Shodai ware (Shodai yaki) is a type of pottery characterized by practical beauty that has been passed down for approximately 400 years in the Arao City and Nankan Town areas of Kumamoto Prefecture. The simple yet powerful expression created by natural glazes using straw ash and wood ash demonstrates its true value when used as everyday tableware, and has been highly regarded as an embodiment of “beauty in utility.”
The philosophy of avoiding ornate decoration and appreciating subtle variations in form and glaze tone is deeply connected to the Mingei (Folk Craft) movement. This article introduces the charm of this ceramic culture rooted in Kumamoto’s climate, focusing on the historical background of Shodai ware, characteristics of its techniques, and its value as functional pottery.
Table of Contents
What is Shodai Ware? The Tradition of Functional Pottery Living in Kumamoto
Shodai ware (Shodai yaki) is a tradition of functional pottery that has been passed down for approximately 400 years, primarily in northern Kumamoto Prefecture. Its major characteristic lies not in displaying ornate decoration or authority, but in being nurtured as tableware used in daily life.
The power of the clay, the scenery of natural glazes, and the variations inherent in handcraft are indispensable when discussing Shodai ware. Here, we will examine the historical background of Shodai ware’s creation, the reasons it took root in the region as a folk kiln, and the essence of why it has been valued as “pottery to be used,” exploring its appeal from multiple perspectives.
The Origins of Shodai Ware: The History of the Higo Domain Kiln Beginning in the Early Edo Period
The origins of Shodai ware date back to the early 17th century in the early Edo period. When Higo domain lord Hosokawa Tadatoshi was transferred from Buzen, he brought potters Himekoji Genshichi and Katsuragi Hachizaemon, who had been working in Buzen, and established a climbing kiln at the foot of Mt. Shodai in what is now the Arao-Nankan area of Kumamoto Prefecture, marking the beginning of Shodai ware.
This established Shodai ware as the official kiln of the Higo domain. Initially fired as the domain’s official kiln, it centered on tea ceremony utensils and eventually expanded to everyday household items. Using coarse Shodai clay rich in iron content, with a foundation of brown iron glaze and applying white glaze made from straw ash or bamboo grass ash using a double-glazing technique, a simple and powerful style was formed. While the techniques stabilized under the control of the domain kiln, the fact that it did not move toward excessive decoration can be said to have determined the fundamental character of Shodai ware.
Reasons for Development as a Folk Kiln and Its Relationship with Regional Life
What makes Shodai ware distinctive is that while it had a role as an official kiln, it eventually took deep root in regional society as a folk kiln. Even after the Meiji period when domain patronage was lost, Shodai ware did not disappear but continued to fire vessels necessary for rural and town life. Everyday items such as water jars, grinding bowls, rice bowls, and plates were the main products, developing in close connection with regional food culture and lifestyle.
Vessels fired in climbing kilns using locally sourced clay and firewood were produced in a system that valued sustainability over efficiency. In this way, regional life itself became the demand, and the close distance between makers and users can be said to be a major factor in Shodai ware’s survival as a folk kiln.
The Essence of Shodai Ware Valued as “Pottery to be Used”
The essence of Shodai ware lies in its design based on the premise of “being used” rather than perfection for appreciation. The thick construction is resistant to breaking, and the rim and foot ring are designed to be easy to handle. The flow and bleeding of glaze, and the accidental scenery from firing do not assert themselves too much as decoration, and increase in character the more they are used. This combination of practicality and scenery is the reason Shodai ware has been supported for so long.
When re-evaluated during the Mingei movement, it was highly praised as “pottery with beauty within utility.” Shodai ware is not pottery for special occasions, but demonstrates its value by being close to daily life. This philosophy can be said to possess a universality that is fully applicable to modern life as well.
Characteristics of Shodai Ware’s Form and Glaze Tone
The appeal of Shodai ware does not lie in flaunting flashy designs or high levels of perfection. Rather, its essence is in the honest expression created by clay, glaze, and flame, and the design philosophy based on the premise of use. The glaze tones based on white, yellow, and blue, the spontaneous scenery created by pouring glazes, and the thick, stable vessel forms are the crystallization of the aesthetic sensibility that Shodai ware has cultivated as functional pottery.
