Category: Onta

Kagamimochi on Ontayaki Pedestal Plate

By:
Ceramics Onta Ontayaki

Ontayaki in our shop ->

The final addition to the Entoten gallery in 2019 is Ontayaki, which is produced in the small village of Onta, in northern Oita prefecture, by 10 families that are the descendants of its founders dating back to 1705.

For this batch of work, I asked a good friend that I have known for over 30 years who is an expert on Japanese craft to curate the work. I was very excited because I had never seen an Ontayaki pedestal plate until he chose to include it in this collection.

Pedestal plates are not often made in Onta because these vessels warp easily with the application of slip. But they are perfect for serving food for the new year, so I decided to make my own kagamimochi, a traditional Japanese New Year’s decoration made of rice cakes, to present on this special plate. You can  find out more about the process in story highlights on Instagram.

You can read more about the village of Onta here ->

Thank you for visiting my website and supporting Entoten for this past year! My best wishes for a happy and healthy New Year to you all.

Kagamimochi New Year decoration on Ontayaki pedestal plate.

 

Revisiting the Pottery Village of Onta: The Resilience of Natural Rhythms

By:
Onta Mingei Ontayaki

Ontayaki in Entoten shop ->
Read my first blog post about Onta ->

On a dreary, rainy May day, I visited the remote pottery village of Onta in Kyushu for the second time as an interpreter for a pottery tour group organized by Bill Geisinger and Ben Horiuchi. It has been 5 years since I last visited this magical place and I was keen to see its current state because the village had experienced a large earthquake in 2016, followed by heavy rains in the summer of 2017 that had flooded the town and surrounding areas. I had read news reports that the rain caused severe mudslides that cut off this already remote village from the rest of the world for a week.

Sakamoto Yoshitaka preparing clay in Onta. The clay is being dried on top of a drying kiln and to the left is a hut where the kara-usu -traditional clay-crushing devices- are to be reinstalled.
Sakamoto Yoshitaka preparing clay in Onta. The clay is being dried on top of a drying kiln and to the left is a hut where the kara-usu -traditional clay-crushing devices- are to be reinstalled.

The impact of these natural calamities on Onta’s pottery-making infrastructure has been devastating, but the spirit of its potters has been resilient. Many of the kara-usu, the traditional wooden clay-crushing devices that operate like a seesaw and are powered by water from the local river, were destroyed.

This area was flooded in 2017 and all of the clay was lost. The kara-usu, seen in the top right insert of this 2013 photo, were also destroyed.
This area was flooded in 2017 and all of the clay was lost. The kara-usu, seen in the top right insert of this 2013 photo, were also destroyed.

“Our kara-usu were destroyed and all the clay that we harvested were also washed away”, said Sakamoto Yoichi, a young Onta potter that we visited. He and his father Sakamoto Yoshitaka are the descendants of the original founders of Onta that began in 1705. “We have to go and get more clay”, Yoichi-san smiled and spoke cheerfully as he stood in the rain to show us the newly poured concrete in the clay-making area along the river.

Onta clay drying atop a wood burning dryer.
Onta clay drying atop a wood burning dryer.

But “getting and making more clay” is no easy task. In Onta, the clay is prepared through the traditional method of harvesting, pounding, elutriating and drying of the material and this whole process takes well over a month of back-breaking work to complete. Onta’s way of life and especially its way of making pottery has changed little since Yanagi Muneyoshi (aka Soetsu), the father of the Mingei movement, visited in 1931 and recorded this approach in his famous book ‘Hita no Sarayama’.

The front of the Sakamoto Yoshitaka kiln in Onta during a heavy downpour. On a sunny day, the pots will be drying out in the front.
The front of the Sakamoto Yoshitaka kiln in Onta during a heavy downpour. On a sunny day, the pots will be drying out in the front.

As we walked past Yoichi-san’s wood-firing kiln, we saw finished pots that were left inside of it.  Yoichi-san explained that they were fired in the kiln in time for the Golden Week vacation (a week-long vacation in Japan from late April to the beginning of May), but the annual festival was cancelled this year because many Onta families still have not yet recovered from the 2017 disaster. “Even though the festival was cancelled, I was happy that many people came,” Yoichi-san said with a big smile.

The workspace of Onta potter Sakamoto Yoichi. With a kick-wheel, no electricity is required, except for the lighting and radio that he listens to while working.
The workspace of Onta potter Sakamoto Yoichi. With a kick-wheel, no electricity is required, except for the lighting and radio that he listens to while working.

