Tsuboya pottery, born in the Tsuboya district of Naha City, Okinawa, is a traditional craft that ranges widely from everyday vessels to highly artistic works. Characterized by powerful forms and bold patterns, it has been cherished as pottery symbolizing yachimun culture.
However, without fully understanding the production area’s history and manufacturing techniques, you may not fully appreciate its true appeal.
This article thoroughly explains from the roots and characteristics of Tsuboya pottery to selection points and care methods.
Table of Contents
What is Tsuboya Pottery?
Tsuboya pottery is representative pottery that developed centered in the Tsuboya district of Naha City, Okinawa, locally known and cherished as “yachimun.”
Born when the Ryukyu royal government gathered and integrated potters from various areas in the early 17th century, it subsequently spread widely as vessels supporting Okinawan lifestyle culture.
Characterized by tropical powerful forms and colorful patterns, it boasts a wide lineup from tableware to sake vessels, jars, and decorative items.
Currently, in addition to kilns preserving tradition, works by emerging artists incorporating contemporary sensibilities are also increasing, receiving high evaluation both as everyday vessels and artistic collections.
Production Area and Roots (Okinawa Naha City Tsuboya’s Yachimun Culture)
The roots of Tsuboya pottery date back to 1682 (Tenwa 2) during the Ryukyu Kingdom era.
At that time, kiln sites scattered across three locations—Chibana kiln (present Okinawa City), Shuri’s Takaraguchi kiln, and Naha’s Wakuta kiln—were consolidated in Tsuboya, Naha, marking the beginning of pottery industry development under control.
Through trade, the Ryukyu Kingdom introduced ceramic techniques from China, Southeast Asia, Korea, and mainland Japan from around the 15th century, and particularly through the arrival of Korean potters in the early 17th century, introduction of Chinese-style overglaze techniques in the late 17th century, and introduction of Satsuma-style pottery techniques in the early 18th century, Ryukyu’s unique yachimun culture was formed by fusing these techniques.
In the Tsuboya townscape, climbing kiln ruins including red-tiled roofs and the prefectural designated cultural property “Fenu Kama (South Kiln)” remain, and even now as “Tsuboya Yachimun Street,” approximately 40 kilns, galleries, and pottery shops line a stone-paved street of approximately 400 meters laid with Ryukyu limestone.
Tsuboya pottery is not merely vessels but is closely connected to Okinawan life and prayer, used in banquets, festivals, and daily dining tables, widely utilized from altar bone urns called zushigame to everyday tableware.
Due to air pollution prevention ordinances, use of wood-fired climbing kilns is currently restricted in the Tsuboya district, so many potters use gas kilns, and some potters particular about wood-fired kilns relocated to Yomitan Village, but Tsuboya still continues producing vessels embodying regional culture as the center of Okinawan ceramic culture, passed down as an existence reflecting Okinawan identity.
Three Major Appeals of Tsuboya Pottery
The appeal of Tsuboya pottery is consolidated into three major characteristics.
- First, “powerful forms.” Thick molding and bold forms express tropical generosity with visual impact.
- Second, “bold patterns.” Paintings with motifs from nature such as fish, birds, and arabesque are vivid, making you feel vitality combined with glaze colors.
- Third, “practicality easy to use daily.” Bowls, plates, sake vessels, etc., are durable and easy to handle, suitable for everyday use.
These three elements form Tsuboya pottery’s appeal not independently but through fusion. Because it excels both as appreciation items and practical goods, it’s supported by a wide range as Okinawa’s representative craft.
Differences Between Tsuboya Pottery and Surrounding Production Areas Like Yomitanzan Ware
While Tsuboya pottery developed in central Naha, Yomitanzan ware is a production area rooted in Yomitan Village in central Okinawa Island.
Yomitan Village has an ancient kiln called “Kina ware” that was actively produced around 1670, older than Tsuboya pottery, where a wide range of ceramics from large containers such as zushigame, water jars, and sake jars to oil jars were made, characterized by glossy dark brown color from mud glaze.
Current Yomitanzan ware originated when Living National Treasure Jiro Kinjo relocated his workshop from Tsuboya to Yomitan Village in 1972 due to air pollution prevention, and in 1980 when four mid-level potters (Sansei Omine, Akimitsu Kinjo, Terumasa Tamamoto, Shinman Yamada) built the “Yomitanzan Ware Communal Kiln.”
