Proposing Diverse Hasami-yaki by Leveraging Strengths

Can you tell us how you became involved with Hasami-yaki?

My parents were kiln operators, but they had to close down due to changes in the times during my childhood, leading them to run a fabric dealing business for a while. Given that Hasami Town is where I was born and raised, as well as being a family business, it was natural for me to get involved.

After graduating from Arita Technical High School in Saga Prefecture, I worked at "Tsuchiya Zuiko-gama" in Kyoto, where I studied kilns and pottery for about six years. Additionally, since there was a training system at the Industrial Testing Institute in Kyoto, I utilized it to study glazes for about two years.

Afterward, I returned to Hasami Town to start my own work. The kiln that my parents used was quite old, but it was still in usable condition, so I decided to make use of it as it was. I founded the business in 1984, and it has been around 40 years since I established the kiln.

Can you tell us about the company’s journey?

We started with five employees, but gradually increased the number to 12. Thanks to local trading companies, fabric dealers, and plaster mold makers, we have been able to continue our management smoothly. Now that 40 years have passed since the establishment, we are undergoing a succession and are engaging in new challenges.

In terms of crafting, we are focused on "making what I want to make." I have suggested various designs in terms of color and shape.

Since I studied glazes in depth, our company has a wide variety of them. While we do have products that involve painting, many products are finished solely with glazes.

What are some representative products?

One of our representative products is the "Hotaru Medaka (Firefly Killifish)" and another is "Kake-wake (the way colors of different glazes are applied)". At one time, there was a trend where we carved out the surface of the pottery and filled it with clear glaze, known as "Hotaru-yaki"; however, as that trend eventually subsided, I pondered how we could preserve its essence in a new way.

As a result, the "Hotaru Medaka" series was born. It features transparency, allowing the color of the drink poured in to reflect on the body of the Medaka (Japanese killifish). It is one of the products I personally love very much.

The Fascination of Glaze: Variations in Changes During Firing & Individual Differences in Finished Products

I heard that production in Hasami Town operates under a division of labor.

I believe that originally all processes were handled by the kiln operator, but with some individuals previously engaged in agriculture becoming involved in pottery, outsourcing the work of shaping the clay became the norm.

In a division of labor system, production progresses through ceramic clay suppliers, plaster mold makers, raw material suppliers, decorators, overglaze artists, and kiln operators. Hasami ware achieves mass production by leveraging the expertise of various individuals.

Could you please explain the specific tasks of the kiln operators?

Once the design is finalized, the kiln operator requests mold creation from the plaster mold maker. Based on that mold, the raw material supplier shapes the clay. Afterward, a bisque firing is conducted at 950 degrees, and the piece is fired to a hardness suitable for decoration and glazing. Following the painting process and glazing, the piece is placed back into the kiln for re-firing.

After that, some undergo secondary processing (red painting) and are fired at 800 degrees to complete the process before being shipped to trading companies. This outlines the basic workflow of the kiln operator. While there are a few kiln operators who internalize the raw material creation, most outsource this step.

As a kiln operator, it is crucial to produce items according to the requested shapes, making communication with companies responsible for other processes extremely important.

You mentioned that your company has a "wide variety of glazes." How is glaze development carried out?

First, tests are necessary to gain knowledge about glazes. One must consider what changes to make if transparency cannot be achieved, and how to adjust based on trial and error.

There is a glaze calculation formula known as the "Seger formula," which calculates the mixing ratios of five raw materials. In the past, each ingredient was manually mixed in a mortar, making the process laborious since it took about 15 to 20 minutes per glaze type, necessitating all-day efforts just to experiment. It was impossible to do this alongside other tasks. Now that we have computers, managing conditions has become much easier.

The challenge with glazes lies in how colors change during firing in the kiln. For instance, variations can arise depending on the origin of the materials, the interaction between materials, and the combination of clay and glaze.

With about 40 years of experience, I have a general grasp of trends, but many uncertainties remain. However, the individual differences that emerge only after firing dozens, hundreds, or thousands of pieces highlight the intrigue of glazes.

How many types of glazes do you have?

I believe our company has around 50 varieties. In the past, there was a tendency to avoid blue-colored ceramics, but recently that has changed, leading to an increase in colors and glaze varieties.

The method of creating Hasami ware has remained almost unchanged over the years. Traditionally, many pieces were decorated with indigo, but in the last decade, they have become more colorful.

Colorful glazes produce their colors through chemical reactions. For instance, more iron yields a sky blue, while more copper results in a turquoise blue. It’s common to encounter failures when trying to achieve certain colors, so I believe all kiln operators are making significant efforts.

Has there been any change in production methods from the past to now?

There has been almost no change in production methods, but differences exist among kiln operators nationwide, with some using electric kilns or wood-fired kilns, while our company predominantly uses gas kilns.

Some glazes can be fired at any temperature, while others can only be fired in specific locations within the kiln, requiring careful arrangement based on the kiln's characteristics.

In the past, to save on gas costs, small items like chopstick rests were packed into empty spaces in the kiln for firing. Product development that utilizes empty space effectively is also necessary.

Incorporating New Technologies While Carrying Tradition into the Future

I heard that your company is actively taking on new challenges, such as introducing 3D printers.

Not only in kilns and trading companies but also among mold makers and fabric suppliers, the number of people involved in the ceramics industry is decreasing, so there might come a time when we can no longer create master molds. Considering that, we thought, "Isn’t it possible to produce the most important molds in-house?" and thus we introduced a 3D printer.

However, just introducing the technology isn’t enough; without knowledge of pottery, it cannot be truly utilized. We have two members who can operate the 3D printer. With the 3D printer, we can create molds starting from just one piece, which has made it easier to embark on new product development.

Hasami ware was primarily designed for mass production, but in the past decade, the demand for small-lot, diverse products has increased. To respond to that, I believe there will be more opportunities to use 3D printers in the future.

Moreover, we have installed equipment that allows us to control the kiln using computers. In the past, I felt the need to operate the kiln myself, so I would check on it every three hours even in the middle of the night. Now that it's controlled with a computer, I no longer have to wake up at night, and we can achieve consistent firing.

You mentioned that the population involved in ceramics is decreasing, but do you believe there are issues with Hasami ware?

I think the number of people engaged in the ceramics industry has decreased to about 50% of its peak. To increase the workforce, I believe we need places to accept talent from outside Hasami town.

In the past, it was common to learn by observing the craftsmanship up close, but now there are relatively few such opportunities. It would be beneficial to have not only workplaces but also training facilities. I would like to utilize my 40 years of experience as a craftsman to work on cultivating successors in the future.