Reading the "Scenery" of a Vessel: The Aesthetics of One-of-a-Kind Beauty Enjoying Glaze Drips and Scorching

When you pick up a piece of pottery, have you ever thought, "Isn't this a defect?" The marks where the glaze has dripped and hardened, the fine cracks running across the surface, the scorched brown spots, the small chip-like indentations. In the standards of mass-produced goods, these might appear to be "defects." However, in the world of Japanese pottery, these very features are considered the vessel's individuality, a unique expression woven by fire, clay, and the artist. The word "keshiki" (景色) eloquently expresses this aesthetic. This article will carefully explain everything from the basic concept of keshiki to its types, how to appreciate it, characteristics by production region, and how to choose pottery, making it understandable even for those new to keshiki. After reading this article, your perception of pottery will surely change.

What is "Keshiki" in Pottery?

The Meaning of Keshiki in the World of Pottery

"Keshiki" refers to the various accidental expressions and changes that appear on the surface of pottery. Just as mountain ridges, flowing rivers, and misty morning landscapes each differ, no two keshiki on pottery are ever exactly alike.

Originally, the word "keshiki" in Japanese means "view," "vista," or "scenery." It came to be used in the world of pottery because the flowing glaze, scorch marks, and traces of melted ash on the vessel's surface resemble natural landscapes, like a landscape painting. It is said to have originated in the tea ceremony culture, where expressions like "the keshiki of this bowl is good" were used when appreciating tea bowls and flower vases.

In ceramic production, keshiki is not always intentionally created. When an artist applies glaze and fires a piece in a kiln, the movement of the flames, changes in temperature, the atmosphere within the kiln (oxidation/reduction), the amount and dispersion of ash from the firewood, and the properties of the clay—all these complex factors combine to determine the final keshiki. While artists understand these variables and can guide the outcome to some extent, they cannot fully control it. This is why keshiki is often said to be "created by fire" or "determined by the kiln."

Why Does Fire Never Create the Same Pattern Twice?

Inside the kiln during firing, the pottery is subjected to temperatures ranging from several hundred to over 1300 degrees Celsius. In this world of heat, every factor, from slight differences in position and time to the kiln's humidity influenced by the day's weather, affects the outcome.

For example, even pieces arranged on the same kiln shelf will fire differently depending on whether they are directly exposed to the flames or not. Even with the same glaze, the flow of the glaze changes with the shape of the vessel. In traditional kilns like the noborigama kiln, which has multiple chambers, the temperature and atmosphere differ in each chamber, meaning the keshiki will vary depending on which tier and position the pottery is placed.

Furthermore, in wood-fired kilns that use firewood as fuel, ash generated by combustion floats inside the kiln and settles on the surface of the pottery. This ash melts at high temperatures and chemically combines with the glaze, creating unique lusters and colors. This process is never exactly the same each time. Even if the same artist uses the same clay, the same glaze, and the same kiln, it is almost impossible to intentionally reproduce a piece with the same keshiki as before.

This "irreproducibility" is precisely why pieces with keshiki are revered as "one-of-a-kind." They are works of art collaboratively created by fire, clay, and time, something mass-produced items cannot possess. That is the essence of pottery with keshiki.

Types of Keshiki and How to Appreciate Them

There are several types of keshiki. Understanding their origins and highlights will greatly deepen your enjoyment when you hold a piece of pottery.

Gravity's Brushstroke: Glaze Drips (Nagare-gusuri / Tamadare)

Before firing, glaze is applied to the pottery in a liquid or powdered state. As firing progresses, the glaze melts and becomes molten. At this point, the glaze may flow downwards due to gravity. This is called "nagare-gusuri" (流れ釉), and when the flowing glaze cools and hardens midway, it is called "tamadare" (玉垂れ).

Tamadare often appears as rounded protrusions near the base of the vessel, resembling solidified water droplets. Its shape, as the name suggests, is like "dripping beads." More fluid glazes, such as clear glaze, celadon glaze, and ash glaze, are more prone to flowing, creating dynamic tamadare.

The key to appreciation is the beauty of the lines formed by the flow. Sometimes it flows straight, other times it follows the curve of the vessel. When multiple tamadare are lined up, they can resemble raindrops flowing down a windowpane. Since the luster changes with how light hits it, it's recommended to slowly rotate the piece while observing it. Additionally, the tamadare areas often appear darker or deeper in color because the glaze is thicker there.

When you actually touch the vessel, the tamadare areas feel like slightly hard bumps. The pleasure of a keshiki-imbued piece also comes from your fingertips naturally remembering its shape through use.