Currently known for large 13-chamber communal climbing kilns such as “Yomitanzan Ware North Kiln,” four workshops (Yonesuke Matsuda workshop, Kyoshi Matsuda workshop, Masataka Miyagi workshop, Masamoto Yonahara workshop) cooperate in kiln firing.
By knowing such differences, you can better understand the depth of overall Okinawan ceramics that balances technical preservation continuing from the Ryukyu Kingdom era with contemporary development.
History of Tsuboya Pottery
The history of Tsuboya pottery began with pottery industry policy by the Ryukyu royal government.
In the late 17th century, gathering kiln sites scattered across various areas in Tsuboya, Naha City, formed the foundation as a production area for Tsuboya pottery.
Subsequently developing as Ryukyu’s unique yachimun culture, it was widely produced from common people’s daily tools to royal government ceremonial items.
After the Meiji period, exchanges with the mainland increased, and during the Taisho and Showa periods, sales channels expanded along with Okinawan tourism expansion.
Postwar Tsuboya district was affected by Naha’s urbanization, but through branching to Yomitanzan and emergence of young artists, diverse expressions were born.
Currently continuing to combine tradition and innovation, it remains a central presence in Okinawan ceramics.
Establishment and Development During Ryukyu Kingdom Era
The origin of Tsuboya pottery lies in 1682, when the Ryukyu royal government integrated and consolidated kiln sites from various areas in Tsuboya.
This concentrated techniques and personnel, assuming the role as the pottery industry’s center.
High-temperature firing and glaze techniques transmitted from China and Korea fused with mainland Japanese ceramic techniques, nurturing a unique style.
Tsuboya pottery at that time was broadly divided into unglazed vessels called “arayaki” and glazed pottery called “joyaki,” used for wide-ranging purposes from everyday use to ritual implements.
Particularly sake vessels and jars circulated as Ryukyu trade goods, spreading domestically and internationally. The Tsuboya townscape retains strong traces from the kingdom era, conveying the origins of yachimun culture.
Modern Transitions and Expansion to Yomitanzan
After the Meiji period, when Okinawa became part of Japan, shipments to mainland markets and souvenir demand for tourists increased.
From Taisho through Showa, influenced by the Mingei movement, Tsuboya pottery’s simple and powerful beauty was reevaluated, with many enthusiasts visiting.
However, due to urbanization progress and environmental problems, maintaining large-scale climbing kilns in the Tsuboya district became difficult, and in the 1970s communal kilns were relocated to Yomitan Village.
This led to the current establishment of “Yomitanzan North Kiln,” with Tsuboya pottery and Yomitanzan ware becoming mutually influencing relationships.
After this period, independence by individual artists also progressed, and Tsuboya pottery transformed into a production area exploring new expressions while preserving tradition.
Postwar to Contemporary Reconstruction and Development
Naha City suffered major damage in World War II, with Tsuboya kilns also suffering tremendous losses.
However, postwar reconstruction progressed early, and kilns and workshops once again lined Tsuboya Yachimun Street.
Along with rising postwar tourism demand, Tsuboya pottery also gained popularity as Okinawan souvenirs, spreading inside and outside the prefecture as a symbol of yachimun culture.
In recent years, new movements are also seen such as contemporary designs, expansion to Western tableware, and submissions to overseas exhibitions.
Also, educational and experience programs for passing Tsuboya pottery to the next generation and regional events are actively conducted, with young artists’ activities attracting attention.
Tsuboya pottery is pottery that breathes in contemporary times while always incorporating changes while rooted in past tradition.
Production Process and Techniques of Tsuboya Pottery
Tsuboya pottery is distinctive pottery produced by Okinawan clay and flame, with its production process strongly reflecting regionality and history. The general flow is divided into three stages: “forming,” “glazing,” and “firing.” Clay uses local Okinawan soil, creating powerful forms through hand-building and wheel-throwing.
Glazes include Okinawa-specific “ame glaze,” “namako glaze,” “white glaze,” etc., giving vessels vivid and bold colors.
And in firing, using climbing kilns and hole kilns, flame flow and temperature differences determine vessel expressions.
These processes heavily depend on craftsmen’s experience and sensibility, with each piece finishing differently even using the same glaze and kiln, which is the appeal.
Tsuboya pottery can truly be said to be a craft where chance and inevitability overlap.