Here, we will examine the characteristics unique to Shodai ware from both glaze expression and form perspectives.
Simple and Powerful Expression Created by White, Yellow, and Blue Glazes
What symbolizes Shodai ware is the simple and powerful glaze tone centered on white, yellow, and blue glazes. These glazes use ash and feldspar obtained locally, and are not artificially adjusted colors but change subtly depending on firing conditions. White glaze develops a soft milky white color, giving warmth to the entire vessel. Yellow glaze contains iron and creates a sense of weight combined with a subdued earthy quality.
Blue glaze is characterized by a deep color tone from copper content, giving a modest yet memorable presence. These glazes are not only used in single colors, but overlap through divided application, creating a simple yet rich expression. The fact that the colors themselves do not assert themselves supports the dignity of Shodai ware as functional pottery.
Spontaneity and Scenery Seen in Pouring and Splashing Techniques
Essential to Shodai ware’s glaze expression are techniques such as pouring and splashing. These are methods of applying glaze all at once using brushes or ladles, with physical movement taking the forefront over intention. As a result, glaze pooling, flowing, and splattering settle on the vessel surface as accidental scenery.
What’s important is that this spontaneity is not chaotic, but stands on a foundation of sensibility backed by years of experience. Because the glaze is applied with understanding of the vessel form and purpose, no matter how bold the scenery, the whole does not break down. The glaze scenery created by pouring is decoration that draws the eye with each use, yet maintains an exquisite balance that does not interfere with food or space.
Thick and Stable Vessel Forms Demonstrating a Philosophy of Prioritizing Practicality
Shodai ware vessel forms are generally thick with a low center of gravity and stability. This is the result of prioritizing durability and ease of use over aesthetic appeal. The rim is resistant to chipping, the foot ring is firmly set, and there is a sense of security when held.
Forms are not too refined, allowing slight warping and variation, maintaining a warmth not found in mass-produced pottery. This philosophy of prioritizing practicality is unique to folk kilns premised on being used hard in daily life. Shodai ware vessels do not complete when lined on shelves, but demonstrate their true value by continuing to be used. Their robust construction naturally blends into the rhythm of life, providing the reliability of tools that accompany us for a long time.
Inside the Techniques and Production Process
The appeal of Shodai ware lies not only in the appearance of completed vessels, but in the production process itself that lies behind them. The series of processes of using local clay, combining wheel throwing and handwork, and firing in climbing kilns or wood-fired kilns values the attitude of facing the materials over efficiency and uniformity.
Here, we will examine how Shodai ware acquires its unique expression, divided into three processes: clay properties, forming methods, and firing.
Properties of Local Clay and Its Impact on Forming
The clay used in Shodai ware is mainly soil collected at the foot of Mt. Shodai in northern Kumamoto Prefecture, characterized by relatively high iron content. Therefore, the body after firing becomes a subdued color from brownish to black, giving depth to the glaze color development.
On the other hand, the coarse Shodai clay gains stickiness through bacterial multiplication during the “aging” process after collection, being adjusted to a state that is easy to work with. Therefore, forming requires traditional techniques and experience. Shodai ware formed by traditional techniques such as wheel throwing and slab building is characterized by a simple and powerful style. Through the harmony of clay properties and firing techniques, vessels with the reliability of functional pottery were born.
Production Style Mixing Wheel Throwing and Handwork
In Shodai ware production, wheel throwing and handwork are not clearly separated but flexibly combined according to purpose and vessel type. Rice bowls and plates are often wheel-thrown, while grinding bowls, jars, and water jars strongly retain elements of hand-building and coil building.
After forming, processes such as trimming and rim finishing are added, but complete uniformity is not pursued. By leaving slight warping and variation, comfort when held and visual warmth are created. This mixing of wheel throwing and handwork can be said to be the factor giving Shodai ware its practical and human expression.
Individual Differences in Firing Results Brought by Climbing Kilns and Wood-Fired Kilns
Traditionally, climbing kilns and wood-fired kilns have been used for firing Shodai ware. In firing using wood as fuel, the temperature inside the kiln, flame flow, and how ash falls are not constant, resulting in different firing results for each piece. This causes variations in color tone, texture, and scenery even when using the same glaze. Particularly, glaze pooling, flowing, and fine burn marks are elements unique to wood-fired kilns.
