Preserving the diversity of Kyo-yaki and Kiyomizu-yaki ceramics since the Edo period

Kyo-yaki is the general term for ceramics produce in Kyoto and Kiyomizu-yaki is one of the different styles. The name is said to have originated from the many kilns lining the approach to Kiyomizu-dera Temple, but nowadays it is commonly referred to as Kyo-yaki and Kiyomizu-yaki. The coexistence of various styles, ranging from wild stoneware to delicate painting, can truly be described as "a riot of colors.
" As a wholesaler of such Kiyomizu ware, Kumagai Sou Shoten has been in business since 1935.





"Kiyomizu-yaki is said to have prospered from the early Edo period (1603-1867). During that time, Kyoto was the cultural center and a major consumer market, attracting various techniques and people from all over Japan. The clay used to make pottery was not only locally produced, but was also blended with clay from other regions to suit the tastes of the customers. In this context, outstanding potters such as

Ninsei Nonomura, Kenzan Ogata and Mokubei Aoki played an active role. Their pottery replicas are still being made, and despite being nearly 400 years old, they have many designs and forms that are relevant even in modern times."





Mr Takayoshi Kumagai is the company's third generation successor, As a wholesaler, he plays a role similar to that of a producer. In Kyoto, the pottery industry has developed division of labour with craftsmen specializing in various roles such as clay modeling, pottery body making, painting, and gold leaf application, and they relay their work to create products. This is where wholesale dealers like Kumagai Sato Shoten come in, planning products and allocating orders based on the appropriate style and kiln according to their expertise. Of course, developing sales channels for pottery is also an important role for wholesale dealers.

The "Flower Crystal" technique draws the attention of a French advisors.

Takashi Kumagai took over as the representative in 2010, replacing his predecessor amidst a decrease in sales after the Lehman Shock. He turned his attention to overseas markets and started with research on the Chinese market. At this time he learned about the launch of "Kyoto Contemporary », a project I produced for support in overseas market development, sponsored by the City of Kyoto and Kyoto Chamber of Commerce and Industry. Mr. Kumagai decided to participate. The aim of the project was to encourage participating companies to practice « Next Market In », a unique method of involving overseas buyers and designers from the product development stage, put into practice by Hiyoshiya.





Then, in 2012, advisors from France visited the Kumagai Sou Shoten showroom. What caught their attention was a technique called "Zinc Crystal," which featured patterns resembling delicate flower petals. This later became a series named "Flower Crystal" and opened the door for overseas expansion.





"This technique involves a glaze containing a metallic component called zinc oxide, which blooms like a snow crystal in the temperature changes inside the kiln. I read in a book that this technique was developed in France around 1900 and was probably introduced to Japan later. However, achieving a beautiful crystalline pattern requires very precise temperature control, making it unsuitable for mass production. Perhaps that is why it did not spread so widely and is rarely made in Europe today."

It is deeply moving to think that a technique that was likely born in Europe has come full circle, surviving in Japan to some extent and then re-entering the European market

.A big leap forward with product development tailored to the European market

However, Team Kumagai's first-year challenge was not yet what could be called a success. The modern square plates they produced did not meet with a positive response at the Maison & Objet exhibition in France. However, Mr Kumagai was not discouraged and went around the exhibition hall with an interpreter, showing his flower crystal products and asking for feedback.

"During that time, I met an Italian pottery manufacturer who exhibited a tremendous variety of tiles, and they told me various stories. It was in the first year when I became aware of the potential of the interior decoration market, which is rather different from tableware."

In the second year, Flower Crystal made a significant leap forward due to the collaboration with designer Kashige Miyake. We focused on items that could be made using the strength of Kiyomizu-yaki pottery's wheel-thrown molding technique and planned demitasse cups and bowls that suited European dining habits.

What should not be overlooked is the fact that they are designed to be stackable. Generally, kitchens in European apartments such as France and Italy are small and storage space is limited. This explains the need for "stackable utensils."

"The response at the Maison et Objet exhibition in our second year was very positive, and we were surprised at how well we did. Because of our experience in the first year we were able to work with designers and create items that suited local lifestyles while leveraging our own strengths. After that, we gradually increased the variety of items and colors in the following years."

Preserving handmade beauty that mass-produced products cannot offer.

For Mr. Kumagai, who experienced collaborative product development with external designers for the first time at "Kyoto Contemporary," the most significant learning was the value of bringing together the perspectives of "design professionals" and "product manufacturing professionals" and engaging in dialogue. He realized that amazing things are created through the clash of each other's particularities, sometimes through repeated debates and shared struggles.





Even after "Kyoto Contemporary ", Mr. Kumagai continues to actively collaborate with designers in product development. They participated in our company's product development project "Kyoto Contemporary" from the first year in 2015, for five consecutive years. One of the resulting products is the modern incense burner "Kino Kaori" that makes use of the flower crystallization.





"We have been dealing with incense burners for a long time, but we had discussions with the designer about what kind of product would be suitable for showcasing flower crystallization. What we focused on was something that could also be enjoyed as part of the interior. Functionally, it can be used for both cone-shaped incense and stick incense."

Over the course of history, Kyo-yaki and Kiyomizu-yaki have developed various techniques to meet the needs of diverse markets. What supports Kumagai Sou Shoten, is the power to give shape to their ideas.

"I believe the essence of Kyo-yaki and Kiyomizu-yaki lies in the handmade feeling that cannot be achieved with mass-produced goods. The beauty of meticulous craftsmanship, such as the flower crystallization technique, is something we want to cherish in the future." 

Bringing the 400-year tradition of Kyoyaki and Kiyomizu-yaki into the modern age. The challenge will continue.