Marks of Fire's Embrace: Scorch Marks and Hi-iro (Fire Color)

"Scorching" refers to the black discoloration that occurs when flames directly and intensely hit a part of the vessel. In a wood-fired kiln, the flow of the flames is not constant, and they can concentrate on specific areas. These traces remain as scorch marks. On the other hand, "hi-iro" (火色) refers to the reddish or orangish areas that result from direct contact with the heat of the flames, though not as intensely as scorching.

Bizen ware's goma (sesame) and hidasuki (fire-cord marks) are also broadly categorized as hi-iro. The iron content in the vessel's body reacts with the flames, creating rich gradations from golden to deep red, orange, and brown.

The key to appreciation is the beauty of the "boundary" between the scorch marks and hi-iro. The gradation transitioning from black to red, and red to yellow, is like a sunset sky. Also, scorched areas often have the flame directly touching the unglazed clay, allowing you to enjoy the rough texture by touch. When you hold the vessel, feel its temperature in your entire palm. Experiencing the slightly cool feel in winter that gradually adjusts to your body temperature with use is also part of appreciating a keshiki-imbued piece.

The Beauty of Burst Stones: Ishihaze

"Ishihaze" (石はぜ) is a phenomenon where small stones contained within the clay burst during firing, creating tiny holes or chips on the surface of the pottery. As the name suggests, it arises from stones "hazering" (bursting).

It is often seen in pottery that uses rough clay (arado), such as Bizen ware and Iga ware. Unrefined clay contains various minerals and small stones, which expand and explode during high-temperature firing, damaging the surface. These marks remain as irreversible changes when the vessel emerges from the kiln.

While ishihaze may initially look like "chips" or "flaws," to a discerning eye, it appears as a testament to the "wildness" and "vitality" of the vessel's clay. Pottery with ishihaze also serves as proof that natural, unrefined clay was used, rather than a refined, uniform clay.

The key to appreciation lies in the balance of the size and placement of the ishihaze. If too large, it can impair the vessel's functionality, but an appropriate size adds a dynamic expression to the piece. Also, the glaze flow often changes around ishihaze, sometimes creating unique keshiki in those areas. Lightly touching it with your finger will reveal small indentations.

Unpredictable Yohen (Kiln Change)

"Yohen" (窯変) is a general term for the phenomenon where unexpected chemical changes occur in the glaze or clay during firing, resulting in unique colors and patterns. It arises from a combination of multiple factors, such as temperature fluctuations, kiln atmosphere (oxidizing or reducing firing), and subtle changes in the chemical composition of the glaze.

A famous example is "Yohen Tenmoku" (曜変天目), born in Song Dynasty China. These illusory tea bowls, with iridescent blue and golden light floating on a black glazed surface, are among only a few extant pieces in the world. Their beauty is truly the pinnacle of yohen.

In Japan, many masterpieces created through yohen exist, such as "Nezumi Shino" of Shino ware and "Yohen Oribe" of Oribe ware. Contemporary artists also continue to create, pursuing the possibilities of yohen.

The key to appreciation is the depth of color and the dynamism of the changes. Yohen pieces display vastly different expressions depending on how the light hits them. They can show completely different faces when viewed in natural daylight compared to under artificial light at night. Take your time to rotate the piece and enjoy the relationship between light and color.

Ash Glaze: Nature's Own Glaze

"Ash glaze" (灰かぶり, haikaburi) is a phenomenon where ash generated from the firewood during wood-firing settles on the surface of the pottery and melts at high temperatures, becoming a natural glaze (自然釉, shizengusuri). It is not a glaze intentionally applied by the artist, but rather arises from ash within the kiln naturally coating the vessel.

This keshiki is often seen in Shigaraki ware and Iga ware. Depending on the amount and state of the ash accumulation, various expressions emerge, from light green to deep green, amber, or grayish hues. Areas with thick ash accumulation melt and become smooth, while thinner areas retain a rough texture.

The key to appreciation is the "accidental gradation." Ash floats around the kiln, accumulating heavily in some areas and sparsely in others. The charm of haikaburi lies in the gradation that this randomness creates, which can absolutely never be replicated artificially. Furthermore, as it is used over many years, the addition of tarnish from use further deepens its character, which is another characteristic of haikaburi.

Kannyu Deepens with Use

"Kannyu" (貫入) refers to fine cracks that appear in the glaze on the surface of pottery. These cracks, caused by differences in the thermal expansion rates of the glaze and the clay body, deepen into unique patterns as tea, sake, or food liquids soak into them with continued use.

When freshly fired, kannyu is barely noticeable in Hagi ware or kohiki pottery. However, after many years of use, the kannyu becomes stained with color, and a delicate network pattern emerges on the surface of the vessel. As the saying goes, "Hagi's Seven Transformations" (萩の七化け) refers to how the vessel changes with use.