In his studio, Yoichi-san and his father Yoshitaka-san demonstrated wheel-throwing and slip glazing for our group. “I wanted to demonstrate the tobikan’na (chatter marking), but the pots are not dry enough unfortunately”, Yoichi-san said apologetically, “so I will demonstrate the hakeme (brush patted slip marking)”.

Sakamoto Yoshitaka (left) and Yoichi (right) demonstrating slip-glazing and hakeme for the visiting group.
Sakamoto Yoshitaka (left) and Yoichi (right) demonstrating slip-glazing and hakeme for the visiting group.

I was very happy to be able to see this demonstration because even though the chatter-marking is probably the most famous slip decoration of Onta, my personal favorite is hakeme, which is also known as uchi-hakeme. I like hakeme because it involves a simple tool of a brush, and the tapping marks speak of the maker’s rhythm. Some other traditional Ontayaki decorations include yubikaki (finger marking) and kushikaki (comb marking).

Hakeme and kushikaki on fresh Onta clay. Onta potters use very wet clay for throwing.
Hakeme and kushikaki on fresh Onta clay. Onta potters use very wet clay for throwing.
Cream colored ontayaki with traditional decorations.
Cream colored ontayaki with traditional decorations.

Throughout the time our group was with the Sakamotos, I was touched by their kind and gentle manner. Just like the warm cream-colored Ontayaki (ontaware) pottery that they produce, their humbleness and optimism impressed me considering the huge challenges that they have had to deal with in the past several years.

The original Hita no Sarayama by Yanagi Muneyoshi with a stencil dyed cover. Onta was made famous by this small book published in 1942 and was designated as intangible cultural property by the Japanese government in 1995.
The original Hita no Sarayama by Yanagi Muneyoshi with a stencil dyed cover. Onta was made famous by this small book published in 1942 and was designated as intangible cultural property by the Japanese government in 1995.

After returning to California, I re-read Hita no Sarayama to search for insights from what I saw during my time in Onta. Yanagi wrote, “we want to learn what fosters beauty … if we cannot grasp this important fact, we cannot be proud of our new culture. Just as we cannot indulge ourselves in the past. Hita no Sarayama (Onta) is the direct opposite of today. But that is why there are so many things we can learn from it. Because it has abundant aspects that we lack. It has the strength that is not subject to the aspect of time.”

One of the main roads in Onta is covered in yellow from the clay that is constantly used and transported around the village.
The one and only main road through Onta is covered in yellow from the clay that is constantly used and transported around the village.

I now feel that I have a better understanding of what Yanagi meant. And if you ever have the opportunity to visit Kyushu, I urge you to make a special effort to visit this exceptional village and its resilient people.

A Tour of the Pottery Towns of Southern Japan: Part II: Onta

By:
Ceramics Onta Mingei Travels Ontayaki

Ontayaki in Entoten shop ->

Tucked deep in the densely wooded mountains of Kyushu and 300 years away from the hectic pace of the modern world is the rustic village of Onta. Life here has changed little since Yanase San’emon arrived from Koishiwara, another renowned pottery center 16 miles west of Onta, at the beginning of the 18th Century, to establish a distinctive way of making pottery known as Ontayaki that continues to be practiced by his descendants.

Onta vase with an example of pat brush marking or uchi-hakeme holding a cherry blossom.
An Onta vase displaying brush patted slip marking or uchi-hakeme, and holding a cherry blossom.

The ten families that live today in Onta can trace their lineage to the three original founders of the Onta kiln in 1705. Besides Yanase, the other two clans are the Sakamoto and Kuroki. Each family passed their pottery knowledge and skills from fathers to sons while the mothers and daughters performed no less important supporting roles. This patrilineal practice has helped to preserve Onta’s original pottery-making techniques in its purest form despite three centuries of generational succession.

Ontayaki was unknown to the rest of Japan until Studio KotoKoto’s philosopher hero and father of the Mingei movement Yanagi Muneyoshi (Soetsu) visited Onta in 1931. He had to walk to the village on foot, as there were no proper roads connecting it with the outside world in his days. Yanagi was keen to go to Onta after first falling in love with the warm simple beauty of Ontayaki at a pottery shop in Fukuoka.

Toothpick holders with chatter marks or tobi-kanna.
Toothpick holders with chatter marks or tobi-kanna sold at a shop in Onta.

