A History Dating Back to the Edo Period and a Major Turning Point

Maruoyaki was founded in 1845 (the 2nd year of the Koka era). Its origins lie in making water jugs and clay pipes as a side job during the agricultural off-season. During the time of the third-generation master, it's said that he continued making pottery alongside farming and even produced simple cooking pots.

Later, the third-generation master, Takeo Kanazawa, conducted research at the Ministry of Agriculture and Commerce's Industrial Research Institute. From 1937, he moved to Mashiko, established the Tochigi Prefecture Ceramic Art Guidance Center, and poured his efforts into founding a Mashiko ware pottery company. When the war ended, he returned to Amakusa to focus on his family's pottery business.

"From its inception, Maruoyaki made functional items for daily life, like clay pipes and large jars (kame). As times changed and demand dwindled, the third-generation master shifted to making everyday tableware, drawing on the folk pottery (mingei) tradition he cultivated in Mashiko. The shapes we create may change with the times, but our underlying philosophy of 'making pottery for daily life' remains the same."

In the 1980s, the fifth-generation master started creating pottery himself, transforming the studio from one that 'hired artisans' to one where 'the master himself creates.'

"Kazuhiro Kanazawa, who succeeded as the fifth-generation head, envisioned a studio where everything was handmade through a division of labor. Based on the vessel's design and plan, the work was divided into shaping, decorating, and kiln-loading. It's crucial to adapt to the changing times, but as the ones carrying on the legacy, we're faced with a mountain of questions about 'what to preserve and what to pursue' for Maruoyaki (laughs)."

Amakusa Pottery Stone: World-Class Whiteness and the Power of the Material

Amakusa's rise as a ceramics hub is thanks to a special material: Amakusa pottery stone. Renowned for its high degree of whiteness and low impurity content, this stone is acclaimed throughout Japan and used by various famous pottery centers, including those producing Arita and Hasami ware.

"Amakusa pottery stone has very few impurities. Its whiteness is pure and brilliant, it has excellent plasticity, and best of all, it can be used on its own without being mixed with other materials."

In 2000, Amakusa hosted the Kumamoto Prefecture Cultural Festival with 'Ceramics' as its theme. This led to a resolution to transform Amakusa 'from an island of pottery stone to an island of pottery.' This initiative sparked the region's development as a ceramics production center. The number of studios, once just a handful, has now grown to nearly 30.

However, challenges surrounding the pottery stone are becoming critical. The number of quarries, once over 100, has dwindled to just a few. The quarry workforce is aging, and labor shortages are severe. While support from the town and the use of national subsidies are necessary, it has become a structural issue that individual studios cannot solve on their own.

At the same time, the connections with other pottery regions are fascinating. Tobe, in Ehime Prefecture, is believed to have a mineral vein of similar quality, and in recent years, interactions have been growing through symposiums.

"When you trace the roots of the material, you uncover unexpected connections between regions. I think collaboration from that perspective is fascinating."

Maruoyaki's Craftsmanship: Prioritizing Simplicity Over Intricate Technique

Maruoyaki's production style combines a 'division of labor' with 'handwork.' Rather than relying on mechanization, they have always cherished the artisan's touch.

"We place great importance on the harmony between simple forms and glazes. However, while our pieces are simple, we strive to create Maruoyaki pottery that is by no means simplistic."

Many staff members who work at the studio branch out on their own after about 10 years, continuing their craft in various parts of the country.

"The truly motivated apprentices would commute by motorcycle, rain or shine. Those are the ones who persevere, and they succeed in making a living even after going independent."

However, for today's younger generation, the physical and financial hurdles are high. We're past the age where a traditional apprenticeship system can be applied as-is, but Maruoyaki continues to keep its doors open to anyone with a genuine passion. This flexible approach is a key reason why the studio has successfully nurtured the next generation of artisans.

Maruoyaki: A Hub Connecting People and the Community

Maruoyaki is not just a studio for making pottery; it’s also a vibrant community hub. Using its parking lot, the studio hosts morning and night markets and even live music events, creating a space where a diverse crowd can mingle.

“We welcome all and don’t turn away those who leave. That’s the Maruoyaki way (laughs). The morning market drew over 10 vendors and was buzzing with energy. We had artisans from various crafts join in, sparking connections that went far beyond pottery.”

At their night markets, they’ve invited favorite local artists to perform live, and tourists could be seen enjoying the music while browsing the ceramics. Inside the studio, workshops and painting sessions offer visitors the chance to craft and take home their own unique piece.

At the heart of Maruoyaki is a simple wish: “We want people to do more than just buy pottery—we want them to have an experience and connect with others.” These initiatives are transforming crafts from something you simply “buy” into a “culture you can be part of.”

The Future of Traditional Crafts: Challenges and Hopes

A dwindling number of successors is often flagged as a key challenge facing Japan's traditional crafts. However, the people at Maruoyaki highlight a different problem.

“The real crisis isn't a lack of artisans; it's the raw material suppliers. If they disappear, we're in real trouble.”

The shrinking number of raw material suppliers is a critical issue facing production centers across Japan. Soaring prices and unstable supplies directly threaten production, jeopardizing the very survival of the craft.

“If it comes to that, we’ll just have to figure out how to make things with what we have on hand. Back to basics, right? (laughs). We actually learned a lot about the origins of pottery and future possibilities from our 'Can you make pottery on a deserted island?' workshop last year. And while we have a gallery and an online shop, we still think there’s nothing better than having people come to the studio and hold the pottery for themselves.”

A piece of pottery isn't just an industrial product; it’s a vessel that holds the traces of the earth and the human hand. That’s why they treasure that direct connection between maker and buyer.

“Even as AI and industrialization advance, I don't think the value of earth and handiwork will ever disappear. There’s a tactile quality that only human hands can create.”

Maruoyaki is a kiln that makes pottery, but at the same time, it’s a place that forges connections between people and the community.

Living up to their motto, “We want to be more than just a pottery studio; we want to be a crossroads for people,” the studio thrives as a living space where people and cultures intersect.