Forming Process (Hand-building, Wheel-throwing, Mold Pressing)
For forming Tsuboya pottery, multiple techniques are used according to purpose and size.
Traditionally, jars and bottles are often shaped by “hand-building,” characterized by thick and powerful forms.
For everyday vessels such as bowls and plates, “wheel forming” is mainstream, producing uniform and beautiful circular vessels. Also, for large vessels and highly decorative works, “mold pressing” is sometimes used in combination.
During forming, utilizing Okinawa-specific clay quality, forming utilizing softness and stickiness is possible.
Completed greenware is sufficiently dried by sun-drying or shade-drying, preparing to withstand subsequent glazing and firing. Tsuboya pottery’s individuality already appears from the forming stage, greatly reflecting craftsmen’s skill and aesthetic sense.
Glazes and Patterns (Ame Glaze, Namako Glaze, White Glaze, Painting)
What determines Tsuboya pottery’s colors are unique glazes and pattern expressions. Representative “Gushichan Iru (ame glaze)” shows deep brown color, bringing strength and warmth.
Transparent “Shirugusui (transparent glaze)” utilizes material’s base color, giving vessels light expressions. Also, “Mi Shiru (milk white glaze)” brings soft white luster to vessel surfaces, also utilized as underglaze for paintings.
Patterns often include motifs rooted in nature and life such as fish patterns, bird and beast patterns, arabesque, geometric patterns, finished with rich expressions combining techniques such as line carving, stamping, inlay, brush marks, scraping, and flying plane.
Arabesque represents eternity and longevity, fish patterns are auspicious patterns wishing for abundance and descendant prosperity, and meanings embedded in patterns also become part of Tsuboya pottery’s appeal.
These glazes and patterns are not mere decoration but important elements reflecting Okinawan climate and culture, supporting the aesthetic sense that is Tsuboya pottery’s core.
Firing and Finishing (Climbing Kiln, Hole Kiln, Gas Kiln)
Firing, the final stage of Tsuboya pottery, greatly affects work completion.
Traditionally, “climbing kilns” and “hole kilns” were used, with strong flames using Ryukyu pine firewood creating complex landscapes on vessels. Glaze coloring changed due to flame flow and temperature differences, with the characteristic that even the same glaze finished differently for each piece.
However, due to air pollution prevention ordinances prohibiting climbing kiln use in the Tsuboya district in the 1970s, firing is currently mainly performed with gas kilns, kerosene kilns, and electric kilns. This enabled stable firing and experimentation with new expressions, resolving smoke pollution problems.
Meanwhile, some potters particular about traditional wood-fired kilns relocated to areas like Yomitan Village, continuing firing with climbing kilns.
After firing, glaze flow and color depth are confirmed, and foot rings are polished as needed for finishing.
Tsuboya pottery completed through this process becomes vessels combining strength and vividness, radiating presence both as daily life tools and artworks.
Currently, while using different firing methods, each is passed down as once-in-a-lifetime craft woven by flame and clay.
Ways to Enjoy Tsuboya Pottery
Tsuboya pottery can be broadly enjoyed as practical vessels to incorporate into life, appreciation objects to view as artworks, and collection items to collect.
Because it’s thick, durable, and easy to handle, it excels as everyday tableware and sake vessels, while bold patterns and glaze landscapes also radiate appeal as interior items and exhibits.
Furthermore, collecting with awareness of differences among artists and eras allows experiencing regional culture and historical flow, which is also the real pleasure.
Tsuboya pottery, possessing both practical item and artwork aspects, hides depth that tickles collector hearts while nestling close to users’ lives.
Lifestyle Vessels as Practical Items
Tsuboya pottery is pottery with very large appeal as “craft usable daily.”
Thick forms and sturdy finishing possess durability usable with confidence on daily dining tables.
Bowls, plates, sake vessels, etc., have good compatibility not only with Japanese food but also Western food and ethnic cuisine, naturally blending into contemporary life.
Furthermore, glaze flow and bold patterns vividly enhance dining tables, adding color to daily life, which is also appealing.
As you use them, settled textures appear on surfaces, with the characteristic that attachment deepens through aging changes.
Tsuboya pottery gathers strong support as “craft that enriches life” beyond mere vessels.
Value as Appreciation Items and Interior Decor
Tsuboya pottery also receives high evaluation as appreciation objects for viewing vessels themselves.
