Kasama and Mashiko Ware: Japan's "Brother Kilns" Explained

2 days ago

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Two towns, one family of pots

Drive north-east from Tokyo for about 100 km and you reach Kasama, in central Ibaraki Prefecture. Just to its north-west, across the prefectural line in Tochigi, lies Mashiko. The two towns are known as "brother kilns", and in 2020 their shared story was recognised as a Japan Heritage story under the name "Kasamashiko". This guide explains how they are related and what that means when you look at a piece of studio pottery from either town.

How Kasama ware began

Kasama's pottery history is usually traced to the An'ei era (1772–81). Kuno Han'emon, village headman of Hakoda, learned the craft from a Shigaraki potter named Chōemon, and the early ware was known as "Hakoda ware". The lords of the Kasama domain (the Makino family) protected the industry, and in 1861 six official kilns were recognised.

In the Meiji era Tanaka Tomosaburō gave the ware the name "Kasama-yaki" and marketed it widely; production centred on kitchen stoneware such as storage jars and mortars. Kasama ware was also long sold as souvenirs to pilgrims visiting Kasama Inari Shrine, one of Japan's three great Inari shrines.

From Kasama to Mashiko

In 1853 Ōtsuka Keizaburō (1828–1876), who had trained at the Kuno kiln in Kasama, found clay at Mashiko and built a kiln there. Mashiko's techniques therefore descend from Kasama, which in turn learned from Shigaraki craftsmen. Early Mashiko products were everyday wares — bowls, water jars and teapots — sold to Tokyo and eastern Japan.

Mashiko and the Mingei movement

Mashiko's international reputation grew through Hamada Shōji, who moved there in 1924 after working with Bernard Leach in St Ives. He built his house and climbing kiln in 1930, used local clay, and with Yanagi Sōetsu and Kawai Kanjirō coined the word "Mingei". He later became a Living National Treasure and stopped signing his works. His pupil Shimaoka Tatsuzō perfected Jōmon rope-pattern inlay (縄文象嵌) and also became a Living National Treasure. The Shoji Hamada Memorial Mashiko Sankokan opened in 1977.

You can read more about works we have handled from this circle in Tatsuzo Shimaoka: Mashiko and Cord Inlay and Michio Koinuma: Mashiko and Yakishime Form.

Michio Koinuma Mashiko yakishime vessel with a square architectural form, on a white background — Michio Koinuma, Mashiko yakishime vessel

Kasama after the war: "no fixed style"

After the Second World War, plastics hit demand for kitchen stoneware, and Kasama turned to art and craft pottery. Key steps were the Ibaraki Ceramic Industry Guidance Center (1950), an art village (1966) and the Himatsuri pottery festival (1982). Kasama ware was designated a National Traditional Craft in 1992, and 2022 marked its 250th anniversary. Around 300 potters work there today.

Kasama is often described as having "no fixed style": makers are free to work as they choose. For a collector this means a Kasama piece is better judged by its maker and its own qualities than by a single regional "look".

Clay and glaze: what to look at

Clay: Kasama's clay is iron-rich and sticky, derived from granite (called gairome), and fires to brown.
Glaze-led decoration: poured glaze (nagashikake), layered glazes and kiln transformation are typical; traditional glazes include kaki (persimmon/iron) and tetsuyū (iron).
Inlay in Mashiko: look for rope-impressed inlay in the Shimaoka manner.

Note that the tradition of a town says nothing on its own about the age or origin of a particular piece. Marks, the box and the maker's documentation matter more; see our guide to reading a tomobako and potter's seal.

Visiting the two towns

Kasama: Kasama Inari Shrine (its Edo-period main sanctuary is an Important Cultural Property), Kasama Geijutsu no Mori Park with the Ibaraki Prefectural Museum of Ceramic Art, Mt. Sashiro and the castle ruins, and the Himatsuri fair at Golden Week.
Mashiko: around 250 kilns and 50 pottery shops, pottery fairs at Golden Week and around 3 November, and the Hamada Sankokan.

Collecting Kasama and Mashiko today

Because both towns host many independent studios, the most rewarding approach is to follow individual makers. Our archive includes a vase by Masami Kobayashi. For related reading see Nabeshima & Kasama Collector's Guide and Collector's Guide Vol. 5: Mashiko and Kasama black glazes.

Looking for a particular maker?

If you are searching for a specific Kasama or Mashiko potter, tell us what you are looking for through our Collector's Inquiry.