those developments lead potters to focus on calm colors\nsuch as indigo blue instead of flashy designs. However, this drift helped Arita\nresurrect its reputation as a the leader of porcelain development since the\ncombination of popular traditional designs reminiscent of the early stages of\nporcelain manufacturing with new technologies was widely recognized as another\nsignificant level of progress.<\/p>\n\n\n\n<div class=\"wp-block-tsumugu-blocks-modal-image wp-block-image\"><figure class=\"aligncenter\"><img decoding=\"async\" src=\"\/en\/wp-content\/uploads\/2020\/02\/34de962b459a29897d9ef15103f537a4.jpg\" alt=\"\" data-height=\"790\" data-width=\"1280\"\/><figcaption> A sitting pair of Arita porcelain Hina dolls made by Shingama Kiln in Arita <\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Since the Meiji period, the scope of products labeled Arita ware has widened little by little, helping the production of other objects besides porcelain to rise. Nevertheless, regardless of shape, material and utility, the spirit of the early years of porcelain making is still clearly recognizable in all present expressions of Arita ware, mainly due to the application of its advanced technologies with its different influences from several centuries. Painting techniques and styles that are particular to Arita ware were applied especially to glass, underlining the presence of Arita ware also in different industries.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"text-align:right\">(Photos courtesy of Arita Town Division for Commerce Industry and Tourism)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"text-align:right\">\n\n (Cooperation: <a rel=\"noreferrer noopener\" href=\"http:\/\/www.clair.or.jp\/e\/index.html\" target=\"_blank\">Council of Local Authorities for International Relations<\/a>)  \n\n<\/p>\n\n\n\n<div class=\"writer-profile\">\n  <div class=\"profile\">\n    <div class=\"pic\"><img decoding=\"async\" src=\"\/en\/wp-content\/uploads\/2019\/12\/64d35eb44f1e460a288ef37a37e73c0d-2.jpg\"><\/div>\n    <div class=\"txt\">\n        <p>Profile<\/p>\n        <p class=\"name\">Vincent Heuser<\/p>\n    <\/div>\n  <\/div>\n  <p class=\"profile-txt\">Vincent was born and raised in Berlin, Germany, and developed interest in Japan in his teenage years. He decided to do an exchange to Nichinan in Miyazaki Prefecture when he was 15 years old. He later moved to Hamburg to study Japanese. During those four years, he spent one year at Fukui University, a partner university of Hamburg University. He graduated in 2018 and came to the small town of Arita in Saga Prefecture. Here, he works as the Coordinator for International Relations (CIR). His main tasks include translation and interpretation, teaching English and German classes, managing the exchange with our German sister city of Meissen, and writing for the town newspaper.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>By Vincent Heuser \/ CIR for Arita, Saga Pref. In the northern Kyushu town of Arita in Saga Prefecture, the roo [&hellip;]<\/p>\n","protected":false},"author":22,"featured_media":3161,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[407],"tags":[173,92,176,174],"class_list":["post-2385","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-feature","tag-arita","tag-japans_beauty_in_the_eyes_of_cirs","tag-porcelain","tag-saga"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Arita ware: Refined art of Saga retaining the spirit of early porcelain making | \u7d21\u3050\u30d7\u30ed\u30b8\u30a7\u30af\u30c8<\/title>\n<meta name=\"description\" content=\"In the northern Kyushu town of Arita in Saga Prefecture, the roots of a more-than-400-years-old Japanese tradition can be found. 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