The key to appreciation is the "process" of that change. A brand new piece will have a completely different appearance after 5 or 10 years of use. Pieces with kannyu are also called "vessels to be nurtured," and there is joy in having your own unique keshiki engraved with each use.

For more details on the secrets of kannyu, please refer to the article below:

The Secret of "Kannyu" in Japanese Pottery, Which Deepens with Use

Production Regions and Pottery Where Keshiki Can Be Enjoyed

Among Japan's various pottery producing regions, we introduce those where particularly rich keshiki can be enjoyed.

Bizen Ware: Where the Most Diverse Keshiki are Born

Bizen ware, centered in Bizen City, Okayama Prefecture, is famous for its unglazed pottery. Since the changes in the clay body itself become the keshiki, the variations of keshiki are particularly rich.

Many unique keshiki names exist for Bizen ware, such as "Goma" (胡麻 - sesame), "Hidasuki" (緋襷 - fire-cord marks), "Botamochi" (牡丹餅 - rice cake marks), and "Sangiri" (棧切り - ash marks). Goma are brown spots created by ash, Hidasuki are red streak patterns created by straw trapped between stacked pieces during firing, and Botamochi are white patterns where the kiln shelf contacted the piece.

Bizen ware, fired at high temperatures of nearly 1300 degrees Celsius for an extended period, undergoes various changes during firing, ensuring that no two pieces have the exact same keshiki. It is truly a treasure trove of keshiki.

Shigaraki Ware: Rich Expressions from Ash Glaze

Shigaraki ware, from Shigaraki-cho, Koka City, Shiga Prefecture, is known for its abundant ash glaze keshiki. A major characteristic is the rich green to amber natural glaze created by long hours of wood-firing in a kiln.

Shigaraki clay is coarse and often contains large grains. The combination of its rough texture and ample ash glaze creates the unique keshiki of Shigaraki ware. While many works like flower vases and large bowls have a strong presence, rich keshiki also appear in everyday tea bowls and teacups.

Iga Ware: The Beauty of Wild Flames

Iga ware, from Iga City, Mie Prefecture, is known for its wild keshiki. Like Shigaraki ware, it is fired in a wood-fired kiln, but Iga clay is even coarser, often resulting in more ishihaze. The scorching is also intense, and its dynamic keshiki is very appealing.

Some potters describe Iga's keshiki as "violent," indicating the powerful expressions it creates. Iga ware flower vases and water jars, which have been prized as tea ceremony utensils since ancient times, are said to bring a unique sense of tension to the tea ceremony space with their raw keshiki.

Hagi Ware: Delicate Keshiki of Kannyu and Hi-iro

Hagi ware, from Hagi City, Yamaguchi Prefecture, is characterized by its delicate keshiki of kannyu (crazing) and subtle hi-iro (fire color). Fine cracks run through the warm white, pale pink, and cream-colored vessels, which are created from a combination of soft clay and glaze.

As the saying goes, "Ichiraku, Nihagi, Santkaratsu" (first Raku, second Hagi, third Karatsu), it is counted as one of the most prestigious tea bowl producing regions in the world of tea ceremony. Hagi ware's keshiki is not intense, but quiet and delicate. The more it is used, the more the kannyu absorbs color, fostering deeper keshiki.

Choosing Pottery with Keshiki

Distinguishing Between "Defects" and "Keshiki"

For those new to keshiki, one of the initial challenges is discerning whether a feature is keshiki or an actual defect.

Please refer to the following points:

Features considered keshiki:

・Glaze drips or tamadare that do not affect the strength of the vessel.
・Scorch marks or hi-iro that are surface discolorations, with the clay body remaining intact.
・Ishihaze that are small and located away from the rim.
・Kannyu that is not uniform but shows a natural distribution.
・Features that function as an "expression" within the overall balance of the vessel.

Features to be considered defects:

・Chips or cracks on the rim (mouth rim).
・Large cracks at the bottom or penetrating cracks that compromise the vessel's strength.
・Ishihaze or holes large enough to impede use.
・Obvious firing failures leading to poor color development (as acknowledged by the artist).

Generally, pieces sold by reputable artists, studios, or galleries have defects removed before shipment. When an item is sold, there is an implicit understanding that "this is keshiki." If you are unsure, it is always best to confirm with the artist or staff before purchasing.

How Lighting and Holding Change the Keshiki of Pottery

To enjoy keshiki, the correct "way of seeing" is important.

How to light the pottery:

When observing pottery, do not shine light from a single direction; instead, slowly change the angle. The luster of the glaze and the color changes of yohen will show completely different expressions depending on the angle of the light. Viewing in natural light is most beautiful, but at night, warm LED or incandescent lights can also reveal different charms.

