As with many old civilizations, Japan is renowned for its 伝統芸術 (dentōgeijutsu, traditional arts). These come in the form of 有形文化遺産 (yūkei bunka isan, tangible cultural heritage) and 無形文化遺産 (mukei bunka isan, intangible cultural heritage). The former category includes items like Himeji Castle and the “Manyoshu,” while the latter features things such as kabuki theater and the country’s festivals.

Personally, I’ve always been interested in the 有形文化遺産, particularly 陶器 (tōki, pottery). I love the variety of 感触 (kanshoku, textures), 多色 (tashoku, many colors) and 柄 (gara, patterns), whether they’re drawn from nature, history or pop culture.

With nine whole days of 陶器 and other tableware on display at Tokyo Dome City’s Tableware Festival from Jan. 29 to Feb. 6, you can easily see what I’m talking about. Products from 窯元 (kamamoto, potters/producers) nationwide will be represented all in one place.

If you can’t make the Tokyo event, don’t worry. 焼き物の町 (Yakimono no machi, Pottery districts) often have their own 陶器市 (tōki ichi, pottery markets) at different times throughout the year, each showcasing their region’s unique style. That includes the Arita Ceramics Fair in Arita, Saga Prefecture, during the Golden Week holidays, which focuses on the famed Japanese 磁器 (jiki, porcelain) known as 有田焼 (Arita-yaki, Arita ware).

If you’re able to make it to one of these fairs, what with pandemic-era restrictions sometimes coming into play, describing what you see is a fairly easy thing to do if you have the right vocabulary.

At the core of each piece is the 粘土 (nendo, clay). Depending on the type used, you’ll end up with a 滑らかな (namerakana, smooth) surface or one that is 粒々 (tsubu-tsubu, granulated). The color of the 焼成された (shōsei sareta, fired) piece will be different depending on the 粘土, too.

陶器市で買った湯呑みと比べたら、使った粘土が違うせいで、自分で焼成した湯呑みの表面は粒々になってしまった (Tōki-ichi de katta yunomi to kurabetara, tsukatta nendo ga chigau sei de, jibun de shōsei shita yunomi no hyōmen wa tsubu-tsubu ni natte-shimatta, Compared to the Japanese tea cup I bought at the pottery fair, the surface of the one I fired myself turned out granulated because I used different clay).

Designs can be added to 焼成された陶器 (shōsei sareta tōki, fired pottery) by using different 釉薬 (yūyaku, glazes). 基礎釉 (Kisoyū, Base glazes) are uncolored, but 色釉 (iroyū, colored glazes) are also available.

The glaze may produce a 貫入 (kannyū, crazing) effect, which gives the appearance of a tiny web of cracks. I love the look of this on 萩焼 (Hagi yaki, Hagi ware) from Yamaguchi Prefecture.

Stencils are used under the 基礎釉 for many of the designs that appear on the items such as 青海波 (seigaiha, wave patterns), 矢羽文 (yabane-mon, arrow patterns) or 市松文 (ichimatsu-mon, checkerboard patterns).

Sometimes pieces are 素焼き (suyaki, unglazed), allowing the firing process to provide patterns as the flow of heat and ashes through the 窯 (kama, kiln) change the composition of the surface of the clay during the 焼成 (shōsei, firing). The process may produce a ゴマ (goma, sesame seed) pattern, or other patterns due to the flow of heat around the kiln or how the wood ash falls onto the pieces during the 焼成.

Other 素焼き陶器 (suyaki tōki, unglazed pottery) is wrapped in straw or seaweed to add different 素朴な (sobokuna, earthy) tones. 備前焼 (Bizen-yaki, Bizen ware), originating from Okayama Prefecture, is a well-known example of this.

When looking at the final product, you may find you have a preference for 対称 (taishō, symmetry) or 非対称 (hitaishō, asymmetry). I tend to go for the latter when it comes to my 陶器. My own collection includes pieces that are 曲がっている (magatte-iru, curved), 捻れている (nejirete-iru, twisted), 反っている (sotte-iru, warped), 歪んでいる (yugande-iru, distorted) or slightly 潰れている (tsuburete-iru, squashed). I find a 湯呑み (yunomi, Japanese tea cup) with finger and thumb depressions to make it 持ちやすい (mochiyasui, easy to hold) isn’t just practical, it can also be more 渋い (shibui).

渋い translates as being tasteful in an understated way, perfect for describing anything from a single-flower floral arrangement to an unobtrusive yet beautiful pattern on a kimono.

販売されている湯呑みは少し歪んでいるが、そこが渋いところだ (Hanbai sarete-iru yunomi wa sukoshi yugande-iru ga, soko ga shibui tokoro da, The teacups that are on sale are a little warped, but that is the more elegant aspect).

All the pieces are fired in a 窯. At some pottery producers, you may be able to view the 窯 itself. There are different types, including 電気窯 (denki-gama, electric kilns), ガス窯 (gasu-gama, gas kilns) and 薪窯 (maki-gama, wood-fired kilns). The resulting piece of 陶器 will look different depending on the 窯 that is used.

Some areas of Japan, such as Kyoto, are known for their 登り窯 (nobori-gama, climbing kilns), which take advantage of the natural slopes of local hills to provide a temperature gradient that allows for different effects. 穴窯 (Anagama, Kilns built in holes) are smaller and have one access point, whereas 登り窯 have several.

If you’d like to try your hand at making something yourself, some potters provide a 陶芸体験 (tōgei taiken, pottery experience) where you can make a cup or bowl that they will mail to your home once the piece has been glazed and fired. It’s a fun experience, and if you make a mistake you can always just say you were going for that 渋くて歪んでいる look.