Nestled in the mountains of Fukuoka Prefecture is an area dotted with kilns for Takatori-yaki and Koishiwara-yaki, two pottery traditions with a 400-year history. However, the number of artisans carrying on these traditions is dwindling every year. They're up against systemic barriers that make it hard to take on apprentices and a subsidy system that's out of sync with their needs, as it focuses on business expansion. As Japan's traditional crafts face a quiet decline, Hekizan Onimaru of the Takatori-yaki Onimaru Setsuzan Kiln is charting a course for the future with a radically different approach. He's held solo exhibitions in Paris, designed kilns in Vietnam, and developed speakers with Kyushu University. We decided to explore his journey.

In an Era of No Apprentices, He Set a 'Retirement Age' for the Association

As a potter of both Takatori-yaki and Koishiwara-yaki, Hekizan Onimaru has confronted the structural challenges of the traditional craft industry head-on, all while serving in a key role at the local cooperative. The most critical issues are a dwindling community and the immense difficulty of training the next generation.

The traditional apprenticeship system, once effective, now clashes with modern labor laws. For small-scale kilns, hiring an inexperienced person and training them for years while adhering to minimum wage and working-hour regulations is an immense financial burden. Consequently, many studios are unable to expand beyond being family-run operations.

There’s also a major disconnect between government support and what artisans actually need. Most national subsidy programs are designed for business expansion and sales growth, but the real priority on the ground is ensuring that skills are passed down. For craftspeople who value personal growth and once-in-a-lifetime experiences more than scaling up, the current system is a poor fit. It also carries the risk of creating a dependency on subsidies, leading to unsustainable business models.

Facing these challenges, Onimaru’s first move was to reform the organization itself. He proposed limiting the pottery association's decision-making board to members aged 65 and under, empowering the generation that will lead the industry a decade from now to set its own course. He is also spearheading private-sector initiatives to build the community, moving beyond government frameworks to bring fresh perspectives into the area. These projects include efforts to attract a university and an artist-in-residence program for musicians to foster a new cultural scene. By revitalizing the entire region and creating an environment where residents can pursue both pottery and regional development, he believes he can enhance the long-term sustainability of the local craft. His core philosophy is that traditional crafts can never thrive without the support of the local community, regardless of the era.

The Global Blueprint He Saw in Paris and the Hypothesis He Proved in Vietnam

With an eye on the shrinking domestic market, Onimaru began his foray into Europe in his 30s. Immersing himself in the global business scene through solo exhibitions in Paris and contracts with galleries, he noticed a particular structure. Top designers in the fashion industry were assembling teams of experts from diverse cultural backgrounds to create products based on universal values that would resonate globally.

This led him to a hypothesis about the true reason Japanese traditional crafts are so highly regarded abroad. It wasn't just about aesthetics. He theorized that the glazes made from wood ash, the traditional methods of refining materials, and the wood-fired kiln process—all techniques derived from nature—create a subtle irregularity that gives people an instinctive sense of comfort and peace.

An unexpected opportunity to test this hypothesis arose through a JICA program. He traveled to a pottery region in Vietnam to design a kiln optimized for the local soil and environment and to offer technical guidance. By helping the local artisans shift to creating high-value products—while also mitigating the risk of depleting resources like clay and firewood from inefficient kilns used for large-scale pottery—he helped them significantly increase their income. The positive effects rippled outward, sparking infrastructure development to attract tourists and revitalizing the entire local economy.

He has his own philosophy when it comes to negotiating internationally. He carefully observes the other party's attire and possessions to understand their values, then opens with proposals that directly align with their interests, such as environmental conservation or local economic growth. It's this sharp business acumen, combined with his technical skill as an artisan, that has been key to his success abroad.

Crafting Ceramic Speakers: A Unique Collaboration with Kyushu University

When he turned 40, Onimaru pivoted from his personal creative work to boosting the value of the entire pottery industry. His material research zeroed in on ancient plant species, testing how ash from non-hybridized plants affects glaze quality. The pottery born from this method was so distinct that it garnered high praise from renowned chefs.

He is also actively forging partnerships with other industries. A joint research project with Kyushu University led to the development of a ceramic audio speaker. By scientifically quantifying the superior acoustic properties of clay, they created an evidence-based product. This speaker was highly acclaimed at a meeting of European audio researchers, leading to exhibitions and sales in European museums.

He also developed ceramic wine glasses that leverage the high fire resistance and iron content of local red clay. Their unique shape, which enhances the aroma of wine, and the material's functionality earned recognition from French experts. The glasses are now used in Michelin-starred restaurants and at official receptions both in Japan and overseas. He is currently envisioning an architectural project that harnesses the humidity-regulating properties of pottery. The idea is to create brick spaces that naturally control humidity, exploring new applications for local resources.

A common thread in all this R&D is a completely hands-on approach—he never outsources the work. Onimaru personally visits sites, gathers firsthand information, and refuses to rest on his laurels. This constant sense of urgency is the driving force that propels him to continuously break new ground.

"Humility Is a Virtue, but Silence Gets You Nowhere"

As head of the Takatori Ware Promotion Association, Onimaru is also dedicated to nurturing young talent and reforming the industry's mindset. He flatly rejects the reliance on established authority, such as family lineage and history, often seen in the world of traditional crafts. He poses a challenge: instead of just priding oneself on an inherited legacy, how can artisans use their skills to deliver value to modern society? The real test for the next generation of craftspeople, he argues, is whether they can talk about the future, not just the past.

He points out that humility, often seen as a traditional Japanese virtue, can be a major hurdle in business. He believes that without confidently and accurately communicating one's skills and achievements, it's impossible to negotiate on equal footing in the global market. His philosophy is that new business opportunities are built on a foundation of clear, fact-based claims and logical proposals that show an understanding of the other party's values.

His long-term goal is to establish a workshop in Morocco. By setting up a base near the culturally sophisticated hubs of Paris and London, he plans to foster exchanges with leading global cultural figures. This initiative aims to create a practical platform for Japanese artisans to break into the international market.

He has also begun exploring the potential of pottery from a welfare perspective. His vision is to scientifically prove how touching clay affects a person's psychological state and heart rate, with the goal of applying these findings in nursing homes and support facilities for people with disabilities. This isn't just about making and selling; it's about defining a new role for crafts—one that contributes to solving societal challenges.

By continuously pioneering new business ventures and demonstrating the commercial potential of traditional crafts, he is creating the greatest possible legacy for the next generation. Hekizan Onimaru’s journey is a testament to his conviction, proven time and again through his actions.