How to hold the pottery:

Always hold the vessel gently with both hands. Feel the weight and temperature of the vessel with your entire palm, and explore the unevenness of the keshiki with your fingertips. Enjoying keshiki not just visually but also tactilely is one of the greatest pleasures of pottery appreciation.

Rotating the pottery:

Slowly rotating the vessel while holding it allows you to enjoy how the keshiki continuously changes. Many pieces have completely different keshiki on their "front" and "back." Be sure to rotate it fully before purchasing.

Enjoying Pottery Through Use

Many pieces with keshiki are made not just for ornamental purposes, but with everyday use in mind. In fact, many of them deepen their keshiki with continued use.

When using keshiki-imbued pottery in daily life, there are a few points to note.

Pre-use "Medome" (Sealing)

For pottery with a coarse body, such as Bizen ware and Shigaraki ware, performing "medome" (boiling in rice water) before first use can prevent cracks and stains from penetrating the clay body.

Handling pottery with Kannyu

Pottery with kannyu, like Hagi ware and kohiki, will absorb color with continued use. This is not "staining" but a sign that the "keshiki is being nurtured." However, initially, avoid using a dishwasher and make handwashing a habit.

Storage methods for Japanese pottery

Store pottery with keshiki in a dry state. Coarse pottery can easily absorb moisture, which may lead to mold. After use, make sure to dry it thoroughly before storing.

Moving between practical use and appreciation is the richest way to engage with keshiki-imbued pottery. The time spent sipping tea while admiring the keshiki of your favorite tea bowl each morning will become a small luxury in your daily life.

For more information on how to care for Japanese pottery, please refer to the article below:

How to Care for Japanese Pottery: For Long-Lasting Use

Frequently Asked Questions About Japanese Pottery (FAQ)

Q1. What is "Keshiki" (景色) in Japanese pottery?

It refers to the accidental expressions and changes that appear on the surface of pottery, such as glaze drips, scorch marks, cracks, and spots. Just as no two natural landscapes are identical, the unique expressions born from the complex interplay of fire, clay, and the kiln environment are likened to natural scenery in Japanese aesthetics and are appreciated as the greatest charm, called "keshiki."

Q2. What types of Keshiki are there?

There are primarily the following types, each with a different origin and highlight:

・Nagare-gusuri / Tamadare: Melted glaze flows down due to gravity and hardens into rounded forms.

・Scorching / Hi-iro: Black discoloration or red/orange gradations caused by direct contact with flames.

・Ishihaze: Small indentations on the surface caused by tiny stones within the clay bursting during firing.

・Yohen: Unique colors and patterns created by unexpected chemical changes within the kiln.

・Haikaburi: Natural glaze formed by wood ash settling on the pottery and melting at high temperatures.

・Kannyu: Fine cracks that appear in the glaze surface. They deepen in character and color with use.

Q3. What is the difference between a mass-produced "defect" and a handcrafted "keshiki"?

A "keshiki" is a feature that functions as an "expression" that enhances the overall balance of the vessel, provided it does not compromise the vessel's strength or practicality. In contrast, obvious chips on the rim, cracks that penetrate to the bottom and could lead to leakage or breakage, or large holes that interfere with use are considered "defects." Items sold by reputable galleries, etc., have been inspected by artisans or artists, and only those recognized as "keshiki" are displayed.

Q4. Are there any care tips or tricks for enjoying keshiki pottery at home?

When appreciating, hold the piece gently with both hands, slowly rotate it while changing the angle of light, and feel the unevenness with your fingertips. For daily use, for pottery made from coarse clay, performing "medome" (boiling in rice water) before initial use can prevent stains from soaking in. Also, for pieces with kannyu, enjoy the aging process (nurturing the vessel) while avoiding dishwashers and handwashing. Storing them after thoroughly drying is key to long-term care.

Pottery: A Painting Drawn by Fire and Clay

The concept of "keshiki" (景色) symbolizes the unique aesthetic that Japanese pottery possesses. Glaze drips, scorch marks, ishihaze, yohen, ash glaze, kannyu—all of these are a single painting collaboratively drawn by fire, clay, and the artist.

There is a "unique beauty" there, different from the "uniform beauty" offered by mass-produced goods. Acquiring a piece of pottery with keshiki, a keshiki that exists nowhere else in the world, and continuing to use it in daily life, is to touch the core of Japanese ceramic culture.

Even expressions that initially felt like "defects" will, once you understand the meaning of keshiki, begin to appear as "natural art painted by fire." So, when you pick up a piece of pottery, gently rotate it under the light, feel its unevenness with your fingertips, and enjoy the moment of "reading" the keshiki unique to that piece.

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