Such individual differences have been accepted not as defects, but as important elements forming the value of Shodai ware. The attitude of accepting flame and chance rather than uniformity makes Shodai ware a different existence from mass-produced pottery.
The Mingei Movement and Re-evaluation of Shodai Ware
Behind Shodai ware becoming nationally known is the influence of the Mingei movement that developed in the first half of the 20th century. Until then, Shodai ware had been treated as anonymous household pottery closely connected to regional life, but new value was assigned through the Mingei philosophy that “beauty dwells in everyday vessels created by nameless artisans.”
Here, we will examine the history of evaluation by Yanagi Soetsu and Hamada Shoji, the reasons it is discussed as a representative example of “beauty in utility,” and the influence of Mingei thought on modern Shodai ware.
Evaluation by Yanagi Soetsu, Hamada Shoji and Others, and National Recognition
The major catalyst for Shodai ware’s re-evaluation was the introduction and evaluation by Yanagi Sori, son of Mingei movement leader Yanagi Soetsu, and ceramic artist Hamada Shoji and other Mingei movement promoters. While touring folk kilns across Japan, they noticed the simple and powerful vessels of Shodai ware. The appearance of vessels that had been naturally used in daily life without bringing decoration or authorship to the forefront strongly resonated with the values advocated by Mingei philosophy.
Through Mingei movement institutions, publications, and exhibitions, Shodai ware gained national recognition from being “regional pottery of Kumamoto.” Particularly through the establishment of the Kumamoto International Mingei Museum and other initiatives, the tradition and beauty of Shodai ware came to be widely conveyed. This evaluation was not a temporary trend, but confirmed the essential value of Shodai ware and brought about an important position in Japanese craft history.
Reasons It is Discussed as a Representative Example of “Beauty in Utility”
The reason Shodai ware is discussed as a representative example of “beauty in utility” is that its vessels were not originally made with beauty as the purpose. The thick and durable construction, form that fits the hand, and gentle glaze tone that receives food all arose from the necessity of everyday use. There is almost no formal exaggeration conscious of appreciation or intention to emphasize the artist’s individuality.
However, the resulting appearance possesses balance and stability without excess or deficiency, and increases in charm the more it is used. What Mingei philosophy evaluated was this “unconscious beauty,” “beauty that naturally establishes itself within life.” Shodai ware is pottery that ultimately reached beauty by being devoted to utility, and in that sense can be said to most concisely embody the Mingei ideal.
The Influence of Mingei Thought on Modern Shodai Ware
Re-evaluation by the Mingei movement has also greatly influenced modern Shodai ware makers. Many potters accept Mingei thought not merely as historical evaluation, but as a guideline for production attitude. Specifically, the attitude of not pursuing excessive decoration or formal experimentation, but valuing pottery-making that assumes the user’s life.
On the other hand, flexible updates are also being made, such as size adjustments for modern dietary habits and living environments, and usage proposals. Mingei thought does not demand “continuing to make the same things,” but is a philosophy that continues to question “why that form is necessary.” Modern Shodai ware inherits this questioning while newly presenting value as functional pottery that is close to today’s lifestyle.
Perspectives on Appreciation and Collection
Shodai ware is not a craft that completes when lined on shelves, but functional pottery whose value emerges through continued use. Therefore, even in appreciation and collection, rather than judging only by visual splendor or rarity, a perspective is required that evaluates including the expression of glaze and clay, and changes when used.
Here, we will examine specific points for discerning Shodai ware-ness, value that grows through everyday use, and basics of preservation and handling.
Points for Viewing Shodai Ware-ness: Glaze Flow and Earthiness
When appreciating Shodai ware, first pay attention to how glaze flow and earthiness appear. The glaze pooling, dripping, and bleeding created by pouring and splashing techniques create different scenery for each piece, but what’s important is whether that vigor harmonizes with the vessel form. The higher the completion, the more naturally settled it is as a whole, with the glaze not standing out too much but integrating with the form.
Also, paying attention to the color tone and particle texture of the body visible under the glaze allows you to feel the power of clay unique to Shodai ware. The surface texture that is not overly refined is not a defect, but an expression born from the necessity of functional pottery. How you receive scenery told by the material itself, not decoration, is the core of Shodai ware appreciation.
