Vessels grow, expressions change. Japan's pottery culture deepens in affection the more it's used.
Have you ever looked at a rice bowl or mug you use every day and thought, "It looks a little different from when I bought it"?
Perhaps the surface has taken on a subtle color, or its texture has become pleasantly smooth to the touch. This is by no means "deterioration" or "dirt." In Japanese pottery culture, this is a beautiful and valuable change called "nurturing the vessel" (utsuwa ga sodatsu).
"Nurturing the vessel" refers to the process where, with each use, moisture and oil from food and drinks seep into the clay, gradually changing its color and texture over a long period. The unique appearance that results from this is described as "the expression changes."
In this article, we will explore the charm of Japan's pottery culture, which encourages us to cherish and "nurture" a single item for a long time in an era of mass production and consumption. From the mechanism of how vessels are nurtured to the beautiful changes seen in pieces from different regions, and how to care for them for long-term enjoyment, by the time you finish reading this article, the vessels in your hands will feel even more precious.
Changes in Japanese Vessels Nurtured by Living Clay
The phenomenon of "nurturing the vessel" is a physical transformation created over time by clay, fire, and the user. However, not all tableware can be nurtured. Let's first examine the fundamental mechanism and the unique "growth patterns" that vary greatly depending on the region and technique.
The Mechanism of How Japanese Vessels are Nurtured: Fundamental Differences Between Pottery and Porcelain
Pottery is broadly categorized into two types: "porcelain" (jiki) and "earthenware" (tōki).
"Porcelain," exemplified by Arita ware and Hasami ware, is made by firing powdered stone called "toseki" at high temperatures (1,200 to 1,400 ℃). It is as hard as glass and almost non-absorbent, so it doesn't stain and retains its original luster and whiteness for years. In other words, porcelain hardly undergoes any "nurturing."
On the other hand, "earthenware," also known as "domono" (clay ware), is made by shaping clay and firing it at a relatively low temperature of around 900 to 1,200 ℃. Earthenware has countless invisible tiny holes (pores) inside, giving it a sponge-like quality that absorbs moisture. Water from tea and food, and oils from human hands, gradually seep into and accumulate in these pores, causing the vessel's texture to change. For a vessel to be "nurtured," these "gaps where the clay can breathe" are essential.
For more detailed information on the characteristics of earthenware and porcelain, please refer to the article below:
Kohiki (Powdered Clay Slip): The Most Visible Change, From White to Stained
"Kohiki" ware offers the quickest and most visually evident experience of the joy of nurturing a vessel.
Kohiki is a technique where white slip (shiro-kesho-tsuchi), like makeup, is applied over a reddish-brown body (clay), and then a transparent glaze (glassy coating) is applied before firing.
Expression Before and After Nurturing
When new, Kohiki has a pure, matte white surface like snow. However, with use, the color of tea or coffee slowly seeps into the network of fine cracks called "kannyu" on the surface's glassy layer, creating beautiful, vein-like patterns.
At the same time, the color of the underlying clay gradually becomes visible through the white slip, transforming from a cold white to a warm écru (creamy off-white) over several years. You can enjoy the change to a gentle expression, as if the entire vessel is enveloped in a soft aura.
Hagi Ware: The Dynamic Transformation of "Nanamake"
Hagi ware, a traditional pottery produced in Yamaguchi Prefecture, is indispensable when discussing the nurturing of vessels. Hagi clay is exceptionally soft and coarse, giving it a much higher absorbency than other earthenware. Since it is fired slowly at a relatively low temperature, the firing is less dense, and its high absorbency leads to unique and dramatic changes.
As the old saying "Hagi no Nanamake" (Hagi's Seven Transformations) suggests, Hagi ware undergoes multiple color changes with prolonged use, dynamically transforming into entirely different appearances.
Expression Before and After Nurturing
New Hagi ware has a delicate appearance, often in soft pale pink or gentle white tones. However, with daily use for tea, the tea's components penetrate deep into the clay. Interestingly, vessels used by frequent green tea drinkers develop a deep greenish-brown with an astringent quality, while those used by coffee drinkers mature into a warm amber color. Even if two vessels were fired in the same kiln and looked like twins when purchased, their expressions will become entirely unique and different after a few years, shaped by the owner's lifestyle.
