Reading 'Keshiki': A Beauty Born from Chance, Not by Design

The most essential concept for understanding the design of Shigaraki ware is 'keshiki' meaning 'scenery.' This term reflects a uniquely Japanese aesthetic of appreciating the various patterns and color changes on a vessel's surface as if they were a natural landscape. The artisan doesn't seek to perfectly control the fire; instead, they draw out its power, embracing the accidental chemical reactions that occur inside the kiln. The one-of-a-kind expressions fired onto the surface are the very essence of Shigaraki ware's design.

One of the main elements that make up this 'keshiki' is 'hiiro' or 'fire color.' This is a warm, pale red or orangey hue created when the iron in the clay is fired with sufficient oxygen, a process known as 'oxidation firing' (sanka shōsei). This color, reminiscent of the warmth of human skin, is particularly prized as it stands out beautifully against the white clay body. What's fascinating is that the name 'hiiro' itself perfectly captures the essence of this phenomenon, where the fire's work draws out the clay's expression.

Next on the list of 'keshiki' highlights is 'shizen'yū' or natural ash glaze. This phenomenon occurs when ash from the burning firewood lands on the piece during firing, melts at temperatures exceeding 1200°C, and reacts with the silica in the clay to naturally form a glassy layer. Also known as 'biidoro-yū' for its beautiful greenish luster, it creates fluid, unpredictable patterns entirely different from hand-applied glazes. You never know where the ash will fall or how it will melt until the kiln is opened. This accidental nature, beyond human control, is the greatest appeal of natural ash glaze and the source of its one-of-a-kind creations.

Also, 'koge' or scorch marks, are another vital element that adds depth to the 'keshiki' of Shigaraki ware. These marks form when a piece is buried in ash or embers during firing. The area experiences extreme oxygen deprivation, or 'reduction firing' (kangen shōsei), causing it to carbonize into a dark brown or black, gritty texture. While seemingly rough, this expression has been particularly favored in the world of wabi-cha (the tea ceremony aesthetic of rustic simplicity), highly valued for evoking the power of harsh nature and a quiet, weathered elegance.

And finally, the feature that most directly conveys the power of the clay is 'ishihaze' or stone bursts. Shigaraki clay is intentionally left unrefined, containing coarse particles like feldspar 'chōseki', a glassy mineral that acts as a flux during high-temperature firing). These stone particles, unable to withstand the clay's shrinkage during firing, pop through the surface as if bursting from within or create cracks around them. This is 'ishihaze.' It is a design feature born from the very character of Shigaraki clay, a symbol of unhidden, 'as-is' beauty.

The embodiment of wabi-sabi—the richness that dwells in imperfection

The "keshiki" (landscapes) we've been exploring are the purest embodiment of the Japanese aesthetic of "wabi-sabi." Wabi-sabi is a value system that finds beauty not in perfection or splendor, but in imperfection, simplicity, and the quiet grace that comes with the passage of time. The slightly distorted shape of a vessel, the flow of natural ash glaze created by chance in the kiln, the rough clay surface where feldspar bursts (ishihaze) pop through—these are all results of natural processes that are beyond complete human control. This very uncontrollable imperfection is what creates the "ajiwai" (deep character) that resonates so profoundly in the viewer's heart.

You could say that the design of Shigaraki ware isn't one of addition, but one of subtraction—or better yet, a design that "draws out" the potential of its materials. The artisan works in partnership with the two great forces of nature—clay and fire—and accepts the 'keshiki' that emerges from their dialogue as a complete piece. This attitude hints at a worldview, one with ties to Zen, that cherishes the transient and imperfect, finding true richness within them.

“用の美”という思想──使い手が完成させる器

In Shigaraki ware, another philosophy is essential to its design: the concept of "yo-no-bi" (the beauty of utility). This philosophy posits that a vessel is not a completed work of art on its own. Instead, it's a tool whose beauty is fully realized only through actual use. Many artisans believe they are creating a semi-finished product, and that the final piece of the puzzle clicks into place, truly completing the work, only when a user serves food on it or arranges flowers in it.

You can witness this philosophy in action through a phenomenon known as "kannyu," or crazing. These are the fine, web-like cracks that form on the glaze's surface during the cooling process after firing, caused by the different shrinkage rates of the clay body and the glaze. This crazing not only adds depth to the keshiki, but as the piece is used over time, moisture from tea and food seeps into the cracks, gradually changing its hue. As the vessel ages with its user, its "keshiki" matures, allowing the owner to take part in writing the final chapter of its history and design. It's this blank space—this invitation for "the user to complete the work"—that elevates Shigaraki ware beyond a mere tool and establishes its reputation as the embodiment of "yo-no-bi."

Design of Opposites: The People's Aspirations Embodied in the Eightfold Dependent Origination

In stark contrast to the introspective and serene world of wabi-sabi, Shigaraki ware has another, much more straightforward and tangible design philosophy. It’s the "Hassō Engi" (Eight Aspects of Good Fortune), embodied in the nationally renowned tanuki (raccoon dog) statues. This concept creates a world of popular symbolism, where each of the eight features of the tanuki figure is imbued with the simple wishes of the common people, such as prosperity in business and good fortune.

There's the "straw hat" to protect from unforeseen calamities, "big eyes" to perceive the surroundings and make sound judgments, and a "friendly smile" to signify the basics of good business. Then you have the "sake flask" (tokkuri) wishing for a life of plenty, a "passbook" (kayoichō) representing credit and trust, a "large belly" symbolizing calm and bold decisiveness, a "money bag" (kinbukuro) for financial luck, and a "sturdy tail" to ensure a strong finish.

The Hassō Engi represents another crucial design philosophy that emerged as Shigaraki ware made its way not just into the exclusive circles of tea masters and connoisseurs, but into the daily lives of the masses. It’s a warm and pragmatic aesthetic, one that connects with the tangible hopes and dreams of ordinary people.