Craftsmen participating in ``Meisterstrasse Japanese Edition'', a website that introduces traditional crafts from around the world. This time, we take a closer look at the skills and charm of the 100th generation of Kosongama, which has a history of more than 4 years and produces original Kiyomizu ware using new techniques.

The Gojozaka area in Kyoto is known as the center of Kiyomizu ware. Chawanzaka, which leads to Kiyomizu-dera Temple, forms part of this area. The Benimura kiln located here specializes in celadon and white porcelain, and is currently being created by the third generation, Katsuyuki Hayashi, and the fourth generation, Yuko Hayashi.

4Original technology created by the generation

This time, we will be introducing a work that makes full use of a technique called tsuchibasami, which was originally developed by the fourth generation. This technique is truly innovative and sophisticated, as it creates three-dimensional patterns like delicate petals and scales by carefully inserting scissors into the soil surface and lifting the cut edges.

Since Yuko was a child, she had watched her father, the third generation, work, so she had no idea that the family business was a special job.

``As an only child, I always had a feeling somewhere in my heart that if I didn't take over the kiln, it would disappear,'' says Yuko.

On the other hand, the third generation said, ``I never thought my daughter should take over the family business.However, when I helped her with an exhibition, I got the impression that her daughter was interested, so I suggested her, ``Why not give it a try?'' "This is the kind of world we live in, so you just have to look at us and create. I didn't tell you to do this or that."

Scissors inspired by something unexpected

While searching for her own style, she is also experimenting with techniques using pink vessels and lace. However, she was having a hard time finding something that satisfied her, and her Japanese sweets, ``Hasamigiku,'' gave her a hint. This is a technique in which scissors are inserted into the surface of a fresh confectionery to create petals that resemble chrysanthemum flowers.

``It was so shocking that I thought that if I cut the clay with scissors, I could create something appealing.I was very happy to be able to make use of the clay of my own kiln and create something new from tradition. It's a very enjoyable experience.In addition to scissor chrysanthemums, there are many different ways to make Japanese sweets.Right now, I mainly use two different cutting methods. I want to expand the world that can be expressed with clay.'' (Yuko)

When asked about the details, he said that there are of course differences in the properties of Japanese confectionery nerikiri and clay, and that not all techniques for making Japanese confectionery can be used. In addition, the search for new techniques continues despite various hurdles, such as the inability to insert deeply.

My work that I want to leave to the next generation

Currently, Yuko is thinking about continuing her own work while establishing her dosashi technique. It is in her heart that her children would be able to inherit this work when they think, ``I enjoy this work. I want to try it.''

But she's not just focused on her own creations.

“This area is also the birthplace of Shimizu ware, so I would be happy if many people knew that it was a pottery town and came to see it.Once the coronavirus pandemic subsides, we will promote this area as a pottery town. I want to.”

Yuko's positive words seemed to indicate a bright future for ceramics in Kyoto.