Yakishime (Unglazed Stoneware): Changing Luster and Texture, Bizen Ware and Shigaraki Ware
Yakishime is a primitive technique that involves firing pottery without any glaze (surface glassy coating), relying solely on the power of the clay itself and the kiln's flames. Bizen ware from Okayama Prefecture and Shigaraki ware from Shiga Prefecture, both counted among Japan's Six Ancient Kilns, are prime examples.
Since no glaze is used, there are no changes in color due to crazing (crack patterns), but Yakishime exhibits the most significant tactile changes.
Expression Before and After Nurturing
Fresh out of the kiln or newly purchased, Yakishime has a rough surface that retains the wildness of the earth, with a matte texture that doesn't reflect light. However, with daily handling, washing, and wiping, the oils from hands and moisture from washing become deeply absorbed into the clay.
The sharp edges of the rough surface gradually soften, eventually transforming into a smooth, almost adhesive feel, and developing a deep, moist luster that seems to exude from within. The true pleasure of Yakishime is experiencing its growth not just visually, but also through touch.
What Does It Mean for the "Expression" of Japanese Vessels to Change?
So far, we've touched upon the passage of time known as "nurturing the vessel." What then does the resulting "expression" refer to?
Enjoying Changes in Patterns and Colors: "Keshiki"
In Japan, there is a unique term, "keshiki" (scenery), to describe the patterns, color changes, and variations in glaze on the surface of a vessel. This is a rich and imaginative sensibility that involves appreciating the spread of stains and crazing (cracks) within a vessel, likening them to a landscape painting or natural scenery. Vessels that have been nurtured over time develop complex and profound "keshiki" that they did not possess when new.
The depth of "keshiki" in Japanese ceramics is infinite. We have summarized it in the article below, so please take a look.
The Beauty of "Negative Space" Enhancing Food
A vessel is incomplete on its own; it only fulfills its true purpose when food is served in it. While Western tableware often features elaborate decorations up to the rim, Japanese vessels embrace an aesthetic that intentionally leaves negative space.
The negative space of a newly purchased vessel is just a blank "void." However, the negative space of a vessel that has been nurtured through use reveals "keshiki" such as subtle crack patterns and a moist, lustrous clay. When seasonal ingredients are arranged in the center, the nurtured negative space gently receives and frames the vibrant colors of the food, elevating the dish. The changing expression of the negative space transforms an everyday meal into something a little more special.
Vessels can significantly change a dish. The relationship between Japanese vessels and cuisine is explained in detail below.
Why Japanese People Love to "Nurture"
Where does this sensibility, which finds beauty in the changes of a vessel, come from? It originates from a unique aesthetic sense cultivated throughout Japanese history.
The Spirit of "Wabi-Sabi," Finding Beauty in Imperfection
The culture of appreciating vessels flourished significantly with "chanoyu" (the tea ceremony), a traditional Japanese tea practice, around the 15th to 16th centuries (from the Sengoku period to the Azuchi-Momoyama period). Sen no Rikyu, a tea master who elevated chanoyu to an art form, valued not only the perfect, symmetrical, beautiful porcelain brought from overseas but also the imperfect vessels fired by Japanese artisans and the simple, color-changed pieces that had been used for a long time.
This embodies the spirit of "wabi-sabi." Instead of an unchanging, perfect beauty, Japanese people have cherished the transience brought by time, imperfection, and the profound tranquility that resides only in objects touched by human hands and aged over a long period, as the highest virtue.
"Kintsugi," Accepting Even Flaws as History
The ultimate expression of the culture of nurturing vessels is "kintsugi," a traditional repair technique. When a cherished vessel breaks or chips, instead of discarding it, it is reconnected with natural lacquer (urushi), and the seams are decorated with gold or silver powder.
This spirit reflects the deep affection of Japanese people for things, not by hiding flaws as if they never existed, but by embracing them as part of the vessel's history and adorning them as a new design. This embodies the deep affection Japanese people have for their possessions, using them carefully for a long time.
The charm of Kintsugi is also summarized in another article. Please take a look.