Onta’s traditional way of life and simple approach to making pottery perfectly fitted Yanagi’s vision of Mingei. This was detailed in his book Hita no Sarayama about Onta that put the village on the map in Japan. The famous British potter Bernard Leach also resided in Onta during the 1950s and 1960s, and this broadened the village’s profile onto the global stage.

The people of Onta have taken this fame in their gentle stride. When I arrived in the village on a cold spring morning, I was welcomed by the noise of creaking wood that was followed by a heavy thud. This is the sound of kara-usu, the wooden clay-crushing device that operates like a seesaw and is powered by water from the Hanatsuki River that runs through the middle of the village.

Karausu determined the pace of clay production in Onta for the last 300 years.
These Kara-usu machines have regulated  the pace of clay production in Onta for the last three centuries.

The rhythmic beat of the kara-usu is the reason why Onta has kept to its simple ways and avoided being swept up in the mass consumerism of the modern world. Each family in the village is only allowed two wheels in their workshops because of the slow and limited production of local clay from the kara-usu machines. This means that if a grandson is ready to take over a wheel, his grandfather has to retire to make way. This careful approach by the villagers to managing their land and strictly limiting the scale of output means that there will be plenty of clay left for future generations.

The Hanatsuki river powers the numerous karause in Onta village.
The Hanatsuki River powers the numerous kara-usu in Onta.

At one house, I witnessed a woman busy transferring wet elutriated clay from a trough to a clay-drying kiln. This confirmed what I had read elsewhere that the backbreaking daily work of clay preparation is the responsibility of the Onta women. So to the female readers of this blog, think twice about marrying that handsome potter from Onta because you will find yourself with a very physically demanding job for the rest of your lives. It is truly a revelation to see how much time, work, and space is needed to prepare the clay after seeing the kara-usu, the water pools that dissolve the clay, the clay troughs, and the clay drying kilns.

A woman loads the clay onto a wheel barrel.
A woman loads the clay onto a wheel barrel.
Clay is transferred to the top of the clay drying kiln.
Clay is transferred to the top of the clay drying kiln.

The wheel throwing method used in Onta and Koishiwara is strikingly different from the approach that I and many other potters are most familiar with. Instead of starting by centering enough clay to form the entire form, a ball of clay is patted and centered to build the bottom. Coiled clay is subsequently added on top to build the rest of the pot.

This method is called neritsuke and is a hybrid form of wheel throwing and coil building. This technique is said to be only possible because of the mastery of the potter to control the speed of the kick wheel. To watch how this is done, here is a link to a YouTube video of a young Onta potter, Sakamoto So, who is throwing plates and applying uchi-hakeme, which is a brush patted slip marking.

Ontayaki mortar from Sakamoto kiln with an example of dynamic finger marking or yubikaki.
Ontayaki mortar from the father and son kiln of Sakamoto Takumi and So with an example of finger marking or yubikaki.

Onta clay is very smooth with a beautiful brownish yellow color that fires to dark brown because of a high iron content. Together with the slip that fires to light cream white, Ontayaki is ideal tableware as it brings out the color of food on the table.

Onta-ware has several distinct decorative styles that includes the chatter marking or tobi-kanna, uchi-hakeme, and the dynamic finger marking or yubi-kaki. These styles can also be found in the sister kiln of Koishiwara.

Ontayaki on the left and Koishiwarayaki on the right. The two villages share many decorative styles.
Ontayaki on the left and Koishiwarayaki on the right. The two villages share many decorative styles.

My visit to Onta was a deeply profound and eye-opening experience. More than 80 years have passed since Yanagi first went to Onta and far fewer people in today’s mass consumer society are using handmade products than when Yanagi made his pilgrimage to the village. Despite the enormous social, cultural, and economic changes that have occurred during these intervening years, Onta has never succumbed to the enticements of mass consumerism. And because the village’s residents have stood so fervently behind their age-old principles of sustainability and balanced moderation, Onta has thrived.

Ai spies one of the earliest works by the next generation of Onta potter at the village.
Ai spies some early works by the next generation of Onta potters.

A key lesson that I take away from Onta is that as long as there is a community of people who understand and cherish the importance of handmade in their everyday life, this tradition will survive and live on in future generations. This is also the essence of what we at Studio Kotokoto are seeking to build, although through the application of modern day tools including the Internet rather than from a remote corner of Japan.

My pottery tour will continue in my future blog.