Tsuboya Yachimun-dori Street: An Oasis in the Heart of Naha

Despite its location in the heart of Naha City, Tsuboya Yachimun-dori Street is filled with a serene atmosphere. This area is known as the place where Okinawa's post-war reconstruction began.

Located in central Naha, Tsuboya Yachimun-dori Street exudes a quiet calm. The area is famous as the starting point of Okinawa's reconstruction after World War II. Tsuboya, which suffered relatively little damage from air raids, became a gathering place for potters who had been living in internment camps after the Battle of Okinawa; they were the first to enter the area as an advance party. For the residents who had lost everything in the war, these artisans crafted and distributed daily necessities for free. And so, with Tsuboya as its anchor, the city of Naha was gradually rebuilt.

In the past, the sight of smoke billowing from climbing kilns, or noborigama, was a daily feature of the Tsuboya sky. However, as environmental awareness grew in the 1970s, the use of these kilns within Naha City was banned. Many pottery studios were forced to switch to smokeless gas or electric kilns, while others relocated to suburbs like Yomitan Village to continue using their traditional climbing kilns.

In Tsuboya, home to the Ikutouen studio, a noborigama climbing kiln designated as an Important Cultural Property of Japan still stands today. While no longer used for full-scale firing, it is fired once a year for preservation. This event provides a rare opportunity for Tsuboya's potters to work together, serving as a symbolic act of passing down skills and memories to the next generation.

In an environment distinct from the fiery landscapes and serendipity unique to wood-fired kilns, the potters evolved, choosing to perfect decorative techniques—known as kashoku—such as line carving (senbori) and painting (etsuke). This evolution shaped the identity of modern Tsuboya-yaki and, by extension, that of Ikutouen itself.

From Wholesale to Retail: The Pivot for Survival

Ikutouen once focused primarily on "wholesale" to distributors.

A turning point came about 20 years ago. At the time, a new generation of young artisans in their 20s, including the current studio manager, had joined the pottery and were honing their skills. They were eager to create not just traditional Tsuboya-yaki, but also the kind of "pottery they themselves wanted to use"—pieces that matched their own modern sensibilities. Around the same time, an electrical appliance store at the entrance of Yachimun Street, owned by a relative of the Takaesu family, closed down. They were offered the space with a simple question: "Why don't you use it?" The decision to open a directly managed shop, born from a lighthearted "Let's give it a try" attitude, would later spark a significant shift.

The products planned and created by these young artisans possessed a lightness that blended seamlessly with modern lifestyles. This new venture was met with an overwhelmingly positive response. The experience brought the artisans a profound sense of accomplishment and joy.

Spurred by the success of this small shop, which began around 2009, Takaesu kicked off reforms with a clear focus on "branding." He moved away from the intuitively run stores and products of the past, steering towards a brand strategy with well-defined targets and concepts. He launched a series of stores with distinct atmospheres, such as the stylish and contemporary "Kamany" and "guma guwa," which emphasizes cuteness and everyday use. He also actively collaborated with designers, pursuing designs that suit the modern dining table while employing traditional techniques.

This pivot "from wholesale to retail" was far more than a simple change in sales channels. It was about defining their own value and communicating it directly to customers. As a result, Ikutouen successfully established itself as a powerful brand.

Beautiful Line Carving Born from a Division of Labor

The Ikutouen studio is home to about 20 artisans. What's particularly noteworthy is their production system, which is built on a complete division of labor. Specialized teams are organized for each process, with artisans dedicated to forming shapes on the potter's wheel, others to carving decorative patterns, and still others to loading the kiln.

Ikutouen's signature "Karakusa senbori" (arabesque line carving) is especially remarkable, requiring the advanced skill to carve intricate patterns freehand, without any preliminary sketches. Watching a master artisan carve with a steady, unhesitating hand is a true display of craftsmanship. By sharing and standardizing this technique as a team, however, they ensure a consistent level of quality across the brand.

In the world of traditional crafts, an apprenticeship-like atmosphere of "watch and learn" often persists. At Ikutouen, however, a practical approach to team building is in effect. This reflects Takaesu's belief that organizational strength is essential for preserving tradition.

The Fusion of Traditional "Shisa" and Modern Art

Another pillar of Ikutouen is the creation of "Shisa," the guardian deities of Okinawa. The pottery's craftsmanship has a stellar reputation, with the previous generation's head being honored as a "Contemporary Master Craftsman." Currently, Takaesu's cousin serves as the studio manager for the Shisa division, producing a wide range of pieces, from traditional, imposing Shisa to smaller ones perfectly suited for modern homes.

Meanwhile, Takaesu's younger brother, who represents the 7th generation, is expanding the possibilities of pottery with a more artistic approach. He engages in projects that push beyond the traditional framework of Tsuboya-yaki, including collaborations with figurine and character designers, and creating sculptural works themed on "the worlds of stories and movies."

In the past, a new product made using the slip-casting technique drew criticism, with some saying, "This isn't really Tsuboya-yaki, is it?" A gap existed between the value placed on traditional handwork and the philosophy of evolving techniques to create better products.

"What is tradition?" Takaesu asked himself. Looking beyond his prefecture and overseas, he saw that slip-casting is by no means an easy technique. It is an established form of expression that demands solid technical skill in every process, not just shaping and finishing. Countless production areas use it to create outstanding works.

A technique is ultimately just a means of expression; it is not inherently good or bad. At the same time, the value and accumulated weight of what their predecessors built in the land of Tsuboya undoubtedly exists.

The solution Takaesu chose was not confrontation, but the concept of "sumiwake" (clear separation). By creating a distinct line for traditional Tsuboya-yaki and another for experimental challenges, he could cherish existing values while also opening up possibilities for new forms of expression. He chose the path of nurturing both sides simultaneously.

Travel Like a Local, Connect with the Land's Deities

Ikutouen's vision is to preserve the unique "landscape" of the Tsuboya district and carry it forward for future generations.

Strolling through Tsuboya, you'll discover stone walls, red-tiled roofs, and the presence of deities enshrined in alleyways. Okinawa has a deeply rooted culture of ancestor and nature worship, and Tsuboya is dotted with uganju (places of worship) dedicated to the god of fire and local land spirits. Ikutouen even has a shrine on its own grounds, where artisans pray daily for safety and prosperity in their craft.

Takaesu shares his hope for visitors to experience the full atmosphere of Tsuboya, including its spiritual culture. He envisions a future plan to build accommodations alongside the workshop's reconstruction. This stems from a desire to offer travelers a more profound experience by allowing them to stay in the town, immerse themselves in the artisans' daily lives, and connect with the local faith.

"We want to be an entity that people would hate to see disappear," he explains. This points to a purpose beyond simply making and selling products—it's about their role as a vital part of the local culture and community.