Value as Pottery That Grows Through Everyday Use
The value of Shodai ware does not complete at the point of purchase. Serving food, washing, and using again—in this daily cycle, the vessel gradually changes. The glaze luster settles, and a soft sheen is born on the surface, adding scenery unique to the user.
Such changes have been permitted and even welcomed because it is pottery premised on practical use. As valued by Mingei philosophy, Shodai ware is “pottery that approaches completion through being used.” Even when collecting multiple pieces as a collection, including actually used vessels along with unused ones allows for a more three-dimensional understanding of Shodai ware’s essence.
Preservation and Handling: The Proper Way to Engage with Functional Pottery
Because Shodai ware is functional pottery, not appreciative craft, overly nervous handling is unnecessary. However, basic care is important for long-term use. Before first use, soaking in water to allow the clay to absorb moisture can suppress stains and absorption.
After use, thorough drying and storage in a place without humidity buildup is ideal. Compatibility with microwaves and dishwashers varies by individual piece, so judgment is necessary after assessing thickness and glaze tone. The proper way to engage with Shodai ware is not “protecting it from breaking,” but “understanding its condition while using it.” The attitude of keeping an eye on the vessel’s changes and using it without excessive fear can be said to be the method that most brings out the value of Shodai ware.
Modern Life and Shodai Ware
While based on the practicality cultivated as a folk kiln, Shodai ware is acquiring new roles within modern living environments and values. In an era overflowing with mass-produced vessels, Shodai ware with handcrafted variation and material quality is an existence that quietly appeals to users’ sensibilities.
Here, we will examine how it is used in modern dining tables and eating spaces, evaluation overseas, and the role expected of Shodai ware going forward.
Use in Modern Dining Tables, Cafés, and Eating Spaces
In recent years, Shodai ware has increasingly been used not only on home dining tables but also in professional spaces such as cafés and restaurants. The thick and stable vessel form is not only suitable for everyday use but has the power to firmly receive food. The fact that glaze flow and earthiness become modest scenery and have good compatibility not only with Japanese cuisine but also with Western food and sweets is also appreciated.
Particularly in modern cuisine that utilizes negative space in plating, the simplicity of Shodai ware highlights the color and form of ingredients. The reason it is supported in modern eating spaces can be said to be that it functions as part of the food and space rather than asserting itself through decoration.
Overseas Evaluation and Position as Mingei Pottery
Overseas as well, Shodai ware is sometimes introduced as a representative example of Mingei pottery. The attitude of not emphasizing specific authorship or decoration is received as an existence different from both industrial products and art crafts, and is perceived as pottery symbolizing Japanese living culture.
Particularly, the concept of “beauty in utility” formed through the Mingei movement has affinity with modern international design sensibilities that value minimalism and functionality. Shodai ware is evaluated not as a symbol showing Japanese tradition, but as one form of craft rooted in life, and its honest appearance is coming to be understood across borders.
The Role Expected of Shodai Ware Going Forward
What is expected of Shodai ware going forward is not to fix tradition, but the role of continuing to flexibly be close to changes in lifestyle. While the purpose, size, and scenes where vessels are used change with the times, the essence of “being pottery to be used” does not change. Modern makers are required to have an attitude of making proposals suited to modern life while understanding Mingei values.
Shodai ware will continue to update its value by remaining an existence that quietly supports daily life rather than craft for special days. Continuing to stand between utility and beauty can be said to be the role Shodai ware should fulfill toward the future.
Summary
Shodai ware is representative Japanese functional pottery that was established as a Higo domain kiln in the early Edo period and developed while rooted in regional life as a folk kiln. The glaze tones of white, yellow, and blue, spontaneous scenery created by pouring, and thick, stable vessel forms can be said to be expressions of design philosophy premised on being used.
Through re-evaluation by the Mingei movement, Shodai ware became widely known as an existence embodying “beauty in utility,” and even in modern times finds value in home dining tables, eating spaces, and even overseas contexts. The essence of Shodai ware is precisely the point that it demonstrates true value not as a special object of appreciation but by continuing to be used in daily life. As pottery that continues to be close while changing together with lifestyle, Shodai ware will continue to be craft that stands between utility and beauty.