Particularly glaze changes and flame traces born in climbing kiln firing show different landscapes for each piece, truly a collaboration of nature and technique.
Large jars and decorative vessels radiate presence when displayed in tokonoma alcoves or entrances, also playing roles tightening living spaces.
Also, in recent years, artist works incorporating contemporary designs are increasing, with enjoyment of appreciation at galleries and art exhibitions also expanding.
By incorporating not only practicality but also formative beauty and color expressions that works possess as interior items, Tsuboya pottery shows new value as artwork in daily life.
Collection and Market Appeal
Tsuboya pottery is also popular as a collection object, with diverse works by era and artist circulating in the market.
Works from old eras have historical value, with particularly relics from the royal government era and prewar large jars also highly evaluated as artworks.
Meanwhile, works by contemporary artists inherit tradition while incorporating new sensibilities, possessing investment appeal with expected future evaluation.
Also, because Tsuboya pottery often comes with certificates and kiln marks, easy confirmation of authenticity and provenance is reassuring material for collectors.
It can be said that support for Tsuboya pottery’s popularity comes from being a profound existence that can be enjoyed by a wide range from people purchasing as tableware to people collecting as artworks.
Storage, Maintenance, and Repair of Tsuboya Pottery
Tsuboya pottery is durable and practical vessels, but through appropriate management, its beauty and function can be maintained for long periods.
Washing and drying methods after daily use, temperature and humidity control during long-term storage, etc., are particularly important.
Furthermore, even when small chips or cracks occur through aging use, regeneration is possible through specialized repair techniques.
While Tsuboya pottery is a craft where “flavor increases as you use it,” incorrect handling accelerates deterioration.
Here we introduce basics of daily maintenance, considerations for long-term preservation, and methods to revive through repair.
Daily Handling and Basic Care
When using Tsuboya pottery daily, care after use is very important.
When used as tableware, wash gently with detergent, thoroughly wipe moisture, and air dry.
Because it’s weak to sudden temperature changes, avoiding use with direct fire or microwaves is safe.
Also, long-term soaking washes can cause moisture to seep into crazing parts, causing stains and discoloration.
By regularly using soft cloths or sponges and avoiding strong friction, glaze surfaces can be protected.
Fine crazing entering glaze through aging changes is a natural phenomenon, and enjoying this as “landscape” is also Tsuboya pottery’s real pleasure. Because it’s for daily use, careful care becomes the secret to extending work life.
Long-term Storage and Display Considerations
When storing Tsuboya pottery long-term, avoiding humidity and direct sunlight is important.
Particularly high-temperature high-humidity environments cause mold and deterioration, so storing in well-ventilated locations is reassuring.
Paulownia boxes or dedicated boxes are suitable for storage, and adding cushioning materials to stabilize prevents damage.
When displaying, if lighting is too strong glaze colors may change, so utilizing indirect light or natural light skillfully is good.
Also, to enhance collection value, always storing certificates, kiln marks, and accessories together is recommended.
By applying considerations combining display and storage, you can enjoy Tsuboya pottery’s appeal daily while protecting it as an asset.
Repair and Restoration Methods
In the unlikely event that Tsuboya pottery chips or cracks, it can be made usable again through repair by specialists.
Small chips are repaired with lacquer or kintsugi, balancing aesthetics and practicality.
Particularly kintsugi is popular as Japan’s unique repair technique that adds new beauty to broken parts.
Even when there’s major damage or glaze peeling, restoration may be possible by requesting from specialized workshops.
Repaired vessels take on flavors different from originals, transforming into existences with further unique stories.
Tsuboya pottery is a craft suited to the value perspective of “continuing to use through repair,” and the point that it can be loved long-term through repair also connects to the joy of ownership.
Conclusion
Tsuboya pottery is pottery representing “yachimun culture” nurtured in Tsuboya district, Naha, Okinawa.
Possessing thick forms, bold patterns, and practicality rooted in daily life, it has high value both as vessels coloring dining tables and as objects of appreciation and collection.
Beginning in the Ryukyu Kingdom era, through postwar reconstruction and expansion to Yomitanzan, in contemporary times it has evolved into an existence combining tradition and innovation through development of new designs and overseas communication.
If you perform appropriate maintenance and repair, it can be loved long-term, with even aging changes and repair traces becoming flavor.
Tsuboya pottery can be said to be a craft that should be left to the future as a cultural asset while nestling close to daily life.
